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Detailed payment records and notes preserved in the Archivio di Stato di Firenze allow us to reconstruct the relationship of music and space in the Florentine church of Santissima Annunziata. In the late fifteenth century different musical styles and repertories came to define ritually the composite space of the church, one of the main houses belonging to the mendicant order of the Servants of Mary. This special role of music came into focus in the early 1470s and even more in the 1480s, when subsequent priors increased the musical activities, possibly to negotiate the new spatial features of the church after a consequential remodeling. Music thus helped organize key areas that had undergone architectural transformations, linking each part of the building to the specific rituals performed there through special sounds directed at the likely participants. The remodeling also involved a shift in the balance of power, with private patrons coming to control the virtual totality of the church. Music helped address this problem as well, by acoustically marking and reclaiming certain spaces as the friars' dedicated ritual sites, but also creating in its variety a nuanced representation of the community—both ordained and lay—that frequented the building.
Detailed payment records and notes preserved in the Archivio di Stato di Firenze allow us to reconstruct the relationship of music and space in the Florentine church of Santissima Annunziata. In the late fifteenth century different musical styles and repertories came to define ritually the composite space of the church, one of the main houses belonging to the mendicant order of the Servants of Mary. This special role of music came into focus in the early 1470s and even more in the 1480s, when subsequent priors increased the musical activities, possibly to negotiate the new spatial features of the church after a consequential remodeling. Music thus helped organize key areas that had undergone architectural transformations, linking each part of the building to the specific rituals performed there through special sounds directed at the likely participants. The remodeling also involved a shift in the balance of power, with private patrons coming to control the virtual totality of the church. Music helped address this problem as well, by acoustically marking and reclaiming certain spaces as the friars' dedicated ritual sites, but also creating in its variety a nuanced representation of the community—both ordained and lay—that frequented the building.
ResumenLa liturgia de las monjas dominicas castellanas y, por extensión, la de los monasterios femeninos en la Península Ibérica, ha sido escasamente estudiada y sigue siendo un asunto prácticamente desconocido. En consecuencia, el estudio del arte y la arquitectura en relación a la liturgia no ha tenido apenas impacto en la historiografía del monacato femenino en este ámbito. En este artículo se analizan los problemas de tal metodología en el estudio de los monasterios de dominicas de la Provincia de España, destacando la necesidad de adoptar un enfoque integrador, que tenga en consideración los escasos libros conservados, junto a otro tipo de fuentes documentales y también los edificios en sí mismos. Posteriormente, siguiendo esta metodología, se intenta reconstruir la celebración de la compleja liturgia de completas y el uso de los espacios monásticos a tal fin en estas fundaciones. Finalmente, se analizan los espacios destinados a la penitencia y también la probable influencia de ciertos movimientos ultrarrigoristas en tales prácticas y en la construcción de estos edificios.Palabras Clave: liturgia y arquitectura; monjas dominicas; estudios de la mujer; completas. LITURGY OF COMPLINE AND ITS PROCESSIONS IN THE CONTEXT OF DOMINICAN CASTILIAN NUNNERIES AbstractThe liturgy of Dominican nuns in Castile and, by extension, the liturgy within nunneries in the Iberian Peninsula, has been scarcely researched and it remains almost unknown. As a consequence, the study of art and architecture in relation to liturgy has made little impact in the historiography of women´s monasticism in this area. In this article we discuss the issues of the application of this methodology in the research of the Dominican nunneries of the Province of Spain, stressing the necessity of adopting an integrating approach, which takes into account the rare liturgical books surviving, together with other documentary sources and also the buildings themselves. Then, following this methodology, we try to reconstruct the performance of the complex liturgy of Compline and the use of monastic spaces with this purpose within these nunneries. Finally, we also discuss the spaces for doing penance and the likely influence of some ultra-rigorist movements both on those practices and on the construction of these buildings.Key Words: liturgy and architecture; Dominican nuns; women's studies; compline. ese a su ya dilatada trayectoria y a la abundancia de publicaciones y reuniones científicas, el llamado «giro litúrgico» en el estudio del arte y la arquitectura apenas ha tenido incidencia en el estudio del monacato femenino hispano. Dejando a un lado otras razones, la causa principal de que tal metodología haya permanecido prácticamente inexplorada en este ámbito hasta el presente, ha sido 1 mercedespvidal@gmail.com / ORCID iD: http://orcid.org/0000-0002-0573-0681 sin duda el desconocimiento de una liturgia creada por y para las mujeres. Tal situación es consecuencia de la prácticamente nula incidencia de los estudios feministas en la historiografía sobre la ...
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