Pub Date : 2022-10-01DOI: 10.1017/s0961137122000122
Barbara HAGGH-HUGLO
{"title":"David Andrés Fernández and Alejandro Vera, Los Cantorales de la Catedral de Lima: Estudio, Reconstrucción y Catálogo. Madrid: Sociedad Española de Musicología, 2022. 594 pp. €35. ISBN 978 84 86878 92 4.","authors":"Barbara HAGGH-HUGLO","doi":"10.1017/s0961137122000122","DOIUrl":"https://doi.org/10.1017/s0961137122000122","url":null,"abstract":"","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"31 1","pages":"172 - 176"},"PeriodicalIF":0.2,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41438054","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-01DOI: 10.1017/S0961137122000109
Justin Lavacek
ABSTRACT This article introduces a metrical adaptation to the contrapunctus method of pitch reduction commonly used to analyse Ars Nova counterpoint. Expanding the medieval concept of colouration from the mensural to the metrical, my contrapuncti highlight the flexible toggling between perfect and imperfect groupings at various rhythmic levels in selected motets by Guillaume de Machaut (c.1300–77). The viewpoint advanced here assumes no a priori metrical grid to parse the musical surface, but rather allows the articulation of sonority, cadence and form to reveal a fluid and unique metrical grouping structure for each piece. With metrical emphases shown as inextricable from contrapuntal and harmonic ones, the metrical contrapunctus captures a more comprehensive picture of Machaut's musical language.
{"title":"Hidden colouration: deep metrical flexibility in Machaut","authors":"Justin Lavacek","doi":"10.1017/S0961137122000109","DOIUrl":"https://doi.org/10.1017/S0961137122000109","url":null,"abstract":"ABSTRACT This article introduces a metrical adaptation to the contrapunctus method of pitch reduction commonly used to analyse Ars Nova counterpoint. Expanding the medieval concept of colouration from the mensural to the metrical, my contrapuncti highlight the flexible toggling between perfect and imperfect groupings at various rhythmic levels in selected motets by Guillaume de Machaut (c.1300–77). The viewpoint advanced here assumes no a priori metrical grid to parse the musical surface, but rather allows the articulation of sonority, cadence and form to reveal a fluid and unique metrical grouping structure for each piece. With metrical emphases shown as inextricable from contrapuntal and harmonic ones, the metrical contrapunctus captures a more comprehensive picture of Machaut's musical language.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"31 1","pages":"143 - 167"},"PeriodicalIF":0.2,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42466262","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-01DOI: 10.1017/S0961137122000018
Jane Alden, L. Callaghan
ABSTRACT The earliest known treatise on Boethian proportions in Middle English is attributed to ‘Chilston’ in London, British Library, Lansdowne 763. Nothing is known of Chilston's biography, although his treatise also survives anonymously in two related sources (New York, Morgan Library, B.12 and Dublin, Trinity College, 516). In 1927, Irish musicologist William Henry Grattan Flood suggested an identification between the author of the proportion treatise and the scribe of British Library, Royal 5 A VI, a priest's handbook dated to 1446. English lexicographer Jeffrey Pulver was quick to dismiss Flood's identification, which apparently discouraged any further assessment of it. This article reconsiders Flood's suggestion, taking into account 1920s political and cultural biases that might explain Pulver's swift rejection. A contextual exploration of the evidence supports the connection of the proportion treatise to Royal 5 A VI and sheds light on the milieu in which Chilston may have worked. Long recognised for his significance in the vernacular history of music theory and music pedagogy, the proposed contextual framework has significant implications for understanding the multiple functions of music theory in fifteenth-century England. Most notably, it documents the use of speculative music theory among readers and audiences with limited knowledge of Latin. A variety of uses for music theory reveal themselves within the emerging vernacular pedagogical practices of late medieval England. These reflect the broader production of technical texts in Middle English and the increased vernacularisation of English society at a pivotal moment of ecclesiastic and musical history.
摘要：已知最早的关于中古英语中波依斯比例的论文是伦敦的“Chilston”，英国图书馆，Lansdowne 763。奇尔斯顿的传记不为人知，尽管他的论文也匿名存在于两个相关的来源中（纽约，摩根图书馆，B.12和都柏林，三一学院，516）。1927年，爱尔兰音乐学家威廉·亨利·格拉坦·弗洛德（William Henry Grattan Flood。英国词典编纂者Jeffrey Pulver很快就否定了Flood的身份，这显然阻碍了对其进行任何进一步的评估。这篇文章考虑到了20世纪20年代可能解释Pulver迅速拒绝的政治和文化偏见，重新考虑了Floo德的建议。对证据的上下文探索支持了比例论文与皇家5 A VI的联系，并揭示了奇尔斯顿可能工作的环境。长期以来，他在音乐理论和音乐教育学的本土史上的重要性得到了认可，所提出的语境框架对理解15世纪英国音乐理论的多重功能具有重要意义。最值得注意的是，它记录了拉丁语知识有限的读者和观众对推测性音乐理论的使用。音乐理论的各种用途在中世纪晚期英格兰新兴的本土教学实践中有所体现。这些反映了中古英语技术文本的广泛产生，以及在教会和音乐历史的关键时刻，英国社会的本土化程度的提高。
{"title":"On dubious claims regarding the enigmatic Chilston","authors":"Jane Alden, L. Callaghan","doi":"10.1017/S0961137122000018","DOIUrl":"https://doi.org/10.1017/S0961137122000018","url":null,"abstract":"ABSTRACT The earliest known treatise on Boethian proportions in Middle English is attributed to ‘Chilston’ in London, British Library, Lansdowne 763. Nothing is known of Chilston's biography, although his treatise also survives anonymously in two related sources (New York, Morgan Library, B.12 and Dublin, Trinity College, 516). In 1927, Irish musicologist William Henry Grattan Flood suggested an identification between the author of the proportion treatise and the scribe of British Library, Royal 5 A VI, a priest's handbook dated to 1446. English lexicographer Jeffrey Pulver was quick to dismiss Flood's identification, which apparently discouraged any further assessment of it. This article reconsiders Flood's suggestion, taking into account 1920s political and cultural biases that might explain Pulver's swift rejection. A contextual exploration of the evidence supports the connection of the proportion treatise to Royal 5 A VI and sheds light on the milieu in which Chilston may have worked. Long recognised for his significance in the vernacular history of music theory and music pedagogy, the proposed contextual framework has significant implications for understanding the multiple functions of music theory in fifteenth-century England. Most notably, it documents the use of speculative music theory among readers and audiences with limited knowledge of Latin. A variety of uses for music theory reveal themselves within the emerging vernacular pedagogical practices of late medieval England. These reflect the broader production of technical texts in Middle English and the increased vernacularisation of English society at a pivotal moment of ecclesiastic and musical history.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"31 1","pages":"65 - 90"},"PeriodicalIF":0.2,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43541770","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-01DOI: 10.1017/S096113712200002X
Rebecca Maloy, Mason Brown, Benjamin Pongtep Cefkin, R. Opara, Megan Quilliam, Melanie Shaffer
ABSTRACT Over the past century, scholars have identified examples of liturgical chant belonging to more than one Western liturgical tradition, including Franco-Roman, Old Hispanic, Old Beneventan and Milanese. In a seminal study, Kenneth Levy identified a set of offertories that circulate in the Franco-Roman, Old Hispanic and Milanese traditions, arguing that all existing versions derive from an earlier, Gallican tradition. This article expands the evidence for connections between the Franco-Roman and Old Hispanic traditions, identifying nearly two dozen Franco-Roman responsories that are shared with the Old Hispanic rite and may be of Gallican or Iberian origin. The diversity of their liturgical assignments and circulation patterns suggests that the exchange of repertory took place at different times and through different routes. Many of these responsories are assigned to the later layers of the Roman liturgy. Others were added to the Old Hispanic liturgy between the eighth and tenth centuries. Just over half of these responsories show enough melodic connections between the Franco-Roman and Old Hispanic versions, in contour and melismatic density, to imply a shared melodic ancestor. Each version, however, uses the formulas associated with its own tradition, indicating that the melodies have been assimilated to the style and formulaic content of the receiving tradition. Despite the resulting melodic differences, we identify certain commonalities between Franco-Roman and Old Hispanic chant, such as text-setting strategies and common cadential contours, that facilitated the exchange of repertory.
{"title":"Revisiting ‘Toledo, Rome, and the Legacy of Gaul’: new evidence from the Divine Office","authors":"Rebecca Maloy, Mason Brown, Benjamin Pongtep Cefkin, R. Opara, Megan Quilliam, Melanie Shaffer","doi":"10.1017/S096113712200002X","DOIUrl":"https://doi.org/10.1017/S096113712200002X","url":null,"abstract":"ABSTRACT Over the past century, scholars have identified examples of liturgical chant belonging to more than one Western liturgical tradition, including Franco-Roman, Old Hispanic, Old Beneventan and Milanese. In a seminal study, Kenneth Levy identified a set of offertories that circulate in the Franco-Roman, Old Hispanic and Milanese traditions, arguing that all existing versions derive from an earlier, Gallican tradition. This article expands the evidence for connections between the Franco-Roman and Old Hispanic traditions, identifying nearly two dozen Franco-Roman responsories that are shared with the Old Hispanic rite and may be of Gallican or Iberian origin. The diversity of their liturgical assignments and circulation patterns suggests that the exchange of repertory took place at different times and through different routes. Many of these responsories are assigned to the later layers of the Roman liturgy. Others were added to the Old Hispanic liturgy between the eighth and tenth centuries. Just over half of these responsories show enough melodic connections between the Franco-Roman and Old Hispanic versions, in contour and melismatic density, to imply a shared melodic ancestor. Each version, however, uses the formulas associated with its own tradition, indicating that the melodies have been assimilated to the style and formulaic content of the receiving tradition. Despite the resulting melodic differences, we identify certain commonalities between Franco-Roman and Old Hispanic chant, such as text-setting strategies and common cadential contours, that facilitated the exchange of repertory.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"31 1","pages":"1 - 35"},"PeriodicalIF":0.2,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42717168","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-01DOI: 10.1017/S0961137122000043
M. Ferreira
Al-Andalus, usually referred to as ‘Moorish Spain’ (or more precisely, Muslim-ruled Iberia), existed under different political configurations for more than 750 years, until 1492. It left its cultural mark worldwide from the eleventh century onwards and its musical heritage can still be recognised in present-day traditions, especially in north Africa. This book, despite its title, is not directly concerned with the musical heritage of Al-Andalus; it provides its necessary prologue, a history ofmusic in Al-Andalus and its cultural remains in Spain after the fall of the kingdom of Granada, up to 1614. In fact, since the publication in 1922 of a controversial book by Julián Ribera on the influence of Arabic music over the Cantigas de Santa Maria – a serious, substantial and epoch-making study, yet marred by scarcity of available documentation and inadequate historical methodology – this is the first full-length history of music in Al-Andalus, based on a plethora of source material diligently brought together and used with critical flair. The author has published extensively on the subject, but contrary to possible expectations, this goes much beyond a summary of Reynolds’s personal findings: it delivers a coherent yet diverse narrative over a demanding timeframe of 900 years, packed with suggestive overviews, arresting episodes and philological detail. Although I have been reading for a long time in the field of Al-Andalus and Arab music, I found myself repeatedly admiring the breath of the information summoned here and enjoying its novelty and significance. After a short introduction on music in the Iberia Peninsula to 711, including a few paragraphs about its Jewish communities, the reader is offered some fifteen pages on Arab music up to that point; although this precedes the chronological limits of Al-Andalus, it is muchwelcome, as it presents data seldom found elsewhere and traces a rich historical panorama of music, musicians and musical patronage providing the reader with a better understanding of the early Islamic traditions. The next three chapters concern Andalusi music from 711 to the fall of the Umayyad rule in 1031. The extant but little-known biographies of famous singers, trained in the East, provide an astonishing harvest of information on musical life in the Cordoban court, during both the Emirate and the Caliphate (from 929), illuminating the ways in which song, professionally performed, could build and destroy
{"title":"Dwight F. Reynolds, The Musical Heritage of Al-Andalus, SOAS Studies in Music. Abingdon: Routledge, 2021. xiii + 260 pp. ISBN 978 0 367 24314 2 (hardback); 978 0 429 28165 5 (ebook).","authors":"M. Ferreira","doi":"10.1017/S0961137122000043","DOIUrl":"https://doi.org/10.1017/S0961137122000043","url":null,"abstract":"Al-Andalus, usually referred to as ‘Moorish Spain’ (or more precisely, Muslim-ruled Iberia), existed under different political configurations for more than 750 years, until 1492. It left its cultural mark worldwide from the eleventh century onwards and its musical heritage can still be recognised in present-day traditions, especially in north Africa. This book, despite its title, is not directly concerned with the musical heritage of Al-Andalus; it provides its necessary prologue, a history ofmusic in Al-Andalus and its cultural remains in Spain after the fall of the kingdom of Granada, up to 1614. In fact, since the publication in 1922 of a controversial book by Julián Ribera on the influence of Arabic music over the Cantigas de Santa Maria – a serious, substantial and epoch-making study, yet marred by scarcity of available documentation and inadequate historical methodology – this is the first full-length history of music in Al-Andalus, based on a plethora of source material diligently brought together and used with critical flair. The author has published extensively on the subject, but contrary to possible expectations, this goes much beyond a summary of Reynolds’s personal findings: it delivers a coherent yet diverse narrative over a demanding timeframe of 900 years, packed with suggestive overviews, arresting episodes and philological detail. Although I have been reading for a long time in the field of Al-Andalus and Arab music, I found myself repeatedly admiring the breath of the information summoned here and enjoying its novelty and significance. After a short introduction on music in the Iberia Peninsula to 711, including a few paragraphs about its Jewish communities, the reader is offered some fifteen pages on Arab music up to that point; although this precedes the chronological limits of Al-Andalus, it is muchwelcome, as it presents data seldom found elsewhere and traces a rich historical panorama of music, musicians and musical patronage providing the reader with a better understanding of the early Islamic traditions. The next three chapters concern Andalusi music from 711 to the fall of the Umayyad rule in 1031. The extant but little-known biographies of famous singers, trained in the East, provide an astonishing harvest of information on musical life in the Cordoban court, during both the Emirate and the Caliphate (from 929), illuminating the ways in which song, professionally performed, could build and destroy","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"31 1","pages":"91 - 94"},"PeriodicalIF":0.2,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49350524","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-01DOI: 10.1017/S0961137122000031
E. Witkowska-Zaremba
ABSTRACT It is known that the seventh book of Jacobus's Speculum musicae contains, alongside other quotations from Ars Nova treatises, the earliest extant transmission of the salient passage of Johannes de Muris's Musica speculativa, Conclusio XVIII, where Muris questions the nature of the fourth as a perfect consonance. However, the relevant passages of Musica speculativa cited and discussed by Jacobus have not yet been analysed in the context of the rich manuscript tradition of the Musica speculativa, which served the needs of musical education throughout Latin Europe for at least two hundred years. In order to position Jacobus's citations of Muris within the framework of the Musica speculativa tradition, I examine several significant variant readings contained in Speculum musicae, comparing them to two French, most probably Parisian, manuscripts transmitting versions A (A-SPL Cod. 264/4) and B (BnF lat. 7378A) of Musica speculativa. Both A and B versions are provided with colophons dated 1323 and 1325, respectively. Establishing which version of Musica speculativa was the source of Jacobus's citations provides a new basis for the dating of two other treatises by Muris to which Jacobus refers, namely Notitia artis musicae and Compendium musicae practicae, and, more generally, for the date of the seventh book of Speculum musicae.
{"title":"Johannes de Muris's Musica speculativa cited by Jacobus de Ispania","authors":"E. Witkowska-Zaremba","doi":"10.1017/S0961137122000031","DOIUrl":"https://doi.org/10.1017/S0961137122000031","url":null,"abstract":"ABSTRACT It is known that the seventh book of Jacobus's Speculum musicae contains, alongside other quotations from Ars Nova treatises, the earliest extant transmission of the salient passage of Johannes de Muris's Musica speculativa, Conclusio XVIII, where Muris questions the nature of the fourth as a perfect consonance. However, the relevant passages of Musica speculativa cited and discussed by Jacobus have not yet been analysed in the context of the rich manuscript tradition of the Musica speculativa, which served the needs of musical education throughout Latin Europe for at least two hundred years. In order to position Jacobus's citations of Muris within the framework of the Musica speculativa tradition, I examine several significant variant readings contained in Speculum musicae, comparing them to two French, most probably Parisian, manuscripts transmitting versions A (A-SPL Cod. 264/4) and B (BnF lat. 7378A) of Musica speculativa. Both A and B versions are provided with colophons dated 1323 and 1325, respectively. Establishing which version of Musica speculativa was the source of Jacobus's citations provides a new basis for the dating of two other treatises by Muris to which Jacobus refers, namely Notitia artis musicae and Compendium musicae practicae, and, more generally, for the date of the seventh book of Speculum musicae.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"31 1","pages":"37 - 63"},"PeriodicalIF":0.2,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46899608","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-01DOI: 10.1017/S0961137121000115
Uri Jacob
ABSTRACT Chansonniers copied from the thirteenth and the fourteenth centuries are the earliest extant sources to include an extensive corpus of lyrics in European vernacular languages. However, contemporary literary sources refer to the existence of earlier books of vernacular lyrics, and a handful of notated lyrics survive from as early as the twelfth century. This article explores a certain type of notated song that predates the relatively well-documented chansonnier tradition by some decades, specifically focusing on the case study of the crusader recruitment song Chevalier mult estes guariz (RS 1548a), composed around the mid-1140s. Probably the earliest extant copy of an Old French lyric (with or without musical notation), this unicum is distinct from songs of the kind preserved in the chansonniers in several respects, especially in its musical form, its manuscript appearance and its intended use in the Middle Ages. I examine this song from several angles, including its crusading theme, provenance, authorship, manuscript presentation, musical construction, intended audience, and the broader contexts of its composition and copying. Such close examination of a single song not only offers insights into the context of an early tradition of written-out vernacular monophony but also casts new light on the origins of the later chansonnier tradition.
{"title":"Chevalier mult estes guariz and the ‘pre-chansonnier’ vernacular lyric","authors":"Uri Jacob","doi":"10.1017/S0961137121000115","DOIUrl":"https://doi.org/10.1017/S0961137121000115","url":null,"abstract":"ABSTRACT Chansonniers copied from the thirteenth and the fourteenth centuries are the earliest extant sources to include an extensive corpus of lyrics in European vernacular languages. However, contemporary literary sources refer to the existence of earlier books of vernacular lyrics, and a handful of notated lyrics survive from as early as the twelfth century. This article explores a certain type of notated song that predates the relatively well-documented chansonnier tradition by some decades, specifically focusing on the case study of the crusader recruitment song Chevalier mult estes guariz (RS 1548a), composed around the mid-1140s. Probably the earliest extant copy of an Old French lyric (with or without musical notation), this unicum is distinct from songs of the kind preserved in the chansonniers in several respects, especially in its musical form, its manuscript appearance and its intended use in the Middle Ages. I examine this song from several angles, including its crusading theme, provenance, authorship, manuscript presentation, musical construction, intended audience, and the broader contexts of its composition and copying. Such close examination of a single song not only offers insights into the context of an early tradition of written-out vernacular monophony but also casts new light on the origins of the later chansonnier tradition.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"30 1","pages":"119 - 140"},"PeriodicalIF":0.2,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46997446","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-01DOI: 10.1017/s0961137121000127
T. Bailey
Abstract The hymn of Shadrach, Meshach and Abednego from the Book of Daniel was sung in Milan as the first canticle of Ambrosian Matins on all Sundays and festivals. The Benedictus es domine had a special importance in the Milanese liturgy: it was not only the first lection of the day, but was also seen as providing a common theme unifying the morning office. Those who study Milanese chant will be interested in the details of its performance, but the hope is that even those who do not usually take note of things Ambrosian will welcome an illustration of the extraordinary complexity that characterises the Rite in its final stage.
{"title":"Benedictus es domine, the Ambrosian Canticle of the Three Children in the Fiery Furnace","authors":"T. Bailey","doi":"10.1017/s0961137121000127","DOIUrl":"https://doi.org/10.1017/s0961137121000127","url":null,"abstract":"Abstract The hymn of Shadrach, Meshach and Abednego from the Book of Daniel was sung in Milan as the first canticle of Ambrosian Matins on all Sundays and festivals. The Benedictus es domine had a special importance in the Milanese liturgy: it was not only the first lection of the day, but was also seen as providing a common theme unifying the morning office. Those who study Milanese chant will be interested in the details of its performance, but the hope is that even those who do not usually take note of things Ambrosian will welcome an illustration of the extraordinary complexity that characterises the Rite in its final stage.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":"30 1","pages":"141 - 153"},"PeriodicalIF":0.2,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44995914","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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