The nature and classification of Traditional Religious Songs in Irish (original) (raw)
Related papers
Liturgical chant bibliography 30
Plainsong and Medieval Music
(a) Davide CROFF, 'Presentation', ix-x. (b) Roberto CALABRETTO, Luisa ZANONCELLI, 'Preface', xi-xii. (c) James BORDERS, 'Foreword to the Meeting', xiii. (d) Nausica MORANDI, 'Opening address', xiv. (e) Andreas PFISTERER, 'Zur Bedeutung von Oxeia/Acutus/Virga in den griechischen und lateinischen Neumenschriften', 3-8. (f) Laura ALBIERO, 'From France to northern Italy: specific features in "Comasca" notation', 9-18. (g) Elsa DE LUCA, 'A methodology for studying Old Hispanic notation: some preliminary thoughts', 19-40. (h) David CATALUNYA, 'The "codification" of new Latin song in early twelfth century: codicological insights into F-Pn fonds latin 1139', 43-7. (i) Marco GOZZI, 'Manuscripts in Cortona: fragments and liturgical books in the Archivio storico diocesano', 49-60. (j) Karin Strinnholm LAGERGREN, 'The Birgittine Abbey of Maria Refugie: Five hundred years of manuscript production', 61-71. (k) Santiago RUIZ TORRES, Juan Pablo RUBIO SADIA, 'Liturgical fragments of the diocese of Sigüenza (eleventh-sixteenth centuries)', 73-82. (l) Rebekka SANDMEIER, 'Imposing European culture on the Cape Colony: medieval manuscripts in the Grey collection', 83-93. (m) James BORDERS, 'A northern Italian intermediary between Avignon and Rome? Oxford, Bodleian Library, MS. Canonici Liturgical 375 and the chants of the 1485 Pontificale Romanum', 95-106. (n) Jurij SNOJ, 'The antiphoner of Izola', 107-16. (o) Réka MIKLÓS, 'Der Seckauer Liber ordinarius von ca. 1595 (A-Gu 1566) als letztes Dokument der mittelalterlichen Salzburger-Seckauer Liturgie und Musik', 117-34. (p) Andreas HAUG, 'Towards a semiotically informed transcription practice', 137-42. (q) Konstantin VOIGT, 'Reconstructing acts of writing. Editorial consequences of writing scenarios assumed for the versus Annus novus in Paris 1139', 143-50. (r) Elaine Stratton HILD, 'Working realities of the New Philology: considering the potential of 157 Liturgical chant bibliography 30 https://www.cambridge.org/core/terms.
A Chant Treatise in the Service of Two Monastic Traditions of the Modern Era
Musicological Annual
The present study discusses a chant theory treatise preserved in the Carthusian compilation manuscript (CZ-Pu I F 17) and based on the Franciscan Hermann Mott’s Musices Choralis Medulla (1670). It sheds new light on the background of the Carthusian arrangement and its connection to the Franciscan original by comparing both versions and trying to discover why the Franciscan treatise was chosen as an exemplar, who the author of the Carthusian treatise was, when and where the Carthusian version was written and used, and finally, through a study of its context and the information given in its manuscript source, how it could be transmitted and what it meant for the Carthusian order.
2012
The combination of observational, anecdotal and circumstantial evidence suggests that, in the present-day Christian church, older, traditional hymns are slowly but inexorably being replaced by modern, contemporary ones. Whilst it is a truism that hymnody, like every other aspect of civilisation, moves forward with the times, there still remains a large number of people, congregations and clergy for whom the early eighteenth century English hymn is a genre that remains ever-popular. This research focuses deliberately on the eighteenth century hymn for four main reasons. First, hymns from this period are widely used in most Christian denominations. Second, the eighteenth century was a particularly fertile period for hymnody. Third, this was the era of Watts and Wesley, arguably two of the greatest hymn writers of all time; their burgeoning popularity thrust the eighteenth century into a period of proclivity for hymn writing. Finally, the whole area of hymnody in the Church of Ireland ...
The offertories of Old-Roman chant : a musico-liturgical investigation /
1971
Chapter XXII is devoted to the alleluias of tho Old-Roman Paschal Vespers and some possible relationships with By~antino melodics. V Analysis of If free'• melodic in\l'ention has tended to remain rudimentary a~d to be linked with esthetic considerations and the "expressiveness" of the melody.l As fine and informative as sane of these studios are they do not pretend to a systBnatic investigation of groups of chants with an eye to dEmonstrating interrelationships and principles of organization. Kenneth Levy in a series of articles on Byzantine and Western chant has devoted his attention to the motiv1c relationships existing within specific chants and amongrelated chants. 2 CHAPTER V. THE TEXTS OF THE OFFERTORIES. • •• • • • • • • • '1' Sourcos of tho Texts (13l)-Tcxtua1 Centonization (132)-Commonts on Table 1 (134)-Tcxts of tno Offertory Versos (143)
Gregorian Chant's Imagined Past, with yet another look at the Roman Lenten repertoire
Liturgy's Imagined Past/s: Methodologies and Materials in the Writing of Liturgical History Today. (Hg. T. Berger / B. Spinks; A Pueblo Book), Collegeville, MN: Liturgical,, 2016
The performance of chant and its scholarly investigation has always gone along with a generous dose of historical imagination: not only were the 19th-century restoration and 20th-century ecclesial legislation guided by quite anachronistic views, but the introduction and propagation – and, to a certain degree, the actual creation – of “Gregorian” chant in the early medieval West made use of a wide variety of strategies to suggest that it had originated in the then already somewhat mythical Rome of the great pope Gregory. Yet even the Roman core repertoire itself seems to display traces of an imagined past no longer prevalent any more at the time of the repertoire’s redaction and certainly did not match later liturgical conditions. The paper discusses the various levels of imagination which can be discerned in the history of chant and is thus intended to contribute to critical reflection upon its past and present, and even perhaps its future.
Devotional Refrains in Medieval Latin Song
Cambridge University Press, 2022
Throughout medieval Europe, male and female religious communities attached to churches, abbeys, and schools participated in devotional music making outside of the chanted liturgy. Newly collating over 400 songs from primary sources, this book reveals the role of Latin refrains and refrain songs in the musical lives of religious communities by employing novel interdisciplinary and analytical approaches to the study of medieval song. Through interpretive frameworks focused on time and temporality, performance, memory, inscription, and language, each chapter offers an original perspective on how refrains were created, transmitted, and performed. Arguing for its significance as a marker of form and meaning, this book identifies the Latin refrain as a tool that communities used to negotiate their lived experiences of liturgical and calendrical time; to confirm their communal identity and belonging to song communities; and to navigate relationships between Latin and vernacular song and dance that emerge within their multilingual contexts.
Processional chants in English monastic sources
Journal of the Plainsong & Mediaeval Music Society, 1990
Including all these types of book, therefore, the inventory covers the following twelve English monastic sources of processional chants. Each manuscript has been given a siglum for the cumulative index.