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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. -
Liturgical Calendar for the Ordinariate of Our Lady of Walsingham
Liturgical Calendar for the Ordinariate of Our Lady of Walsingham Temporale The date of Easter being moveable, Sundays marked * are not needed in every annual cycle. Advent First Sunday of Advent Second Sunday of Advent Third Sunday of Advent From 17 December (O Sapientia) begin the eight days of prayer before Christmas Day Fourth Sunday of Advent Christmas Eve Christmas THE NATIVITY OF THE LORD (Christmas) Sunday within the Octave of the Nativity: The Holy Family of Jesus, Mary and Joseph (if there is no Sunday, 30 December) THE OCTAVE DAY OF CHRISTMAS: SOLEMNITY OF MARY, THE HOLY MOTHER OF GOD *Second Sunday after Christmas Epiphany THE EPIPHANY OF THE LORD (The Manifestation of Christ to the Gentiles) – (6 January or, as permitted or required by authority, the Sunday between 2 and 8 January) The Baptism of the Lord - Sunday after Epiphany (or, if the Epiphany is celebrated on Sunday 7 or 8 January, on Monday 8 or 9 January) Time after Epiphany Time after Epiphany begins usually with Monday of Week 1 on the day following the Baptism of the Lord. For the weekdays following the Baptism of the Lord, the propers for the Week after Epiphany (Week 1) are used. Even when the Baptism of the Lord is transferred to the Monday, the Sunday after the Baptism of the Lord is observed as the Second Sunday after Epiphany. For the purposes of the lectionary, this is Sunday 2 in Ordinary Time and the Sundays thereafter Sundays 3, 4, 5 &c. until Lent begins. Second Sunday after Epiphany * Third Sunday after Epiphany * Fourth Sunday after Epiphany * Fifth -
I. a Humanist John Merbecke
Durham E-Theses Renaissance humanism and John Merbecke's - The booke of Common praier noted (1550) Kim, Hyun-Ah How to cite: Kim, Hyun-Ah (2005) Renaissance humanism and John Merbecke's - The booke of Common praier noted (1550), Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2767/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Renaissance Humanism and John Merbecke's The booke of Common praier noted (1550) Hyun-Ah Kim A copyright of this thesis rests with the author. No quotation from it should be published without his prior written consent and information derived from it should be acknowledged. Thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Durham University Department of Music Durham University .2005 m 2001 ABSTRACT Hyun-Ah Kim Renaissance Humanism and John Merbecke's The booke of Common praier noted (1550) Renaissance humanism was an intellectual technique which contributed most to the origin and development of the Reformation. -
ABOUT the Middle of the Thirteenth Century the Dean and Chapter of St
XIII.—Visitations of certain Churches in the City of London in the patronage of St. Paul's Cathedral Church, between the years 1138 and 1250. By W. SPARROW SIMPSON, D.D., Sub-Dean and Librarian of St. Paul's. Read January 16, 1896. ABOUT the middle of the thirteenth century the Dean and Chapter of St. Paul's Cathedral Church made a minute and careful visitation of churches in their gift, lying in the counties of Essex, Hertfordshire, and Middlesex. The text of that visitation has been lately printed in a volume issued by the Camden Society.'1 The record of their proceedings is so copious that a clear and distinct account can be given of the ornaments, vestments, books, and plate belonging to these churches; and some insight can be gained into the relations which existed between the parishioners, the patrons, and the parish priest. The visitations now for the first time printed are not so full and ample as could be desired. But so little authentic information is to be gathered about the furniture and ornaments of churches in the city of London at this very early period, that even these brief records may be acceptable to antiquaries. The manuscript from which these inventories have been transcribed is one of very high importance. Mr. Maxwell Lyte describes it as " a fine volume, of which the earlier part was written in the middle of the twelfth century," and he devotes about eighteen columns of closely-printed matter to a calendar of its contents illustrated by very numerous extracts." The book is known as Liber L, and the most important portions of it are now in print. -
3 Singing from the Pulpit : Improvised Polyphony and Public Ritual In
55 3 Singing from the Pulpit : Improvised Polyphony and Public Ritual in Medieval Tuscany BENJAMIN BRAND Among the most distinctive features of late medieval churches were the screens that marked the division between the choir and the nave. Known variously as “rood screens,” “jubés ,” or “ Lettner,” they have traditionally been viewed as barriers that divided the clergy from the laity and thus accentu- ated the exclusivity of the mass and offi ce liturgies celebrated in the east end of the church. Only recently have they been recognized as facilitating com- munication between clerics and laypeople. Just as preachers delivered ser- mons in the vernacular from atop the screens, so these structures featured sculptural reliefs that depicted stories from the bible in a naturalistic style comprehensible to the laity and aptly described as a “visual vernacular.” 1 Equally important, the screens were sites of musical performances. At Notre Dame of Paris, for instance, the canons typically sang organum (i.e. polyph- ony) at High Mass from the eagle lectern situated in the middle of the choir behind (and at some distance from) the jubé . 2 On select Christological and Marian feasts, however, they fi rst processed to the crucifi x atop the screen, where as many as six of them sang a responsory verse polyphonically. 3 Th e following abbreviations denote libraries and archives: ACPist = Archivio Capitolare, Pistoia; BCIS = Biblioteca Comunale degli Intronati, Siena; BCL = Biblioteca Capitolare, Lucca; BGV = Biblioteca Guarnacci, Volterra; BRF = Biblioteca Riccardiana, Florence; BUB = Biblioteca Universitaria, Bologna. 1 J . E . J u n g , Th e Gothic Screen: Space, Sculpture, and Community in the Cathedrals of France and Germany, ca. -
THE DISSEMINATION and RECEPTION of the ORDINES ROMANI in the CAROLINGIAN CHURCH, C.750-900
THE DISSEMINATION AND RECEPTION OF THE ORDINES ROMANI IN THE CAROLINGIAN CHURCH, c.750-900 Arthur Robert Westwell Queens’ College 09/2017 This dissertation is submitted for the degree of Doctor of Philosophy 2 Arthur Robert Westwell Thesis Summary: The Dissemination and Reception of the Ordines Romani in the Carolingian Church, c.750- 900. The ordines romani are products of a ninth-century attempt to correct liturgy across Europe. Hitherto, scholarship has almost exclusively focused on them as sources for the practices of the city of Rome, narrowly defined, disregarding how they were received creatively and reinterpreted in a set of fascinating manuscripts which do not easily fit into traditional categories. This thesis re- envisages these special texts as valuable testimonies of intent and principle. In the past few decades of scholarship, it has been made very clear that what occurred under the Carolingians in the liturgy did not involve the imposition of the Roman rite from above. What was ‘Roman’ and ‘correct’ was decided by individuals, each in their own case, and they created and edited texts for what they needed. These individuals were part of intensive networks of exchange, and, broadly, they agreed on what they were attempting to accomplish. Nevertheless, depending on their own formation, and the atmosphere of their diocese, the same ritual content could be interpreted in numerous different ways. Ultimately, this thesis aims to demonstrate the usefulness of applying new techniques of assessing liturgical manuscripts, as total witnesses whose texts interpret each other, to the ninth century. Each of the ordo romanus manuscripts of the ninth century preserves a fascinating glimpse into the process of working out what ‘correct’ liturgy looked like, by people intensely invested in that proposition. -
Sacrificium Laudis
Western Rite to the rather bare Prayer Book Liturgy, so the AB THE SAINT MARK’S was created as an immense enrichment of the Daily Offi ce of Catholic-minded Anglicans. Many High Churchmen and Anglo-Catholics had pro- duced similar Daily Offi ce books long before the publication of the AB. Some of these publications were rather eclectic in their compilation, drawing from medieval English, continen- ION tal Roman (Tridentine), and Eastern Orthodox usages. Most L of these books were actually diurnals – containing seven “day MAY 2003 VOLUME CXXVIII, NO. 5 hours” and excluding the eighth, night vigil offi ce of Matins. These publications provided the translators and compilers of An Unoffi cial Newsletter of S. Mark’s Parish, the AB with models and inspiration. Denver, Colorado for Members only The AB, however, was the fi rst complete Anglo-Catholic Daily Offi ce book, containing all seven of the day hours as well as the vigil offi ce of Matins. The AB is a careful, accurate and beautiful rendering of the prayers, lessons, antiphons, and responsories of the Breviarium Romanum. The SACRIFICIUM translation of the Psalter is that of the endur- ingly beautiful Coverdale Psalter of the Book LAUDIS of Common Prayer. Likewise many of the Collects are the versions which derive The Anglican Breviary and from the Book of Common Prayer. Most the Ancient Western of the Scriptural lessons, antiphons Orthodox Divine Offi ce and responsories are taken from the Authorised Version translation of 1611 BY READER BENJAMIN JOSEPH (“King James”) (except for certain ANDERSEN, B.PHIL. instances where the Vulgate and Septuagint refl ect a more traditional INTRODUCTION catholic and orthodox interpreta- tion). -
Terminology for the Database of Medieval Book Fragments (MPO)
Terminology for the Database of medieval book fragments (MPO) A glossary on terms connected to medieval manuscripts is published in From Manuscripts to Wrappers (2013) and is also printed below. The glossary is partly based on the glossary published in Mutilated Books (2004). Terms in the definitions preceded by an asterisk * are themselves defined. Antiphon short sung text in the Mass and the *Office Antiphoner book of chants for the *Office Book of Hours book for use in private devotion (livre d’heures) Breviary book containing the texts for the *Office Calendar the feasts of selected saints commemorated at a particular place or in a diocese, arranged month by month, according to *use Canon ecclesiastical decree; member of a cathedral chapter Canon missae part of the Mass containing the text for the consecration of the Holy Eucharist Canon book book containing the *Canon missae Canonical hours Office or daily prayers in a fixed order at determined times: matins, lauds, prime, terce, sext, none, vespers and compline Canon Law the legal system of the Roman Catholic Church Canticle (little) song or chant, especially a song of praise from the Bible Cantus sororum ‘the chants of the sisters’, the weekly liturgy of the Birgittine sisters Catchword a word written at the end of a *quire that repeats the first word on the following page to facilitate the arrangement of the quires Church Slavonic the liturgical language of the Russian Orthodox Church Collectar book containing the prayers for the *Canonical hours Colophon a note, usually short -
Natlon Hu B««N Ifinohiiil Cm Cllr U Nctind 66*312 BARR, FS . P .A
Thl* itlii »natlon hu b««n ■IfinOhiiil cMcllr u nctind 66*312 BARR, F.S. P .A ., Sister M. Cyrtlla. 1929- TH E L A U D E FRANCESCA NE A N D T H E DISCI P LIN A TI OF THIRTEENTH CENTURY UM BRIA A N D TUSCANY: A C R IT IC A L STUDY OF THE CORTONA CODEX 91. (VOLUMES I AND I I ) (S tu d ie s in Music, No. 2 1 ). The Catholic University of Am erica, Ph.D., 1965 Music University Microfilms, Inc.. Ann A rb o r. Michigan Copyright by ster M. CyrI I la Borr, F.S.P.A. 1966 THE CATHOLIC UNIVERSITY OF AMERICA Stuoies in Music No. 21 THE LAUDE FRANCESCANE AND THE DISC I PL I NAT I OF THIRTEENTH CENTURY UMBRIA AND TUSCANY: A CRITICAL STUDY OF THE CORTONA CODEX 91 A DISSERTATION Submitted to the Faculty of the Graduate School of Arts and Sciences Of the Catholic University of America In Partial Fulfillment of tne Requirements For the Degree Doctor of Philosophy by Sister M. Cyri I la Barr, F.S.P.A, Washington, D. C. 1965 This dissertation was conducted under the direction of Tkovn(x/> os Major Professor and was approved by ( j t and /C '- y ^ _______ os readers THE LAUDE FRANCESCANE AND THE DISC I PL I NAT I OF THIRTEENTH CENTURY UMBRIA AND TUSCANY: A CRITICAL STUDY OF THE CORTONA CODEX 91 VOLUME I PREFACE Italian music of the middle ages followed a somewhat d if ferent course than did that of northern Europe and England. -
The Graduate Theological Foundation
THE GRADUATE THEOLOGICAL FOUNDATION FOUNDATION HOUSE / OXFORD THE PROPER CHANTS OF THE PASCHAL TRIDUUM IN THE GRADUALE ROMANUM: A STUDY IN LITURGICAL THEOLOGY A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE THEOLOGICAL FOUNDATION FOUNDATION HOUSE / OXFORD IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THEOLOGICAL STUDIES BY MARK DANIEL KIRBY, O.CIST. HAMDEN, CONNECTICUT, U.SA AND OXFORD, ENGLAND AUGUST 2002 TABLE OF CONTENTS Acknowledgements x Abbreviations xiii Note regarding Translations and the Numbering of the Psalms xiv CHAPTER ONE AN INTRODUCTION TO LITURGICAL THEOLOGY 1 What is Liturgical Theology? 1 Lex orandi, lex credendi 7 Toward the Liturgical Movement of the Nineteenth and Twentieth Centuries 10 Liturgical Theologies of the Nineteenth and Twentieth Centuries Dom Prosper Guéranger (1805-1875) 14 Dom Lambert Beauduin (1873-1960) 16 Dom Odo Casel (1886-1948) 20 Dame Aemiliana Löhr (1896-1972) 25 Dom Cyprian Vagaggini (1909-1999) 27 Alexander Schmemann (1921-1983) 32 Aidan Kavanagh (1929-) 36 iii Kevin W. Irwin (1946-) 39 A Critical Definition of Liturgical Theology 43 Who 44 Where 46 When 51 How 54 Conclusion 59 CHAPTER TWO TOWARD A DEFINITION OF LITURGICAL CHANT 64 Sung Theology 60 Psalms, Hymns and Spiritual Songs 65 From Sacred Music to Liturgical Chant 69 Three Attributes of Liturgical Chant 82 Breath 85 Interiority 86 Freedom 88 Five Identifying Characteristics of Liturgical Chant 91 The Human Voice 91 Sung Speech 93 iv Objectivity 95 Holy and Hallowing 97 Active and Conscious Participation 98 Liturgical -
TRADITIO S'füdies in ANCIENT and MEDIEVAL HISTORY, THOUGHT, and RELIGION
c> TRADITIO S'fÜDIES IN ANCIENT AND MEDIEVAL HISTORY, THOUGHT, AND RELIGION Editors EDWIN A. QUAIN CHARLES H. LOHR RICHARD E. DOYLE R. E. KASKE ELIZABETH A. R. BROWN Editors Emeriti STEPHAN KUTTNER ANSELM STRITTMATTER BERNARD M. PEEBLES VOLUME XXXI FORDHAM UNIVERSITY PRESS NEW YORK 1975 MEDIEVAL LITURGICAL BOOKS AT AROUCA, BRAGA, EVORA, LISBON, AND PORTO: SOME PROVISIONAL INVENTORIES Some of the information presented in this catalogue is taken, with a minimum of critical assessment, from sources which must be considered unreliable. A perusal will quickly reveal that the inventories vary in thoroughness and that a few indeed are incomplete. Why then the temerity to publish material which in some respects is inaccurate, inconsistent, and unfinished? Very few published catalogues describe liturgical books in as much detail as is included here and the libraries of Portugal, in common with those of the rest of Europe and North Amertca,! have no catalogues which offer more than a) the type of book (occasionally inaccurate), b) the century (often inaccurate), c) the number of folios, d) the size (often expressed by the approximations of folio or octavo, etc., and e) occasionally, the provenance or Use. This article is accurate as to a), c), d), and can sometimes improve on b) and e). Moreover, it lists the main sections of each book so that the user (and more particularly the user who does not have the book to hand) can tell whether or not his Bre- viary includes the Kalendar, or the Sanctorale, and so on. Most of the inventories also list the contents of each section, giving the folio number on which begin the main feasts of the year, and the main Offices of the saints. -
Humbert of Romans Commentary on the Dominican Constitutions
Humbert de Romans, OP c. 1200-1277 The Fifth Master General of the Order of Preachers Commentary on the Dominican Constitutions translated by Albert G. Judy, OP, MSL, PhD i ii Introduction Humbert of Romans – Life – Chronology Humbert was born around 1200, in the French town of Romans-sur-Isère, south of Lyon. Having completed the study of arts (philosophy) at Paris, he began advanced studies in canon law. He was caught up in the charisma of the new Order of Preachers, which was drawing the most talented and idealistic of young Parisian scholars to its evangelical lifestyle and mission. The story is told how he approached his mentor in canon law, the Paris Master Hugh of St. Cher to notify him of his intention to join the Dominicans. Hugh not only supported Humbert, but followed his student to the Dominicans three months later. Historians agree on Humbert’s basic dates.1 He entered the Dominican novitiate at Paris in November of 1224. After ordination he taught theology in the Dominican priory at Lyon, and soon was elected to leadership roles, first as prior of the convent (c. 1237), and then as prior provincial of the province of Rome (c. 1241-1246). At a crucial historical period for the Order he was chosen as provincial of the province of France (1246-1254). In 1254, the General Chapter of Budapest elected him the fifth master general of the Order. He served in that office for eleven years. He resigned his post in 1263. He died in 1277, and is buried at Valence, near Romans, his birthplace.