1 00:00:00,320 --> 00:00:12,960 It seems like. 2 00:00:12,960 --> 00:00:16,410 Welcome to this second lecture. 3 00:00:16,410 --> 00:00:29,360 There's no singer today, I'm afraid I should warn you that at this point there will be a singer in a week's time and at the last lecture. 4 00:00:29,360 --> 00:00:33,620 On seeing these two pages from an English pontifical, 5 00:00:33,620 --> 00:00:40,730 our first reaction might be to think how well English scribes could write this text scribe, wrote Caroline. 6 00:00:40,730 --> 00:00:50,770 Minuscule script in a style associated with Canterbury new care.data this manuscript to the beginning of the 11th century. 7 00:00:50,770 --> 00:00:53,620 The musical notation is elegant, 8 00:00:53,620 --> 00:01:03,550 written with an unusually thin pen and good control of the direction traced so that the angle of strokes to the baseline is constant. 9 00:01:03,550 --> 00:01:14,580 This notation is written in a musical script familiar throughout the 11th century in England without being more closely datable. 10 00:01:14,580 --> 00:01:22,890 Yet the generally harmonic impression conveyed by these pages conceals significant information about their history. 11 00:01:22,890 --> 00:01:31,010 A closer look lays bare difficulties experienced by the music's great. 12 00:01:31,010 --> 00:01:41,940 At the beginning of the gradual told to host, yes, he had to write the names for the first syllable inside parts of the letter T. 13 00:01:41,940 --> 00:01:52,360 Then only half of the Alameda text was written out, and he had to abandon the phrase at coffee table nominee to. 14 00:01:52,360 --> 00:01:54,250 At the beginning of the offertory, 15 00:01:54,250 --> 00:02:06,870 an elaborate melody for the syllable RA in Uruguay had to be written far over the following syllables stretching beyond Dayem. 16 00:02:06,870 --> 00:02:14,190 Juxtaposition with the layout in the middle 11th century book from Santini is instructive here. 17 00:02:14,190 --> 00:02:18,270 This text allied space for musical notation at the end of August. 18 00:02:18,270 --> 00:02:22,620 Yes, I'm sure you can all see that. Yeah, there. 19 00:02:22,620 --> 00:02:33,870 And then in the verse for dominance, the dominance done here in the same book, the opening of the offertory is again well spaced. 20 00:02:33,870 --> 00:02:43,320 I need not press the point with further examples in order to determine whether a book was made with the intention of entering musical notation. 21 00:02:43,320 --> 00:02:52,530 It's important to look not for vertical space between lines, but for horizontal space between words and syllables. 22 00:02:52,530 --> 00:03:01,260 It's a very, very common mistake. The scribe who copied this early 11th century pontifical either did not envisage the addition of 23 00:03:01,260 --> 00:03:09,330 musical notation or did not have an exemplar from which he could judge the spacing necessary. 24 00:03:09,330 --> 00:03:19,880 That is the first indication that this text and this music were written out independently. 25 00:03:19,880 --> 00:03:24,170 The same music scribe turns up elsewhere in the Pontifical, 26 00:03:24,170 --> 00:03:31,820 not only extensively in the old parts of the book, but also in many of the supplements made to it. 27 00:03:31,820 --> 00:03:42,200 Here, he notes chants for the rituals of Ash Wednesday. And then here, notating liturgy for Maundy Thursday. 28 00:03:42,200 --> 00:03:55,300 And here in the last of the ad, in the latest of the added gatherings, he noted its chance for the reconciliation of all tours or other holy places. 29 00:03:55,300 --> 00:04:03,010 This music scribe who's a in the list is one of the three main music scribes who worked in the Pontifical, 30 00:04:03,010 --> 00:04:09,100 alongside several others who made just one or two interventions. There's a lot of scribes in the book. 31 00:04:09,100 --> 00:04:14,950 The simple fact that a worked in both the older and the supplementary parts of the book means that he 32 00:04:14,950 --> 00:04:21,280 must have been writing up the institution to which the old book was transferred during the 11th century. 33 00:04:21,280 --> 00:04:31,750 That is the monastic community at Wooster. In other words, the old Pontifical did not have music notation when it was first brought to stir, 34 00:04:31,750 --> 00:04:36,250 and the extensive addition of notation to its older parts constitutes a 35 00:04:36,250 --> 00:04:46,000 significant element in the work of improvement of the book undertaken at Wooster. 36 00:04:46,000 --> 00:04:50,920 This pontifical and benediction must have reached Worcester in the middle of the century, 37 00:04:50,920 --> 00:05:00,070 certainly by some time in the ten sixties and perhaps even in connexion with Wilson's appointment as Bishop in turn 65. 38 00:05:00,070 --> 00:05:08,770 Once UT Worcester, the book became the focus of sustained effort to render its content suitable for use. 39 00:05:08,770 --> 00:05:13,930 The original content was extensively modified and several different campaigns 40 00:05:13,930 --> 00:05:20,110 led to the addition of gatherings at front and back an extra 70 or so folios. 41 00:05:20,110 --> 00:05:32,040 And I should say that the dates in this table. These this is all Michael Garlic's work very carefully done looking at other Worcester manuscripts. 42 00:05:32,040 --> 00:05:41,480 Some of that work of modification and addition might be situated in the 10 sixties, certainly in the third quarter of the century. 43 00:05:41,480 --> 00:05:47,450 It was Neil Care who first drew attention to aspects of mid-century wooster script in a 44 00:05:47,450 --> 00:05:55,190 charter dated 10:58 and in which Woolston is the first witness after Bishop Eldridge, 45 00:05:55,190 --> 00:06:02,600 a similar kind of script is used in parts of the first supplementary layers of the Pontifical. 46 00:06:02,600 --> 00:06:06,440 As well as in marginal traditions in the older part of the book, 47 00:06:06,440 --> 00:06:13,310 these are formulas to be read aloud by whoever was performing the consecration of a church just stating what he was doing. 48 00:06:13,310 --> 00:06:21,500 The co-mingling of salt, ashes and water in the name of the father and so on. 49 00:06:21,500 --> 00:06:28,460 This work of making short modifications to the older book continued through the 70s and 80s. 50 00:06:28,460 --> 00:06:34,570 Here, ritual instructions were written beside a prayer for the ordination of a deacon. 51 00:06:34,570 --> 00:06:45,910 And on a page with prayers for blessing across a new prayer for the blessing of water prior to exorcism or consecration of a cross was added. 52 00:06:45,910 --> 00:06:57,310 In relation to the evidence of revisions made to this pontifical in the period 10, 60 to 90, I have hardly shown more than the tip of an iceberg. 53 00:06:57,310 --> 00:07:06,700 It's truly extensive that work of revision continued through the 90s and into the first decades of the 12th century. 54 00:07:06,700 --> 00:07:16,420 The book thus demonstrates an intensive and sustained interest in getting the detail of what was to be read or sung right, 55 00:07:16,420 --> 00:07:25,300 and in knowing how to perform the ritual so that in knowing how to perform the ritual actions that accompany prayers and chants. 56 00:07:25,300 --> 00:07:32,560 The high number of text and music scribes involved in making him indications suggests that this concern with 57 00:07:32,560 --> 00:07:44,280 the moment to moment delivery of pontifical ceremonies was well anchored in the work of the Wooster community. 58 00:07:44,280 --> 00:07:48,180 The conventional naming of this book for Bishop Samson, 59 00:07:48,180 --> 00:07:58,620 a Norman appointed to the Bishop of Worcester in the tens in 10 '96 depends on the profession of obedience to be sworn in his presence. 60 00:07:58,620 --> 00:08:06,660 This was a late edition marking a later campaign of supplements, and it would make much more sense to call Caucus one for six. 61 00:08:06,660 --> 00:08:12,620 The pontificate of Bishop Woolston for that is certainly what it was. 62 00:08:12,620 --> 00:08:23,720 Wilson was installed as Bishop at Worcester in 10 62 and died in 10 '95, the last of the old Anglo-Saxon bishops. 63 00:08:23,720 --> 00:08:32,180 The direct connexion between Woolston and this pontifical, already suggested by Richard Jameson and Francesca Tinetti, 64 00:08:32,180 --> 00:08:35,930 is well supported by the narrative of William of Malmesbury. 65 00:08:35,930 --> 00:08:43,910 Veto will study with its many accounts of church dedications and destruction of wooden altars. 66 00:08:43,910 --> 00:08:53,330 In a paper on the Anglo-Saxon bishop and his book, Richard first raised the question as to whether Pontifical belonged to individuals 67 00:08:53,330 --> 00:09:00,650 and could just be taken on to another appointment or two places being C specific. 68 00:09:00,650 --> 00:09:05,510 In the case of Corpus 146th, such questions hardly arise. 69 00:09:05,510 --> 00:09:13,070 Given the extent of shared identity between Woolston and the monastic community around him, 70 00:09:13,070 --> 00:09:22,910 he himself had risen through the offices of Novice Master Cantor Sacristy and prior of that community before becoming Bishop, 71 00:09:22,910 --> 00:09:26,930 the number of different scribe of hands involved in the work of revising this, 72 00:09:26,930 --> 00:09:33,710 pontifical suggests a closeness of ties and interests amongst the Worcester monks. 73 00:09:33,710 --> 00:09:40,190 One of the sustaining of that work of revision over the three decades of since Episcopacy 74 00:09:40,190 --> 00:09:45,650 before there's any sign of Norman intervention reveals the late Anglo-Saxon church, 75 00:09:45,650 --> 00:09:55,280 at least in the Worcester diocese, as a dynamic cultural institution responsive to change. 76 00:09:55,280 --> 00:10:01,280 Woolston had once been come to administer this might provide grounds for arguing 77 00:10:01,280 --> 00:10:07,070 that he himself had driven the work of notating been put difficult he inherited, 78 00:10:07,070 --> 00:10:15,530 even if Wilson's own hand has never been identified. To my knowledge, it's likely that he knew how to write musical notation, 79 00:10:15,530 --> 00:10:21,200 and there can be no doubt about his assessment of the usefulness of musical notation. 80 00:10:21,200 --> 00:10:29,930 During the period of his episcopacy, a series of text and music, scribes can be traced through several books made at Worcester, 81 00:10:29,930 --> 00:10:37,570 placing most at the centre of a concentrated bookmaking enterprise. 82 00:10:37,570 --> 00:10:40,660 Today, I'll talk about two more of those books. 83 00:10:40,660 --> 00:10:53,950 First, the enormous national no split between London and Cambridge and then the office book named Port, a forum in Dom and some whose edition of 1958. 84 00:10:53,950 --> 00:11:00,440 Work on the passion may have been begun well before the rooster alterations to the Pontifical. 85 00:11:00,440 --> 00:11:07,550 Michael Gulick has identified one of its gripes as identical to the writer of the 10:58 charter. 86 00:11:07,550 --> 00:11:16,100 This was always a gigantic project made in a large format and containing 165 saints lives. 87 00:11:16,100 --> 00:11:22,660 Although Knight divided into three, it was originally made in two parts. 88 00:11:22,660 --> 00:11:28,690 The first volume included Saints with feasts from 1st of January to 30th September, 89 00:11:28,690 --> 00:11:34,180 while the second completed the rest of the year up to Saint Sylvester on 31st of December. 90 00:11:34,180 --> 00:11:36,580 If you notice some missing some gas, 91 00:11:36,580 --> 00:11:43,480 it's because I don't know what was there because there are pages lost because the book split up in such a strange way. 92 00:11:43,480 --> 00:11:51,130 These two volumes were copied by three main scribes tech scribes, whose work can also be traced in other Wooster books. 93 00:11:51,130 --> 00:11:59,970 First, there is the charter scribe who copied much of Volume one and Volume two in its original form. 94 00:11:59,970 --> 00:12:06,000 A second scribe who wrote almost 200 photos in the original first one is also one of the 95 00:12:06,000 --> 00:12:12,200 main tech scribes in the Worcester Reporter Forum containing liturgy for the office. 96 00:12:12,200 --> 00:12:20,060 And then Scribes C, the writer of a contents table, can be found in multiple parts of the ecclesiastical handbook, 97 00:12:20,060 --> 00:12:25,910 which is no corpus to six five, to which he contributed more than any other scribe. 98 00:12:25,910 --> 00:12:30,590 And that scribe is also one of the main annotators of the Pontifical. 99 00:12:30,590 --> 00:12:39,890 From a musical point of view. The most interesting part of the panel is an office for St. Nicholas, copied at the end of the first volume. 100 00:12:39,890 --> 00:12:46,430 This was copied by Text Scribe B, continuing his stint at the end of that first volume, 101 00:12:46,430 --> 00:12:52,100 and there's no reason to consider this last entry as anything but contemporaneous. 102 00:12:52,100 --> 00:12:58,860 That's partly a graphical observation can be supported on grounds of other content. 103 00:12:58,860 --> 00:13:08,100 Amongst the additions made on FF. added to the original volumes, there are a good number which can still be dated in the third quarter of the century. 104 00:13:08,100 --> 00:13:13,800 One of those groups of added beauty included one for St. Nicholas, 105 00:13:13,800 --> 00:13:20,640 with an office copied by one scribe in the first volume and a victor copied by another scribe in the second. 106 00:13:20,640 --> 00:13:26,610 We can guess that someone at Wooster had become interested in that st. 107 00:13:26,610 --> 00:13:34,680 In England, notice was taken of Saint Nicholas from as early as the second quarter of the 11th century. 108 00:13:34,680 --> 00:13:38,910 Amongst the entries for Nicholas in English calendars and listeners, 109 00:13:38,910 --> 00:13:47,370 the earliest is in Custom Nero, a two dated by Rebecca Rosch, fourth to between 10 29 and 10 46. 110 00:13:47,370 --> 00:13:55,380 Then the middle 11th century Dover sole trade perhaps made it Crosland has entries in the calendar and litany. 111 00:13:55,380 --> 00:13:58,970 Nicholas is then included in the litany of a mid-level and. 112 00:13:58,970 --> 00:14:00,960 Well, I think it's probably late in the middle of the century. 113 00:14:00,960 --> 00:14:08,010 But anyway, let's say third quarter penitential handbook Lord Misc., 42, perhaps made it Worcester. 114 00:14:08,010 --> 00:14:17,210 And then at the end of the 11th century, his name was added to the calendar of the Worcester portfolio. 115 00:14:17,210 --> 00:14:25,190 Now over to the office, this office is monastic with 12 readings and responses for the night office. 116 00:14:25,190 --> 00:14:29,420 It was copyright on five pages, beginning with first vespers. 117 00:14:29,420 --> 00:14:38,140 Then the night office and Lord's. Followed by prayers for the mass and into pits of mass, proper chants. 118 00:14:38,140 --> 00:14:48,130 And finally, second vespers, the whole office was written by one tech scribe with some editions by others at the end. 119 00:14:48,130 --> 00:14:53,110 The musical notation was also mainly entered by one scribe. 120 00:14:53,110 --> 00:15:00,450 As you can see here. His work is not at all elegant, and he wrote news of varied angles. 121 00:15:00,450 --> 00:15:04,950 But it's all written with clear musical competence. 122 00:15:04,950 --> 00:15:14,040 Three other scribes each wrote out one response, three each and the last of these responsible for Thuma ransom. 123 00:15:14,040 --> 00:15:24,710 I'm here. Is that music scribe of the Pontifical Saints scribe? 124 00:15:24,710 --> 00:15:35,090 In relation to the treatment of liturgy at Worcester early in Worcester's Episcopacy, there's one aspect of this office which is really interesting. 125 00:15:35,090 --> 00:15:39,710 Well, it's common enough to see a music scribe correcting the work of a tech scribe. 126 00:15:39,710 --> 00:15:44,900 It's very, very common, and it's how you work out of text and music track to the same person. 127 00:15:44,900 --> 00:15:50,330 It's the extent to which the main music scribe here acted to alter the work of the text. 128 00:15:50,330 --> 00:16:02,130 Scribe is really unusual. So these two examples show pretty simple corrections here he he wrote in Bono and counsel Bono. 129 00:16:02,130 --> 00:16:09,110 And here, he added, it's just quite in the margin. 130 00:16:09,110 --> 00:16:17,900 But here you can see the music scribe changing the point to which the singer must return in the response after singing the verse. 131 00:16:17,900 --> 00:16:23,120 A response was performed, response reversed and then a so-called repr tendon, which takes part of the response. 132 00:16:23,120 --> 00:16:31,460 And it's part of the task with the scribe to show where the where that represented begins and the text Grapefruit Merritt going back here. 133 00:16:31,460 --> 00:16:41,090 But the music scribe changed it to a bit so. And then. 134 00:16:41,090 --> 00:16:47,150 After notating the first two words of an end to form beginning, Beatrice Nicholas, the music scribe, 135 00:16:47,150 --> 00:16:55,610 wrote out and annotated an entirely different text just abandoned what the text created, written. 136 00:16:55,610 --> 00:17:02,300 The most extensive example of alteration is to the response resumé, the phrase who. 137 00:17:02,300 --> 00:17:13,070 On the first line, the notato left appraisal on notated, notated and added confessor instead see the notation that is written in confessor. 138 00:17:13,070 --> 00:17:19,920 And then he abandoned to a cocktail of an adjective in a Randi's. 139 00:17:19,920 --> 00:17:29,040 And then we got a big change, there's some erasure here. It probably said simply, I say Semper S.A., someone does. 140 00:17:29,040 --> 00:17:38,130 But it Nouri's is policy slavery. Now behind these alterations, we can trace to quite different channels. 141 00:17:38,130 --> 00:17:43,440 The tech scribe was writing the chant Sumi, the phrase, you know, 142 00:17:43,440 --> 00:17:52,460 and in versions of the Nicholas office from Luther India and Germany and sent to a melody in the play demoed. 143 00:17:52,460 --> 00:17:58,460 The music scribe chose instead to write a chant which began Sumaidaie Confessor, 144 00:17:58,460 --> 00:18:10,490 which is transmitted in manuscripts from France and northern Spain and sent to a quite different melody in the authentic G mood. 145 00:18:10,490 --> 00:18:19,790 Such variations between the charts copied by the text and music scribes were noticed more than 50 years ago by Christopher Foley. 146 00:18:19,790 --> 00:18:30,500 What interested holder most was Hi, this Mr Nicholas office could aid reflection on the composition and composition of that office. 147 00:18:30,500 --> 00:18:39,570 He characterised the National Office as fundamentally the German secular text adapted to Benedictine use. 148 00:18:39,570 --> 00:18:48,120 Certainly, what sits at the base of most versions of the Nicholas office is a nine lesson, nine response, three secular office, 149 00:18:48,120 --> 00:18:54,270 and I've just given it's a using response, which is a very easy way of determining the difference between offices. 150 00:18:54,270 --> 00:19:02,740 So that's that those are the nine responses of the night office in the secular version. 151 00:19:02,740 --> 00:19:11,650 An 11th century chronicle attributes composition of that secular office to a late 10th century Bavarian Bishop Reginald of Ancient, 152 00:19:11,650 --> 00:19:16,780 much of his secular office remained relatively stable in transmission. 153 00:19:16,780 --> 00:19:26,180 But at the moment, when the office was to be extended for monastic use, eastern and western capitals took different paths. 154 00:19:26,180 --> 00:19:34,730 Much more significant for understanding the Western material, I believe, is the fact of change over time. 155 00:19:34,730 --> 00:19:40,880 The monastic versions represented in this table and on the basis of which Fola was making 156 00:19:40,880 --> 00:19:48,200 judgements I find in manuscripts made two centuries or more after the Worcester National. 157 00:19:48,200 --> 00:19:56,270 If we reverse the upside down chronology, then it becomes plain that what we're seeing in the Worcester manuscript is liturgy. 158 00:19:56,270 --> 00:20:01,070 In a rather more fluid state than it was prepared to envisage. 159 00:20:01,070 --> 00:20:10,680 The Worcester monks were using material they had received in order to fashion an office for Nicholas for their own use. 160 00:20:10,680 --> 00:20:16,350 There's no other extant version of the Nicholas office, which matches the Wooster version, 161 00:20:16,350 --> 00:20:25,110 but it is plain that what the text Craig was working from was neither a German secular version nor a French Benedictine version. 162 00:20:25,110 --> 00:20:31,050 Four. It included the response three quantum quantum. 163 00:20:31,050 --> 00:20:36,150 That's number six, otherwise found only in northern French books. 164 00:20:36,150 --> 00:20:42,270 And one further response three also characteristic of French and northern Hispanic transmission. 165 00:20:42,270 --> 00:20:50,280 This is number nine through ad hoc and then in contradiction to this French direction of the following. 166 00:20:50,280 --> 00:20:55,440 It has a rare chant at the end tellurium bricks omnipotence, 167 00:20:55,440 --> 00:21:02,790 which appears otherwise only in one other 11th century manuscript, made it quite the book. 168 00:21:02,790 --> 00:21:14,000 It was huge there, along with the response three that we've been talking about SUMIDA appraisal in honour of since Cervantes use. 169 00:21:14,000 --> 00:21:21,710 In other words, the this office copy by the tech scribe was a Benedictine outstation of the earlier secular office, 170 00:21:21,710 --> 00:21:29,750 but it cannot be directly linked with either east or west and certainly draws on traditions from both directions. 171 00:21:29,750 --> 00:21:36,380 Meanwhile, the music scribes, evidently aware of more than one way of singing in office for Nicholas, 172 00:21:36,380 --> 00:21:43,940 made choices and opted for versions of charts which drew more fully on French traditions 173 00:21:43,940 --> 00:21:50,230 and where the text did not provide for chance that he knew from that French version. 174 00:21:50,230 --> 00:21:54,500 French tradition? He made sure they were recorded anyway. 175 00:21:54,500 --> 00:22:04,150 Finally, the last entry made to the Nicholas office is the response free to marines who otherwise find only in German sources and, 176 00:22:04,150 --> 00:22:09,790 to my current knowledge, never in French over splenic books. 177 00:22:09,790 --> 00:22:19,930 What is unusual about this Nicholas office is not then the simple fact of finding mendacious by music scribes to the work of a tech scribe. 178 00:22:19,930 --> 00:22:29,510 But the extent of those mendacious? And those lamentations are indicative not only of a process of improvement of received material, 179 00:22:29,510 --> 00:22:37,400 but also of the availability to Worcester monks of more than one version of an office for St. Nicholas, 180 00:22:37,400 --> 00:22:42,890 who does seems to have missed the quality of transience in what he was reading for. 181 00:22:42,890 --> 00:22:50,960 I think we can see here the reactions of Worcester monks to material as it came into their hands. 182 00:22:50,960 --> 00:22:58,400 They needed to shape the office to make it suitable for use before it could be further copied into other books. 183 00:22:58,400 --> 00:23:06,320 Such preparatory work must have been relatively common, but is almost always invisible to modern readers, 184 00:23:06,320 --> 00:23:15,450 since it would surely have been carried on using wax tablets or scraps of parchment and soon discarded. 185 00:23:15,450 --> 00:23:20,250 In a not extensive literature on the cult of St. Nicholas in England, 186 00:23:20,250 --> 00:23:26,730 it's clear that interest in the Saint was well-established in England before the Norman conquest, 187 00:23:26,730 --> 00:23:33,420 its roots leading back to both Normandy and attorney in Germany in the early 11th century. 188 00:23:33,420 --> 00:23:42,840 It's easy to speculate that in the middle 11th century, Worcester monks might have been on the lookout for a liturgy composed in honour of Nicholas. 189 00:23:42,840 --> 00:23:51,840 So I know and I myself have short speculation. In turn, 61, an English delegation of bishops went to Rome. 190 00:23:51,840 --> 00:24:00,170 These included aged at that time Bishop of Worcester and already named Archbishop of York. 191 00:24:00,170 --> 00:24:06,390 With him, we're also Geezer Bishop of Wells and Walter Bishop of Hereford. 192 00:24:06,390 --> 00:24:08,550 There was quite a to do in Rome. 193 00:24:08,550 --> 00:24:17,730 They got into trouble with the pope for being bishop of two diocese is this took a great deal of sorting out and then leaving Rome. 194 00:24:17,730 --> 00:24:25,800 The party was set upon by thieves. All of this is related in the late 11th century life of King Edward. 195 00:24:25,800 --> 00:24:33,600 I am thrilled, and the party eventually returned to England carrying with them Eldridge's York pallium. 196 00:24:33,600 --> 00:24:41,170 The papal privilege was then read by Alfred before the King and his nobles. 197 00:24:41,170 --> 00:24:47,970 In 10 62, Alfred consecrated Woolston as the new bishop of Wooster. 198 00:24:47,970 --> 00:24:53,190 Two people, Liggett's were present at Wilson's election to the bishopric. 199 00:24:53,190 --> 00:25:01,260 They were described by John Wooster as enthusiastically urging both clergy and laity on to it. 200 00:25:01,260 --> 00:25:11,250 Confirming his election by their authority. Thus, between the English party, which had gone to Rome in 10 161, including bishops, 201 00:25:11,250 --> 00:25:17,190 the elder Gizo and Walter and these people Liggett's who visited Worcester in 10 62. 202 00:25:17,190 --> 00:25:23,670 There are two possible lines of trouble for books and liturgy from Rome. 203 00:25:23,670 --> 00:25:34,010 Now, you might legitimately wonder why I am so focussed on Rome, when liturgy for Saint could come from anywhere, including northern Europe. 204 00:25:34,010 --> 00:25:43,040 Yet, as I will not explain, the context of the Nicholas office in the Worcester National leads directly to Rome and to 205 00:25:43,040 --> 00:25:52,710 a situation in which interest in Saints offices may have been high on the papal agenda. 206 00:25:52,710 --> 00:26:00,750 This is the end of the entry for Jerome, whose feast day was 30th of September in order to finish the Jerome Beta. 207 00:26:00,750 --> 00:26:05,440 The text scribe had started work in a new gathering of eight folios. 208 00:26:05,440 --> 00:26:15,100 And he had lots and lots of more space in that gathering, but someone in charge must have quickly decided that a new volume should be envisaged. 209 00:26:15,100 --> 00:26:26,020 The veto of central images on 1st of October was begun on the first version of a new gathering, allowing for a contents page on the preceding rector. 210 00:26:26,020 --> 00:26:33,880 And this subsequently became the beginning of the passionless second volume. 211 00:26:33,880 --> 00:26:40,710 So there was now a good deal of empty space in the gathering in which Jerome's veto was finished. 212 00:26:40,710 --> 00:26:47,520 The scribe who had written about the previous one hundred and eighty four folios continued work, 213 00:26:47,520 --> 00:26:51,820 copying for the sermon led Sheamus in his plays, he asked to. 214 00:26:51,820 --> 00:26:58,550 His story is often read on the Feast of All Saints. 215 00:26:58,550 --> 00:27:07,850 After this sermon, he copied a collection of the miracles of Pope Leo, the ninth, who had died in 10 54. 216 00:27:07,850 --> 00:27:19,970 The miracles related here all took place in Rome on the day of Leo's death on the 19th of April 10:54 and late May in the same year. 217 00:27:19,970 --> 00:27:28,940 Work by German and Italian philologist sets the writing of this data and to counter the miracles before 10 60, 218 00:27:28,940 --> 00:27:36,960 given how early the Miracles text reached Worcester, the chances are rather high that it came directly from Rome. 219 00:27:36,960 --> 00:27:45,750 Finally, the Roman papacy provides another significant contextual element for the content of this last gathering. 220 00:27:45,750 --> 00:27:51,630 In a contemporary Victor Bruno of ABC Design, who became publisher of the 9th, 221 00:27:51,630 --> 00:27:57,660 is directly associated with the composition of chance in honour of several saints. 222 00:27:57,660 --> 00:28:05,610 Whether or not we allow that Bruno himself actually composed the officers attributed to him by literary historians, 223 00:28:05,610 --> 00:28:12,090 it's at least likely that a pope in Rome he promoted the creation of new dad. 224 00:28:12,090 --> 00:28:20,510 Newly dedicated liturgies for Saints counts. In this speculative model of transmission, 225 00:28:20,510 --> 00:28:27,110 the miracles text would have been brought soon after its composition directly from Rome to Worcester 226 00:28:27,110 --> 00:28:33,390 in the hands of a member of Aldridge's party and perhaps some version of the Nicholas office with it? 227 00:28:33,390 --> 00:28:41,160 No. This is absolute speculation entirely admit that none of my conclusions about the impermanent nature 228 00:28:41,160 --> 00:28:47,430 of the Nicholas office copied in the personal depend on this hypothetical model of transmission. 229 00:28:47,430 --> 00:28:55,620 More interesting, I think, is the juxtaposition of Alfred's visit to Rome with this new liturgical initiative at Worcester. 230 00:28:55,620 --> 00:29:02,280 It's a background that provides an interesting possibility for thinking about how new liturgical 231 00:29:02,280 --> 00:29:14,010 material might come to an institution and how it might be treated once it got there. 232 00:29:14,010 --> 00:29:18,840 Before examining the nature and contents of a third Worcester book, 233 00:29:18,840 --> 00:29:27,930 I'll just take a moment to bring together information about music scribes in the three books, which are my focus today. 234 00:29:27,930 --> 00:29:33,300 The musical notations in the National are probably the earliest extant examples 235 00:29:33,300 --> 00:29:38,850 of music writing that can definitely be associated with Worcester scribes. 236 00:29:38,850 --> 00:29:45,510 I mean, I would just briefly say that the Benedictine rule manuscript outside the room is eventually associated with Worcester, 237 00:29:45,510 --> 00:29:54,070 but nobody knows when it got there. And we don't know if the music notation was written at Worcester, so that doesn't kind. 238 00:29:54,070 --> 00:30:02,710 In this and in the fashion world, there were at least four music scribes involved in rotating the Nicholas office, 239 00:30:02,710 --> 00:30:07,210 one of whom here the fourth also worked in the Pontifical. 240 00:30:07,210 --> 00:30:11,260 You get to know his work very quickly. 241 00:30:11,260 --> 00:30:23,360 In the Pontifical, substantial amounts of musical notation were added by two music scribes, both working at Wooster in the years up to 10 ninety. 242 00:30:23,360 --> 00:30:34,200 But the most extensive, the notated Wooster book made in the time of war since Episcopacy is the office book known as the Port Forum of St Woolston. 243 00:30:34,200 --> 00:30:41,790 Here, besides short entries by a variety of music scribes, including one who made occasional notations in the hymnal, 244 00:30:41,790 --> 00:30:49,730 the work of notating this large book was carried out by three very good music scribes. 245 00:30:49,730 --> 00:31:00,560 One of these who just notated 24 pages is the same scribe whose hand we've already seen in the National and pontifical. 246 00:31:00,560 --> 00:31:07,040 But the overwhelming bulk of the work was done by two others. 247 00:31:07,040 --> 00:31:11,600 You can see here how well both his music scribes controlled their writing, 248 00:31:11,600 --> 00:31:17,870 setting the news clearly in relation to text syllables, maintaining the angle angles, 249 00:31:17,870 --> 00:31:29,180 the strokes consistently and writing individual names in regular forms, something of a contrast to the main music notato of the national. 250 00:31:29,180 --> 00:31:36,770 That's alongside indications of extensive collective work in the copying of texts at Worcester. 251 00:31:36,770 --> 00:31:45,890 We can also find a great deal of evidence for collaborative work with music in the personal point of physical and porter for him. 252 00:31:45,890 --> 00:31:51,590 There are substantial passages of music writing by a total of seven different music scribes, 253 00:31:51,590 --> 00:31:55,680 leaving aside many short traditions by other scribes at Worcester. 254 00:31:55,680 --> 00:32:05,030 The writing out of music manifesto belonged to the shared tasks of the community and in the period since Episcopacy. 255 00:32:05,030 --> 00:32:13,560 There was always more than one scribe able to undertake musical tasks. 256 00:32:13,560 --> 00:32:20,190 Finally, there are a number of situations in which it's possible to see younger scribes being trained. 257 00:32:20,190 --> 00:32:23,970 That was probably the case for at least two, if not three, 258 00:32:23,970 --> 00:32:30,270 responses in the fashionable in the pontifical to less accomplished scribes notated thoughts 259 00:32:30,270 --> 00:32:38,520 of the hymn return to some common before it was completed by a scribe with no sign many times. 260 00:32:38,520 --> 00:32:45,900 This is a hymn that was often sung by children, so it's it's I mean, I haven't gone too far with that because I haven't got a rubric in the West, 261 00:32:45,900 --> 00:32:50,700 a book that says this was sung by children, but there are other books that tell you it's sung by children, 262 00:32:50,700 --> 00:32:54,220 which is why it may be the place they had to notated. 263 00:32:54,220 --> 00:33:03,720 It would have been a good exercise to say to a young scribe to work out how a repeated melody should be modulated to fit new sets of words. 264 00:33:03,720 --> 00:33:09,190 The first of these less competent scribes didn't get very far. 265 00:33:09,190 --> 00:33:14,710 I think he was probably bewildered, I mean, he did this and this, and then he just stopped. 266 00:33:14,710 --> 00:33:23,540 But the problem is that he had a burst pattern that was different to what went before and he didn't understand it. 267 00:33:23,540 --> 00:33:29,000 The second less accomplished scribe had a much easier passage to work with, and he managed quite well, 268 00:33:29,000 --> 00:33:35,390 and he did get to the end of his set passage and then the the expert scribe begins again. 269 00:33:35,390 --> 00:33:39,950 I think in this kind of situation, you may not see the detail of the difference between the hands, 270 00:33:39,950 --> 00:33:49,740 but if you look it up on the poker website, you will see quite easily. 271 00:33:49,740 --> 00:33:57,420 He would often recite the soul tour or a book of prayers to which he was as devoted as the soul to. 272 00:33:57,420 --> 00:34:01,500 And which he carried around constantly in his pocket. 273 00:34:01,500 --> 00:34:07,680 This passage from William of Malmesbury Life, William of Mullen's Prison Life of Woolston continues, 274 00:34:07,680 --> 00:34:18,690 Sometimes he did this all alone so as not to prevent others sleeping, but sometimes with some companion, he found more wasteful than the rest. 275 00:34:18,690 --> 00:34:27,240 The book, which Wilson carried around in his pocket and from which he could recite sums, prayers and chants was identified by others. 276 00:34:27,240 --> 00:34:33,900 Lawrence McLoughlin of Stanbroke, a supporter forum corpus three one. 277 00:34:33,900 --> 00:34:41,190 My own view is that this actual book is perhaps too large to have been easily carried in Ralston's robes. 278 00:34:41,190 --> 00:34:47,190 And I note especially, it's not only these sizes, but look at this. 279 00:34:47,190 --> 00:34:50,580 The book is 86 inches thick. 280 00:34:50,580 --> 00:35:02,520 It's the note. And however, it's at least likely that Corpus three 911 is related to whatever Woolston himself was using. 281 00:35:02,520 --> 00:35:14,070 Since it brings together between two covers, a calendar to hymnal and a collector for the Divine Office. 282 00:35:14,070 --> 00:35:19,170 The connector includes prayers, chapter readings and proper chants. 283 00:35:19,170 --> 00:35:25,050 Each of these forms written out in full and then also the interprets of hymns. 284 00:35:25,050 --> 00:35:31,020 This combination of different liturgical forms runs parallel to the missile, in which prayers, 285 00:35:31,020 --> 00:35:36,510 readings and chants for the mass are brought together as a type of liturgical book. 286 00:35:36,510 --> 00:35:46,770 The missile can be dated back to the late 8th century, with a good number of Italian examples made in the 9th century for 11th century England. 287 00:35:46,770 --> 00:35:56,200 The missile is the type of liturgical book most represented amongst surviving codices and fragments. 288 00:35:56,200 --> 00:36:05,290 Making books for the office, which combined liturgical forms, resulting eventually in the periphery was much less easy. 289 00:36:05,290 --> 00:36:10,340 Mainly because of the sheer amount of stuff which needed to be assembled. 290 00:36:10,340 --> 00:36:15,230 As well as variation of practise at different times of the year, as a result, 291 00:36:15,230 --> 00:36:23,980 the history of such combinations is much less smooth than that of the missile, as well as a more diverse. 292 00:36:23,980 --> 00:36:33,690 Since we can see in extant books the results of separate individual attempts to create such contained books. 293 00:36:33,690 --> 00:36:42,450 Caucus three nine one is one such individual example, not unlike the slightly earlier Leah Fritz colleague Tom made it Exeter, 294 00:36:42,450 --> 00:36:50,220 except that the Worcester book is monastic and the extra book Secular, and the two certainly did not share a model. 295 00:36:50,220 --> 00:36:55,710 We cannot know whether the monks of Worcester who made this collector had an exemplar from which they 296 00:36:55,710 --> 00:37:04,140 copied over uniting materials drawn from several exemplars during the making of this actual book. 297 00:37:04,140 --> 00:37:14,400 The copy is relatively clean, however, and does not portray in any obvious way a first attempt at uniting prayers and readings with chants. 298 00:37:14,400 --> 00:37:23,350 Nevertheless, that someone changed their mind about what the book should include while it was being made is evident. 299 00:37:23,350 --> 00:37:29,170 For the second part of the collector is much fuller in its contents than the first. 300 00:37:29,170 --> 00:37:35,050 The first part had included liturgy for all of the day hours from vespers through to noon, 301 00:37:35,050 --> 00:37:40,030 but not for the night of this martins in the collect or second part. 302 00:37:40,030 --> 00:37:50,200 Beginning at Page 621, the night office is included, as you can see here with the inverted tree and then six onto phones for the first Nocturne. 303 00:37:50,200 --> 00:37:59,430 However, clean and well-made, this book represents a project still in development. 304 00:37:59,430 --> 00:38:08,850 Much resource was poured into making this book one tech scribe here showing his be copied all of the calendar and computers. 305 00:38:08,850 --> 00:38:15,450 Salter and him know, as well as much of the second part of the collector. 306 00:38:15,450 --> 00:38:19,590 The collector itself was made by a series of tech scribes. 307 00:38:19,590 --> 00:38:30,390 The largest chunk by Scribe E with two other scribes, C and D coming and going, and then two more tech scribes F and G. 308 00:38:30,390 --> 00:38:39,000 And then there is the scribe labelled here as a only when you realise that the folio, 309 00:38:39,000 --> 00:38:47,970 which is paginated 39 40, is the other half of the BI Folio, paginated at its beginning 25 to 26. 310 00:38:47,970 --> 00:38:55,830 Do you understand that Scribe A was not an overseer or initiator of this office book project, 311 00:38:55,830 --> 00:39:05,800 but someone who came along later and replaced the idea by William of the first gathering of the slaughter? 312 00:39:05,800 --> 00:39:14,500 The reason for that replacement was surely to provide a grand opening in a new style befitting the status of a book which 313 00:39:14,500 --> 00:39:23,950 may have become one of the main books of office liturgy owned by the Abbey Scribe A's hand has been recognised elsewhere. 314 00:39:23,950 --> 00:39:31,870 This is one of the scribes who copied the Worcester coach Tuileries combined in court and Tiberius A13. 315 00:39:31,870 --> 00:39:33,430 In fact, Newcastle scribe, 316 00:39:33,430 --> 00:39:46,860 to whom he cautiously identified as probably having a monk who had worked with Bishop Woolston to conserve the archives of the Church of Worcester. 317 00:39:46,860 --> 00:39:57,930 The work of Hemming and other Wooster scribes on the second cotton, Tiberius Khatri is generally dated in the last decade of the century care and no, 318 00:39:57,930 --> 00:40:03,960 Francesco Tinetti both explained how the formulation of that cautionary tale 319 00:40:03,960 --> 00:40:10,710 that cautionary text dates from both before and after Wilson's death in 10 '95. 320 00:40:10,710 --> 00:40:19,590 So this date harmonise as well with the appearance of this scribe in Corpus 3:09 one coming in to work on the compilation at a late stage, 321 00:40:19,590 --> 00:40:28,660 possibly in the 1880s or as late as the ten nineties. 322 00:40:28,660 --> 00:40:42,280 To conclude, the music notations written at Wooster in the second half of the 11th century reflect a settled and consistent practise in music writing. 323 00:40:42,280 --> 00:40:45,790 Individual signs are written in fairly stable ways. 324 00:40:45,790 --> 00:40:54,400 The most obvious characteristic shared by many of the worst music groups being the curve lower part of the sign for two rising notes, 325 00:40:54,400 --> 00:40:58,630 which is sometimes just reduced to a tick, as you can see, I mean, 326 00:40:58,630 --> 00:41:02,650 you can see very hear very clearly that curve, but look here, it's just become a tick. 327 00:41:02,650 --> 00:41:12,130 And this is the scribe that we kept seeing over and over from typical through the caption to the photo for him. 328 00:41:12,130 --> 00:41:17,170 Beyond these shared signs, habits, very little in the work of different scribes, 329 00:41:17,170 --> 00:41:27,100 and there are very few refinements new sit in the space above the text without being moved up and down very much in relation to pitch significative. 330 00:41:27,100 --> 00:41:31,930 Letters are quite rare and there's no use of special pitch signs. 331 00:41:31,930 --> 00:41:35,590 Social pitched news like the ME Sign, a book which I'll talk next week, 332 00:41:35,590 --> 00:41:44,390 introduced in other English establishments in the later 11th century and a strong indication of Norman influence. 333 00:41:44,390 --> 00:41:55,910 This settled practise, writing an English music script in a traditional way seems to have lasted until at least Wilson's death, in turn 95. 334 00:41:55,910 --> 00:42:05,750 It's only with later text Holmes that we can see a different way of writing music strongly influenced by Norman models on this page of the hymnal and 335 00:42:05,750 --> 00:42:16,490 Corpus three nine one space that had been left empty has been used to write out to him Felix Omni's festooned with notation for the first two strokes, 336 00:42:16,490 --> 00:42:21,290 the text hand is like that of other Wooster scribes writing in the ten. 337 00:42:21,290 --> 00:42:31,220 But the musical notation is quite unlike previous ones to work with thick horizontal traces, including heads added to the vertical strokes. 338 00:42:31,220 --> 00:42:40,480 This is how Norman's had been writing new since the ten sixties. 339 00:42:40,480 --> 00:42:47,560 In three, one of these new ways of writing names are directly associated with new ways of singing hymns, 340 00:42:47,560 --> 00:42:53,290 presumably recording melodies not previously sung to those texts in Worcester. 341 00:42:53,290 --> 00:43:02,200 These Norman notations mark the arrival of Normans in the Worcester community absolutely at the end of the century. 342 00:43:02,200 --> 00:43:09,370 In Corpus 391, these new ways of writing names are directly associated with new excuse me of those newcomers also 343 00:43:09,370 --> 00:43:15,940 brought new musical repertory in a part of a manuscript which Kerry described as probably from Wooster. 344 00:43:15,940 --> 00:43:17,500 Someone copied the sequence later. 345 00:43:17,500 --> 00:43:25,600 Bundys composed in northern France in the late 11th century, it is actually its earliest excellent source in Wooster. 346 00:43:25,600 --> 00:43:32,620 And although the text hunt here has to be described as Anglo Continental, I mean, I couldn't get Michael it to say it was English conferences. 347 00:43:32,620 --> 00:43:43,190 It's just like continental. But the musicand, which is likely to belong to the same person, is certainly Norman. 348 00:43:43,190 --> 00:43:51,410 It must have been the arrival of Bishop Samson in 10 96 and with him other Mormons that promoted new practises and 349 00:43:51,410 --> 00:43:59,900 is likely to have prompted the replacement of the opening by volume of the soul to incorporate three nine one. 350 00:43:59,900 --> 00:44:06,470 But preparation of this large office book must have begun well within Wilson's lifetime. 351 00:44:06,470 --> 00:44:11,750 Older English approaches to the writing of music already well understood in the middle years of the 352 00:44:11,750 --> 00:44:20,580 century seem to have endured and to have remained more or less unaltered throughout since Episcopacy. 353 00:44:20,580 --> 00:44:33,240 In the pontifical acquired by Wister in the 10 sixties at the latest, we can see reflected decades of untiring Episcopal activity on Houston's part. 354 00:44:33,240 --> 00:44:38,940 Extensive revision of many of the ceremonies copied their testifies to concerned with making 355 00:44:38,940 --> 00:44:46,980 liturgy work well through improvement of expression and clarity about ritual instructions. 356 00:44:46,980 --> 00:44:55,800 The Nicholas office, copied in the national is a further witness to this care for the detail of liturgical expression. 357 00:44:55,800 --> 00:45:02,550 Finally, the study of liturgical books made at Worcester in the period of Wilson's Episcopacy reveals 358 00:45:02,550 --> 00:45:08,910 a general practise of collaboration between scribes not only in the copying of text, 359 00:45:08,910 --> 00:45:14,580 but also in the notation of chunked working under a trusted leader. 360 00:45:14,580 --> 00:45:21,360 This was a community which understood the practical value and strengths of collective effort. 361 00:45:21,360 --> 00:45:30,089 Thank you.