The Divine Office--the cycle of daily worship other than the Mass--is the richest source of liturgical texts and music from the Latin Middle Ages. However, its richness, the great diversity of its manuscripts, and its many variations from community to community have made it difficult to study,
and it remains largely unexplored terrain. This volume is a practical guide to the Divine Office for students and scholars throughout the field of medieval studies. The book surveys the many questions related to the Office and presents the leading analytical tools and research methods now used in
the field.
Beginning with the Office in the early Middle Ages, the book covers manuscript sources and their contents; regional developments and variations; the relationship between the Office, the Mass, and other ceremonies and repertories; and the deep links between the Office and medieval hagiography. The
book concludes with a discussion of recent technical advances for handling the enormous amounts of evidence on the Office and its performance, in particular CANTUS, the vast electronic database developed by Ruth Steiner of Catholic University for the analysis of chant repertories.
The Divine Office in the Latin Middle Ages is an essential resource for anyone studying medieval liturgy. Its accessible style and broad coverage make it an important basic reference for a wide range of students and scholars in art history, religious studies, social history, literature, musicology,
and theology.
The Divine Office--the cycle of daily worship other than the Mass--is the richest source of liturgical texts and music from the Latin Middle Ages. However, its richness, the great diversity of its manuscripts, and its many variations from community to community have made it difficult to study,
and it remains largely unexplored terrain. This volume is a practical guide to the Divine Office for students and scholars throughout the field of medieval studies. The book surveys the many questions related to the Office and presents the leading analytical tools and research methods now used in
the field.
Beginning with the Office in the early Middle Ages, the book covers manuscript sources and their contents; regional developments and variations; the relationship between the Office, the Mass, and other ceremonies and repertories; and the deep links between the Office and medieval hagiography. The
book concludes with a discussion of recent technical advances for handling the enormous amounts of evidence on the Office and its performance, in particular CANTUS, the vast electronic database developed by Ruth Steiner of Catholic University for the analysis of chant repertories.
The Divine Office in the Latin Middle Ages is an essential resource for anyone studying medieval liturgy. Its accessible style and broad coverage make it an important basic reference for a wide range of students and scholars in art history, religious studies, social history, literature, musicology,
and theology.
Lila Collamore: Prelude: Charting the Divine Office
Part I. A Methodological Introduction
1: Margot E. Fassler: Sermons, Sacramentaries, and Early Sources
for the Office in the Latin West: The Example of Advent
2: László Dobszay: Reading an Office Book
Part II. The Pre-Carolingian Office
3: James W. McKinnon: The Origins of the Western Office
4: Joseph Dyer: Observations on the Divine Office in the Rule of
the Master
5: Peter Jeffery: Eastern and Western Elements in the Irish
Monastic Prayer of the Hours
Part III. Manuscript Studies
6: Ritva Jacobsson: The Antiphoner of Compiègne, Paris, BNF lat.
17436
7: James Grier: The Divine Office at St. Martial in the Early
Eleventh Century: Paris, BN lat. 1085
8: Michael Huglo: The Cluniac Processional of Solesmes,
Bibliothèque de l'Abbaye
9: Susan Rankin: Taking the Rough with the Smooth: Melodic Versions
and Manuscript Status
Part IV. Regional Developments: Carolingian Period to the Later
Middle Ages
10: Hartmut Möller: Office Compositions from St. Gall: Saints
Gallus and Othmar
11: Terence Bailey: The Development and Chronology of the Ambrosian
Sanctorale: The Evidence of the Antiphon Texts
12: Gunilla Björkvall and Andreas Haug: Performing Latin Verse:
Text and Music in Early Medieval Versified Offices
13: Anne Walters Robertson: From Office to Mass: The Antiphons of
Vespers and Lauds and the Antiphons before the Gospel in Northern
France
14: Wulf Arlt: The Office for the Feast of the Circumcision from Le
Puy
15: Craig Wright: The Palm Sunday Processional in Medieval
Chartres
16: Barbara Haggh: Nonconformity in the Use of Cambrai Cathedral:
Guillaume Du Fay's Foundations
Part V. Hagiography
17: Gunilla Iversen: Transforming a Viking into a Saint: The Divine
Office of St. Olav
18: Janka Szendrei: On the Prose Historia of St. Augustine
19: David Hiley: The Historia of St. Julian of Le Mans by Létald of
Micy: Some Comments and Questions about a North French Office of
the Early Eleventh Century
20: Rebecca A. Baltzer: The Little Office of the Virgin and Mary's
Role at Paris
21: James John Boyce: The Carmelite Feast of the Presentation of
the Virgin: A Study in Musical Adaptation
Part VI. The Office and Computers
22: Andrew Hughes: Large Projects and Small Resources: Late
Medieval Liturgical Offices
23: Lora Matthews & Paul Merkley: CANTUS and Tonaries
Lila Collamore: Bibliography of Writings by Ruth Steiner
Margot E. Fassler is Robert S. Tangeman Professor of Musicology and
Director of the Institute of Sacred Music at Yale University.
Rebecca A. Baltzer is Professor of Musicology at the University of
Texas, Austin.
This collection underlines the variety and creativity of the Western Office in the Middle Ages, and will establish itself as indispensable for those studying this period, and the overall development of the Divine Office. The editors and publishers should be congratulated on what is a distinguished and informative work Journal of Theological Studies Peter Jeffery offers a ground-breaking essay, tracing Eastern and Western elements in the Irish monastic Hours, with particular scrutiny of the Bangor Antiphoner Journal of Theological Studies Many key specialists have contributed to this remarkable volume ... Many interesting and surprising areas are covered ... there is much here of interest for a diverse range of readers Early Music Today This volume attests the vitality of current chant scholarship Early Music Today The editors have done their job well: the book is beautifully presented, carefully ordered, scrupulously edited and generously indexed Early Music The greatest asset of this volume is that a wide range of topics are covered without sacrificing detailed analysis in particular areas Early Music
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