The book follows the activities inherent in music editing, including the tasks of the editor, the nature of musical sources, and transcription. Grier also discusses the difficult decisions faced by the editor such as sources not associated with the composer and necessary editorial judgement.

The Oxford Handbook of Music and World Christianities investigates music's role in everyday practice and social history across the diversity of Christian religions and practices around the globe. The volume explores Christian communities in the Americas, Europe, Africa, Asia, and Australia as sites of transmission, transformation, and creation of deeply diverse musical traditions. The book's contributors, while mostly rooted in ethnomusicology, examine Christianities and their musics in methodologically diverse ways, engaging with musical sound and structure, musical and social history, and ethnography of music and musical performance. These broad materials explore five themes: music and missions, music and religious utopias (and other oppositional religious communities), music and conflict, music and transnational flows, and music and everyday life. The volume as a whole, then, approaches Christian groups and their musics as diverse and powerful windows into the way in which music, religious ideas, capital, and power circulate (and change) between places, now and historically. It also tries to take account of the religious self-understandings of these groups, presenting Christian musical practice and exchange as encompassing and negotiating deeply felt and deeply rooted moral and cultural values. Given that the centerpiece of the volume is Christian religious musical practice, the volume reveals the active role music plays in maintaining and changing religious, moral, and cultural values in a long history of intercultural and transnational encounters.

The fifteen studies assembled here grew out of research on south-Italian ordinary chants and tropes for the multi-volume series Beneventanum Troporum Corpus II, edited by John Boe in collaboration with Alejandro Planchart. In the present essays, clerical and ordinary chants and tropes of the Mass (especially when derived from paraliturgical hymns and poems), certain aspects of chant notation and particular facets of the old Beneventan and the old Roman chant repertories are examined in relation to the three main cultic centres of the Italian south - Benevento, Montecassino and Rome - and as they relate to their European context, namely Frankish and Norman chant and the varieties of chant sung in Italy north of Rome. The volume includes one previously unpublished study, on the Roman introit Salus Populi.

This book provides an introduction to current work and new directions in the study of medieval liturgy. It focuses primarily on so-called occasional rituals such as burial, church consecration, exorcism and excommunication rather than on the Mass and Office. Recent research on such rites challenges many established ideas, especially about the extent to which they differed from place to place and over time, and how the surviving evidence should be interpreted. These essays are designed to offer guidance about current thinking, especially for those who are new to the subject, want to know more about it, or wish to conduct research on liturgical topics. Bringing together scholars working in different disciplines (history, literature, architectural history, musicology and theology), time periods (from the ninth to the fifteenth centuries) and intellectual traditions, this collection demonstrates the great potential that liturgical evidence offers for understanding many aspects of the Middle Ages. It includes essays that discuss the practicalities of researching liturgical rituals; show through case studies the problems caused by over-reliance on modern editions; explore the range of sources for particular ceremonies and the sort of questions which can be asked of them; and go beyond the rites themselves to investigate how liturgy was practised and understood in the medieval period.

The area whose capital was the southern Lombard city of Benevento developed a culture identified with the characteristic form of writing known as the Beneventan script, which was used throughout the area and was brought to perfection at the abbey of Montecassino in the late eleventh century. This repertory, along with other now-vanished or suppressed local varieties of music, give a far richer picture of the variety of musical practice in early medieval Europe than was formerly available. Thomas Forrest Kelly has identified and collected the surviving sources of an important repertory of early medieval music; this is the so-called Beneventan Chant, used in southern Italy in the early middle ages, before the adoption there of the now-universal music known as Gregorian chant. Because it was deliberately suppressed in the course of the eleventh century, this music survives mostly in fragments and palimpsests, and the fascinating process of restoring the repertory piece by piece is told in the studies in this book. A companion volume to this collection also by Professor Kelly details the practice of Medieval music.