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SUMMARY:Romanesque Song and the Abbey of Moissac\, c. 1050-c.1200 - Sam Ba
 rrett (Professor of Early Medieval Music\, University of Cambridge)
DTSTART:20260318T170000Z
DTEND:20260318T180000Z
UID:TALK243481@talks.cam.ac.uk
CONTACT:Lindsay Friday
DESCRIPTION:The Abbey of Moissac\, standing at the confluence of the Garon
 ne and Tarn in southwestern France\, is celebrated today for its Romanesqu
 e sculpture. High above the door to the abbey church\, the twelfth-century
  tympanum depicts the twenty-four elders of the Apocalpyse\, their voices 
 eternally suspended in a canticum novum (new song) before the enthroned La
 mb. This sculpted vision of heavenly liturgy offers us a way into reconsid
 ering the history of medieval Latin song in this period. By examining a ne
 wly identified corpus of strophic recorded around the edges of manuscripts
  copied at Moissac\, this paper first expands the material base of what mu
 sic historians have come to know as the “New Song”. Reports of Moissac
 -trained singers spreading Gregorian Reforms in the Iberian Peninsula then
  extend our appreciation of the role of song in the Reconquista\, but the 
 tympanum encourages us to think further. It gives shape to an ideal of lau
 s perennis(perpetual praise) that governed the Cluniac pursuit of perfecti
 on. From hymn cycles to cloister songs to Marian Offices\, the diverse son
 gs recorded at Moissac do more than document a song repertory\; they enact
  a vision of ceaseless praise within a "kingdom of priests" ruling over th
 e whole earth.
LOCATION:Lecture Room 2\, Faculty of Music\, West Road
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