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Author: Rebecca Maloy Publisher: Oxford University Press ISBN: 0199886261 Category : Music Languages : en Pages : 460
Book Description
The offertory has played a crucial role in recent vigorous debates about the origins of Gregorian chant. Its elaborate solo verses are among the most splendid of chant melodies, yet the verses ceased to be performed in the twelfth and thirteenth centuries, making them among the least known and studied members of the repertory. Rebecca Maloy now offers the first comprehensive investigation of the offertory, drawing upon its music, texts, and liturgical history to shed new light on its origins and chronology. Maloy addresses issues that are at the very heart of chant scholarship, such as the relationship between the Gregorian and Old Roman melodies, the nature of oral transmission, the presence of non-Roman pieces in the Gregorian repertory, and the influence of theoretical thought on the transmission of the melodies. Although the Old Roman chant versions were not recorded in writing until the eleventh century, it has long been assumed that they closely reflect the eighth-century state of the melodies. Maloy illustrates, however, that rather than preserving a pristine earlier version of the melodies, the prolonged period of oral transmission from the eighth to the eleventh centuries instead enforced a formulaic trend. Demonstrating that certain musical and textual traits of the offertory are distributed in distinct patterns by liturgical season, she outlines new chronological layers within the repertory, and along the way, explores the presence and implications of foreign imports into the Roman and Gregorian repertories. Carefully weighing questions surrounding the origins of elaborate verse melodies, Maloy deftly establishes that these melodies reached their final form at a relatively late date. Available for the first time as a complete critical edition, ninety-four Gregorian and Old Roman offertories are presented on a companion website in transcriptions which readers can view side-by-side. The book also provides music examples and essays that elucidate these transcriptions with significant insights into their similarities and differences. Inside the Offertory will be an important and longstanding resource for all students and scholars of early liturgical music, as well as performers of early music and medievalists interested in music.
Author: Rebecca Maloy Publisher: Oxford University Press ISBN: 0199886261 Category : Music Languages : en Pages : 460
Book Description
The offertory has played a crucial role in recent vigorous debates about the origins of Gregorian chant. Its elaborate solo verses are among the most splendid of chant melodies, yet the verses ceased to be performed in the twelfth and thirteenth centuries, making them among the least known and studied members of the repertory. Rebecca Maloy now offers the first comprehensive investigation of the offertory, drawing upon its music, texts, and liturgical history to shed new light on its origins and chronology. Maloy addresses issues that are at the very heart of chant scholarship, such as the relationship between the Gregorian and Old Roman melodies, the nature of oral transmission, the presence of non-Roman pieces in the Gregorian repertory, and the influence of theoretical thought on the transmission of the melodies. Although the Old Roman chant versions were not recorded in writing until the eleventh century, it has long been assumed that they closely reflect the eighth-century state of the melodies. Maloy illustrates, however, that rather than preserving a pristine earlier version of the melodies, the prolonged period of oral transmission from the eighth to the eleventh centuries instead enforced a formulaic trend. Demonstrating that certain musical and textual traits of the offertory are distributed in distinct patterns by liturgical season, she outlines new chronological layers within the repertory, and along the way, explores the presence and implications of foreign imports into the Roman and Gregorian repertories. Carefully weighing questions surrounding the origins of elaborate verse melodies, Maloy deftly establishes that these melodies reached their final form at a relatively late date. Available for the first time as a complete critical edition, ninety-four Gregorian and Old Roman offertories are presented on a companion website in transcriptions which readers can view side-by-side. The book also provides music examples and essays that elucidate these transcriptions with significant insights into their similarities and differences. Inside the Offertory will be an important and longstanding resource for all students and scholars of early liturgical music, as well as performers of early music and medievalists interested in music.
Author: David Hiley Publisher: Oxford University Press ISBN: 9780198165729 Category : Music Languages : en Pages : 764
Book Description
Plainchant is the oldest substantial body of music that has been preserved in any shape or form. It was first written down in Western Europe in the eighth to ninth centuries. Many thousands of chants have been sung at different times or places in a multitude of forms and styles, responding to the differing needs of the church through the ages. This book provides a clear and concise introduction, designed both for those to whom the subject is new and those who require a reference work for advanced study. It begins with an explanation of the liturgies that plainchant was designed to serve. It describes all the chief genres of chant, different types of liturgical book, and plainchant notations. After an exposition of early medieval theoretical writing on plainchant, Hiley provides a historical survey that traces the constantly changing nature of the repertory. He also discusses important musicians and centers of composition. Copiously illustrated with over 200 musical examples, this book highlights the diversity of practice and richness of the chant repertory in the Middle Ages. It will be an indispensable introduction and reference source on this important music for many years to come.
Author: Roman Hankeln Publisher: Fagbokforlaget ISBN: Category : History Languages : en Pages : 192
Book Description
In the melodies of the Gregorian offertories, the art of the solo singers in the medieval church reached its high point. As if to confirm this position of superiority, a distinct revival of interest in the offertory has been noticeable from the 19th century onwards, not only on the field of scholarly research, but also in practical musical performances. The musical style of the Gregorian offertory inspires description in superlatives. Chant handbooks have always been unanimous about its climactic (but also exceptional) status because of its enormous length, its practically non-formulaic melodic elaboration, its high range - often exceeding the limits of medieval modal theory - its occasional chromaticism, and its highly exceptional treatment of the text. All these features are extremely rare in other chants of the Roman Mass. In many ways the state of today's research stands in sharp contrast to the importance of the topic for our understanding of medieval musical culture. In the autumn of 2004, a symposion at the Centre for Medieval Studies in the Archbishop's Palace, Trondheim, brought together Chant scholars and a Latin philologist from the US, Germany, Italy, Sweden, and Norway to pool present knowledge in this area and to discuss methods and ideas for future research. These well-known experts in the field of the offertory have determined the direction of research in this area during the last fifty years. Research on offertories reflects the main challenges to modern musicology and philology, from heuristic problems of the many hundred medieval sources to intricate questions of the interpretation of style, function, and Rezeptions-geschichte. Furthermore, as with every Gregorian chant genre, the study of the offertory provides insights not only into the musical history, but also the cultural history of Western society.
Author: Luisa Nardini Publisher: Oxford University Press ISBN: 0197514138 Category : Music Languages : en Pages : 329
Book Description
"The liturgical chant that was sung in the churches of Southern Italy between the ninth and the thirteenth centuries reflects the multiculturalism of a territory in which Roman, Franks, Lombards, Byzantines, Normans, Jews, and Muslims were present at various titles and with different political roles. This book examines a specific genre, the prosulas that were composed to embellish and expand pre-existing liturgical chants of the liturgy of mass. Widespread in medieval Europe, prosulas were highly cultivated in southern Italy, especially by the nuns, monks, and clerics the city of Benevento. They shed light on the creativity of local cantors to provide new meanings to the liturgy in accordance with contemporary waves of religious spirituality and to experiment with a novel musical style in which a syllabic setting is paired with the free-flowing melody of the parent chant. In their representing an epistemological 'beyond' and because of their interconnectedness with the parent chant, they can be likened to modern hypertexts. The emphasis on universal saints of ancient lineage stressed the perceived links with the cradles of Christianity, Africa and the Levant, and the centre of the Papal power, Rome, while the high number of Christological prosulas in manuscripts used in nunneries might be tied to the devotion to Jesus as 'spiritual spouse' that was typical of female religiosity. Full edition of texts, melodies, and manuscript facsimiles in the companion website enrich the study of the stylistic features and the cultural components of this fascinating genre"--
Author: International Musicological Society. Study Group "Cantus Planus". Meeting Publisher: ISBN: Category : Gregorian chants Languages : en Pages : 520
Author: Rebecca Maloy
Author: Rebecca Maloy
Author: David Hiley
Author: Roman Hankeln
Author: Library of Congress. Copyright Office
Author: Grover Allen Pitman
Author: Luisa Nardini
Author: International Musicological Society. Study Group "Cantus Planus". Meeting
Author: 
Author: American Musicological Society
Author: