Dealing with change: the Carthusians and Corpus Christi

IF 0.5 1区 艺术学 0 MEDIEVAL & RENAISSANCE STUDIES Plainsong & Medieval Music Pub Date : 2021-04-01 DOI:10.1017/S0961137121000024
Thomas OP DE COUL
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Abstract

ABSTRACT The Carthusian Order is known for its conservative attitude towards liturgy and music. This article will explore how this attitude played out in practice when the Carthusians were confronted with the introduction of a major new feast. Since its origins in the late eleventh century, the Order incorporated several new feasts in its calendar. These additions were normally made with a significant delay, and almost always without any new chants created for these feasts. The feast of Corpus Christi provides an interesting case study. Contrary to their habit, the Carthusians were apparently quick to adopt it, and they included most of the chants that were compiled and edited for this feast. In doing this, they took the Cibavit eos Mass and the Sacerdos in aeternum Office, most famously found in a late thirteenth-century libellus (F-Pnm, lat. 1143) as a point of departure. The Mass Propers were largely taken over, but small variations in the melodies raise interesting questions about how they were transmitted. By contrast, the office chants were thoroughly reordered and melodically edited in various ways, giving us a tangible sense of how Carthusians dealt with change.
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应对变化:卡尔图斯派和科珀斯克里斯蒂
卡尔萨斯骑士团以其对礼拜仪式和音乐的保守态度而闻名。本文将探讨当迦太基人面对一个重要的新盛宴时,这种态度是如何在实践中发挥作用的。自11世纪后期成立以来,骑士团在其日历中加入了几个新的节日。这些添加的内容通常都是在相当长的时间内完成的,而且几乎总是没有为这些节日创造任何新的圣歌。圣体节提供了一个有趣的研究案例。与他们的习惯相反,迦太基人显然很快就接受了它,他们包括了为这个节日编写和编辑的大部分圣歌。在此过程中,他们拿走了Cibavit eos Mass和Sacerdos In aeternum Office,其中最著名的是在13世纪晚期的libellus (F-Pnm, lat)中发现的。1143)作为出发点。《弥撒圣歌》在很大程度上被接管了,但旋律中的小变化引发了关于它们是如何传播的有趣问题。相比之下,办公室的圣歌被彻底重新排序,并以各种方式编辑旋律,让我们切实感受到迦太基人是如何应对变化的。
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来源期刊
CiteScore
0.50
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发文量
15
期刊介绍: Plainsong & Medieval Music is published twice a year in association with the Plainsong and Medieval Music Society and Cantus Planus, study group of the International Musicological Society. It covers the entire spectrum of medieval music: Eastern and Western chant, secular lyric, music theory, palaeography, performance practice, and medieval polyphony, both sacred and secular, as well as the history of musical institutions. The chronological scope of the journal extends from late antiquity to the early Renaissance and to the present day in the case of chant. In addition to book reviews in each issue, a comprehensive bibliography of chant research and a discography of recent and re-issued plainchant recordings appear annually.
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