A Historical Overview of Musical Worship & Culture in Sardinia 461
Ambrose. It has assimilated strong influences from the Eastern
areas (especially Syriac), as well as from the Gallican tradition
and the Roman rite.
Agnus Dei Chant of the Ordinarium missae. Its first records date back to
the pontificate of Sergius I (687–701).
Alleluia Chant of the Proprium missae.
Antiphon A short song that, in the Liturgy of the Hours, precedes and
follows the intonation of a psalm, according to the scheme:
psalm-antiphon-Gloria Patri-antiphon. In the Proprium Missae
the antiphon appears in the introit, in the offertory (antipho-
na ad offertorium) and in the song for the communion (com-
munio/antiphona ad communionem).
Antiphonary / Book for the Liturgy of the Hours which contains the chants
Antiphonarius / of the antiphons and of the responsories. Sometimes it also
Anti phonarium presents the complete melody (or a series of melodies) of
Officii Psalm 94 Venite exultemus, the so-called “Invitatory Psalm.”
The other psalms are normally indicated by the opening words,
followed by the formula euouae. The full text of the Psalms is
included in the Psalter. The Antifonarius de die (Antiphonarius
diurnalis) contains chants for the “minor Hours” of the day
(Liturgy of the Hours), while the Antifonarius de nocte
(Antiphonarius noctunalis), contains chants for the Nocturns,
of the night. The Antiphonary of the Mass (Antiphonarium
Missae) is normally referred to as *Gradual.
Apograph From the Latin apographum, in turn from the Greek ἀπόγραφος,
derivative of ἀπογράφω: “to copy”; it indicates a manuscript that
is a copy of the original.
Ars subtilior Literally: “the subtler art.” Polyphonic style flourished at the
end of the fourteenth century, between Avignon and Barcelona,
characterized by a profound rhythmic complexity and a sophis-
ticated musical handwriting. The central role played by Paris in
the success of this musical style has been recently reevaluated
(see Anne Stone, “The Ars Subtilior in Paris,” Music and History
10:1 (2002): 373–404). A remarkable example of ars subtilior is
the “ballade” in honor of John I, king of Aragon (1387–1396),
composed for his planned expedition to Sardinia (which never
took place), transcribed in the Codex Chantilly, Musée Condé,
ms. 564, f. 21v, conceived, from a literary point of view, in the
form of a “dream.”