Download Free Benevento 38 Book in PDF and EPUB Free Download. You can read online Benevento 38 and write the review.

Thomas Kelly's major study of the Beneventan chant reinstates one of the oldest surviving bodies of Western music: the Latin church music of southern Italy as it existed before the spread of Gregorian chant.
This fourth volume in the comprehensive series “fills a gap in the existing narrative” of WWII’s Mediterranean air war (Journal of Military History). The fourth volume in this momentous series commences with the attacks on the Italian island fortress of Pantellaria, which led to its surrender and occupation achieved almost by air attack alone. The account continues with the ultimately successful, but at times very hard fought, invasions of Sicily and southern Italy as burgeoning Allied air power, now with full US involvement, increasingly dominated the skies overhead. The successive occupations of Sardinia and Corsica are also covered in detail. This is essentially the story of the tactical air forces up to the point when Rome was occupied, just at the same time as the Normandy landings were occurring in northwest France. With regards to the long-range tactical role of the Allied heavy bombers, only the period from May to October is examined, while they remained based in North Africa, with the narrative continuing in a future volume. This volume also delves into the story of “the soldiers’ air force.” Frequently overshadowed by more immediate newsworthy events elsewhere, the soldiers’ struggle was often of an equally Homeric nature. “No future publication on the Mediterranean air war will be credible without use of this series.” —Air Power History
The fifteen studies assembled here grew out of research on south-Italian ordinary chants and tropes for the multi-volume series Beneventanum Troporum Corpus II, edited by John Boe in collaboration with Alejandro Planchart. In the present essays, clerical and ordinary chants and tropes of the Mass (especially when derived from paraliturgical hymns and poems), certain aspects of chant notation and particular facets of the old Beneventan and the old Roman chant repertories are examined in relation to the three main cultic centres of the Italian south - Benevento, Montecassino and Rome - and as they relate to their European context, namely Frankish and Norman chant and the varieties of chant sung in Italy north of Rome. The volume includes one previously unpublished study, on the Roman introit Salus Populi.
The liturgical chant sung in the churches of Southern Italy between the ninth and thirteenth centuries reflects the multiculturalism of a territory in which Romans, Franks, Lombards, Byzantines, Normans, Jews, and Muslims were all present with various titles and political roles. Chants, Hypertext, and Prosulas examines a specific genre, the prosulas that were composed to embellish and expand pre-existing liturgical chants. Widespread in medieval Europe, prosulas were highly cultivated in southern Italy, especially by the nuns, monks, and clerics of the city of Benevento. These texts shed light on the creativity of local cantors to provide new meanings to the liturgy in accordance with contemporary waves of religious spirituality, and to experiment with a novel musical style in which a syllabic setting is paired with the free-flowing melody of the parent chant. In their representing an epistemological 'beyond', and in their interconnectedness with the parent chant, these prosulas can be likened to modern hypertexts. In this book, author Luisa Nardini presents the first comprehensive study to integrate textual and musical analyses of liturgical prosulas as they were recorded in Beneventan manuscripts. Discussing general features of prosulas in southern Italy and their relation to contemporary liturgical genres (e.g., tropes, sequences, hymns), Nardini firmly situates Beneventan prosulas within the broader context of European musical history. An invaluable reference for the field, Chants, Hypertext, and Prosulas provides a new understanding of the phonetic and morphological transformations of the Latin language in medieval Italy, and clarifies the use of perennially puzzling features of Beneventan notation.
It may seem astonishing to some that there is a need for reprinting a 14-year old dissertation, but the fact is that the book is exactly as relevant to scholars today as it was in 1993. It still represents the world's largest database to compare the responsories of the Office of the Dead in more than 2,000 sources. Since the order of these responsories differed from church to church, this order can be used to localize medieval and Renaissance liturgical books. The book is therefore an absolute necessity for everyone who conducts research on the area it covers. Put differently, the book reveals 'the geography of the concept of death' in Europe from the 9th-16th centuries from a theological, liturgical, ecclesiastical, musical and political perspective - seen from one particular liturgical office: The Office of the Dead.
The scope of John F. Ohl's musicological interests and influence is honored in this wide-ranging collection of essays. Arranged chronologically by subject, the essays cover the history of Western music from the liturgical chants of the Middle Ages to the nineteenth-century symphony and the tonal innovations of the twentieth century. The collection also includes a biography of John F. Ohl, a bibliography of Ohl's publications, and an essay on Ohl by George Frederick Handel.
Plainchant is the oldest substantial body of music that has been preserved in any shape or form. It was first written down in Western Europe in the eighth to ninth centuries. Many thousands of chants have been sung at different times or places in a multitude of forms and styles, responding to the differing needs of the church through the ages. This book provides a clear and concise introduction, designed both for those to whom the subject is new and those who require a reference work for advanced study. It begins with an explanation of the liturgies that plainchant was designed to serve. It describes all the chief genres of chant, different types of liturgical book, and plainchant notations. After an exposition of early medieval theoretical writing on plainchant, Hiley provides a historical survey that traces the constantly changing nature of the repertory. He also discusses important musicians and centers of composition. Copiously illustrated with over 200 musical examples, this book highlights the diversity of practice and richness of the chant repertory in the Middle Ages. It will be an indispensable introduction and reference source on this important music for many years to come.
The area whose capital was the southern Lombard city of Benevento developed a culture identified with the characteristic form of writing known as the Beneventan script, which was used throughout the area and was brought to perfection at the abbey of Montecassino in the late eleventh century. This repertory, along with other now-vanished or suppressed local varieties of music, give a far richer picture of the variety of musical practice in early medieval Europe than was formerly available. Thomas Forrest Kelly has identified and collected the surviving sources of an important repertory of early medieval music; this is the so-called Beneventan Chant, used in southern Italy in the early middle ages, before the adoption there of the now-universal music known as Gregorian chant. Because it was deliberately suppressed in the course of the eleventh century, this music survives mostly in fragments and palimpsests, and the fascinating process of restoring the repertory piece by piece is told in the studies in this book. A companion volume to this collection also by Professor Kelly details the practice of Medieval music.