The St Gall Passion Play: Music and PerformanceRodopi, 2007 - 460 The early-fourteenth-century St Gall Passion Play comes from the Central Rhineland. Unfortunately its music (over one hundred Latin and German chants) is given in the manuscript only as brief incipits, without any musical notation. This interdisciplinary study reconstructs the musical stratum of the play. It is the first full-scale musical reconstruction of a large German Passion play in recent times, using the latest available scholarly data in drama, liturgy and music. It draws conclusions about performance practice and forces, and offers a sound basis for an authentic performance of the play. The study applies musical and liturgical data to the problem of localizing the play (the first time this has been systematically attempted), and assesses how applicable this might be to other plays. It presents a detailed study of the distinctive medieval liturgical uses of three German dioceses, Mainz, Speyer and Worms. The comparative approach suggests how the music of other plays might be reconstructed and understood, and shows that a better understanding of the music of medieval drama has much to teach us about other aspects of the genre. The book should be of interest to literary scholars, theatre historians, musicologists, liturgical scholars, and those involved in the performance of early drama. |
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Strona 35
... wording, and the general musikalische Ausgestaltung und Darbietung .44 Studien, Initienregister , pp. 290-91. 42 Schützeichel, Das Mittelrheinische Passionsspiel , p. 167; Eckehard Simon, Speculum 54 (1979), pp. 627-28, esp. 628 ...
... wording, and the general musikalische Ausgestaltung und Darbietung .44 Studien, Initienregister , pp. 290-91. 42 Schützeichel, Das Mittelrheinische Passionsspiel , p. 167; Eckehard Simon, Speculum 54 (1979), pp. 627-28, esp. 628 ...
Strona 36
... wording, would not. Schützeichel confuses variability in wording with these other variables, asserting that the wording of chants varied to the extent that incipits are effectively mere Andeutungen . This suggests a distorted view of ...
... wording, would not. Schützeichel confuses variability in wording with these other variables, asserting that the wording of chants varied to the extent that incipits are effectively mere Andeutungen . This suggests a distorted view of ...
Strona 48
... wording or melody , but simply the order in which they were sung in the various hours . 9 sel in Konrad Wiedemann , Manuscripta theologica : Die Handschriften in Folio , Wiesbaden , 1994 [ in Hans - Jürgen Kahlfuß ( ed . ) , Die ...
... wording or melody , but simply the order in which they were sung in the various hours . 9 sel in Konrad Wiedemann , Manuscripta theologica : Die Handschriften in Folio , Wiesbaden , 1994 [ in Hans - Jürgen Kahlfuß ( ed . ) , Die ...
Strona 84
... wording.23 Text A good many of these problems are explained by the other keyword, Textgrundlagen , in the title of Pflanzs study. What Pflanz sees him- self as reconstructing are texts, but in fact what he is dealing with are chants ...
... wording.23 Text A good many of these problems are explained by the other keyword, Textgrundlagen , in the title of Pflanzs study. What Pflanz sees him- self as reconstructing are texts, but in fact what he is dealing with are chants ...
Strona 85
... wording is readily alterable. Time and again, he proposes alterations to the wording of chants; very often these are truncations which would have been musically impossi- ble, involving the omission of important melodic passages or ...
... wording is readily alterable. Time and again, he proposes alterations to the wording of chants; very often these are truncations which would have been musically impossi- ble, involving the omission of important melodic passages or ...
Spis treści
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79 | |
Cantat 151 dicat 151 respondeat Directions and Performers | 93 |
Localizing the Play | 123 |
Before the Passion | 165 |
The Passion 1 | 227 |
The Passion 2 | 281 |
The Resurrection and the Harrowing of Hell | 321 |
The Empty Tomb | 357 |
Conclusions | 391 |
Bibliography | 397 |
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Strona 147 - Quia ego sum. 10 Dicebant ergo ei: Quomodo aperti sunt tibi oculi ? 11 Respondit: Ille homo, qui dicitur lesus, lutum fecit: et unxit oculos meos, et dixit mihi: Vade ad natatoria Siloe, et lava. Et abii, lavi, et video.
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