1 00:00:03,800 --> 00:00:18,370 Like. Good evening, everyone, and thank you so much for coming to this last night. 2 00:00:18,370 --> 00:00:20,500 I hope you get some pleasure out of this. 3 00:00:20,500 --> 00:00:29,200 This, for me, was the one that was the most fun to write and for a start to thank again, my senior Benedict Turner, 4 00:00:29,200 --> 00:00:35,470 who's come to Cambridge today on all sorts of trains that got stopped in all sorts of places to thank you for coming. 5 00:00:35,470 --> 00:00:39,910 And you might have noticed we've got some Typekit for the manuscripts. 6 00:00:39,910 --> 00:00:48,160 This is the main one I'm going to talk about today and and we're being alive to send a bit of time with this nice, good stuff to the lecture. 7 00:00:48,160 --> 00:00:53,470 So no questions. Today I got two questions and we'll have a bit of time soon after, 8 00:00:53,470 --> 00:01:01,570 after we finished whatever it happens and then you can come round the most often talk about. 9 00:01:01,570 --> 00:01:14,610 Good, why not just change the site? 10 00:01:14,610 --> 00:01:49,330 Oh, I'm sorry to hear that one has one of gosh and I what had worn, no, I saw this money, you know, she just put her off hand and you know. 11 00:01:49,330 --> 00:01:59,680 Thank you. And they sing to the Queen of Heaven with one voice mind and both offer praise is to St. Mary on high. 12 00:01:59,680 --> 00:02:03,460 Say you. 13 00:02:03,460 --> 00:02:13,600 This little song celebrating Mary's assumption into heaven belongs to a type of composition in which a new text was created for a pre-existing melody. 14 00:02:13,600 --> 00:02:22,030 These progeny could be added to all manner of elaborate chants, including office responses, mass and you guess. 15 00:02:22,030 --> 00:02:26,230 And as here, must offer trees, crucially, 16 00:02:26,230 --> 00:02:31,150 are one of the many categories of composition which allowed individual contours 17 00:02:31,150 --> 00:02:39,110 to extend the old inherited Gregorian chant for the production of eternity. 18 00:02:39,110 --> 00:02:46,990 Chile Originally, there is only one source in a manuscript which belonged to St Augustine's Canterbury, 19 00:02:46,990 --> 00:02:51,760 but the scribe who wrote the pressure to hear came from one submission. 20 00:02:51,760 --> 00:03:03,330 The appointment of Scott Landis from one submission as abbot of St Augustine's in or 1970 provides a clear background to this addition. 21 00:03:03,330 --> 00:03:14,580 This scribes first entry before the offertory practitioner was a new allegory for the feast of Mary Magdalene of a Paradise Vernons, 22 00:03:14,580 --> 00:03:22,650 for this, there are other concordance is including the Canterbury term gradual coasting five five six. 23 00:03:22,650 --> 00:03:30,000 The pattern of transmission of the other years of this alleluia suggests that it was a norman composition, 24 00:03:30,000 --> 00:03:40,090 one of many contributions to liturgy for the maintenance feast, which can be traced to Normandy in the second half of the 11th century. 25 00:03:40,090 --> 00:03:49,530 The presence in England after the conquest of 10 Sixty-Six of many incoming musicians is underlined by the high number of entries 26 00:03:49,530 --> 00:04:03,970 of this kind written in a non-English music script and or bringing new liturgical chant or other kinds of songs across the channel. 27 00:04:03,970 --> 00:04:12,760 In a collection of late, antique and mediaeval poetry made at Canterbury in the middle 11th century and probably belonging to St Augustine's, 28 00:04:12,760 --> 00:04:21,100 a late 11th century handwriting, Norman News has added a melody for a Texan, which is. 29 00:04:21,100 --> 00:04:29,260 Yet as the notation for the Easter exalted in a manuscript from Sherburne and later Salisbury indicates the 30 00:04:29,260 --> 00:04:40,760 incoming musicians were not all Normans hear a distinctly German hand has written the musical notation. 31 00:04:40,760 --> 00:04:49,520 Nevertheless, the vast majority of the newly arriving musicians were Normans, as, for example, the note to those who wrote notations in a hymnal, 32 00:04:49,520 --> 00:04:57,500 which I think was by monks coming with and frank from the abbey of Back to Christchurch, Canterbury. 33 00:04:57,500 --> 00:05:03,560 One of the most interesting examples of musical notation, obviously written by an incumbent, 34 00:05:03,560 --> 00:05:06,620 is in a manuscript made it Durham in the late 11th century, 35 00:05:06,620 --> 00:05:19,910 and I'm just going to walk over and say this is one of the main contents of the five nine six beats prose and verse slice of Cuthbert written out, 36 00:05:19,910 --> 00:05:27,470 lubricated and decorated by Simeon, a monk of Jarrow and Durham known for his historical writing. 37 00:05:27,470 --> 00:05:31,910 He later became cantor at Durham Cathedral. 38 00:05:31,910 --> 00:05:40,070 Immediately following simians work and on leaves which are integral with the beat material and never had an independent existence. 39 00:05:40,070 --> 00:05:48,860 A contemporary continental text hand added a life and office of Julian of the. 40 00:05:48,860 --> 00:05:59,120 At first sight, the notation of the office is confusing. It has three separate notations, two of whom wrote a normal pneumatic notation. 41 00:05:59,120 --> 00:06:05,180 And a third the main notation. He writes an odd kind of Breton notation. 42 00:06:05,180 --> 00:06:16,580 This odd Breton notation was identified by Michele Iglu as written in several manuscripts from the Diocese of Limon, home of the Cult of St. Julien. 43 00:06:16,580 --> 00:06:24,440 Since William of St. Kelley came directly from the Monastery of St. Vincent in the month to Durham intensity, 44 00:06:24,440 --> 00:06:31,400 the presence of a music scribe writing a little more notation at Durham is not to be wondered at. 45 00:06:31,400 --> 00:06:36,380 It's obvious from the passages and amount written by each of the three scribes that 46 00:06:36,380 --> 00:06:42,470 this liminal scribe was the most competent and probably in charge of the work. 47 00:06:42,470 --> 00:06:52,700 Thus, he allied and a scribe, writing no menus to notate the relatively simple melodies for the opening and taverns. 48 00:06:52,700 --> 00:06:59,590 But as soon as it got to the more elaborate responses he took over. 49 00:06:59,590 --> 00:07:07,840 There's evidence of another Norman Notato working at Durm describe brutality of a parody for Mary Magdalene the 50 00:07:07,840 --> 00:07:17,290 same year which was added to St Augustine's manuscript by escape from on submission the text hand of this term, 51 00:07:17,290 --> 00:07:25,510 Alleluia. And she was identified by sharply in a series of different books, including Obits in the Durham Cantors, 52 00:07:25,510 --> 00:07:33,040 book a list of names in the LIBOR Viti and several charges following Michael Garlic's work. 53 00:07:33,040 --> 00:07:37,930 This scribe is likely to have been William, who wrote this call often, 54 00:07:37,930 --> 00:07:43,960 and he worked for William of St Culley during his exile in ten eighty eight to 10 ninety one. 55 00:07:43,960 --> 00:07:52,780 And this William, the scribe, probably accompanied Sinclair on his return to Durham in ten ninety three. 56 00:07:52,780 --> 00:08:01,570 Confronted with extensive evidence for the arrival in Post Conquest England of musicians trained in various parts of Europe, 57 00:08:01,570 --> 00:08:09,260 we're bound to consider in what ways their musical practise had an impact. 58 00:08:09,260 --> 00:08:19,370 It's not that influence from the continent was in any way a new feature of English cultural life after the conquest throughout these lectures. 59 00:08:19,370 --> 00:08:25,400 There have been multiple references to the adoption from abroad long before the conquest of 60 00:08:25,400 --> 00:08:33,050 ceremonies or elements within ceremonies not to speak of the frequent exchange of individual chats. 61 00:08:33,050 --> 00:08:42,980 However, a notable characteristic of those examples was the absorption into an essentially English liturgy of foreign material, 62 00:08:42,980 --> 00:08:48,530 presumably intended to improve the articulation and success of ritual. 63 00:08:48,530 --> 00:08:56,690 It was never the wholesale setting aside and replacement of English practise. 64 00:08:56,690 --> 00:09:03,260 After the conquest, William the Conqueror took an active interest in the affairs of the Angel Norman Church and 65 00:09:03,260 --> 00:09:11,150 acted quickly to control its hierarchy in the form of appointments to Bishopbriggs and abysses. 66 00:09:11,150 --> 00:09:19,010 Those new leaders brought from Normandy and beyond were often recruited from Duke William's immediate circle. 67 00:09:19,010 --> 00:09:26,210 10 of the bishops he appointed had been royal clerks, and nearly all were of high birth. 68 00:09:26,210 --> 00:09:31,640 Some may have been knowledgeable about liturgical practise and interested in its detail. 69 00:09:31,640 --> 00:09:41,120 Frank of Beck is the obvious example. While others simply brought with them the customs and observances of the house from which they came. 70 00:09:41,120 --> 00:09:47,570 At least that was how David knows viewed this layer of cultural transfer news. 71 00:09:47,570 --> 00:09:51,980 Few was well-supported by the colourful and well-known story of it. 72 00:09:51,980 --> 00:09:56,330 Thurston, who in turn 81 or 83, 73 00:09:56,330 --> 00:10:07,370 provoked the killing of two monks and wounding of 14 others when attempting to impose the chant practises of at Glastonbury. 74 00:10:07,370 --> 00:10:17,060 Yet even that Canterbury, we do not find evidence for the abandonment of old liturgical books and their wholesale replacement. 75 00:10:17,060 --> 00:10:23,930 The idea that new customs were imposed from one day to the next would be simplistic. 76 00:10:23,930 --> 00:10:34,460 It's also likely that in such a technically specialised component of the liturgy as singing, not many of the incoming leaders would be qualified. 77 00:10:34,460 --> 00:10:41,920 And with us dependent on others to ensure good practise leaving space for negotiation. 78 00:10:41,920 --> 00:10:47,380 So the important question for me today is whether beyond the fact of the arrival of foreign musicians, 79 00:10:47,380 --> 00:10:56,950 evidenced by individual entries in English books, whether we can learn more about the impact of the conquest on musical practise. 80 00:10:56,950 --> 00:11:00,730 In the last lecture, I demonstrated a process of change in music. 81 00:11:00,730 --> 00:11:09,970 Writing at Canterbury, new forms of script emerged as the result of new attitudes to what should be recorded in writing, 82 00:11:09,970 --> 00:11:18,130 but was wholesale change in ways of writing music more widely experienced and where foreign ways of singing the liturgy 83 00:11:18,130 --> 00:11:27,190 assimilated into essentially local English liturgies or where there was literature is altered in more drastic fashion. 84 00:11:27,190 --> 00:11:29,770 Today, we're going to explore that second question. 85 00:11:29,770 --> 00:11:37,180 Through the work of just one scribe, having just accused Don David Knowles of inappropriate generalisation, 86 00:11:37,180 --> 00:11:40,120 I have to try not to make the same mistake. 87 00:11:40,120 --> 00:11:48,040 Yet the scribe I'm going to talk about today was so evidently dominant in the situation in which he found himself that we can 88 00:11:48,040 --> 00:12:00,320 win from one case study an entirely new idea of how the conquest could bring change to musical practise in one institution. 89 00:12:00,320 --> 00:12:06,650 I'd really like to open the book, surely that's not going to happen, we'll see him at the end. 90 00:12:06,650 --> 00:12:13,460 Let me first just show pictures of this one. Scribes work in the Winchester Trooper Bodley seven, seven five. 91 00:12:13,460 --> 00:12:18,840 So on this page, she's notating courier troops. 92 00:12:18,840 --> 00:12:25,440 This is another example where he added text and music for an alleluia for the feast of the purification. 93 00:12:25,440 --> 00:12:36,690 This is the right in the middle of the page here. I mean, that's the oath layer of the manuscript written 10 14 years, probably. 94 00:12:36,690 --> 00:12:42,840 In a third entry, he sent a text and music for an unused truth. 95 00:12:42,840 --> 00:12:53,640 It's immediately apparent that this scribe was a good musical scribe, able to manipulate names in ways which clarify the content of his writing. 96 00:12:53,640 --> 00:13:02,550 So you can see here. I mean, this is an extraordinarily careful feat of nuance that he wrote, 97 00:13:02,550 --> 00:13:11,310 and one form of the new four just a normal step down of a tone and a longer tune for my method. 98 00:13:11,310 --> 00:13:18,840 That's really that's really careful. Then we've got the meaning that we talked about on Thursday. 99 00:13:18,840 --> 00:13:28,050 You can see it there, and he does tend to use the medium a lot. Um, indicating the note above is a semitone away. 100 00:13:28,050 --> 00:13:33,670 And later, you can see this careful reconfiguration. 101 00:13:33,670 --> 00:13:39,630 So da da da dum. So he shows that that note at the top. 102 00:13:39,630 --> 00:13:46,320 And that note at the bottom of this note in between. It's really, really carefully done. 103 00:13:46,320 --> 00:13:48,180 We saw that kind of distortion in Canterbury. 104 00:13:48,180 --> 00:13:56,580 Notations onThursday know a little bit of Palio graphic because I think you have to believe me that this is a scribe. 105 00:13:56,580 --> 00:14:01,260 That one can recognise typical characteristics of the scribes. 106 00:14:01,260 --> 00:14:10,860 Way of writing news include here you can see the single note with a head and a slightly slanted tail. 107 00:14:10,860 --> 00:14:16,530 Then there's the sign for two rising notes with a long first stroke along the bottom 108 00:14:16,530 --> 00:14:22,830 angled away from the horizontal and the rest made up as if it were a single note. 109 00:14:22,830 --> 00:14:30,180 And then the two ways we've just seen writing and the sine sign for two descending notes. 110 00:14:30,180 --> 00:14:34,740 So we have this squared form, which I've put in in green circles. 111 00:14:34,740 --> 00:14:44,670 And the second version, which is in red circles where it's either rounded at the top or just a little bit of a hook at the top. 112 00:14:44,670 --> 00:14:50,190 And that always indicates a larger interval. 113 00:14:50,190 --> 00:14:56,190 Now, amongst the most notable of his habits, one of the things that when you open a book and you just see a page, you think, well, that's him. 114 00:14:56,190 --> 00:15:00,870 Is this sign the risk? A sign because he writes it gigantic. 115 00:15:00,870 --> 00:15:05,490 There's very few scribes and well, you'll see a few later who do it this way. 116 00:15:05,490 --> 00:15:13,020 But this is an unusual size for that sign. That's a sign that means repeat the note. 117 00:15:13,020 --> 00:15:22,330 So any one of those signs that goes through them? 118 00:15:22,330 --> 00:15:27,370 And then he writes the this, because with an extra descending tick, making it requests, 119 00:15:27,370 --> 00:15:32,770 and that's because it's in science where you've got this any vocalist who Eight-Hour night, 120 00:15:32,770 --> 00:15:38,740 you've got to get from the ah to the end, and that's the liquid inside that you write into onto a human sign. 121 00:15:38,740 --> 00:15:43,540 And again, it wasn't a risk. I've never seen it before. 122 00:15:43,540 --> 00:15:51,160 I saw this. So he's insistent about putting the me sign in any in any situation. 123 00:15:51,160 --> 00:15:55,540 And here are I mean, here's the simple me sign the bottom of three notes. 124 00:15:55,540 --> 00:16:01,690 There's the me sign in two rising notes here, and I don't know any other scratching that's done this. 125 00:16:01,690 --> 00:16:12,570 This is a sign which is colloquialism let's not worry what it means, but he's actually integrated the ME sign into the charisma. 126 00:16:12,570 --> 00:16:16,860 And finally, he often uses the letter E! To mean equality. 127 00:16:16,860 --> 00:16:24,870 That's just a simple means of resetting the pitch level to give himself more space as later scopes would change cliffs. 128 00:16:24,870 --> 00:16:29,310 This this is quite easily understood. He wants to say here this letter. 129 00:16:29,310 --> 00:16:33,690 This note is the same pictures that note. Why did you have to move it up? 130 00:16:33,690 --> 00:16:45,640 It's because he wanted to have three notes descending here. He knew he was getting to lower notes, so he needed that name to go up the page. 131 00:16:45,640 --> 00:16:50,800 In order to give you an idea of how distinctive this hand is, let me set it aside. 132 00:16:50,800 --> 00:17:01,450 Two other Norman Hans in the same book I'm going to call this scribe, which will become clear eventually why I'm calling him. 133 00:17:01,450 --> 00:17:06,760 So, no, this is the First Folio of the of the book as it is now. 134 00:17:06,760 --> 00:17:12,220 So writing on what is now the First Folio of the book and thus physically very close to the work of art. 135 00:17:12,220 --> 00:17:19,810 This other hand, wrote the same kind of music script and was as interested in the vertical placement of his signs, 136 00:17:19,810 --> 00:17:30,370 including many times using the letter E. But he had only one way of writing this fine for two descending notes, which is rendered or hooked, 137 00:17:30,370 --> 00:17:38,980 whatever you want to call it, but not that drawn across squared sign. And here's the question to risk. 138 00:17:38,980 --> 00:17:45,610 This is actually rather different from ours, and his work is just much less tidy. 139 00:17:45,610 --> 00:17:50,650 I mean, it's just clear when you look at the page, it's not the same scribe. 140 00:17:50,650 --> 00:17:57,100 And then this is another Norman hand writing in the sequence collection towards the end of the book. 141 00:17:57,100 --> 00:18:03,100 This notation is even more like that written by R. It really takes a little bit of work to work out that it's not the same, 142 00:18:03,100 --> 00:18:08,480 but it is given away by small details, such as the risk a not. 143 00:18:08,480 --> 00:18:13,090 If you look over there, you'll see it's really quite different to I mean, this is smaller as this, 144 00:18:13,090 --> 00:18:23,440 but you do get the sense of that bigger risk that writes the NE sign is different and you just eventually get there that it's different, 145 00:18:23,440 --> 00:18:31,930 a different hand. No, there's one more juxtaposition that matters to my identification of this scribe. 146 00:18:31,930 --> 00:18:38,980 This is a missile. No in Le Havre made in the third quarter of the 11th century at the new minster in Winchester. 147 00:18:38,980 --> 00:18:45,940 It is an English book and I don't think it was ever in use in Normandy, but somehow rather it got back there. 148 00:18:45,940 --> 00:18:53,740 The notating hand is unquestionably related to our hand, even if it seems less controlled. 149 00:18:53,740 --> 00:19:01,120 This scribe shares many of the new shapes written by R, but there's no squared to descending note sight, 150 00:19:01,120 --> 00:19:09,760 only to try the triangular or rounded form and no way of differentiating a normal old idea from a normal from a large interval. 151 00:19:09,760 --> 00:19:18,430 And this is, I think, going to be the clearest difference like, ah, he also incorporates the design into other news, 152 00:19:18,430 --> 00:19:26,110 but the angle of the me part of the new is much more slanted than in his writing. 153 00:19:26,110 --> 00:19:30,010 Now here's a risk is again large in its proportions. 154 00:19:30,010 --> 00:19:33,400 I mean, it's gigantic, but I haven't found the question to risk. 155 00:19:33,400 --> 00:19:35,890 It's in his work, a tool. 156 00:19:35,890 --> 00:19:44,260 It's difficult to say much about vertical placement in relation to pitch, given the extent to which there was little space for this scribe to work in. 157 00:19:44,260 --> 00:19:51,940 It's a book not really prepared for musical notation, so it's really, really kind of scorched in his possibilities. 158 00:19:51,940 --> 00:20:03,700 But there are occasions as here at the end of a chain saw in where I doubt that scribe would have written the end of those new Sohi. 159 00:20:03,700 --> 00:20:14,230 I mean, it's the kind of old system going up. And I doubt very much that I would have gone up when the music goes down. 160 00:20:14,230 --> 00:20:23,080 So that and the fact that the process of squaring of all signs is less had funds in describes work than an hour's work. 161 00:20:23,080 --> 00:20:33,040 That suggests to me that this is an older scribe. I think we see here a scribe trained in the same Norman script tourism as, Oh, 162 00:20:33,040 --> 00:20:36,370 I haven't told you yet why I know it's a Norman script touring, but we'll get there. 163 00:20:36,370 --> 00:20:48,460 I think this is a script change in the Norman Skittering Azhar, and he probably came from that institution to Winchester at the same time as our. 164 00:20:48,460 --> 00:20:50,050 Now I'm going to take you along the road, 165 00:20:50,050 --> 00:20:57,760 I travelled in some amazement finding this music scribe working in other manuscripts in this sequence of images. 166 00:20:57,760 --> 00:21:09,170 It's just the music, no teaching hand with which I'm concerned, not the text ones, because that's another complicated story. 167 00:21:09,170 --> 00:21:15,020 OK. On the end of manuscript associated with Winchester Oceans State, Bodley one to six. 168 00:21:15,020 --> 00:21:22,670 Sitting here? There are groups of office tenants, including an office for St. Catherine. 169 00:21:22,670 --> 00:21:29,900 Here you see both the same uniforms as in ours, work in the Winchester trooper and the same ways of writing. 170 00:21:29,900 --> 00:21:37,880 There are two ways of writing a sign for two to sending notes both square and right, and the very distinctive click question to discuss. 171 00:21:37,880 --> 00:21:45,710 And the sign for two is sending notes beginning with a minion. And in addition, this scribes way of writing, 172 00:21:45,710 --> 00:21:51,380 of moving the news in the space between lines closely mirrors the work of scribe in the 173 00:21:51,380 --> 00:21:58,850 trooper taking care to indicate pitch directions more closely than in more old fashioned work. 174 00:21:58,850 --> 00:22:02,420 So, yeah, this is a nice example here. 175 00:22:02,420 --> 00:22:05,930 You see, he doesn't. He doesn't go up as previous scribes did. 176 00:22:05,930 --> 00:22:10,850 He comes really unrelentingly done. And here you can see. 177 00:22:10,850 --> 00:22:21,620 Oh, done. And so this is certainly the same scribe as the trooper. 178 00:22:21,620 --> 00:22:29,160 No, the entire pits of the responses for this Katherine office appear in the margins of pages 179 00:22:29,160 --> 00:22:36,000 in a holy manuscript set beside passages of the Katherine visitor to which they relate. 180 00:22:36,000 --> 00:22:48,630 And you can see the menu. Yes, there's the meaning there. 181 00:22:48,630 --> 00:22:54,060 And you can see the two forms of risk is plain in the crescent and the minimum shapes. 182 00:22:54,060 --> 00:22:57,810 I mean, again, he's had to write in a very scorched way. 183 00:22:57,810 --> 00:23:03,420 So the fact that it's a little bit less fine than the other manuscripts, I don't think is a problem. 184 00:23:03,420 --> 00:23:09,330 Next, in a manuscript now in New York, there's an office for St. Farinas. 185 00:23:09,330 --> 00:23:19,650 This sits in a book which has long been associated with St. Albans. But these are new forms and the same ways of writing them. 186 00:23:19,650 --> 00:23:23,380 And in fact, it's not complicated to explain this. 187 00:23:23,380 --> 00:23:30,270 The Bahrani's office is bound in an independently values at the back of the and Albans manuscript, 188 00:23:30,270 --> 00:23:35,550 and there's no relation at all between the notation written for the St. Aldon office, 189 00:23:35,550 --> 00:23:44,070 which is of the old English kind, as you see on the left and that of the Bahrani's Office on the Right, but just completely different. 190 00:23:44,070 --> 00:23:47,010 The remix of Berenice where in Winchester Cathedral? 191 00:23:47,010 --> 00:23:55,200 And it's not difficult to imagine that the libellous had been made at Winchester and sent to some. 192 00:23:55,200 --> 00:24:02,160 That adds up to material now bound into three separate manuscripts in addition to the trophy. 193 00:24:02,160 --> 00:24:13,560 A further example consists as in bodily 775 of additions to an existing chant Book The Little Winchester Trooper Now in Cambridge. 194 00:24:13,560 --> 00:24:21,240 The size of this book was would have forced any scribe to write in a smaller module than usual, deforming his usual duties. 195 00:24:21,240 --> 00:24:30,480 But I'm fairly sure that this is Scribe R. And there are other places in the book where the notation is also probably his. 196 00:24:30,480 --> 00:24:38,280 The two Tropas Bodley, seven, seven five and Cambridge four seven three were iBooks made at Winchester, 197 00:24:38,280 --> 00:24:44,100 the little one, probably in the ten toes the large body book, probably in the ten forties. 198 00:24:44,100 --> 00:24:50,640 Both were used well into the second half of the century and both have extensive editions. 199 00:24:50,640 --> 00:24:57,930 The main part of the one to six, which contains Paul Marius DeVita contemplative air, 200 00:24:57,930 --> 00:25:06,690 was I was copied by a scribe identified by Michael Golic as working in four other manuscripts, all probably from Winchester. 201 00:25:06,690 --> 00:25:10,650 Finally, the gathering in this and all these manuscripts, which contains a Bahrani's office, 202 00:25:10,650 --> 00:25:14,850 could have been copied at Winchester and sent to St. Albans. 203 00:25:14,850 --> 00:25:23,320 There's really no serious challenge to the hypothesis that this scribe was working at Winchester. 204 00:25:23,320 --> 00:25:30,280 Yet he was not writing the old English music script here at the top of the page. 205 00:25:30,280 --> 00:25:35,380 You see the work of one of the original TROPAS scribes and then in the middle of the page, 206 00:25:35,380 --> 00:25:40,450 an additions made at some point in the third quarter of the 11th century. 207 00:25:40,450 --> 00:25:44,830 And both of these scribes wrote the old English script. 208 00:25:44,830 --> 00:25:56,590 What appears below is annotated in a music script associated with Norman's, whether written by Norman's alternate filing describes from Norman's. 209 00:25:56,590 --> 00:26:07,870 So it comes as no surprise to discover a manuscript made in Normandy and unlikely ever to have been out of France. 210 00:26:07,870 --> 00:26:12,580 Notated in precisely the same kind of music script. 211 00:26:12,580 --> 00:26:20,230 I should say this manuscript is absolutely tiny, but this size with forgotten how many lines on the page 20 lines, but it's just these. 212 00:26:20,230 --> 00:26:27,520 This is really tiny writing, which is why it's it doesn't come up very well in the production. 213 00:26:27,520 --> 00:26:37,030 So this bravery now in the Bibliotheque Nacional de France includes literature for Saints, extrovert Fonthill and beyond. 214 00:26:37,030 --> 00:26:42,550 And there's an obvious connexion to rhythm, but no one has managed to pin down the origin of the book. 215 00:26:42,550 --> 00:26:52,550 Beyond that, it's only notated in parts. But those passages that are notated reveal the work of a trained musician since he took care to chance. 216 00:26:52,550 --> 00:26:56,500 No chance that were rare or where someone might easily make a mistake. 217 00:26:56,500 --> 00:27:02,500 It's just like the leaf richness that I talked about in the first lecture in the whole book. 218 00:27:02,500 --> 00:27:09,400 That's just one office for which food notation is provided, and that is for Saint Catherine. 219 00:27:09,400 --> 00:27:14,860 The justification for this is simply that the Katherine office was a recent composition. 220 00:27:14,860 --> 00:27:24,360 This kind of written record would have supported its fixing in the memory of singers for whom it was new. 221 00:27:24,360 --> 00:27:35,430 At this point, the most important conclusion to be drawn is that scrollbar undescribed of the new minister missle, Le Havre 330, 222 00:27:35,430 --> 00:27:45,240 were trained in the same script to him as the scribe who wrote Notation in the prudery and that takes us directly to war room. 223 00:27:45,240 --> 00:27:55,110 And the year turns 70. The date of the appointment of Wakelin accountant of the Cathedral of Room as Bishop of Winchester in 224 00:27:55,110 --> 00:28:00,990 the Line-Up of Winchester manuscripts annotated by scribe and the new Minster Missal Music scribe. 225 00:28:00,990 --> 00:28:10,140 We are apparently looking at the work of known musicians who came with Wakelin from that part of Normandy. 226 00:28:10,140 --> 00:28:18,540 The hypothesis that we can see the work of Norman Music scribes in these Winchester manuscripts is strongly supported 227 00:28:18,540 --> 00:28:27,840 by the identification by Michael McCulloch of one of the RE1 preachers tech scribes in a series of English books. 228 00:28:27,840 --> 00:28:32,310 In the bravery, this scribe copied folios one to three each. 229 00:28:32,310 --> 00:28:44,160 But he also copied the Katherine Vitae in Hartley 12 and the contents page in a Trinity College manuscript and others to which I shall return. 230 00:28:44,160 --> 00:28:51,290 The room briefly represents describes early work and can be placed before 10 17. 231 00:28:51,290 --> 00:28:58,230 Now you can imagine that Michael and I have spent a fair amount of time working out the relationship between the music 232 00:28:58,230 --> 00:29:08,190 scribe that I have named our for rhythm and the text scribe he has traced in the Norman bravery under the English books, 233 00:29:08,190 --> 00:29:13,530 even though the music scribe often rotates passages written by other tech scribes. 234 00:29:13,530 --> 00:29:19,500 There are enough places where the same text hunt and the same music can't appear together 235 00:29:19,500 --> 00:29:26,070 for it to become clear to us that this is one and the same person in a publication, 236 00:29:26,070 --> 00:29:32,970 I would dedicate space to demonstrating that. But I think for today, you've already had to sift through enough Palio, Griffey, 237 00:29:32,970 --> 00:29:41,630 and I want to go on and explore the musical practise that this scribe brought to Winchester. 238 00:29:41,630 --> 00:29:49,760 The first gathering in Fort Lee 775 was added long after the main manuscript had been completed. 239 00:29:49,760 --> 00:29:55,280 The old opening page on the right hand side about as grand as it ever gets in a chant 240 00:29:55,280 --> 00:30:03,020 book was hidden behind at least seven new folios on these new in this new gathering, 241 00:30:03,020 --> 00:30:11,150 a new repertory of ordinary tropes with 17 for the curious and three for the Gloria was copied. 242 00:30:11,150 --> 00:30:18,590 The new beginning of the book was on the new folio to Richter with the trope Take restÉ Suplexes, 243 00:30:18,590 --> 00:30:22,790 which was a traditional Norman beginning to a curious collection. 244 00:30:22,790 --> 00:30:27,740 And on the left, you simply see, I mean, it's a really bad picture of a fragment of a Norman troop, 245 00:30:27,740 --> 00:30:36,800 of which is in the British Library now and the individual melodic elements of this tropes set. 246 00:30:36,800 --> 00:30:47,210 We're already known at Winchester. But in a different text version which began three-State freedom to what I've tried to do here is using 247 00:30:47,210 --> 00:30:59,200 colour to show you how the how the old and the new versions relate because that melody gets texted. 248 00:30:59,200 --> 00:31:09,210 That's the tax inversion, so if you just follow through the colour, you'll see which which passages on the left relate to which passages on the right. 249 00:31:09,210 --> 00:31:19,680 Perhaps the most notable difference between the newer and the older versions is the absence of the melodramatic kiri and crusty invocations. 250 00:31:19,680 --> 00:31:25,680 The Norman version is texted throughout, with the base text represented simply by nine phrases, 251 00:31:25,680 --> 00:31:30,200 each ending Ellie's on the implication of this way of writing I. 252 00:31:30,200 --> 00:31:38,760 The truth is that the untested theory and christie invocations between text and elements had been eliminated from performance, 253 00:31:38,760 --> 00:31:43,980 and I think that's the view of David Heidi, who knows more about this repertoire than anybody else. 254 00:31:43,980 --> 00:31:49,140 I mean, it's quite clear that you could at the end of a texted version, stop and sing that melody. 255 00:31:49,140 --> 00:31:57,570 But I think David has arguments for the just being left out in the late, 11th and 12th centuries. 256 00:31:57,570 --> 00:32:09,210 Take Christie's was known all over Europe. The next career theory come practicum was also quite widely known, but like Christie, 257 00:32:09,210 --> 00:32:13,290 had not been part of the pre conquest repertory preserved in the winter. 258 00:32:13,290 --> 00:32:22,290 So trophies. This pattern of lack of presence in the pre conquest repertory but wide distribution in Post Conquest England, 259 00:32:22,290 --> 00:32:28,440 as well as in books, is common to much of what follows. 260 00:32:28,440 --> 00:32:35,100 Most telling, however, are the key areas which are not found in many other books at all. 261 00:32:35,100 --> 00:32:42,660 As the dissemination narrows, it becomes restricted to post Conquest England, Normandy and Normans Sicily, 262 00:32:42,660 --> 00:32:54,240 as is the case for AKPATA ex-Chelsea or as for Kiri Kiri Guinea to Rex restricted to just one other source. 263 00:32:54,240 --> 00:33:02,250 In this case, a fragment of a Norman trooper or the texture may simply be an unequal. 264 00:33:02,250 --> 00:33:12,870 A new text composed for a melody already known. So this is the old part of the trope, and this is a new text for that melody. 265 00:33:12,870 --> 00:33:19,320 Even though the Gloria repertory is smaller, consisting of only three tropes says these follow the same pattern. 266 00:33:19,320 --> 00:33:27,630 All are disseminated in Post Conquest, England and or Normandy, but not before the conquest. 267 00:33:27,630 --> 00:33:36,420 No, let's just have a quick look at hands involved in copying this new repertory of ordinary tropes. 268 00:33:36,420 --> 00:33:40,920 Leaving aside the additions on the First Folio and the Alleluia at the end, 269 00:33:40,920 --> 00:33:47,490 all of which post-state the rest of the gathering, there were seven different text scribes. 270 00:33:47,490 --> 00:33:57,960 The First D had the largest task, while the other tech scribes copied only one or two troupes each. 271 00:33:57,960 --> 00:34:09,420 Then there were four music scribes of whom are was the first copying from folio to rector through folios 272 00:34:09,420 --> 00:34:19,120 three five six and ending on the current for their MSbAnd at the point where are stopped on for rector. 273 00:34:19,120 --> 00:34:28,440 So there's a clear hiatus, probably the next music scribe who was certainly an Englishman because he wrote English notation. 274 00:34:28,440 --> 00:34:41,320 There. He didn't understand how to write a melody, which he already knew in relation to an entirely new text, and he just stopped. 275 00:34:41,320 --> 00:34:47,140 Then the last four troops on this first suit. 276 00:34:47,140 --> 00:34:56,110 These are all written out by these are notated by two scribes in a notation which would be properly described as Anglo Continental, 277 00:34:56,110 --> 00:34:59,320 suggesting that these were younger scribes than the preceding one. 278 00:34:59,320 --> 00:35:01,180 They're basically writing an English notation, 279 00:35:01,180 --> 00:35:11,020 but they have absorbed some behaviours at the Norman notation and then on the next trip to the colonial troops are started work again. 280 00:35:11,020 --> 00:35:24,870 So here you see not only his inimitable notating hand, but also that he corrected the work of tech scribes. 281 00:35:24,870 --> 00:35:36,970 As he entered the notation, so in this gathering, a total of the total 12 pages used when first prepared scribe are notated 10. 282 00:35:36,970 --> 00:35:41,740 Now, let me summarise these observations on the preparation of this opening gathering. 283 00:35:41,740 --> 00:35:45,460 There's a large number of tech scribes are himself correct. 284 00:35:45,460 --> 00:35:55,000 Their work are undertakes extensive musical work and other music scribes undertake very little assembling this evidence. 285 00:35:55,000 --> 00:36:02,590 It's difficult to envisage the position of scribes or as anything other than being in charge. 286 00:36:02,590 --> 00:36:11,650 And what he set out to achieve in the first gathering is a complete refashioning of the repertory of career troops to be sung at Winchester. 287 00:36:11,650 --> 00:36:15,400 Many chose not previously knowing that the cathedral were introduced, 288 00:36:15,400 --> 00:36:21,850 and there was also a new composition mainly of neutral text to previously unknown melodies in the 289 00:36:21,850 --> 00:36:28,460 concentration on text rather than on textured musical expression and the habitual removal of messages, 290 00:36:28,460 --> 00:36:38,960 muttered Kiri and Christie invocations. He was also imposing a new way of performing ordinary tropes. 291 00:36:38,960 --> 00:36:45,170 There's one other champ repertory in the body trooper with which the incoming Normans were much engaged. 292 00:36:45,170 --> 00:36:51,230 This was the sequences which take up 60 out of 190 folios in the Big Trooper. 293 00:36:51,230 --> 00:36:53,780 I don't mean the Norman sequence roughly the whole sequence. 294 00:36:53,780 --> 00:36:58,760 Jeopardy shepherding the old bit, something you've got to take up a third of the manuscript. 295 00:36:58,760 --> 00:37:05,930 This repertory was subjected to two separate campaigns of alteration, so first through the addition of new pieces. 296 00:37:05,930 --> 00:37:11,120 And I've shown you here on the left, a new piece which was notated by, well, 297 00:37:11,120 --> 00:37:18,170 the text and the music were added by this scribe in honour of Saint Benedict. 298 00:37:18,170 --> 00:37:24,020 And then the other campaign of alteration I was on the right was a process of notation on 299 00:37:24,020 --> 00:37:30,650 lines where the old English notation has been erased and replaced by names and lines. 300 00:37:30,650 --> 00:37:34,850 The first campaign of extension probably dates from the 70s to 80s, 301 00:37:34,850 --> 00:37:40,400 and the re notation of older pieces must belong in the years after eleven hundred 302 00:37:40,400 --> 00:37:45,440 before talking about our work with sequences with which I shall and the lecture. 303 00:37:45,440 --> 00:37:50,720 Let me briefly go back to the Saints offices of the Barinas office. 304 00:37:50,720 --> 00:37:57,350 We know little and there's no other source. It's completely on transcribe it all. 305 00:37:57,350 --> 00:38:01,820 But it's worth noting that this office includes the response suite based on a miracle, 306 00:38:01,820 --> 00:38:08,270 which is not part of Beats Count in the third book of the ecclesiastical history, 307 00:38:08,270 --> 00:38:14,930 narrating the restoration of the site and voice of a woman previously blind and dumb. 308 00:38:14,930 --> 00:38:28,440 That miracle appears for the first time in extant texts in a veto which has been dated by Michael Roughage and Rosalind Love in the late 11th century. 309 00:38:28,440 --> 00:38:31,380 For the Katherine office, copied body one, two six, 310 00:38:31,380 --> 00:38:41,670 there's more to say since there's evidence of a great deal of activity around this Saints coat, both at Winchester and on the European continent. 311 00:38:41,670 --> 00:38:48,960 Study of the various offices composed for Katherine is being undertaken by James Plesner. 312 00:38:48,960 --> 00:38:55,740 Today, I offer plenty of graphical observations without comment on content is a complicated story. 313 00:38:55,740 --> 00:39:01,890 Lucina has argued that the office written out and bodily 5:59 was composed in England. 314 00:39:01,890 --> 00:39:05,070 Holography can neither support nor dispute this, 315 00:39:05,070 --> 00:39:15,140 but it's certain that the texts in the Bodley office are entirely different from that of two other families of Katherine offices. 316 00:39:15,140 --> 00:39:18,500 These are his three families for one of those families, 317 00:39:18,500 --> 00:39:23,840 which is only known and for many manuscripts, the earliest extant source is a Norman Sicilian book. 318 00:39:23,840 --> 00:39:33,890 It's the second family. And then we have another family, which is the which one of my going to talk about first. 319 00:39:33,890 --> 00:39:37,790 And yeah, the one. The bottom, the third family, Norman German. 320 00:39:37,790 --> 00:39:47,420 That is an office which is in the and bravery that we've looked at and is thought to have been composed by a German born monk called Inad, 321 00:39:47,420 --> 00:39:56,480 who was at one time a member of the community of St Catherine Dumont, which is a Benedictine monastery close to Rome. 322 00:39:56,480 --> 00:40:02,300 And then there's the version that said one two six, which is actually the most widely transmitted. 323 00:40:02,300 --> 00:40:12,030 At this point, it's worth remembering that my scribe ah was trained in music, writing in the same place as the new teacher of the Roman bravery. 324 00:40:12,030 --> 00:40:21,690 Let me go back aside. So from these one and three, you've got the two manuscripts where two scribes from the same place. 325 00:40:21,690 --> 00:40:26,730 That suggests that we might consider the Katherine office copied in bodily one six 326 00:40:26,730 --> 00:40:31,320 as having been composed by someone who knew the office copied in the pre theory. 327 00:40:31,320 --> 00:40:39,960 But for whatever reasons, wanted to make a new one. That act of composition could have been undertaken in Normandy or in England. 328 00:40:39,960 --> 00:40:46,350 And of course, it would be going much too far to link this composition directly with Scribble. 329 00:40:46,350 --> 00:40:55,240 Nevertheless, there is suggestive evidence in other Winchester manuscripts which contained current office material. 330 00:40:55,240 --> 00:41:02,100 We've already seen the response we enjoy fits in the margins of the Catherine Vitae in Hardy 12. 331 00:41:02,100 --> 00:41:10,080 It was scribes who copied the vitae itself and the series of 11 response oriented bits in the margins. 332 00:41:10,080 --> 00:41:14,220 Each of those interprets was set beside the relevant part of the life. 333 00:41:14,220 --> 00:41:22,920 Indeed, you can easily see the organisation of the text into numbered passages for readings each passage followed by a response three. 334 00:41:22,920 --> 00:41:31,800 This was all intended for a monastic night office in which there were 12 readings and 12 responses. 335 00:41:31,800 --> 00:41:38,970 The number of responses available in the office copied in Bodley, one two six was only nine in Harlee 12. 336 00:41:38,970 --> 00:41:47,520 It was evidently intended to make this up to 12 to make it monastic, although the 12th inch of it was never ordered. 337 00:41:47,520 --> 00:41:51,660 The expansion was achieved using two pieces from the common of virgins. 338 00:41:51,660 --> 00:41:57,120 That's Food, Sakura and Regular Mondays, so you can see them just in your one to three. 339 00:41:57,120 --> 00:42:01,320 You need an extra one five six seven. This is a new this is a newly come. 340 00:42:01,320 --> 00:42:10,030 Nobody knows what it is, and this is also from the common. 341 00:42:10,030 --> 00:42:18,910 So it looks as if Scribe are set out to design a new monastic form of the Katherine office he had already notated in Bodley one two six. 342 00:42:18,910 --> 00:42:29,260 Now I should say here that the fact that the office copied in bodley one is secular rather than monastic is not at all problematic. 343 00:42:29,260 --> 00:42:39,190 That very quality might even help to date the copy for we know that Wakelin arriving in Winchester in 70 as the newly appointed Bishop, 344 00:42:39,190 --> 00:42:44,620 attempted to supplant the monastic rule with a secular one and was only prevented 345 00:42:44,620 --> 00:42:50,050 by Len Frank from achieving this on these Winchester Catherine offices, 346 00:42:50,050 --> 00:42:52,210 the remains much more work to be done. 347 00:42:52,210 --> 00:42:59,920 For now, I just hope to demonstrate its scribe US involvement in designing liturgy in this case for the celebration of a Saints feast. 348 00:42:59,920 --> 00:43:09,940 And here, as in the office for Nicholas in the Worcester Passion, will we catch a glimpse of the process of redesigning liturgy? 349 00:43:09,940 --> 00:43:17,470 It's with a new composition for a Winchester Saint that I'm going to finish the Norman scribe to whom this lecture has 350 00:43:17,470 --> 00:43:25,900 been dedicated notated sequences in honour of Saints sweeping and awful world at the end of least seven seven five, 351 00:43:25,900 --> 00:43:28,960 and he may well have composed them. 352 00:43:28,960 --> 00:43:37,600 His task on these pages was not that of a simple new teacher working from an exemplar and completing the work of a tech scribe instead. 353 00:43:37,600 --> 00:43:42,520 As for the ordinary tropes he had notated at the beginning of the Codex. 354 00:43:42,520 --> 00:43:52,210 His task was to fit an already existing melody used as the basis of other sequences to a newly composed text. 355 00:43:52,210 --> 00:44:00,370 That explains why such a competent tech scribe often did not write up the text, but noted the work of other tech scribes. 356 00:44:00,370 --> 00:44:05,980 Neither did the scribes he copied the text for this, with an arsenal of sequences, appears anywhere else in the Codex, 357 00:44:05,980 --> 00:44:16,550 and it's likely that they were young scribes being instructed by R rather than the other way around. 358 00:44:16,550 --> 00:44:22,640 So not Ecclesia Martyr Dakota in honour of Saint Sweden, 359 00:44:22,640 --> 00:44:29,540 takes its opening words from the sequence con. Ecclesia martyr Elzbieta composed by not Kabbalah, 360 00:44:29,540 --> 00:44:38,750 but is a single both sequences set the singing the praises by the Mother Church as their central theme and 361 00:44:38,750 --> 00:44:46,220 gradually place the sound of that phrase into the specific locality in which the sequence is being sung. 362 00:44:46,220 --> 00:44:53,110 Both also invoked the sound of angels singing, although not because sequence was in circulation in Normandy. 363 00:44:53,110 --> 00:45:02,730 There's no extant English source, and I imagine that the Norman author of the text knew it from his earlier Norman education. 364 00:45:02,730 --> 00:45:12,660 It's it's it was it's a very clever imitation, not GO had sell at Ecclesia to celebrate the day of dedication of a church. 365 00:45:12,660 --> 00:45:21,420 The relevance of that link to dedication and that's what lies behind the choice of intricate for the sweeping sequence is easily understood. 366 00:45:21,420 --> 00:45:29,910 Since the time of discovery of Sweden's relics in 1968 and also whose translation of those relics in 1971, 367 00:45:29,910 --> 00:45:34,770 Sweden had been the most celebrated saint of Winchester, 368 00:45:34,770 --> 00:45:45,060 King Edgar had commissioned a splendid and lavish reliquary said to have housed his bones until it was destroyed in the late 15th century. 369 00:45:45,060 --> 00:45:52,440 In the late 10th century, a massive double up. Best work and was built to hold his shrine. 370 00:45:52,440 --> 00:46:03,000 A century later, the new Norman Bishop Wakeman elected to build a new cathedral begun in 10, 79 to 80 and consecrated into 193. 371 00:46:03,000 --> 00:46:08,340 This new building forced the destruction of the Old Shrine of Sweden. 372 00:46:08,340 --> 00:46:16,500 At this time, this with an reliquary was moved into the new building. Such destruction would have had to be justified. 373 00:46:16,500 --> 00:46:22,440 Hy Bishop Wakelin himself handled. This re translation of the sweeping relics remains unrecorded. 374 00:46:22,440 --> 00:46:32,670 At least I'm not aware of anything about it. Any record of it saw that ecclesia martyred Dakota may go some way to filling that gap, 375 00:46:32,670 --> 00:46:37,320 since it speaks directly of the burial place of Sweden's bones. 376 00:46:37,320 --> 00:46:45,840 It might be imagined that this sequence was first sung on the occasion of that translation into the new Norman Cathedral. 377 00:46:45,840 --> 00:46:50,460 Michael Savage noted the clear and limpid expression of this text. 378 00:46:50,460 --> 00:47:00,450 Quite unlike earlier Anglo-Saxon sequences, the new text was made to be sung to the melody Cunningham de Minaur, 379 00:47:00,450 --> 00:47:07,170 which was already present in the Old Winchester Repertory, sung with the text Magnus Days on the Feast of St. Stephen. 380 00:47:07,170 --> 00:47:12,150 And I thought since we had talked several times in previous lectures about how do you transcribe these names? 381 00:47:12,150 --> 00:47:19,410 In fact, in this case, it was relatively easy because we have notation online, so that's the basis of the transcription. 382 00:47:19,410 --> 00:47:27,030 And Benedict is going to sing it now, and I think it's the first time since the 11th century that this sequence has been sung in front of that book. 383 00:47:27,030 --> 00:47:44,910 So. Oh, all. 384 00:47:44,910 --> 00:48:00,410 He must have gone wrong. No, I was hired to console and I didn't want her to on a loaded gun. 385 00:48:00,410 --> 00:48:08,580 Oh no. Carlos, I want you on personal call. 386 00:48:08,580 --> 00:48:20,300 This was she had you calling slightly worse last night. 387 00:48:20,300 --> 00:48:38,060 Here you go. You swear to God to lose this child, you know, and you are always going to see, 388 00:48:38,060 --> 00:48:52,570 I would love you don't know what to use to have sex with guys and all these boys are gone. 389 00:48:52,570 --> 00:49:06,240 So, you know, you sometimes cause more harm and a whole lot more on her or some. 390 00:49:06,240 --> 00:49:17,650 So I don't see any coverage of either ads or harms was even reported that I learnt 391 00:49:17,650 --> 00:49:29,370 what was the man who many horse men who saw the AC Milan hall in her room, 392 00:49:29,370 --> 00:49:51,810 not on one garage wall. I mean, no one, as you could see it was all part her past was last year old Lawrence Cruz was had with a lot of her. 393 00:49:51,810 --> 00:50:16,650 You know, I see, um, he was in the audience, um, natural world and was kind of like, Ha, who this man was not was not just yours, one person. 394 00:50:16,650 --> 00:50:22,680 Oh, I see. Oh, well, he usually is. 395 00:50:22,680 --> 00:50:27,500 Not he is. There was a time, not to mention the two. 396 00:50:27,500 --> 00:50:50,010 You'd see these signs on to the lawn of hers on the last call, and you can't watch law. 397 00:50:50,010 --> 00:51:01,740 Wonderful. Thank you, Benedict. But it seems to me now that the Bodley seven seven five trooper long thought of as 398 00:51:01,740 --> 00:51:07,500 a treasurer of Anglo-Saxon chant practise and rather mutilated by laser scribes, 399 00:51:07,500 --> 00:51:15,540 might be reconsidered as a significant witness to the arrival of Norman musicians on this side of the channel. 400 00:51:15,540 --> 00:51:19,020 One. Norman probably from room. 401 00:51:19,020 --> 00:51:28,920 And I think we have to call him a cantor was certainly the agent of significant change in musical practise at the Cathedral of Winchester, 402 00:51:28,920 --> 00:51:34,470 bringing new repertory as well as new ways of singing old repertory. 403 00:51:34,470 --> 00:51:43,470 Sometimes he approached his task as not simply imposing normal practise, but rather making things such as a Catherine office and you. 404 00:51:43,470 --> 00:51:52,440 And he certainly used his creative skills to promote the cults of English saints, including underworld, Uranus and Sweden. 405 00:51:52,440 --> 00:51:55,590 This all demonstrates has many historians of Post Conquest. 406 00:51:55,590 --> 00:52:03,330 England have argued before that the binary proposition assimilation or change is hopelessly simplistic. 407 00:52:03,330 --> 00:52:07,920 This one Norman musician was interested in ordinary tropes. 408 00:52:07,920 --> 00:52:16,050 Well, it looks very much as if he was entirely uninterested in the old Winchester proper troops where he made no amendments. 409 00:52:16,050 --> 00:52:24,930 That's the most obvious case of a change of direction. Yet amplification of the sequence repertory seems to have been already underway 410 00:52:24,930 --> 00:52:31,830 at Winchester before he arrived and before he got his hands on the book. 411 00:52:31,830 --> 00:52:40,620 Many of the pieces added to the old repertory, inwardly seven seven five in the second half of the 11th century, were written out by English fans. 412 00:52:40,620 --> 00:52:48,720 Finally, Saints offices were hardly missing from pre conquest English liturgies in late 11th century Winchester. 413 00:52:48,720 --> 00:52:52,350 We just find more newly composed offices. 414 00:52:52,350 --> 00:52:59,970 Thus, much of this Norman musician's work is better described as development of previous practise than change, 415 00:52:59,970 --> 00:53:06,420 even if it bewildered some of the English tech scribes with whom he worked. 416 00:53:06,420 --> 00:53:15,930 Equally, if I shift from repertory to ways of writing, significant change was led by Norman's arriving in England post conquest, 417 00:53:15,930 --> 00:53:18,420 as demonstrated in the fourth lecture, 418 00:53:18,420 --> 00:53:26,940 but it was well understood and easily adopted by English scribes intended to privilege total grammar over detail of delivery. 419 00:53:26,940 --> 00:53:34,110 These new ways of writing music were absorbed into the practise of different institutions at different times. 420 00:53:34,110 --> 00:53:40,440 Working out the further details of the chronology of change at those institutions is an obvious 421 00:53:40,440 --> 00:53:47,820 next step for anyone who pursues study in the field of early mediaeval English music manuscripts. 422 00:53:47,820 --> 00:53:55,350 But that's probably for someone else to achieve because my lectures are almost over. 423 00:53:55,350 --> 00:53:59,370 There's an important postscript to this long study of the work of Scribe. 424 00:53:59,370 --> 00:54:07,560 Ah, before I say more of that, I want again to thank Richard OFMDFM and the loyal trustees for their invitation to give 425 00:54:07,560 --> 00:54:14,160 these lectures and Martin Kaufmann for his unceasing support and those many other librarians, 426 00:54:14,160 --> 00:54:24,240 colleagues and friends here and in distant lands who've been patient and listening and helpful in responding to my questions and requests. 427 00:54:24,240 --> 00:54:30,240 And you will all have seen from one lecture to the next just how much Michael Glick's extensive knowledge 428 00:54:30,240 --> 00:54:37,590 of English text hands in the period I've discussed has provided a foundation for my musical analysis. 429 00:54:37,590 --> 00:54:46,860 That's an non-repayable debt, which allows me to end finally with an identification which has emerged from my 430 00:54:46,860 --> 00:54:57,970 collaboration with Michael and for which the credit certainly belongs to Michael. 431 00:54:57,970 --> 00:55:01,450 For my musical scribe, ah, a Norman cantor, 432 00:55:01,450 --> 00:55:17,246 probably from a room is none other than the main scribe of the Great Doomsday Book, and that really is the end.