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A New Voice in the Monastery: Tropes and Versus from Eleventh- and Twelfth-Century Aquitaine

Anyone familiar with the medieval Aquitanian musical repertories will react to the title of my study by saying, "He's comparing apples and oranges." My reply would be, "Precisely." The two genres under discussion here typify a remarkable shift in the form that devotional expression assumed in Aquitanian monastic communities about the year 1 100. In the eleventh century, tropes for the Proper of the Mass were the preferred sacred form of expression, but by 1100 the uersus had taken the place of the trope. Here I shall discuss in what ways these pieces are as different as apples and oranges, and suggest some changes in the social and cultural environment of the monasteries in which they were created that might explain those differences. By a happy accident, much of the music that was created, circulated, and performed in medieval Aquitaine has survived. Many of the musical manuscripts