The enigmatic 72 Verses for St. Martial is one of the many works by Ademar de Chabannes (989–1034) crafted to promote the false narrative that St. Martial of Limoges, rather than being a third-century bishop, was actually a first-century apostle. The composition is visually striking due to the acrostic formed from the first letter of each tercet, MARCIALIS APOSTOLVS XRISTI, and its two overlapping melodies, one in black ink and the other in red. The relationship between the two notations is the subject of debate: Paul Hooreman’s conclusion that they are two variations of the same monophonic chant is countered by Manuel Pedro Ferreira, who argues that Hooreman’s reasoning is insufficient to rule out polyphony. I use Ferreira’s assessment as a jumping-off point for the current analysis, which investigates the compositional processes underlying the creation of the 72 Verses. Hooreman describes many details in the chant as subject to disorganization, scribal error, lack of ability, etc., but when the chant is analyzed polyphonically, these problems resolve. Beyond the music itself, the chant’s unusual polyphonic structure features reveals that the chant is structured around medieval maps, moving between a mappa mundi and the celestial spheres.

中文翻译：

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是的，它是复调音乐和地图：重温《圣武士》的 72 节经文

《圣马夏尔的 72 首诗》是阿德马尔·德·沙巴内斯 (Ademar de Chabannes，989-1034) 创作的众多作品之一，其神秘之处在于宣扬利摩日的圣马夏尔并非一位三世纪的主教，而是一位公元一世纪的错误叙述。世纪使徒。该作品在视觉上引人注目，因为每个三节体的第一个字母 MARCIALIS APOSTOVS XRISTI 形成了离合诗，以及它的两个重叠的旋律，一个用黑色墨水，另一个用红色墨水。这两种记谱之间的关系是争论的主题：保罗·胡尔曼（Paul Hooreman）关于它们是同一单音圣歌的两种变体的结论遭到曼努埃尔·佩德罗·费雷拉（Manuel Pedro Ferreira）的反驳，他认为胡尔曼的推理不足以排除复调音乐。我使用费雷拉的评估作为当前分析的起点，该分析调查了 72 节诗句创作背后的创作过程。霍尔曼将圣歌中的许多细节描述为存在混乱、抄写错误、缺乏能力等问题，但当对圣歌进行复调分析时，这些问题就解决了。除了音乐本身之外，圣歌不寻常的复调结构特征表明，圣歌是围绕中世纪地图构建的，在世界地图和天球之间移动。