Codex Sangallensis 484

The manuscript is known for its exhaustive collection of so-called tropes, meaning melodic or textual extensions to previously existing liturgic chants.

As this particular manuscript is among the most extensive collections of such tropes from the eastern Frankish kingdom, it plays an important role in the history of music.

This process was not only shaped by the three influential figures Tuotilo, Notker and Ratpert at the abbey in St. Gallen, but also occurred in the larger context of the entire Frankish empire.

In its origin, the process can be traced back to a capitulary issued by Charlemagne in which he, among other things, demanded the mastery as well as the execution of the existing Roman liturgy by the clergy.

A process of textualization and thus the capturing of liturgic material in the form of text and the at the time novel neumic notation developed in the Frankish kingdom.

The Frankish appropriation of older liturgy in St. Gallen, particularly in its quality and quantity, is unique and is reflected in the production of several musical manuscripts, to which the Cod.

This assumption is based on a charter dated in 926-928 which was signed with the name “Salomon” and whose writing can be identified as the hand featured in the Codex.

In the literature, some doubts remain regarding the actual name of the scribe, which is why most publications use the neutral term Σ (sigma).

Such clues indicate trouble with the proper arrangement of texts on behalf of the collector, who was forced to correct faulty entries in post.

[7] These troubles and occasionally clumsy efforts can be explained by the fact that this Codex was part of an ongoing process of trope compilation at the abbey at that time.

The unorganised and messy structure of the manuscripts, including passages that were initially left empty – likely in anticipation of the discovery of new material – indicate that the scribe had no overview over the abbey’s inventory of chants as they may have fallen victim to the invasion.

It is followed by one of the most extensive known collections of such tropes in the East Frankish kingdom, which were mainly used to extend the previously existing liturgic repertoires.