Creativity in the Insular Sequence, c.1150-1300

礼仪序列是中世纪弥撒的一个元素（在基督教的一年里有所不同），它在哈利路亚之后，在福音的语调之前，越来越被认为是历史和音乐学上的意义，特别是由于在每个序列的创作中使用了非正统的旋律和文本处理以及广泛的礼仪主题。然而，我们对这类游戏的理解仍有很大差距；从1150-1300年的英国和爱尔兰幸存下来的几乎未经研究的序列汇编构成了拟议的博士项目的主题。该项目考虑了这些序列的创建，它们是如何传播和记录的，最终提供了对12和13世纪不同教会中心的个人如何制作，借用，重新利用，录制和表演音乐的见解-通常具有特定的文化或政治相关性-来庆祝他们不断变化的礼仪年。这项研究提供了一个重要的类似于最近学术界对中世纪晚期岛屿仪式音乐的兴趣：随着重要的报告价值的潜力，这个项目的来源基础提出了重大的历史问题和见解，无论是音乐史还是更广泛的欧洲文化史。

The liturgical sequence-a medieval element of the Mass Proper (varying across the Christian year) which followed theAlleluia and preceded the Gospel intonation-is of increasingly recognised historical and musicological significance, dueespecially to the unorthodox melodic and textual treatment and wide-ranging liturgical subjects used in each sequence'screation. However, there are still large gaps in our understanding of the genre; the virtually unstudied sequence repertorysurviving from Britain and Ireland c.1150-1300 forms the subject of the proposed doctoral project. The project considershow these sequences were created, how they circulated, and were recorded, ultimately providing insight into howindividuals at different ecclesiastical centres in the twelfth and thirteenth centuries were crafting, borrowing, repurposing,recording, and performing music-often with specific cultural or political relevance-to celebrate their changing liturgicalyear. This research provides an important analogue to recent scholarly interest in high-medieval insular liturgical music:along with the potential for significant reportorial valorisation, the source base of this project raises major historical issuesand insights, both for the history of music and broader European cultural history.