Sacred and religious music Books

Book SynopsisTexts centred on the mother of Jesus abound in religious traditions the world over, but thirteenth-century Old French lyric stands apart, both because of the enormous size of the Marian cult in thirteenth-century France and the lack of critical attention the genre has garnered from scholars.As hybrid texts, Old French Marian songs combine motifs from several genres and registers to articulate a devotional message. In this comprehensive and illuminating study, Daniel E. O’Sullivan examines the movement between secular and religious traditions in medieval culture that Old French religious song embodies. He demonstrates that Marian lyric was far more than a simple, mindless imitation of secular love song. On the contrary, Marian lyric participated in a dynamic interplay with the secular tradition that different composers shaped and reshaped in light of particular doctrinal and aesthetic concerns. It is a corpus that reveals itself to be far more malleable and supple than pastTable of ContentsAcknowledgments Introduction: Secular and Religious in Medieval Culture Chapter 1: Gautier de Coinci's Marian Poetics of Familiar Strangeness The Human and Divine in Harmony 'Amours, qui bien set enchanter' (I Ch 3/RS 851) 'Roÿne celestre' (I Ch 5/RS 956, 1903) 'D'une amour quoie et serie' (II Ch 5/RS 1212) Chapter 2: Thibaut de Champagne, Genre, and the Medieval Taste for Hybrids Thibaut in the Line of Gautier Thibaut's Hybridized Marian Songs 'Commencerai a fere un lai': Genre and Aesthetic Play Chapter 3: Voicing Marian Devotion in Women's Devotional Song Songs in the Voice of Everywoman Religious Women Voicing Marian Devotion Mary's Voice: 'Lasse, que devendrai gié' Chapter 4: Jacques de Cambrai, Distinctive Traditionalism, and Kaleidoscopic Contrafacta Choices of Motif, Theme, and Model: The Case for Distinctive Traditionalism Towards a Generative Model of Kaleidoscopic Contrafacture Traditionalism, Innovation, and ';Retrowange novelle' The Future of Old French Marian Song Chapter 5: Rutebeuf: Beyond the World of Marian Song Rutebeuf's Polemical Marian Poetry Marian Devotion Dramatized When Mary Intercedes: 'Un dist de Nostre Dame' Conclusion: Contrafacture and Cultural Exchange Appendix of textual and musical editions of songs and poems Notes Bibliography Index

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Book SynopsisMany singers today perform Elizabethan and Jacobean lute-songs. Robert Toft offers the first help for singers in understanding the principles which governed song performance and composition in the early seventeenth century. He shows how these historical principles may be used to move and delight modern audiences. The main purpose of early seventeenth-century singing was to persuade listeners using a style of utterance that had two principal parts – to sing eloquently and to act aptly. Toft discusses these two facets of singing within a broad cultural context, drawing upon music’s sister arts, poetry and oratory, to establish the nature of eloquence and action in relation to singing. He concentrates on these techniques which can be transferred easily from one medium to the other. Specifically, he draws on the two aspects of oratory which directly bear on singing: elocutio, the methods of amplifying and decorating poetry and music with figures, and pronunciatio, t

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Book SynopsisEsther, the Beautiful Queen, was William Bradbury’s choral setting of a text based on the biblical Book of Esther. Written for amateur singers, the uncomplicated score became enormously popular. In this volume Juanita Karpf traces the work’s rich performance and reception history.Trade ReviewFrom Biblical Book to Musical Megahit is a gratifying exploration of a surprisingly important and durable work in nineteenth-century American musical life." - R. Allen Lott, professor of music history at Southwestern Baptist Theological Seminary"Clear and imminently readable, From Biblical Book to Musical Megahit is a veritable trove of information, photographs, and music." - Jake Johnson, author of Mormons, Musical Theater, and Belonging in America

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Book SynopsisThe Moravians, or Bohemian Brethren, early Protestants who settled in Pennsylvania and North Carolina in the eighteenth century, brought a musical repertoire that included hymns, sacred vocal works accompanied by chamber orchestra, and instrumental music by the best-known European composers of the day. Moravian composers -- mostly pastors and teachers trained in the styles and genres of the Haydn-Mozart era -- crafted thousands of compositions for worship,and copied and collected thousands of instrumental works for recreation and instruction. The book's chapters examine sacred and secular works, both for instruments -- including piano solo -- and for voices. The Musicof the Moravian Church demonstrates the varied roles that music played in one of America's most distinctive ethno-cultural populations, and presents many distinctive pieces that performers and audiences continue to find rewarding. Contributors: Alice M. Caldwell, C. Daniel Crews, Lou Carol Fix, Pauline M. Fox, Albert H. Frank, Nola Reed Knouse, Laurence Libin, Paul M. Peucker, and Jewel A. Smith. Nola Reed Knouse, director of theMoravian Music Foundation since 1994, is active as a flautist, composer, and arranger. She is the editor of The Collected Wind Music of David Moritz Michael.Trade ReviewA valuable to anyone pursuing a deeper acquaintance with this unique -- and uniquely American -- tradition. . . . A thorough introduction to the various aspects of the topic. -- Alan Lewis * JOURNAL OF THE ASSOCIATION OF ANGLICAN MUSICIANS *Provides the most up-to-date and comprehensive treatment of music in the Moravian Church. . . . Well documented with chapter endnotes and amply illustrated with music examples, facsimiles from early sources, and photographs. . . . A veritable vade mecum for the subject. . . . There is a genuine need for this book. -- John Druesedow * MUSIC LIBRARY ASSOCIATION NOTES *Music plays a huge role in Moravian culture. . . . Those wishing to build an understanding of this music and musical culture will appreciate the first several essays . . . . A significant addition to the literature on Moravian music and culture (and, indeed, on church music more broadly.) . . . Summing Up: Recommended. All audiences, but particularly undergraduates and general readers. * CHOICE *This marvelous collection of essays presents a rich, provocative account of an underappreciated musical heritage. Its penetrating insights go well beyond Moravian culture. Indeed, this book should be required reading for any person, of any denomination, interested in the complex issue of music in liturgy. --Lorenzo Candelaria, University of Texas at Austin (Musicology) and co-author of American Music: A Panorama * . *A giant step in the ongoing task of disseminating information about the origins of Moravian music and its importance on the American musical scene. The assembly of works by significant scholars is well illustrated by examples of printed music, hymns, and both original and translated texts. --Wake Forest University (History) and longtime president of Historic Winston. -- J. Edwin HendricksInsightful quotations from eighteenth- and nineteenth-century sources...Well documented...[Nola] Reed Knouse and other contributors provide excellent discussions of the Moravian cultivation of amateur music making...Readers...may find themselves, as Goethe, Herder, [George] Washington, and [Benjamin] Franklin were, moved by the emotionally charged religious sentiment of Moravian music. -- Sarah Eyerly * JOURNAL OF THE SOCIETY FOR AMERICAN MUSIC *Based on the extraordinary archives of the Moravian Music Foundation. . . . Necessary and welcome. . . . [A] seminal collection. -- Hilde Binford * JOURNAL OF MORAVIAN HISTORY *Table of ContentsThe Moravians and Their Music - Nola Reed Knouse Moravian Worship: The Why of Moravian Music - C Daniel Crews Hymnody of the Moravian Church - Albert H Frank and Nola Reed Knouse Moravian Sacred Vocal Music - Alice M. Caldwell The Organ in Moravian Church Music - Lou Carol Fix The Role and Development of Brass Music in the Moravian Church - Paul M Peucker The Collegia Musica: Music of the Community - Nola Reed Knouse Music in Moravian Boarding Schools through the Early Nineteenth Century - Pauline M Fox The Piano among the Moravians in the Eighteenth and Nineteenth centuries: Music, Instruction and Construction - Jewel Smith Moravian Music: Questions of Identity and Purpose - Nola Reed Knouse

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Book SynopsisEdited version of the 1837 journal of American musician Lowell Mason written while traveling through Europe. By the middle of the nineteenth century Lowell Mason (1792-1872) was probably the most famous native-born musician in America. Concentrating almost exclusively on vocal music, he built a spectacular reputation as a choir directorand teacher. He published many collections of sacred music that sold in unprecedented numbers and made him a household name. In 1837 he traveled to Europe on a little-publicized trip. This was a bold move decades before such trips by American musicians became commonplace, and his diaries from this time are a primary source of information on early nineteenth-century European music. This edition of Mason's 1837 journal has been carefully edited: throughout, Broyles has attempted to reproduce the original manuscript faithfully, making adjustments only where necessary for intelligibility. Appendices include a list names with brief biographies, an itinerary of the tour, and those letters received during the trip that still survive. An introduction completes this unique and highly readable volume. Michael Broyles is Distinguished Professor of Music and Professor of American History Emeritus at PennState University and Visiting Professor at Florida State University.Trade ReviewA thoroughly gripping reading experience. It is that rare scholarly book, one you can't put down. * MONATSHEFTE *

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Book SynopsisSheds light on the process of cultural change that occurred over the course of a century or more in the majority of Pennsylvania German communities and churches. The Pennsylvania Dutch comprised the largest single ethnic group in the early American Republic of the late eighteenth and early nineteenth centuries. Yet like other ethnic minorities in early America, they struggled to maintain their own distinct ethnic identity in everything that they did. Eventually their German Lutheran and Reformed customs and folkways gave way to Anglo-American pressure. The tune and chorale books printed for use in Pennsylvania Dutch churches document this gradual process of Americanization, including notable moments of resistance to change. Daniel Grimminger's Sacred Song and the Pennsylvania Dutch is the only in-depth study of the shifting identity of the Pennsylvania Dutch as manifested in their music. Through a closer examination of music sources, folk art, and historical contexts, this interdisciplinary study sheds light on the process of cultural change that occurred over the course of a century or more in the majority of Pennsylvania German communities and churches. Grimminger's book also provides a model with which to view all ethnic enclaves, in America and elsewhere, andthe ways in which loyalties can shift as a group becomes part of a larger cultural fabric. Daniel Grimminger holds a doctorate in sacred music and choral conducting, as well as a PhD in musicology. He also holds a masterof theological studies degree and is a clergyman in the North American Lutheran Church. Grimminger teaches at Kent State University and is the pastor at Faith Lutheran Church in Millersburg, Holmes County, Ohio.Trade ReviewA knowledgeable account of `the largest ethnic group in early America outside of the English-speaking population.' . . . All the known books are illustrated or sampled. . . . One gets a good idea of the gradual acculturation of these communities and their language. . . . The basic research on the publications, reports, texts, personnel, buildings and church practices (including singing schools) will give the book a permanent value. -- Peter Williams * MUSICAL TIMES *Sacred Song and the Pennsylvania Dutch is an important contribution to the history of German-language hymnody in the United States. Grimminger traces the development of Pennsylvania Dutch tune books, situating them in relation to better-known Anglo-American tune books and placing them in context with contemporary developments such as revivalism, public education, and theological change. The sacred music of one of the largest ethnic groups in early America receives a thorough and well-deserved exploration in Grimminger's comprehensive study. -- -- Alice M. Caldwell, Moravian music scholarTable of ContentsIntroduction Identity and Conflict in Pennsylvania Dutch Culture Ethnic Retention Retentive Tune and Chorale Books Adaptation and Acculturation Amalgamation The Pennsylvania Choral Harmony: The Culmination of a Tradition Implications for Future Work

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Book SynopsisEmbraces an all-encompassing interdisciplinary methodology to uncover the symbiosis of saintly and civic ideals in music, rituals, and hagiographic writing celebrating the origins and identity of a major clerical center. Medieval Liège was the seat of a vast diocese in northwestern Europe and a city of an exceptional number of churches, clergymen, and church musicians. Recognized as a priestly paradise, the city accommodated as many Masses each day as Rome. In this volume, musicologist Catherine Saucier examines the music of religious worship in Liège and reveals within the liturgy and ritual a civic function by which local clerics promoted the holy status of their city. Analyzing hagiographic and historical writings, religious art, and sung ceremonies relevant to the city's genesis, destruction, and eventual rebirth, Saucier uncovers richly varied ways in which liégeois clergymen fused music with text, image, and ritual to celebrate the city's sacred episcopal origins and saintly persona. A Paradise of Priests forges new interdisciplinary connections between musicology, the liturgical arts, the cult of saints, church history, and urban studies, and is an essential resource for scholars and students interested in the history of the Low Countries, hagiography and its reception, and ecclesiastical institutions. CatherineSaucier is assistant professor of music history at Arizona State University.Trade ReviewThis study is as revelatory for the details of city politic as it is for an understanding of the liturgy that was proper to local worship practices. The book is generously illustrated with texts and translations, liturgical tables, tabular textual comparisons, and with extensive musical and artistic examples, each of which is examined with a deft interpretive palette and assessed for the import of chronological context. -- Cynthia J. Cyrus * SPECULUM *The culmination of more than a decade of careful archival and analytical work about the music and culture of Liège (in modern Belgium). Demonstrates how music, hagiography, and civic identity were intimately intertwined in Liège during the late Middle Ages. A particularly useful volume because of the music transcriptions and translations of chant texts, many of which are not available in the Cantus Index. Balances thorough archival work with analysis of music and text. * MUSIC LIBRARY ASSOCIATION NOTES *Because of its broad scope, clear organization, and accessible style, this rich book will be of service not only to musicologists but also to scholars of liturgy, hagiography, church history, and urban history. * CATHOLIC HISTORICAL REVIEW *Weaves a compelling narrative centred on the lives of Liège's founder-bishops as celebrated in the hagiography, art, rituals and music made, enacted and re-enacted by the medieval clerical population of Liège. An expert examination of an impressively vast array of sources -- including archival, liturgical, artistic and hagiographic. A must-read for anyone interested in how one might locate the fashioning of a city's image in the extant remains of story, art, music and ritual. * EARLY MUSIC *An impeccably organized and elegantly crafted discussion of the previously under-appreciated liturgical materials of medieval Liège, and an enlightening study of the interrelations between liturgical chants and the civic culture in which they existed and which they sought to uphold. It serves as a model of how a study of localized liturgy should be treated, and as a valuable resource for those interested in the ecclesiastical history of the city (it includes a helpful handlist of chant books from the diocese of Liège, to encourage further attention). * MUSIC & LETTERS *Saucier's A Paradise of Priests represents a substantial achievement in a number of fields, including medieval and Renaissance musicology, urban history, and church history. The book's readable style will make it accessible to students as well as to scholars and teachers. A seamless and compelling narrative. -- Susan Boynton, Columbia UniversitySaucier's monograph is a vital contribution to the study of music, politics, and identity construction through the celebration of local saints in the Middle Ages. Saucier's study is grounded in detailed readings of the office texts and melodies . . . and is rounded out by a deft application of historical and art-historical research findings . . . . Fluently written. * Journal of the American Musicological Society *Table of ContentsIntroduction: The Sound of Civic Sanctity in the Priestly Paradise of Liège Martyred Bishops and Civic Origins: Promoting the Clerical City The Intersecting Cults of Saints Theodard and Lambert: Validating Bishops as Martyrs The Civic Cult of Saint Hubert: Venerating Bishops as Founders Clerical Concord, Disharmony, and Polyphony: Commemorating Bishop Notger's City Military Triumph, Civic Destruction, and the Changing Face of Saint Lambert's Relics: Invoking the Defensor patriae Conclusion: Hearing Civic Sanctity Appendix: Medieval Service Books Preserving the Chant Repertory Sung in the City of Liège Notes Bibliography Index

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Book SynopsisA "contemplative" ethnographic study of a Benedictine monastery in Vermont known for its folk-inspired music. Far from being a long-silent echo of medieval religion, modern monastery music is instead a resounding, living illustration of the role of music in religious life. Benedictine monks gather for communal prayer upwards of five timesper day, every day. Their prayers, called the Divine Office, are almost entirely sung. Benedictines are famous for Gregorian Chant, but the original folk-inspired music of the monks of Weston Priory in Vermont is amongthe most familiar in post-Vatican II American Catholicism. Using the ethnomusicological methods of fieldwork and taking inspiration from the monks' own way of encountering the world, this book offers a contemplative engagement with music, prayer, and everyday life. The rich narrative evokes the rhythms of learning among Benedictines to show how monastic ways of being, knowing, and musicking resonate with humanistic inquiry and the pursuit of knowledge andunderstanding. Maria S. Guarino received her PhD in critical and comparative studies in music from the University of Virginia. She specializes in ethnography, religious life, Benedictine monasticism, and contemplativepractices. Support for this publication was provided by the Howard Hanson Institute for American Music of the Eastman School of Music at the University of Rochester.Table of ContentsPreface Introduction Ethnography in a Monastery Singing like Benedictines: A Visit with Gregorian Chant Singing Like Weston Monks My Novitiate: Understanding Craft Music as Craft: Creating a Tradition Monastic Spirituality: Learning to Listen with the Ear of the Heart Bibliography Notes

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Book SynopsisSarah M. Ross brings together scholarship on Jewish liturgy, U.S. history, and musical ethnology to describe its roots and development, focusing on the work of songwriters such as Debbie Friedman and Linda Hirschhorn.

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Book SynopsisSarah M. Ross brings together scholarship on Jewish liturgy, U.S. history, and musical ethnology to describe its roots and development, focusing on the work of songwriters such as Debbie Friedman and Linda Hirschhorn.

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Book SynopsisSaved by Song returns to print with its sweeping overview of the history of gospel music. Powerful and incisive, the book traces contemporary Christianity and Christian music to the sixteenth century and the Protestant Reformation after examining music in the Bible and early church.In America, gospel music has been divided between white and black gospel. Within these divisions are further divisions: southern gospel, contemporary Christian music, spirituals, and hymns. Don Cusic has provided background and insight into the developments of all these rich facets of gospel music. From the psalms of the early Puritans through the hymns of Isaac Watts and the social activism of the Wesleys, to the camp meeting songs of the Kentucky Revival, the spirituals that came from the slave culture, and the hymns from the great revival after the Civil War, gospel music advanced through the nineteenth century. The twentieth century brought the technologies of recordings and the electronic media to gospel music.Saved by Song is ultimately the definitive and complete history of a uniquely American art form. It is a must for anyone interested in the musical and spiritual life of a nation.

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Book SynopsisMore than a memorial, Schmidt melds decades of archival research, conservation efforts, family interviews, and trips to Jerusalem and Berlin into a critical reconstruction of the life and vision of Hazzan Mordecai Gustav Heiser in the multiple contexts that shaped him.

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Book SynopsisIlluminates how voice, faith, and hearing become intertwined with technologies of sound reproduction and mobility amid the rapidly transforming religious landscape of China's ethnic borderland. The twentieth-century expansion of Protestantism among the upland peoples in the China-Southeast Asia borderlands has catalyzed a profound sociocultural change in the region. In Faith by Aurality in China's Ethnic Borderland, Ying Diao finds important sonic evidence for this religious revolution in the rapidly transforming region of northwest Yunnan, presenting a compelling account of the region's Christian minority and highlighting the importance of aurality in this group's response to Christianity and other modernizing projects. Diao documents a range of sounded religious practices by the Lisu, an indigenous yet historically migratory people, to examine how participatory music production, circulation, and consumption become integral to indigenous perception and experience of faith. Weaving together evidence from multisite fieldwork, archival records, and audiovisual media, Diao demonstrates a nuanced understanding of people of faith at the margins, one centered on the sensual and material dimensions of religion and on the intertwining of local agency and external hegemonic forces. The resulting book provides historical and contextual information that enriches anthropological, ethnomusicological, and historical scholarship on global Christianity while showing how sound can be an ambivalent but fruitful avenue through which ways of faith are constructed in a context where religion remains voiceless.Table of ContentsAcknowledgments Notes on Romanization and Terminology Introduction 1. Becoming the Faithful: Cleanliness and Conversion 2. Hearing the Return of Faith: Radio and Listening Audience 3. Producing Gospel Songs: Studio and Media Practitioners 4. Faces and Places: Sounds That Recognize 5. Traces of Faith: Sound Artifacts and Infrastructures 6. Performing Recorded Songs: Religiosity by Body 7. Hidden Faith: Sanitizing the Voice Conclusion: Faith on the New Frontier Appendix 1: Glossary of Old Lisu Appendix 2: Glossary of Chinese Characters References Index

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Book SynopsisSongs of Sonderling is the story of Jacob Sonderling's unique contributions to Jewish liturgical music. Rabbi Sonderling was many things: a descendant of Chassidic rebbes, a rationalist, a Reform rabbi, a Zionist, an army chaplain, a celebrated orator, an artistic soul. From his early career at the Hamburg Temple and German Army service in World War I, to his wandering years in the Eastern United States and founding of the Society for Jewish Culture–Fairfax Temple in Los Angeles, Sonderling cultivated a unique aesthetic vision of Judaism, a "five-sense appeal."Jonathan L. Friedmann and John F. Guest document and analyze Sonderling's experience and expression of Judaism through music. Rabbi Sonderling's vision yielded liturgical commissions from exiled Viennese Jewish composers who arrived in Los Angeles in the 1930s and 1940s. Through these musical settings, activities at the Fairfax Temple, and involvement with the Los Angeles campus of the Hebrew Union College–Jewish Institute of Religion, Sonderling made an indelible mark on the city's Jewish community and the wider musical world.Songs of Sonderling focuses on the commissions Sonderling made from 1938 to 1945: Ernst Toch's Cantata of the Bitter Herbs, Arnold Schoenberg's Kol Nidre, Erich Wolfgang Korngold's A Passover Psalm and Prayer, and Eric Zeisl's Requiem Ebraico. Through musical analyses and an examination of Sonderling's career in Los Angeles, Friedmann and Guest contribute to the study of Jewish liturgical music, to Jewish history in the American West, to Jewish identity in the twentieth century, and to Jewish diaspora writ large.

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Book SynopsisThis book is the first-ever study of Malta's major eighteenth-century composer, Benigno Zerafa (1726 - 1804), a specialist in sacred music composition. This book is the first-ever study of Malta's major eighteenth-century composer, Benigno Zerafa (1726-1804), a specialist in sacred music composition. Zerafa's large-scale and small-scale vocal and choral works, mostly written during his long service as musical director at the Cathedral of Mdina, have been winning increased recognition in recent years. In addition to describing and analysing this extensive corpus, the book gives an account of Zerafa's sometimes eventful career against the wider background of the rich musical and cultural life in Malta, especial attention being paid to its strong links with Italy, and particularly Naples, where Zerafa was a student for six years. Itexamines in detail the complex relationship of music to Catholic liturgy and investigates the distinctive characteristics of the musical style, intermediate between baroque and classical, in which Zerafa was trained and always composed: one that today is commonly labelled "galant". Well stocked with music examples, the book makes copious reference to Italian and Maltese composers from Zerafa's time and to modern analytical studies of Italian music from the middle decades of the eighteenth century, thereby offering a useful general commentary on the galant period. Its central aim, however, is to stimulate further interest in, and revival of, Zerafa's music. To this end the book contains a complete work-list with supplementary indexes. Scholars and students of eighteenth-century music, in particular sacred music, the galant style and Italian music, will find it invaluable. FREDERICK AQUILINAis Senior Lecturer in Music Studies at the University of Malta.Trade ReviewThis study by Frederick Aquilina is a nice addition to the relatively scarce bibliography on the rich repertory of sacred music in eighteenth-century Malta . . . [and is] 'the product of twenty years of research'. . . . [T]he volume is certainly an essential contribution to the rediscovery of the works of the unjustly forgotten figure of Benigno Zerafa * NOTES: JOURNAL OF THE MUSIC LIBRARY ASSOCIATION *Table of ContentsThe Life of Benigno Zerafa (1726-1804): A Maltese Composer of Sacred Music A Concise History of Church Music in Malta: From the Late Fifteenth Century to the Eighteenth Century Naples during the Seventeenth and Eighteenth Centuries Classification of Zerafa's Works, Sources and Commentary The Works a due cori (SATBx2) The Works for Five Voices (SSATB) The Works for Four Voices (SATB) The Works for Three, Two and Solo Voice The Works for Voice(s) and Organ/Basso Continuo Only Conclusion Appendix A: Index of Works (Chronological, by date) Appendix B: Index to Titles of Works (Alphabetical) Appendix C: Index of Works (Vocal Scoring and Instrumentation) Bibliography

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Book SynopsisHow do contemporary audiences engage with sacred music and what are its effects? This book explores examples of how the Christian story is still expressed in music and how it is received by those who experience that art form, whether in church or not. Through conversations with a variety of writers, artists, scientists, historians, atheists, church laity and clergy, the term post-secular emerges as an accurate description of the relationship between faith, religion, spirituality, agnosticism and atheism in the west today. In this context, faith does not just mean belief; as the book demonstrates, the temporal, linear, relational and communal process of experiencing faith is closely related to music. Music and Faith is centred on those who, by-and-large, are not professional musicians, philosophers or theologians, but who find that music and faith are bound up with each other and with their own lives. Very often, as the conversations reveal, the results of this 'binding' are transformative, whether it be in outpourings of artistic expression of another kind, or greater involvement with issues of social justice, or becoming ordained to serve within the Church. Even those who do not have a Christianfaith find that sacred music has a transformative effect on the mind and the body and even, to use a word deliberately employed by Richard Dawkins, the 'soul'. JONATHAN ARNOLD is Dean of Divinity and Fellow of MagdalenCollege, Oxford. Before being ordained, he was a professional singer and made numerous recordings with The Sixteen, Polyphony, the Gabrielli Consort and The Tallis Scholars, among others. He has previously published Sacred Music in Secular Society (2014), The Great Humanists: An Introduction (2011) and John Colet of St. Paul's: Humanism and Reform in Pre-Reformation England (2007).Trade ReviewPlenty of food for thought...I enjoyed the interview with Nick Baines...and was moved by the experience of the persecuted Church brought out in interviews with Michael Bourdeaux and Balázs Déri. -- Revd Christopher Smith * CHURCH TIMES *Enlightening. * BRITISH MUSIC SOCIETY *Table of ContentsIntroduction: Faith, Belief and Post-Secularism Music, Morality and Meaning: Our Medieval Heritage Psalms and Hymns and Spiritual Songs Eye Music Interlude I - 'O Sisters Too': Reviving the Medieval in Post-Secular Britain Singing in Synchrony: Music, Bonding and Human Evolution 'Fear of the Mystery': Music, Faith and the Brain Music and Faith under Persecution Interlude II - An Echo of the Spheres in the Shires: The Enduring appeal of sacred music at the Three Choirs Festival Music, Faith and Atheism 'Changing the Rumour about God': Music and Anglican Clergy Music, Faith and the Laity Conclusion Select Bibliography

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Book SynopsisStudy of musical manuscripts from the fifteenth and sixteenth centuries, opening a window on piety, liturgy and musical life in late medieval society. The musical culture of the Low Countries in the early modern period was a flourishing one, apparent beyond the big cathedrals and monasteries, and reaching down to smaller parish churches. Unfortunately, very few manuscripts containing the music have survived from the period, and what we know rests to a huge extent on six music books preserved from St Peter's Church, Leiden. This book describes the manuscripts, their provenance, history and repertory, and the zeven-getijdencollege, the ecclesiastical organisations which ordered the music books, in detail. These organisations have their roots in fifteenth-century piety, founded on the initiative of individuals and townadministrators throughout Holland, principally to ensure that prayers and Masses were said for those in the afterlife. Music, both chant and polyphony, played an important part in these commemorative practices; the volume also looks at the choristers and choirmasters, and how such services were organised. ERIC JAS is a lecturer in music at the university of Utrecht.Trade ReviewThis fascinating account of the contents and function of the choirbooks of St Peter's church in Leiden has resonance far beyond the usual somewhat narrow focus of musicological studies of this period...this volume provides an important glimpse into some of the many treasures of music (as well as art) that fell victim to the religious zeal and, on occasion, the filching fingers of the Reformers of sixteenth-century Europe. As a study of the vibrancy and richness of the spiritual and musical life of the Catholic Netherlands at the time of the Reformation it is of great value. * THE CONSORT *Piety and polyphony in Sixteenth-Century Holland is a work that should appeal to anyone working in Renaissance history. . . . [A]n overall magnificent book. . . .As Jas states in his introduction, the musical life of Leiden almost certainly has many more secrets to yield to scholarly investigation, and musicologists and historians could do nothing better to prepare themselves for that journey than spending time with this admirable and impressive study. -- Graham Freeman * CANADIAN JOURNAL OF NETHERLANDIC STUDIES *Engaging reading for all who work on singing in the late medieval and early modern Low Countries and beyond. * EARLY MUSIC HISTORY *Extremely detailed and informative. * EARLY MUSIC *Table of ContentsIntroduction The zeven-getijdencolleges The seven hours in St Peter's Church at Leiden The choirbooks of St Peter's Church The repertoire of the choirbooks Epilogue Appendix: Archival Documents Appendix: Descriptions and Inventories of hte choirbooks Bibliography

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Book SynopsisThis book looks at the musical culture of death in early modern England. This book looks at the musical culture of death in early modern England. In particular, it examines musical funeral elegies and the people related to commemorative tribute - the departed, the composer, potential patrons, and friends and family of the deceased - to determine the place these musical-poetic texts held in a society in which issues of death were discussed regularly, producing a constant, pervasive shadow over everyday life. The composition of these songs reached a peak at the end of the sixteenth and the beginning of the seventeenth centuries. Thomas Weelkes and Thomas Morley both composed musical elegies, as did William Byrd, Thomas Campion, John Coprario, and many others. Like the literary genre from which these musical gems emerged, there was wide variety in form, style, length, and vocabulary used. Embedded within them are clear messages regarding the social expectations, patronage traditions, and class hierarchy of late Elizabethan and early Jacobean England. En masse, they offer a glimpse into the complex relationship that existed between those who died, those who grieved, and attitudes toward both death and life. K. DAWN GRAPES is Assistant Professor of Music History at Colorado State University.Trade ReviewThe first in-depth survey of the musical elegy, but also illuminates the social networks, hierarchies and patronage relationships that lay behind their creation and the wider musical culture of the period. * EARLY MUSIC *K. Dawn Grapes's new study . . . provides a nuanced and carefully contextualized look at the surprisingly complex social, political, theological, and cultural networks that created the uniquely English genre of the funeral elegy during the late sixteenth and early seventeenth centuries. . . . Grapes breath[es] new life into a topic that has long been neglected in musicological scholarship. -- Sarah F. Williams * NABMSA REVIEWS *[O]ffers a thorough and very interesting treatment of the musical genre of the funeral elegy during the Elizabethan and Jacobean periods. . . . In addition to examining the musical genre, the book offers insights on attitudes toward death in the 16th and 17th centuries: death was seen not only as a mournful event but also as an expression of moral renewal. . . . [I]ncludes a wealth of musical and textual examples, reproductions of original scores, plates, and extensive bibliography and index. * CHOICE *Table of ContentsIntroduction "With Mornefull Musique": The English Musical Funeral Elegy "The Floure of England": The Earliest Musical Elegies for Sir Philip Sidney "Of Griefe and Honour Still": Elizabethan Courtiers "Say Death Hath Lost": Knights of the Realm "Weepe Forth Your Teares": Laments for a Lost King "A Flower of Beutye": The Feminine Legacy of Queens and Matriarchs "For Death of Her": The Unusual Case of Mary Gascoigne "And Music Dies...": Musicians and their Stories Epilogue Appendix: Recordings List Select Bibliography

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Book SynopsisThe first investigation into the choral foundation of the Chapel Royal, Dublin Castle. The Chapel Royal, Dublin Castle, was the place of worship of the British monarch's representative in Ireland from 1814 until the inception of the Irish Free State in 1922. It was founded and maintained by the joint efforts of church and state, and thus its history provides valuable insights into how the relationship between religion and politics shaped Irish society and identity. The Dublin Chapel was established in imitation of the Chapel Royal of St James's Palace, London, and was served by a staff of clergy and musicians. Its musical foundation was a formal and independent entity, with its own personnel and performance traditions. Its distinctive repertoire included music from the English and Irish cathedral traditions, as well as works written by composers associated directly with the Chapel. This study investigates the Chapel's constitution, liturgy and music through an examination of previously unexplored primary material. Discussion of the circumstances of the Chapel's founding and its governance structures situates the institution in the context of the church-state relationship that existed following the Union of 1800. Further, by exploring architecture, churchmanship and musical style, O'Shea demonstrates how the Chapel was part of a wider aesthetic and liturgical tradition. The choral foundation is brought to life with accounts of the Chapel's clergy, organists, boy choristers and gentleman singers, which provide insights into Dublin's social history during a period of significant change. This book reflects on the Dublin Chapel Royal's legacy a century after its closure and offers a new perspective into a forgotten corner of Irish cultural, religious and political history.Table of ContentsIntroduction 1. Precedents, Polity and Politics 2. Clergy 3. Churchmanship, Furnishings and Functions 4. The Musical Foundation 5. The Chapel Royal Music Collection 6. Singing the Liturgy 7. Organs 8. Boy Choristers 9. Gentleman Singers 10. Organists and Composers 11. The Chapel Royal's Legacy Conclusion Appendix A: Lords Lieutenant, 1801-1922 Appendix B: Clergy of the Chapel Royal Appendix C: Extant Chapel Royal Music Volumes (Rcb Ms 1113) Appendix D: Boy Choristers of the Chapel Royal Appendix E: Gentlemen Singers of the Chapel Royal Appendix F: Organists of the Chapel Royal Appendix G: Fragment of a Juvenile Chant by C. V. Stanford Bibliography Index

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Book SynopsisWhat did Tallis and Byrd mean to convey by their use of the word "argument" in their title, Cantiones, quae ab argumento sacrae vocantur? Thomas Tallis's and William Byrd's Cantiones, quae ab argumento sacrae vocantur (songs, which by their argument are called sacred) of 1575 is one of the first sets of sacred music printed in England. It is widely recognized as a landmark achievement in English music history. Dedicated to Queen Elizabeth I to mark the seventeenth year of her reign, each composer contributed seventeen motets to the collection, which proved to be greatly influential among the era's composers. But what did Tallis and Byrd mean to convey by their use of the word "argument" in their title? The current view is that they treated their project as an opportunity to pull together a grand compendium of musical accomplishment that drew on the past, but looked to the future, and that the texts functioned as mere vehicles for musical display. In contrast, this book claims that these very texts were chosen by the composers to develop a theme, or argument, on the topic of sacred judgment. In offering a new interpretation of the song collection Smith employs a carefully constructed musical, literary, theological, and political argumentation. The book will encourage new ways of approaching and interpreting Tudor and Elizabethan sacred music.Table of ContentsIntroduction 1 Panegyrics and Politic 2 Sacred Judgment 3 Salvator Mundi 4 Good Friday: Calvary 5 Holy Saturday: Harrowing of Hell 6 Easter Sunday 7 The Summons 8 The Lesson 9 The Day of Wrath Conclusion Bibliography

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Book SynopsisMusic gives specific meanings to our lives, but also to how we experience death; it forms a central part of death rituals, consoles survivors, and celebrates the deceased. Music & Death investigates different musical engagements with death. Its eleven essays examine a broad range of genres, styles and periods of Western music from the Middle Ages until the present day. This volume brings a variety of methodological approaches to bear on a broad, but non-exhaustive, range of music. These include musical rituals and intercessions on behalf of the departed. Chapters also focus on musicians' reactions to death, their ways of engaging with grief, anger and acceptance, and the public's reaction to the death of musicians. The genres covered include requiem settings, operas and ballets, arts songs, songs by Leonard Cohen and the B-52s, and instrumental music. There are also broader reflections regarding the psychological links between creative musical practice and the overcoming of grief, music's central role in shaping a specific lifestyle (of psychobillies) and the supposed universalism of Western art music (as exemplified by Brahms). The volume adds many new facets to the area of death studies, highlighting different aspects of "musical thanatology". It will appeal to those interested in the intersections between western music and theology, as well as scholars of anthropology and cultural studies. CONTRIBUTORS: Matt BaileyShea, Alexandra Buckle, Peter Edwards, Richard Elliott, Nicole Grimes, Mieko Kanno, Kimberly Kattari, Wolfgang Marx, Fred E. Maus, Jillian C. Rogers, UtaSailer and Miriam Wendling.Table of ContentsIntroduction Wolfgang Marx Part I. Facets of Ritual: Requiems and Other Funeral Music 1 Construction and Instruction: Medieval and Early Modern Masses for the Dead Miriam Wendling 2 Commemorating the Elite Body in the Fifteenth Century Alexandra Buckle 3 Types of Mercy and Non-liturgical Dramaturgy: The Musical Requiem as a Concert Piece Wolfgang Marx Part II. Negotiating Memory and Loss 4 'Aber auf einmal...': Death, Distance, and Intimacy in Song Matt BaileyShea 5 Manifestations of Death in the Music of Johannes Brahms Nicole Grimes 6 Through the Tears of Others: Staging Grief and French Identity in Interwar Musical Theatre Jillian C. Rogers 7 Leaving the Table: Intimations of Mortality in Leonard Cohen's Late and Posthumous Work Richard Elliott Part III. Reflecting Death to Re-Evaluate Life 8 Death in Music and Music in Death: Reflections on Mortality and Listening in the Performances of Marino Formenti Peter Edwards and Uta Sailer 9 The Day the Music Died: Searching for New Practices of Sharing in the Aftermath of the Death of a Composer in Western Art Music Mieko Kanno 10 Imagining an Undead Carnival: Psychobilly Fantasies of an Idealistic Afterlife Kimberly Kattari 11 The B-52s, Loss, and Defiance Fred E. Maus Bibliography Index

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Book SynopsisExplores the use of music as therapy and shows how it operated in the hospital's institutional, social and historical contexts, undergoing change in response to broader cultural and religious movements. This book explores connections between the physical care of the sick based on the study of medicine, concepts of healing founded on religious thought, and the practice of music at the Ospedale di Santo Spirito (Hospital of the Holy Spirit) in Rome. The hospital was a unique institution that was regulated by the Roman Catholic Church but simultaneously reflected the significant shifts in scientific thought emerging during the period that coincided with post-Tridentine reforms in the church. The volume discusses the hospital's foundation, architecture and links with the papacy. It also reflects on the then acceptable "ways of knowing" informed by religious concerns and medical traditions. The tripartite relationship between religion, medicine and music within the institution was complex. At times they existed side-by-side, at others they intersected. Drawing on extensive archival research such as financial records, decrees, records of apostolic visits and inventories as well as surviving musical sources (printed and manuscript), the book makes connections between intellectual beliefs about music and actual musical practices. It explores the early use of music as therapy and investigates the musical ideals and practices of the monastic regime which ran the hospital. In a wider sense, the book shows how music operated in the hospital's institutional, social and historical contexts, and how it underwent change over time in response to broader cultural and religious movements. NAOMI J. Barker is Senior Lecturer in Music at the Open University. She is the author of various articles on late-sixteenth and seventeenth-century music. This is her first book.Table of ContentsList of Illustrations Preface Acknowledgements Editorial conventions and notes Abbreviations 1. The Hospital of Santo Spirito: history, architecture, administration 2. Music and medicine in the early modern world 3. The harmonious soul 4. Bernardino da Cirillo: the impact of humanism and reform 5. Music in the Church of Santo Spirito in the Seventeenth Century 6. Music for body and soul 7. Stefano Vai: The 1644 decree and retrospective reforms Appendix A. Virgilio Spada, 'Discorso sopra la musica della Chiesa' Appendix B. Stefano Vai, 'Decreta Observanda in Ecclesia S. Spiritus circa Sacras Functiones' Appendix C. Rubrica della chiesa collegiale e parocchiale di S. Spirito in Sassia di Roma Bibliography Index

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Book SynopsisSchöffer's Cantiones tell a fascinating story of South-North, Catholic-Protestant co-operation. The Cantiones quinque vocum selectissimæ (Strasbourg: Peter Schöffer the Younger, 1539) are a collection of 28 Latin five-voice motets by composers including Gombert, Willaert, and Jacquet of Mantua. This was Schöffer's first book of Latin motets as well as his last ever musical publication; he was granted an imperial privilege to print it by King Ferdinand I. The pieces had been sent to Schöffer by Hermann Matthias Werrecore, the choirmaster of the Duomo of Milan. However, this was at a time when no liturgical Latin choral singing took place in Strasbourg, following one of the harshest reformations - musically-speaking - across Europe. This book comprises a critical study of the anthology in terms of the circumstances of its assemblage and printing, its confessional significance, and the music itself. It considers the nature of the connection between Schöffer and Werrecore, and why a Protestant publisher based in Protestant Germany would try to sell Latin music that was endorsed by a Catholic monarch and emphatically had no chance of being performed in church in its place of publication. In addition, the monograph includes considerations of the motets themselves, brief biographical details of the composers - including the lesser-known ones (e.g. Ferrariensis, Sarton, Billon) - and a full list of all concordant sources. It will be of interest to performers and scholars alike, combining elements of historical research, musical criticism and - via the transcriptions hosted online - performance.Table of ContentsIntroduction: Catholic Music in a Protestant City? Part I: The Story 1. Peter Schöffer the Younger 2. The Cantiones in Context 3. The Milan Connection Part II: The Music 4. The Gombert Motets 5. The Motets of Jacquet of Mantua and Adrian Willaert 6. The Remaining Composers of the Cantiones Epilogue Appendix 1: Paratexts Appendix 2: Motet Texts and Translations Appendix 3: Extant Exemplars of the Cantiones Anthology and its Motet Concordances Appendix 4: Discography Bibliography Index

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Book SynopsisAnalysis of Latin sacred music written during the century illustrates the rapid and marked change in style and sophistication. Winner of the 2007 AMS Robert M. Stevenson prize The arrival of Francisco de Peñalosa at the Aragonese court in May 1498 marks something of an epoch in the history of Spanish music: Peñalosa wrote in a mature, northern-oriented style, and his sacred music influenced Iberian composers for generations after his death. Kenneth Kreitner looks at the church music sung by Spaniards in the decades before Peñalosa, a repertory that has long been ignoredbecause much of it is anonymous and because it is scattered through manuscripts better known for something else. He identifies sixty-seven pieces of surviving Latin sacred music that were written in Spain between 1400 and the early 1500s, and he discusses them source by source, revealing the rapid and dramatic change, not only in the style and sophistication of these pieces, but in the level of composerly self-consciousness shown in the manuscripts. Withina generation or so at the end of the fifteenth century, Spanish musicians created a new national music just as Ferdinand and Isabella were creating a new nation. KENNETH KREITNER teaches at the University of Memphis.Trade ReviewKreitner's book with its characteristic lucidity and engaging style fills a very important space on our bookshelf. It is both scholarly and extremely readable. * CHOIR & ORGAN *Credit must be given to both author and publisher for making the effort to bring this music to as wide an audience as possible. * EARLY MUSIC *A joy to read. * EARLY MUSIC REVIEW *

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Book SynopsisThe tradition of Old Hispanic liturgical chant is here examined through a new methodology, enabling striking new insights into its use. Medieval Iberian liturgical practice was independent of the Roman liturgy. As such, its sources preserve an unfamiliar and fascinating devotional journey through the liturgical year. However, although Old Hispanic liturgical chanthas long been considered one of the most important medieval chant traditions, what musical notation to survive shows only where the melodies rise and fall, not precise intervals or pitches. This lack of pitch-readable notation has prevented scholars from fully engaging with the surviving sources - a gap which this book aims to fill, via a new methodology for analysing the melodies and the relationship between melody and text. Focussing on three genres of chant sung during the Old Hispanic Lent (the threni, psalmi, and Easter Vigil canticles), the book takes a holistic view of the texts and melodies, setting them in the context of their liturgical and intellectual surroundings, and, for the Easter Vigil, exploring the relationship between different Old Hispanic traditions and other western liturgies. It concludes that the theologically purposeful text selections combine with carefully shaped melodies to guide the devotional practice of their hearers. Emma Hornby is a Reader in Music , University of Bristol; Rebecca Maloy is Associate Professor of Music, University of Colorado at Boulder.Trade ReviewHornby and Maloy's deep excavation into the Old Hispanic chant repertoire provides the kind of serious, detailed scholarship that is so essential to understanding medieval culture in all its complexity. * RELIGION AND THE ARTS *Hornby and Maloy have successfully challenged long-standing assumptions about Old Hispanic liturgies and have provided a wealth of readings of its texts, enriched by a convincing appraisal of its silent music. * RENAISSANCE QUARTERLY *Table of ContentsIntroduction Thematic Congruity in the Old Hispanic Lenten liturgies The threni The Melodic language of the Old Hispanic Lenten Psalmi Words and Music in the Psalmi The Easter Vigil Canticles Afterword: The relationship between the Old Hispanic traditions A and B Appendix 1: A guide to reading Old Hispanic notation Appendix 2: The threni texts Appendix 3: The threni Appendix 4: The Lenten psalmi in León 8 Appendix 5: The Lenten psalmi in T5, compared with León 8 Appendix 6: Easter Vigil Canticles in León 8 and T5 Appendix 7: Comparison of some Old Hispanic benedictiones in León 8, T5, T4, T7 and Aemil 30 Bibliography

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Book SynopsisFirst full-length study of the role and duties of the medieval cantor. Cantors made unparalleled contributions to the way time was understood and history was remembered in the medieval Latin West. The men and women who held this office in cathedrals and monasteries were responsible for calculating the date of Easter and the feasts dependent on it, for formulating liturgical celebrations season by season, managing the library and preparing manuscripts and other sources necessary to sustain the liturgical framework of time, andpromoting the cults of saints. Crucially, their duties also often included committing the past to writing, from simple annals and chronicles to more fulsome histories, necrologies, and cartularies, thereby ensuring that towns, churches, families, and individuals could be commemorated for generations to come. This volume seeks to address the fundamental question of how the range of cantors' activities can help us to understand the many different waysin which the past was written and, in the liturgy, celebrated across the Middle Ages. Its essays are studies of constructions, both of the building blocks of time and of the people who made and performed them, in acts of ritual remembrance and in written records; cantors, as this book makes clear, shaped the communal experience of the past in the Middle Ages. Katie Ann-Marie Bugyis is Assistant Professor of Religious Studies at St. Martin's University; Margot Fassler is Kenough-Hesburgh Professor of Music History and Liturgy at the University of Notre Dame and Robert Tangeman Professor Emerita of Music History at Yale University; A.B. Kraebel is Assistant Professor of English at Trinity University. Contributors: Cara Aspesi, Anna de Bakker, Alison I. Beach, Katie Ann-Marie Bugyis, Margot E. Fassler, David Ganz, James Grier, Paul Antony Hayward, Peter Jeffery, Claire Taylor Jones, A.B.Kraebel, Lori Kruckenberg, Rosamond McKitterick, Henry Parkes, Susan Rankin, C.C. Rozier, Sigbjorn Olsen Sonnesyn, Teresa Webber, Lauren WhitnahTrade ReviewThe nineteen rich essays in Medieval Cantors and Their Craft are nuanced studies of the contributions of medieval cantors-the individuals responsible for the correct performance of liturgy in their respective institutions-to historical consciousness during the Middle Ages. . . . [E]very essay is rigorous and compelling. * SPECULUM *A valuable collection of state-of-the-art scholarship..It offers a refreshing polyphonic dialogue that adds significantly to our knowledge of the subject by proposing a series of exciting new interpretations and innovative thematic approaches. * ENGLISH HISTORICAL REVIEW *The contributions, especially those regarding women, demonstrate the patience and careful attention necessary to flesh out the tendrils of evidence for non-preserved and/or long forgotten history. This volume has much to offer students and scholars of monastic history, liturgical history, and medievalists. * MAGISTRA *Table of ContentsHistoria: Some Lexicographical Considerations - David Ganz Liturgy and History in the Early Middle Ages - Rosamond McKitterick Notker Bibliothecarius - Susan K Rankin Singing History: Chant in Ekkehard IV's Casus sancti Galli - Lori Kruckenberg Adémar de Chabannes (989-1034) as Musicologist - James Grier Cantor or Canonicus? In Search of Musicians and Liturgists in Eleventh-Century Constance - Henry Parkes Shaping the Historical Dunstan: Many Lives and a Musical Office - Margot Fassler Female Monastic Cantors and Sacristans in Central Medieval England: Four Sketches - K.A. Bugyis Cantor, Sacrist or Prior? The Provision of Books in Anglo-Norman England - Tessa Webber Symeon of Durham as Cantor and Historian at Durham Cathedral Priory, c. 1090-1129 - Charles C. Rozier Reshaping History in the Cult of Æbbe of Coldingham - Lauren L. Whitnah William of Malmesbury as a Cantor-Historian - Paul A. Hayward Lex orandi, lex scribendi? The Role of Historiography in the Liturgical Life of William of Malmesbury - Sigbjorn Olsen Sonnesyn Of the Making of Little Books: The Minor Works of William of Newburgh - A.B. Kraebel The Cantors of the Holy Sepulchre and their Contribution to Crusade History and Frankish Identity - Cara Aspesi Shaping Liturgy, Shaping History: A Cantor-Historian from Twelfth-Century Peterhausen - Alison I. Beach The Roman Liturgical Tradition According to a Twelfth-Century Roman Cantor - Peter Jeffery A Life in Hours: Goswin of Bossut's Office for Arnulf of Villers - Anna De Bakker Writing History to Make History: Johannes Meyer's Chronicles of Reform - Claire Jones

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Book SynopsisThe influence of Rome on medieval plainsong and liturgy explored in depth. Containing substantial new studies in music, liturgy, history, art history, and palaeography from established and emerging scholars, this volume takes a cross-disciplinary approach to one of the most celebrated and vexing questions about plainsong and liturgy in the Middle Ages: how to understand the influence of Rome? Some essays address this question directly, examining Roman sources, Roman liturgy, or Roman practice, whilst others consider the sway ofRome more indirectly, by looking later sources, received practices, or emerging traditions that owe a foundational debt to Rome. Daniel J. DiCenso is Assistant Professor of Music at the College of the Holy Cross; Rebecca Maloy is Professor of Musicology at the University of Colorado Boulder. Contributors: Charles M. Atkinson, Rebecca A. Baltzer, James Borders, Susan Boynton, Catherine Carver, Daniel J. DiCenso, David Ganz, Barbara Haggh-Huglo, David Hiley, Emma Hornby, Thomas Forrest Kelly, William Mahrt, Charles B. McClendon, Luisa Nardini, Edward Nowacki , Christopher Page, Susan Rankin, John F. Romano, Mary E. WolinskiTrade ReviewOverall this book is a fitting tribute to Joseph Dyer and will be of interest to a wide variety of medieval scholars. * SPECULUM *Impressive.. For students of medieval liturgy, especially relating to the continent, this is an important volume. * PARERGON *Table of ContentsDoxa en ipsistis Theo: Its Textual and Melodic Tradition in the 'Missa graeca' - Charles M Atkinson The Changing Roles of Old Saint Peter's in Late Antique and Early Medieval Rome - Charles McClendon The Archdeacon, Power, and Liturgy before 1000 - John Romano The Earliest Antiphons of the Roman Office - Edward Nowacki The Paschal Vigil in Medieval Rome - Thomas Kelly As the Bells Toll: Parish Proximity in Medieval Rome - Catherine Carver McCurrach The Moment of Scrutiny in the Missale Gallicanum Vetus and the Instruction of Catechumens in Merovingian and Carolingian Francia - David Ganz Melodic Style and the Transmission History of the Beneventan Easter Vigil Canticles - Emma Hornby Fitting New Texts into Old Melodies: The Diffusion and Technique of Prosulas for Tracts and Graduals - Luisa Nardini Singing the Psalter in the Early Middle Ages - Susan K Rankin The Tonality of the Numerical Offices in Cambrai, Médiathèque municipale, MS 38 - Barbara Haggh-Huglo Revisiting the Admonitio generalis - Daniel J. DiCenso An Overlooked Source of the Pontifical romain du XIIe siècle and its Chants: Lyon, Bibliothèque des Facultés catholiques, MS Réserve 1/0011 [olim MS 2] - James Borders Music and the Cluniac Vision of History in Paris, Bibliothèque nationale de France, lat. 17716 - Susan Boynton To Chant in a Vale of Tears - Melodic Trope as Modal Rhetoric - William Mahrt Proper Office Chants for St George in South German Manuscripts - David Hiley Notre-Dame and the Challenge of the Sainte-Chapelle in Thirteenth-Century Paris - Rebecca Baltzer Music for the Confraternity of St James in Paris - Mary Wolinski Publications by Joseph Dyer

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Table of ContentsI-XX -- CANTICA ON SAINTS AND MARTYRS -- APPENDIX I -- APPENDIX II -- APPENDIX III -- INDEX NOMINUM -- CONSPECTUS -- 224

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