Skip to main content Accessibility help
×
Hostname: page-component-cd9895bd7-8ctnn Total loading time: 0 Render date: 2024-12-26T08:22:06.209Z Has data issue: false hasContentIssue false

16 - Religious soundscapes: liturgy and music

from PART IV - SHAPES OF A CHRISTIAN WORLD

Published online by Cambridge University Press:  28 March 2010

Miri Rubin
Affiliation:
Queen Mary University of London
Walter Simons
Affiliation:
Dartmouth College, New Hampshire
Get access

Summary

Music played a crucial role in the world of medieval Christianity. The performance and composition of music not only reflected surrounding historical and theological contexts, but also actively determined liturgical and devotional experience. In the High and Late Middle Ages, musicians continued to cultivate the traditional genres of chant and also created new kinds of music for performance both inside and outside the liturgy. The present chapter aims to show the place of these musical trends in religious culture.

In the period 1100–1500, sacred music took on an ever-expanding range of functions and contexts, including not only the worship of the regular clergy, and those services and processions that were attended by parishioners, but also votive performances specially commissioned by lay and clerical patrons, and communal singing by associations of laypeople. Guilds and other associations were increasingly involved in the patronage and performance of religious music, and the mendicant orders’ emphasis on spiritual instruction fostered confraternities of laypeople who sang vernacular songs. The performance of the liturgy remained the cornerstone of the corporate identity of those in religious orders.

Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2009

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Abou-el-Haj, Barbara, The Medieval Cult of Saints: Formations and Transformations (Cambridge: Cambridge University Press, 1994).
Angenendt, Arnold, Heilige und Reliquien: Die Geschichte ihres Kultes vom fruhen Christentum bis sur Gegenwart (Munich: Verlag C. H. Beck, 1994)
Blezzard, Judith, Ryle, Stephen and Alexander, Jonathan, ‘New Perspectives on the Feast of the Crown of Thorns’, Journal of the Plainsong and Mediaeval Music Society 10 (1987).Google Scholar
Boynton, Susan, ‘Performative Exegesis in the Fleury Interfectio Puerorum’, Viator 29 (1998).Google Scholar
Boynton, Susan, ‘Work and Play in Sacred Music and its Social Context, ca. 1050–1250’, in Swanson, R. N., ed., The Use and Abuse of Time in Christian History, Studies in Church History 37, Woodbridge: Blackwell, 2002.Google Scholar
Candelaria, Lorenzo, ‘El Cavaller de Colunya: A Miracle of the Rosary in the Choirbooks of San Pedro Mártir de Toledo’, Viator (2004).Google Scholar
Crocker, Richard and Hiley, David, eds., The Early Middle Ages to 1300, New Oxford History of Music, 2, Oxford: Oxford University Press, 1990.
Fassler, Margot, ‘Composer and Dramatist’, in Newman, Barbara, ed., Voice of the Living Light: Hildegard of Bingen and her World, Berkeley and Los Angeles: University of California Press, 1998.Google Scholar
Fassler, Margot, Gothic Song: Victorine Sequences and Augustinian Reform in Twelfth-Century Paris, Cambridge: Cambridge University Press, 1993.
Fassler, Margot, ‘The Meaning of Entrance: Liturgical Commentaries and the Introit Tropes’, in Brainard, Paul, ed., Reflections on the Sacred: A Musicological Perspective, New Haven, Conn.: Yale Institute of Sacred Music, Worship, and the Arts, 1994.Google Scholar
Fassler, Margot, ‘Music and the Miraculous: Mary in the Mid-Thirteenth-Century Dominican Sequence Repertory’, in Boyle, Leonard and Gy, Pierre-Marie, eds., Aux origines de la liturgie dominicaine: Le manuscrit Santa Sabina XIV L1, Rome: École française de Rome; Paris: CNRS Editions, 2004.Google Scholar
Flynn, William, Medieval Music as Medieval Exegesis, Lanham, Md. and London: Scarecrow Press, 1999.
Gaposchkin, Cecilia, ‘Philip the Fair, the Dominicans, and the Liturgical Office for Louis IX: New Perspectives on Ludovicus decus regnantium’, Plainsong and Medieval Music 13 (2004).Google Scholar
Haggh, Barbara, ed., Two Offices for St Elizabeth of Hungary: Introduction and Edition, ed. Barbara Haggh, Musicological Studies 65.1, Ottawa: Institute for Medieval Music, 1995.
Haggh, Barbara, ‘Foundations or Institutions? On Bringing the Middle Ages into the History of Medieval Music’, Acta musicologica 68 (1996).Google Scholar
Harper, John, The Forms and Orders of Western Liturgy from the Tenth to the Eighteenth Century: A Historical Introduction and Guide for Students and Musicians, Oxford: Oxford University Press, 1991.
Haug, Andreas, Troparia tardiva: Repertorium später Tropenquellen aus dem deutschsprachigen Raum, Kassel and New York: Bärenreiter, 1995.
,Hildegard of Bingen, Symphonia: A Critical Edition of the Symphonia armonie celestium revelationum, ed. and trans. Newman, Barbara, Ithaca, N.Y.: Cornell University Press, 1998.
Hiley, David, Western Plainchant: A Handbook, Oxford: Oxford University Press, 1993.
Hughes, Andrew, ‘Late Medieval Plainchant for the Divine Office’, in Strohm, Reinhard and Blackburn, Bonnie, eds., Music as Concept and Practice in the Late Middle Ages, New Oxford History of Music 3.1, New York: Oxford University Press, 2001.Google Scholar
Kolár, Jaroslav, Vidmanová, Anezka and Vlhová-Wörner, Hana, eds., Jistebnický kancional, MS Praha, Knihovna Národniho muzea, II C 7, Kritická edice/Jistebnice Kancionál, MS Prague, National Museum Library II C 7, critical edition, vol. 1: Graduale, Monumenta liturgica bohemica 2, Brno: Marek, 2005.
Kruckenberg, Lori, ‘Some Observations on a troparium tardivum: The Proper Tropes in Utrecht, Universiteitsbibliotheek, 417’, Tijdschrift v.d. Kon. Vereniging voor Nederlandse Muziekgeschiedenis 53 (2003).Google Scholar
McGrade, Michael, ‘O rex mundi triumphator: Hohenstaufen Politics in a Sequence for Saint Charlemagne’, Early Music History 17 (1998).Google Scholar
Østrem, Eyolf The Office of Saint Olav: A Study in Chant Transmission, Acta universitatis upsaliensis, Studia musicological upsaliensia, nova series 18, Uppsala: Elanders Gotab, 2001.
Petersen, Nils Holger, ‘Liturgical Drama: New Approaches’, in Hamesse, Jacqueline, ed., Bilan et perspectives des études médiévales (1993–1998), Turnhout: Brepols, 2004, 633–44.Google Scholar
Robertson, Anne Walters, Guillaume de Machaut and Reims: Context and Meaning in his Musical Works, Cambridge: Cambridge University Press, 2002.
Robertson, Anne Walters, ‘The Mass of Guillaume de Machaut in the Cathedral of Reims’, in Kelly, Thomas Forrest, ed., Plainsong in the Age of Polyphony, Cambridge: Cambridge University Press, 1992.Google Scholar
Sapir Abulafia, Anna, Christians and Jews in the Twelfth-Century Renaissance, London and New York: Routledge, 1995.
Servatius, Viveca, Cantus sororum: Musik- und liturgiegeschichtliche Studien zu den Antiphonen des birgittinischen Eigenrepertoires nebst 91 Transkriptionen, Acta universitatis upsaliensis, Studia musicologica upsaliensia nova series 12, Uppsala: Almqvist & Wiksell, 1990.
Slocum, Kate Brainerd, Liturgies in Honour of Thomas Becket, Toronto: University of Toronto Press, 2003.
Stewart, Marc and Wulstan, David, eds., The Poetic and Musical Legacy of Heloise and Abelard, Ottawa: Institute of Mediaeval Music; Westhumble: The Plainsong and Mediaeval Music Society, 2003.
Strohm, Reinhard, The Rise of European Music, 1380–1500, Cambridge: Cambridge University Press, 1993.
Waddell, Chrysogonus, ‘Epithalamica: An Easter Sequence by Peter Abelard’, The Musical Quarterly 72 (1986).Google Scholar
Waddell, Chrysogonus, ‘The Origin and Early Evolution of the Cistercian Antiphonary: Reflections on Two Cistercian Chant Reforms’, in Pennington, Basil, ed., The Cistercian Spirit: A Symposium in Memory of Thomas Merton, Washington, D.C.: Cistercian Publications, Consortium Press, 1970.Google Scholar
Waddell, Chrysogonus, ed., Hymn collections from the Paraclete, Cistercian Liturgy Series, 8–9, Trappist, Ky.: Gethsemani Abbey, 1987–89.
Wegman, Rob. C., ‘From Maker to Composer: Improvisation and Musical Authorship in the Low Countries, 1450–1500’, Journal of the American Musicological Society 49 (1996).Google Scholar
Wilson, Blake, Music and Merchants: The Laudesi Companies of Republican Florence, Oxford: Oxford University Press, 1992.
Wulstan, David, ‘Novi modulaminis melos: The Music of Heloise and Abelard’, Plainsong and Medieval Music 11 (2002).Google Scholar
Yardley, Anne Bagnall, Performing Piety: Musical Culture in Medieval English Nunneries, New York: Palgrave MacMillan, 2006.

Save book to Kindle

To save this book to your Kindle, first ensure no-reply@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×