Abstract

ABSTRACTOld Hispanic liturgy was practised across much of medieval Iberia until c.1080. In this article we analyse the extant Old Hispanic processional antiphons, focusing on: the presence or absence of verses; amount of text and relationship with the Bible; cadence placement; number of notes per chant (melodic density) and per syllable; and melodic repetition within and between chants. We demonstrate that the processional antiphons are neither a homogenous corpus nor clearly differentiated stylistically from other Old Hispanic antiphons. In a short case study of the Good Friday Veneration of the Cross, we situate the processional antiphons within their wider ritual context, including their likely staging in the ecclesiastical architecture. As we show, the interaction between melody and ritual directed the antiphon texts towards a particular devotional end.

Highlights

  • Defining Old Hispanic antiphonsParticular genre labels are usually consistently assigned to chants in specific liturgical positions.[16]

  • Old Hispanic liturgy was practised across much of medieval Iberia until ca. 1080

  • We demonstrate that the processional antiphons are neither a homogenous corpus, nor clearly differentiated stylistically from other Old Hispanic antiphons

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Summary

Defining Old Hispanic antiphons

Particular genre labels are usually consistently assigned to chants in specific liturgical positions.[16]. An Old Hispanic antiphon is a chanted text, rubricated ‘A’, ‘Ant’ or similar, and usually assigned to particular liturgical moments. Alleluiatici comprise a subgenre of Old Hispanic antiphons, sharing the same formal structure but usually rubricated ‘ALL’ or similar. Particular moments in the Old Hispanic liturgy have antiphon complexes with multiple verses. Within matutinum, these moments include the (variable) canticle, the matutinarium (an antiphon with a whole variable psalm), and Psalms 3 and 50 (and sometimes 56), sung in full every day. For summary analyses of each Old Hispanic chant genre, with further bibliography, see Emma Hornby, Kati Ihnat, Rebecca Maloy and Raquel Rojo Carrillo, Liturgical and musical culture in early medieval Iberia: decoding a lost tradition (Cambridge, forthcoming). The L8 prologue cannot be taken at face value

Both choirs
Presence or absence of verses
Amount of text and relationship with the Bible
Cadence placement
Melodic repetition within antiphons
Melodic repetition between chants
Analytical summary
Findings
Conclusions
Full Text
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