Introduction

A six-part polyphonic setting of the Ordinary of the Mass survives as a unicum in manuscript 1967 of the Biblioteca Central de Barcelona, Spain. Although it is clearly the most significant piece in the manuscript, it has received considerably less attention from specialized ensembles than the rest of the repertoire contained therein. This may be due to several factors, chief among them being that the manuscript provides no indication of the composer’s identity. Such anonymity is quite common when dealing with early repertoires. This research aims to address this situation critically and offer several practical, performer-oriented strategies to overcome it.

Research question

Main research question: How can I, as a performing musician, contribute to the appreciation of anonymous repertoire?

Research sub-questions: Who is the author of Missa Inviolata? Is that actually important for modern audiences, and if so, why? Are there any special musical skills necessary when dealing with anonymous music? How can anonymous music be successfully offered to concert programmers? How can musical performances embody a criticism of the idea of authorship?

Methodology

This research integrates three distinct methodological approaches: the two main ones are scientific and artistic research, while the third one introduces a sociological perspective.

The first strand employs a musicological approach to examine the anonymous Missa Inviolata, its sources, contexts, and hypothetical authors. This scientific foundation, built upon extensive scholarly work in the field, serves as a basis for further experimentation. Key outcomes include a new critical edition and a proposed attribution of the composition. The philological method has been instrumental in this aspect of the research.

The second strand focuses on the study and performance of the Missa Inviolata alongside related repertoire, including its direct models and other polyphonic works based on similar elements. This exploration extends to tracing the mass's monophonic roots across various plainchant genres such as responsory, trope, prosula, and sequence. Furthermore, this strand incorporates experimental reworking and expansion of the musical materials. This aspect of the research draws heavily on my expertise as a historically informed performer, improviser, and composer, employing a practice-based research methodology.

A complementary third strand addresses knowledge transfer, specifically through the development and presentation of concert programs centered on the Missa Inviolata. This approach examines the challenges and opportunities presented by anonymity in contemporary concert settings. An auto-ethnographical method guides this aspect of the research.

Structure

This research is structured into six chapters, each corresponding to a specific aspect of the methodological approach.

Chapters 1-3 focus on the first strand of work, encompassing music history and philology. Chapter 1 establishes the main characteristics of Missa Inviolata, while chapter 2 examines the sole surviving source of the piece and explores its potential historical and cultural contexts. Chapter 3 reviews existing editions of the work and presents a new critical edition.

Chapters 4 and 5 address the second strand of work, centered on practice-based research. Chapter 4 documents the performance approach to the Missa Inviolata and related works, detailing interpretative decisions and historical performance practices, while chapter 5 explores experimental approaches that blur the boundaries between performance and composition, offering new perspectives on the musical material.

Chapter 6 corresponds to the third strand of work, focusing on knowledge transfer. This final chapter outlines strategies developed for successfully presenting programs centered on the anonymous Missa Inviolata to early music festivals and concert seasons. It addresses the challenges and opportunities presented by anonymous works in contemporary performance contexts.