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Stuttgart 95, Devotional Music, and The VEIL AND TONSURE : STUTTGART 95, DEVOTIONAL MUSIC, AND THE DISCURSIVE CONSTRUCTION OF GENDER IN THIRTEENTH-CENTURY DOUBLE HOUSES by LAUREN ELIZABETH PURCELL-JOINER A DISSERTATION Presented to the School of Music and Dance and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy March 2017 DISSERTATION APPROVAL PAGE Student: Lauren Elizabeth Purcell-Joiner Title: Veil and Tonsure : Stuttgart 95, Devotional Music, and the Discursive Construction of Gender in Thirteenth-Century Double Houses This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the School of Music and Dance by: Lori Kruckenberg Chairperson Marc Vanscheeuwijck Core Member Loren Kajikawa Core Member Lisa Wolverton Institutional Representative and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded March 2017 ii © 2017 Lauren Elizabeth Purcell-Joiner iii DISSERTATION ABSTRACT Lauren Elizabeth Purcell-Joiner Doctor of Philosophy School of Music and Dance March 2017 Title: Veil and Tonsure : Stuttgart 95, Devotional Music, and the Discursive Construction of Gender in Thirteenth-Century Double Houses This dissertation provides the first full-scale musicological study of Stuttgart 95, a thirteenth-century song book, formerly thought to be from the abbey of Weingarten. Upon further examination, it is clear that rather than a single unified corpus of Latin songs, the musical portions are composed of three separate layers. Furthermore, I argue that these layers were best understood as separate entities. This delineation between writing campaigns indicates that the original musical project likely constitutes a mostly intact collection, with only one or two folios missing from the beginning of the codex. Moreover, the song repertoire in the first layer is partially comprised of addenda entered into other Engelberg liturgical manuscripts, mainly at the close of the twelfth and beginning of the thirteenth century, shortly before the manufacture of Stuttgart 95. I focus, in particular, on the first layer of its musical corpora, arguing that the earliest stratum in this composite manuscript points to the double cloister of Engelberg as a likely provenance. As a collection of addenda, it demonstrates that musicians in Engelberg actively collected pieces that addressed Mary, the community’s patrona. I first discuss the consistent use of majuscule and rubrication to visually highlight the name of Mary amidst iv its surrounding text. Furthermore, I demonstrate that Mary along with each of these additional saints had liturgical ties to the double house of Engelberg; Mary was the monastery’s patrona, and the additional figures were either especially venerated at Engelberg or were the namesakes for dedicated altars or chapels in joint community’s churches. Furthermore, I contend that the music of Stuttgart 95 reflects a tradition of ‘decorating’ Mary’s name aurally by musical means, as in the case of melismatic migrating refrains used as either concluding elements or interpolations in antiphons and sequences. Finally, I assert that liturgy is a reflection of institutional identity, and that it served as a gendered discourse that affirmed the relationship between men and women religious of Engelberg. v CURRICULUM VITAE NAME OF AUTHOR: Lauren Elizabeth Purcell-Joiner GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, Eugene Texas Tech University, Lubbock University of South Alabama, Mobile DEGREES AWARDED: Doctor of Philosophy, Musicology, 2017, University of Oregon Master of Arts, Ethnomusicology, 2009, Texas Tech University Master of Music, Flute Performance, 2008, Texas Tech University Bachelor of Music Education, K-12, 2005, University of South Alabama AREAS OF SPECIAL INTEREST: Medieval Music Feminist Musicology PROFESSIONAL EXPERIENCE: Graduate Teaching Fellow, University of Oregon, 2009–2016 Teaching Assistant, Texas Tech University, 2005–2009 GRANTS, AWARDS, AND HONORS: Graduate Student Research Support Grant, University of Oregon Center for the Study of Women in Society, 2013 Gary Smith Summer Development Awards, University of Oregon Graduate School, 2013 vi ACKNOWLEDGMENTS There are many people I wish to thank, because without them this document would never have been written. First, I wish to thank the Center for the Study of Women and Society and the Graduate School at the University of Oregon for providing research funding that allowed me to visit the archives in Stuttgart and Würzburg. Without that support, this document would have been much less complete. I also wish to thank the Institut für Musikforschung and the faculty there. Many thanks to Dr. Andreas Haug who provided hospitality, guidance, and insightful questions that helped to form many of the ideas presented here. My thanks also go to Dr. Hanna Zühlke for her helpful comments and suggestions for additional sources to turn to. Dr. Elaine Stratton Hild, Dr. Konstantin Voigt, and Dr. Martin Dippon also provided much help and cameraderie while using the archives in the summer. I owe a great deal of gratitude to my committee for their comments, questions, and time during the reading of many drafts. I thank Dr. Marc Vanscheeuwijck for his good humor, attention to detail, and thoughtful conversations throughout my doctoral program and dissertation process. Similarly, Dr. Loren Kajikawa provided insightful questions regarding methodology and encouraged me to think deeper about how gender and liturgy interact. I thank Dr. Lisa Wolverton for her constant vigilance regarding argumentation and prose, specifically with regard to the final chapter on gender and liturgy. I owe a debt I cannot express to my dissertation advisor, Dr. Lori Kruckenberg. She read more drafts than I can count. Her unfailing support, her belief in the ideas expressed within, and her collegiality kept me progressing when I might have stopped. vii Finally I wish to thank my friends and family. To my colleagues Dr. Kim Pineda and Dr. Susanne Scheiblhofer, thank you for your friendship and your encouragement. To Dr. Alison Alstatt, thank you for your suggestions, your continued friendship, and for being a wonderful colleague in the field of medieval musicology. I thank Dr. Angela Mariani for first introducing me to the study and performance of medieval music. To my father, thank you for your unwavering support and for introducing me to books and music. Finally, all my thanks and love to my partner, Ryan, whose belief in me never wavered even when I was doubtful this document would come to fruition. Thank you for your love. viii For Ryan, Conservatrix Spei ix TABLE OF CONTENTS Chapter Page I. INTRODUCTION .................................................................................................... 1 Stuttgart 95: Preliminary Remarks ......................................................................... 2 Special Notes on Conventions of Language, Transcription, and Orthography .................................................................................................... 14 II. STUTTGART 95, PALEOGRAPHY AND PROVENANCE ................................ 16 History and Historiography.................................................................................... 17 Provenance: Weingarten? ................................................................................ 19 Stuttgart 95 on the Periphery ........................................................................... 23 General Content and Composition ......................................................................... 25 Notational Hands ............................................................................................. 36 Three Layers Taken Separately ............................................................................. 47 Hypothesis for a New Provenance ......................................................................... 50 Conclusion ............................................................................................................. 60 III. MARIAN DEVOTION IN STUTTGART 95 ....................................................... 63 Marian Devotion in the Central Middle Ages........................................................ 64 The Evidence of Rubrics: The Preeminence of Marian Designations ................... 67 Decorating Mary’s Name: Majuscule and Highlighting ........................................ 72 Marian Texts .......................................................................................................... 80 Marian Sequences ............................................................................................ 84 Salve Sancta Parens ......................................................................................... 89 Marian Kyrie Tropes ........................................................................................ 98 x Chapter Page A Series of ‘Song of Songs’ Antiphons in Stuttgart 95 ................................... 104 Conclusion ............................................................................................................. 113 IV. SOUNDING MARY ............................................................................................. 116 Ex Filiabus Babilonis ............................................................................................. 117 Ingressus Angelus Ad Mariam and Stella Maris Fulgida ...............................
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