This comprehensive study of musical notation from early medieval Europe provides a crucial new foundational model for understanding later Western notations.

Musical notation has not always existed: in the West, musical traditions have often depended on transmission from mouth to ear, and ear to mouth. Although the Ancient Greeks had a form of musical notation, it was not passed on to the medieval Latin West. This comprehensive study investigates the breadth of use of musical notation in Carolingian Europe, including many examples previously unknown in studies of notation, to deliver a crucial foundational model for the understanding of later Western notations. An overview of the study of neumatic notations from the French monastic scholar Dom Jean Mabillon (1632–1707) up to the present day precedes an examination of the function and potential of writing in support of a musical practice which continued to depend on trained memory. Later chapters examine passages of notation to reveal those ways in which scripts were shaped by contemporary rationalizations of musical sound. Finally, the new scripts are situated in the cultural and social contexts in which they emerged.

Musical notation has not always existed: in the West, musical traditions have often depended on transmission from mouth to ear, and ear to mouth. Although the Ancient Greeks had a form of musical notation, it was not passed on to the medieval Latin West. This comprehensive study investigates the breadth of use of musical notation in Carolingian Europe, including many examples previously unknown in studies of notation, to deliver a crucial foundational model for the understanding of later Western notations. An overview of the study of neumatic notations from the French monastic scholar Dom Jean Mabillon (1632-1707) up to the present day precedes an examination of the function and potential of writing in support of a musical practice which continued to depend on trained memory. Later chapters examine passages of notation to reveal those ways in which scripts were shaped by contemporary rationalizations of musical sound. Finally, the new scripts are situated in the cultural and social contexts in which they emerged.--

The story of Bodo begins in the ninth century around the time of the death of Charlemagne in 814. It centres on a young Aleman aristocrat and his conversion to Judaism in 838, followed by his flight to the Muslim world of Al-Andalus. His apostasy constitutes an arresting footnote in the history of the Carolingian period, his change of faith viewed as a shocking episode attributed by some to an overly lax policy towards Judaism and its powerful merchants. Another factor could be ascribed to the study of Judaism and its links with Christianity, which was a feature of the time. Bodo moved from a monastery on the Rhine, where he went as a small boy, to the imperial court, where he was now a gifted young scholar groomed for a top position. His unexpected abandonment of Christianity challenged his background and learning, and this was seen as a rebuke of the court network to which he belonged. Bodo left behind a growing conflict over succession between the emperor, Louis the Pious, and his sons that culminated in a civil war following the emperor’s death. As a result, the Frankish Empire was partitioned into three separate kingdoms in 843. Meanwhile in Spain, two years after fleeing the Frankish world, Bodo debated the merits of Judaism and Christianity in Córdoba with Albarus Paulus, a beleaguered Christian in the Muslim world, not only airing criticisms of Christianity, but also some failings of the Carolingian imperial court. In 847 he is mentioned in the court annals as stirring up opposition in Islamic Spain against Christians, asserting that they should be forced to convert or be executed. This reported incident may be linked to a significant number of self-imposed deaths by Christians who, feeling increasingly persecuted, sought to provoke Islam by denouncing the Prophet and bringing about their execution. The experience of Bodo’s apostasy was far from unique: other men and women who renounced Christianity for Judaism are also examined in conversion narratives recorded in the following two centuries. These episodes offer an illuminating study of religious changes taking place in Europe and the East where Christianity, Islam and Judaism competed in the ninth century and beyond. Bodo’s experience can be viewed as part of a wider phenomenon depicting men and women who travelled as pilgrims, refugees or converts seeking to find a home and escape persecution because of their beliefs.

The series of beautiful sacramentaries made at Saint-Amand in the later ninth century offer us unique insight into an early medieval scriptorium at work. These manuscripts contain principally the prayer texts for the celebration of the Mass, a ceremony which stood at the centre of monastic life in this period. They display how this largely neglected genre discloses creativity and initiative on the part of the monks of Saint-Amand, who re-organised and re-composed this especially versatile literature. They made their books uniquely comprehensive and full of insight into how the mass liturgy was re-made at a critical period in its development. This innovative study makes these sources accessible for the first time. In-depth study of script, decoration, and content enables a new appreciation of the context in which the deluxe Saint-Amand manuscripts were produced. It foregrounds ecclesiastical patronage, the political and intellectual dynamics at the waning of Carolingian power, and the intensive collaboration of scribes, artists, and liturgical composers, as well as the unique ways liturgical manuscripts can inform our understanding of medieval life and thought.

The main function of western musical notation is incidental: it prescribes and records sound. But during the fourteenth and fifteenth centuries, notation began to take on an aesthetic life all its own. In the early fifteenth century, a musician might be asked to sing a line slower, faster, or starting on a different pitch than what is written. By the end of the century composers had begun tasking singers with solving elaborate puzzles to produce sounds whose relationship to the written notes is anything but obvious. These instructions, which appear by turns unnecessary and confounding, challenge traditional conceptions of music writing that understand notation as an incidental consequence of the desire to record sound. This book explores innovations in late-medieval music writing as well as how modern scholarship on notation has informedsometimes erroneouslyideas about the premodern era. Drawing on both musical and music-theoretical evidence, this book reframes our understanding of late-medieval musical notation as a system that was innovative, cutting-edge, and dynamicone that could be used to generate music, not just preserve it.

Drawing on a wide context of bookmaking, this sweeping study traces fundamental changes in books made to support musical practice during the Carolingian Renaissance. During the late eighth and ninth centuries, there were dramatic changes in the way European medieval scribes made books for singers, moving from heavy reliance on unwritten knowledge to the introduction of musical notation into manuscripts. Well-made liturgical books were vital to the success of the Carolingian fight for Christian salvation: these were the basis for carrying out worship correctly, rendering it most effective in petitions to the Christian God. In Sounding the Word of God, Susan Rankin explores Carolingian concern with the expression and control of sound in writing—discernible through instructions for readers and singers visible in liturgical books. Her central focus is on books made for singers, including those made for priests. The emergence of musical notations for ecclesiastical chant and of books designed to accommodate those notations, Rankin concludes, are important aspects of the impact of Carolingian reforming zeal on material culture. The book has three sections. Part 1 considers late antique and early medieval texts, which deal with the value of singing and its necessary regulation. Part 2 describes and investigates techniques used by Carolingian scribes to provide instructions for readers and singers. The extant books themselves are the focus of part 3. Rankin’s analysis of over two hundred manuscripts and extensive supporting images represents the work of a scholar who has spent a lifetime with the sources; her explication of the images, particularly those of the earlier manuscripts, changes the way in which musicologists and liturgical scholars will view the images. Indeed, it will change the way in which they approach the unfolding history of chant and liturgy in the Carolingian period.