The Responsorial Psalm Tones For The Mozarabic Office

This definitive study takes as its subject a group of melodies copied many times, even within single manuscripts. Professor Randel is therefore able to base his conclusions about the relationship of the manuscript sources to one another on twenty-six separate Spanish manuscripts. He shows that there were actually four distinct traditions associated with these manuscripts instead of two as formerly assumed. By comparing the four traditions, he draws new conclusions about the relative antiquity of the written tradition for these psalm tones, the presence or absence of a modal system in the Mozarabic chant, and the development of the two general types of notation. Originally published in 1969. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

At head of title: The Australian Welding Institute.

Based on highly original archival and palaeographical research, this is the first methodological and factual primer in English on the distinctive liturgical tradition of early medieval Spain. It provides clear and approachable blueprints for future work on the description and analysis (musical, theological and cultural) of this and other liturgies. For non-specialists, the authors introduce the main features of Old Hispanic liturgy, its manuscripts, its services and its liturgical genres. For specialists, they model a variety of ways to work with the Old Hispanic materials in depth, incorporating notational, musical, theological and historical perspectives. For those interested in musical notation, the book lays out a method for working with unpitched neumes, with illustrative results, that will inspire and challenge others working on monophonic chant. For historians and liturgists, the texts and melodies are analysed in combination with the theological context that informed their creation.

"Songs of Sacrifice argues that liturgical music-both texts and melodies-played a central role in the cultural renewal of early Medieval Iberia. Between the seventh and eleventh centuries, Christian worship on the Iberian Peninsula was structured by rituals of great theological and musical richness, known as the Old Hispanic (or Mozarabic) rite. Much of this liturgy was produced during the seventh century, as part of a cultural and educational program led Isidore of Seville and other bishops. After the conversion of the Visigothic rulers from Arian to Nicene Christianity at the end of the sixth century, the bishops aimed to create a society unified in the Nicene faith, built on twin pillars of church and kingdom. They initiated a project of clerical education, facilitated through a distinctive culture of textual production. The chant repertory was carefully designed to promote these aims. The creators of the chant texts reworked scripture in ways designed to teach biblical exegesis, linking both to the theological works of Isidore and others, and to Visigothic anti-Jewish discourse. The notation reveals an intricate melodic grammar that is closely tied to textual syntax and sound. Through musical rhetoric, the melodies shaped the delivery of the texts to underline words and phrases images of particular liturgical or doctrinal import. The chants thus worked toward the formation of individual Christian souls and a communal, Nicene identity. The final chapters turn to questions about the intersection between orality and writing and the relationships of the Old Hispanic chant to other Western plainsong traditions"--

Uniquely authoritative and wide-ranging in its scope, The Oxford Dictionary of the Christian Church is the indispensable one-volume reference work on all aspects of the Christian Church. It contains over 6,000 cross-referenced A-Z entries, and offers unrivalled coverage of all aspects of this vast and often complex subject, including theology, churches and denominations, patristic scholarship, the bible, the church calendar and its organization, popes, archbishops, saints, and mystics. In this revision, innumerable small changes have been made to take into account shifts in scholarly opinion, recent developments, such as the Church of England's new prayer book (Common Worship), RC canonizations, ecumenical advances and mergers, and, where possible, statistics. A number of existing articles have been rewritten to reflect new evidence or understanding, for example the Holy Sepulchre entry, and there are a few new articles. Perhaps most significantly, a great number of the bibliographies have been updated. Established since its first appearance in 1957 as an essential resource for ordinands, clergy, and members of religious orders, ODCC is an invaluable tool for academics, teachers, and students of church history and theology, as well as for the general reader.

The fifteen studies assembled here grew out of research on south-Italian ordinary chants and tropes for the multi-volume series Beneventanum Troporum Corpus II, edited by John Boe in collaboration with Alejandro Planchart. In the present essays, clerical and ordinary chants and tropes of the Mass (especially when derived from paraliturgical hymns and poems), certain aspects of chant notation and particular facets of the old Beneventan and the old Roman chant repertories are examined in relation to the three main cultic centres of the Italian south - Benevento, Montecassino and Rome - and as they relate to their European context, namely Frankish and Norman chant and the varieties of chant sung in Italy north of Rome. The volume includes one previously unpublished study, on the Roman introit Salus Populi.

The Divine Office, or the cycle of daily worship services other than the Mass, constitutes a body of liturgical texts and music for medieval studies. This is a collection of spiritual works that is central to the culture of the Middle Ages.

The tradition of Old Hispanic liturgical chant is here examined through a new methodology, enabling striking new insights into its use.