Abstract
Abstract The Las Huelgas Codex (Hu) features one of the most varied collections of medieval polyphony in Europe. It contains the repertory of Mass Ordinary settings, sequences, organa, conductus and motets that was in use at the royal nunnery of Las Huelgas in Burgos during the 13th and 14th centuries. While most of this repertory is known from other earlier sources, several of the numerous settings of the Benedicamus Domino in Hu are unique pieces that reflect an apparently local practice. Closer inspection reveals, however, that nearly all of these ‘unique’ Benedicamus settings were created by borrowing and reworking musical material from other sections of the manuscript. This article considers the Benedicamus Domino settings as a musically cohesive sub-repertory in Hu, showcasing a rich array of reworking techniques. The article also considers the ritual function of the Benedicamus Domino within the liturgy of the royal convent, as well as the performance context and the distribution of singing duties between the nuns and the clerics of the monastery.
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