jubilus

The themes of angelic music reappear in inverted form in the music of Hell and the devils: from the concord of una voce (“unison”) is derived discord and disorder; the sine fine (“without end”) of the jubilus becomes

MUSIC AS A DEMONIC ART REINHOLD HAMMERSTEIN 1968

According to the "Proœ; mium of Notker", the text of the sequences is so set to the melodia longissimæ of the Alleluia-jubilus that practically one syllable of the text corresponds to one note of the jubilus.

The Catholic Encyclopedia, Volume 12: Philip II-Reuss 1840-1916 1913

Solesmes have established for it in their valuable publications, then we must admit that the melismata of the Gregorian Alleluia, even the longest of them, are much shorter than, and are different in kind from, the melismata of the jubilus to which the versus ad sequentias and the sequences proper were attached.

The Catholic Encyclopedia, Volume 12: Philip II-Reuss 1840-1916 1913

But the element which is wanting in all of them is the connexion with the Alleluia-jubilus and its melody, and it is only in the repetition of the melody in the antistrophe and in the change of melody in the individual strophes that its origin from the jubilus can still be observed.

The Catholic Encyclopedia, Volume 12: Philip II-Reuss 1840-1916 1913

For the purpose of illustration we may give the first paragraphs of the jubilus "Fulgens præclara" from the Winchester Troper:

The Catholic Encyclopedia, Volume 12: Philip II-Reuss 1840-1916 1913

Various modern liturgiologists have believed that the long jubilus may be referred to Byzantine influence during the eighth century; however, no direct positive evidence has hitherto been forthcoming, and no example of Byzantine music, which might have served as a model for the long Alleluia jubilus, has come to light.

The Catholic Encyclopedia, Volume 12: Philip II-Reuss 1840-1916 1913

Latin (John, xix, 25) "with reference to Mary at the Cross, but not at the Cradle", and also that the sixth line, "Pertransivit gladius", might have suggested the similar line of the Speciosa, "Pertransivit jubilus", but not vice versa.

The Catholic Encyclopedia, Volume 14: Simony-Tournon 1840-1916 1913

Alleluia-jubilus; text and melody would be composed at the same time, and, if need be, the melody might be accommodated to the text.

The Catholic Encyclopedia, Volume 12: Philip II-Reuss 1840-1916 1913

Of the above-mentioned six phases in the development of the sequence the first and second are very obscure in two respects, as regards (1) the appearance of the Alleluia-jubilus without the text and (2) the relation to the so-called Gregorian Alleluia.

The Catholic Encyclopedia, Volume 12: Philip II-Reuss 1840-1916 1913

For this reason it is still more difficult to give a decided answer to the second question as to the connexion between the jubilus, which forms the basis of the sequence-melodies, and the Gregorian Alleluia.

The Catholic Encyclopedia, Volume 12: Philip II-Reuss 1840-1916 1913