Creativity in the Insular Sequence, c.1150-1300

礼仪序列-中世纪元素的质量适当的（不同的基督教一年）之后，哈利路亚和之前的福音吟诵-是越来越多的认可的历史和音乐学的意义，特别是由于非正统的旋律和文本处理和广泛的礼仪科目使用在每个序列的创作。然而，我们对这一体裁的理解仍有很大的差距;从英国和爱尔兰约1150 -1300年幸存下来的几乎未经研究的序列剧目构成了拟议的博士项目的主题。该项目展示了这些序列是如何创建的，它们是如何传播和记录的，最终提供了对十二世纪和十三世纪不同教会中心的个人如何制作，借用，重新利用，录制和表演音乐的洞察力-通常具有特定的文化或政治相关性-以庆祝他们不断变化的文学艺术。这项研究为最近学术界对中世纪晚期岛屿礼仪音乐的兴趣提供了重要的类比：沿着重大报道价值的潜力，该项目的资料来源基础提出了重大的历史问题和见解，无论是对于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.