DOCSLIB.ORG

Liturgy, Palaeography and Repertories in the Notated Missal Excl 3515

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Liturgy, Palaeography and Repertories in the Notated Missal Excl 3515 UNIVERSITY OF LIMERICK OLLSCOIL LUIMNIGH Missale Vetus: Liturgy, Palaeography and Repertories in the Notated Missal EXcl 3515 Anne Mannion Internal Supervisor: Dr. Helen Phelan External Supervisor: Dr. Emma Hornby Submitted to the Irish World Academy of Music and Dance, University of Limerick, May 2012, in fulfilment of the requirements for the degree of Doctor of Philosophy ABSTRACT EXcl 3515 is a notated missal located in Exeter Cathedral. To date, it has received very little attention from chant scholars. This neglect is due possibly to the absence of a liturgical Kalendar and evidence of local saints in the Sanctorale. Its general assignment to the thirteenth century with a generic English origin shows that critical questions concerning provenance and dating have been overlooked. In addition, no in- depth analysis of the liturgical observance in the missal has been undertaken to date. This study seeks to address these omissions. The missal is comprised of four disparate sections, which were put together in a seamless manner to create a full liturgy. However, the parts are not so separate as hitherto believed. The current study reveals new information on the structure and format of the missal; this in turn affects questions of chronology. An added fragment provides the crucial key to unlocking the relationship of the sections to one another. Drawing on methods used by scholars such as Hiley, Hughes and Karp, this comparative investigation indicates an Exeter provenance and a twelfth-century dating for the missal. Despite the seemingly neutral quality of the Sanctorale the inclusion of Saints such as St Blaise and St Leonard enable us to recognise and identify a distinct Use. Of particular interest are the continental links to the Loire Valley that emerge throughout the thesis. The Fleury post-Pentecostal alleluias are a unique series in this insular source. Further evidence of influence from the Loire Valley is found in the notation and melodic variants. Not only do the prayers and chants provide valuable information about the liturgical affiliations and influences in EXcl 3515, but also a study of the script hands adds significant new data about insular ‘Protogothic’ script and notation. EXcl 3515 represents a transitional stage in the development of script and notation before the widespread influence of Gothic script and square notation that represent the thirteenth century. Therefore, the focus of this study is to highlight the significance of EXcl 3515 and its unique place among the chant sources of the twelfth century. EXcl 3515 is the sole surviving complete insular missal with notation that pre-dates Sarum Use. Therefore, it is a unique and invaluable witness to a secular liturgy from the South- West of England. ii Declaration I hereby declare that this is my own work and has not been submitted for the award of any Degree in any other University or Third Level Institution. Anne Mannion Signed: ________________________________ Date: ________________ Supervisors: Dr. Helen Phelan / Dr. Emma Hornby Signed: ________________________________Date: _________________ iii ACKNOWLEDGEMENTS I owe my deepest gratitude to the Dean and Chapter of Exeter Cathedral for granting permission to acquire digital images of the manuscript EXcl 3515. Without this facility the project would not have been possible. I am indebted to my two supervisors, Dr Emma Hornby, University of Bristol and Dr Helen Phelan, University of Limerick for their continual support, expert advice, stimulation and guidance throughout the whole study period. I wish to thank Professor Mícheál Ó Súilleabháin for encouraging me, at the very beginning, to enrol for the MA course in Chant and Ritual Song. Little did I realise the extraordinary journey that awaited me. It was my wonderful good fortune to study under Dr Nick Sandon for the MA in Chant and I take this opportunity to extend to him my sincerest thanks for introducing me to the world of chant research. It was a great privilege to study under him. I am indebted to the two wonderful librarians at Limerick University, Carmel Byrnes and Anne Butler, who tirelessly sought chant books and articles from obscure shelves in libraries all over England. Also, I wish to thank Peter Thomas, the Exeter librarian for his warm welcome and tremendous help during the visits to the Cathedral Library. I am very much indebted to Tommy Joyce who gave his expert assistance in editing the full thesis and gave so generously of his time. And finally, but not least, I give my heartfelt thanks to my husband, Martin, and to my four children (Clara, Maria, Paul and John), to my parents (Sean and Phenai), sisters (Hilary and Bobbie), and mother- in-law (Kathleen) who made this study possible through their tireless support and endless encouragement. iv TABLE OF CONTENTS Abstract ii Declaration iii Acknowledgement iv Table of Contents v List of Tables x List of Music Examples xii List of Abbreviations xiv CHAPTER ONE: INTRODUCTION 1 Focus of the Study 2 Aims and Objectives 2 Literature Review 3 Provenance and Dating 3 Notation 4 Script 6 Liturgical and Melodic Tradition in EXcl 3515 7 Continental Links 9 Format of the Thesis 11 CHAPTER TWO: CODICOLOGY, DATING AND PROVENANCE 13 Introduction 14 Structure of the Manuscript 17 Codicological Outline of EXcl 3515 18 The Added Fragment (Section II) 19 The Main Sanctorale (Section III) 20 Later Additions (Section IV) 21 Summary 21 Reconstructed Kalendar for EXcl 3515 22 Saints Venerated in the Added Fragment (Section II) 23 St Blaise 23 Supplementary Sanctorale? 24 Anomalies in the Main Sanctorale 26 Comparison of Twelfth-Century Exeter Kalendars 27 Feast of the Annunciation 28 St Thomas of Canterbury 29 v Ember Days 30 Marginal Additions 31 A Donation Inscription 31 Missale Vetus in the 1327 Inventory 32 The Welesford List of Names 34 Conclusions 36 CHAPTER THREE: EXAMINATION OF THE SCRIPT IN EXCL 3515 39 Introduction 40 Protogothic Script 40 Protogothic Style of EXcl 3515 42 Analysis of Main Hands in EXcl 3515 44 Hand A 44 Hand B 45 Hand C 46 Hand D 47 Hands E/F 49 Hands G/H/J 51 Twelfth-Century Manuscripts of Exeter Provenance/Connection 52 Datable Exeter Sources 54 Comparison of Harley 863 with EXcl 3515 54 Analysis of Script Hands in the Bodleian Manuscripts of Exeter Provenance 57 Summary of the Comparative Analysis of Script Hands in the Bodleian Manuscripts 59 Conclusions 61 CHAPTER 4: EXAMINATION OF THE NOTATION IN EXCL 3515 67 Introduction 68 Identification of the Types of Notation in EXcl 3515 71 Identification of the Music Hands in EXcl 3515 72 Type A Notation: Anglo-Norman Point-Neume 74 Music Hand 1 (Temporale 1) 74 Music Hand 2 (Temporale 1) 76 Music Hand 4 (Main Sanctorale) 77 Music Hand 5 (Common of Saints) 78 vi Type B Notation: Anglo-Norman 79 Music Hand 3 (Temporale 2) 79 Examples of Music Hand 3 with other English Sources 81 EXcl 3548B: Fragment of a Notated Missal 82 Summary of Music Hands in EXcl 3515 83 Comparative Study with English ‘Anglo-Norman Point-Neume’ Sources 84 Oxford Bodley Auct. F.2.14 87 Oxford New College 159 88 Oxford Bodley 120 89 Summary of the Comparative Analysis of Point-Neume Notation in English Sources 92 Continental Notation Similar to EXcl 3515 93 Conclusions 99 CHAPTER FIVE: IDENTIFICATION OF THE LITURGICAL AND MELODIC TRADITION IN EXcl 3515 Section 1: The Sacramentary 102 Introduction to the Sources: 104 Oxford Bodley 579 105 Sarum Sources 106 Sarum Characteristics 106 Sacramentary of EXcl 3515: Temporale 108 Collect for St Stephen 108 Secrets 113 Postcommunions 114 Ember Days in September 115 Sacramentary of EXcl 3515: Sanctorale 116 Unique Feasts in the Sanctorale 123 Summary 124 Section II: Gradual 125 Liturgical Assignment of Chants in EXcl 3515, Oxford Bodley 579 and Sarum: Temporale 126 Introit and Communion 127 Offertory 130 Gradual and Alleluia 131 vii Sanctorale 132 Summary 135 Alleluia Repertories in EXcl 3515 136 Post-Pentecostal Alleluias 136 Comparison of the Post-Pentecostal Alleluias in EXcl 3515, Leofric Missal and Sarum Sources 137 Post-Pentecostal Alleluias in British Sources 138 Easter Week Alleluias 136 Easter Week Alleluias in British Sources 142 Alleluia: Surrexit pastor bonus 143 Comparison of Chants in Oxford Bodley 579 and EXcl 3515 144 The Leofric Missal: Musical Repertory 145 Comparative Table of Chants in the Leofric Missal and EXcl 3515 146 Analysis of the Notated Chants in the Leofric Missal and EXcl 3515 147 Summary of the Comparative Investigation 148 Melodic Variants 149 Identifying Musical Traditions in English Sources 149 Graduel Romain and EXcl 3515 151 Summary of the Melodic Variants 151 Conclusions 152 CHAPTER SIX: DISTINCTIVE ITEMS IN EXCL 3515 Introduction 158 Departures from Tradition 158 Modal Ambiguities 159 Introit Accipite jocunditatem 160 Modal Classification of Accipite jocunditatem 162 Musical Analysis Accipite jocunditatem 165 Summary 166 Communion Oportet te 168 Variant melodies 169 Identification of a New Variant 169 Musical Analysis of Oportet te 170 Alleluia Dies sanctificatus 171 Variants in Dies sanctificatus 171 The Jubilus in Dies sanctificatus 174 Summary 176 viii Rare Alleluias in EXcl 3515 178 Hodie sancte innocentes/Rex noster 178 Melodic Variants in Hodie sancte innocentes 180 Dijon/ Fécamp Alleluias 181 Bec Alleluias 182 Summary of Alleluias 183 A Use of Exeter? Marginal additions 183 Liturgical Reform at Exeter 184 Summary 187 Conclusions 188 CHAPTER SEVEN: CONCLUSION 191 Overview 192 Aims of the Research 192 Overview of the Research Questions 193 Implications of the Findings 196
Load more

Recommended publications
  • The Antiphonary of Bangor and Its Musical Implications
    The Antiphonary of Bangor and its Musical Implications by Helen Patterson A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Music University of Toronto © Copyright by Helen Patterson 2013 The Antiphonary of Bangor and its Musical Implications Helen Patterson Doctor of Philosophy Graduate Department of Music University of Toronto 2013 Abstract This dissertation examines the hymns of the Antiphonary of Bangor (AB) (Antiphonarium Benchorense, Milan, Biblioteca Ambrosiana C. 5 inf.) and considers its musical implications in medieval Ireland. Neither an antiphonary in the true sense, with chants and verses for the Office, nor a book with the complete texts for the liturgy, the AB is a unique Irish manuscript. Dated from the late seventh-century, the AB is a collection of Latin hymns, prayers and texts attributed to the monastic community of Bangor in Northern Ireland. Given the scarcity of information pertaining to music in early Ireland, the AB is invaluable for its literary insights. Studied by liturgical, medieval, and Celtic scholars, and acknowledged as one of the few surviving sources of the Irish church, the manuscript reflects the influence of the wider Christian world. The hymns in particular show that this form of poetical expression was significant in early Christian Ireland and have made a contribution to the corpus of Latin literature. Prompted by an earlier hypothesis that the AB was a type of choirbook, the chapters move from these texts to consider the monastery of Bangor and the cultural context from which the manuscript emerges. As the Irish peregrini are known to have had an impact on the continent, and the AB was recovered in ii Bobbio, Italy, it is important to recognize the hymns not only in terms of monastic development, but what they reveal about music.
    [Show full text]
  • Princeton University Library September 27, 2013
    Checklist of Western Medieval, Byzantine, and Renaissance Manuscripts in the Princeton University Library and the Scheide Library Princeton University Library September 27, 2013 Contents Introduction, p. 3 Manuscripts Division Robert Garrett Medieval and Renaissance Manuscripts, p. 5 Robert Taylor Medieval and Renaissance Manuscripts, p. 44 Grenville Kane Medieval and Renaissance Manuscripts, p. 48 Princeton Medieval and Renaissance Manuscripts, p. 56 Cotsen Children’s Library Cotsen Medieval and Renaissance Manuscripts, p. 87 Rare Books Division Manuscripts bound with early printed books, p. 88 The Scheide Library Scheide Medieval and Renaissance Manuscripts, p. 88 Introduction The present checklist is not a catalogue, but rather is a checklist intended to serve as a guide to sources of up-to-date cataloging, textual and codicological description, and digital images for western medieval, Byzantine, and Renaissance manuscripts in the Princeton University Library and the Scheide Library. Manuscripts are listed by holding unit, collection, and manuscript number or shelfmark. Links are given for more than well over 2,000 digital images of miniatures, illustrations, and selected diagrams and decoration in the manuscripts, about a third of which are illuminated. In addition, links are provided for digitized grayscale microfilm of a large number of Middle English manuscripts at Princeton and for a group of important manuscripts digitized in the Library since the 1990s. For additional information about the holdings of the Manuscripts Division and to make appointments, potential researchers should contact Don C. Skemer, Curator of Manuscripts, at [email protected]. For information about holdings of the Scheide Library, please contact Paul Needham, Librarian, at [email protected] For information concerning photoduplication and permission to publish and/or broadcast, please send an email to [email protected] A brief overview of the manuscripts and their cataloging follows.
    [Show full text]
  • The Saxon Cathedral at Canterbury and the Saxon
    1 29 078 PUBLICATIONS OF THE UNIVERSITY OF MANCHESTER THE SAXON CATHEDRAL AT" CANTERBURY AND THE SAXON SAINTS BURIED THEREIN Published by the University of Manchester at THE UNIVERSITY PRESS (H. M. MCKECHNIE, M.A., Secretary) 23 LIME GROTE, OXFORD ROAD, MANCHESTER THE AT CANTEViVTHESAXg^L CATHEDRAL SAXON SAINTS BURIED THEffilN BY CHARLES COTTON, O.B.E., F.R.C.P.E. Hon. Librarian, Christ Church Cathedral, Canterbury MANCHESTER UNIVERSITY PRESS 1929 MADE IN ENGLAND Att rights reserved QUAM DILECTA TABERNACULA How lovely and how loved, how full of grace, The Lord the God of Hosts, His dwelling place! How elect your Architecture! How serene your walls remain: Never moved by, Rather proved by Wind, and storm, and surge, and rain! ADAM ST. VICTOR, of the Twelfth Century. Dr. J. M. Neale's translation in JMediaval Hymns and Sequences. PREFACE account of the Saxon Cathedral at Canterbury, and of the Saxon Saints buried therein, was written primarily for new THISmembers of Archaeological Societies, as well as for general readers who might desire to learn something of its history and organiza- tion in those far-away days. The matter has been drawn from the writings of men long since passed away. Their dust lies commingled with that of their successors who lived down to the time when this ancient Religious House fell upon revolutionary days, who witnessed its dissolution as a Priory of Benedictine Monks after nine centuries devoted to the service of God, and its re-establishment as a College of secular canons. This important change, taking place in the sixteenth century, was, with certain differences, a return to the organization which existed during the Saxon period.
    [Show full text]
  • Historical Perspective on Change & Growth in the Church
    Historical Perspective on Change & Growth in the Church Don’t know much about history…. We are a historical people. God chose a people to make His own and from which would come a Savior. The Church was born not only out of the Jewish world of Pentecost but also out of the Greco-Roman world which believed that the Pax Romana was the final chapter. We, the Church, have been given the call to reveal the true Kingdom of Peace to a world still confident in its own power. The History of the Liturgy is the only way to glimpse the power of that Kingdom alive in each epoch, including our own. Jewish Roots—Meal and Word Passover and Seder Elements o Berakoth—classic blessings for food, land and Jerusalem o Todah—an account of God’s works and a petition that the prayers of Israel be heard o Tefillah—great intercessions o Kiddush—Holy is God o Haggadah—great narrative of salvation o Hallel—Psalms 113-118 recited at Passover Synagogue Elements o Readings from Torah, Prophets and Wisdom o Teachings o Singing of Cantor, mainly psalms Early Greco-Roman Elements—from home meal to House Church Paul and problem of agape in I Cor 11, from the 50’s o Divisions among you o Every one in haste to eat their supper, one goes hungry while another gets drunk o Institution Narrative o Whoever eats or drinks unworthily sins against the body and blood of the Lord o One should examine himself first, then eat and drink o Whoever eats or drinks without recognizing the body eats and drinks a judgment on himself o That is why so many are sick and dying o Therefore when
    [Show full text]
  • The Bible in Music
    The Bible in Music 115_320-Long.indb5_320-Long.indb i 88/3/15/3/15 66:40:40 AAMM 115_320-Long.indb5_320-Long.indb iiii 88/3/15/3/15 66:40:40 AAMM The Bible in Music A Dictionary of Songs, Works, and More Siobhán Dowling Long John F. A. Sawyer ROWMAN & LITTLEFIELD Lanham • Boulder • New York • London 115_320-Long.indb5_320-Long.indb iiiiii 88/3/15/3/15 66:40:40 AAMM Published by Rowman & Littlefield A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 www.rowman.com Unit A, Whitacre Mews, 26-34 Stannary Street, London SE11 4AB Copyright © 2015 by Siobhán Dowling Long and John F. A. Sawyer All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Dowling Long, Siobhán. The Bible in music : a dictionary of songs, works, and more / Siobhán Dowling Long, John F. A. Sawyer. pages cm Includes bibliographical references and index. ISBN 978-0-8108-8451-9 (cloth : alk. paper) — ISBN 978-0-8108-8452-6 (ebook) 1. Bible in music—Dictionaries. 2. Bible—Songs and music–Dictionaries. I. Sawyer, John F. A. II. Title. ML102.C5L66 2015 781.5'9–dc23 2015012867 ™ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992.
    [Show full text]
  • Sources for Plain Chant and Ritual from Ghent and London: a Survey and Comparison
    SOURCES FOR PLAIN CHANT AND RITUAL FROM GHENT AND LONDON: A SURVEY AND COMPARISON Barbara HAGGH Introduction The history of chant was shaped not only by authority and tradition, but also by individual initiatives, folklore, error and circumstance, and this is most evident when composers, commissioners, copyists and singers of chant are studied alongside the music. In this respect cities, homes for diverse peoples and religious communities, provide an ideal framework for an investigation: Ghent and London are especially well suited not only because of their rich and relatively unstudied archives but also because they were the two most populous cities north of Paris in the late fifteenth century and represented the lively musical cultures of Flanders and England. As the first stage of a project to study the chant and polyphony of Ghent and London in the later Middle Ages and the musicians shaping that repertory, manuscripts and fragments containing the rituals of the churches and abbeys of both cities were surveyed in order to establish what survives and to record preliminary impressions of the nature of the sources. 1 Early as well as later sources were studied, to permit as accurate a chronology of the introduction of new chant as possible. The later sources are an especially useful resource for the study of later medieval music, since they are more numerous than sources of polyphony, more representative of music in daily life and more revealing than archives in documenting musical practices. They also reflect most clearly the interaction between ecclesiastical authorities, patrons, founders, composers, I am grateful to the Leverhulme foundation for supporting my research within the project, 'Music in the North-European Metropolis: London and Ghent c.
    [Show full text]
  • St.Mary's Catholic Church
    St.Mary’s Catholic Church www.saintmarysparish.org | www.facebook.com/stmaryscatholicchurch | Office Phone: 816-252-0121 Office Hours: Monday-Thursday 9:00am-3:00pm | Friday Office Closed 600 N Liberty Street | Independence, MO 64050 Mass Times Outreach Agency Monday: 12 noon (OF) Food, Clothing and Prescription Tuesday: 12 noon (OF) Medication Assistance Wednesday: 12 noon (EF) HOURS: Thursday: 6:00 pm (EF) Wednesday & Friday: 12 noon (EF) Thursday 9:00am - Saturday: 5:00 pm (OF) 3:00pm Sunday: (816) 252-8649 8:00 am (OF) (Please call for an appointment) 11:00 am (EF - During Lent) *Donations of food & 5:00 pm (EF) clothing may be OF - Ordinary Form brought to the Ministry EF - Extraordinary Form Center Monday - Confessions are 30 minutes Thursday by 12:00 before every Mass March 1st, 2020: 1st Sunday of Lent noon Mass Ordinary for All Masses: Kyriale Mass XVII (Kyrie I) pgs 887-889 Entrance Hymn for All Masses: Lord, Who Throughout These Forty Days #43 5pm Saturday Mass and 8am Sunday Mass (Ordinary Form) 11am Sunday Mass (Extraordinary Form) Readings: pgs. 96-98 Propers of the Mass for Lent I Entrance Antiphon: When he calls on me, I will answer him... Credo III (pg. 916 #44) Offertory Motet: Non nobis Domine-attr. Byrd Communion Antiphon: The Lord will conceal you with his Communion Motet: O Bone Jesu-attr. Palestrina pinions...(pg. 917) Responsorial Psalm: Be merciful, O Lord, for we have sinned. Please find red Missals and dark blue hymnals near the Offertory Hymn: Forty Days and Forty Nights #40 church entrance Communion Hymn: Ave verum Corpus #142 Marian Antiphon: Ave Regina Caelorum #45 ! Exit in silence Type to enter text Divine Mercy Chaplet pg.
    [Show full text]
  • Mass for the Tuesday of Passion Week, Winchester)
    A Discussion Concerning the Winchester Gradual in Harley 110 (Mass for the Tuesday in Passion Week, Winchester, 11th Century) A Research Essay fulfilling requirements for MUSIC 747 - BMus (Hons) University of Auckland 2009 submitted by Gillian Lander 5134796 A DISCUSSION CONCERNING THE WINCHESTER GRADUAL IN HARLEY 110 (Mass for the Tuesday of Passion Week, Winchester) Gillian Lander 5134796 MUSIC 747 2009 Auckland University ________________________________________________________________________________ Contents I – An exploration of the Introit and the neumes involved across the various sources. p2 II – A consideration of the neumes in the Communion – which lacks Winchester. p10 III – A comparison of significant melismatic passages and the Gradual neumes in the sources. .p15 IV- A detailed exploration of the Anglo-Saxon neumes in the whole available Winchester work. p24 V – Summary and conclusions. p30 _________________________________________________ Preface Some things never change. It is clear to me that with a lifetime of involvement with psalmody, albeit mainly Anglican chant and in Coverdale‟s English, the approach of any modern choral director teaching chant, differs little from that of the choir trainer of a thousand years back. First of all the singers must know the tune – (or the harmony) by heart, and that secure, all attention can be given to the many nuances afforded by the text, because conveying the full sense of that is the most important task. And this gives rise to a psalter filled with detailed 2B pencil markings to aid this interpretation. Some of these marks are not so different from that of our early neumes, but the singers of the tenth century did not have the same text availability.
    [Show full text]
  • Early Mercian Text Production: Authors, Dialects, and Reputations
    Early Mercian Text Production: Authors, Dialects, and Reputations Abstract There are suggestions that King Alfred’s legendary literary renaissance may have been a reaction to the efforts of the neighbouring kingdom of Mercia. According to Asser, Alfred assembled a group of literary scholars from this rival Mercian tradition at his court. But it is not clear what early literary activities these scholars could have been involved in to justify their pre-Alfredian reputation. This article tries to outline the historical and literary evidence for early Mercian text production, and the importance of this ‘other’ early literary corpus. What is our current knowledge of Mercian text production and the political and literary relationship of Mercia with Canterbury? What was the relationship of Alfred’s educational movement with its Mercian forerunner? Why is modern scholarship better informed about Alfred’s movement than any Mercian rival culture? If our current knowledge of this area is insufficient for the writing of a literary history of Mercia, a provisional list of texts and bibliography, published electronically for convenient updating, may prove useful in the meantime. Alfredian evidence for Mercian literary culture That King Alfred claims to have initiated an educational Renaissance is well known. Alfredian writings acknowledge a marked decline in learning and scholarship, at least in terms of Latin text composition and manuscript production, and at least in Wessex (Lapidge 1996, 436-439). But the same texts also suggest the existence of
    [Show full text]
  • The Influence of Plainchant on French Organ Music After the Revolution
    Technological University Dublin ARROW@TU Dublin Doctoral Applied Arts 2013-8 The Influence of Plainchant on rF ench Organ Music after the Revolution David Connolly Technological University Dublin Follow this and additional works at: https://arrow.tudublin.ie/appadoc Part of the Musicology Commons Recommended Citation Connolly, D. (2013) The Influence of Plainchant on rF ench Organ Music after the Revolution. Doctoral Thesis. Dublin, Technological University Dublin. doi:10.21427/D76S34 This Theses, Ph.D is brought to you for free and open access by the Applied Arts at ARROW@TU Dublin. It has been accepted for inclusion in Doctoral by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License The Influence of Plainchant on French Organ Music after the Revolution David Connolly, BA, MA, HDip.Ed Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in Music Dublin Institute of Technology Conservatory of Music and Drama Supervisor: Dr David Mooney Conservatory of Music and Drama August 2013 i I certify that this thesis which I now submit for examination for the award of Doctor of Philosophy in Music, is entirely my own work and has not been taken from the work of others, save and to the extent that such work has been cited and acknowledged within the text of my work. This thesis was prepared according to the regulations for postgraduate study by research of the Dublin Institute of Technology and has not been submitted in whole or in part for another award in any other third level institution.
    [Show full text]
  • The Castle and the Virgin in Medieval
    I 1+ M. Vox THE CASTLE AND THE VIRGIN IN MEDIEVAL AND EARLY RENAISSANCE DRAMA John H. Meagher III A Dissertation Submitted to the Graduate School of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December, 1976 Approved by Doctoral Committee BOWLING GREEN UN1V. LIBRARY 13 © 1977 JOHN HENRY MEAGHER III ALL RIGHTS RESERVED 11 ABSTRACT This study examined architectural metaphor and setting in civic pageantry, religious processions, and selected re­ ligious plays of the middle ages and renaissance. A review of critical works revealed the use of an architectural setting and metaphor in classical Greek literature that continued in Roman and medieval literature. Related examples were the Palace of Venus, the House of Fortune, and the temple or castle of the Virgin. The study then explained the devotion to the Virgin Mother in the middle ages and renaissance. The study showed that two doctrines, the Immaculate Conception and the Assumption of Mary, were illustrated in art, literature, and drama, show­ ing Mary as an active interceding figure. In civic pageantry from 1377 to 1556, the study found that the architectural metaphor and setting was symbolic of a heaven or structure which housed virgins personifying virtues, symbolically protective of royal genealogy. Pro­ tection of the royal line was associated with Mary, because she was a link in the royal line from David and Solomon to Jesus. As architecture was symbolic in civic pageantry of a protective place for the royal line, so architecture in religious drama was symbolic of, or associated with the Virgin Mother.
    [Show full text]
  • Eucharistic Ministry Guidelines
    Extra Ordinary Ministers of Holy Communion Revised January 2012 Extra Ordinary Ministers of Holy Communion Guidelines Page 2 of 8 Table of Contents QUALIFICATIONS FOR BECOMING AN EXTRA ORDINARY MINISTER OF HOLY COMMUNION ................................................................................................. 3 PRE-MASS PREPARATION ............................................................................ 3 All Ministers ............................................................................................. 3 Lead Minister ........................................................................................... 4 Preparation before Mass ............................................................................ 4 MASS RESPONSIBILITIES ............................................................................. 4 Preparation of the Altar at Offertory ........................................................... 4 Diagrams for Preparation of Altar for Mass at 10:00 am & 7:00 pm ............ 5 The Missal ................................................................................................. 5 The Chalice, Corporal, Pall and Purificator ............................................... 5 Diagram for 10:00 a.m. Mass ................................................................... 6 Diagram for 7:00 p.m. Mass ....................................................................... 6 SPECIAL CIRCUMSTANCES ........................................................................... 8 CONCLUSION ..............................................................................................
    [Show full text]