Thomas Forrest Kelly has identified and collected the surviving sources of an important repertory of early medieval music, the so-called Beneventan Chant used in southern Italy in the early middle ages, before this area's adoption of the now-universal Gregorian chant. Because the Beneventan Chant was suppressed during the eleventh century, the music survives mostly in fragments and palimpsests, and the process of restoring the repertory piece by piece is the focus of the studies here.
Thomas Forrest Kelly has identified and collected the surviving sources of an important repertory of early medieval music, the so-called Beneventan Chant used in southern Italy in the early middle ages, before this area's adoption of the now-universal Gregorian chant. Because the Beneventan Chant was suppressed during the eleventh century, the music survives mostly in fragments and palimpsests, and the process of restoring the repertory piece by piece is the focus of the studies here.
Thomas Forrest Kelly is Harvard College Professor and Morton B. Knafel Professor of Music, Harvard University, USA
Inhaltsangabe
Contents: Introduction Part I Repertory, Sources, Style: The Beneventan Chant Notes on a census of Beneventan manuscripts Music of Benevento cathedral. Part II Individual Sources: Palimpsest evidence of an Old-Beneventan gradual Montecassino and the Old Beneventan chant Beneventan fragments at Altamura A musical fragment at Bisceglie containing an unknown Beneventan office A Beneventan borrowing in the Saint Cecilia gradual New Beneventan liturgical fragments in Lanciano, Lucera, and Penne containing further evidence of the Old Beneventan chant New evidence of the Old Beneventan chant. Part III Context: The oldest musical notation at Montecassino Abbot Desiderius and the two liturgical chants of Montecassino Beneventan liturgy and music in Tuscany: Lucca, Biblioteca Capitolare Feliniana ms. 606 Non-Gregorian music in an antiphoner of Benevento A Beneventan notated breviary in Naples (Archivio Storico Diocesano, Fondo Ebdomadari, Cod. Misc. 1, fasc. VII Musical relations between Venice and Benevento Tradition and innovation in the antiphoner Benevento 848 Indexes.
Contents: Introduction Part I Repertory, Sources, Style: The Beneventan Chant Notes on a census of Beneventan manuscripts Music of Benevento cathedral. Part II Individual Sources: Palimpsest evidence of an Old-Beneventan gradual Montecassino and the Old Beneventan chant Beneventan fragments at Altamura A musical fragment at Bisceglie containing an unknown Beneventan office A Beneventan borrowing in the Saint Cecilia gradual New Beneventan liturgical fragments in Lanciano, Lucera, and Penne containing further evidence of the Old Beneventan chant New evidence of the Old Beneventan chant. Part III Context: The oldest musical notation at Montecassino Abbot Desiderius and the two liturgical chants of Montecassino Beneventan liturgy and music in Tuscany: Lucca, Biblioteca Capitolare Feliniana ms. 606 Non-Gregorian music in an antiphoner of Benevento A Beneventan notated breviary in Naples (Archivio Storico Diocesano, Fondo Ebdomadari, Cod. Misc. 1, fasc. VII Musical relations between Venice and Benevento Tradition and innovation in the antiphoner Benevento 848 Indexes.
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