By Robert L. Kendrick
A defining second in Catholic lifestyles in early smooth Europe, Holy Week introduced jointly the devoted to commemorate the fervour, crucifixion, and resurrection of Jesus Christ. during this learn of formality and tune, Robert L. Kendrick investigates the effect of the song used throughout the Paschal Triduum on ecu cultures through the mid-16th century, while devotional developments surrounding liturgical song have been proven; during the seventeenth century, which observed the diffusion of the repertory on the peak of the Catholic Reformation; and eventually into the early 18th century, whilst a transformation in aesthetics ended in an eventual decline of its value. by means of contemplating such concerns as stylistic traditions, traits in scriptural exegesis, functionality area, and customs of meditation and expression, Kendrick allows us to visualize the song within the areas the place it used to be performed.
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A defining second in Catholic existence in early smooth Europe, Holy Week introduced jointly the devoted to commemorate the fervour, crucifixion, and resurrection of Jesus Christ. during this learn of formality and track, Robert L. Kendrick investigates the impression of the song used in the course of the Paschal Triduum on ecu cultures throughout the mid-16th century, whilst devotional traits surrounding liturgical song have been confirmed; throughout the seventeenth century, which observed the diffusion of the repertory on the top of the Catholic Reformation; and eventually into the early 18th century, whilst a transformation in aesthetics ended in an eventual decline of its value.
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Extra info for Singing Jeremiah: Music and Meaning in Holy Week
The physical stress of singing the music and participating in the rituals of the Week while fasting also suggests that many performances were on the edge. The relative lack of complex music in Lent up to Palm Sunday, and thus a certain amount of free time for musicians, conditioned the times of composition of Office music, squeezed into the weeks or even days immediately before the Triduum. Some Lessons of Szamotuł bear specific dates. 76 The anticipation of Matins/Lauds to the preceding Day had effects both on the overall ritual rhythm and on the coordination of the Office items, devotionally appropriate to each Day, with the events reenacted.
Chapter 2 8 Textual Understandings, Musical Expressions Different voices were present in the Tenebrae texts. The psalms and their antiphons are largely first-person accounts of tribulations not linked to specific biblical events. Jeremiah tells of the destruction of Jerusalem and the sins of the city; the Responsories are written in a variety of grammatical persons and range from allegory to summations of Passion events; the Benedictus is a song of praise to God for having redeemed Israel through the upcoming births of Christ and the Baptist; and the Miserere is a personal recognition of sin and expression of penance with no reference to the Passion.
Of the pieces set to complex music, the Responsories had obvious direct application to the events enacted during Holy Week, and thus to personal and collective meditation. The Lamentations in particular, along with the celebratory Benedictus and the penitential M iserere, needed allegorical explanation so as to present the Passion for internal perception. The actions around these items underscore how they were at once social practices and textual/musical genres. Hence the ritual provided a peni tential and Passion-related frame of minimal action for the words’ projection.
Singing Jeremiah: Music and Meaning in Holy Week by Robert L. Kendrick