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Ambrosiana at Harvard: New Sources of Milanese Chant
Harvard University Press, 2010 Paper: 978-0-9818858-0-3 Library of Congress Classification ML3070.A53 2010 Dewey Decimal Classification 782.32220094521
ABOUT THIS BOOK
ABOUT THIS BOOK
This collection of ten essays constitutes the proceedings of a two-day conference held at Harvard in October 2007. The conference focused on three medieval manuscripts of Ambrosian chant owned by Houghton Library. The Ambrosian liturgy and its music, practiced in and around medieval Milan, were rare regional survivors of the Catholic Church’s attempt to adopt a universal Roman liturgy and the chant now known as Gregorian. Two of the manuscripts under scrutiny had been recently acquired (one perhaps the oldest surviving source of Ambrosian music), and the third manuscript, long held among the Library’s collections of illuminated manuscripts, had been newly identified as Ambrosian. See other books on: Cambridge | Choral | Genres & Styles | Manuscripts | Massachusetts See other titles from Harvard University Press |
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Nearby on shelf for Literature on music / History and criticism / Vocal music:
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Ambrosiana at Harvard: New Sources of Milanese Chant
ABOUT THIS BOOK
Harvard University Press, 2010
Paper: 978-0-9818858-0-3
Paper: 978-0-9818858-0-3
This collection of ten essays constitutes the proceedings of a two-day conference held at Harvard in October 2007. The conference focused on three medieval manuscripts of Ambrosian chant owned by Houghton Library. The Ambrosian liturgy and its music, practiced in and around medieval Milan, were rare regional survivors of the Catholic Church’s attempt to adopt a universal Roman liturgy and the chant now known as Gregorian. Two of the manuscripts under scrutiny had been recently acquired (one perhaps the oldest surviving source of Ambrosian music), and the third manuscript, long held among the Library’s collections of illuminated manuscripts, had been newly identified as Ambrosian.
The generously illustrated essays gathered here represent the work of established experts and younger scholars. Together they explore the manuscripts as physical objects and place them in their urban and historical contexts, as well as in the musical and ecclesiastical context of Milan, Italy, and medieval Europe.
ABOUT THIS BOOK
