000			03767cam a2200517Ii 4500
001			BRILL9789401205443
003			nllekb
005			20260610105129.0
007			cr un uuuua
008			080206s2007 ne bg sb 000 0 eng d
020			_a9789401205443 _q(electronic book)
020			_z9789042023468 _q(print)
024	7		_a10.1163/9789401205443 _2DOI
035			_a(OCoLC)191856349
040			_aNL-LeKB _cNL-LeKB _erda
043			_ae-gx---
050		4	_aPT1448.S23 _bM33 2007
072		7	_aAN _2bicssc
072		7	_aDRA000000 _2bisacsh
082	0	4	_a792.16 _222
100	1		_aMacardle, Peter.
245	1	4	_aThe St Gall passion play : _bmusic and performance / _cby Peter Macardle.
246	3		_aSaint Gall passion play
264		1	_aAmsterdam ; _aNew York : _bRodopi, _c2007.
300			_a1 online resource (460 pages) : _bmap, music.
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _2rdacarrier
490	1		_aLudus ; _v10
504			_aIncludes bibliographical references (p. 397-460).
505	0	0	_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.
506			_aAvailable to subscribing member institutions only.
520			_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.
630	0	0	_aSt. Galler Passionsspiel.
630	0	0	_aSt. Galler Passionsspiel _xCriticism, Textual.
650		0	_aPassion-plays _xSongs and music _xHistory and criticism.
650		0	_aPassion-plays _xCriticism, Textual.
650		0	_aLiturgical drama _zGermany _zRhineland _y500-1400 _xSongs and music _xHistory and criticism.
650		0	_aLiturgical drama _zGermany _zRhineland _y500-1400 _xCriticism, Textual.
650		0	_aTheater _zGermany _zRhineland _xHistory _yMedieval, 500-1500.
776	0	8	_iPrint version: _tThe St Gall Passion Play: Music and Performance _dLeiden, Boston : Brill | Rodopi, 2007, _z9789042023468
830		0	_aLudus _v10.
830		0	_aLiterature and Cultural Studies E-Books Online, Collection 2007, ISBN: 9789004357969.
856	4		_zDOI: _uhttp://dx.doi.org/10.1163/9789401205443
999			_c24818 _d24818