Rebecca A BALTZER | The University of Texas at Austin (original) (raw)

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Papers by Rebecca A BALTZER

Journal of the Royal Musical Association, 1991

The Sixteenth century journal, 2001

The Divine Office-or, the cycle of daily worship services other than the Mass-constitutes the mos... more The Divine Office-or, the cycle of daily worship services other than the Mass-constitutes the most important body of liturgical texts and music for medieval studies. It is a collection of spiritual works that is central to the culture of the Middle Ages. This volume addresses the Office from a variety of points of view, allowing the reader to grasp the current state of research and to make connections.

Oxford University Press eBooks, Aug 31, 2000

The cathedral church of Paris, with its overwhelming focus upon the Mother of God, let virtually ... more The cathedral church of Paris, with its overwhelming focus upon the Mother of God, let virtually no day pass without explicit liturgical acknowledgement of her role in salvation. In the voice, ear, and mind of every cleric in this cathedral, the most familiar and frequently performed Office was the Little Office of the Virgin. It was essentially an Office by the clerics for the clerics, without spectators, done in their private liturgical space, the choir, before the altar of the Virgin. This chapter discusses the sources for this Office, which was known in Paris before the year 1200, its use both in Paris and elsewhere, and its texts. It describes the complex state of the sources from before the 13th century and points to the significant amount of local variation in the tradition.

Notes, Dec 1, 1994

A lle R echte Vorbehalten, in sbesondere die des N achdrucks u n d der Ü bersetzung. O h n e schr... more A lle R echte Vorbehalten, in sbesondere die des N achdrucks u n d der Ü bersetzung. O h n e schriftliche G enehm igung des Verlages ist es auch nicht gestattet, dieses u rh eb errech tlich geschützte W erk oder Teile d arau s in einem photom echanischen o d e r sonstigen R eproduktionsverfahren zu vervielfältigen und zu verarbeiten. H erstellung: P roff G m bH & Co., 8130 S tam beig Vorwort Der erste Ansatz zu vorliegender Studie geht auf ein Seminar zum Thema "Die Motette im 13. Jahrhundert" zurück, das Prof. Dr. Theo dor Göllner im Sommersemester 1983 leitete. Die Verschiedenartigkeit der musikalischen Sätze in der Entstehungsphase dieser neuen Gat tung und die Möglichkeit Entwicklungen zu erkennen und zu erklä ren verstärkten mein Interesse für die frühe Motette. Auch die Son derstellung der Madrider Notre-Dame-Handschrift unter den vier sogenannten großen Notre-Dame-Handschriften begann mich damals zu interessieren. Es entstand eine Dissertation, die 1987 von der Ludwig-Maximilians-Univbrsität München angenommen wurde. Mein Dank gilt Herrn Professor Göllner für die Betreuung der Ar beit, meiner Korreferentin Frau Professor Danckwardt für ihre Anre gungen und Herrn Rainer Schütz M.A. für seine Hilfe beim Erstellen der Druckvorlage. Dem Deutschen Akademischen Austauschdienst ist für ein halbjähriges Forschungsstipendium zu danken, das mir ermög lichte, die Madrider Notre-Dame-Handschrift im Original zu benüt zen. Spanische Bibliotheken, Archive, Klöster und Kathedralen haben mir aUerorts großzügig Zugang zu ihren Beständen und herzliche Aufnahme gewährt. Herr Professor Schneider schließlich verhalf der Arbeit durch sein persönliches verlegerisches Engagement zu einem runden Abschluß.

Journal of the American Musicological Society, 1991

Oxford University Press eBooks, 2000

The divine office in the latin middle ages methodology and source studies, regional developments,... more The divine office in the latin middle ages methodology and source studies, regional developments, hagiography BALTZER Rebecca A., FASSLER Margot E.

University of Texas Press eBooks, 1991

Journal of the American Musicological Society, 2008

The feast of the Assumption of the Virgin, observed annually on 15 August, was the most important... more The feast of the Assumption of the Virgin, observed annually on 15 August, was the most important saint's feast in the liturgical calendar of Notre Dame of Paris in the Middle Ages. In the thirteenth century, this occasion had a level of ceremonial and ritual splendor equaled only on Christmas, Easter, and Pentecost, for only these four feasts were given the highest liturgical rank, that of annuum festum or festum annuale, as it was variously termed in liturgical calendars at Notre Dame. The complete round of services for the Assumption of the Virgin began with a Vigil Mass on the eve of the feast and proceeded through the services of First Vespers, Compline, Matins, Lauds, Prime, Terce, the Procession after Terce, Mass, Sext, None, and Second Vespers, finally concluding with Compline on the night of 15 August. Because of its importance, this feast in the thirteenth century also included more than half a dozen chants in polyphonic settings for two and three voice-parts, and it is these items of polyphony, together with their offspring in the form of early Latin liturgical motets, that are the focus of this paper. On major feasts, the chants that might be provided with a polyphonic setting at Notre Dame included the great responsory and Benedicamus Domino of First Vespers; the third, sixth, and ninth responsories of Matins; the verse of the responsory or large antiphon used in the procession after Terce;l and the Gradual and Alleluia of the Mass. This is a total of eight items, and although no feast seems to have included organum for all eight possibilities, some did for as many as seven. The feast of the Assumption is also one of a number of occasions during the year that included a Vigil Mass, and, though I know of no specific regulations concerning the allowance of a polyphonic Gradual and Alleluia in such Masses, I have assumed their use to be permissible in this instance. Thus the list given in table 1 (on the following page) itemizes in liturgical order all the possibilities for organum on the feast of the Assumption, and if the chant is preceded by an 0 or M number (for Office and Mass), an organal setting does indeed survive in the repertory of Notre Dame polyphony that has come down to us. 2 lOr, on certain occasions, in a procession after Vespers. 3 The Alleluias Ora pro nobis (M 36), Veni electa mea (M 54), and Post partum virgo (M 35) are prescribed for the first three days of the octave, to be repeated in the same order for the next three days. On one day, Sunday would intervene; Sunday within the octave and the octave itself repeated the 15 August liturgy (sicut in die). Thus there was a polyphonic Alleluia every day during the octave of the Assumption, another mark of the feast's importance. (Following the Alleluia, a prose was also prescribed for each day of the Octave. a feature also not present on ordinary weekdays.

The Musical Quarterly, 1975

Cambridge University Press eBooks, Nov 3, 2016

Oxford University Press eBooks, 2001