Plainsong & Medieval Music最新文献

{"title":"Liturgical chant bibliography 30","authors":"Raquel Rojo Carrillo, Marie Winkelmüller-Urechia","doi":"10.1017/S0961137121000139","DOIUrl":"https://doi.org/10.1017/S0961137121000139","url":null,"abstract":"After more than a year of challenges caused by the COVID-19 pandemic, we hope that you and your loved ones have managed to remain healthy, active and as happy as possible. The delay of several publications has resulted in a LCB slightly shorter than those produced in the years ante coronam. The list of publications included in this year’s LCB shows that our field is thriving despite the various challenges. We are committed to fill any possible gaps in upcoming LCBs, hoping that the numbers of COVID-19 cases decrease and allow restrictions to ease. As occurred with LCB 29, this year’s LCB was produced under the challenges linked with the pandemic. We were faced again with libraries either entirely closed or with restricted access. In times like this, we are even more grateful for the help and generosity of colleagues and librarians who very kindly provided us with lists of the most recent publications in the field, and even with pictures of the indexes of publications that we would have otherwise been unable to access. We thank them very much for their effort and collaboration. This year brought two editions of importance, the first being a Liber ordinarium from the diocese of Freising near Munich, continuing the long series of F.K. Prassl’s team. The other is a critical edition of the Jistebnice Kancionál by Hana Vlhová-Wörner. The Slovakian team published a series of publications on the Missale Notatum Bratislava, Ústredna knižnica Slovenskej akadémie vied Rkp. zv. 387. Fragmentary sources feature as an important topic this year, with twelve publications related to or building on the worldwide Fragmentarium Project, and with the development of a fragments’ database as well (30005, 30017k, 30018e, 30022d, 30028, 30032, 30045a, 30045b, 30051, 30082, 30086, 30096). These achievements have a great potential of prompting future investigations on fragments, and we hope to see new titles related to this topic in future LCBs. Also worth mentioning is the development of the Catalogue des manuscrits notés en neumes français de la Bibliothèque nationale de France (30095), a database that gathers, describes and aids the analyses of notated manuscripts from this important library. This database aims to help researchers in search of notational influences and concordances. Wewish you, dear reader, the most productive time despite the pandemic. Wewill hopefully meet again soon. For any question, suggestion, and/or bibliographic information, you can reach us through the email address: liturgchantbiblio@gmail.com.We thank you in advance for your help.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"30 1","pages":"155 - 177"},"PeriodicalIF":0.2,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45610919","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"PMM volume 30 issue 2 Cover and Back matter","authors":"","doi":"10.1017/S0961137121000176","DOIUrl":"https://doi.org/10.1017/S0961137121000176","url":null,"abstract":"","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":" ","pages":"b1 - b2"},"PeriodicalIF":0.2,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48725427","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"PMM volume 30 issue 2 Cover and Front matter","authors":"","doi":"10.1017/S0961137121000164","DOIUrl":"https://doi.org/10.1017/S0961137121000164","url":null,"abstract":"","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"30 1","pages":"f1 - f3"},"PeriodicalIF":0.2,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45041770","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Dealing with change: the Carthusians and Corpus Christi","authors":"Thomas OP DE COUL","doi":"10.1017/S0961137121000024","DOIUrl":"https://doi.org/10.1017/S0961137121000024","url":null,"abstract":"ABSTRACT The Carthusian Order is known for its conservative attitude towards liturgy and music. This article will explore how this attitude played out in practice when the Carthusians were confronted with the introduction of a major new feast. Since its origins in the late eleventh century, the Order incorporated several new feasts in its calendar. These additions were normally made with a significant delay, and almost always without any new chants created for these feasts. The feast of Corpus Christi provides an interesting case study. Contrary to their habit, the Carthusians were apparently quick to adopt it, and they included most of the chants that were compiled and edited for this feast. In doing this, they took the Cibavit eos Mass and the Sacerdos in aeternum Office, most famously found in a late thirteenth-century libellus (F-Pnm, lat. 1143) as a point of departure. The Mass Propers were largely taken over, but small variations in the melodies raise interesting questions about how they were transmitted. By contrast, the office chants were thoroughly reordered and melodically edited in various ways, giving us a tangible sense of how Carthusians dealt with change.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"30 1","pages":"29 - 53"},"PeriodicalIF":0.2,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137121000024","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43916618","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Ainard of Dives and the Ste-Catherine-du-Mont office for St Katherine of Alexandria: ‘Inter praecipuos cantores scientia musicae artis’","authors":"James J. Blasina","doi":"10.1017/S0961137121000061","DOIUrl":"https://doi.org/10.1017/S0961137121000061","url":null,"abstract":"ABSTRACT Orderic Vitalis writes that Ainard, a monk of Ste-Catherine-du-Mont monastery, composed a historia for St Katherine of Alexandria for use at his institution, which possessed the saint's oil-secreting finger bones. Through a series of historiographical errors, throughout the twentieth century it came to be believed either that Ainard composed not a liturgical office, but a prose vita of the saint, or that the office he had composed was lost. This article presents a survey of the oldest extant offices for St Katherine, showing that the office widely disseminated in German-speaking lands can be traced to Normandy, and through palaeographical and codicological analysis of its earliest source, Paris, Bibliothèque nationale de France, nouv. acq. lat. 1083, to Ste-Catherine-du-Mont in the late eleventh century. The office contained in this manuscript juxtaposes newly composed proper chants for St Katherine with existing chants from a variety of liturgical sources that honoured established saints, and emphasises the power of St Katherine's relics. The contents and themes of the office suggest an agenda of legitimisation and cultic publicity on the part of its creator, which would be consistent with the aims of a monk of Ste-Catherine. If this manuscript is indeed from Ste-Catherine-du-Mont, it likely records the office that Ainard composed. This attribution is reinforced by a textual-melodic style and modal organisation that grounds it in a later style of chant composition, which Ainard – a south German by birth – would likely have been familiar with.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"30 1","pages":"55 - 83"},"PeriodicalIF":0.2,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137121000061","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48819427","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"‘And lastly, one for Saint Blaise’: bishops, widows and patronage in a lost Office of Reginold of Eichstätt","authors":"Alison Altstatt","doi":"10.1017/S0961137121000012","DOIUrl":"https://doi.org/10.1017/S0961137121000012","url":null,"abstract":"ABSTRACT This article concerns a fragmentary Office for Saint Blaise found in D-PREk Reihe V G1, a late fourteenth-century antiphoner from the Benedictine convent of Kloster Preetz. Despite the late date of the source, compositional similarities between this office and the Saint Nicholas office support the possibility that the former may be a lost Office attributed to Bishop Reginold of Eichstätt (r. 966–91) by the chronicler Anonymus Haserensis. I argue that Reginold may have written both the Office for Saint Blaise and the recension of the passio on which it is based for Pia of Bergen (Biletrud, Duchess of Bavaria), whom the chronicler names as Reginold's patron. This theory is supported by a consideration of the historical position and practices of Ottonian aristocratic widows, the development of saints’ cults in tenth-century Eichstätt and the text of the passio itself. These findings give new insight into the office compositions of Reginold of Eichstätt, the Ottonian veneration of Byzantine saints and female patrons’ involvement in the liturgical arts and establishment of cults in the late tenth century. These findings also provide hints to the origin of the liturgy of Kloster Preetz, whose mother house has never been identified.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"30 1","pages":"1 - 28"},"PeriodicalIF":0.2,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137121000012","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45744927","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"PMM volume 30 issue 1 Cover and Front matter","authors":"","doi":"10.1017/s0961137121000085","DOIUrl":"https://doi.org/10.1017/s0961137121000085","url":null,"abstract":"","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"30 1","pages":"f1 - f4"},"PeriodicalIF":0.2,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/s0961137121000085","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46519497","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Owen Rees, The Requiem of Tomás Luis de Victoria (1603). Cambridge: Cambridge University Press, 2019. xiv + 262 pp. £75. ISBN 978 1 107 05442 4.","authors":"Sanna Raninen","doi":"10.1017/S096113712100005X","DOIUrl":"https://doi.org/10.1017/S096113712100005X","url":null,"abstract":"","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"30 1","pages":"94 - 97"},"PeriodicalIF":0.2,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S096113712100005X","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46113833","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"PMM volume 30 issue 1 Cover and Back matter","authors":"","doi":"10.1017/s0961137121000097","DOIUrl":"https://doi.org/10.1017/s0961137121000097","url":null,"abstract":"","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"30 1","pages":"b1 - b2"},"PeriodicalIF":0.2,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/s0961137121000097","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41765018","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Processional melodies in the Old Hispanic rite","authors":"Emma C Hornby, David Andrés Fernández, C. J. Gutiérrez, Dianne Scullin","doi":"10.1017/S0961137121000103","DOIUrl":"https://doi.org/10.1017/S0961137121000103","url":null,"abstract":"ABSTRACT Old Hispanic liturgy was practised across much of medieval Iberia until c.1080. In this article we analyse the extant Old Hispanic processional antiphons, focusing on: the presence or absence of verses; amount of text and relationship with the Bible; cadence placement; number of notes per chant (melodic density) and per syllable; and melodic repetition within and between chants. We demonstrate that the processional antiphons are neither a homogenous corpus nor clearly differentiated stylistically from other Old Hispanic antiphons. In a short case study of the Good Friday Veneration of the Cross, we situate the processional antiphons within their wider ritual context, including their likely staging in the ecclesiastical architecture. As we show, the interaction between melody and ritual directed the antiphon texts towards a particular devotional end.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"30 1","pages":"99 - 118"},"PeriodicalIF":0.2,"publicationDate":"2021-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57437879","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}