This thesis examines formularity and formal structure in the extant Mass Proper melodies of the Old Beneventan rite. The musical style of this early, south Italian repertory is distinguished by its frequently repeating melodic formulas, which generally operate at a single pitch level, giving the melodies their characteristic prolix surface detail and modal character. While other Western chant traditions also use formulaic procedures, the frequent use of formularity in the Beneventan Mass Propers is exceptional. There has been no detailed analysis of the grammar governing the Beneventan musical style, though scholars have commented on and analyzed the formulaic usage of Beneventan chant, especially with an aim for transcription into pitch-specific notation. My research examines three main aspects of Beneventan music: the formulas of the Beneventan melodic fund in respect to their formal function within the melodies' phrase structure, the long-range voice leading and pitch organization underlying the ornamental melodic surface, and the form of the pieces (as established through repetition, either literal or functional). This study is based on the Beneventan Mass Proper melodies contained in the two principal extant sources of the chant: Benevento Biblioteca capitolare Ms. 38 and 40. This study contributes to scholarly dialogue regarding formulaic chant because it provides insight into the melodic construction of one family of pre-octoechos chant melodies. In particular, this examination of formularity and modality in Beneventan chant has yielded three primary findings. First, it demonstrates that throughout the repertory, Beneventan chant's ornate surface conceals an underlying structure built mostly of conjunct and disjunct thirds. Second, it gives a picture of mostly consistent functional usage of specific formulas as either openings, mid-phrase material, or cadences, but also shows that the function of a given formula can vary according to its context and surrounding melodic material. Third, it reveals that many of the Beneventan melodies have forms based on a repetition of only a few phrases, with multiple variations on each phrase. Along with their many nuances, exceptions, and expansions, these conclusions form the core of this research.

Thomas Forrest Kelly has identified and collected the surviving sources of an important repertory of early medieval music, the so-called Beneventan Chant used in southern Italy in the early middle ages, before this area's adoption of the now-universal Gregorian chant. Because the Beneventan Chant was suppressed during the eleventh century, the music survives mostly in fragments and palimpsests, and the process of restoring the repertory piece by piece is the focus of the studies here.

It has become widely accepted among musicologists that medieval music is most profitably studied from interdisciplinary perspectives that situate it within broad cultural contexts. The origins of this consensus lie in a decisive reorientation of the field that began approximately four decades ago. For much of the twentieth century, research on medieval music had focused on the discovery and evaluation of musical and theoretical sources. The 1970s and 1980s, by contrast, witnessed calls for broader methodologies and more fully contextual approaches that in turn anticipated the emergence of the so-called 'New Musicology'. The fifteen essays in the present collection explore three interrelated areas of inquiry that proved particularly significant: the liturgy, sources (musical and archival), and musical symbolism. In so doing, these essays not only acknowledge past achievements but also illustrate how this broad, interdisciplinary approach remains a source for scholarly innovation.

Spanning a millennium of musical history, this monumental volume brings together nearly forty leading authorities to survey the music of Western Europe in the Middle Ages. All of the major aspects of medieval music are considered, making use of the latest research and thinking to discuss everything from the earliest genres of chant, through the music of the liturgy, to the riches of the vernacular song of the trouvères and troubadours. Alongside this account of the core repertory of monophony, The Cambridge History of Medieval Music tells the story of the birth of polyphonic music, and studies the genres of organum, conductus, motet and polyphonic song. Key composers of the period are introduced, such as Leoninus, Perotinus, Adam de la Halle, Philippe de Vitry and Guillaume de Machaut, and other chapters examine topics ranging from musical theory and performance to institutions, culture and collections.

Plainchant is the oldest substantial body of music that has been preserved in any shape or form. It was first written down in Western Europe in the eighth to ninth centuries. Many thousands of chants have been sung at different times or places in a multitude of forms and styles, responding to the differing needs of the church through the ages. This book provides a clear and concise introduction, designed both for those to whom the subject is new and those who require a reference work for advanced study. It begins with an explanation of the liturgies that plainchant was designed to serve. It describes all the chief genres of chant, different types of liturgical book, and plainchant notations. After an exposition of early medieval theoretical writing on plainchant, Hiley provides a historical survey that traces the constantly changing nature of the repertory. He also discusses important musicians and centers of composition. Copiously illustrated with over 200 musical examples, this book highlights the diversity of practice and richness of the chant repertory in the Middle Ages. It will be an indispensable introduction and reference source on this important music for many years to come.

As church leaders, we live our lives within the spotlight of professional ministry. To best love and serve God and our neighbors, we aim to be the fullest, truest versions of ourselves. However, we often struggle to do so with integrity. What if our preaching or singing feels like a performance? Are we supposed to hide our imperfections and let people see only the shiniest parts of our lives? If you have ever felt like you're working under a microscope or that youve been put on a pedestal you dont want or deserve, know that you are not alone. Professional Christian gathers the wisdom from fifty church leaders in a variety of roles (including Sandhya Jha, Jacqueline J. Lewis, Bruce Reyes-Chow, Nikki Toyama-Szeto, and Will Willimon) on topics such as authenticity, privacy, boundaries, doubt, self-care, and the challenges of being held to a higher standard. The stories, advice, and wisdom from these leaders help to show us that thriving in ministry should not have to come at the expense of our identity and relationships. Written by a church musician with over twenty years of experience in ministry, Professional Christian helps church leaders learn to flourish as an integrated person of faith living out their call to vocational ministry.