Plainsong & Medieval Music最新文献

{"title":"PMM volume 27 issue 2 Cover and Back matter","authors":"","doi":"10.1017/s096113711800013x","DOIUrl":"https://doi.org/10.1017/s096113711800013x","url":null,"abstract":"","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"27 1","pages":"b1 - b2"},"PeriodicalIF":0.2,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/s096113711800013x","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41370376","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":"Thomas Arentzen, The Virgin in Song: Mary and the Poetry of Romanos the Melodist. Philadelphia: University of Pennsylvania Press, 2017. xvii + 265 pp. $59.95. ISBN 978 0 8122 4907 1.","authors":"K. Ihnat","doi":"10.1017/s0961137118000104","DOIUrl":"https://doi.org/10.1017/s0961137118000104","url":null,"abstract":"","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"27 1","pages":"171 - 173"},"PeriodicalIF":0.2,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/s0961137118000104","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48745300","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 27 issue 2 Cover and Front matter","authors":"","doi":"10.1017/s0961137118000128","DOIUrl":"https://doi.org/10.1017/s0961137118000128","url":null,"abstract":"","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":" ","pages":"f1 - f4"},"PeriodicalIF":0.2,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/s0961137118000128","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46575840","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":"History of a book: Hildegard of Bingen's ‘Riesencodex’ and World War II","authors":"Jennifer Bain","doi":"10.1017/S0961137118000098","DOIUrl":"https://doi.org/10.1017/S0961137118000098","url":null,"abstract":"ABSTRACT Only two large collections of Hildegard of Bingen's music are extant, today housed in the Katholieke Universiteit in Leuven (B-LVu, no shelf number) and in the Hochschul-und Landesbibliothek RheinMain in Wiesbaden (D-WI1 2, the so-called ‘Riesencodex’). The Riesencodex, though, was almost lost during World War II. It survived both bombing and plundering in Dresden in February 1945, only to be appropriated by the Soviet Administration in 1947. Using archival records from the Hessisches Hauptstaatsarchiv in Wiesbaden from the 1940s and 1950s, I detail the efforts of a number of people to retrieve the manuscript after the war and bring it back to Wiesbaden. Franz Götting, the director of the Wiesbaden library, spent several years trying to recover the manuscript through official channels. Its eventual return to Wiesbaden in 1948, however, came about surreptitiously, largely through the efforts of Margarete Kühn at the German Academy in East Berlin and an American woman, Caroline Walsh, in Berlin as a military spouse.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"27 1","pages":"143 - 170"},"PeriodicalIF":0.2,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137118000098","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42186133","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":"The invitatory antiphons in Cantus sororum: a unique repertoire in a world of standard chant","authors":"Karin Lagergren","doi":"10.1017/S0961137118000086","DOIUrl":"https://doi.org/10.1017/S0961137118000086","url":null,"abstract":"ABSTRACT This is the first study to examine the seven invitatory antiphons of the Birgittine weekly Office, the Cantus sororum, offering complete transcriptions of the melodies and texts. An important general finding is that these invitatories share many melodic similarities with great responsories, but on a more detailed level this article investigates precisely how these chants relate to known models, both complete melodies as well as individual melodic motives. Four patterns of composition among the Cantus sororum invitatories emerge: (1) unique texts may be combined with melodies that resemble other known chants outside the Cantus sororum; (2) texts and melodies that resemble other variants outside the Cantus sororum may be combined in new ways; (3) both text and melody are unknown outside the Cantus sororum. Overall, these invitatory antiphons, like the rest of the Cantus sororum, represent creative work with existing melodies and texts, including reworkings, borrowings and consistent use of melodic motifs, comprising a significant part of a repertoire at once distinctly Birgittine in character and yet conforming to the common stock of Gregorian Chant. Melodic correspondences within the Cantus sororum as well as in the Birgittine Mass repertoire thus afford an interesting perspective on a soundscape in which the Birgittines functioned and where, through music, their identity was created and maintained.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"27 1","pages":"121 - 142"},"PeriodicalIF":0.2,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137118000086","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46192393","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":"Nausica Morandi, Officium Stellae: Studio comparativo e trascrizione dei testimoni liturgico-musicali, La Tradizione Musicale 17. Florence: Edizioni del Galluzzo per la Fondazione Ezio Franceschini, 2016. xxxii + 468 pp. €65. ISBN 978 88 8450 690 0.","authors":"Michael L. Norton","doi":"10.1017/S0961137117000171","DOIUrl":"https://doi.org/10.1017/S0961137117000171","url":null,"abstract":"cantorum who had been granted as subdeacons the privilegium of wearing the mitre in the exercise of their office. Another case study of transformation is Anna de Bakker’s examination of the Office of Arnulf de Villers (d. 1228), a Cistercian lay brother. The fact that a prose vita was adapted for a liturgical observance is hardly remarkable, but de Bakker illustrates how Goswin, the author of the saint’s office (and vita), shaped the ‘dialogue’ between responsories and readings to define his subject as not just a local holy man but an ‘eternal figure’ (p. 338). The responsory Egressus igitur, for example, invokes Abraham as one who, like Arnulf, departed ‘de terra et cognatione sua’. The extreme penances and mortification which the saintly Arnulf imposed upon himself are recorded in grisly detail in a hymn which begins (incongruously?) Gaude mater ecclesia (Table 18.1). The closing essay by Claire Taylor Jones on the reformer Johannes Meyer (d. 1485) has little relationship to the title of the book. She chronicles Meyer’s strenuous endeavours to impose on convents of Dominican nuns a strict Observance of the Rule of Augustine and the customs of the Order. Meyer copied, translated and edited ‘sistersbooks’ (histories of convents composed in German by the sisters themselves) and other materials related to his mission, in which he was assisted by reforming nuns. Meyer laid particular stress on education, so that the choir nuns would understand the Latin of the office they were bound to recite. Any reader who takes this book from the library shelf will surely be able to find chapters that relate to his or her interests. Not to be found, however, is much information about ‘medieval cantors and their craft’. That might require a different kind of research in archives, ordinals and customaries. York Medieval Press has done an excellent job of producing a readable text in a sturdy binding. The manuscript illustrations are of serviceable quality, though Rankin’s ‘Plate X’ (p. 57) seems to have gone astray.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"27 1","pages":"76 - 85"},"PeriodicalIF":0.2,"publicationDate":"2018-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137117000171","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42017703","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":"Composing St Columba, Hope of the Scots","authors":"K. Steiner","doi":"10.1017/S0961137118000037","DOIUrl":"https://doi.org/10.1017/S0961137118000037","url":null,"abstract":"ABSTRACT The singular Office of St Columba in the Inchcolm Antiphoner, a unique relic celebrated for its distinct Scottish chant, was composed in the late thirteenth century amidst a battle for the claim of Scotland's patron saint. Previous studies of the office have suggested that unique chants reflect a pre-Norman tradition of Celtic chant. This article demonstrates that the office was not only composed much later, and severely edited in the fifteenth century, but also almost entirely composed of contrafacta. Some of these engage directly with the cult of St Andrew, the other saint with a major claim to the patronage of Scottish royalty. Three chants in the office connect the celebration of St Columba at Inchcolm Abbey to music from St Andrews Cathedral as recorded in a St Andrews antiphoner and W1. The office thus bears witness to the authority of music for St Andrew and the association of W1 with his cathedral in the early fourteenth century. The music of the office is not distinctly Scottish, but the office constructed for St Columba reflects the competition between the cults of St Andrew and St Columba in the construction of Scottish identity.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"27 1","pages":"41 - 61"},"PeriodicalIF":0.2,"publicationDate":"2018-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137118000037","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42258271","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 27 issue 1 Cover and Back matter","authors":"","doi":"10.1017/s0961137118000050","DOIUrl":"https://doi.org/10.1017/s0961137118000050","url":null,"abstract":"","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"27 1","pages":"b1 - b3"},"PeriodicalIF":0.2,"publicationDate":"2018-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/s0961137118000050","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46043306","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":"Pitch series in chant composition: a demonstration","authors":"T. Bailey","doi":"10.1017/S0961137118000013","DOIUrl":"https://doi.org/10.1017/S0961137118000013","url":null,"abstract":"ABSTRACT The exposition of an analytical method that reveals the simple basis of the melodic structure of Western liturgical chants belonging to the two general categories of responsory and antiphon. Included are historical observations meant to explain the origin and evolution of chant-melody in the period from the seventh to the thirteenth century.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"27 1","pages":"27 - 40"},"PeriodicalIF":0.2,"publicationDate":"2018-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137118000013","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42191324","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":"Andrew Hicks, Composing the World: Harmony in the Medieval Platonic Cosmos, Critical Confunctures in Music and Sound 1. New York: Oxford University Press, 2017. xix + 321 pp. GBP 34.99. ISBN 978 0 19 065820 5.","authors":"M. Teeuwen","doi":"10.1017/S0961137117000158","DOIUrl":"https://doi.org/10.1017/S0961137117000158","url":null,"abstract":"and commentaries, drawing upon a wide knowledge of patristic texts and biblical exegesis. That the explanations are occasionally rather wordy is hardly a drawback, given the nature of the material and the clarity of the exposition. The riches of these volumes extend right to the end. There is a word concordance with over 1,400 entries, an index of proper names, another of divine names, a fourteenpage bibliography, an index of sequences by Latin incipit (not just Notker’s but all others cited as well), an index of melody titles with classificatory codes to denote their distribution and an index of manuscripts. Bower’s hives are indeed well stocked. My enthusiasm for this magnificent achievement will have become obvious. Calvin Bower has at last provided for these remarkable compositions the edition they deserve. And much more than an edition: a comprehensive exposition of what Notker’s creative effort signified, of the intellectual and spiritual world in which it was accomplished and of the musical dimensions of this liturgical poetry. I should not omit to point out that these volumes, by including a fully fledged musical edition, mark a significant new departure among the publications of the Henry Bradshaw Society (henrybradshawsociety.org). It is no coincidence that the Chairman of the Society’s Council, Susan Rankin, is herself a musicologist with an unrivalled knowledge of early St Gall chant books. It bears repeating that Notker would not have composed his texts the way he did if the melodies had not already been ringing in his ears. He wrote many other Latin works, including the famous prose Gesta Karoli Magni, a metrical life of St Gallus, and some office hymns in conventional metre. The longissimae melodiae presented a quite different challenge, which Bower never lets out of his sight. These volumes raise Notker studies to a quite new level, one to which I sincerely hope not only medievalists but also musical performers may rise. I was interested to note Bower’s recollection of singing the pieces from an older edition some four decades ago. To scale the celestial heights of Congaudent angelorum chori, to chant the whole history of redemption in Laudes salvatori, is indeed a wonderful experience for any singer. Notker’s sequences could enliven many a Mass. Who could fail to respond to the culminating assertion of the Dedication sequence Psallat ecclesia: ‘Hac domo Trinitáti laus et glória semper resúltant’ (‘In this house praise and glory to the Trinity re-echo without end’)? May Calvin Bower’s ‘libelli’ persuade us to enter these gates of rich musical as well as scholarly experience.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"27 1","pages":"67 - 70"},"PeriodicalIF":0.2,"publicationDate":"2018-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137117000158","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41939417","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}