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Between Folk and Liturgy, the title of this collection, should not be understood to refer to some fixed point, some stable place between the two extremes of an illiterate and a literate culture. Rather, the title flags the wide and colourful spectrum of medieval dramatic possibility. Perhaps except one, none of the ten essays published here deal with a drama existing purely at either end of this scale. They add to our impression of the teaming fecundity and hybridism of early European drama, an impression that grows apace once we start to consider dramas situated Between Folk and Liturgy. The geographical terrain that the essays traverse ranges from the British Isles in the west to Poland in the east. The suppleness of the approaches taken here is the minimum critical requirement of anyone wanting to do justice to so complex and multifold a phenomenon as is early European drama.
Between Folk and Liturgy, the title of this collection, should not be understood to refer to some fixed point, some stable place between the two extremes of an illiterate and a literate culture. Rather, the title flags the wide and colourful spectrum of medieval dramatic possibility. Perhaps except one, none of the ten essays published here deal with a drama existing purely at either end of this scale. They add to our impression of the teaming fecundity and hybridism of early European drama, an impression that grows apace once we start to consider dramas situated Between Folk and Liturgy. The geographical terrain that the essays traverse ranges from the British Isles in the west to Poland in the east. The suppleness of the approaches taken here is the minimum critical requirement of anyone wanting to do justice to so complex and multifold a phenomenon as is early European drama.
In the discussions and debates surrounding liturgical music of the past fifty years, music theorists, critics, and historians have contributed little, and their counsel has rarely been sought. Whenever the matter of liturgical music arises, most often in parishes, but sometimes in episcopal conferences or in the academy or in Vatican documents, the nature of the music, as music, almost never affects the discussion. With Sacred Treasure, Joseph Swain, a distinguished musicologist and accomplished performer, attempts to change that. He offers a theory for building authentic traditions of liturgical music for Roman Catholic parishes. This book is an exercise in pragmatic music criticism. By providing a rational basis for evaluating the essential issues, Swain seeks to show how a spiritually wholesome stability might supplant the confusion. Sacred Treasure shows how the hard facts of music must be taken into account in any holistic conception and any lasting form of liturgical music.
In the decades following the Second Vatican Council, Catholic liturgy became an area of considerable interest and debate, if not controversy, in the West. Mid-late 20th century liturgical scholarship, upon which the liturgical reforms of the Second Vatican Council were predicated and implemented, no longer stands unquestioned. The liturgical and ecclesial springtime the reforms of Paul VI were expected to facilitate has failed to emerge, leaving many questions as to their wisdom and value. Quo vadis Catholic liturgy? This Companion brings together a variety of scholars who consider this question at the beginning of the 21st century in the light of advances in liturgical scholarship, decades of post-Vatican II experience and the critical re-examination in the West of the question of the liturgy promoted by Benedict XVI. The contributors, each eminent in their field, have distinct takes on how to answer this question, but each makes a significant contribution to contemporary debate, making this Companion an essential reference for the study of Western Catholic liturgy in history and in the light of contemporary scholarship and debate.
Explores the lived experience of Christianity in India.
From Sacred Song to Ritual Music is a guide to changes in Roman Catholic worship music theory and practice in the twentieth century. Nine papal, conciliar, curial, bishops' conference, and scholars' documents treat: 1) What is Roman Catholic worship music? 2) What is its purpose? 3) What are its qualities? 4) Who sings it? 5) Who plays it?