Vigils of the saints and the stational liturgy of Milan

IF 0.5 1区艺术学 0 MEDIEVAL & RENAISSANCE STUDIES

Plainsong & Medieval Music Pub Date : 2019-10-01 DOI:10.1017/s0961137119000056

T. Bailey

引用次数: 0

Abstract

Abstract Vigils, an important and eventually troublesome component of the cult of the saints, are attested to in the fourth century by Sts Ambrose, Jerome and Augustine. In Gregorian regions nearly all these penitential observances were prohibited by a synod in Rouen in 1231, and have been virtually ignored in the scholarly literature. In the Ambrosian orbit, Vigils remained an extraordinarily important part of the public liturgy until the end of the Middle Ages; however, the treatment of these offices in the Milanese service books presents a confused picture that can only be pieced together with some difficulty. In clarifying the practices of Vigils, certain details are brought to light concerning the two other examples of the external episcopal liturgy of Milan (the three-day Litany in the week following Ascension, and the daily stations at both the ancient baptistries of the city), and even important details about the practices in the cathedrals themselves, practices concerning which the ordinal is silent, ambiguous or even misleading.

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圣徒的守夜和米兰的礼拜仪式

守夜，一个重要的，最终麻烦的组成部分的崇拜的圣人，是证明在第四世纪的圣安布罗斯，杰罗姆和奥古斯丁。在格里高利地区几乎所有这些忏悔仪式被禁止在鲁昂在1231年的主教会议，并已在学术文献中几乎被忽视。在安布罗修的轨道上，守夜一直是公共礼拜仪式中非常重要的一部分，直到中世纪末期;然而，米兰的服务手册中对这些办公室的描述呈现出一幅混乱的画面，要拼凑起来有些困难。在澄清守夜的做法时，某些细节被揭示出来，涉及米兰外部主教礼仪的其他两个例子(升天后一周的三天连祷文，以及城市两个古老的洗礼堂的每日站点)，甚至是关于大教堂本身实践的重要细节，关于序数是沉默的，模糊的，甚至是误导的实践。

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来源期刊

Plainsong & Medieval Music Multiple-

CiteScore

0.50

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0.00%

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期刊介绍： Plainsong & Medieval Music is published twice a year in association with the Plainsong and Medieval Music Society and Cantus Planus, study group of the International Musicological Society. It covers the entire spectrum of medieval music: Eastern and Western chant, secular lyric, music theory, palaeography, performance practice, and medieval polyphony, both sacred and secular, as well as the history of musical institutions. The chronological scope of the journal extends from late antiquity to the early Renaissance and to the present day in the case of chant. In addition to book reviews in each issue, a comprehensive bibliography of chant research and a discography of recent and re-issued plainchant recordings appear annually.