Pub Date : 2018-04-01DOI: 10.1017/S0961137117000183
P. Mannaerts
of the Ordo Paginarum that she cites as her source for this entry. Indeed, surrounding entries given for York account book A/Y in REED/York refer to guild activity (see REED/York, II, pp. 622–3), while the references in the Ordo Paginarum are to the Corpus Christi procession of 1415. Other issues are evident as well. It was probably the block format used in the text editions that masked for both author and proofreader the two lines omitted from the first and third stanzas of Nos respectu gratie (RH 12241) in the settings from Besançon (B1–B3, p. 303). There are also a number of proofreading anomalies. Space does not permit an exhaustive list, so I offer a few examples here. The manuscript number given for Morandi’s sources N3A and N3B should be ‘nouv. acq. lat. 1235’ and not ‘lat. 1235’ (pp. xxix, 90, 332, 396 and 436). The reference to O quam dignis should be RH 13496 rather than 12496 (p. 77, n. 60), while that for Novae genitura should be RH 12329 rather than 12635 (p. 118, n. 108). The siglum for the Salisbury source is given variously as S (pp. xiv, n. 13, xxx, 119, 129 138 and 154) and Sa (pp. 4, 33 and 198). The manuscript number for the Vienna manuscript (Wi) is given as MS 552 in the list of witnesses (p. xxx) but as MS 442 elsewhere. In addition, a number of references given in the notes do not point to the correct locations. The citation from Dunbar Ogden mentioned above with respect to the Regensburg source, for example, is misplaced. On the page referenced (Ogden, p. 40), Ogden describes a fifteenth-century Visitatio Sepulchri from Regensburg and not the Officium Stellae. These issues notwithstanding, Nausica Morandi has provided an invaluable resource that can offer us a deeper understanding of the Officium Stellae should we be willing to make the effort. While one may quibble over her choices for organisation, presentation and formatting, Morandi’s provision of the complete textual and musical information for these sources makes possible investigations into aspects of these settings well beyond those that prompted and guided her presentation. The Officium Stellae is the one office among those labelled ‘liturgical drama’ that really does not seem to fit. Morandi’s study, and her editions in particular, offer the resources needed to allow future scholars to better understand the nature and history of this most peculiar office and its place both within and without the liturgy.
{"title":"Roman Hankeln (ed.), Political Plainchant? Music, Text and Historical Context of Medieval Saints’ Offices, Wissenschaftliche Abhandlungen/Musicological Studies 91 (misprinted as 111). Ottawa: Institute of Mediaeval Music, 2009. vi + 229 pp. €80. ISBN 978 1 896926 97 5.","authors":"P. Mannaerts","doi":"10.1017/S0961137117000183","DOIUrl":"https://doi.org/10.1017/S0961137117000183","url":null,"abstract":"of the Ordo Paginarum that she cites as her source for this entry. Indeed, surrounding entries given for York account book A/Y in REED/York refer to guild activity (see REED/York, II, pp. 622–3), while the references in the Ordo Paginarum are to the Corpus Christi procession of 1415. Other issues are evident as well. It was probably the block format used in the text editions that masked for both author and proofreader the two lines omitted from the first and third stanzas of Nos respectu gratie (RH 12241) in the settings from Besançon (B1–B3, p. 303). There are also a number of proofreading anomalies. Space does not permit an exhaustive list, so I offer a few examples here. The manuscript number given for Morandi’s sources N3A and N3B should be ‘nouv. acq. lat. 1235’ and not ‘lat. 1235’ (pp. xxix, 90, 332, 396 and 436). The reference to O quam dignis should be RH 13496 rather than 12496 (p. 77, n. 60), while that for Novae genitura should be RH 12329 rather than 12635 (p. 118, n. 108). The siglum for the Salisbury source is given variously as S (pp. xiv, n. 13, xxx, 119, 129 138 and 154) and Sa (pp. 4, 33 and 198). The manuscript number for the Vienna manuscript (Wi) is given as MS 552 in the list of witnesses (p. xxx) but as MS 442 elsewhere. In addition, a number of references given in the notes do not point to the correct locations. The citation from Dunbar Ogden mentioned above with respect to the Regensburg source, for example, is misplaced. On the page referenced (Ogden, p. 40), Ogden describes a fifteenth-century Visitatio Sepulchri from Regensburg and not the Officium Stellae. These issues notwithstanding, Nausica Morandi has provided an invaluable resource that can offer us a deeper understanding of the Officium Stellae should we be willing to make the effort. While one may quibble over her choices for organisation, presentation and formatting, Morandi’s provision of the complete textual and musical information for these sources makes possible investigations into aspects of these settings well beyond those that prompted and guided her presentation. The Officium Stellae is the one office among those labelled ‘liturgical drama’ that really does not seem to fit. Morandi’s study, and her editions in particular, offer the resources needed to allow future scholars to better understand the nature and history of this most peculiar office and its place both within and without the liturgy.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2018-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137117000183","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44386511","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 : 2018-04-01DOI: 10.1017/S0961137118000025
M. Salisbury
ABSTRACT This article uses multiple witnesses of the chants from four offices of the Sanctorale, transcribed from twelve manuscripts and an early printed antiphonal, in order to assess the stability of chants in late medieval sources associated with the liturgical ‘Use of Sarum’. Whilst there is usually a ‘main’ melodic reading or version for each chant, a considerable degree of variation exists among the readings from various witnesses. The data which support this argument allow manuscripts to be linked by networks of shared melodic material, both through melodic readings identical and present in multiple sources, and through divergences from such main versions. These observations help to illuminate something of the diversity of the written melodic tradition, raising wider questions about the relationship between written witness and performed reality, and about the fixity of ‘Sarum Use’, at least as far as it was transmitted in written form.
{"title":"Stability and variation in office chants of the Sarum Sanctorale","authors":"M. Salisbury","doi":"10.1017/S0961137118000025","DOIUrl":"https://doi.org/10.1017/S0961137118000025","url":null,"abstract":"ABSTRACT This article uses multiple witnesses of the chants from four offices of the Sanctorale, transcribed from twelve manuscripts and an early printed antiphonal, in order to assess the stability of chants in late medieval sources associated with the liturgical ‘Use of Sarum’. Whilst there is usually a ‘main’ melodic reading or version for each chant, a considerable degree of variation exists among the readings from various witnesses. The data which support this argument allow manuscripts to be linked by networks of shared melodic material, both through melodic readings identical and present in multiple sources, and through divergences from such main versions. These observations help to illuminate something of the diversity of the written melodic tradition, raising wider questions about the relationship between written witness and performed reality, and about the fixity of ‘Sarum Use’, at least as far as it was transmitted in written form.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2018-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137118000025","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43621804","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 : 2018-01-29DOI: 10.1017/S0961137118000116
James I. Cook
As David Fallows, Gareth Curtis and Timothy Symons note in the most recent volume of Early English Church Music (EECM), John Bedyngham was clearly a figure whose music enjoyed international appeal during his lifetime. His secular output seems to have been rather better known than his sacred – a state of affairs that arguably continues today. It is therefore pleasing to see a volume devoted to the sacred output of this important and unfairly overlooked composer, together with that of his contemporaries. The selection of pieces for this volume highlights an enduring problem for those of us interested in this repertory. Only two of the works here presented are by the composer named on the spine; his ‘contemporaries’ outnumber him, and all are anonymous. As pleasing as it is to have his entire Mass output collected in one edition (useful since, though both settings are in Rebecca Gerber’s edition of Trent 88, they are somewhat lost in the enormity of the repertory contained within), this is not an opera omnia and we are unable to consider Bedyngham’s sacred and secular repertory together without recourse to the collection of his songs edited in David Fallows’s excellent Musica Britannica volume. Of course, it was never intended to perform such a function and should not be judged in these terms. English composers for whom we could produce a collected edition of reasonable length number but a few. The challenge is therefore to find other ways to group such English works together in a manner which makes sense and enables interesting connections to be made. By these criteria, this volume is undoubtedly a success. It presents an interesting mixture of works which generally make good sense as a collection, bringing those items of the Ordinary of possible English origin which appear (alongside the two Bedyngham items) in Trent 90 and 93 and which are yet to have been edited for EECM. Two items are also included which appear in the slightly younger source Trent 88. The first of these, a Kyrie labelled M20, is a valuable addition. It has been
{"title":"Review: Fifteenth-Century Liturgical Music, IX: Mass Music by Bedyngham and his Contemporaries. Early English Church Music, 58. Transcribed by Timothy Symons and edited by Gareth Curtis and David Fallows. London: British Academy/Stainer & Bell, 2017.","authors":"James I. Cook","doi":"10.1017/S0961137118000116","DOIUrl":"https://doi.org/10.1017/S0961137118000116","url":null,"abstract":"As David Fallows, Gareth Curtis and Timothy Symons note in the most recent volume of Early English Church Music (EECM), John Bedyngham was clearly a figure whose music enjoyed international appeal during his lifetime. His secular output seems to have been rather better known than his sacred – a state of affairs that arguably continues today. It is therefore pleasing to see a volume devoted to the sacred output of this important and unfairly overlooked composer, together with that of his contemporaries. The selection of pieces for this volume highlights an enduring problem for those of us interested in this repertory. Only two of the works here presented are by the composer named on the spine; his ‘contemporaries’ outnumber him, and all are anonymous. As pleasing as it is to have his entire Mass output collected in one edition (useful since, though both settings are in Rebecca Gerber’s edition of Trent 88, they are somewhat lost in the enormity of the repertory contained within), this is not an opera omnia and we are unable to consider Bedyngham’s sacred and secular repertory together without recourse to the collection of his songs edited in David Fallows’s excellent Musica Britannica volume. Of course, it was never intended to perform such a function and should not be judged in these terms. English composers for whom we could produce a collected edition of reasonable length number but a few. The challenge is therefore to find other ways to group such English works together in a manner which makes sense and enables interesting connections to be made. By these criteria, this volume is undoubtedly a success. It presents an interesting mixture of works which generally make good sense as a collection, bringing those items of the Ordinary of possible English origin which appear (alongside the two Bedyngham items) in Trent 90 and 93 and which are yet to have been edited for EECM. Two items are also included which appear in the slightly younger source Trent 88. The first of these, a Kyrie labelled M20, is a valuable addition. It has been","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2018-01-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137118000116","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46480498","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 : 2017-10-01DOI: 10.1017/s0961137117000067
Günther Michael Paucker
This issue sees the last Liturgical chant bibliography prepared by Dr Günther Michael Paucker. Having inherited this position from Peter Jeffery in 1996, he has produced, year after year, a total of twenty-one bibliographies, all with an admirably comprehensive coverage of studies on chant across the full range of languages. The journal could not have imagined a more meticulous, thorough and loyal editor. We remain truly thankful to him for all the Herculean efforts he has put into his Liturgical chant bibliographies from 1997 to 2017. They have been tremendously useful to chant scholars and will remain a lasting monument to his generosity of spirit.
这个问题看到了最后的礼仪圣歌参考书目准备的博士 nther Michael Paucker。1996年，他从彼得·杰弗瑞(Peter Jeffery)那里继承了这一职位，年复一年，他总共出版了21部参考书目，所有这些书目都令人钦佩地全面涵盖了各种语言的圣歌研究。《华尔街日报》无法想象一个比他更细致、更彻底、更忠诚的编辑。从1997年到2017年，他在他的礼拜圣歌书目中付出了巨大的努力，我们仍然真诚地感谢他。它们对吟诵学者非常有用，并将成为他慷慨精神的永久纪念碑。
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Pub Date : 2017-10-01DOI: 10.1017/S0961137117000080
J. Snoj
monasteries, a usage that was clearly intended to maintain and preserve ancient English practice. This is a work not only of great technical erudition and acumen in matters liturgical but also of historical learning. Billett’s interpretation of his liturgical evidence is placed firmly in the context of the historical development of the religious life in Anglo-Saxon England; he is not only impressively up to date in his historical learning but also admirably judicious in his assessment of complex historical matters. As a historian one might quibble with some details in his account, for example, his tendency to emphasise the Alfredian period as the possible date when new continental books and customs were imported at the expense of the reign of Athelstan, a ruler known for continental contacts and intellectual and cultural ambitions. The usage of neumes of a ‘Breton’ type would point to the latter reign as a likely time, when links to Brittany are well evidenced. Billett’s history of the office places the practice of the daily office at the heart of the experience of the religious life and particularly of reformed monasticism. It is an important reminder to historians of how their understanding of monasticism can be skewed by their reliance upon narrative sources such as hagiography or on the documentary record of charters. To be sure, the cult of the saints and landholding were fundamental parts of the religious life but the daily experience of a monk was shaped by his frequent participation in the liturgy and his training and role within the community decided by his aptitude for performance. I have indicated above how his analysis of the tenth-century liturgy illuminates the competing claims of tradition in English Benedictine Reform. His discussion of how Anglo-Saxon liturgy continued to retain ancient Roman texts long after Roman practice had in fact moved on illuminates how deeply embedded in the identity of the English church was its devotion to Rome: its tradition was both Roman and English. Students of the medieval liturgy, of the English church and of Anglo-Saxon religious and intellectual culture are greatly in Dr Billett’s debt for this lucid and important book.
{"title":"Mechthild Pörnbacher and David Hiley, eds., Balther von Säckingen, Bischof von Speyer: Historia sancti Fridolini (ca. 970), Wissenschaftliche Abhandlungen 65/26. Lions Bay, BC, Canada: Institute of Mediaeval Music, 2016. xxvii + 33 pp. €68. ISBN 978 1 926664 39 2.","authors":"J. Snoj","doi":"10.1017/S0961137117000080","DOIUrl":"https://doi.org/10.1017/S0961137117000080","url":null,"abstract":"monasteries, a usage that was clearly intended to maintain and preserve ancient English practice. This is a work not only of great technical erudition and acumen in matters liturgical but also of historical learning. Billett’s interpretation of his liturgical evidence is placed firmly in the context of the historical development of the religious life in Anglo-Saxon England; he is not only impressively up to date in his historical learning but also admirably judicious in his assessment of complex historical matters. As a historian one might quibble with some details in his account, for example, his tendency to emphasise the Alfredian period as the possible date when new continental books and customs were imported at the expense of the reign of Athelstan, a ruler known for continental contacts and intellectual and cultural ambitions. The usage of neumes of a ‘Breton’ type would point to the latter reign as a likely time, when links to Brittany are well evidenced. Billett’s history of the office places the practice of the daily office at the heart of the experience of the religious life and particularly of reformed monasticism. It is an important reminder to historians of how their understanding of monasticism can be skewed by their reliance upon narrative sources such as hagiography or on the documentary record of charters. To be sure, the cult of the saints and landholding were fundamental parts of the religious life but the daily experience of a monk was shaped by his frequent participation in the liturgy and his training and role within the community decided by his aptitude for performance. I have indicated above how his analysis of the tenth-century liturgy illuminates the competing claims of tradition in English Benedictine Reform. His discussion of how Anglo-Saxon liturgy continued to retain ancient Roman texts long after Roman practice had in fact moved on illuminates how deeply embedded in the identity of the English church was its devotion to Rome: its tradition was both Roman and English. Students of the medieval liturgy, of the English church and of Anglo-Saxon religious and intellectual culture are greatly in Dr Billett’s debt for this lucid and important book.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137117000080","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46890524","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 : 2017-10-01DOI: 10.1017/S0961137117000031
Santiago Ruiz Torres
ABSTRACT The recent discovery of several fragments of an antiphoner in the Archive of the Cathedral of Sigüenza (Guadalajara) with repertoire for the feast of St James the Apostle sheds new light on the origin of the monophonic chants of the Codex Calixtinus. The dating of the fragments to c.1100 demonstrates the existence of an officium proprium prior to the writing of the famous Compostelan codex, a fact hitherto unknown. Part of the repertoire collected in the Sigüenza manuscript, particularly the antiphon Honorabilem eximii and the responsory Alme perpetue, evidence textual and melodic concordances with Calixtinus. Moreover, some chants in the Sigüenza Antiphoner, and not in Calixtinus, were widely known across the Iberian Peninsula before the Tridentine liturgical unification. This evidence suggests that the compilers of the monophonic Office in the Codex Calixtinus knew the version transmitted in the recently discovered fragments. The consequent remodelling of the St James Office was probably due to the fact that it incorporated many legendary elements. At the beginning of the twelfth century, the Church of Compostela was actively seeking to legitimise its apostolicity, which Rome seriously questioned. To do so, it was essential to offer a liturgical corpus of proven authority, based on the Bible and the patristic literature.
{"title":"New evidence concerning the origin of the monophonic chants in the Codex Calixtinus","authors":"Santiago Ruiz Torres","doi":"10.1017/S0961137117000031","DOIUrl":"https://doi.org/10.1017/S0961137117000031","url":null,"abstract":"ABSTRACT The recent discovery of several fragments of an antiphoner in the Archive of the Cathedral of Sigüenza (Guadalajara) with repertoire for the feast of St James the Apostle sheds new light on the origin of the monophonic chants of the Codex Calixtinus. The dating of the fragments to c.1100 demonstrates the existence of an officium proprium prior to the writing of the famous Compostelan codex, a fact hitherto unknown. Part of the repertoire collected in the Sigüenza manuscript, particularly the antiphon Honorabilem eximii and the responsory Alme perpetue, evidence textual and melodic concordances with Calixtinus. Moreover, some chants in the Sigüenza Antiphoner, and not in Calixtinus, were widely known across the Iberian Peninsula before the Tridentine liturgical unification. This evidence suggests that the compilers of the monophonic Office in the Codex Calixtinus knew the version transmitted in the recently discovered fragments. The consequent remodelling of the St James Office was probably due to the fact that it incorporated many legendary elements. At the beginning of the twelfth century, the Church of Compostela was actively seeking to legitimise its apostolicity, which Rome seriously questioned. To do so, it was essential to offer a liturgical corpus of proven authority, based on the Bible and the patristic literature.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137117000031","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49453967","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 : 2017-10-01DOI: 10.1017/S0961137117000055
Melanie Shaffer
ABSTRACT On first glance, Machaut's Tans doucement/Eins que ma dame/Ruina (M13) is a typical motet with few musical or textual anomalies. Perhaps this is why, with the exception of a brief article by Alice V. Clark, little extensive, individual study of M13 has been conducted. This article examines the musico-poetic cues for Fortune found in M13’s many forms of reversal, duality and upset order. The discovery of a new acrostic which references the Roman de Fauvel, whose interpolated motet Super cathedram/Presidentes in thronis/Ruina (F4) is the source of M13’s tenor, further supports a Fortune-based reading of this motet. M13 may therefore be included among the Fortune-prominent motets proposed by Anna Zayaruznaya and Jacques Boogaart (M12, M14 and M15). Understanding that Machaut intentionally ordered his motets, M13 fills a sequential gap, suggesting that M12–15 may serve as a meaningfully ordered group of Fortune-based motets. The acrostic's Fauvel reference also provides additional connections between M13 and F4, offering insight into ways Machaut may have responded to and cleverly cited his sources.
乍一看，马肖的《Tans doucement/Eins que ma dame/Ruina》(M13)是一首典型的圣歌，几乎没有音乐或文本上的异常。也许这就是为什么除了爱丽丝·v·克拉克(Alice V. Clark)的一篇简短文章外，几乎没有对M13进行过广泛的个人研究。本文探讨了《M13》中多种形式的反转、二元性和混乱秩序中蕴含的音乐诗意线索。新发现的一首离合诗引用了罗马人de Fauvel，其中插入的圣歌Super cathedram/Presidentes in thronis/Ruina (F4)是M13男高音的来源，进一步支持了《财富》杂志对这首圣歌的解读。因此，M13可能被列入由Anna Zayaruznaya和Jacques Boogaart (M12, M14和M15)提出的《财富》突出的口号中。我们可以理解马肖是有意为之的，M13填补了一个顺序上的空白，这表明M12-15可能是一组有意义的、有序的《财富》系列格言。离合诗的Fauvel参考也提供了M13和F4之间的额外联系，提供了马肖可能回应和巧妙引用他的来源的方式。
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Pub Date : 2017-10-01DOI: 10.1017/S0961137117000079
Catherine Cubitt
{"title":"Jesse D. Billett, The Divine Office in Anglo-Saxon England, 597–c.1000, Henry Bradshaw Society Subsidia 7. London: Boydell Press, for the Henry Bradshaw Society, 2014. xxii + 463 pp. £60. ISBN 978 1 90749 728 5.","authors":"Catherine Cubitt","doi":"10.1017/S0961137117000079","DOIUrl":"https://doi.org/10.1017/S0961137117000079","url":null,"abstract":"","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137117000079","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45020063","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 : 2017-10-01DOI: 10.1017/S0961137117000043
Nina-Maria Wanek
ABSTRACT This article focuses on the so-called ordinary Cherubikon/Cherubic hymn (Οἱ τὰ χερουβίμ/Oi ta Cherubim) found in Byzantine manuscripts in connection with the Divine Liturgies of St John Chrysostomos and St Basil throughout the church year except for Lent and Easter. The Cherubikon is not, however, restricted to Byzantine codices, but can be found in various Latin manuscripts transliterated into Western letters and written with Western neumes.
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