Music, Spirituality and Material Culture in the Choirbooks of the Cistercian Convent of Seligenthal

1232年，巴伐利亚公爵夫人Ludmilla在兰茨胡特市建立了塞利根塔尔的西多会修道院，靠近雷根斯堡教区的边界。到1260年，这是一个繁荣的女性社区，在1262年至14世纪初，它获得了渐进（BL Add. MS 16950）和非对偶（BSB Clm 23046）。这些手稿构成了我拟读博士论文的重点，其中我的首要研究问题是：“在中世纪晚期，书中以何种方式体现了制度身份的表现？”如果我们把每本书都理解为贯穿整个机构历史的一个常量，那么在几百年的过程中，它的页面中包含了哪些个性和身份变化的证据呢？我提出的研究是围绕这样一个事实展开的：唱诗班书是专门由女性创作的，是在中世纪修道院里为女性创作的。它的目标是将每本书都构建成一个动态的对象；礼仪手稿不仅可以被理解为古文字或音乐来源，而且可以被理解为生活经验的表现。我会问seligenthal的女性是如何从个人和社会政治的角度与她们的社区交往的，书籍是如何被用来培养她们的精神生活的，以及现存的手稿是如何帮助她们引导她们的虔诚经历并构建她们独特的礼拜仪式的。

In 1232 the Bavarian Duchess Ludmilla founded the small Cistercian convent ofSeligenthal within the city of Landshut, close to the border of the diocese ofRegensburg. By 1260 this was a thriving female community, and between 1262 andthe early fourteenth century it acquired a gradual (BL Add. MS 16950) and anantiphonal (BSB Clm 23046). These manuscripts form the focus of my proposed PhD,in which my overarching research question is: 'in what ways is the performance ofinstitutional identity captured in the medium of the book during the late medievalperiod?'. If we understand each book as a constant throughout the institution's history,what evidence of individuality and changing identity has been encapsulated within itspages over the course of several hundred years? My proposed research anchors itselfaround the fact that the choirbooks were made specifically by women, for women,within the medieval monastic sphere. It aims to frame each book as a dynamic object;liturgical manuscripts can be understood not just as palaeographical items or musicalsources, but as manifestations of lived experience. I will ask how the women ofSeligenthal engaged with their community from both a personal and socio-politicalstandpoint, how books were used to nurture their spiritual lives, and how extantmanuscripts helped them navigate their devotional experiences and construct theirunique liturgical practice.