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By James Grier

James Grier records the musical actions of Adémar de Chabannes, eleventh-century monk, historian, homilist and tireless polemicist for the apostolic prestige of Saint Martial, buyer saint of the abbey that bore his identify in Limoges. Adémar left in the back of a few 451 folios of tune with notation in his autograph hand, a musical source the ultimate prior to the 17th century. He brought, at strategic moments, items generic from the normal liturgy for an apostle and goods of his personal composition. those exhibit Adémar to be a supremely capable clothier of liturgies and a hugely unique composer. This learn analyses his accomplishments as a musical scribe, compiler of liturgies, editor of present musical works and composer; it additionally deals a speculative attention of his skills as a singer; and at last, it areas Adémar's musical actions within the context of liturgical, musical and political advancements on the abbey of Saint Martial in Limoges.

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The Musical World of a Medieval Monk: Adémar de Chabannes in Eleventh-century Aquitaine

James Grier files the musical actions of Adémar de Chabannes, eleventh-century monk, historian, homilist and tireless polemicist for the apostolic prestige of Saint Martial, customer saint of the abbey that bore his identify in Limoges. Adémar left at the back of a few 451 folios of song with notation in his autograph hand, a musical source the ultimate ahead of the 17th century.

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Additional info for The Musical World of a Medieval Monk: Adémar de Chabannes in Eleventh-century Aquitaine

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A precocious singer, as I imagine Ade´mar to have been in his younger days, would eagerly study the enhanced visual information now available in the notation. He would thereby expedite his acquisition of the solo repertory and the level of musical accomplishment that would permit full participation in the liturgy as a soloist and the stature within the musical community that would consequently accrue. Music scribes, too, would find the task of copying melodies facilitated by the new technology.

165; [Ade´mar], Commemoratio abbatum, ed. Duple`s-Agier, pp. 3–4; and Ade´mar, Epistola de apostolatu. For modern commentary, see Castaigne, “Dissertation,” especially the genealogical 18 The musical world of a medieval monk Turpio coincidentally held the positions of abbot of Saint Martial and bishop of Limoges in the tenth century, and, in his father’s generation, his paternal uncles Adalbertus ({1007) and Roger ({1025) were deacon and cantor at the abbey. 48 Finally, and most important for our purposes, Ade´mar had the opportunity to study the liturgy under the person who was soon to become responsible for all aspects of its execution at Saint Martial in his capacity as cantor, his uncle Roger de Chabannes.

42 See the rubric for Martial’s feast in Pa 1085 fol. 76v: “Natale sancti ac beatissimi patroni nostri domini Martialis praesuli[s] Lemouicensis,” where prasesul means “bishop” (see Grier, “Ecce sanctum,” pp. 62–64; also idem, “Roger de Chabannes,” pp. 117–19. Introduction: Ade´mar de Chabannes and Saint Martial de Limoges 17 The musical community in which Ade´mar received his advanced education and to which he eventually contributed in the second half of the 1020s, after his uncle’s death, exhibited a blend of conservative and progressive characteristics.

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