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The Sequence Melodies sung at Cluny and elsewhere Note: sequence melodies are cited in quotes, e.g."Captiva"; sequence texts are cited in italics, e.g.Summi triumphum.Recent writing on the early sequence, particularly that of Richard Crocker 1 , has directed our attention to the close relationship between text and music, the way in which the shape of the melody supports the syntax and rhetorical plan of the text.Crocker has argued that this close mutual interdependence implies careful compositional planning on the part of author/composer, and is not likely to have emerged accidentally through the mechanical texting of older melodies.He challenges strongly the traditional belief that the sequence as a genre "grew" out of the alleluia as some sort of "trope"; he argues instead for a burst of quite new compositional activity during the 9th century, creating a repertory which was at length (not necessarily originally) assimilated into the liturgy, taking a place during mass after the alleluia.1
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