Journal articles: 'Music in medieval England'

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Haggh, Barbara. "Liturgical music in medieval England." Early Music XXII, no. 2 (May 1994): 325–28. http://dx.doi.org/10.1093/earlyj/xxii.2.325.

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Lefferts, Peter M. "The Garland Encyclopedia of Medieval England." Musical Times 130, no. 1755 (May 1989): 257. http://dx.doi.org/10.2307/966311.

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Beal, Jane. "Matthew Cheung Salisbury, Worship in Medieval England. Past Imperfect Series. Croydon: ARC Humanities Press, 2018, 92 pages." Mediaevistik 32, no. 1 (January 1, 2020): 315–18. http://dx.doi.org/10.3726/med.2019.01.42.

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Matthew Cheung Salisbury, a Lecturer in Music at University and Worcester College, Oxford, and a member of the Faculty of Music at the University of Oxford, wrote this book for ARC Humanities Press’s Past Imperfect series (a series comparable to Oxford’s Very Short Introductions). Two of his recent, significant contributions to the field of medieval liturgical studies include The Secular Office in Late-Medieval England (Turnhout: Brepols, 2015) and, as editor and translator, Medieval Latin Liturgy in English Translation (Kalamazoo: Medieval Institute Publications, 2017). In keeping with the work of editors Thomas Heffernan and E. Ann Matter in The Liturgy of the Medieval Church, 2nd ed. (Kalamazoo: Medieval Institute Publications, 2005) and Richard W. Pfaff in The Liturgy of Medieval England: A History (Cambridge University Press, 2009), this most recent book provides a fascinating overview of the liturgy of the medieval church, specifically in England. Salisbury’s expertise is evident on every page.

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Dittmer, Luther A., and Susan Kathleen Rankin. "The Music of the Medieval Liturgical Drama in France and England." Notes 47, no. 3 (March 1991): 730. http://dx.doi.org/10.2307/941864.

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Kisby, Fiona. "A mirror of monarchy: Music and musicians in the household chapel of the Lady Margaret Beaufort, mother of Henry VII." Early Music History 16 (October 1997): 203–34. http://dx.doi.org/10.1017/s0261127900001728.

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Ever since the publication of Frank Harrison's book Music in Medieval Britain in 1958, the study of the cultivation of liturgical music in late-medieval England has been based on the institutional structure of the Church: on the cathedrals, colleges and parish churches, and on the household chapels of the monarchy and higher nobility both spiritual and lay. In that and most subsequent studies, however, male figures have been seen to dominate the establishments under investigation. If art history (perhaps musicology's closest sister discipline) can be shown to have characterised the patronage of Renaissance art as a system dominated by ‘Big Men’, so too has musicology placed the development of English liturgical music in a culture shaped largely by noble male patrons – kings, princes, dukes, earls, archbishops, bishops and the like.

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Halmo, Joan. "A Sarum antiphoner and other medieval office manuscripts from England and France: some musical relationships." Plainsong and Medieval Music 11, no. 2 (October 2002): 113–26. http://dx.doi.org/10.1017/s0961137102002085.

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Using several twelfth- and thirteenth-century sources, this study examines a selected number of Office antiphons, comparing their melodic variants for patterns of similarity and difference. The ancestry of a Sarum manuscript and - in another source - the survival of a pre-Conquest musical tradition in England are discernible in Office manuscripts examined as are affinities among French and English sources. Evidence from previous chant scholarship and certain medieval historical events shed light on the observations made in this study.

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Lawson, Kevin E. "Light from the “Dark Ages”: Lessons in Faith Formation from before the Reformation." Christian Education Journal: Research on Educational Ministry 14, no. 2 (November 2017): 328–46. http://dx.doi.org/10.1177/073989131701400206.

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This article explores how parish members in the later medieval era in England learned the Christian faith through a variety of means (e.g., preaching, liturgical calendar, art, music, poetry, drama, confessional instruction, spiritual kinship relationships, catechetical instruction) with an eye on what we might learn from this era that could strengthen the church's educational ministry efforts in the present.

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Holsinger, Bruce W. "The vision of music in a Lollard florilegium: Cantus in the Middle English Rosarium theologie (Cambridge, Gonville and Caius College MS 354/581)." Plainsong and Medieval Music 8, no. 2 (October 1999): 95–106. http://dx.doi.org/10.1017/s0961137100001650.

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Despite their intriguing testimony to the vagaries of musical life in late medieval England, relatively little attention has been given by musicologists and historians of religion to the wealth of commentary on liturgical and secular music penned by the followers of the Oxford heretic John Wyclif. In a brief mention of this material in The Premature Reformation, her magisterial study of Wyclif and the Lollards, Anne Hudson suggests that the Lollards’ suspicion of musical display reflected their more general hostility towards the decoration of churches.

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Heminger, Anne. "MUSIC THEORY AT WORK: THE ETON CHOIRBOOK, RHYTHMIC PROPORTIONS AND MUSICAL NETWORKS IN SIXTEENTH-CENTURY ENGLAND." Early Music History 37 (October 2018): 141–82. http://dx.doi.org/10.1017/s0261127918000074.

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Whilst scholars often rely on a close reading of the score to understand English musical style at the turn of the fifteenth century, a study of the compositional techniques composers were taught provides complementary evidence of how and why specific stylistic traits came to dominate this repertory. This essay examines the relationship between practical and theoretical sources in late medieval England, demonstrating a link between the writings of two Oxford-educated musicians, John Tucke and John Dygon, and the polyphonic repertory of the Eton Choirbook (Eton College Library, MS 178), compiled c. 1500–4. Select case studies from this manuscript suggest that compositional and notational solutions adopted at the turn of the fifteenth century, having to do particularly with metrical proportions, echo music-theoretical concepts elucidated by Tucke and Dygon. These findings impinge upon the current debate concerning the presence of a network between educational institutions in the south-east of England during this period.

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DEEMING, HELEN. "The song and the page: experiments with form and layout in manuscripts of medieval Latin song." Plainsong and Medieval Music 15, no. 1 (April 2006): 1–27. http://dx.doi.org/10.1017/s096113710600026x.

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The non-liturgical songs of twelfth- and thirteenth-century England were recorded, for the most part, not in dedicated song books, but on occasional pages in manuscript miscellanies. Away from the context of fully musical books, there were no fixed procedures for the layout of music, and scribes devised new approaches to layout as they worked. This article considers three Latin songs from such sources and explores the evidence for experimentation, both in scribal technique and in musical procedures, that may have contributed to their specific manuscript presentations.

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Barron, Caroline M. "Church music in English towns 1450–1550: an interim report." Urban History 29, no. 1 (May 2002): 83–91. http://dx.doi.org/10.1017/s0963926802001086.

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In the towns of late medieval England (where perhaps 10 per cent of the population may have lived) the parish churches were being continuously expanded, adapted and decorated. Chantry and fraternity chapels were added between the nave pillars, or at the eastern ends of the aisles and here, as well as at the high altar, masses were celebrated and prayers recited with incessant devotion by the living for the repose of the souls of those who had died. These intercessory services, together with those of the usual liturgical round which took place in the choir and in the nave, were increasingly accompanied by complex polyphonic music involving several singers, both men and boys, and the playing of organs which were becoming ubiquitous in medieval parish churches. The development of this dynamic parish music has been detected, but not much studied. In part this is the result of the failure of urban historians and musicologists to talk to each other. Historians of late medieval religion have recently been exploring the diversity and sophistication of parochial devotional practices and have reaffirmed the importance of religious guilds and chantry foundations in enriching the liturgical practices of the parish, but they have paid little attention to music, and none to the impact of church music on civic ceremonial and the legitimating processes of urban rulers. Musicologists who have worked on the music of the English church have been, until very recently, comparatively uninterested in what happened beyond the interior of the church and, in any case, more interested in the great royal and collegiate foundations from which some music has survived. The surprising conclusion is that, for both urban historians and musicologists, the connected argument that links religious ritual, broadly defined, with the spatial and social dimensions of life and work in towns barely yet exists.

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Marsh, Dana T. "SACRED POLYPHONY ‘NOT UNDERSTANDID’: MEDIEVAL EXEGESIS, RITUAL TRADITION AND HENRY VIII'S REFORMATION." Early Music History 29 (July 21, 2010): 33–77. http://dx.doi.org/10.1017/s0261127910000069.

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This study focuses on the ritual ‘conservatism’ of Henry VIII's Reformation through a new look at biblical exegeses of the period dealing with sacred music. Accordingly, it reconsiders the one extant passage of rhetoric to come from the Henrician regime in support of traditional church polyphony, as found in A Book of Ceremonies to be Used in the Church of England, c.1540. Examining the document's genesis, editorial history and ultimate suppression by Archbishop Thomas Cranmer, it is shown that Bishop Richard Sampson, Dean of the Chapel Royal (1522–40), was responsible for the original drafting of the musical paragraph. Beginning with Sampson's printed commentaries on the Psalms and on the Epistles of St Paul, the literary precedents and historical continuities upon which Sampson's topos in Ceremonies was founded are traced in detail. Identified through recurring patterns of scriptural and patristic citation, and understood via transhistorical shifts in the meaning of certain key words (e.g. iubilare), this new perspective clarifies important origins of the English church's musical ‘traditionalism’ on the eve of the Reformation. Moreover, it reveals a precise species of exegetical method – anagogy – as the literary vehicle through which influential clergy were able to justify expansions and elaborations of musical practice in the Western Church from the high Middle Ages to the Reformation.

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Furrow, Melissa. "Dalhousie University." Florilegium 20, no. 1 (January 2003): 125–27. http://dx.doi.org/10.3138/flor.20.038.

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There are only a handful of scholars who have their primary appointments in Dalhousie departments and a primary interest in medieval fields. In French, we have Hans Runte, best known among medievalists for his work on the Seven Sages of Rome, but his more recent publications have been in the field of Acadian letters. In English, we have Hubert Morgan, who works in Middle English, Old Norse, and Old English (romance, saga, and epic are particular interests), and Melissa Furrow, who has finally completed a long labour on reception of romances in medieval England (Expectations of Romance: Drasty Rymyng or Noble Tales, currently under review) and is now returning to an earlier editorial project (Ten Fifteenth-Century Comic Poems) to revise for a new edition with TEAMS. In History, we have Cynthia Neville, well known personally to members of CSM for her extensive work 011 the national and international scene on prize, review, and adjudication committees, and more broadly known through her scholarship on late medieval English legal history and on Scottish social, political, and cultural history. She is the author of Violence, Custom, and Law: The Anglo-Scottish Border Lands in the Later Middle Ages (Edinburgh UP, 1998) and the forthcoming Native Lordship in Anglo-Norman Scotland: The Earldoms of Stratheam and Lennox, 1170-1350 (Four Courts Press). A recent and exciting addition is Jennifer Bain in Music, a music theorist who works on Hildegard of Bingen, and on fourteenth-century music. This tiny number and the clearcut disciplinary boundaries proclaimed by departmental organisation might suggest that medieval study at Dalhousie has fallen off steeply from the days when we had a formally recognised honours degree in Medieval Studies and a bigger pool of faculty. It is true, a bigger pool would be helpful, and the priority within English for the next appointment is for a medievalist. But in various ways medieval studies at Dalhousie does better than it looks as if it should.

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MANNION, ANNE. "Liturgy and chant in a twelfth-century Exeter missal." Plainsong and Medieval Music 28, no. 02 (October 2019): 115–32. http://dx.doi.org/10.1017/s0961137119000044.

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AbstractExeter Cathedral Library and Archives MS 3515 (hereafter EXcl 3515), a notated missal located in Exeter Cathedral, has to date received very little scholarly attention. This neglect may be due to the absence of a liturgical kalendar and evidence of local saints in the Sanctorale. Its assignment to the thirteenth century with a generic English origin suggests that critical questions concerning provenance and dating have been overlooked. The source itself comprises four disparate sections assembled so as to create a complete liturgical cycle. Yet the parts are not as separate as hitherto believed. A comparative investigation reveals not only an Exeter provenance and a twelfth-century dating, but also a new witness to the St Denis/Corbie tradition. Research also reveals unexpected threads of liturgical continuity with the Anglo-Saxon past. As a complete pre-Sarum source of Mass prayers, chants and readings, EXcl 3515 offers a useful lens with which to view a transitional period in the development of a medieval secular liturgy in England. (By contrast, the three dominant cathedrals – Salisbury, York and Hereford – all lack notated chant sources from this period.) EXcl 3515 adds not only significant new data to the current information on secular liturgies, but also challenges accepted theories on the shaping of a distinctive English Use in southwest England.

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Stevens, John. "Alphabetical check-list of Anglo-Norman songs c. 1150—c. 1350." Plainsong and Medieval Music 3, no. 1 (April 1994): 1–22. http://dx.doi.org/10.1017/s0961137100000607.

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It is a curiosity of British cultural history that the surviving Anglo-Norman (AN) songs of medieval England have attracted so little interest amongst musicologists English or French. Such knowledge as we have of them is mostly garnered from two pioneering facsimile volumes: Early English Harmony, edited in 1897 for the Plainsong and Mediaeval Music Society by Harry E. Wooldridge; and Early Bodleian Music (1901), an even finer collection, edited by Sir John Stainer, his son and his daughter, with exemplary studies of many of the manuscripts by Bodley's Librarian, Edward B. Nicholson. These two volumes contain about half of the songs listed here. Their French equivalent, Pierre Aubry's Les plus anciens monuments de la musique française (1905), contains two AN songs in facsimile. Others were published at around the same time (‘buried’ might be a better word) in isolated facsimile: El tens d'iver (Baker), Quaunt le russinol (Petersen). Yet others have only recently emerged, or re-emerged, into scholarly consciousness: Volez oyer le castoy (Wilkins), Si tost c'amis (Page, 1988)

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Johnson, Holly. "The Divine Dinner Party: Domestic Imagery and Easter Preaching in Late Medieval England." Traditio 67 (2012): 385–415. http://dx.doi.org/10.1017/s0362152900001409.

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When Margery Kempe imagines each member of the Trinity sitting within the chamber of her soul on a cushion of an appropriate color, she uses familiar household furnishings to develop a metaphor that helps explain a complex theological concept, while at the same time creating the sense that these ideas are as natural and easy to accept as the objects from which the metaphor is constructed. Similarly, in an Easter sermon preached in 1431, her contemporary Nicholas Philip, a Franciscan friar of the convent in King's Lynn (Margery's hometown), uses household furnishings to prepare his listeners to receive the Eucharist at Easter. The sermon is built on the metaphor of the body as the house to which Christ has been invited for a feast, and, like Kempe's Trinity image, this house has furnishings — a carpet, a tapestry, a cushion, a seat cover — and the feast itself involves a variety of dishes along with music and entertaining guests. The sermon develops a multifaceted image that becomes a complete sensory experience, focusing not on the meaning of transubstantiation but on the communicant's proper disposition. While Nicholas Philip's Easter sermon may be unusual in using this imagery to shape an entire sermon, many late medieval Easter sermons preached in England employ such domestic imagery to elucidate for their audiences the significance of the Eucharist, the reception of which, for most of the laity living in the fourteenth and fifteenth centuries, took place only on Easter. In a process that can be called the domestication of the divine, such metaphors render this annual reception less distant and abstract, making an event with supernatural implications as natural and familiar as a dinner party. However, the rhetorical purpose of this domestication is not primarily to encourage feelings of comfort and easy familiarity with the theological underpinnings of the sacrament, but to promote virtue and responsibility in the recipient both in preparation for and following this event. Nicholas Philip's Easter sermon thus testifies to a homiletic concern of many late medieval English preachers as well as to the artistic license a preacher might take to effect that concern.

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King’oo (book author), Clare Costley, and Mauricio Martinez (review author). "Miserere Mei: The Pentitential Psalms in Late Medieval and Early Modern England." Renaissance and Reformation 36, no. 3 (December 2, 2013): 171–73. http://dx.doi.org/10.33137/rr.v36i3.20558.

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Vanhoutte, Jacqueline A. "Engendering England: The Restructuring of Allegiance in the Writings of Richard Morison and John Bale." Renaissance and Reformation 32, no. 1 (February 1, 2009): 49–77. http://dx.doi.org/10.33137/rr.v32i1.11777.

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This paper examines the way in which old systems of allegiance are interrogated, and replaced by an emergent nationalism in two writers closely associated with the Cromwell government: Richard Morison and John Bale. In their attempt to contruct nationhood in sixteenth-century England, both Morison and Bale adapt late medieval ways of imagining community in order to provoke a shift in allegiance and a reunification of the English nation modelled on patriarchal structures.

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Desmond, Karen. "W. de Wicumbe's Rolls and Singing the Alleluya ca. 1250." Journal of the American Musicological Society 73, no. 3 (2020): 639–709. http://dx.doi.org/10.1525/jams.2020.73.3.639.

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Abstract A set of thirteenth-century parchment fragments, including the remnants of two rolls and one manuscript codex, preserves a largely unstudied repertoire unique to medieval England. In addition to a single motet and a setting of a responsory verse, the Rawlinson Fragments preserve twelve three-voice Alleluya settings. While polyphonic Alleluyas are well known from the continental Magnus liber repertoire, these insular Alleluya settings are quite different. Most significantly, while composed on the text and pitches of plainchant, they include newly composed texts in at least one voice—that is, they are polytextual chant settings. Aspects of their musical style certainly draw on other polyphonic genres—organum, conductus, and motet. This article presents the paleographical and codicological evidence that corroborates an early date for these fragments (in the 1240s), confirms their connection to Reading Abbey, and situates their repertoire within a broader context. My analysis points to intriguing points of overlap with both the plainchant prosula tradition and the Magnus liber organa and motets. It reopens broader questions about the copying and performance practices of liturgical polyphony, including previous suggestions that motet texts may have been sung within the performance of the Magnus liber organa, regardless of the scribal copying conventions that separated organum and motet in the surviving Magnus liber manuscripts. The article also considers the role of the Rawlinson Fragments’ main scribe, Benedictine monk W. de Wicumbe, who was active within the monastic communities of Leominster and Reading as a composer of plainchant and polyphony, and as precentor, most likely in charge of his community's musical life.

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Sokolova, Alla. "The Court Culture in France, Italy and England in 16-17th Centuries: Interaction and Mutual Influence." Journal of History Culture and Art Research 9, no. 4 (December 24, 2020): 134. http://dx.doi.org/10.7596/taksad.v9i4.2958.

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The article examines the traditions of French court ballet, which are rooted in early medieval Italian musical and theatrical performances, as well as the traditions of the medieval carnival. The functional features of the French court ballet are revealed. French ballet is viewed through the prism of a synthesized art form: dance, music, poetry and complex scenography. It is specified that French ballet as an independent genre was formed in the era of Queen Catherine de Medici.It was revealed that thanks to the skill and professionalism of choreographers of both French and Italian descent, the French court ballet reached its peak in the first half of the seventeenth century.It was determined that the court ballet was becoming a cultural and political instrument that raised the status of France in Europe, served to strengthen the authority of the French monarch, and was a means of uniting the French monarchy and the people. Despite significant financial costs, the political and cultural feasibility of staging court ballets exceeded the economic feasibility.An analogy is drawn with the English court Мasque. It is substantiated that the English court Masque was based on the traditions of Italian intermedio and French court ballet. Thus, English stage designers adopted the experience of Italian stage designers. Dances of Italian origin were an integral part of Masque in England. Choreography in Masque was created by French and Italian choreographers.It has been proven that English culture was influenced by continental culture, which contributed to the formation of a common cultural space.It is substantiated that the genre of French ballet, Italian intermedio and English Masque were not a high art, but over time, having undergone a transformation, they evolved into new forms and genres.

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Williamson, Magnus. "Liturgical Polyphony in the Pre-Reformation English Parish Church: A Provisional List and Commentary." Royal Musical Association Research Chronicle 38 (2005): 1–43. http://dx.doi.org/10.1080/14723808.2005.10541008.

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The great majority of late-medieval lay people encountered the Universal Church most directly, and in some cases exclusively, through their local parish church. The parish has therefore been at the heart of research into lay piety, as witnessed in a range of detailed studies of pre-Reformation beliefs, rituals, rites of passage, clergy, episcopal oversight, parochial administration and social organization. Until recently, however, the ‘soundscape’ of the pre-Reformation parish has received less exhaustive attention, perhaps because the parish has been seen as peripheral or subordinate to the mainstream of musicological research (few first-rank composers are known to have worked within English parish churches), but also because the documentary sources are more disparate and often less complete and informative than the archives of more superficially prestigious institutions. Nevertheless, if the widespread cultivation of polyphonic singing within divine worship was one of the seminal cultural achievements of late-medieval England, what contribution did the parish make towards this revolution? How many parishes maintained polyphonic choirs? What role did the laity play in promoting liturgical polyphony? And what might such initiatives reveal concerning lay attitudes towards liturgical music? Studies of Bristol, London, Louth, Ludlow and York have highlighted the potential of the parish as a focus for musicological research, and have begun to answer some of these questions. The following handlist, an earlier form of which was prepared for the 2002 Harlaxton Medieval Symposium, is intended to serve as a springboard for further research in this field. Although neither complete nor definitive, its aims are to bring together, as comprehensively as possible, the available evidence concerning the singing of liturgical polyphony before 1559, and to provide an overview of the contextual factors which have informed the underlying methodology: to this end, the list itself is preceded by an extended commentary.

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Patterson, Paul J. "Charlotte Steenbrugge, Drama and Sermon in Late Medieval England: Performance, Authority, Devotion. (Early Drama, Art, and Music.) Kalamazoo, MI: Medieval Institute Publications, 2017. Pp. xviii, 173. $89. ISBN: 978-1-5804-4277-0." Speculum 95, no. 3 (July 1, 2020): 908–9. http://dx.doi.org/10.1086/709489.

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Waters, Claire M. "Drama and Sermon in Late Medieval England: Performance, Authority, Devotion. By Charlotte Steenbrugge. Early Drama, Art, and Music. Kalamazoo: Medieval Institute Publications, Western Michigan University, 2017. xviii + 173 pp. $89.00 cloth, $72.00 ebook." Church History 88, no. 1 (March 2019): 217–19. http://dx.doi.org/10.1017/s0009640719000805.

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Luongo, F. Thomas. "Brown, Jennifer N. Fruit of the Orchard: Reading Catherine of Siena in Late Medieval and Early Modern England." Renaissance and Reformation 43, no. 3 (December 21, 2020): 285–87. http://dx.doi.org/10.33137/rr.v43i3.35323.

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Gneuss, Helmut. "Second addenda and corrigenda to the Handlist of Anglo-Saxon Manuscripts." Anglo-Saxon England 40 (December 2011): 293–306. http://dx.doi.org/10.1017/s0263675111000135.

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When the Handlist of Anglo-Saxon Manuscripts was published ten years ago it was clear that it could not claim to be perfect or complete, not only because of the well-known problems and remaining uncertainties of the subject, but also on account of the ever-increasing research work on medieval manuscripts. As a result, a first set of addenda and corrigenda to the Handlist appeared in Anglo-Saxon England 32 (2003), 293–305, and the time has now come for a second supplement intended to update and, where necessary, to correct the Handlist.Like the first supplement, the second has profited from recent publications and, above all, from kindly provided information by friends and colleagues. Once again I owe a special debt of gratitude to Michael Gullick, who generously shared his expert knowledge with me and read a draft version of this article. What I owe to him this time is acknowledged in the individual entries; Appendices 2 and 3 could not have been written without his help and advice. I am grateful to Richard Gameson, Drew Hartzell and Rebecca Rushforth for letting me know about discoveries they made before these appeared in print. As always, Birgit Ebersperger helped to solve my bibliographical problems. All debts I have incurred, whether from personal communications or from publications, have been recorded in the respective entries. As most readers will have noted, a serious drawback of the Handlist – the lack of any references to musical notation – has been made good by Professor Hartzell's comprehensive Catalogue of Manuscripts Written or Owned in England up to 1200 Containing Music.

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Gullick, Michael, and Susan Rankin. "K. D. Hartzell, Catalogue of Manuscripts Written or Owned in England up to 1200 Containing Music. Woodbridge: The Boydell Press in association with the Plainsong and Medieval Music Society, 2006. xxvi + 717 pp. + 8 pls. ISBN 1-84383-281-X." Early Music History 28 (August 24, 2009): 262–85. http://dx.doi.org/10.1017/s0261127909000382.

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Hiley, David. "K.D. Hartzell, Catalogue of Manuscripts Written or Owned in England up to 1200 Containing Music. Woodbridge: The Boydell Press, in association with the Plainsong and Medieval Music Society, 2006. xxvii + 717 pp., 8 black-and-white plates. £90. ISBN 1 84383 281 X." Plainsong and Medieval Music 19, no. 2 (September 17, 2010): 208–13. http://dx.doi.org/10.1017/s0961137110000124.

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Rinkevich, Matthew J. "Reading Ritual: Biblical Hermeneutics and the Liturgical “Text” in Pre-Reformation England." Renaissance and Reformation 41, no. 2 (June 21, 2018): 37–64. http://dx.doi.org/10.33137/rr.v41i2.29833.

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This article argues that orthodox English writers during the pre-Reformation period conceptualized the liturgy as a type of biblical text interpreted with traditional exegetical tools, especially allegoresis. In particular, it focuses upon three devotional works produced during the first several decades of the sixteenth century: B. Langforde’s Meditatyons for Goostly Exercyse, in the Tyme of the Masse (ca. 1515); Wynken de Worde’s 1520 edition of John Lydgate’s The Vertue of the Masse; and John Fisher’s sermon Lamentationes, Carmen, et Vae (ca. 1534). These liturgical exegeses uphold orthodox sacramental theology and maintain that such orthodoxy complements the emphasis placed upon literacy by reformers. Placing each text within a larger context, this analysis complicates narratives of religious culture that insist upon divisions between the medieval and the early modern and the Catholic and the Protestant. It offers a fuller picture of religious experiences surrounding the English Reformation’s inception. Cet article avance que les auteurs catholiques anglais de la période pré-Réforme ont considéré la liturgie comme un type de texte biblique pouvant être interprété avec les outils exégétiques traditionnels, tels que l’allégorèse. L’étude se penche en particulier sur trois ouvrages dévotionnels des premières décennies du XVIe siècle : les Meditatyons for Goostly Exercyse, in the Tyme of the Masse (c.1515) de B. Langford, The Vertue of the Masse de John Lydgate dans l’édition de 1520 de Wynken de Worde, et les sermons de John Fisher publiés sous le titre Lamentationes, Carmen et Vae (c.1534). Ces exégèses liturgiques utilisent la théologie sacramentelle catholique et soulignent le fait que son orthodoxie correspond à l’accent que mettent les réformateurs sur l’alphabétisation des fidèles. En replaçant chaque texte dans un contexte plus large, cette analyse approfondit les descriptions de la culture religieuse soulignant les ruptures entre le Moyen Âge et la Renaissance ainsi qu’entre le catholicisme et le protestantisme. On propose ainsi une vision plus complète des expériences religieuses entourant les débuts de la Réforme anglaise.

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O'Brien, Conor. "Approaching the Bible in medieval England. By Eyal Poleg. (Manchester Medieval Studies.) Pp. xxi+263 incl. 9 figs, 2 music examples and 2 tables+7 colour plates. Manchester: Manchester University Press, 2013. £65. 978 0 7190 8954 1." Journal of Ecclesiastical History 65, no. 4 (September 11, 2014): 898–900. http://dx.doi.org/10.1017/s0022046914001067.

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Kobialka, Michal. "Illustrations of the Stage and Acting in England to 1580. By Clifford Davidson. Early Drama, Art, and Music Monograph Series 16. Kalamazoo: Western Michigan University for the Medieval Institute, 1991. Pp. xviii + 176 + illus. $39.95." Theatre Research International 18, no. 1 (1993): 61. http://dx.doi.org/10.1017/s0307883300017582.

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Patterson, Myron B. "Basic Organ Works: Orgelbuchlein; Three Free Works, and: Late-Medieval before 1460, and: Italy, 1550-1650, and: England, 1550-1660, and: England, 1660-1730, and: England, 1730-1830, and: Complete Works for Keyboard Instrument, and: Two-Part Inventions (BWV 772-786) and Four Duets (BWV 802-805), and: Premier livre d'orgue contenant deux suites du 1er et du 2e ton = First Organ Book Containing Two Suites in Tone I and Tone II, and: The Complete Organ Works, and: God Save the King ("My Country 'Tis of The." Notes 60, no. 4 (2004): 1039–46. http://dx.doi.org/10.1353/not.2004.0069.

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Amit, Mr. "Romanticism: Characteristics, Themes and Poets." SMART MOVES JOURNAL IJELLH 9, no. 5 (May 17, 2021): 66–74. http://dx.doi.org/10.24113/ijellh.v9i5.11034.

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This paper examines about Romanticism or Romantic era, themes and some famous writers, poets and poems of romantic era. Romanticism is one of the repetitive topics that are connected to either creative mind, vision, motivation, instinct, or independence. The subject frequently condemns the past, worries upon reasonableness, disconnection of the essayist and pays tribute to nature. Gone before by Enlightenment, Romanticism brought crisp verse as well as extraordinary books in English Literature. Begun from England and spread all through Europe including the United States, the Romantic development incorporates well known journalists, for example, William Wordsworth, Coleridge, Keats, Lord Byron, Shelley, Chatterton, and Hawthorne. ‘Romantic’ has been adjusted from the French word romaunt that implies a story of Chivalry. After two German scholars Schlegel siblings utilized this word for verse, it changed into a development like an epidemic and spread all through Europe. Romanticism in English writing started during the 1790s with the distribution of the Lyrical Ballads of William Wordsworth and Samuel Taylor Coleridge. Wordsworth's "Preface" to the subsequent version (1800) of Lyrical Ballads, in which he portrayed verse as the spontaneous overflow of powerful feelings", turned into the statement of the English Romantic development in verse. The first phase of the Romantic movement in Germany was set apart by advancements in both substance and artistic style and by a distraction with the mysterious, the intuitive and the heavenly. An abundance of abilities, including Friedrich Hölderlin, the early Johann Wolfgang von Goethe, Jean Paul, Novalis, Ludwig Tieck, A.W. what's more, Friedrich Schlegel, Wilhelm Heinrich Wackenroder, and Friedrich Schelling, have a place with this first phase. The second phase of Romanticism, involving the period from around 1805 to the 1830s, was set apart by a reviving of social patriotism and another regard for national roots, as bore witness to by the accumulation and impersonation of local old stories, people songs and verse, society move and music, and even recently disregarded medieval and Renaissance works. The resuscitated recorded appreciation was converted into creative composition by Sir Walter Scott, who is frequently considered to have imagined the verifiable novel. At about this equivalent time English Romantic verse had arrived at its peak in progress of John Keats, Lord Byron, and Percy Bysshe Shelley.

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Byrne, Joseph P. "Carole Rawcliffe.Leprosy in Medieval England.:Leprosy in Medieval England." American Historical Review 113, no. 2 (April 2008): 556–57. http://dx.doi.org/10.1086/ahr.113.2.556.

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Doyle, A. I. "Review: Medieval Manuscripts in Post-Medieval England." English Historical Review 119, no. 484 (November 1, 2004): 1339–40. http://dx.doi.org/10.1093/ehr/119.484.1339.

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Colton, L. "Mapping medieval music." Early Music 40, no. 2 (May 1, 2012): 308–10. http://dx.doi.org/10.1093/em/cas041.

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French, Katherine L., and Diane Webb. "Pilgrimage in Medieval England." Sixteenth Century Journal 33, no. 2 (2002): 525. http://dx.doi.org/10.2307/4143952.

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Batt, Catherine, Maldwyn Mills, Jennifer Fellows, and Carol M. Meale. "Romance in Medieval England." Modern Language Review 89, no. 3 (July 1994): 707. http://dx.doi.org/10.2307/3735133.

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Jones, N. G. "Maintenance in Medieval England." Journal of Legal History 41, no. 3 (September 1, 2020): 343–46. http://dx.doi.org/10.1080/01440365.2020.1839699.

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Kettle, A. J. "Pilgrimage in Medieval England." English Historical Review 117, no. 470 (February 1, 2002): 161–62. http://dx.doi.org/10.1093/ehr/117.470.161.

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Miller, T. "Leprosy in Medieval England." Social History of Medicine 20, no. 3 (October 9, 2007): 649–51. http://dx.doi.org/10.1093/shm/hkm106.

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Langdon, John, and Jordan Claridge. "Transport in Medieval England." History Compass 9, no. 11 (October 2011): 864–75. http://dx.doi.org/10.1111/j.1478-0542.2011.00804.x.

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McCleery, I. M. "Leprosy in Medieval England." English Historical Review CXXIII, no. 505 (November 10, 2008): 1521–23. http://dx.doi.org/10.1093/ehr/cen321.

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Tabuteau, Emily Zack, Paul E. Szarmach, M. Teresa Tavormina, and Joel T. Rosenthal. "Medieval England: An Encyclopedia." Albion: A Quarterly Journal Concerned with British Studies 32, no. 1 (2000): 86. http://dx.doi.org/10.2307/4053989.

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Bujić, Bojan. "Music in medieval Slovenia." Early Music XXVI, no. 1 (February 1998): 168–69. http://dx.doi.org/10.1093/earlyj/xxvi.1.168.

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Peraino, Judith A. "Re-Placing Medieval Music." Journal of the American Musicological Society 54, no. 2 (2001): 209–64. http://dx.doi.org/10.1525/jams.2001.54.2.209.

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Abstract This essay explores reasons and methods for combining historical research in medieval music and postmodern critical theories associated with “new musicology.” I discuss recent historiographie writings by medievalists and theories of intertextuality from literary critics who argue for the conscious integration of present-day frames of reference into interpretations of historical material. Three postmodern themes form my frame of reference: (1) the critique of metanarratives, (2) the constitutive relationships between central and marginal “texts,” and (3) the recognition of plural perspectives and meanings. I show how these themes instigate compelling readings of two treatises—Johannes de Grocheio's De musica (ca. 1300) and Dante's De vulgari ekquentia (ca. 1305)—and some contemporaneous monophonie mensural additions to the chansonnier F-Pn fr. 844 (trouvère MS M, also known as the Manuscrit du roi).

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RIMMER, JOAN. "MEDIEVAL INSTRUMENTAL DANCE MUSIC." Music and Letters 72, no. 1 (1991): 61–68. http://dx.doi.org/10.1093/ml/72.1.61.

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Brainard, Ingrid. "Medieval instrumental dance music." Dance Chronicle 15, no. 2 (January 1992): 237–43. http://dx.doi.org/10.1080/01472529208569096.

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Barrett, Sam. "Review: Performing Medieval Music." Journal of the Royal Musical Association 130, no. 1 (January 2005): 119–35. http://dx.doi.org/10.1093/jrma/fki006.

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Barrett, Sam. "Review: Performing Medieval Music." Journal of the Royal Musical Association 130, no. 1 (January 2005): 119–35. http://dx.doi.org/10.1093/jrma/fki006a.

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Barrett, Sam. "Review: Performing Medieval Music." Journal of the Royal Musical Association 130, no. 1 (January 2005): 119–35. http://dx.doi.org/10.1093/jrma/fki006b.

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Journal articles on the topic 'Music in medieval England'

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