Read more
Chants, Hypertext, and Prosulas presents the first comprehensive study to integrate textual and musical analyses of liturgical prosulas as they were recorded in medieval Beneventan manuscripts.
List of contents
- Foreword
- Acknowledgements
- Part 1
- Chapter 1. Prosulas: General features, history and scholarship
- Chapter 2. Prosulas in manuscripts
- 2.1 Prosulas in Beneventan Manuscripts: The earliest stages
- 2.2 Manuscripts from Benevento
- 2.3 Manuscripts from Other Regional Centres
- 2.4 Other Fragmentary Sources
- 2.5 Extra regional concordances
- Part 2. Prosulas and their Formal Features
- Chapter 3. Formal Features and Notation
- 3.1 Prosulas and Their Texts
- 3.2 The Notating of Prosulas
- 3.3 Notation
- Chapter 4. Prosulas for Graduals and Tracts
- 4.1 The Gradual
- 4.2 The Tract
- Chapter 5. Prosulas for Alleluia and Offertories
- 5.1 The Alleluia
- 5.2 The Offertory
- Part 3. Prosulas and the Liturgical Year
- Chapter 6. General remarks
- Chapter 7. Feasts of the Temporal
- Chapter 8. Feasts of the Sanctoral
- 8.1 Prosulas of the Oldest Lombard Sanctoral
- 8.2 Prosulas and the Miliey of the Cathedrals and Urban Monasteries
- Index
About the author
Luisa Nardini is Associate Professor of Musicology at The University of Texas at Austin.
Summary
The liturgical chant sung in the churches of Southern Italy between the ninth and thirteenth centuries reflects the multiculturalism of a territory in which Romans, Franks, Lombards, Byzantines, Normans, Jews, and Muslims were all present with various titles and political roles. Chants, Hypertext, and Prosulas examines a specific genre, the prosulas that were composed to embellish and expand pre-existing liturgical chants. Widespread in medieval Europe, prosulas were highly cultivated in southern Italy, especially by the nuns, monks, and clerics of the city of Benevento. These texts shed light on the creativity of local cantors to provide new meanings to the liturgy in accordance with contemporary waves of religious spirituality, and to experiment with a novel musical style in which a syllabic setting is paired with the free-flowing melody of the parent chant. In their representing an epistemological 'beyond', and in their interconnectedness with the parent chant, these prosulas can be likened to modern hypertexts.
In this book, author Luisa Nardini presents the first comprehensive study to integrate textual and musical analyses of liturgical prosulas as they were recorded in Beneventan manuscripts. Discussing general features of prosulas in southern Italy and their relation to contemporary liturgical genres (e.g., tropes, sequences, hymns), Nardini firmly situates Beneventan prosulas within the broader context of European musical history. An invaluable reference for the field, Chants, Hypertext, and Prosulas provides a new understanding of the phonetic and morphological transformations of the Latin language in medieval Italy, and clarifies the use of perennially puzzling features of Beneventan notation.
Additional text
Nardini greatly enhances future research and directions on this repertory and provides a model and standard for similar scholarship to emulate.
