Music in the Shadows: Staging Medieval Night Worship 800-1300

阴影中的音乐：上演中世纪夜间崇拜 800-1300

• 批准号: AH/X011488/1
• 负责人: Henry Parkes
• 金额: $ 28.37万
• 依托单位: University of Nottingham
• 依托单位国家: 英国
• 项目类别: Fellowship
• 财政年份: 2023
• 资助国家: 英国
• 起止时间: 2023 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FX011488%2F1
• 关键词: Music; Shadows; Staging; Medieval; Night

For the better part of a millennium, Christian religious communities across Western Europe awoke from their sleep each night to offer prayer in church. During the Middle Ages this form of daily worship - known as Nocturns, Matins, or Night Office - was a significant and immovable presence in religious life. Even on weekdays it was the longest of the eight daily prayer services, and on Sundays and feast days it expanded into a dramatic, multisensory experience that was a magnet for local creativity. It is still possible to detect the service's legacy in contemporary religious culture: in the annual Festival of Nine Lessons and Carols, from King's College Cambridge; in the candlelit drama of the 'Tenebrae' ceremony of Maundy Thursday; and in the scattered monastic communities of the British Isles that still rise each night to sing. From a historical perspective, however, the Night Office remains shrouded in darkness. Unlike its nocturnal companion Compline, which has undergone a popular revival in recent years, and unlike the comparably extensive daytime rituals of the Mass or Vespers, the service is not well known. Even for those familiar with its complexities - which include vast, recurring cycles of reading and psalmody, an intricate, extensible structure, and tens of thousands of surviving chant compositions - there remain significant gaps in our understanding. Despite a wealth of surviving documents that bear witness to musical practices, personnel, spaces, props, techniques, and gestures, no one has approached the office from the perspective of its praxis. Artistic creations associated with the Night Office, including liturgical drama and polyphony, are rarely understood in their original nocturnal contexts. And despite its prominence in medieval religious life, little is known of how the Night Office was understood and interpreted by its performers, nor of the logistics of staging a complex daily ritual during the hours of darkness.'Music in the Shadows' offers the first dedicated investigation of this remarkable historical phenomenon. Interdisciplinary in its design, its aims will be accomplished through three complementary strands of research, KE, and public engagement:1. exploration of neglected archival materials to establish: i.) the norms and expectations of the medieval Night Office, logistical and liturgical, and contexts for the local creativity that characterised its cultivation; ii.) how medieval individuals documented and rationalised the experience of worshipping by night, including strategies for its sustenance and the reasons for its ultimate widespread abandonment;2. public performance events, co-produced with Southwell Minster and two other medieval churches, in which researchers, clergy, and musicians use newly-unearthed evidence to discuss and then attempt to reconstruct different forms of Night Office, with two primary aims: i.) to explore the embodied potential of the historical record, recognising the distance between medieval documents and their performance, and the degree to which the service and its meanings transcended the verbal; ii.) to catalyse wider engagement with a forgotten category of spiritual expression;3. fieldwork trips to contemporary monastic communities in the British Isles where the Night Office is still performed according to medieval precepts, in order to document and facilitate reflection on the lived experience of communal night worship, and to create long-term relationships for research and collaboration.Knowledge of the night's underpinning role in medieval religion has much to teach us today, not only about the spaces, repertoires, and ritual practices that constitute its primary cultural legacy, but also about the enduring appeal of music and spirituality by night. Through public events, publications, and partnerships, the project will engage religious practitioners, musicians, researchers, congregations, and local communities.

在一千年的大部分时间里，西欧的基督教宗教团体每天晚上从睡梦中醒来，在教堂祈祷。在中世纪，这种形式的日常崇拜-被称为夜会，晨祷，或夜间办公室-是一个重要的和不可移动的存在，在宗教生活。即使在工作日，它也是每天八次祈祷服务中最长的一次，在星期天和节日，它扩展成一种戏剧性的、多感官的体验，吸引了当地的创造力。在当代宗教文化中，我们仍然可以发现这项仪式的遗产：在剑桥国王学院一年一度的九课节和颂歌中;在濯足节的烛光戏剧中;在不列颠群岛分散的修道院社区中，他们仍然每晚起床唱歌。然而，从历史的角度来看，夜间办公室仍然笼罩在黑暗中。不像它的夜间伴侣Compline，这在最近几年经历了一个流行的复兴，也不像弥撒或晚祷的广泛的白天仪式，该服务并不为人所知。即使对那些熟悉它的复杂性的人来说--包括巨大的、重复的阅读和赞美诗循环，一个复杂的、可扩展的结构，以及数以万计的幸存的圣歌作品--我们的理解仍然存在重大差距。尽管有大量幸存的文件见证了音乐实践，人员，空间，道具，技术和手势，但没有人从实践的角度来接近办公室。与夜间办公室有关的艺术创作，包括礼拜戏剧和复调音乐，很少在其原始的夜间背景下被理解。尽管它在中世纪的宗教生活中占有重要地位，但人们对它的表演者是如何理解和解释它的，也不知道在黑暗中上演复杂的日常仪式的后勤工作。“阴影中的音乐”提供了对这一非凡历史现象的第一次专门调查。在其设计跨学科，其目标将通过研究，KE和公众参与的三个互补链实现：1。探索被忽视的档案材料，以建立：i.）中世纪夜间办公室的规范和期望，后勤和礼仪，以及当地创造力的背景，其特点是种植; ii.）中世纪的个人如何记录和合理化的夜间崇拜的经验，包括其维持战略和最终广泛放弃的原因;2。公共表演活动，与Southwell敏斯特和其他两个中世纪教堂共同制作，其中研究人员，神职人员和音乐家使用新出土的证据来讨论，然后试图重建不同形式的夜间办公室，有两个主要目的：i.）探索历史记录的具体潜力，认识到中世纪文件及其性能之间的距离，以及服务及其意义超越口头的程度; ii.）促进更广泛地参与被遗忘的精神表达类别;3.在不列颠群岛的当代修道院社区进行实地考察，那里的夜间办公室仍然按照中世纪的戒律进行，以记录和促进对社区夜间崇拜的生活经验的反思，并建立长期的研究和合作关系。了解夜间在中世纪宗教中的基础作用对今天的我们有很多启示，不仅是关于空间，剧目，以及构成其主要文化遗产的仪式习俗，但也有关于夜间音乐和灵性的持久吸引力。通过公共活动、出版物和合作伙伴关系，该项目将吸引宗教从业者、音乐家、研究人员、会众和当地社区的参与。