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De musicae cultu (DMC 1)
C. W. Brockett
The Repertory of Processional Antiphons

approx. 836 p., 4 b/w tables, 210 x 297 mm
ISBN: 978-2-503-57452-3
Languages: English, Latin
HardbackHardback
The publication is in production.The publication is in production. (08/2017)
Retail price: EUR 135,00 excl. tax
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A critical edition of the repertory of processional antiphons with detailed commentary.
Processions formed an essential part of the presentation of liturgical ceremonies during the Middle Ages.  They marked the openings and closings of services and the ritual movement from place to place within the church as the ceremony required that specific actions occur at a specific location.  Processions always received musical accompaniment.  This edition assembles the processional chants that served as the background to these liturgical movements from repertories that originated across the Latin West primarily during the eleventh and twelfth centuries, and presents them in a modern, critical edition with full commentary.  It includes representative examples from the Aquitanian, Beneventan, Italian, Spanish, Nonantolan, Roman and northern French repertories, as well as those from German-speaking lands and the Pontificale Romano-Germanicum.  In the Introduction, Clyde W. Brockett offers full discussion of the sources, the generic limits of the repertory and the modal orientation of the melodies.  For the first time, specialists in musicology, liturgy and ecclesiastical history will have the opportunity to consult the broad range of these repertories in a scholarly edition.
Professor emeritus in the Department of Music, Christopher Newport University, Clyde W. Brockett made important contributions to the history of early Hispanic chant, the system of the ecclesiastical modes, liturgical drama and the music of Louis Moreau Gottschalk.  In addition to his many articles on these subjects, he is the author of Antiphons, Responsories, and other Chants of the Mozarabic Rite, Letania and Preces:  Music for Lenten and Rogations Litanies, and the critical edition of the anonymous De modorum formulis et tonarius in the series Corpus scriptorum de musica.
Table of Contents

Introduction with discussion of the witnesses
The generic and chronological limits of the repertory
Liturgical considerations
Editorial principles and the modal characteristics of the melodies that aid in their transcription from early witnesses
The edition itself, with comprehensive commentary
Inventories of the constituent repertories
Indices

Interest Classification:
Fine Arts & Performing Arts
Musicology

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