LEADER 03572nam 2200601Ia 450 001 9910778344603321 005 20230721031912.0 010 $a94-012-0544-2 010 $a1-4356-2310-X 024 7 $a10.1163/9789401205443 035 $a(CKB)1000000000482355 035 $a(EBL)556882 035 $a(OCoLC)712988559 035 $a(SSID)ssj0000250302 035 $a(PQKBManifestationID)12093195 035 $a(PQKBTitleCode)TC0000250302 035 $a(PQKBWorkID)10231496 035 $a(PQKB)10437457 035 $a(MiAaPQ)EBC556882 035 $a(OCoLC)191856349 035 $a(nllekb)BRILL9789401205443 035 $a(Au-PeEL)EBL556882 035 $a(CaPaEBR)ebr10380237 035 $a(EXLCZ)991000000000482355 100 $a20080206d2007 uy 0 101 0 $aeng 135 $aurun| uuuua 181 $ctxt 182 $cc 183 $acr 200 14$aThe St Gall passion play$b[electronic resource] $emusic and performance /$fPeter Macardle 210 $aAmsterdam $cRodopi$d2007 215 $a1 online resource (461 p.) 225 1 $aLudus ;$v10 300 $aDescription based upon print version of record. 311 $a90-420-2346-5 320 $aIncludes bibliographical references (p. [397]-458). 327 $aPreliminary Material -- Acknowledgements -- Introduction -- The Text and the Problem -- Liturgy and Localization -- Approaches -- ?Cantat? ? ?dicat? ? ?respondeat? Directions and Performers -- A note on the transcription and editing of text and notation -- Localizing the Play -- Before the Passion -- The Passion (1) -- The Passion (2) -- The Resurrection and the Harrowing of Hell -- The Empty Tomb -- Conclusions -- Bibliography. 330 $aThe early-fourteenth-century St Gall Passion Play comes from the Central Rhineland. Unfortunately its music (over one hundred Latin and German chants) is given in the manuscript only as brief incipits, without any musical notation. This interdisciplinary study reconstructs the musical stratum of the play. It is the first full-scale musical reconstruction of a large German Passion play in recent times, using the latest available scholarly data in drama, liturgy and music. It draws conclusions about performance practice and forces, and offers a sound basis for an authentic performance of the play. The study applies musical and liturgical data to the problem of localizing the play (the first time this has been systematically attempted), and assesses how applicable this might be to other plays. It presents a detailed study of the distinctive medieval liturgical uses of three German dioceses, Mainz, Speyer and Worms. The comparative approach suggests how the music of other plays might be reconstructed and understood, and shows that a better understanding of the music of medieval drama has much to teach us about other aspects of the genre. The book should be of interest to literary scholars, theatre historians, musicologists, liturgical scholars, and those involved in the performance of early drama. 410 0$aLudus ;$v10. 606 $aPassion-plays$xHistory and criticism 606 $aPassion-plays$xSongs and music$xHistory and criticism 615 0$aPassion-plays$xHistory and criticism. 615 0$aPassion-plays$xSongs and music$xHistory and criticism. 676 $a792.16 700 $aMacardle$b Peter$01557789 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910778344603321 996 $aThe St Gall passion play$93821666 997 $aUNINA