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This book provides, for the first time, an exhaustive discussion of the Franciscan production of texts of religious instruction during the later medieval period (c. 1210-c. 1550). In eight chapters, it introduces the reader to the most important Franciscan sermon cycles, the Franciscan guidelines for living the life of evangelical perfection, the many Franciscan novice training manuals, the Franciscan catechisms and confession manuals, the Franciscan output of liturgical handbooks, the large number of Franciscan texts containing more wide-ranging forms of religious edification, and Franciscan prayer guides. This book provides medievalists and Renaissance scholars alike with a new tool to assess the intellectual and religious transformations between the thirteenth and the sixteenth century, and contributes to the current re-interpretation of the late medieval pastoral revolution.
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This is an edition of Cambridge, University Library, MS Ff. I 17(1), a manuscript of 35 non-liturgical songs in Latin of English provenance dating from the 12th century. Apart from an edition in German and an edition published in Ottawa in 1989, the manuscript has not been widely studied. In this edition the late Professor Stevens challenges the assumption that everything of real cultural interest was happening on the continent, to be only palely imitated in "insular" Britain. A facsimile of the original manuscript is also included.
Plainchant is the oldest substantial body of music that has been preserved in any shape or form. It was first written down in Western Europe in the wake of the Carolingian renaissance of the 8th and 9th centuries. Many thousands of chants have been sung at different times or places in a multitude of forms and styles, responding to the differing needs of the church through the ages. This book provides a clear and concise introduction, designed both for those to whom the subject is new and those who require a reference work for advanced studies. It begins with an explanation of the liturgies which plainchant was designed to serve. All the chief genres of chant, different types of liturgical bo...
In 1921, Anton Baumstark delivered two lectures on the development of the Roman Rite to a gathering at the Abbey of Maria Laach. Abbot Ildefons Herwegen offered to publish those lectures, but Baumstark decided to write a book on the topic instead, which was published two years later as On the Historical Development of the Liturgy. It would be another sixteen years before he produced Comparative Liturgy, for which he is better known. Together the two books lay out Baumstark's liturgical methodology. Comparative Liturgy presents his method; On the Historical Development of the Liturgy offers his model. For nearly a century, On the Historical Development of the Liturgy has been valued by specialists in the field of liturgical studies, both for its description of comparative liturgy and for the portrayal of patterns Baumstark discerns in liturgical development. Also significant are the hypotheses Baumstark proposes and the evidence he brings to bear on problems in liturgical history. In this annotated edition, Fritz West provides the first English translation of this work by Anton Baumstark.
This volume focuses on the Catholic tradition of consecrated life (vita religiosa) from the High Middle Ages to the present. It gathers papers by authors from various disciplinary backgrounds, in particular art history, history, anthropology and translation studies.
The Slavic Letters of St. Jerome is the first book-length study of the medieval legend that Church Father and biblical translator St. Jerome was a Slav who invented the Slavic (Glagolitic) alphabet and Roman Slavonic rite. Julia Verkholantsev locates the roots of this belief among the Latin clergy in Dalmatia in the 13th century and describes in fascinating detail how Slavic leaders subsequently appropriated it to further their own political agendas. The Slavic language, written in Jerome's alphabet and endorsed by his authority, gained the unique privilege in the Western Church of being the only language other than Latin, Greek, and Hebrew acceptable for use in the liturgy. Such privilege, ...
James Grier documents the musical activities of Adémar de Chabannes, eleventh-century monk, historian, homilist and tireless polemicist for the apostolic status of Saint Martial, patron saint of the abbey that bore his name in Limoges. Adémar left behind some 451 folios of music with notation in his autograph hand, a musical resource without equal before the seventeenth century. He introduced, at strategic moments, pieces familiar from the standard liturgy for an apostle and items of his own composition. These reveal Adémar to be a supremely able designer of liturgies and a highly original composer. This study analyses his accomplishments as a musical scribe, compiler of liturgies, editor of existing musical works and composer; it also offers a speculative consideration of his abilities as a singer; and finally, it places Adémar's musical activities in the context of liturgical, musical and political developments at the abbey of Saint Martial in Limoges.
A critical study of the relationship between poetics and music theory in medieval culture and aesthetics. Musica Naturalis delivers the first systematic account of speculative music theory as a discursive horizon for literary poetics. The title refers to the late medieval French poet Eustache Deschamps, whose 1392 treatise on verse writing, L'Art de Dictier, famously casts verse as “natural music” in explicit distinction to song, which Deschamps defines as “artificial.” Philipp Jeserich links the significance of the speculative branch of medieval musicology to literary theory and literary production, opening up a field of study that has been largely neglected. Beginning with Augustin...