Much is known about processions within the Roman liturgy, but the processions of the Old Hispanic rite practiced in most of Christian Iberia until ca. 1080 have not been studied. Explicit evidence about Old Hispanic processional characteristics and liturgical contexts is preserved in manuscript rubrics. Processions happened around or during Mass (for example, on Palm Sunday), at the end of Vespers or Matutinum (for example, the consecration of a basilica), or outside the usual daily liturgy (for example, votive ordos). We have collated all of the extant Old Hispanic rubrics pertaining to liturgical movement. Some of these unquestionably refer to processions, while others describe ceremonies that might better be described more informally as “liturgy in motion.” We focus primarily on the processional rubrics, while also engaging with other liturgical movement. We identify the chant genres associated with processions and outline the processional practices attested in the rubrics.
Old Hispanic liturgy was practised across much of medieval Iberia until c.1080. In this article we analyse the extant Old Hispanic processional antiphons, focusing on: the presence or absence of verses; amount of text and relationship with the Bible; cadence placement; number of notes per chant (melodic density) and per syllable; and melodic repetition within and between chants. We demonstrate that the processional antiphons are neither a homogenous corpus nor clearly differentiated stylistically from other Old Hispanic antiphons. In a short case study of the Good Friday Veneration of the Cross, we situate the processional antiphons within their wider ritual context, including their likely staging in the ecclesiastical architecture. As we show, the interaction between melody and ritual directed the antiphon texts towards a particular devotional end.
This article reports the discovery of an early fourteenth-century manuscript fragment (two small snippets from the same folio) of Castilian origin. One side of the original folio contained a monophonic piece in Ars Nova notation whose text has been identified as Mozarabic preces, a musical repertoire that was suposed to lack written transmission from the twelfth to the early sixteenth centuries. The fragment thus throws new light on the survival of the Mozarabic rite through the late Middle Ages. The backside of the folio contains music written in an old mensural system based on undifferentiated semibreves and puncta divisionis. In this regard, the manuscript may represent the earliest known Spanish source to employ the Petronian system described in the mensural treatise in Barcelona Cathedral (misc. 23). The study includes a detailed codicological examination of the manuscript (including the digital restoration of a palimpsest), transcriptions and musical analysis.
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