Re: borrowed music

[Paul A. Unger <paul.unger...>]

On Friday, May 04, 2001 22:41:55 Joel Bresler wrote:
>I don't believe that the (Benedictine) neumes Ovadiah used are the same 
>thing as the notation used for Gregorian chant. 
They are indeed. 
The square Vatican neumes are more widely known, but there are other variants, 
the most important of which are:
Paleo-Frankish neumes
Breton neumes
Metz and Klosterneuburg neumes
Aquitain neumes
Spanish neumes, with North Spanish and South Spanish variants
Middle French neumes
North Italian neumes, with the following variants: Novalese, Milan, Bobbio, 
Nonantola I, Nonantola II, Bologna
Middle Italian neumes
South Italian neumes
German neumes
"Gothic" (Germany and Metz) neumes
Czech neumes
Hungarian neumes
Ovadiah used the South Italian neumes. 
A tiny bibliography: 
----------------------------
Bescond, A.-J.: Le chant grégorien. Paris, 1972.
Corbin, S.: L'église à la conquête de sa musique. Paris, 1960.
Ferretti, P.: Estetica gregoriana. Rome, 1934.
Idelsohn, A. C.: Hebräisch-orientalischer Melodienschatz I-IX. Leipzig, 
1914-1932.
MGG - Die Musik in Geschichte und Gegewart. Encyclopaedia. 1-16. Kassel, 
1949-1979, s.v. "gregorian".
Smits van Waesberghe, J.: Musikerziehung (Musikgeschichte in Bilder III/3). 
Leipzig. 1969.
Stäblein, B.: Monumenta Monodica Medii Aevi. - I., Hymnen. Kassel, 1956.
Wagner, P.: Einführung in die gregorianischen Melodien I-III. Leipzig, 
1901-1921.
Werner, E.: The Sacred Bridge. London-New York, 1959.
Wiora, W.: Europäischer Volksgesang. Köln, 1952.
Wiora, W.: Europäische Volksmusik und abendländische Tonkunst. Kassel, 1957.
Wagner, P.: Neumenkunde. Leipzig, 1912.
Wagner, P.: School en Muziek in de Middeleeuwen. Amsterdam, 1949.
Ursprung, O.: Die katholische Kirchenmusik. Potsdam, 1931.

>One item from the Cairo Genizah was a poem written out in Hebrew.
>But there were other marks as well, which I recognized as music
>notation. It turned out to be notation for Gregorian Chant.

Ovadiah's piyyut-manuscripts were found in the geniza of Fustat (Cairo). For a 
bibliography, see:
Sendrey, A.: Bibliography of Jewish Music. New York, 1951. 9. No. 139;
Shaked, S.: A Tentative Bibliography of Geniza Documents. Paris-The Hague, 1964.
Schirmann, J.: Shirim chadashim min hageniza. (no bibliographic data available)
Catalogue of Hebrew Manuscripts in the Collection of Elkan Nathan Adler. 
Cambridge, 1921, 43.
Friedlander, A. M.: JRAS. Cent. Suppl. 1924, 100.
Werner, E.: PAAJR 16 (1956/7), 226-227.
Kahle, P.E.: Die Kairoer Genisa. Berlin, 1962. 3.; 
Avenary, H.: "Eine neumisch Pismon-Melodie ist in Arch. einer Alt-Kairoer 
Synagoge geblieben", in: MGG. VII. 1958. 224-225.
Scheiber, S. in: Acta Orient. Hung. 4 (1954) 271-296.
Scheiber, S. in: Acta Orient. Hung. 17 (1964), 361-33;
Scheiber, S.: Obadja normann prozelyta, az elso" he'ber dallam lejegyzo"je, in: 
Antik Tanulmanyok XIII (1966), 160-166.
Scheiber, S.: Der normannische Proselyt Obadja, der Aufzeichner der ersten 
hebräischen Melodie, in: Studia Musicologica. VIII (1966), 173-188.
The text of the piyyut was published by Allony, N. in Sinai 57 (1965) 43-55.
>>At that time,
>>(early 12th Century)
>>Christians knew no Hebrew and Jews knew no Gregorian Chant.
>This seems a pretty broad statement. Can any other listers weigh in on 
>whether this were indeed the case?

In one of his very fine articles, Prof. Scheiber (z"l) wrote:
"The Jews did not come to know the neumes of the Catholic Church. They did not 
need them, for they used another sort of neumes, i.e. the neginot. Not to 
mention the fact that Jews did not even think of getting down on paper the 
liturgical songs they knew by heart..."
See also:  Holmes, U. T.: Daily Living in the Twelfth Century. Madison, 1952.
 Kol tuv.
        Paul A. Unger