Creativity in the Insular Sequence, c.1150-1300

礼拜仪式序列是弥撒本身的中世纪元素(不同于基督教年份)，在哈利路亚之后，福音音调之前-具有越来越多的历史和音乐学意义，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拜主题。然而，在我们对这一体裁的理解上仍然有很大的差距；从英国和爱尔兰幸存下来的几乎没有研究过的序列曲目(公元1150-1300年)构成了拟议的博士项目的主题。该项目考虑展示了这些序列是如何创建的，它们是如何传播的，以及它们是如何被记录下来的，最终提供了对12世纪和13世纪不同教会中心的个人是如何制作、借用、改变用途、录制和表演音乐--通常与特定的文化或政治相关--以庆祝他们不断变化的礼拜仪式的洞察。这项研究提供了一个重要的类似于最近对中世纪高级岛国礼拜音乐的学术兴趣：除了有可能进行重大的报告性评价外，该项目的来源基础提出了重大的历史问题和见解，包括音乐史和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.