1 00:00:02,730 --> 00:00:18,470 Like. Ladies and gentlemen, if I could have your attention, please thank you very much indeed. 2 00:00:18,470 --> 00:00:20,780 Ladies and gentlemen, my name is Richard Ovenden, 3 00:00:20,780 --> 00:00:28,580 and I'm fortunate to be both bodies librarian and the chair of the electors to the large readership in bibliography. 4 00:00:28,580 --> 00:00:35,870 And it's under these two auspices that I welcome you warmly to the Bodleian in libraries and to the Western Library 5 00:00:35,870 --> 00:00:47,540 here this evening for the first of the twenty to the twenty twenty two lectures to be given by Professor Susan Rankin. 6 00:00:47,540 --> 00:00:54,890 This first lecture is also being livestreamed, so I have great pleasure in working and welcoming you, 7 00:00:54,890 --> 00:01:00,110 welcoming those of you who are watching either from Switzerland or Swaziland, 8 00:01:00,110 --> 00:01:04,580 wherever it may be, who are going to join us here, 9 00:01:04,580 --> 00:01:10,830 join those of us who are here in the Civic Sparring Lecture Theatre in the Western Library this evening. 10 00:01:10,830 --> 00:01:20,540 And before I forget, please, for those of you here, you are warmly invited to join us for a springtime libation. 11 00:01:20,540 --> 00:01:26,960 Ladies and gentlemen in Brightwell Hall straight after these evenings this evening's lecture. 12 00:01:26,960 --> 00:01:32,900 But sadly, for those of you in Swansea land, you'll have to make your own arrangements. 13 00:01:32,900 --> 00:01:35,780 Please also those of you are here, 14 00:01:35,780 --> 00:01:43,520 make sure you enjoy the wonderful small display of manuscripts that are in the transit just outside of this lecture theatre. 15 00:01:43,520 --> 00:01:52,700 If you didn't manage to see them on your way in, there are some amazing things to quote Howard Carter. 16 00:01:52,700 --> 00:02:02,000 Wonderful things, groups. Oh dear, have I? Yes. Try not to sabotage the lectures before they even begin. 17 00:02:02,000 --> 00:02:10,350 So before we move on to the specifics of this evening's lecture, allow me to explain a little of the background and history to the. 18 00:02:10,350 --> 00:02:17,460 James Pleyel was a lawyer and book collector who lived in Oxford and on his retirement in Abington. 19 00:02:17,460 --> 00:02:22,140 He not only collected books in a serious way, but also studied them very closely, 20 00:02:22,140 --> 00:02:28,470 publishing his research on early booking illustration in Spain, for example, in 1925. 21 00:02:28,470 --> 00:02:34,500 Over 100 of his best mediaeval manuscripts were bequeathed to the body and on his death in 1948, 22 00:02:34,500 --> 00:02:42,390 and the library subsequently purchased another 60 manuscripts and many early printed books from his executors, Tillie Delamere. 23 00:02:42,390 --> 00:02:52,530 Then on the staff of the Bodley and published a scholarly catalogue of the mediaeval manuscripts, then in Bodley in 1971 and published by Ownership. 24 00:02:52,530 --> 00:03:00,750 In addition to this great generosity to the Boppin Library, JP Online also left a bequest to establish a series of lectures in bibliography 25 00:03:00,750 --> 00:03:05,250 to be delivered by invitation by leading scholars working in the field. 26 00:03:05,250 --> 00:03:05,880 To this end, 27 00:03:05,880 --> 00:03:13,470 the university established a board of electors to review the state of scholarship and to invite the leading proponents to hold the readership. 28 00:03:13,470 --> 00:03:21,320 It is this body one that I have changed since 2013 that has invited the current reader to deliver this year's lectures. 29 00:03:21,320 --> 00:03:25,400 The long lectures have more than fulfilled the expectations of their benefactor. 30 00:03:25,400 --> 00:03:31,160 The lectures have made a substantial contribution to the field of bibliography in its broadest interpretation. 31 00:03:31,160 --> 00:03:33,770 A high proportion of the lectures have been published. 32 00:03:33,770 --> 00:03:41,710 How many of these have become heavily cited works of scholarship and not a few are known internationally as groundbreaking works in their field. 33 00:03:41,710 --> 00:03:46,090 The lectures were first delivered in 1952 three by Neil Care. 34 00:03:46,090 --> 00:03:51,660 Read it In bibliography in the University of Oxford and published by UP in 1960. 35 00:03:51,660 --> 00:03:57,640 As English manuscripts in the century after the Norman Conquest Alter Graig in 1954 five 36 00:03:57,640 --> 00:04:03,680 published his as some aspects and problems of London publishing between 50 50 and 60 50. 37 00:04:03,680 --> 00:04:10,900 Fritz and Bowers soon after gave his in 58 nine published his bibliography and textual criticism. 38 00:04:10,900 --> 00:04:16,180 Jonathan Alexander published Mediaeval Humanities and their methods of Work in 1993, 39 00:04:16,180 --> 00:04:27,010 from his 1982 to three Liles Don Mackenzie gave them in 1970 1987 eight as bibliography in history, 17th century England. 40 00:04:27,010 --> 00:04:34,060 They sadly, they've never been published the following year or Elizabeth Eisenstein delivers his his grub street abroad, 41 00:04:34,060 --> 00:04:37,960 aspects of the French Cosmos told Polishing Press From the age of Louis, 42 00:04:37,960 --> 00:04:44,710 the 14th to the French Revolution in 1994 to five original Materne gave them, 43 00:04:44,710 --> 00:04:52,720 as do many screen leave and from a mise en partie a mise en text a text lit references. 44 00:04:52,720 --> 00:05:00,790 Dave McKittrick of 1999 to 2000 were given the set in print the fortunes of an idea circa 450 to eighteen hundred, 45 00:05:00,790 --> 00:05:05,080 published by Cambridge University Press in 2003. 46 00:05:05,080 --> 00:05:16,510 In 2015 16, Tessa Weber gave her Lyle's as public reading and its books, monastic ideals and practise in England, circa 1000 to 3500. 47 00:05:16,510 --> 00:05:25,100 The most recent reader, Paul Needham, delivered his on the printing of the Gutenberg Bible in hybrid form last year. 48 00:05:25,100 --> 00:05:31,280 Already this year, more than lives up to the standards of eminent set by the best of her predecessors, 49 00:05:31,280 --> 00:05:37,620 she's a mediaeval scholar who brings work that has shaped more than one field and is what brings music to the fore in the long 50 00:05:37,620 --> 00:05:47,500 lectures for the first time since Alan Tyson gave them in 1973 to fourth on Beethoven studies in the genesis of his music. 51 00:05:47,500 --> 00:05:57,380 Eight, three to nine the lectures are Please, ladies and gentlemen, we are doubling the number of lectures with a focus on music. 52 00:05:57,380 --> 00:06:01,370 I read it for this year's series of lectures is Professor Susan Rankin, 53 00:06:01,370 --> 00:06:06,290 Professor of mediaeval music at the University of Cambridge and fellow of Emmanuel College. 54 00:06:06,290 --> 00:06:12,890 Her research interests lie in two directions. On the one hand, the manuscript transmission and forms of writing of music in the early Middle 55 00:06:12,890 --> 00:06:18,020 Ages and on the other ritual expressed in music throughout the Middle Ages. 56 00:06:18,020 --> 00:06:22,840 She's author of a large number of learnt publications in the fields that she specialises in. 57 00:06:22,840 --> 00:06:30,260 Carolyn's music, polyphony chant and surgical drama. Early English music more generally and of great interest to our audience. 58 00:06:30,260 --> 00:06:35,090 Today, she's developed enormous given expertise in the study of music manuscripts, 59 00:06:35,090 --> 00:06:41,940 having examined very sources, very closely from St. Garland to, appropriately enough, the Bombay Library. 60 00:06:41,940 --> 00:06:49,830 Her major work, the music of mediaeval liturgical drama in France and England, was published in two volumes in 1989 and in 1993, 61 00:06:49,830 --> 00:06:57,840 she edited with David Haley Music in the mediaeval English Liturgy, Plainsong and Mediaeval Music Society Centennial Essays. 62 00:06:57,840 --> 00:07:04,440 Two highly important facsimiles were published with learnt introductions brim full of Professor Rankin Scholarship. 63 00:07:04,440 --> 00:07:08,490 Those of Bibliotheque son Galland codices four, eight, 64 00:07:08,490 --> 00:07:17,340 four and three eight one published in 1986 and of the Winchester Trooper for the early English Church music series in 2007. 65 00:07:17,340 --> 00:07:20,280 The most recent publication is a monograph on the music, 66 00:07:20,280 --> 00:07:29,850 scripts and notations invented by the Carolinians published his writings sending Carolinian Europe, which Cup brought out into 2018, 67 00:07:29,850 --> 00:07:33,600 and she's recently finished a second Carolyn Gin book, 68 00:07:33,600 --> 00:07:43,530 Sending the Word of God Carolyn Gin Books for Singers based on the Conway lectures delivered at the University of Notre Dame, Indiana in 2017. 69 00:07:43,530 --> 00:07:49,860 A former chair of the Henry Bradshaw society, Professor Rankin, was also a fellow of the Ratcliff Institute at Harvard, 70 00:07:49,860 --> 00:07:58,650 working with Margo Fessler towards a book in which dramatic modes of action in and alongside the mediaeval liturgy will be examined. 71 00:07:58,650 --> 00:08:04,670 Professor Rincon Scholarship has rightly earned her numerous academic accolades. 72 00:08:04,670 --> 00:08:10,340 She was awarded the medal by the World Musical Association in 1995 and was elected a fellow 73 00:08:10,340 --> 00:08:17,210 of the Society of Antiquities in 2006 into a fellowship of the British Academy in 2009. 74 00:08:17,210 --> 00:08:22,460 Other elections include to the Academia Europea as a corresponding follow the Mediaeval 75 00:08:22,460 --> 00:08:28,400 Academy of America and there's a corresponding member of American Musicological Society. 76 00:08:28,400 --> 00:08:35,590 Ladies and gentlemen, I have enormous pleasure in inviting Professor Susan Rankin to deliver the 2021 22 77 00:08:35,590 --> 00:08:41,150 lectures from memory to written record English liturgical books and musical notations. 78 00:08:41,150 --> 00:09:00,830 Nine hundred twelve point fifty. Well, I can say thank you for coming, that's the starting. 79 00:09:00,830 --> 00:09:04,880 Bless O Lord, this bell with a heavenly benediction. 80 00:09:04,880 --> 00:09:14,690 And may the power of the Holy Spirit be present upon it so that when this bell will have been prepared and blessed to invite the sons of the church, 81 00:09:14,690 --> 00:09:20,300 wherever it's ringing will find the strength of the enemies goes far back. 82 00:09:20,300 --> 00:09:28,130 The shadow of phantoms, the attack of a whirlwind, the strike of a thunderbolt, the hurling of thunder, the calamity of tempests. 83 00:09:28,130 --> 00:09:35,570 All breath of storms. And when the Christian sons shall hear it's ringing. 84 00:09:35,570 --> 00:09:45,740 There will spring up in them, an increase of devotion so that hastening to the bosom of Holy Mother Church, they may sing to you in the church, 85 00:09:45,740 --> 00:09:51,230 a new song with the chorus of Saints bringing a commendation of melody in the sound 86 00:09:51,230 --> 00:09:57,080 of the trumpet through the sultry of exaltation through the organ to of sweetness, 87 00:09:57,080 --> 00:10:03,890 through the timpani of joyfulness, through the symbol of delight. 88 00:10:03,890 --> 00:10:13,580 The sons invoked in this ceremony for blessing a bow on many and various those of the natural world which warn of approaching 89 00:10:13,580 --> 00:10:22,520 danger through whirlwind Thunderbolt or tempest are balanced against the sons of music made by humans on the trumpet, 90 00:10:22,520 --> 00:10:27,060 sultry organ, drum and cymbals. 91 00:10:27,060 --> 00:10:37,320 The contrast between these categories immediately recalls the grammarian do not as categories of articulate and inarticulate or confused sense, 92 00:10:37,320 --> 00:10:49,570 especially in the extended form set out by position where rattling and rumbling are the examples given for non-profitable confused signed. 93 00:10:49,570 --> 00:10:55,870 In the prayer, one sound is set apart from these enumerations of what we might simply understand to 94 00:10:55,870 --> 00:11:02,290 be damaging and beneficial signs between the crushing confused suns and the melodic, 95 00:11:02,290 --> 00:11:07,850 articulate suns, the ringing of a bell chases away enemies. 96 00:11:07,850 --> 00:11:15,410 And summons the Christian people to come together to sing the new song of Christian faith. 97 00:11:15,410 --> 00:11:21,780 The bell or signal marks out Christian territory. 98 00:11:21,780 --> 00:11:30,180 On the other hand, Clapper, that strikes the bell, so it may be heard signifies the mouths of the preachers of the New Testament, 99 00:11:30,180 --> 00:11:34,470 which outlast the trumpets of the Old Testament and resigned more deeply. 100 00:11:34,470 --> 00:11:40,290 And of course, this passages from a sleeper of the U.S.A., but you can see it here translated what? 101 00:11:40,290 --> 00:11:50,860 He can't see it, but you can almost see it translated into English in the manuscript copies at Canterbury in the second quarter of the 11th century. 102 00:11:50,860 --> 00:11:59,470 The resonant peel of the bell is called on to put enemies to flight, as it is expressed in the second prayer in the blessing ceremony, 103 00:11:59,470 --> 00:12:06,680 so that hearing this bell, they may tremble and flee before the standard of the Holy Cross. 104 00:12:06,680 --> 00:12:11,630 The power of sound has had been well-documented in the Bible. 105 00:12:11,630 --> 00:12:18,560 The fall of the walls of Jericho won seven trumpets have been blowing around the city for six days. 106 00:12:18,560 --> 00:12:26,040 The long reach of two silver trumpets, which God commanded Moses to make their son, bringing together the princes of Israel. 107 00:12:26,040 --> 00:12:31,200 Other transformative events include the breaking of The Cedars of Lebanon and the Division 108 00:12:31,200 --> 00:12:38,070 of the Flames of Fire by the Voice of the Lord in some 28 references to all of this. 109 00:12:38,070 --> 00:12:49,820 We're woven into the bell blessing ceremony. The second prayer description, Roisin asks that this bill prepared for the High Holy Church, 110 00:12:49,820 --> 00:12:59,590 may be sanctified by the Holy Spirit so that through its touch or sound, the faithful may be invited to their reward. 111 00:12:59,590 --> 00:13:05,560 And that all snares of the enemy, the crush of hailstones and hurricanes, 112 00:13:05,560 --> 00:13:10,720 the violence of tempest speed driven far away the deadly thunder be weakened. 113 00:13:10,720 --> 00:13:15,130 The blasts and winds be kept in check beneficially and moderately. 114 00:13:15,130 --> 00:13:27,950 All of this by the peel of the bow. This prayer is immediately succeeded by the anti-fan Vox Domini, drawn from some 28. 115 00:13:27,950 --> 00:13:35,940 This invocation of the voice of the Lord thundering upon the waters and all that follows as the Sam is sung. 116 00:13:35,940 --> 00:13:41,820 To its end offers a response to the petitions of Despair Moisten, 117 00:13:41,820 --> 00:13:53,610 confirming that the ritual of sanctifying the bells is taking effect and that the sound of this bell will have Christian power. 118 00:13:53,610 --> 00:13:58,050 I have already alluded to two aspects of the power of the son of a bell. 119 00:13:58,050 --> 00:14:04,230 The chasing away of enemies and keeping natural disasters at bay are prominent in all of the full press, 120 00:14:04,230 --> 00:14:14,650 which provide the main structure of this ceremony. Another repeated theme is the warming of hearts and encouragement of piety. 121 00:14:14,650 --> 00:14:18,380 As it is expressed in the second prayer and when it's melody, 122 00:14:18,380 --> 00:14:26,470 shall Sunde in the ears of the people's may, the devotion of their faith increase in them? 123 00:14:26,470 --> 00:14:34,780 Yet another theme will take us a step closer to the musical material around which these lectures will turn for 124 00:14:34,780 --> 00:14:43,130 it speaks of the ability of sound made on Earth to reach up into heaven and to provoke a heavenly response. 125 00:14:43,130 --> 00:14:47,960 So in like manner, when the sound of this vessel passes through the clouds, 126 00:14:47,960 --> 00:14:58,200 may the angelic throng preserve the assembly of the church, may everlasting protection save the bodies and souls of believers. 127 00:14:58,200 --> 00:15:02,040 In this fourth and last prayer in the Bell Blessing ceremony, 128 00:15:02,040 --> 00:15:08,280 the aspiration that the son made by the Bell should be able to pass through the clouds to heaven is 129 00:15:08,280 --> 00:15:15,450 immediately followed by the most poetic wish of all and delighted in this way with David's heart. 130 00:15:15,450 --> 00:15:19,340 May the Holy Spirit come down from on high. 131 00:15:19,340 --> 00:15:30,730 Articulated sons made on Earth, of which the primary category was music, signed in music sung in church had the power to reach into heaven. 132 00:15:30,730 --> 00:15:43,090 The more well-made and beautiful those sons, the more likely it became that they would reach God's ears and bring forth his aid. 133 00:15:43,090 --> 00:15:48,990 The ceremony for Bell Blessing recorded in English books is distinctly sui generis. 134 00:15:48,990 --> 00:15:58,320 Although closely modelled on a garlic ceremony, which you can see here preserved in the late 18th century, your children. 135 00:15:58,320 --> 00:16:07,930 The English version includes a number of changes and extensions to the four prayers from which it is structured. 136 00:16:07,930 --> 00:16:13,360 So the alteration of the opening prayer from Benedict Domini Hank at Kwame Benediction, 137 00:16:13,360 --> 00:16:19,150 I'm asking for the water that will wash the belly to be blessed to Benedict Domini Hank Hook 138 00:16:19,150 --> 00:16:27,860 signal asking immediately for the bell itself to be blessed is just one of several such changes. 139 00:16:27,860 --> 00:16:34,310 But it's in the treatment of some passages that the Anglo-Saxon version of the ceremony is most distinctive. 140 00:16:34,310 --> 00:16:43,580 And it's clear that someone in late 10th century Anglo-Saxon England was extremely concerned about this, as set out in Julian the Sun. 141 00:16:43,580 --> 00:16:50,770 Passages consisted of the singing of Psalms 145 to 150 after the first prayer during the washing of the bill. 142 00:16:50,770 --> 00:17:00,210 Then after the second prayer and before the bell was touched with the Christmas wail, some 28 were sung beginning from the verse box Domini. 143 00:17:00,210 --> 00:17:11,340 After the third prayer, while the bell was being sensed with time and mirth, some 76 beginning from the verse Davis and sang to the tune of was sung. 144 00:17:11,340 --> 00:17:18,160 An unidentified English cantor modified and extended all of this. 145 00:17:18,160 --> 00:17:25,510 Surviving continental books of the early mediaeval period do not preserve chant melodies for the two some passages Vox, 146 00:17:25,510 --> 00:17:31,810 Domini and Days in St Tuvia 2a in later books when I've been able to trace melodic settings. 147 00:17:31,810 --> 00:17:39,520 These may simply write out a standard recitation or some tone, which explains why there isn't any music in earlier books. 148 00:17:39,520 --> 00:17:48,370 In contrast, the pre and post conquest English books preserve individual amenities for both some texts, 149 00:17:48,370 --> 00:17:56,290 treating them as antigens and as frames for the some verses that follow and which are then sung to a recitation team. 150 00:17:56,290 --> 00:17:58,510 So here in a book notated at Worcester, 151 00:17:58,510 --> 00:18:05,860 you can see the contrast between the more elaborate and often melodies and the very simple recitation tones for songs. 152 00:18:05,860 --> 00:18:16,220 So that's the kind of. Interesting, Melody, for us, that's just a recitation thing and the same gun here, that's a simple recitation, too. 153 00:18:16,220 --> 00:18:26,770 And that's an interesting melody. In the book. 154 00:18:26,770 --> 00:18:31,120 In a book probably notated 100 years before that rooster pontifical, 155 00:18:31,120 --> 00:18:36,910 the process of alteration from what was available in an exemplar is abundantly clear. 156 00:18:36,910 --> 00:18:43,810 The tech scribe copied the rubric at the cut versus then the first half of the verse. 157 00:18:43,810 --> 00:18:48,560 Davison sank to the site. Tuvia up today as nostre. 158 00:18:48,560 --> 00:18:54,410 So there is no stir and then use incidents on me. 159 00:18:54,410 --> 00:19:03,170 So that was the text growth. When a musical scribe came to add notation, he first added a in the margin. 160 00:19:03,170 --> 00:19:07,360 So I guess my hand will shake much too much for that. And that's I'm Tiffany. 161 00:19:07,360 --> 00:19:14,530 It's four days since thanks to Villa and then the rest of the Sun verse is in the margin here, 162 00:19:14,530 --> 00:19:21,280 allowing him to notate the whole of the summer, the anti-porn melody as now sung in Anglo-Saxon England. 163 00:19:21,280 --> 00:19:26,980 And we are not going to have one good to hear this so that my friend and colleague Jesse Billet, 164 00:19:26,980 --> 00:19:32,860 who came over to give a lecture for a venerable society, has come to sing. 165 00:19:32,860 --> 00:19:38,200 So first of all, we just hear the simple vox domini as sung on the continent. 166 00:19:38,200 --> 00:19:47,760 So this is a simple, sung recitation. Boxed in is so bad, I was there was my. 167 00:19:47,760 --> 00:20:02,090 Do you see any time? Tony, you know, so that was more walks done in interview two them. 168 00:20:02,090 --> 00:20:06,290 Looks daunting in Amman, if it's A. 169 00:20:06,290 --> 00:20:15,810 Oh, good. No, we'll get the Anglo-Saxon way of doing it. 170 00:20:15,810 --> 00:20:22,440 I mean, it's all dark. 171 00:20:22,440 --> 00:20:36,320 There was some I. Mr Jones, you're not on. 172 00:20:36,320 --> 00:20:43,250 Domino's, So. 173 00:20:43,250 --> 00:20:49,310 Quite some time. 174 00:20:49,310 --> 00:21:08,060 All of the energy. Looks stunning in a million years, it turns he walks Dominique on offerings and gives charm them all. 175 00:21:08,060 --> 00:21:15,580 It's called a fringe at the dawning of the North and the bomb. 176 00:21:15,580 --> 00:21:30,850 What I mean is it should seem to the end, but I just thank you, Jesse. 177 00:21:30,850 --> 00:21:38,970 We'll hear more of Jesse. Whether this musical contrast is a simple accident, 178 00:21:38,970 --> 00:21:43,830 the result of the Bell blessing ceremony having been received in England as text 179 00:21:43,830 --> 00:21:50,190 only or a deliberate enhancement of the musical content of a received version, 180 00:21:50,190 --> 00:22:00,690 I do not know. One argument for deliberately enhancement is the presence in English books of another new and often in chief taught Domini. 181 00:22:00,690 --> 00:22:06,470 This was sung to frame the songs between the first and second prayers. 182 00:22:06,470 --> 00:22:13,850 Here you can see where the musical notation of the Dunstan Pontifical agent in chief started in the margin. 183 00:22:13,850 --> 00:22:22,060 Once again, the melodic rendering of this text has been remade. 184 00:22:22,060 --> 00:22:26,590 For the English musician responsible for the modification of the blessing ceremony, 185 00:22:26,590 --> 00:22:36,340 he took an ant often usually sung on the Feast of All Saints as a starting point for a more elaborate melody for the same text. 186 00:22:36,340 --> 00:22:43,900 This more intense musical delivery of a text, which describes the singing of angels and archangels in heaven, 187 00:22:43,900 --> 00:22:47,920 is just one of many witnesses to engagement with musical expression. 188 00:22:47,920 --> 00:22:51,100 In late 10th century Anglo-Saxon England, 189 00:22:51,100 --> 00:23:00,730 and it underlines the extent to which music was considered a critical element in Christian worship deserving of art and skill. 190 00:23:00,730 --> 00:23:13,070 And they we're going to hear an should be titled nominee. He and see. 191 00:23:13,070 --> 00:23:19,660 And I mean, can. 192 00:23:19,660 --> 00:23:35,950 Hello, and to your G8. Or very I know some. 193 00:23:35,950 --> 00:23:46,380 You've seen. It's about this. 194 00:23:46,380 --> 00:23:57,570 What? I saw this symbol. 195 00:23:57,570 --> 00:24:07,670 Curry editor in. 196 00:24:07,670 --> 00:24:18,370 You, me and am at. 197 00:24:18,370 --> 00:24:28,910 You know that I can't. 198 00:24:28,910 --> 00:24:45,790 And on head made. Uh, oh. 199 00:24:45,790 --> 00:24:52,360 Only the slightest clue to change liturgical revision aimed at making ritual more 200 00:24:52,360 --> 00:24:57,940 effective is especially evident in English books of the 10th and 11th centuries, 201 00:24:57,940 --> 00:25:07,630 containing occasional rituals for the dedication of a church, for the ordination of a bishop, for remembering the dead, for blessing a bell. 202 00:25:07,630 --> 00:25:13,270 After the reworking of a continental model of this Bell ceremony in the late 10th century, 203 00:25:13,270 --> 00:25:18,730 another set of modifications appears in books made in the second half of the 11th century, 204 00:25:18,730 --> 00:25:27,540 now resulting from the impact of another wave of continental influence encompassed in the so called Romano German Pontifical. 205 00:25:27,540 --> 00:25:34,320 Music, a musical expression was often a central aspect of such revisions from a musical point of view. 206 00:25:34,320 --> 00:25:45,150 However, revision of an altogether more foundational level is writ large in music books of the later 11th and early 12th centuries. 207 00:25:45,150 --> 00:25:51,300 Older ways of seeing much cultivated in Anglo-Saxon England were set aside, 208 00:25:51,300 --> 00:25:58,200 while others more favoured by incoming continental churchmen were extensively promoted. 209 00:25:58,200 --> 00:26:06,540 All of that sits alongside the continuing composition of new liturgical matter above all offices for Saints feasts. 210 00:26:06,540 --> 00:26:11,280 These are themes which would reappear many times in these lectures. 211 00:26:11,280 --> 00:26:23,120 But it's to another kind of musical evidence provided by the Bell blessing ceremonies that I want to direct our attention before leaving them behind. 212 00:26:23,120 --> 00:26:32,690 Manuscript records of the ceremony that have musical notations stretched right across the period between the late 10th and the 12th centuries. 213 00:26:32,690 --> 00:26:38,750 These are two of the earliest records, both dating from the late 10th or 11th century. 214 00:26:38,750 --> 00:26:49,360 The notation added to the Dunstan Pontifical is in a music script, which is quite different from that in the London That Pontifical below. 215 00:26:49,360 --> 00:26:54,430 This kind of script at the top is known to musicologists as Britain, 216 00:26:54,430 --> 00:27:01,090 but I ask you not to imagine that this means it was created in or came from Britain. 217 00:27:01,090 --> 00:27:07,890 This script must have been written right across northern France during the 9th century and perhaps well into the 10th. 218 00:27:07,890 --> 00:27:15,510 The notation in the luncheonette book is written in the English rendering of another continental script, the Frankish. 219 00:27:15,510 --> 00:27:20,640 Its introduction into England is likely to predate the late 10th century, 220 00:27:20,640 --> 00:27:33,600 but one very secure anchor for tracing its cultivation in England is to follow the assembled itinerary of Corby, Upington and Winchester. 221 00:27:33,600 --> 00:27:42,550 The Anderson Pontifical was made in the first quarter of the 11th century, and the musical notation may not post date the text by many years. 222 00:27:42,550 --> 00:27:50,260 Like the London IT book, this notation is written in the English music script with long up and down strokes perpendicular 223 00:27:50,260 --> 00:27:59,310 to the horizontal writing line and rounded rather than hooked tones over the top. 224 00:27:59,310 --> 00:28:06,040 The notation written in late 11th century Worcester again uses the English script. 225 00:28:06,040 --> 00:28:16,040 Well, notation in the Caussin gradually made at Canterbury in the late 80s or early 90s looks rather different. 226 00:28:16,040 --> 00:28:21,350 What had previously been written as a long vertical stroke has here ahead. 227 00:28:21,350 --> 00:28:27,360 Well, the simple point is written in a more substantial way. This. 228 00:28:27,360 --> 00:28:34,320 And there's another new feature, the musical notes are moved up and done within the vertical space between text lines. 229 00:28:34,320 --> 00:28:39,130 That is to a much greater extent than in the earlier notations. 230 00:28:39,130 --> 00:28:48,310 A pontifical of unknown origin made in the second quarter of the 12th century and now in modern college, also has names with pronounced heads. 231 00:28:48,310 --> 00:28:57,110 Much use of the reticle space and in some cases, letters which enable the individual pictures. 232 00:28:57,110 --> 00:29:05,510 And finally, in another pontifical made in the second quarter of the 12th century, we see a new kind of support structure for musical notation. 233 00:29:05,510 --> 00:29:10,760 Lines drawn across the page and cliffs labelling them. 234 00:29:10,760 --> 00:29:15,650 The signs written onto those lines are still recognisably news. 235 00:29:15,650 --> 00:29:24,300 It would be another 100 years before such signs settled into the square forms so familiar from late mediaeval books. 236 00:29:24,300 --> 00:29:31,680 So this is the range of musical notations that will occupy my explorations of English musical manuscripts, 237 00:29:31,680 --> 00:29:37,800 musical scripts and notations in these lectures from Newton's written without much movement up and down 238 00:29:37,800 --> 00:29:51,850 the page and without precise interval signification tunes written on lines indicating precise intervals. 239 00:29:51,850 --> 00:29:59,800 My model when beginning to prepare these lectures was unquestionably New Care's magnificent English manuscripts in 240 00:29:59,800 --> 00:30:08,480 the century after the Norman Conquest published in 1960 following his delivery of the first line lectures in 1952. 241 00:30:08,480 --> 00:30:14,390 The objective this set me to be able to characterise the impact of the Norman Conquest 242 00:30:14,390 --> 00:30:21,170 on musical practise in England was an attractive challenge for a Palio graphical study. 243 00:30:21,170 --> 00:30:27,590 As it currently stands, knowledge of musical manuscripts made in England after the conquest allows is little more than 244 00:30:27,590 --> 00:30:34,070 broad characterisation without insights into the musical practise of different institutions, 245 00:30:34,070 --> 00:30:42,100 let alone changes made to those practises. At this early point before the pandemic. 246 00:30:42,100 --> 00:30:49,580 Tessa Webber suggested. That I tried to organise the all that I tried to organise the musical evidence building on 247 00:30:49,580 --> 00:30:54,140 the work of True Hartzell in his catalogue of manuscripts written or owned in England, 248 00:30:54,140 --> 00:30:57,680 up to 12 hundred containing music. 249 00:30:57,680 --> 00:31:09,260 From the invaluable starting point of hot sauce entries for 364 manuscript sources, I needed to accumulate evidence for a variety of topics. 250 00:31:09,260 --> 00:31:15,380 The localisation of different ways of writing music in England in the early mediaeval period. 251 00:31:15,380 --> 00:31:22,820 Understanding why and how music writing was fundamentally altered at different points and 252 00:31:22,820 --> 00:31:28,200 differences between the histories of tech scripts and music scripts written in England. 253 00:31:28,200 --> 00:31:36,510 Inevitably, even though I had begun with that specific interest in Norman's in many circuits made after the Norman Conquest, 254 00:31:36,510 --> 00:31:41,130 I was forced backwards in order to persist status or change. 255 00:31:41,130 --> 00:31:51,010 It was necessary to know what had gone before and thus the impact of the Normans became the end of a story with an rather earlier starting point. 256 00:31:51,010 --> 00:31:58,020 The end of the 9th century itself imposed by a manuscript now held in this library and book, which I'll talk more today, 257 00:31:58,020 --> 00:32:04,550 and that manuscript and its not to pass is outside the room tonight, and I hope you have a good look at it. 258 00:32:04,550 --> 00:32:13,240 In these lectures, I hope to bring at least the shapes of answers to some of these questions into more distinct focus. 259 00:32:13,240 --> 00:32:19,600 While much remains obscure, it has been possible to trace particular ways of writing in the books of some 260 00:32:19,600 --> 00:32:25,450 individual institutions to isolate the work of a certain number of specific scribes. 261 00:32:25,450 --> 00:32:30,640 That's often the most interesting thing that happens to watch and analyse those ways in 262 00:32:30,640 --> 00:32:35,680 which musical notations written in England were altered in earlier and later periods. 263 00:32:35,680 --> 00:32:46,040 And to discover where and when exchange with continental practises provided a stimulus for crucial innovations. 264 00:32:46,040 --> 00:32:51,690 In other words. So it's taking forever to change. 265 00:32:51,690 --> 00:32:58,580 In other words, a good deal of the organisational map requested by Tesla, Weber can be presented. 266 00:32:58,580 --> 00:33:05,540 Even if I will never be able to explain exactly where and when entries like these were made 267 00:33:05,540 --> 00:33:11,150 in the oldest extant copy of the Benedictine rule copied in England in the early 8th century, 268 00:33:11,150 --> 00:33:13,670 and this is also outside this room tonight. 269 00:33:13,670 --> 00:33:24,020 It's very exciting because it's such a special manuscript in my lectures, rather than simply documenting an institutional night of musical scripts. 270 00:33:24,020 --> 00:33:28,100 I shall move around the musical questions and evidence in a variety of ways. 271 00:33:28,100 --> 00:33:36,810 So the aspects of liturgy and institutional history well beyond the musical are also illuminated, but not before moving back to manuscripts. 272 00:33:36,810 --> 00:33:39,750 I want to thank a number of people. 273 00:33:39,750 --> 00:33:47,670 I'm grateful to the librarian of the and library, Richard Holden, who issued what was both an exciting visit and at the same time, 274 00:33:47,670 --> 00:33:54,820 terrifying in fiction, without which I would probably not have been tempted down this road. 275 00:33:54,820 --> 00:34:02,260 Also, my very warm thanks to the many helpful people working in the Western Library who supported my frequent visits and requests, 276 00:34:02,260 --> 00:34:11,310 particularly Martin Kaufmann and also Andrew Dunning, Oliver House, Nicola O'Toole and Sun sales. 277 00:34:11,310 --> 00:34:19,860 Many other librarians in England and France have also provided crucial help during the period when it was largely impossible to visit libraries. 278 00:34:19,860 --> 00:34:26,430 I especially thank Clare Bray at the British Library and Charlotte de Noel at the Bibliotheque Nacional de France. 279 00:34:26,430 --> 00:34:30,870 And then there are the individuals whose patients I have often tried. 280 00:34:30,870 --> 00:34:37,770 Nicholas Bell at Trinity's friend library. My husband, David guns. 281 00:34:37,770 --> 00:34:48,680 Helen Gittoes. Well, baby, a college. David Highly, Michael LePage, Andy Orchard, Joe Story and Tesla Weber. 282 00:34:48,680 --> 00:34:52,250 The most profound expression of thanks goes to one person. 283 00:34:52,250 --> 00:34:58,600 Unfortunately, not here today, without whom my studies would simply not have advanced very far. 284 00:34:58,600 --> 00:35:02,290 Michael got its knowledge of English, English scripts and manuscripts, 285 00:35:02,290 --> 00:35:08,920 as well as enthusiasm for talking about them, has constantly and profoundly informed this work. 286 00:35:08,920 --> 00:35:14,200 Well, I must take responsibility for errors of interpretation and reading as my own. 287 00:35:14,200 --> 00:35:29,860 Many new insights depend as much on his expertise as online, and he has promised to be at the last election and he's in Sweden at the moment. 288 00:35:29,860 --> 00:35:37,900 It's just very slow. The core of this small but stout codecs, widely known as the leader for each missile, 289 00:35:37,900 --> 00:35:43,600 is a book made for a bishop or archbishop at the end of the ninth century. 290 00:35:43,600 --> 00:35:48,880 Through the work of Nicholas Orchard, that core is now firmly associated with Canterbury. 291 00:35:48,880 --> 00:35:55,920 The book probably made for Segment Archbishop between eight and nine 23. 292 00:35:55,920 --> 00:36:03,090 The original book has substantial supplements made at Canterbury between Plaquemine's Death and the end of the 10th 293 00:36:03,090 --> 00:36:10,410 century and then at Exeter under the supervision of Bishop leverage in the third quarter of the 11th century. 294 00:36:10,410 --> 00:36:15,780 As you can see in the exhibition cases, the book has now been burned into two separate parts. 295 00:36:15,780 --> 00:36:24,780 And this actually makes it much easier to consult the main tech scribe of the early core wrote Continental minuscule script. 296 00:36:24,780 --> 00:36:30,600 However, following a study published by Christopher Höller in 1975, 297 00:36:30,600 --> 00:36:40,050 the direction of all recent scholarship on the book has been to argue that it was actually made in England on the Bodleian website. 298 00:36:40,050 --> 00:36:52,010 The book is judiciously described as probably made in England by continentally trained scribes for use at Canterbury. 299 00:36:52,010 --> 00:37:02,020 The chant content of the original book is substantial. With the injured, it's a proper chance provided for every set of mass prayers. 300 00:37:02,020 --> 00:37:10,270 Both Alain Drage and Nicholas Orchard have asserted that the main tech scribe was also responsible for writing over jump lists, 301 00:37:10,270 --> 00:37:17,620 and we can therefore consider these marginal supplements as contemporary. 302 00:37:17,620 --> 00:37:27,460 This way of combining prayers and chants is one way in which Carolyn Gin bookmakers had begun to redesign books made for priests. 303 00:37:27,460 --> 00:37:36,340 Here you see a sacrament she made at Santa Monica in the 1870s. As in both 579, the chant cues are original. 304 00:37:36,340 --> 00:37:42,290 Here they are, written on specially ruled grids. You can yes, you can see the lines. 305 00:37:42,290 --> 00:37:51,690 Yeah. And with the same colours for capitals as in the main text. 306 00:37:51,690 --> 00:37:56,700 Change and these are matching sets of chance in the two books, 307 00:37:56,700 --> 00:38:03,900 that juxtaposition underlines one crucial difference between the Continental Book and the Canterbury book, 308 00:38:03,900 --> 00:38:08,190 for this latter has extensive musical notations for the Championship. 309 00:38:08,190 --> 00:38:16,960 It's. These notations also belong to the first campaign of making a mass book for Canterbury. 310 00:38:16,960 --> 00:38:24,730 In other words, we have in this book extensive examples of musical notations written in England, possibly before nine hundred. 311 00:38:24,730 --> 00:38:36,520 Certainly by the 1920s at the latest. Since the Lia Fritch missile provides the earliest examples of musical notation written in England, 312 00:38:36,520 --> 00:38:41,680 the ways in which notation is used warrant careful consideration. 313 00:38:41,680 --> 00:38:45,310 Many of the Championship hits do not have musical notation. 314 00:38:45,310 --> 00:38:57,630 Yet it's sometimes omnipresent as here for all of the proper chance, and it must on the first Sunday in Lent. 315 00:38:57,630 --> 00:39:07,590 Or notation may be added for just one individual chant in a list, as here for the gradual sell from Fact Sung on the following Friday. 316 00:39:07,590 --> 00:39:16,230 That variability is one reason for my not having taken this notation seriously when I first worked with the book in the 1980s. 317 00:39:16,230 --> 00:39:23,820 Sue Hartzell was also puzzled and described these notations as having been added on impulse. 318 00:39:23,820 --> 00:39:30,730 Yet what might at first seem impulsive and inconsistent can be demonstrated to be quite the opposite. 319 00:39:30,730 --> 00:39:34,410 Ordered, well-thought-through and systematic, 320 00:39:34,410 --> 00:39:44,970 the implications of this assertion are so significant that they justify my taking a little time to explain. 321 00:39:44,970 --> 00:39:48,270 Confronted by interprets. 322 00:39:48,270 --> 00:39:58,140 Rather than full context, I used to read, the book might have experienced confusion between texts which began in similar ways and had similar content. 323 00:39:58,140 --> 00:40:05,540 Commonly, the notating scribe used notation to clarify which specific chant was intended. 324 00:40:05,540 --> 00:40:15,440 Here you see three in choice, which begins Sakar duties, one continued deep and a digital dominant one continued to use in the salutary. 325 00:40:15,440 --> 00:40:25,280 And the third continued to dominate in demand. You see, on all three entrants were commonly used for feasts of martyrs or confessors. 326 00:40:25,280 --> 00:40:28,490 There was a high possibility of confusion. 327 00:40:28,490 --> 00:40:35,660 These three chants appear in six places in Bodley, five, seven, nine, and on every occasion they have notation. 328 00:40:35,660 --> 00:40:40,520 As you can see the text Grobe has always supplied more than one word more than the first word, 329 00:40:40,520 --> 00:40:46,640 but the value of the musical notation in these cases was to enhance recall. 330 00:40:46,640 --> 00:40:56,250 By reminding the reader of amenity, a path to the right front are stored in the memory could be more readily fund. 331 00:40:56,250 --> 00:41:07,930 There are many examples of this kind. Here on one page of the injured bits for Ego Family, I'm exhausted me and further down the page. 332 00:41:07,930 --> 00:41:19,410 Eagleton, Indominus Burada. A more substantial example of possible confusion between channels was posed by two comedians, 333 00:41:19,410 --> 00:41:25,700 which both Begin and DeKoe Vorbis and A to the same opening melody. 334 00:41:25,700 --> 00:41:31,820 On the first occasion, the notating scribe thought it's sufficient to notate only the opening phrase, 335 00:41:31,820 --> 00:41:41,210 but on the second occasion, he took her to continue well beyond the point at which the two melodies diverge. 336 00:41:41,210 --> 00:41:50,870 That way of directing the process of recall, using musical notation as a tool also proved effective when two charts with close but 337 00:41:50,870 --> 00:41:57,980 not identical texts were sung to different melodies on different feasts in later books, 338 00:41:57,980 --> 00:42:02,580 these two offer trees which begin offering to. 339 00:42:02,580 --> 00:42:05,970 We're commonly labelled minor and Mayo, 340 00:42:05,970 --> 00:42:14,040 but here the music grades simply used notation to differentiate between the two versions, always notating them. 341 00:42:14,040 --> 00:42:21,580 There's no unmotivated offer enter in the book. So Mario turns up four times and Mino twice. 342 00:42:21,580 --> 00:42:30,400 All of this establishes a firm foundation for my claim that these notations have been made in a thoroughly systematic fashion. 343 00:42:30,400 --> 00:42:35,740 I could go on for another 15 minutes and you get very bored, but it can be proven over and over. 344 00:42:35,740 --> 00:42:46,510 And I think we can go further than that. Some might explain these notations as a necessary support for elementary knowledge of Gregorian chant. 345 00:42:46,510 --> 00:42:54,730 But I want to argue quite the opposite that they represent a skilled and extensive understanding of the chant repertory. 346 00:42:54,730 --> 00:43:05,650 Even if an eventual user of the book might not be so skilled. In support of this hypothesis, I offer one last example. 347 00:43:05,650 --> 00:43:13,090 This slide shows a series of three rules, which in their opening phrases, have closely similar melodies. 348 00:43:13,090 --> 00:43:23,180 They all belong to a particular family of melodies classified in mood three and share a series of phrases. 349 00:43:23,180 --> 00:43:31,460 Excel table May and Bernard, each the dominant or melodically identical at their beginnings. 350 00:43:31,460 --> 00:43:40,400 Whereas after the first two syllables, a rip may follows a different pattern on Folio 98 versus the notato, 351 00:43:40,400 --> 00:43:45,200 wrote out the error pay melody to the end of this first word. 352 00:43:45,200 --> 00:43:56,330 When he came across exalt Tabu three pages later, he was careful to write out the melody beyond the point of divergence between this and erythema. 353 00:43:56,330 --> 00:44:02,150 It's very clear that this new teacher had an extensive knowledge of the chant repertory 354 00:44:02,150 --> 00:44:08,090 and was conscious of pretentious potential pitfalls and moments of confusion, 355 00:44:08,090 --> 00:44:18,920 as well as of different melodic traditions. And he had well understood the potential of music writing as an extensive resource for stimulating recall. 356 00:44:18,920 --> 00:44:29,090 I know of only one other contemporary example of notation added to a list of championship hits in order to clarify the identity of individual chance. 357 00:44:29,090 --> 00:44:39,580 This is in another sentiment Sacramento made in the 1870s and here the total number of such notation insertions is just three. 358 00:44:39,580 --> 00:44:45,070 For a trained musician, this was an obvious way in which to use musical notation. 359 00:44:45,070 --> 00:44:54,280 Yet if that musician had access to a fully notated cent book, very likely of sentiment, a gradual for the mass or an on tiffin or for the office. 360 00:44:54,280 --> 00:45:07,060 Such clarifications would not have been necessary. And that allows me to hypothesise that when both three, five, seven nine was made at Canterbury, 361 00:45:07,060 --> 00:45:12,310 it is possible that there was no other notated must book of the kind that had 362 00:45:12,310 --> 00:45:17,290 begun to appear on the continent in the last quarter of the ninth century. 363 00:45:17,290 --> 00:45:31,040 That is in late 19th century. Early 10th century Canterbury Bodley five seven nine may have been intended to stand in place of a notated, gradual. 364 00:45:31,040 --> 00:45:36,380 There are no other examples of Anglo-Saxon musical notation of a comparable date. 365 00:45:36,380 --> 00:45:40,880 It's therefore difficult to test my proposition that at the time it was made, 366 00:45:40,880 --> 00:45:47,190 the missile was intended as the main written record of musical practise for the mass Christchurch. 367 00:45:47,190 --> 00:45:56,020 Yes, it is that very isolation that lends considerable significance to another musical aspect of bodily five, seven nine. 368 00:45:56,020 --> 00:46:01,610 This is the variety of notations written into it in different periods. 369 00:46:01,610 --> 00:46:05,870 And it's with these that I shall conclude today's lecture. 370 00:46:05,870 --> 00:46:15,950 Others scattered evidence of notations written in England can be dated to the last two years of the 10th and early years of the 11th century. 371 00:46:15,950 --> 00:46:26,210 But for the beginning and middle of the 10th century, there's no other extant or at least roughly datable extant record. 372 00:46:26,210 --> 00:46:32,630 With this image of news written into a book copied in the 88 century, again, you can see it outside the room. 373 00:46:32,630 --> 00:46:41,090 This is the fourth one is filled with this image. This is a book which later belonged to St Augustine's, but we have no idea who it is written. 374 00:46:41,090 --> 00:46:47,240 I underline again the difficulty of dating musical notations when there's no associated text script. 375 00:46:47,240 --> 00:46:56,720 This and the notations in the hat and Benedictine rule, as well as another bodily an example in a coffee. 376 00:46:56,720 --> 00:47:07,140 Made it two of beads commentary, and look, these may well date from the 10th century or even earlier, but it's difficult to say more. 377 00:47:07,140 --> 00:47:13,740 In contrast, both three five, seven nine offers abundant evidence of ongoing musical work, 378 00:47:13,740 --> 00:47:18,210 including after the first layer of notations made Chicco 900, 379 00:47:18,210 --> 00:47:29,870 a series of passages written, annotated or simply annotated in the mid and late 10th century. 380 00:47:29,870 --> 00:47:36,050 The notations in the first layer are written in the so-called brittle script, which you can see here, 381 00:47:36,050 --> 00:47:44,250 and compared with the same passage in the gradual made somewhere in western France in the early 10th century. 382 00:47:44,250 --> 00:47:52,010 This is a simple and unremarkable script written entirely without nuance in reference to delivery. 383 00:47:52,010 --> 00:47:59,540 But nevertheless, well, able to achieve the differentiation of specific maladies from each other through the writing age of science, 384 00:47:59,540 --> 00:48:09,990 which designate pitch patterns. Amongst the entries dated by Nicholas Orchard to the second quarter and mid-20th century, 385 00:48:09,990 --> 00:48:15,120 there is one which consists of proper chance for a mass for the blessed Virgin Mary. 386 00:48:15,120 --> 00:48:20,750 And here again, I think the musical notation is contemporary with the text hand. 387 00:48:20,750 --> 00:48:28,610 This musical script is of a different kind one, which in the 11th century became the main music script in England, 388 00:48:28,610 --> 00:48:34,550 and it represents a distinctive adaptation of the very widespread Frankish script. 389 00:48:34,550 --> 00:48:38,820 Here it's being written competently, even if with little elegance. 390 00:48:38,820 --> 00:48:49,320 They enjoy it, so they sank to pardons based on a text from Sir Julius Koman Pascale, he has previously been considered an 11th century composition. 391 00:48:49,320 --> 00:48:56,440 But here it is the first extant appearance well before the year one thousand. 392 00:48:56,440 --> 00:49:04,210 And then opposite the beginning of the canon of the mass in the book very much the beginning of the original book, 393 00:49:04,210 --> 00:49:08,320 someone wrote out the preface very dignified with full notation. 394 00:49:08,320 --> 00:49:16,980 Orchard includes this amongst entries made in the late 10th century, and that proposal is well supported by the music notation. 395 00:49:16,980 --> 00:49:19,980 The script written here is, again, Breton, 396 00:49:19,980 --> 00:49:27,210 but it's much more regulated and artificial than what had been written up to a century previously in the same book. 397 00:49:27,210 --> 00:49:35,060 I'll come back to this plus-sized a bit on script, as written at Canterbury in the third lecture. 398 00:49:35,060 --> 00:49:42,380 In summary, in the musical entries made in this book up to Chicco 1000, we see a variety of musical scripts, 399 00:49:42,380 --> 00:49:52,630 a simple Breton script and more deliberately fashioned Breton script, and chronologically between these are Frankish English script. 400 00:49:52,630 --> 00:49:57,850 I think we have to read that variety as the outcome of numerous exchanges with continental Europe, 401 00:49:57,850 --> 00:50:07,000 perhaps spurred initially by King Alfred's direction to search for wisdom by getting wise men from abroad, if we shall have them. 402 00:50:07,000 --> 00:50:15,030 And later, by the more concentrated focus on ecclesiastical ritual engendered by interest in monastic reform. 403 00:50:15,030 --> 00:50:24,610 That broadening of horizons provides a context into which diversity of notational practise fits well. 404 00:50:24,610 --> 00:50:33,490 That said. We should beware of tying musical practise, too directly to broader cultural change. 405 00:50:33,490 --> 00:50:38,740 John Blair writes of the intellectual and religious stimuli provided to English churchmen, 406 00:50:38,740 --> 00:50:48,790 either by travel and living abroad or by contact with foreigners at the English court, placing particular emphasis on the reign of King Arthur St. 407 00:50:48,790 --> 00:50:54,790 Yes, and a book made in the late 1930s as a gift from King Arthur Stone to the monks of Durham. 408 00:50:54,790 --> 00:50:59,440 There's no hint of the possibility of notating the change. 409 00:50:59,440 --> 00:51:10,660 Not only is there no notation here. But the words are not spaced for notation where accommodation of elaborate passages would have been needed. 410 00:51:10,660 --> 00:51:19,570 The obvious implication of the juxtaposition of bodily five, seven nine with Corpus one eight three is that the notating hand, 411 00:51:19,570 --> 00:51:27,400 like the first text hand in both the five seven nine is also that of a continental scribe. 412 00:51:27,400 --> 00:51:35,740 Thus, probably five, seven nine would mark a moment when English musicians came into contact with musical notation and began to learn 413 00:51:35,740 --> 00:51:43,810 how it could be used in view of the paucity of musical writing still extant from this early mediaeval period. 414 00:51:43,810 --> 00:51:49,150 The evidence of this rather extraordinarily little book, which is now Bodley 579, 415 00:51:49,150 --> 00:51:55,620 is remarkably valuable and that we're going to end by listening to some of this music. 416 00:51:55,620 --> 00:52:01,560 So they thank the parents, and I have to say here that the beginning of the verse where I've got Pagadian Odium, 417 00:52:01,560 --> 00:52:09,540 this is what Michael LePage insisted it had to be. He said it must be a mistake that the scribe wrote, Pray and my singer thinks it should be pray. 418 00:52:09,540 --> 00:52:14,400 So he's going to sing that it's you versus Michael love. 419 00:52:14,400 --> 00:52:18,780 It should be quick. Thank you. 420 00:52:18,780 --> 00:52:26,700 Just. So. 421 00:52:26,700 --> 00:52:46,900 Uh, so, uh, and so, uh, uh. 422 00:52:46,900 --> 00:53:00,120 Cory Turner, you know, and we're there. 423 00:53:00,120 --> 00:53:09,090 Minister said. 424 00:53:09,090 --> 00:53:26,970 Oh. Greg Hardy, I'm in my in on it, originate more norm. 425 00:53:26,970 --> 00:53:40,170 Never seen in this last negative cycle where and. 426 00:53:40,170 --> 00:53:52,190 So. And ever so I've. 427 00:53:52,190 --> 00:54:03,370 And sign up for our. 428 00:54:03,370 --> 00:54:15,370 Can we say, Oh, I'm glad you're. 429 00:54:15,370 --> 00:54:23,080 He said one. 430 00:54:23,080 --> 00:54:40,852 Oh no.