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This book critically explores ways in which our understanding of
late medieval liturgy can be enhanced through present-day
enactment. It is a direct outcome of a practice-led research
project, led by Professor John Harper and undertaken at Bangor
University between 2010 and 2013 in partnership with Salisbury
Cathedral and St Fagans National History Museum, near Cardiff. The
book seeks to address the complex of ritual, devotional, musical,
physical and architectural elements that constitute medieval Latin
liturgy, whose interaction can be so difficult to recover other
than through practice. In contrast with previous studies of
reconstructed liturgies, enactment was not the exclusive end-goal
of the project; rather it has created a new set of data for
interpretation and further enquiry. Though based on a foundation of
historical, musicological, textual, architectural and
archaeological research, new methods of investigation and
interpretation are explored, tested and validated throughout. There
is emphasis on practice-led investigation and making; the need for
imagination and creativity; and the fact that enactment
participants can only be of the present day. Discussion of the
processes of preparation, analysis and interpretation of the
enactments is complemented by contextual studies, with particular
emphasis on the provision of music. A distinctive feature of the
work is that it seeks to understand the experiences of different
groups within the medieval church - the clergy, their assistants,
the singers, and the laity - as they participated in different
kinds of rituals in both a large cathedral and a small parish
church. Some of the conclusions challenge interpretations of these
experiences, which have been current since the Reformation. In
addition, some consideration is given to the implications of
understanding past liturgy for present-day worship.
Music in Wales has long been a neglected area. Scholars have been
deterred both by the need for a knowledge of the Welsh language,
and by the fact that an oral tradition in Wales persisted far later
than in other parts of Britain, resulting in a limited number of
sources with conventional notation. Sally Harper provides the first
serious study of Welsh music before 1650 and draws on a wide range
of sources in Welsh, Latin and English to illuminate early musical
practice. This book challenges and refutes two widely held
assumptions - that music in Wales before 1650 is impoverished and
elusive, and that the extant sources are too obscure and
fragmentary to warrant serious study. Harper demonstrates that
there is a far wider body of source material than is generally
realized, comprising liturgical manuscripts, archival materials,
chronicles and retrospective histories, inventories of pieces and
players, vernacular poetry and treatises. This book examines three
principal areas: the unique tradition of cerdd dant (literally 'the
music of the string') for harp and crwth; the Latin liturgy in
Wales and its embellishment, and 'Anglicised' sacred and secular
materials from c.1580, which show Welsh music mirroring English
practice. Taken together, the primary material presented in this
book bears witness to a flourishing and distinctive musical
tradition of considerable cultural significance, aspects of which
have an important impact on wider musical practice beyond Wales.
Music in Wales has long been a neglected area. Scholars have been
deterred both by the need for a knowledge of the Welsh language,
and by the fact that an oral tradition in Wales persisted far later
than in other parts of Britain, resulting in a limited number of
sources with conventional notation. Sally Harper provides the first
serious study of Welsh music before 1650 and draws on a wide range
of sources in Welsh, Latin and English to illuminate early musical
practice. The book challenges two prevailing assumptions, both of
them false: namely that music in Wales before 1650 is impoverished
and elusive; and that the extant sources are too obscure to warrant
serious study. Harper demonstrates that there is a far wider body
of source material than is generally realised, comprising
liturgical manuscripts, archival materials, chronicles and
retrospective histories, inventories of pieces and players,
vernacular poetry, and treatises.The book is structured around
three distinct musical categories: the uniquely Welsh practice of
cerdd dant ('the music of the string', for harp and crwth); the
Latin liturgy in Wales and its embellishment, and 'Anglicised'
sacred and secular materials from c. 1580, which show Welsh music
mirroring English practice. Taken together, the primary material
presented in this book bears witness to a flourishing and unique
musical tradition of considerable cultural significance, aspects of
which have an important bearing on wider musical practice beyond
Wales.
This book critically explores ways in which our understanding of
late medieval liturgy can be enhanced through present-day
enactment. It is a direct outcome of a practice-led research
project, led by Professor John Harper and undertaken at Bangor
University between 2010 and 2013 in partnership with Salisbury
Cathedral and St Fagans National History Museum, near Cardiff. The
book seeks to address the complex of ritual, devotional, musical,
physical and architectural elements that constitute medieval Latin
liturgy, whose interaction can be so difficult to recover other
than through practice. In contrast with previous studies of
reconstructed liturgies, enactment was not the exclusive end-goal
of the project; rather it has created a new set of data for
interpretation and further enquiry. Though based on a foundation of
historical, musicological, textual, architectural and
archaeological research, new methods of investigation and
interpretation are explored, tested and validated throughout. There
is emphasis on practice-led investigation and making; the need for
imagination and creativity; and the fact that enactment
participants can only be of the present day. Discussion of the
processes of preparation, analysis and interpretation of the
enactments is complemented by contextual studies, with particular
emphasis on the provision of music. A distinctive feature of the
work is that it seeks to understand the experiences of different
groups within the medieval church - the clergy, their assistants,
the singers, and the laity - as they participated in different
kinds of rituals in both a large cathedral and a small parish
church. Some of the conclusions challenge interpretations of these
experiences, which have been current since the Reformation. In
addition, some consideration is given to the implications of
understanding past liturgy for present-day worship.
This collection of studies presents unpublished material from the
book Isobel Woods Preece was planning at the time of her death. It
contains articles published by her and extracts from her
dissertation on the Carvor Choirbook. There are also newly written
chapters on medieval chant and polyphony by Warwick Edwards and on
the music of the Reformed Church by Gordon Munro. Both scholarly
and accessible, this work will be of importance to all with an
interest in Scotland's Christian musical heritage. ISOBEL WOODS
PREECE (1956-1997) was a major pioneer within Scottish music
research. A graduate of the University of Glasgow, she subsequently
become a Rotary International Graduate Fellow at Princeton
University, where she wrote her doctoral dissertation under the
supervision of Margaret Bent. She held the posts of lecturer, and
later senior lecturer, in the Music Department at the University of
Newcastle, where she was greatly respected as a scholar, teacher,
administrator, conductor and performer.
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