Yossi Maurey

The book revolves around some of the most important relics of Christendom--chief among them the Crown of Thorns--and the ways in which they became, effectively, personal objects of devotion, notwithstanding their ostensibly universal appeal. It was France that laid claim to the Passion and other relics in the middle of the thirteenth century in a campaign that involved the construction of a new magnificent chapel--the Sainte-Chapelle--designed specifically to display the relics, and the composition of new liturgies to celebrate and focus attention on them. As inert objects, relics could not accomplish much without being 'activated' one way or the other, whether in prose, poetry, paintings, statues, or in music. It is these modes of activation that endowed the substance of relics with identity and meaning that made them so powerful and effective. The liturgies studied in this book were some of the most critical mechanisms of activation; they enabled the power of the Sainte-Chapelle relics, articulated the nature of that power, and proclaimed it far and wide. Nowhere is this more evident than in the sequences memorializing these relics, which were chiefly cultivated and championed at the Sainte-Chapelle. This book examines these sequences, and the ways in which they give prominence to the underlying agenda of the French monarchy by promoting and naturalizing the notion of sacral kingship, rooted in biblical kingship.

צליל, דימוי ומרחב הוא קובץ מאמרים המציג כיוונים חדשים ומפתיעים בחקר הפולחן הדתי בימי הביניים.

מה הקשר בין הרמוניה מוזיקלית לתפיסת הגאולה? כיצד פנו עיטורי הכנסייה אל קהל נשי? כיצד חיזקו מזמורים ודימויים של כלי נגינה את החוויה של צלבנים ועולי רגל? ‏ואיך ואיפה יכלו זיכרון יהודי וזיכרון נוצרי להתמזג זה בזה? הספר מגלה כי בימי הביניים התקיימה בשדה האמנות מערכת חוקים ייחודית ומעניינת שהטביעה את חותמה על המאמינים, הנוצרים והיהודים, וכך טיפחה זיכרון תרבותי קיבוצי וחיזקה את הקשר בין הפרט לקהילה.

המאמרים שלפניכם מבקשים לבחון, באמצעות סקירתם של מוטיבים בטקסטים, במוזיקה, בטקסים ובאמנות החזותית, כיצד נבנו הנרטיבים של קבוצות בחברת ימי הביניים בארץ הקודש ובאירופה, וכיצד עוצב הזיכרון התרבותי, המקומי והאוניברסלי; אילו עקרונות אמנותיים קבעו מה המאמינים בימי הביניים צריכים לשמר בזיכרונם ואיך תפיסות דתיות משתנות הוטבעו ביצירות אמנות, מפסיפסים ופיסול כנסייתי ועד להגדות של פסח.

זהו מקבץ מחקרים ראשון מסוגו בעברית, והוא מסכם את עבודתה של קבוצת צליל, דימוי ומרחב במרכז מנדל-סכוליון שבאוניברסיטה העברית בירושלים. הקבוצה מורכבת מחוקרים בכירים לצד חוקרים בתחילת דרכם, ויחד הם משלבים מומחיות מבוססת עם מחקרים רעננים ופורצי דרך

Music was one component of the cultural continuum that developed in the contiguous civilizations of the ancient Near East and of Greece and Rome. This book covers the range and gamut of this symbiosis, as well as scrutinizes archeological findings, texts, and iconographical materials in specific geographical areas along this continuum. The book, volume VIII of Yuval – Studies of the Jewish Music Research Centre at the Hebrew University, provides an updated scholarly assessment of the rich soundscapes of ancient civilizations.

L’histoire de bien des villes européennes a été façonnée par une ou plusieurs figures saintes dont les relations aux villes-vraies ou imaginées- ont eu des conséquences spirituelles et pratiques. La topographie de la ville, son économie, ses établissements, sa liturgie, sa réputation, et même le développement de la fierté civique des habitants, se sont forgés dans une association idiosyncratique du saint et de sa ville. La figure de l’évêque-saint, en adéquation avec ses prérogatives spirituelles et temporelles extraordinaires, représente une catégorie particulière dont ce livre a voulu tracer les contours. Le topos de la sainteté épiscopale préjuge la plupart du temps de rapports passionnels entre l’évêque et sa ville, parfois conflictuels même tant l’écart entre la sainteté vécue ou du moins ressentie peut entrer en contradiction avec une population souvent versatile mais soucieuse cependant de participer par capillarité à la sainteté de son chef de diocèse.

Liturgy was the perfect and unparalleled medium for public relations in the Middle Ages, and when it came to relics, it could transform any stone, bone, or a piece of wood into an object worthy of devotion. This article revolves around the activating force of the relics of Mary Magdalene in medieval France. It examines two liturgies—from Vézelay and from Saint-Maximin in Provence—honouring the saint, representing two distinct responses whose character reflects the priorities of the communities that produced them and the agendas that set them in motion. Liturgy was accorded a special role in bolstering the claims of Provence over the corporeal presence of Mary Magdalene in its midst, with liturgists adopting a more audacious and unreserved vocabulary to validate these claims over those of Vézelay.

Forgery is an ancient art. As a practice, it raises questions related to the value of art, and its claims to authenticity, originality and taste. For the field of West Semitic seals, however, these questions represent not merely abstract, theoretical problems; the entire field hinges on the question of forgery. In fact, a great number of the Hebrew seals are of unknown provenance, and, as Benny Sass quipped, "[I]f most inscribed stamp seals are in doubt, what is left for us to do?... until unprovenanced seals can be subjected to a reliable authenticity test...a sizeable measure of doubt will remain" (Sass 1993: 245-246). What Sass was doing, more specifically, was casting doubt on the authenticity of a group of seals that appeared on the market "starting in the seventies" and which he dubbed "Tasteful recent acquisitions." One of the seals in this group bears the inscription ‫המלך‬ ‫בת‬ ‫למעדנה‬ ([Belonging] to Ma>adana the king's daughter), and is reproduced in Fig. 1. 1 It was Nahman Avigad who brought to public attention this newly discovered and recently purchased Hebrew seal, which was quite unlike any previously known, "except for its conventional shape" (1978: 146). The details are well known: the seal, perfectly preserved, features an asymmetrical lyre with a soundbox decorated with a rosette, and bears

reformation. The facsimile volume is clearly presented and produced. Volume 2 includes a foreword by David Hiley that situates the volumes in the context of the Historiae series. Then the historian Thomas Riis provides a substantial introduction to the Danish and European historical context, which outlines the importance of the events before and after the murder and provides a good point of departure for engaging with the offices and their texts and music. John Bergsagel discusses the manuscript, the offices, and the feasts for St Knud, arguing that the preserved manuscript is probably a copy of what was composed for the translation in 1170 or soon after; for the celebrations on 25 June 1170 one would have needed only the office for the translation. This contrasts with Chesnutt’s proposal of a more complicated process of adaptation and composition behind the version from the thirteenth-century manuscript (set out in The Medieval Danish Liturgy). These two hypotheses have been discussed in reviews of Chesnutt’s book; John Bergsagel critiqued Chesnutt’s view in the Danish Yearbook of Musicology, 32 (2004), 103^7; and Latinist and historian Karsten Friis Jensen offered a carefully balanced discussion of both hypotheses in his review of Chesnutt’s book the following year (Danske Studier (2005), 222^5). I would have welcomed a summary of the issue in Bergsagel’s introduction, but, while he does not discuss Chesnutt’s hypothesis, he notes that nothing contradicts a dating of the manuscript to the earlier part of the thirteenth century, maintaining the traditional view that the manuscript offices are best understood as copies of what is assumed to have been composed in connection with the Feast of the Translation in 1170. The editing process itself has been meticulously carried out, and attention is drawn to borrowings and adaptations (from English sources) in the office, and questions of performance are commented upon. For instance, Bergsagel gives a useful suggestion for the performance of the complex Respond at Matins (for both offices), which is followed by a prosa based on the final melisma of the Respond; his suggested performance of the whole complex is presented in Appendix 3 of the volume. The first two appendices give what must be considered more hypothetical suggestions: a possible two-part voice-exchange setting of the hymn Gaudet mater ecclesia (for First Vespers, apparently borrowed from English sources) and a possible metrical interpretation of the same. Together, the volumes offer the best possible tools for studying the beginnings of the cult of St Knud Lavard and the momentous change in Danish history to which this led, bringing Denmark into European Latin Christendom more fully than ever before. Although another royal saint, Knud Lavard’s uncle King Knud IV, had been venerated since the beginning of the century, the music for his offices has not been preserved. It was the canonization of Knud Lavard and the stabilization of King Valdemar’s dynasty that truly brought a new and more stable chapter to Danish medieval history, and for the first time gave access to music that can, according to Bergsagel, ‘with reasonable certainty’ be said to have been written in a Danish scriptorium. One of the main sources for this new chapter in Danish history has been made available here: these volumes will be indispensable to anyone interested in the period and its appropriation of European liturgical, musical, and more generally religious and political culture. NILS HOLGER PETERSEN University of Copenhagen

... Corpus Christi prosas west of the Rhine, communities lying east of the Rhine seem to ... 15. Scholars have traditionally cited John of Lausanne as the author of this office, based on information contained in Juliana's vita. See, for instance, Miri Rubin, Corpus Christi: The Eucharist ...

L’histoire de bien des villes européennes a été façonnée par une ou plusieurs figures saintes dont les relations aux villes-vraies ou imaginées- ont eu des conséquences spirituelles et pratiques. La topographie de la ville, son économie, ses établissements, sa liturgie, sa réputation, et même le développement de la fierté civique des habitants, se sont forgés dans une association idiosyncratique du saint et de sa ville. La figure de l’évêque-saint, en adéquation avec ses prérogatives spirituelles et temporelles extraordinaires, représente une catégorie particulière dont ce livre a voulu tracer les contours. Le topos de la sainteté épiscopale préjuge la plupart du temps de rapports passionnels entre l’évêque et sa ville, parfois conflictuels même tant l’écart entre la sainteté vécue ou du moins ressentie peut entrer en contradiction avec une population souvent versatile mais soucieuse cependant de participer par capillarité à la sainteté de son chef de diocèse.

The motet Miles mire probitatis, printed by Petrucci in Motetti C of 1504, was once believed to be the work of Ockeghem, admittedly, without much critical consideration. A manuscript from the collegiate church of Saint-Martin of Tours, where Ockeghem famously served as Treasurer, is the only extant source to transmit both text and music of the sequence Miles mire probitatis, honoring St Martin. The motet is based on this short rhymed sequence, whose other concordances (text only) likewise emanate from that church. Scholars have advanced and dismissed various claims for the authorship of the motet Miles mire probitatis, but none has considered the implications of the unique source to transmit both the music and words of the original sequence. No less important is the fact that the sequence circulated only in a very narrow geographical area. An analysis of both the sequence and the motet based on it permits a reconsideration of questions of authorship, style, as well as an evaluation of the history of the debate.

le terme grec-latin neuma possède plusieurs sens liés les uns aux autres, mais souvent utilisés indifféremment, bien qu'ils aient chacun un sens précis. Pendant la période médiévale, il était d'ailleurs connu sous deux orthographes. le terme neuma signifie en général un geste, ou un « signe » mais a progressi-vement pris le sens d'une notation musicale, d'un geste mélodique, et, plus fréquemment, de note. Quant au terme pneuma, il signifie souffle, ou esprit 1. les liturgistes du moyen-âge ont fait de fréquentes allusions aux deux termes, désignant de manière plus spécifique certaines pratiques ou concepts. Ils ont généralement utilisé le terme neuma en se référant à une " productio cantus in finali litera antiphonae " ou au Jubilus de l'Alleluia par exemple et même dans un sens plus inclusif, à toute vocalisation, comme nous allons le voir.

The motet Miles mire probitatis, printed by Petrucci in Motetti C of 1504, was once believed to be the work of Ockeghem, admittedly, without much critical consideration.  A manuscript from the collegiate church of Saint-Martin of Tours, where Ockeghem famously served as Treasurer, is the only extant source to transmit both text and music of the sequence Miles mire probitatis, honoring St Martin.  The motet is based on this short rhymed sequence, whose other concordances (text only) likewise emanate from that church.
Scholars have advanced and dismissed various claims for the authorship of the motet Miles mire probitatis, but none has considered the implications of the unique source to transmit both the music and words of the original sequence.  No less important is the fact that the sequence circulated only in a very narrow geographical area.  An analysis of both the sequence and the motet based on it permits a reconsideration of questions of authorship, style, as well as an evaluation of the history of the debate.