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Luisa Nardini

The University of Texas at Austin, Music (School of), Faculty Member

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Professor of Musicology, The University of Texas at Austin

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Katherine Butler Schofield

King's College London

Ruben López-Cano

Escola Superior de Música de Catalunya

Raymond C . Van Leeuwen

Eastern University

Juan Francisco Sans

Universidad Central de Venezuela

Norwegian University of Science and Technology

Marquette University

Eduardo Carrero Santamaría

Universitat Autònoma de Barcelona

Kati (Katalin) Prajda

University of Vienna

Óscar Perea Rodríguez

University of San Francisco

Columbia University

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Books by Luisa Nardini

Chants, Hypertext, and Prosulas: Re-Texting the Proper of the Mass in Beneventan Manuscripts (Oxford: Oxford University Press, 2021)

The liturgical chant sung in the churches of Southern Italy between the ninth and thirteenth cent... more 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.

Interlacing Traditions: Neo-Gregorian Chant Propers in Beneventan Manuscripts (Pontifical Institute of Mediaeval Studies--The University of Toronto Press, 2016)

Musica: Manuale disciplinare completo per le prove scritte, orali e pratiche dei concorsi a cattedra

by Luisa Nardini and Claudia Calì

Laus musicae: Arte, scienza e prassi del canto liturgico e devozionale meridionale. Proceedings of the International conference, Benevento, May 2019, co-edited with Paolo Scarnecchia, Vox Antiqua 14-15 (2019)

Vox Antiqua, 2019

Dinamiche insediative e politico-sociali nel Ducato longobardo di Benevento Marcello Rotili 65 Il... more Dinamiche insediative e politico-sociali nel Ducato longobardo di Benevento Marcello Rotili 65 Il futuro della beneventana Marco Palma 77 Reliquie, traslazioni e culti nel Santorale della Chiesa beneventana (secoli VII-XI) Mario Iadanza 113 Organizzazione diocesana e cura pastorale nel Mezzogiorno longobardo

Papers by Luisa Nardini

Employing the Protestant sound : a study of the first Protestant hymnals in Spanish used in Puerto Rico after 1898

The early twentieth century is one of the main periods of Puerto Rican colonial history character... more The early twentieth century is one of the main periods of Puerto Rican colonial history characterized by a dramatic change in politics, culture, and religion. After the victory of the United States in the Spanish-Cuban-American war, Puerto Rico became a US colony, ending 400 years of Spanish colonial rule and dramatically changing the Puerto Rican political panorama with the rise of the United States as a twentieth-century empire. Immediately after, several US-based mainline Protestant churches drew plans to start mission projects in Puerto Rico and among the distinctive features of the new missionaries was the arrival of hymnals. While US Protestantism in Puerto Rico has received notable scholarly attention, the musical practices of the missionaries and, later, the first congregations have barely been addressed. Through the study of the first hymnals and hymn books more widely used in Puerto Rico during the first decades of the twentieth century, we can observe trends of musical ae...

Rethinking the chansons de toile : critical evaluation and editions

The genre appellation "chansons de toile" generally refers to approximately twenty poem... more The genre appellation "chansons de toile" generally refers to approximately twenty poems written in Old French during the second quarter of the thirteenth century. They are short narrative lyrics which describe the romantic struggles of young women, usually pining for an absent lover or dealing with an unhappy marriage or betrothal. The genre's name refers to toile, a type of fabric, as usually the heroines are occupied with weaving as they lament. While it is a contemporary descriptor, the genre is mostly a twentieth-century construction; however, it is remarkable to find a substantial number of poems which share so many thematic and structural elements composed over such a short period of time. The attention given these songs is largely dedicated to the centrality of women, particularly their desires and their active role in solving their plights. This, coupled with the archaic flavor of the verse (structurally as well as thematically), has historically inspired scho...

“The Mass of the Dead in Roman Manuscripts: Transmission, Musical Hybridization, and Bi-musicality,” Études grégoriennes 48 (2021): 1-38.

Études Grégoriennes, 2021

“The Mass of the Dead in Beneventan Manuscripts,” in ed. James Borders, Proceedings of the 17th Meeting of the International Musicological Society - Cantus Planus Study Group, Venice (Italy), July-August 2014 (Venice: Fondazione Levi, 2021), 515-28.

The classical study on Purgatory, whose main claims are now being revisited in several studies, i... more The classical study on Purgatory, whose main claims are now being revisited in several studies, is Le Goff (1984). 2. I-BV 66, fol. 96 is a fragment of an eleventh-century gradual that was sewn at the end of I-BV 66, a martyrology of the twelfth century. These correspondences were discussed in my paper 'Between St Peter and Santa Sofia: Liturgical and Notational Features in Benevento, Biblioteca Capitolare, 39' at the International Medieval and Renaissance Conference 'Med&Ren' (Certaldo, 4-7 July 2013). The content of tabl 1 is also included in Nardini (2016, pp. 56-58 and 99-100) where I also discuss issues related to the manuscripts provenance.

Renewal, Heritage, and Exchange in Eleventh-Century Roman Chant Traditions

Urban Developments in Late Antique and Medieval Rome

The creative outburst of the Roman schola cantorum – which ultimately led to the formation of the... more The creative outburst of the Roman schola cantorum – which ultimately led to the formation of the so-called Gregorian chant – was probably completed before the turn of the seventh century. The copying of the first notated manuscripts in Rome, however, dates to the mid-eleventh century at the earliest. Scholars have generally discussed Roman manuscripts either to speculate about the earlier, more pristine, status of the melodies, or for comparison with their Gregorian counterparts. This essay considers Roman chant manuscripts as documents of their own times. Through textual and melodic analysis as well as through examination of the manuscript tradition of selected pieces, it also redefines Roman influence upon other European centers in the later centuries of the Middle Ages.

Medieval Chant and Digital Technology: A Website for Liturgical Prosulas

Pro Musica Sacra

“I due tonari a confronto,” in eds. Mariano Dall'Omo e Nicola Tangari, Montecassino, Archivio dell'Abbazia, cod. 318: Facsimile e commentarii, Bibliotheca Mediaevalis, IV; Archivio Storico di Montecassino, facsimili e commentari, 3 (Lucca: LIM, 2018), lxxi-lxxxii.

“The Circulation of Gregorian Chant and the Cult of St. Michael in Medieval Southern Italy,” in eds. Suzel Reily and Jonathan Dueck, The Oxford Handbook of Music and World Christianities (Oxford: Oxford University Press, 2016), 581-605.

This chapter examines Gallican components in liturgical chants copied in Gregorian manuscripts by... more This chapter examines Gallican components in liturgical chants copied in Gregorian manuscripts by focusing on a group of chants for the masses for the Holy Cross. These chants, copied in manuscripts from Aquitaine, bear signs of more remote pre-Gregorian roots that can be recognized in some textual and musical features, in aspects related to their liturgical collocation, and in the theological arguments they contain. Before undertaking an analysis of specific examples, the chapter first considers the extent to which royal decrees influenced chant practices in Carolingian and post-Carolingian Europe by contextualizing the process of standardization of chant within the projects of cultural reform of the Carolingians and the Merovingians. It then discusses issues of persistence and change in the transmission of liturgical repertories as well as the role of music censorship in the practice of liturgical chant.

In the Quest of Gallican Remnants in Gregorian Manuscripts

Oxford Handbooks Online, 2016

This chapter examines Gallican components in liturgical chants copied in Gregorian manuscripts by... more This chapter examines Gallican components in liturgical chants copied in Gregorian manuscripts by focusing on a group of chants for the masses for the Holy Cross. These chants, copied in manuscripts from Aquitaine, bear signs of more remote pre-Gregorian roots that can be recognized in some textual and musical features, in aspects related to their liturgical collocation, and in the theological arguments they contain. Before undertaking an analysis of specific examples, the chapter first considers the extent to which royal decrees influenced chant practices in Carolingian and post-Carolingian Europe by contextualizing the process of standardization of chant within the projects of cultural reform of the Carolingians and the Merovingians. It then discusses issues of persistence and change in the transmission of liturgical repertories as well as the role of music censorship in the practice of liturgical chant.

“Allusioni liturgico-musicali in Dante attraverso un'analisi del manoscritto 13 dell'Harry Ransom Center"

(a cura di) P. Benigni, S. Campagnolo, R. Caputo, S. Cori, A. Ziino, Nel 750° anniversario della nascita di Dante Alighieri. Atti del Convegno Internazionale Certaldo Alto, Dicembre 2015 (Gesualdo: Fondazione Carlo Gesualdo, ” 2016), 133-141., 2016

“Regional Musical Culture in the Mass Chants of MC318 Second Tonary,” in eds. Isabelle Draelants and Laura Albiero, Sciences du Quadrivium au Mont-Cassin: Regards croisées sur le manuscrit Montecassino, Arch. dell'Abbazia 318 (Turnhout: Brepols, “Bibliologia,” 2018), 217-229.

“The Masses for the Holy Cross in Some Medieval Manuscripts,” in eds. Bonnie Blackburn, Stanley Boorman, and Anna Zayaruznaya, “Qui musicam in se habet”: Essays in Honor of Alejandro Planchart (Middleton, WI: American Institute of Musicology, 2015), 41-70.

I manoscritti musicali della Biblioteca Nazionale di Napoli : il caso dell'Innario VI G 29

I manoscritti musicali della Biblioteca Nazionale di Napoli : il caso dell'Innario VI G 29., 2012

This file is copyrighT proTecTed and is for sTricTly personal use. any reproducTion is prohibiTed... more

“Le prosule del Proprium Missae nei manoscritti di area beneventana: Un progetto di edizione”

(a cura di) Antonio Addamiano and Francesco Luisi, Atti del Congresso Internazionale di Musica Sacra. In occasione del centenario di fondazione del PIMS, Roma, 26 maggio – 1º giugno 2011 (Vatican City: Libreria Editrice Vaticana, 2013), vol. 1, 221-232. , 2011

“God is Witness: Dictation and the Copying of Chants in Medieval Monasteries,” Musica Disciplina 57 (2012): 47-76.

“The St Peter Connection and the Acquisition of a Roman Offertory in Bologna and Benevento,” Mediaeval Studies 72 (2010): 39-74.

Chants, Hypertext, and Prosulas: Re-Texting the Proper of the Mass in Beneventan Manuscripts (Oxford: Oxford University Press, 2021)

The liturgical chant sung in the churches of Southern Italy between the ninth and thirteenth cent... more 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.

Interlacing Traditions: Neo-Gregorian Chant Propers in Beneventan Manuscripts (Pontifical Institute of Mediaeval Studies--The University of Toronto Press, 2016)

Musica: Manuale disciplinare completo per le prove scritte, orali e pratiche dei concorsi a cattedra

by Luisa Nardini and Claudia Calì

Laus musicae: Arte, scienza e prassi del canto liturgico e devozionale meridionale. Proceedings of the International conference, Benevento, May 2019, co-edited with Paolo Scarnecchia, Vox Antiqua 14-15 (2019)

Vox Antiqua, 2019

Dinamiche insediative e politico-sociali nel Ducato longobardo di Benevento Marcello Rotili 65 Il... more Dinamiche insediative e politico-sociali nel Ducato longobardo di Benevento Marcello Rotili 65 Il futuro della beneventana Marco Palma 77 Reliquie, traslazioni e culti nel Santorale della Chiesa beneventana (secoli VII-XI) Mario Iadanza 113 Organizzazione diocesana e cura pastorale nel Mezzogiorno longobardo

Employing the Protestant sound : a study of the first Protestant hymnals in Spanish used in Puerto Rico after 1898

The early twentieth century is one of the main periods of Puerto Rican colonial history character... more The early twentieth century is one of the main periods of Puerto Rican colonial history characterized by a dramatic change in politics, culture, and religion. After the victory of the United States in the Spanish-Cuban-American war, Puerto Rico became a US colony, ending 400 years of Spanish colonial rule and dramatically changing the Puerto Rican political panorama with the rise of the United States as a twentieth-century empire. Immediately after, several US-based mainline Protestant churches drew plans to start mission projects in Puerto Rico and among the distinctive features of the new missionaries was the arrival of hymnals. While US Protestantism in Puerto Rico has received notable scholarly attention, the musical practices of the missionaries and, later, the first congregations have barely been addressed. Through the study of the first hymnals and hymn books more widely used in Puerto Rico during the first decades of the twentieth century, we can observe trends of musical ae...

Rethinking the chansons de toile : critical evaluation and editions

The genre appellation "chansons de toile" generally refers to approximately twenty poem... more The genre appellation "chansons de toile" generally refers to approximately twenty poems written in Old French during the second quarter of the thirteenth century. They are short narrative lyrics which describe the romantic struggles of young women, usually pining for an absent lover or dealing with an unhappy marriage or betrothal. The genre's name refers to toile, a type of fabric, as usually the heroines are occupied with weaving as they lament. While it is a contemporary descriptor, the genre is mostly a twentieth-century construction; however, it is remarkable to find a substantial number of poems which share so many thematic and structural elements composed over such a short period of time. The attention given these songs is largely dedicated to the centrality of women, particularly their desires and their active role in solving their plights. This, coupled with the archaic flavor of the verse (structurally as well as thematically), has historically inspired scho...

“The Mass of the Dead in Roman Manuscripts: Transmission, Musical Hybridization, and Bi-musicality,” Études grégoriennes 48 (2021): 1-38.

Études Grégoriennes, 2021

“The Mass of the Dead in Beneventan Manuscripts,” in ed. James Borders, Proceedings of the 17th Meeting of the International Musicological Society - Cantus Planus Study Group, Venice (Italy), July-August 2014 (Venice: Fondazione Levi, 2021), 515-28.

The classical study on Purgatory, whose main claims are now being revisited in several studies, i... more The classical study on Purgatory, whose main claims are now being revisited in several studies, is Le Goff (1984). 2. I-BV 66, fol. 96 is a fragment of an eleventh-century gradual that was sewn at the end of I-BV 66, a martyrology of the twelfth century. These correspondences were discussed in my paper 'Between St Peter and Santa Sofia: Liturgical and Notational Features in Benevento, Biblioteca Capitolare, 39' at the International Medieval and Renaissance Conference 'Med&Ren' (Certaldo, 4-7 July 2013). The content of tabl 1 is also included in Nardini (2016, pp. 56-58 and 99-100) where I also discuss issues related to the manuscripts provenance.

Renewal, Heritage, and Exchange in Eleventh-Century Roman Chant Traditions

Urban Developments in Late Antique and Medieval Rome

The creative outburst of the Roman schola cantorum – which ultimately led to the formation of the... more The creative outburst of the Roman schola cantorum – which ultimately led to the formation of the so-called Gregorian chant – was probably completed before the turn of the seventh century. The copying of the first notated manuscripts in Rome, however, dates to the mid-eleventh century at the earliest. Scholars have generally discussed Roman manuscripts either to speculate about the earlier, more pristine, status of the melodies, or for comparison with their Gregorian counterparts. This essay considers Roman chant manuscripts as documents of their own times. Through textual and melodic analysis as well as through examination of the manuscript tradition of selected pieces, it also redefines Roman influence upon other European centers in the later centuries of the Middle Ages.

Medieval Chant and Digital Technology: A Website for Liturgical Prosulas

Pro Musica Sacra

“I due tonari a confronto,” in eds. Mariano Dall'Omo e Nicola Tangari, Montecassino, Archivio dell'Abbazia, cod. 318: Facsimile e commentarii, Bibliotheca Mediaevalis, IV; Archivio Storico di Montecassino, facsimili e commentari, 3 (Lucca: LIM, 2018), lxxi-lxxxii.

“The Circulation of Gregorian Chant and the Cult of St. Michael in Medieval Southern Italy,” in eds. Suzel Reily and Jonathan Dueck, The Oxford Handbook of Music and World Christianities (Oxford: Oxford University Press, 2016), 581-605.

This chapter examines Gallican components in liturgical chants copied in Gregorian manuscripts by... more This chapter examines Gallican components in liturgical chants copied in Gregorian manuscripts by focusing on a group of chants for the masses for the Holy Cross. These chants, copied in manuscripts from Aquitaine, bear signs of more remote pre-Gregorian roots that can be recognized in some textual and musical features, in aspects related to their liturgical collocation, and in the theological arguments they contain. Before undertaking an analysis of specific examples, the chapter first considers the extent to which royal decrees influenced chant practices in Carolingian and post-Carolingian Europe by contextualizing the process of standardization of chant within the projects of cultural reform of the Carolingians and the Merovingians. It then discusses issues of persistence and change in the transmission of liturgical repertories as well as the role of music censorship in the practice of liturgical chant.

In the Quest of Gallican Remnants in Gregorian Manuscripts

Oxford Handbooks Online, 2016

This chapter examines Gallican components in liturgical chants copied in Gregorian manuscripts by... more This chapter examines Gallican components in liturgical chants copied in Gregorian manuscripts by focusing on a group of chants for the masses for the Holy Cross. These chants, copied in manuscripts from Aquitaine, bear signs of more remote pre-Gregorian roots that can be recognized in some textual and musical features, in aspects related to their liturgical collocation, and in the theological arguments they contain. Before undertaking an analysis of specific examples, the chapter first considers the extent to which royal decrees influenced chant practices in Carolingian and post-Carolingian Europe by contextualizing the process of standardization of chant within the projects of cultural reform of the Carolingians and the Merovingians. It then discusses issues of persistence and change in the transmission of liturgical repertories as well as the role of music censorship in the practice of liturgical chant.

“Allusioni liturgico-musicali in Dante attraverso un'analisi del manoscritto 13 dell'Harry Ransom Center"

(a cura di) P. Benigni, S. Campagnolo, R. Caputo, S. Cori, A. Ziino, Nel 750° anniversario della nascita di Dante Alighieri. Atti del Convegno Internazionale Certaldo Alto, Dicembre 2015 (Gesualdo: Fondazione Carlo Gesualdo, ” 2016), 133-141., 2016

“Regional Musical Culture in the Mass Chants of MC318 Second Tonary,” in eds. Isabelle Draelants and Laura Albiero, Sciences du Quadrivium au Mont-Cassin: Regards croisées sur le manuscrit Montecassino, Arch. dell'Abbazia 318 (Turnhout: Brepols, “Bibliologia,” 2018), 217-229.

“The Masses for the Holy Cross in Some Medieval Manuscripts,” in eds. Bonnie Blackburn, Stanley Boorman, and Anna Zayaruznaya, “Qui musicam in se habet”: Essays in Honor of Alejandro Planchart (Middleton, WI: American Institute of Musicology, 2015), 41-70.

I manoscritti musicali della Biblioteca Nazionale di Napoli : il caso dell'Innario VI G 29

I manoscritti musicali della Biblioteca Nazionale di Napoli : il caso dell'Innario VI G 29., 2012

This file is copyrighT proTecTed and is for sTricTly personal use. any reproducTion is prohibiTed... more

“Le prosule del Proprium Missae nei manoscritti di area beneventana: Un progetto di edizione”

(a cura di) Antonio Addamiano and Francesco Luisi, Atti del Congresso Internazionale di Musica Sacra. In occasione del centenario di fondazione del PIMS, Roma, 26 maggio – 1º giugno 2011 (Vatican City: Libreria Editrice Vaticana, 2013), vol. 1, 221-232. , 2011

“God is Witness: Dictation and the Copying of Chants in Medieval Monasteries,” Musica Disciplina 57 (2012): 47-76.

“The St Peter Connection and the Acquisition of a Roman Offertory in Bologna and Benevento,” Mediaeval Studies 72 (2010): 39-74.

“Old-Roman Intruders in non-Roman Manuscripts,” Acta Musicologica 82 (2010): 1-20.

“The Mass for the Octave of the Epiphany in some Beneventan Manuscripts,” in Classica et Beneventana. Essays Presented to Virginia Brown on the Occasion of her 65th Birthday, eds. F.T. Coulson et A.A. Grotans (Brepols: Turnhout, 2008), 391-405

“Liturgy as Historiography: Historical, Narrative, and Evocative Values of Eleventh-Century Masses,” in Early Music: Context and Ideas II. Proceedings of the International Conference in Musicology (Krakow, Poland: Jagellonian University—Institute of Musicology, 2008), 27-38.

In an article of 990, Giles Constable stresses that in the Middle Ages …the environment created b... more In an article of 990, Giles Constable stresses that in the Middle Ages …the environment created by art, architecture, and ceremony fostered a closeness, and at times identity, with history. People lived in the past in a very real sense, and the past, living in them, was constantly recreated in a way that made it part of everyday life. Scholars tend to rely so heavily on verbal sources that they underestimate the influence of the senses in developing an awareness of history. Sight, smell, hearing, and touch were all enlisted in the task of reconstructing the past. In his explanation of how the the bridges between 'was,' 'is,' and 'will be' were stronger in the Middle Ages than in any other times in European history, Constable, after reviewing a number of passages from patristic to later medieval exegetical texts, analyzes a group of artworks from the eleventh and twelfth centuries that "were designed not to deceive but to bring past and present together by using old styles for new uses". This essay will examine some medieval mass proper items in order to highlight how the singing of chants (intended as a combination of texts and melodies) may have been conceived to enhance the reconstruction of the past. In this specific study the attention is focused on the ways in which reference to Christ is realized through a purposeful citation of scriptural texts and pre-composed melodies. This essay is dedicated to the memory of Salvatore D'Elia whose insightful teaching and moving generosity first inspired my curiosity toward monastic culture and "l'amour des lettres". I would also like to thank Alejandro Planchart and Sonia Seeman for their careful reading and advices.

Aliens in disguise: Byzantine and Gallican chants in the Latin liturgy

Plainsong and Medieval Music, 2007

Comparison of a considerable number of Gregorian sources dating from the tenth to the thirteenth ... more Comparison of a considerable number of Gregorian sources dating from the tenth to the thirteenth centuries reveals a handful of Mass Proper items that do not belong to the standard repertory and show possible ties with the Byzantine and/or Gallican traditions. These pieces are not recorded in most of the earliest French and German sources of the Gregorian tradition. Some of them seem to have been composed in Italy (but not in Rome), while others would appear to have Eastern or Frankish ties. Comparative melodic analysis, along with the discussion of their position in the liturgical year, discloses insights about their origin, date, routes of transmission and the ways to compare chants belonging to different liturgical families.

Gunilla Björkvall, ed., Prosules de la messe, 3: Prosules de l'offertoire. (Acta Universitatis Stockholmiensis, Corpus Troporum, 11.) Stockholm: Stockholms Universitet, 2009. Paper. Pp. x, 254; tables

Speculum, 2011

Marica S. Tacconi, Cathedral and Civic Ritual in Late Medieval and Renaissance Florence: The Service Books of Santa Maria del Fiore. (Cambridge Studies in Palaeography and Codicology, 12.) Cambridge, Eng.: Cambridge University Press, 2005. Pp. xx, 357; 32 color plates, black-and-white figures, mu...

Speculum, 2007

Marica S. Tacconi, Cathedral and Civic Ritual in Late Medieval and Renaissance Florence: The Serv... more

Guy of Saint-Denis, Tractatus de tonis, ed. and trans. Constant J. Mews, Carol J. Williams, John N. Crossley, and Catherine Jeffreys. (Teams: Varia.) Kalamazoo: Medieval Institute Publications, 2017. Paper. Pp. liv, 287; many music samples and 1 table. $39.95. ISBN: 978-1-58044-254-1

Speculum

Benjamin Brand, Holy Treasure and Sacred Song: Relic Cults and Their Liturgies in Medieval Tuscany. Oxford and New York: Oxford University Press, 2014. Pp. xxii, 296; 16 music examples, 20 black-and-white figures, and 5 tables. £32.99. ISBN: 978-0-19-935135-0

Speculum, 2017

Paul Benjamin, ed, Celebrazione e autocritica. La Serenissima e la ricerca dell’identità veneziana nel tardo Cinquecento (Rome: Viella, 2014), Sixteenth-Century Journal 47 (2016): 269-272.

This book gathers the proceedings of a conference organized by the Centro Tedesco di Studi Venezi... more This book gathers the proceedings of a conference organized by the Centro Tedesco di Studi Veneziani in 2006 focusing on Venetian identity in the second half of the sixteenth century . The authors' main purpose, as also underlined by the curator Benjamin Paul, is to convey the ways in which the city, after a period of difficulties that included "internal and external political conflicts, wars, and a long list of natural disasters, epidemics, and famines, to which one must add the religious tensions resulting from the papacy's increased pressure on Venetians conventions and traditions after the Council of Trent" (9), first underwent a process of self-criticism and then elaborated a celebratory model aiming at the construction of what will be later recognized as the myth of Venice . In other words, the book presents a

Willy Apel, Il Canto Gregoriano (Lucca: LIM, 1996); and David Hiley, Western Plainchant (Oxford: Oxford University Press, 1993), Rivista Italiana di Musicologia 33 (1998): 183-7.

Jean Mallet and André Thibaut, Les manuscrits en écriture bénéventaine de la Bibliothèque Capitolaire de Bénévent, vols II and III (Paris-Tournout: CNRS-Brepols, 1997), Samnium 72 (1999): 112-4.

Die Offizien des Mittelalters. Dictung und Musik, ed. Walter Berschin and David Hiley (Tutzing: Schneider, 1999); and Roman Hankeln, Die Offertoriumsprosuln der Aquitanischen Handschriften (Tutzing: Schneider, 1999), Nuova Rivista Musicale Italiana 34 (2000): 566-9.

James McKinnon, The Advent Project: The Later Seventh-Century Creation of the Roman Mass Proper (Berkeley and Los Angeles: University of California Press, 2000), Rivista Italiana di Musicologia 37.2 (2002): 385-90.

Marica S. Tacconi, Cathedral and Civic Ritual in Late Medieval and Renaissance Florence: The Service Books of Santa Maria del Fiore (Cambridge and New York: Cambridge University Press, 2005) (Series title: Cambridge studies in paleography and codicology, 12), Speculum 82 (2007): 768-769.

Frank A. D’Accone, Music and Musicians in 16th Century Florence (Aldershot: Ashgate, 2007); and Id., Music in Renaissance Florence: Studies and Documents (Aldershot: Ashgate, 2006), The Sixteenth Century Journal 40/2 (2009): 465-466.

Gunilla Björkvall, Prosules de l’offertoire. Édition des texts (Stockholm: Acta Universitatis Stockholmiensis, 2009) (Series title: Corpus Troporum, 11), Speculum 86 (2011): 1047-149.

Soundscapes of Naples: From the Medieval to the Early Modern

by Luisa Nardini and Guido Olivieri

Musical practices are inherently woven into a city's urban fabric: as marker of identity, express... more Musical practices are inherently woven into a city's urban fabric: as marker of identity, expression of religious devotion, sonic manifestation of power, or form of entertainment, musicking punctuates the salient moments of a city's culture. In Naples, for centuries a cultural and political capital and among the most densely populated cities in Europe, music making has always occupied a prominent position in the soundscape of public and private, sacred and secular spaces.

Call for Presentations Early Sacred/Liturgical Musics and Digital Humanities: Skills and Resources / 89th AMS Annual Meeting Denver, Colorado | November 9-12, 2023 The SREM Sessions Committee invites contributions to the Roundtable

by Luisa Nardini, Lucia Marchi, Catherine Heemann, and Suzanna Feldkamp

The AMS Study Group in Skills and Resources for Early Musics proposes a roundtable discussion cen... more The AMS Study Group in Skills and Resources for Early Musics proposes a roundtable discussion centered on Early Sacred/Liturgical Musics and Digital Humanities: Skills and Resources. We invite presentations that will consider the impact of digital technology on our understanding of sacred music rituals. Speakers can illustrate existing and forthcoming platforms and sites and discuss the technological and practical issues that curators and users encounter in the creation and use of these tools. What resources are available? How do digital tools inform us about the formation and circulation of sacred musics and their sources (manuscript or otherwise)? What new tools are being created and what are the necessary skills, methods, and theoretical frameworks to implement them? What resources can be created and shared to help young scholars and students to approach research about sacred music? How can notions of representation and ability/disability be addressed at the interface between Digital Humanities and the research on sacred and liturgical music?

The discussion will feature five/six brief collaborative presentations by faculty, unaffiliated scholars, and students addressing the following issues: the process of conducting liturgical and Digital Humanities research and the problems that arise with creating, maintaining, and using digital resources; we particularly welcome presentations on non-Western and non-Latin liturgies and rituals. We welcome faculty/scholar-student pairs, as well as individual faculty/scholar and student proposals (we could help to coordinate the pairing process) to stimulate an inclusive dialogue about a wide range of digital skills and resources as well as future initiatives for the Study Group.

Please email Luisa Nardini (nardini at utexas.edu) by February 20th 2023 if you are interested in participating, indicating which topics/questions you would like to discuss or if you have suggestions for additional topics. Please provide a working title and a brief rationale for your presentation.

Session committee: Luisa Nardini (chair, The University of Texas, Austin); Suzanna Feldkamp (Case Western Reserve University); Catherine Heemann (The University of Texas, Austin); Christina Kim (Stanford University); Lucia Marchi (DePaul University); Melanie Shaffer (Radboud University).

DAL DUCATO AL PRINCIPATO. I LONGOBARDI DEL SUD Biennale di Studi sulla Longobardia Meridionale 23-25 Novembre Rettorato dell'Università del Sannio - Palazzo San Domenico

by Marcello Rotili, Mario Iadanza, Luisa Nardini, Falko Daim, Paolo de Vingo, Gustavo Adolfo Nobile Mattei, Carlo Ebanista, Emanuele Piazza, Nicola Busino, Lester Lonardo, Miljenko Jurkovic, and Aglaia McClintock

Nell'ambito della Biennale di studi sulla Longobardia Meridionale, dal 23 al 25 novembre presso i... more

Call for Proposals: Soundscapes of Naples: From the Medieval to the Early Modern

by Centro per la Storia dell'Arte e dell'Architettura delle Città Portuali and Luisa Nardini

Soundscapes of Naples: From the Medieval to the Early Modern Conference, 8-9 June 2023, Naples C... more Soundscapes of Naples: From the Medieval to the Early Modern
Conference, 8-9 June 2023, Naples
Call for Proposals

"Soundscapes of Naples: From the Medieval to the Early Modern" is coorganized by the Center for the Art and Architectural History of Port Cities “La Capraia” (a partnership between the Edith O’Donnell Institute of Art History at the University of Texas at Dallas and the Museo e Real Bosco di Capodimonte) and the Butler School of Music at the University of Texas at Austin.