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Journal articles on the topic 'Music in medieval England'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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1

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

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2

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

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3

Beal, Jane. "Matthew Cheung Salisbury, Worship in Medieval England. Past Imperfect Series. Croydon: ARC Humanities Press, 2018, 92 pages." Mediaevistik 32, no. 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 wo

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4

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

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5

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 o

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6

Halmo, Joan. "A Sarum antiphoner and other medieval office manuscripts from England and France: some musical relationships." Plainsong and Medieval Music 11, no. 2 (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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7

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 (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 (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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9

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

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10

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 (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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11

Barron, Caroline M. "Church music in English towns 1450–1550: an interim report." Urban History 29, no. 1 (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 acc

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12

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 draftin

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13

Furrow, Melissa. "Dalhousie University." Florilegium 20, no. 1 (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

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14

MANNION, ANNE. "Liturgy and chant in a twelfth-century Exeter missal." Plainsong and Medieval Music 28, no. 02 (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

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15

Stevens, John. "Alphabetical check-list of Anglo-Norman songs c. 1150—c. 1350." Plainsong and Medieval Music 3, no. 1 (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

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16

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

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17

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 (2013): 171–73. http://dx.doi.org/10.33137/rr.v36i3.20558.

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18

Vanhoutte, Jacqueline A. "Engendering England: The Restructuring of Allegiance in the Writings of Richard Morison and John Bale." Renaissance and Reformation 32, no. 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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19

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—th

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20

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 (2020): 134. http://dx.doi.org/10.7596/taksad.v9i4.2958.

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<p>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.</p><p>It was revealed that thanks to the skill and professionalism of choreographers of both Fre

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21

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 m

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22

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 (2020): 908–9. http://dx.doi.org/10.1086/709489.

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23

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 (2019): 217–19. http://dx.doi.org/10.1017/s0009640719000805.

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24

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 (2020): 285–87. http://dx.doi.org/10.33137/rr.v43i3.35323.

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25

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 rec

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26

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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27

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 (2010): 208–13. http://dx.doi.org/10.1017/s0961137110000124.

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28

Rinkevich, Matthew J. "Reading Ritual: Biblical Hermeneutics and the Liturgical “Text” in Pre-Reformation England." Renaissance and Reformation 41, no. 2 (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

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29

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 (2014): 898–900. http://dx.doi.org/10.1017/s0022046914001067.

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30

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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31

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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32

Amit, Mr. "Romanticism: Characteristics, Themes and Poets." SMART MOVES JOURNAL IJELLH 9, no. 5 (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 dev

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33

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

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34

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

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35

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

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36

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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37

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

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38

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

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39

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

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40

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

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41

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

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42

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

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43

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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44

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

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45

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 persp

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46

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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47

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

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48

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

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49

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

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50

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

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