The versified office: sources, poetry, and chants 1
Gespeichert in:
Beteilige Person: | |
---|---|
Format: | Buch |
Sprache: | Englisch |
Veröffentlicht: |
Lions Bay
The Institute of Mediaeval Music
2011
|
Schriftenreihe: | Wissenschaftliche Abhandlungen / Institute of Mediaeval Music
97,1 Wissenschaftliche Abhandlungen / Institute of Mediaeval Music ... |
Links: | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024683075&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
Umfang: | XXXV, 321 S graph. Darst., Notenbeisp., Faks. |
ISBN: | 9781926664101 |
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Datensatz im Suchindex
_version_ | 1819383693400080384 |
---|---|
adam_text | ■
PREFACE
..............................xi
Technical
criteria
..........................................................xi
Paragraph numbers
xi
Scansion
xv
Figures and Tables
xi
Symbols
xvi
Music examples
xii
Categories
xvi
Chant
xiii
Figures, percentages, and tedium
xvii
Displays of poems with chant
xiv
Statistics
xvii
Textual underlay
xiv
Short forms
xviii
Spelling, pronunciation, and grammar
xv
Postscript
xix
Acknowledgements
........................................................ xx
Lists of
MSS,
Tables, Figures, Facsimiles, Musical examples
...............xxi
List of
MSS
xxi
List of Facsimiles
xxx
List of Tables
xxiii
List of Musical examples
xxxi
List of Figures
xxiv
List of feasts and saints
.............................................
Appendix I
■
INTRODUCTION
.......................xxxiii
Part I: LITURGY
■ 1/
LITURGICAL OFFICES: GENRES AND SERVICES
........3
Genres
......................................................................3
Responsories
3
Stanzaic texts
5
Antiphons 4
Dialogues
6
Services
.....................................................................6
Processions and suffrages
6
Services and feasts as a whole
7
Paradigms
8
Preface
■ iv
Part II: REPERTORY AND RESOURCES
■ 2/
THE REPERTORY
.......................13
The Versified Office
.......................................................14
■ 3/
THE RESOURCES
.......................21
Printed editions
............................................................21
Electronic editions
........................................................22
Electronic editions: Limitations
24
Medieval and modern literature
...........................................25
Medieval literature
25
Tibinus: contents of the treatise
36
Bede
26
Modern literature
38
Johannes
de Garìandia
28
Conclusion (modern printed resources)
52
Tibinus
31
Primary liturgical sources
.................................................52
Books with complete offices
53
Marginal and other additions
53
Partial offices
53
Libelli
55
Part III: ANALYSES
■ 4/
THE TEXTUAL FORMS
....................59
Introduction
..............................................................59
A preliminary overview
...................................................60
Prose, poetic forms, and
cursus
61
Displays, the database, and discrimination
62
Terminology
..............................................................64
Rhythm and metre
64
Accent and length of syllables
66
Preface
■
v
Prose and enhanced prose
Numerical prose
Metrical prose
Poetry
...................
Classical metres
Sapphic
Other metres
Expanded Classical
Accentual poetry
68
The
cursus
69
Rhymed prose
73
73
77
79
81
Victorine
Goliardie
Long lines and the
cesura
Unrhymed poems
67
69
72
73
84
84
85
85
Rhyme
....................................................................86
Rhyme by consonant
88
Assonance
(1
or
2
vowels)
90
Extended assonance
94
Poems partially rhymed: rhymed couplets
99
Various combinations of rhyme schemes
100
Poems with perfect rhymes
111
Misspelled rhymes and other oddities
114
Other regular poetic forms
117
Unusual and unverified schemes
118
■ 5/
DISTRIBUTION OF POETIC SCHEMES
...........123
Antiphons................................................................123
Special antiphons
126
Compline and Lauds psalm antiphons
126
Responsories
............................................................. 127
Prose responsories
127
Respond and verse:
Poetic responsories
128
accentual poetry different
133
Respond and verse: Accentual respond with Classical verse
134
Classical poetry identical:
128
Classical respond with accentual verse
135
Respond and verse
accentual poetry identical:
132
Responsories: structure and detail
........................................136
Responds and verses Responds or verses
with traditional structures
137
with asymmetrical forms
141
Responds: new structures?
137
Verses
138
Poetic schemes in combination
.......
Offices with a consistent poetic metre
(almost) throughout
145
Authors and monometrical offices
147
Different metres
for antiphons and responsories
148
Ten-syllable antiphons
Ten-syllable responsories
Miscellaneous combinations
143
148
149
151
Preface
■
vi
Part IV: LITERATURE AND CHANT
■ 6/
LITERARY DEVICES
.....................155
Narrative
................................................................155
The biographical office
156
Thomas Becket
158
Borrowing
...............................................................159
Borrowing (office from office Psalms and Scripture
165
or within an office)
159
Hymns
166
Borrowing The Little Hours
166
from elsewhere in the liturgy
160
Other quotations
168
Borrowing (quotation
from non-versified sources)
161
Prefixes and refrains
.....................................................168
Prefixes
168
Refrains
169
Linked poems
................................................... 170
Acrostics
.................................................................174
Poetry
175
Narrative
175
Grammar and language
..................................................185
Repetenda and verse
.....................................................187
Alliteration
..............................................................195
Puns and word play
......................................................202
Proper names
............................................................210
Personal names
210
Placenames
212
Direct speech
.............................................................215
Enjambement............................................................219
Number of words
........................................................221
Capitals and punctuation
.................................................223
Names
223
Layout
223
Preface
■
vii
■ 7/
CHANT
............................230
INTRODUCTION
...........................230
Note about the bar charts
......................................................230
Databases, editions, and genre studies
....................................231
Electronic databases
231 Antiphons 232
The ChantWord Dictionary
231
Responsories
234
MELODIES
..............................234
Modes
......................................................... 235
Modes and scales
235
Modes and repertories
238
The
В
flat
235
Sequential modes
239
Mode
6
transposed to
С
237
Modes
6
and
8 238
Phrases and cadences
....................................................242
Specific cadences
................................................ 243
Four cadences
243
Other cadences
248
Repertories, modes, and genres
245
Patterns of cadences
249
Comparing melodies
.....................................................250
Sequences of cadences
250
Borrowed melodies
(1) 254
Monotonal
cadences on the Final: Borrowed melodies
(2) 259
antiphons
251
Borrowed melodies
(3) 262
Mode
4
monotonal
antiphons
251
Melodies related by mode
263
Mode
4
antiphons in general
253
Melodic cells and core melodies
266
Monotonal
cadences on the Final:
mostly responds
254
THE MUSICAL EXAMPLES IN THIS STUDY
..............269
INDIVIDUAL CHANTS
........................282
Stylistic extravagances and errors
282
Word-painting
292
Relationship between chant and text
292
Preface
■
viii
Part
V:
CONCLUSION
&
BIBLIOGRAPHY
■ 8/
CONCLUSION
........................301
OFFICES
...............................301
Truncated offices
302
CHANT
...............................303
Phrases
303
Pitches and intervals
303
Motives
303
TEXTS
................................304
Words
304
Letters
305
MEDIEVAL CONTEXT
........................306
SOURCES: DATE AND PLACE
.....................306
Dating
306
ENVOI
................................307
■ 9 /
BIBLIOGRAPHY
.......................309
|
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indexdate | 2024-12-20T16:03:21Z |
institution | BVB |
isbn | 9781926664101 |
language | English |
oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-024683075 |
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owner_facet | DE-19 DE-BY-UBM DE-12 DE-355 DE-BY-UBR DE-384 |
physical | XXXV, 321 S graph. Darst., Notenbeisp., Faks. |
publishDate | 2011 |
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publishDateSort | 2011 |
publisher | The Institute of Mediaeval Music |
record_format | marc |
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spellingShingle | Hughes, Andrew 1937-2013 The versified office sources, poetry, and chants |
title | The versified office sources, poetry, and chants |
title_auth | The versified office sources, poetry, and chants |
title_exact_search | The versified office sources, poetry, and chants |
title_full | The versified office sources, poetry, and chants 1 Andrew Hughes |
title_fullStr | The versified office sources, poetry, and chants 1 Andrew Hughes |
title_full_unstemmed | The versified office sources, poetry, and chants 1 Andrew Hughes |
title_short | The versified office |
title_sort | the versified office sources poetry and chants |
title_sub | sources, poetry, and chants |
url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024683075&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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