The Cluniac monks played a major role in the introduction of the Franco-Roman chant in the Iberian Peninsula. Liturgical repertories in Iberian manuscripts reveal different levels of this influence. The origin of the Missal of Salamanca—being currently indexed in the Portuguese Early 66 Music Database—is not known. The absence of the main saints celebrated in Cluny suggests that this missal was written for an institution independent from the Burgundian abbey. However, five alleluias over 212 other occurring in the manuscript seem to have come directly from the orbit of Cluny. Through the study of three fragments from the North-West of the Peninsula, Manuel Pedro Ferreira showed that the Cluniac liturgy could be adapted with some flexibility, integrating local uses in different degrees. The melodic comparisons of these five alleluias taken from different manuscripts will thus enhance the melodic Cluniac character of the Missal of Salamanca. I will also take into consideration other chants from the Mass, more widely spread than the five alleluias but showing melodic specificities from Cluny and its dependencies. These parallels have been revealed in the works of M. P. Ferreira and Diogo Alte da Veiga. On the basis of these studies, I will take into consideration other Iberian and French manuscripts. This study will allow the identification of the musical features of the repertory and also melodic variants. It will also allow furthering our knowledge of the Missal of Salamanca, hoping that the melodic comparisons will give us some clues about its origin.
|Number of pages||2|
|Publication status||Published - 2016|
|Event||ENIM 2016 – VI Encontro de Investigação em Música (org. SPIM) - Universidade de Aveiro, Portugal|
Duration: 3 Nov 2016 → 5 Nov 2016
|Conference||ENIM 2016 – VI Encontro de Investigação em Música (org. SPIM)|
|Period||3/11/16 → 5/11/16|