Lamentations Chant in Spanish Sources: A Preliminary Report, in Chant and its Peripheries: Essays in Honour of Terence Bailey edited by Bryan Gillingham and Paul Merkley, Ottawa: Institute of Mediaeval Music. 1998, pages 370-389 (original) (raw)
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The paper investigates the Lamentations chant found in Spanish sources, focusing on variations present across different regions and periods before the standardization of the Roman liturgy. It highlights the complexity and inconsistencies in chant configurations, suggesting that while textual variations imply intentionality, chant variations may appear irrational, reflecting differing priorities among users of these texts. This preliminary report aims to set a foundation for further study on the interplay of regional and local musical practices in medieval Spain.
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Tyrs paqe. is part of a larger study thar looks closery at the Lamentations of Jeremiah and their immediate context as they appear in a number of late spanish sourcesr. The Lamentations represented a favoured topos for Spanish musicians, as much or perhaps more so than for musicians of other countries. yet little is known about the Lamentations in their liturgical context, in Spain or ersewhere. Using the Lamentations as an example, I wish to explore the hypothesis thit close studies of small sections of -the liturgy can help us it int uuout ways in which we might identify reriabre markers of regionality or locality, ana that as we become more confident about such definitions, they may contribute to the building of a < in Spain in the eariy sixteenth century2. Such a map, showing as it would, where changes'in practice ' This study was funded by a grant from the Australian Research Council. I wish to acknowledge the use of materiars from the Hill Monastic Manuscript I_ibrary (HMML). I would arso like to thank rhose of my corleagu"., "rf".iurry David Sutherland, who have either read with a criticar eye earrier veisions ofihis paper, who have had the patience and good wiil to discuss issues, or who have responded to requests for materials from libraries to which I have not had access.
2018
The study of the Lamentations of Jeremiah in a European framework confirms the survival of a medieval plainchant practice of Hispanic root in the Iberian World. Therefore, the textual and melodic features of Medieval Spanish and Portuguese Lamentations must be unravelled in relation to the transference of this tradition to the monodic sources and polyphonic versions of the Lamentations during the pre- and post-Tridentine liturgical periods. This research reveals for the first time the melodic singularity of the reciting tones of the Portuguese Lamentations both in monodic and polyphonic sources of the Renaissance; that is, a Portuguese musical tradition that it has been surprisingly passed unnoticed. Although the study of the texts have been very well defined (in studies by Robert Snow and Jane Hardie), there are still questions to be resolved in relation to the melodic identity of the Lamentations in Renaissance Portugal. However, it must be recalled with regards to the polyphony of this genre that there have not been survived Portuguese Lamentations from the Early 15th- to Mid-16th-Century. The earliest polyphonic forms of this repertoire in Renaissance Portugal and the creation of a native polyphonic tradition have to be reconstructed thought out the settings of the Lamentations composed by Estêvão de Brito, Manuel Tabares and Manuel Leitão de Aviles (preserved in Spanish sources), the lessons of Francisco de Santa María, Pedro de Cristo and other anonymous Lamentations copied at some of the polyphonic choirbooks from Coimbra (P-Cug MM 9; MM 32; MM48), Porto (P-Pm 40; 76-9) and Lisbon (P-Ln 60). What is significant is that these polyphonic tears of Jeremiah reflect very likely the history of a longstanding musical tradition in the Iberian World.
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