Das Heilige in der Musik des Theaters im Mittelalter

Abstract

Looking for the sanctity in the music of medieval theatre, the article deals with the fact that in nearly all Passion plays Gregorian chants or other liturgical chants are inserted as incipits or as entirely recorded pieces. One example is the Passion play from the Benedictine monastery Admont (Styria, second half of the sixteenth century or later), the manuscript of which has many insertions of liturgical songs in Gothic notation, both complete Gregorian chants as well as reading tones for chanting the Passion. However, many of these insertions are not consistent or made in a professional manner. The reason for the insertions lies in the character of the music: as the Christian liturgy is in service of God and therefore holy, the liturgical chants are also sanctified. Mystery plays are not liturgical plays; nevertheless, they were performances of sacred rites and therefore needed the authority of sacred chants so as not to be considered heretical. The chants are not only ornamental but also involved in the dramatic action: in consequence, the play is sanctified as a kind of legitimation.