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PROCESSIONS AND THEIR CHANTS IN THE OLD HISPANIC LITURGY

Published online by Cambridge University Press:  20 November 2020

DAVID ANDRÉS FERNÁNDEZ ,
CARMEN JULIA GUTIÉRREZ ,
EMMA HORNBY  and
RAQUEL ROJO CARRILLO
DAVID ANDRÉS FERNÁNDEZ*
Affiliation:
Universidad Complutense de Madrid, University of Bristol, and University of Cambridge
CARMEN JULIA GUTIÉRREZ
Affiliation:
Universidad Complutense de Madrid, University of Bristol, and University of Cambridge
EMMA HORNBY
Affiliation:
Universidad Complutense de Madrid, University of Bristol, and University of Cambridge
RAQUEL ROJO CARRILLO
Affiliation:
Universidad Complutense de Madrid, University of Bristol, and University of Cambridge
*
[email protected]
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Abstract

Much is known about processions within the Roman liturgy, but the processions of the Old Hispanic rite practiced in most of Christian Iberia until ca. 1080 have not been studied. Explicit evidence about Old Hispanic processional characteristics and liturgical contexts is preserved in manuscript rubrics. Processions happened around or during Mass (for example, on Palm Sunday), at the end of Vespers or Matutinum (for example, the consecration of a basilica), or outside the usual daily liturgy (for example, votive ordos). We have collated all of the extant Old Hispanic rubrics pertaining to liturgical movement. Some of these unquestionably refer to processions, while others describe ceremonies that might better be described more informally as “liturgy in motion.” We focus primarily on the processional rubrics, while also engaging with other liturgical movement. We identify the chant genres associated with processions and outline the processional practices attested in the rubrics.

Keywords

liturgymusicprocessionmovementIberiamanuscripts
Type
Research Article
Information
Traditio , Volume 75 , 2020 , pp. 177 - 223
Copyright
Copyright © Fordham University 2020

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Footnotes

We wish to record our heartfelt thanks to our friends and colleagues who were critical readers of an early draft of this article: Juan Carlos Asensio Palacios, Eduardo Carrero Santamaría, Thomas Deswarte, Kati Ihnat, Thomas Forrest Kelly, Rebecca Maloy, Susan Rankin, and Jamie Wood. Many thanks also to Dianne Scullin for her careful editing of the article before journal submission. We are also tremendously grateful to the readers at Traditio for their close critique, which helped us to improve the article considerably.

References

1 See Louvel, François, “Les processions dans la Bible,” La Maison-Dieu 43 (1955): 5–28Google Scholar; and Young, Robin Darling, In Procession Before the World: Martyrdom as Public Liturgy in Early Christianity (Milwaukee, 2001), 7–8, 22–23Google Scholar, and passim. On Christian stational liturgy, see John F. Baldovin, The Urban Character of Christian Worship: The Origins, Development, and Meaning of Stational Liturgy, Orientalia Christiana Analecta 228 (Rome, 1987).

2 For scholarship on processions in the medieval Roman liturgy, see n. 6 below.

3 As well as the gospel texts, one Palm Sunday chant draws on Psalm 117:27, a verse linked by Cassiodorus to processions. See Cassiodorus, Expositio in psalterium (commentary on psalm 117, verse 27): “In confrequentationibus, id est processionibus crebris, quas populi turba condensat, et reddit celeberrimas deuotione festiva.” PL 70.834A; trans. Walsh, P.G., in Cassiodorus: Explanation of the Psalms (New York, 1991), 3:172Google Scholar: “With packed gatherings, that is, in crowded processions packed by flocks of people and celebrated with festive devotion.”

4 The most common names for this liturgy are liturgia hispánica, viejo hispánica or antigua hispánica, mozárabe, and visigótica in Spanish; and Old Hispanic, Mozarabic, Hispano-Mozarabic, and Visigothic in English. See Appendix I for the sources that contain rubrics pertaining to movement and others cited in the article. T5, which contains processional rubrics, is one of three manuscripts that transmit the Old Hispanic liturgy despite dating from the thirteenth/fourteenth centuries. These three manuscripts belong to a distinct liturgical tradition known as Tradition B. On the relationship between the two liturgical traditions, A and B, see Pinell, Jordi M., Liturgia hispánica (Barcelona, 1998), 39–40Google Scholar; and Hornby, Emma and Maloy, Rebecca, Music and Meaning in Old Hispanic Lenten Chants. Psalmi, Threni and the Easter Vigil Canticles (Woodbridge, 2013), 5–12Google Scholar. See also Carrillo, Raquel Rojo, “Old Hispanic Chant Manuscripts of Toledo: Testimonies of a Local or of a Wider Tradition?” in A Companion to Medieval Toledo: Reconsidering the Canons, ed. Beale-Rivaya, Yasmin and Busic, Jason (Leiden, 2018), 97–139Google Scholar.

5 Our thanks to Tom Kelly for a most fruitful discussion of this topic in which he introduced us to this terminology. For an earlier use of “liturgy in motion,” see Parkes, Henry, The Making of Liturgy in the Ottonian Church: Books, Music and Ritual in Mainz, 950–1050 (Cambridge, 2015), 153CrossRefGoogle Scholar.

6 See, for example, Prozessionen und ihre Gesänge in der mittelalterlichen Stadt. Gestalt – Hermeneutik – Repräsentation, ed. Harald Buchinger, David Hiley, and Sabine Reichert (Regensburg, 2017), especially the essay by Andreas Odenthal on sacred topography; Understanding Medieval Liturgy: Essays in Interpretation, ed. Helen Gittos and Sarah Hamilton (Surrey, 2016), especially Carolyn Marino Malone's contribution; Resounding Images: Medieval Intersections of Art, Music, and Sound, ed. Susan Boynton and Diane J. Reilly (Turnhout, 2015); Gittos, Helen, Liturgy, Architecture, and Sacred Places in Anglo-Saxon England (Corby, 2013)CrossRefGoogle Scholar; Cassidy-Welch, Megan, “Space and Place in Medieval Contexts,” Parergon 27 (2010): 1–12Google Scholar; Fassler, Margot E., “Adventus at Chartres: Ritual Models for Major Processions,” in Ceremonial Culture in Premodern Europe, ed. Howe, Nicholas (Notre Dame, 2007), 13–62Google Scholar; From Dead of Night to End of Day: The Medieval Customs of Cluny, ed. Susan Boynton and Isabelle Cochelin (Turnhout, 2005), especially the essays by Kristina Krueger and Carolyn Marino Malone; and Moving Subjects: Processional Performance in the Middle Ages and the Renaissance, ed. Kathleen Ashley and Wim Hüsken (Amsterdam, 2001). Donovan, Richard Bertram, The Liturgical Drama in Medieval Spain (Toronto, 1958)Google Scholar engages closely with Roman liturgy processional practices, but does not mention Old Hispanic materials. Similarly, Young, Karl, The Drama of the Medieval Church, 2 vols. (Oxford, 1933)Google Scholar documents numerous western liturgical processions, but no Old Hispanic ones.

7 The seminal text in this field is Baumstark, Anton, Liturgie comparée (Chevetogne, 1934)Google Scholar. For examples of comparative discussion of processions, see Baumstark, Anton, On the Historical Development of the Liturgy (Collegeville, MN, 2011), 106Google Scholar; and Taft, Robert F., The Liturgy of the Hours in East and West: The Origins of the Divine Office and Its Meaning for Today (Collegeville, MN, 1986), 158–62Google Scholar. In chant studies, there is a comparison of processional practices in Huglo, Michel, “Source hagiopolite d'une ancienne hispanique pour le Dimanche des Rameaux,” Hispania Sacra 10 (1952): 367–74Google Scholar. For an illustrative example of the difficulties of drawing meaningful comparisons between chant melodies in different traditions, see Brockett, Clyde W., “Osanna! New Light on the Palm Sunday Processional Antiphon Series,” Plainsong & Medieval Music 9 (2000): 111CrossRefGoogle Scholar.

8 A noteworthy exception in Anglo-American scholarship is Don Randel, who pioneered analysis of the unpitched Old Hispanic melodies and completed an indispensable catalogue of the chant texts and their manuscript locations. See Randel, Don, The Responsorial Tones for the Mozarabic Office (Princeton, 1969)CrossRefGoogle Scholar; and idem, An Index to the Chant of the Mozarabic Rite (Princeton, 1973). Clyde Brockett has recently published a list of processional antiphons, including many in L8. See Brockett, Clyde W., The Repertory of Processional Antiphons (Turnhout, 2019), 749–50Google Scholar.

9 This scholarship has its origins in the pioneering work of de Ceballos, Alfonso Rodríguez G., “El reflejo de la liturgia visigótico-mozárabe en el arte español de los siglos VII al X,” Miscelánea Comillas: Revista de Ciencias Humanas y Sociales 23 (1965): 293–97Google Scholar. For a recent summary, see Santamaría, Eduardo Carrero and Camps, Daniel Rico, “La organización del espacio litúrgico hispánico entre los siglos VI y XI,” Antiquité tardive: Revue internationale d'histoire et d'archéologie 23 (2015): 239–48Google Scholar. For recent archaeological perspectives, see Elena Quevedo-Chigas, “Early Medieval Iberian Architecture and the Hispanic Liturgy: A Study of the Development of Church Planning from the Fifth to the Tenth Centuries” (Ph.D diss., New York University, 1996); Luis Caballero Zoreda and Isaac Sastre de Diego, “Espacio de la liturgia hispana de los siglos V-X. Según la Arqueología,” in El canto mozárabe y su entorno: estudios sobre la música de la liturgia viejo hispánica, ed. Fernández de la Cuesta, R. Álvarez Martínez, and A. Llorens Martín (Madrid, 2013), 259–91; and Javier Jiménez Martínez, Isaac Sastre de Diego, and Carlos Tejerizo García, The Iberian Peninsula between 300 and 850: An Archaeological Perspective (Amsterdam, 2018).

10 There are approximately two dozen chants preserved in heighted Aquitanian neumes, but none are processional.

11 On the Old Hispanic notation and melodies, see Rojo, Casiano and Prado, Germán, El Canto Mozárabe: Estudio histórico-crítico de su antigüedad y estado actual (Barcelona, 1929), 40–58Google Scholar; Brou, Louis, “Notes de Paléographie musicale mozarabe,” Anuario Musical 7 (1952): 51–76Google Scholar; idem, “Notes de Paléographie musicale mozarabe,” Anuario Musical 10 (1955): 23–44; idem, “Le joyau des antiphonaires latins: Le manuscrit 8 des Archives de la Cathédrale de León,” Archivos Leoneses, Año 8, N. 15–16 (1954): 7–114; idem, “L'Alleluia dans la liturgie mozarabe: Étude liturgico-musicale d'après les manuscrits de chant,” Anuario Musical 6 (1951): 3–90; Barrionuevo, Herminio González, “Algunos rasgos paleográficos de la notación ‘mozárabe’ del Norte,” Revista de musicología 20 (1987): 37–49CrossRefGoogle Scholar; idem, “La notación del Antifonario de León,” in El canto mozárabe y su entorno, 95–120; Cullin, Olivier, “De la psalmodie sans refrain à la psalmodie responsoriale: Transformation et conservation dans les répertoires liturgiques latins,” Revue de Musicologie 77 (1991): 5–24CrossRefGoogle Scholar; Randel, Don, The Responsorial Tones for the Mozarabic Office (Princeton, 1969)CrossRefGoogle Scholar; Nils Andre Nadeau, “‘Pro sonorum diversitate vel novitate’: The Singing of Scripture in the Hispano-Visigothic Votive Mass” (Ph.D. diss., Cornell University, 1998); and Zapke, Susana, “Sistemas de notación en la Península Ibérica: De las notaciones hispanas a la notación aquitana (siglos IX–XII),” in Hispania Vetus: manuscritos litúrgico-musicales de los orígenes visigóticos a la transición francoromana (siglos IX–XII), ed. Zapke, Susana (Bilbao, 2007), 189–243Google Scholar.

12 This was pioneered in Hornby and Maloy, Music and Meaning (n. 4 above). See also Hornby, Emma and Maloy, Rebecca, “Melodic Dialects in Old Hispanic Chant,” Plainsong & Medieval Music 25 (2016): 37–72CrossRefGoogle Scholar; Hornby, Emma and Maloy, Rebecca, “Fixity, Flexibility and Compositional Process in Old Hispanic Chant,” Music and Letters 97 (2016): 547–74CrossRefGoogle Scholar; Hornby, Emma, “Musical Values and Practice in Old Hispanic Chant,” Journal of American Musicological Society 69 (2016): 595–650CrossRefGoogle Scholar; Maloy, Rebecca, “Old Hispanic Chant and the Early History of Plainsong,” Journal of the American Musicological Society 67 (2014): 1–76CrossRefGoogle Scholar; Carrillo, Raquel Rojo, Text, Liturgy, and Music in the Hispanic Rite: The Vespertinus Genre (Oxford, 2020)Google Scholar; and also the forthcoming book Liturgical and Musical Culture in Early Medieval Iberia: Decoding a Lost Tradition, ed. Hornby et al. (Cambridge, forthcoming). For detailed analysis of the Old Hispanic processional antiphons, see Emma Hornby, David Andrés Fernández, Carmen Julia Gutiérrez, and Dianne Scullin, “Processional Melodies in the Old Hispanic Rite,” forthcoming.

13 For an introduction to each book type and its contents, see Emma Hornby and Raquel Rojo Carrillo, “Old Hispanic Liturgical books,” in Liturgical and Musical Culture, forthcoming.

14 Note that Old Hispanic Vespers and Matutinum have completely different structures, genres, and contents from Roman Vespers and Matins; only the names are shared. The fasting days were Lenten ferias, Initio Anni (2 January), and the days of Apostolic Litanies and Canonical Litanies. See Rojo Carrillo, “Text, Liturgy, and Music,” 32, n. 54, and Hornby and Rojo Carrillo, “The Liturgical Year in the Old Hispanic Rite,” in Liturgical and Musical Culture, forthcoming.

15 For example, monasteries in items 54, 56, 59, and 60; cathedrals in items 4 and 52; and parish churches in items 29–31, all preserved in S3, a parish priest's liber ordinum. The list of items can be found in Table 1, below. For all references to item numbers, which are keyed to Old Hispanic manuscript rubrics, see Appendix II, below.

16 See Hornby and Rojo Carrillo, “Old Hispanic Liturgical Books,” for more on the distinction between Old Hispanic public and cloistered liturgy, and its fundamental difference from the “cathedral/secular” and “monastic” division of the Roman rite.

17 See Appendix I, below, for a list of these nine manuscripts and their abbreviations.

18 For bibliographic apparatus, see Appendix I, below.

19 Although the reference in L8 to Abbot Ikila points to this monastery, many of the monks also had ecclesiastical roles at the cathedral. This may demonstrate a link between the two institutions and explain the antiphoner's inclusion of materials to be performed by the bishop. For further explanation and a summary of the extensive debate about the origins of L8, see Gutiérrez, Carmen Julia, “Librum de auratum conspice pinctum. Sobre la datación y la procedencia del Antifonario de León,” Revista de Musicología 43 (2020): 19–76CrossRefGoogle Scholar. See also Manuel Díaz y Díaz, “Some Incidental Notes on Music Manuscripts,” in Hispania Vetus (n. 11 above), 93–111.

20 On this manuscript and its contents, see Hornby, Emma and Ihnat, Kati, “Continuous Psalmody in the Old Hispanic Rite,” Scriptorium 73 (2019): 1–33Google Scholar.

21 For this argument, see Ann Boylan, “The Library at Santo Domingo de Silos and its Catalogues (XIth–XVIIIth centuries),” Revue Mabillon n.s. 3 (1992): 59–102; and Walker, Rose, Views of Transition: Liturgy and Illumination in Medieval Spain (London, 1998)Google Scholar, with reference to further bibliography.

22 This notion is close to the broad, anthropological definition of processional performance in Kirshenblatt-Gimblett, Barbara and McNamara, Brooks, “Processional Performance: An Introduction,” The Drama Review 29 (1985): 2–3Google Scholar. They understand it as “performance in motion” using space and including elements such as set design, clothing, music, and movements within a ceremony of symbolic importance.

23 For example, Palm Sunday Matutinum (item 4) is interspersed with non-processional components.

24 We are aware that other categorizations are possible, such as extramural versus intramural, or others related to the life cycle, regularity and solemnity, but we have followed Rojo Carrillo, “Text, Liturgy, and Music,” (n. 12 above), 28–54, who divides the Old Hispanic offices into temporale, sanctorale, and votive offices. Here we follow the same order, although for convenience we treat services for the dead separately. Votive offices involve a vow (for example, ordination) or pertain to a special, occasional devotion. Complete rubrics and information are given in Appendix II. The partial rubrics transcribed in this article, as well as the complete ones in Appendix II, have been transcribed in roman script (not italics) following the original as closely as possible, while allowing a smooth and homogeneous reading for historians, liturgists, and musicologists. The original is followed in the use of h (for example, “ihesu”) and capital letters (for example, “Iuda,” and “Nazareth”). However, when reproducing the Latin text found in manuscripts we use “u” instead of “v” and the silent expansion of “ę” to “ae”; punctuation marks are standardized (according to the most recent textual edition), words and syllables are separated or grouped according to standard Latin, and abbreviations have been silently expanded, with the exception of those that indicate liturgical genre, which are signaled as follows: ALL. = alleluiaticus; A. = antiphon; R. = responsory; O. = prayer/oration; and VR. = verse. When we refer to the incipits of chants and other Latin texts that do not imply a direct transcription of primary sources, we have used standardized secondary sources that will appear throughout this text in italics. For chants, we follow Randel, Don M., An Index to the Chant of the Mozarabic Rite (Princeton, 1973)Google Scholar, while other texts are indicated where appropriate.

25 These twenty-eight items are shown in italics in Table 1; see also n. 71. Limitations of space prevent close analysis of the remaining rubrics here, although they are included in Table 1.

26 For an edition of these two manuscripts, see Liber Ordinum Episcopal, ed. José Janini Cuesta (Silos, 1991). On “La Rioja” and other melodic traditions, see Randel, Responsorial Tones (n. 8 above), 53–76, and Hornby and Maloy, “Melodic Dialects” (n. 12 above).

27 See Appendix II for the complete rubrics.

28 On the antiphons in the foot-washing, see Palacios, Juan Carlos Asensio, “Las antífonas ‘Ad lotionem pedum’ en la antigua liturgia hispana,” Glosas Silenses 6 (1991): 35–42Google Scholar.

29 We refer in this section only to the twenty-eight processional rubrics themselves (see below). For complete lists including information about “liturgy in motion,” see Appendix III.

30 Items 48 and 52. Votive materials are routinely copied near the end of Old Hispanic books, after the temporale and sanctorale. In the Roman liturgy, processional chants are similarly often assigned to liturgical occasions outside the temporale and sanctorale, and thus appear near the ends of antiphoners and graduals from the ninth century to the eleventh century. See Gy, Pierre-Marie, La liturgie dans l'histoire (Paris, 1990), 123Google Scholar; and Palazzo, Eric, A History of Liturgical Books: From the Beginning to the Thirteenth Century (Collegeville, MN, 1998), 230Google Scholar.

31 Items 29, 30, 31, 36, and 37. Item 4 has “in uia sacra”.

32 Items 1, 3, 9, 10, 11, 23, and 26.

33 Items 5, 6, 43, 44, 45, and 49.

34 Items 4, 9, 43, 44, 45, and 49.

35 Items 23, 24, and 49.

36 Items 9, 10, 14, 15, 16, 43, and 44.

37 Items 3, 4, 5, 6, 9, 10, 11, 14, 15, 16, 23, 24, 38, 40, and 52.

38 Item 11.

39 Items 3, 4, 6, 9, 10, 14, 15, 16, 23, 24, 31, 36, 37, 38, 40, 44, and 49; also item 11, “leuites.”

40 Item 3.

41 Items 14, 15, 16, 23, 24, 31, 36, 37, and 40.

42 Item 5 and 6.

43 For José Vives, these names confirmed the Tarragona origin of the Visigothic Orational. See Oracional Visigótico, ed. José Vives Castell (Barcelona, 1946), xiii–xv, and his transcription on 175, no. 523. On the place names and the background of the procession, see Cuesta, José Janini, “Cuaresma visigoda y Carnes Tollendas,” Anthologica Annua 9 (1961): 22–24Google Scholar; and Juan V. M. Arbeloa Rigau, “Per una nova interpretació del Còdex Veronensis i les esglésies visigòtiques de Tàrraco,” Butlletí Arqueològic — Reial Societat Arqueològica Tarraconense 8–9 (1986–1987): 125–34. As these scholars note, metropolitan churches were often referred to as “Jerusalem.”

44 Pinell interprets it as a chapel. See Pinell, Liturgia hispánica (n. 4 above), 309. This is a universal feature of Good Friday processions. See Righetti, Historia de la liturgia (Madrid, 1955), 1:243.

45 For a description of each of the parts of a church, see Quevedo-Chigas, “Early Medieval Iberian Architecture” (n. 9 above).

46 Items 6, 9, 10, 11, 14, 15, 16, 23, 26, 40, and 49.

47 Items 10 and 52.

48 Item 23.

49 Items 11, 36, 37, 43 and 44.

50 Items 3, 4, 23, 24, and 38.

51 Item 40.

52 Items 3, 5, 6, 14, 15, 16, 36, 37, 38, 43, 44, 45, and 49.

53 Items 36 and 37.

54 Items 3, 9, 10, 11, and 23. This was a small room at the east end of the church, flanking the altar. See Rodríguez, “El reflejo de la liturgia,” (n. 9 above), 310–11.

55 Items 5 and 49.

56 Items 4 and 24.

57 Items 29, 30, 36, and 38.

58 Items 3, 14, 15, 16, 23, and 24.

59 Item 26.

60 Items 30, 36, and 37.

61 Items 3, 11, 14, 15, 16, 23, 26, and 49; gold crosses in items 3, 15, 16, and 49.

62 Items 23, 36, 37, and 38.

63 Items 4, 5, and 6.

64 Items 15, 16, and 48.

65 Items 9, 10, 11, 23, 24, and 26.

66 Items 3, 23, and 26.

67 Item 3.

68 Items 5, 6, 14, 15, 16, and 24.

69 Item 49.

70 Items 29, 30, 31, 36, 37, and 38.

71 These are shown in italics in Table 1. None are for the sanctorale.

72 Callewaert, Camillus, “La Carême primitif dans la liturgie mozarabe,” Revue d'Histoire Ecclésiastique 15 (1914): 28Google Scholar; and Hornby and Maloy, Music and Meaning (n. 4 above), 29–30 and 50–51.

73 OV, fols. 66v–67r: “item completuria post explicitas laudes quas psallendo uadunt usque ad sancta iherusalem que in sancto fructuoso dicenda est . . . completuria ad sancto petro.” See Vives, Oracional Visigótico (n. 43 above), xiii–xv; Janini, “Cuaresma visigoda” (n. 43 above), 22–24; and Arbeloa, “Per una nova interpretació” (n. 43 above), 125–34.

74 On the psallendo as a chant genre, sung towards the end of Old Hispanic Vespers and Matutinum, see Hornby and Rojo Carrillo, “The Shape of the Old Hispanic Office,” in Liturgical and Musical Culture (n. 12 above).

75 Pinell, Liturgia hispánica (n. 4 above), 244–45. See discussion below, p. 26.

76 Pinell, Liturgia hispánica (n. 4 above), 287.

77 Pinell was perhaps inspired by the (unrelated) movements to the font in the Easter Vigil (items 22 and 24) and baptism ordo (items 40, 41 and 42).

78 Pinell, Liturgia hispánica (n. 4 above), 287: “la procesión de visita al baptisterio al final de las vísperas, que se efectuaba habitualmente en los demás tiempos del año, se transfería en Cuaresma a tumbas de mártires o santos.”

79 On the chants in this liturgical position before the Mass readings (literally “praelegendum,” which is sometimes used at this point as a chant rubric) as possibly processional, see below, p. 25.

80 One of the main structural components of Old Hispanic Matutinum was the missa consisting of three antiphons (the third one an alleluiaticus, or alleluiatic antiphon, outside Lent), each followed by a prayer (or “oration”) and a responsory, sometimes followed by an oration. In each case, the oration relates to the text of the preceding chant.

81 In this context, a via sacra was a sacred walking route, within or near the church precinct. For other contemporary examples, see Heitz, Carol, L'architecture religieuse carolingienne: Les formes et leurs fonctions (Paris, 1980), 43Google Scholar; and Quevedo-Chigas, “Early Medieval Iberian Architecture,” (n. 9 above), 32–45. Quevedo-Chigas argues that the via sacra is a passageway down the center of the nave, sometimes demarcated by low walls on either side, and otherwise a natural result of the division of men and women into the two sides of the nave.

82 Pinell, Liturgia hispánica (n. 4 above), 292 interprets this passage as indicating that the bishop comes when a single deacon sings to him from the choir to signal his exit.

83 Both chants are notated in S4, fol. 56r, although without an explicit procession following. Resistite diabolo is rubricated as an antiphon in S4.

84 For a complete description, see Pinell, Liturgia hispánica (n. 4 above), 293–95.

85 See Huglo, “Source hagiopolite” (n. 7 above), 373; and Brockett, “Osanna! New Light,” (n. 7 above), 111 and 122–123.

86 There is a similar action with a different chant in Tradition B (item 11). On Tradition B, see n. 4 above.

87 Randel, An Index to the Chant (n. 8 above), xvi, indicates this genre, following A56. S4 has no genre rubric.

88 On these hymns, see Carmen Julia Gutiérrez, “Melodías del canto hispánico en el repertorio litúrgico poético de la Edad Media y el Renacimiento,” in El canto mozárabe (n. 9 above), 547–76.

89 L8 has the most information (item 23); S4 (item 24) only testifies to the first procession. The first of these moments is described, without mentioning that it is processional, by Bernal, José R., “Los sistemas de lecturas y oraciones en la Vigilia Pascual hispana,” Hispania Sacra 17 (1964): 292Google Scholar. Pinell describes both processions in Liturgia hispánica, (n. 4 above), 316 and 318–19. Both authors point out differences between liturgical traditions A and B, but only Bernal signals in detail which sources he has consulted.

90 L8 (item 23) notes that the choir enter during the doxology, while the rubric in S4 (item 24) indicates that the choir should enter after the Gloria.

91 For discussion of the possible non-processional function of the Mass praelegenda, see below, p. 25.

92 For a definition of Old Hispanic votive occasions, see n. 24 above.

93 Other rubrics about movement in burial rites confirm the use of books and objects on the corpse's chest as well as signaling the repertoire sung during the deposition of the body in the tomb; see items 32–35.

94 The custom of accompanying religious burials with the singing of psalms is attested in the sixth century: Canon 22 of the Third Council of Toledo (589) states that, when taking the body of the deceased to the tomb, psalms should be sung by psalmists, and the singing of funeral versi is forbidden, as is the practice of the deceased's relatives beating their chests. See Colección de Cánones y de todos los concilios de la Iglesia de España y de América, ed. Juan Tejada y Ramiro (Madrid, 1859), 2:249–50. On such forbidden funeral lamentation, see Haines, John, Medieval Song in Romance Languages (Cambridge, 2010), 34–50Google Scholar.

95 This chant text is notated in L8, fol. 92r; A56, fol. 37r; and S4, fol. 36v and 100r, although we cannot be sure that the same melody was used in this S3 procession, since there is no notation.

96 Both responsories lack music in S3 at this point; a responsory text Ecce ego viam is notated in A56, fol. 24r; S3, fol. 15r; and S4, fol. 85r but, again, we cannot be sure that this was the melody used in the S3 procession.

97 Further on the manual, see Hornby and Rojo Carrillo, “Old Hispanic Liturgical books” (n. 13 above).

98 It may be fruitful to place this processional information in dialogue with archaeological evidence about Christian burial sites, and their placement relative to dwelling places and ecclesiastical buildings. On burial sites in an earlier period, see Jiménez Martínez et al., The Iberian Peninsula between 300 and 850 (n. 9 above), 209–18.

99 There are also indications of movement during the baptism celebrated at any time of year (celebrandus quolibet tempore), but the explicit baptismal processions are found only in association with the Easter Vigil (item 40).

100 An alleluiaticus is an alleluiatic antiphon used in specific liturgical positions. The alleluiaticus text Gloriam et magnum is notated only in L8, fol. 271r. As with similar examples discussed above, we cannot tell whether or not a similar melody was used in the procession in S4 and A56. In the Council of Beziers (1031), it was ordained that all clerics in major and minor orders should shave their beards and tonsure their hair. This tradition had been established centuries earlier. See the commentary on tonsuring the hair in the Fourth Council of Toledo (633), in Colección de Cánones, 2:291–98, esp. 297 for the shaving of the beard.

101 On Adventus ceremonies in the wider European context, see Fassler, “Adventus at Chartres” (n. 6 above).

102 Collins, Roger, “Continuity and Loss in Medieval Spanish Culture: The Evidence of MS Silos, Archivo Monástico 4,” in Medieval Spain: Culture, Conflict and Co-Existence, ed. Collins, Roger and Goodman, Anthony (London, 2002), 1–22, at 9CrossRefGoogle Scholar.

103 The five antiphons are: Egredimini qui portatis, In nomini dei nostri ambulavimus, Exite secundum verbum regis, Cum iucunditate exibitis et cum gaudio, and Ambulate filii ne timeatis.

104 The fifteen alleluiatici are: De iherusalem, Leua iherusalem, Alleluia memores esto te, Alleluia egressus est*, Alleluia audite, Alleluia loquatus, Haec dicit dominus deserta, Haec dicit dominus tempore, Ecce porta domini*, Aperite aperite*, Introibimus*, Alleluia egressus, Ecce recordatus, Visitationem memor erit, and Hylaritate perfusa. Those with asterisks are also copied in PB99, fol. 14r–v, but this fragment lacks any processional rubric.

105 The five alluluiatici are: Gloriam et magnum decorem, Det tibi dominus de rore, Det tibi dominus prudentiam with the verse Benedicat tibi, Dominus custodiat te, Da potestatem puero tuo, and Det dominus gratiam tempore tuo. Only the first two alleluiatici and the beginning of the third have musical notation.

106 See Fernández, David Andrés, “Fit processio et cantantur antiphonae sequentes: Tipología de las formas de música litúrgica en los libros procesionales,” Medievalia: Revista de Estudios Medievales 17 (2014): 103–29CrossRefGoogle Scholar, where the repertoire of the Roman processional books is divided into proper processional chants (repertoire with an exclusively processional function) and borrowed processional chants (where materials are borrowed from the Mass or Office repertoires to be sung in processions). We should note here that the Roman and Old Hispanic repertoires have little or nothing in common. As we argue in forthcoming work, the exclusively processional Old Hispanic chants do not have distinctive shared melodic characteristics.

107 Brockett, The Repertory of Processional Antiphons (n. 8 above), 749–50, lists the antiphons from our items 8, 13, 48, 52, and 61.

108 On the sacrificia, see Maloy, “Old Hispanic Chant” (n. 12 above); and eadem, Songs of Sacrifice: Chant, Identity, and Christian Formation in Early Medieval Iberia (Oxford and New York, 2020).

109 Pinell, Liturgia hispánica (n. 4 above), 155 and 157.

110 This formal structure may clearly be seen on several folios of L8, where % and G rubrics indicate the repeats after the verse and doxology, respectively (for example, “Uisus est” on 200r; and “Uiri iherusalem” on 272v).

111 On this phenomenon, see Louis Brou, “Notes de paléographie musicale mozarabe” (n. 11 above), 57, n. 15; Pinell, Jorge M., “Las ‘missae’ o grupos de cantos y oraciones en el oficio de la antigua liturgia hispana,” Archivos Leoneses 8 (1954): 148Google Scholar; and Pinell, Jorge M., “Los cantos variables de las misas del propio de santos en el rito hispánico,” Ecclesia orans 7 (1990): 246Google Scholar. See also Randel, An Index to the Chant (n. 8 above), 400–411.

112 Pinell, Liturgia hispánica (n. 4 above), 152–53.

113 Pinell, Liturgia hispánica (n. 4 above), 153. Pseudo-German is edited in Expositio antiquae liturgiae gallicanae, ed. Edward Craddock Ratcliff (London, 1971).

114 A56, fol. 54r: “quum uenerit sacerdos ut sacrificium offerat, antequam prelegendum decantare incipiat adclinis ante altare tacite dicit hanc orationem.”

115 Sometimes an oration and/or preces can follow the psallendo at the end of the service. For discussion of the structures of Vespers and Matutinum, see Hornby and Rojo Carrillo, “The Shape of the Old Hispanic Office” (n. 74 above). Psallendi should not be confused with the psalmi sung between the Mass readings and sometimes mis-named Mass psallendi by scholars. This genre has been studied by Brou, Louis, “Le psallendo de la messe et les chants connexes,” Ephemerides liturgicae 61 (1947): 13–54Google Scholar, whose incorrect nomenclature was subsequently adopted by other authors, such as Pujol, Miquel Gros, “El ‘Liber Misticus’ de San Millán de la Cogolla — Madrid, Real Academia de la Historia, Aemil. 30,” Miscel⋅lània litúrgica catalana 3 (1984): 216Google Scholar, who calls them “psallenda missae”; and Antifonario visigótico mozárabe de la catedral de León, ed. Louis Brou and José Vives Castell (Barcelona, 1959), who transcribe some rubrics as “psld” (“psallendo”), when in reality the manuscript has “psl” or “pslm” for “psalmus.”

116 On the psallendi as processional chants in the Milanese rite, see Bailey, Terence William, “Ambrosian Processions to the Baptisteries,” Plainsong & Medieval Music 15 (2006): 29–42CrossRefGoogle Scholar.

117 See Pinell, for whom “Las fuentes hispánicas, bajo el nombre de psallendum, transcriben una antífona, que acompañaría el salmo que se cantaba procesionalmente”; see idem, Liturgia hispánica (n. 4 above), 244. Just one psallendo is possibly copied with a verse: Cantate Domino canticum for Dom IX de Quotidiano in T4, fol. 126r, but the verse is copied in the column before the rest of the chant and the two items may not be connected.

118 L8, fol. 109r–v: “Antiphons Dirigat dominus vias tuas, Domine deus patris mei, Alleluia mane apud nos hodie, Deus caeli perducat te alleluia, Ibis alleluia prosperum iter habetis and Alleluia haec dicit dominus,” with various verses. Similarly, there are two psallendi copied at the end of first Vespers for the same office in L8, fol. 106r.

119 L8, fol. 166v: “Finitas laudes dicitur kirieleison tribus uicibus decantando kirie leison. Et sic egrediuntur in tanto silentio ut alterutrum se non sentiant.”