Pour le Jour de Ste Geneviefve

The Catholic Historical Review, 2008

Compiled by Richard J. Mammana 2012

Worship, 2018

Yves Congar makes frequent references to the liturgy throughout his theological writings. In this essay, I explore the role of the Feast of the Nativity in the Christology of Congar, showing his attentiveness to the Dominican, Roman, and Eastern liturgies as well as the liturgical theology of Thomas Aquinas.

Sacred Music, Spring 2010, v. 137, n 1

Alcuin was largely responsible for the observance of the Feast of All Saints in the Frankish kingdom of Charlemagne, while its widespread observance throughout the kingdom was decreed in 835 by Louis the Pious at the behest of Pope Gregory IV. The melodies for this Feast are therefore likely to be purely Frankish in origin. In this paper I examine these melodies to show how they draw out the the meaning of the text.

Journal of Musicology, 1994

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. This content downloaded from 137.165.4.15 on Tue, 21 Jul 2015 01:31:48 UTC All use subject to JSTOR Terms and Conditions he fervor surrounding the veneration of the Blessed Virgin was everywhere apparent in the late Middle Ages. Thousands of churches, monasteries, chapels and altars were consecrated to her; countless statues, altarpieces and stained glass windows presented her image and told her story to the faithful; and for the literate, devotional writings extolling her virtues in Latin and the vernacular abounded.' Her adoration in music, both monophonic and polyphonic, was no less pervasive. Every church observed the five principal feasts in her honor (Purification, Annunciation, Assumption, Nativity and Conception); a weekly votive Missa de Beata Virgine, usually celebrated on Saturday, was a standard component of most usages; and in many locales Salve services sung in the evening beseeched her intercession daily.2 Mere de Dieu," Dictionnaire d'archdologie chritienne et de liturgie, 15 vols. (Paris, 1907-53) X/2, cols. 1982-2043; and A. G. Martimort, The Church at Prayer, IV: The Liturgy and Time, transl. Matthew J. O'Connell (Collegeville, Minnesota, 1986), section 2, chapter 5, "The Veneration of Mary," pp. 130-50. More detailed studies include Stephan Beissel, Marienverehrung in Deutschland widhrend des Mittelalters (Freiburg, 1909), a vast and exhaustive survey of Marian art, architecture and poetry; D'Hubert du Manoir, ed., Maria: ttudes sur la Sainte Vierge, 7 vols. (Paris, 1949-64) II, book 6: Atudes d'histoire du culte et de la spiritualitd marials (Paris, 1952), PP. 547-100oo4; Walter Delius, Geschichte der Marienverehrung (Munich, 1963), pp. 127-245; and Hilda Graef, Mary: A History of Doctrine and Devotion, I: From the Beginnings to the Eve of the Reformation (New York, 1963). SA useful overview of the plethora of endowed Masses and Salve services celebrated in Brussels and other northern locales is provided by Barbara Helen Haggh in "Music, Liturgy, and Ceremony in Brussels, 1350-1500" (Ph.D. diss., University of This content downloaded from 137.165.4.15 on Tue, 21 Jul 2015 01:31:48 UTC All use subject to JSTOR Terms and Conditions 52 THE JOURNAL OF MUSICOLOGY The universal participation in her cult notwithstanding, the structure of the services and the details of the chants in her honor, like those for other feast days in the liturgical calendar, varied widely between locales, even within a closely circumscribed geographic area. Local liturgical usages differed from one another in matters ranging from the choice and ordering of plainsongs within the office hours of a particular feast to the precise textual and melodic content of a specific chant.s The kaleidoscopic variety that differentiated local usages within the Roman Catholic rite endured up to and even beyond the standardizing liturgical reforms initiated by the Council of Trent. Throughout the Middle Ages and Renaissance, therefore, every person involved in music-making within the church, from the youngest choirboy to the succentor, learned the idiosyncracies of the liturgy and plainsong at the institution he served, and if he found employment elsewhere he was called upon to adapt to the usage of his new venue. Variations in the many services and plainsongs for the Blessed Virgin, among the most beloved rituals and songs of the period, were chief among the changes to be learned.4 Local traditions of Marian liturgy and plainsong, in addition to their intrinsic interest for the history and development of the Roman Catholic rite, can provide valuable clues to the context of sacred polyphony destined for Marian devotion. This essay presents two case studies that suggest ways in which our understanding and appreciation of polyphony for the Blessed Virgin might be enriched by attention to local liturgical usages. Two Masses by Jacob Obrecht, the Missa Sicut spina rosam and the Missa Sub tuum praesidium, will be the subjects of this investigation. The methodology here employed is that of Illinois at Urbana-Champaign, 1988) I, pp. 383-89 and pp. 397-417. Other studies devoted to the musical expression of the adoration of the Blessed Virgin include Dom Joseph Gajard, "Notre Dame et l'art gr~gorien," and Norbert Dufourcq and Sylvie Spycket, "Esquisse d'une histoire de la musique en l'honneur de la Vierge," in Du Manoir, ed., Maria: Atudes sur la Sainte Vierge, II, book 5: Notre Dame dans les lettres et dans les arts (Paris 1952), pp. 343-82 and pp. 385-400 respectively; and Joseph Szoferffy, Marianische Motivik der Hymnen: Ein Beitrag zur Geschichte der marianischen Lyric im Mittelalter (Leyden, 1985).

Liturgy, 2005

To all my Christian sisters and brothers of the liturgical diaspora, among whom are those who have been led by God to "taste and see" the goodness of God in worship that is Trinitarian, ecumenical, incarnational and sacramental; who believe that "worship is the principal influence that shapes our faith, and is the most visible way we express the faith"; who find themselves in need of companions in this journey of living faithfully our common baptismal identity with all its ethical dimensions; who, though children of Calvin, Knox, Zwingli, and Bucer, are able and eager to claim a lineage to Ambrose of Milan, Cyril of Jerusalem, Theodore of Mopsuestia, and John Chrysostom; whose "eyes have been opened" to a new recognition of worship's fundamental shape which is centered in the twin foci of Word and Table, each utterly indispensable to the other, as the grace-filled means through which we encounter the Living Christ: Grace and peace to you all, from, a fellow pilgrim in this quest for a renewed lex orandi and lex credendi, not that our highest aspiration is getting Lord's Day worship "right" for its own sake; but rather, that our worship might truly transform and transfigure this broken, bleeding, burdened world so loved by God.

Plainsong and Medieval Music

(a) Davide CROFF, 'Presentation', ix-x. (b) Roberto CALABRETTO, Luisa ZANONCELLI, 'Preface', xi-xii. (c) James BORDERS, 'Foreword to the Meeting', xiii. (d) Nausica MORANDI, 'Opening address', xiv. (e) Andreas PFISTERER, 'Zur Bedeutung von Oxeia/Acutus/Virga in den griechischen und lateinischen Neumenschriften', 3-8. (f) Laura ALBIERO, 'From France to northern Italy: specific features in "Comasca" notation', 9-18. (g) Elsa DE LUCA, 'A methodology for studying Old Hispanic notation: some preliminary thoughts', 19-40. (h) David CATALUNYA, 'The "codification" of new Latin song in early twelfth century: codicological insights into F-Pn fonds latin 1139', 43-7. (i) Marco GOZZI, 'Manuscripts in Cortona: fragments and liturgical books in the Archivio storico diocesano', 49-60. (j) Karin Strinnholm LAGERGREN, 'The Birgittine Abbey of Maria Refugie: Five hundred years of manuscript production', 61-71. (k) Santiago RUIZ TORRES, Juan Pablo RUBIO SADIA, 'Liturgical fragments of the diocese of Sigüenza (eleventh-sixteenth centuries)', 73-82. (l) Rebekka SANDMEIER, 'Imposing European culture on the Cape Colony: medieval manuscripts in the Grey collection', 83-93. (m) James BORDERS, 'A northern Italian intermediary between Avignon and Rome? Oxford, Bodleian Library, MS. Canonici Liturgical 375 and the chants of the 1485 Pontificale Romanum', 95-106. (n) Jurij SNOJ, 'The antiphoner of Izola', 107-16. (o) Réka MIKLÓS, 'Der Seckauer Liber ordinarius von ca. 1595 (A-Gu 1566) als letztes Dokument der mittelalterlichen Salzburger-Seckauer Liturgie und Musik', 117-34. (p) Andreas HAUG, 'Towards a semiotically informed transcription practice', 137-42. (q) Konstantin VOIGT, 'Reconstructing acts of writing. Editorial consequences of writing scenarios assumed for the versus Annus novus in Paris 1139', 143-50. (r) Elaine Stratton HILD, 'Working realities of the New Philology: considering the potential of 157 Liturgical chant bibliography 30 https://www.cambridge.org/core/terms.

The present short study presents one of the many versions of the Virgin Mary's weeping song, a lengthy non-ecclesiastical medieval rhymed poem possibly of scholarly origin very popular in Greek folk tradition that narrates the personal drama of the Holy Mother facing Christ’s human destiny to die on the cross.