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Devotion to St Anne, the apocryphal mother of the Virgin Mary, reached its height in the fifteenth and early sixteenth centuries. Until now, Anne's reception history and political symbolism during this period have been primarily discussed through the lens of art history. This is the first study to explore the music that honoured the saint and its connections to some of the most prominent court cultures of western Europe. Michael Alan Anderson examines plainchant and polyphonic music for St Anne, in sources both familiar and previously unstudied, to illuminate not only Anne's wide-ranging intercessional capabilities but also the political force of the music devoted to her. Whether viewed as a fertility aide, wise mother, or dynastic protector, she modelled a number of valuable roles that rulers reflected in the music of their devotional programmes to project their noble lineage and prestige.
Dr Jennifer Welsh received her M.A. in Medieval Studies from Cornell University in 2000, and her M.A. and PhD in History from Duke University in 2004 and 2009. Her dissertation dealt with the cult of St. Anne in late medieval and early modern Europe. After four years as a Visiting Assistant Professor at the College of Charleston in Charleston, SC, she started working as an Assistant Professor in the Department of History at Lindenwood-University Belleville in Belleville, IL in August of 2014. This is her first book.
Michael Alan Anderson explores the political implications of music devoted to St Anne in the fifteenth and early sixteenth centuries.
St. Anne was popular with representatives of various segments of society – from monks, nuns, members of the clergy, royal patrons, to church-goers of every rank. This book looks into both the public and private worship of this holy woman and brings to the surface some under-exposed aspects of it. It does so through the examination of manuscripts, monumental art, relics, sculpture, and texts of various genres. The contributors employ a historical as well as a theological perspective on how the cult of St. Anne (sometimes also with glimpses concerning that of Joachim) established itself, referring to areas in Europe which are not frequently discussed in English-language scholarship. This new contribution to the field of hagiography will be of interest to academics from a variety of research fields, including theologians, Byzantinists, art and church historians, and historians of a larger scope.
Devotion to Saint Anne, the apocryphal mother of the Virgin Mary, reached its height in the fifteenth and early sixteenth centuries. Until now, Anne's reception history and political symbolism during this period have been primarily discussed through the lens of art history. This is the first study to explore the music that honoured the saint and its connections to some of the most prominent court cultures of western Europe. Michael Alan Anderson examines plainchant and polyphonic music for Saint Anne, in sources both familiar and previously unstudied, to illuminate not only Anne's wide-ranging intercessional capabilities but also the political force of the music devoted to her. Whether viewed as a fertility aide, wise mother, or dynastic protector, she modelled a number of valuable roles that rulers reflected in the music of their devotional programmes to project their noble lineage and prestige.
This study uncovers the musical foundations and performance suggestions of books of hours, guides to prayer that were the most popular and widespread books of the late Middle Ages. Exploring a variety of musical genres and sections of books of hours with musical implications, this book presents a richly textured sound world gleaned from dozens of extant manuscript sources from fifteenth-century France. It offers the first overview of the musical content of these handbooks to liturgy and devotional prayer, together with cues that show scribal awareness for the articulation of sacred plainchants. Although books of hours lack musical notation, this survey elucidates the full range of musical genres and styles suggested both within and beyond the liturgical offices prescribed in books of hours. Privileging sound and ritual enactment in the experience of the hours, the survey complements studies of visual imagery that have dominated the category. The book’s interdisciplinary approach within a musical context, and beautiful full-color illustrations, will attract not only specialists in musicology, liturgy, and late medieval studies, but also those more broadly interested in the history of the book, memory, performance studies, and art history.
This book examines ideas of spiritual nourishment as maintained chiefly by Patristic theologians –those who lived in Byzantium. It shows how a particular type of Byzantine frescoes and icons illustrated the views of Patristic thinkers on the connections between the heavenly and the earthly worlds. The author explores the occurrence, and geographical distribution, of this new type of iconography that manifested itself in representations concerned with the human body, and argues that these were a reaction to docetist ideas. The volume also investigates the diffusion of saints’ cults and demonstrates that this took place on a North-South axis as their veneration began in Byzantium and gradually reached the northern part of Europe, and eventually the entirety of Christendom.
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The first study focusing on the composition of new plainchant in northern-French confraternities for masses and offices in honor of saints thought to have healing powers