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A defining moment in Catholic life in early modern Europe, Holy Week brought together the faithful to commemorate the passion, crucifixion, and resurrection of Jesus Christ. In this study of ritual and music, Robert L. Kendrick investigates the impact of the music used during the Paschal Triduum on European cultures during the mid-16th century, when devotional trends surrounding liturgical music were established; through the 17th century, which saw the diffusion of the repertory at the height of the Catholic Reformation; and finally into the early 18th century, when a change in aesthetics l

Holy Week music --- Lenten music --- History and criticism.

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Passion music --- 526.30 --- Lenten music --- Good Friday music --- Analysis, appreciation --- Genre- en werkbesprekingen --- Bach, Johann Sebastian, --- muziekanalyse --- passiemuziek --- religieuze muziek --- Bach, Johann Sebastian

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This book explores the liturgical experience of emotions in Byzantium through the hymns of Romanos the Melodist, Andrew of Crete and Kassia. It reimagines the performance of their hymns during Great Lent and Holy Week in Constantinople. In doing so, it understands compunction as a liturgical emotion, intertwined with paradisal nostalgia, a desire for repentance and a wellspring of tears. For the faithful, liturgical emotions were embodied experiences that were enacted through sacred song and mystagogy. The three hymnographers chosen for this study span a period of nearly four centuries and had an important connection to Constantinople, which forms the topographical and liturgical nexus of the study. Their work also covers three distinct genres of hymnography: kontakion, kanon and sticheron idiomelon. Through these lenses of period, place and genre this study examines the affective performativity hymns and the Byzantine experience of compunction.

Emotions --- Hymns, Greek --- Hymns, Greek. --- Lenten hymns --- Lenten hymns. --- Liturgics. --- Repentance --- Religious aspects --- Orthodox Eastern Church. --- History and criticism. --- History and criticism --- Andrew, --- Kassianē, --- Romanus, --- Orthodox Eastern Church --- Liturgy --- History. --- Turkey --- Lent --- Hymns --- Lenten music --- Kassianē, --- Cassia, --- Eikasia, --- Ikasia, --- Kasia, --- Kasianē, --- Kasija, --- Kassia, --- Касија, --- André, --- Andreas Cretensis, --- Andreas Hierosolymitanus, --- Andreas Krētēs, --- Andreĭ Kritski, --- Andreĭ Kritskiĭ, --- Andriĭ Krytsʹkyĭ, --- Andrea, --- Andreas, --- Crete, Andrew, --- Romain, --- Roman, --- Romano, --- Rōmanos, --- Romanos, --- Romanus Melodus, --- Роман,

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How do text and melody relate in western liturgical chant? Is the music simply an abstract vehicle for the text, or does it articulate textual structure and meaning? These questions are addressed here through a case study of the second-mode tracts, lengthy and complex solo chants for Lent, which were created in the papal choir of Rome before the mid-eighth century. These partially formulaic chants function as exegesis, with non-syntactical text divisions and emphatic musical phrases promoting certain directions of inner meditation in both performers and listeners. Dr Hornby compares the four second-mode tracts representing the core repertory to related ninth-century Frankish chants, showing that their structural and aesthetic principles are neither Frankish nor a function of their notation in the earliest extant manuscripts, but are instead a well-remembered written reflection of a long oral tradition, stemming from Rome.

Dr EMMA HORNBY teaches in the Department of Music at the University of Bristol.

Cantus planus (Gregoriaans, enz.) --- Chant (Plain, Gregorian, etc.) --- Chant grégorien --- Chants (Plain, Gregorian, etc.) --- Chants grégoriens --- Church history --- Franco-Roman chants --- Geschiedenis [Godsdienstige ] --- Geschiedenis [Religieuze ] --- Godsdienstig denken --- Godsdienstige geschiedenis --- Gregoriaans --- Gregoriaanse gezangen --- Gregorian chant --- Gregorian chants --- Histoire de l'Église --- Histoire ecclésiastique --- Histoire religieuse --- History [Religious ] --- Hystoria ecclesiastica --- Kerkgeschiedenis --- Kirchengeschichte --- Lenten music --- Music and literature --- Musique et littérature --- Muziek en literatuur --- Old Roman chants --- Pensée religieuse --- Plain-chant (Grégorien, etc.) --- Plainchant --- Plainchants --- Plainsong --- Psalmen (Muziek) --- Psalms (Music) --- Psaumes (Musique) --- Religieuze geschiedenis --- Religious history --- Religious thought --- Roman songs --- Storia della Chiesa --- Storia ecclesiastica --- Église -- Histoire --- Chants --- Lenten music. --- History and criticism. --- Catholic Church --- Liturgy. --- Liturgy --- Church music --- 500-1400 --- History and criticism --- Chants - History and criticism --- Church history - Middle Ages, 600-1500 --- Religious thought - Middle Ages, 600-1500 --- Theology, Doctrinal --- Christianity --- Lent --- Sacred music --- Sacred vocal music --- Vocal music --- History --- Middle Ages, 600-1500 --- Church of Rome --- Roman Catholic Church --- Katholische Kirche --- Katolyt︠s︡ʹka t︠s︡erkva --- Römisch-Katholische Kirche --- Römische Kirche --- Ecclesia Catholica --- Eglise catholique --- Eglise catholique-romaine --- Katolicheskai︠a︡ t︠s︡erkovʹ --- Chiesa cattolica --- Iglesia Católica --- Kościół Katolicki --- Katolicki Kościół --- Kościół Rzymskokatolicki --- Nihon Katorikku Kyōkai --- Katholikē Ekklēsia --- Gereja Katolik --- Kenesiyah ha-Ḳatolit --- Kanisa Katoliki --- כנסיה הקתולית --- כנסייה הקתולית --- 가톨릭교 --- 천주교 --- Lent. --- Rome. --- exegesis. --- listeners. --- meditation. --- melody. --- multiethnic communities. --- oral tradition. --- papal choir of Rome. --- performers. --- religiously-diverse communities. --- second-mode tracts. --- solo chants. --- text. --- western liturgical chant.