"My People, What Have I Done to You?": The Good Friday Popule Meus Verses in Chant and Exegesis, C. 380-880 - read free eBook in online reader or directly download on the web page. Select files or add your book in reader. Download and read online ebook "My People, What Have I Done to You?": The Good Friday Popule Meus Verses in Chant and Exegesis, C. 380-880 write by Armin Karim. This book was released on 2014. "My People, What Have I Done to You?": The Good Friday Popule Meus Verses in Chant and Exegesis, C. 380-880 available in PDF, EPUB and Kindle. The Roman Catholic Good Friday liturgy includes a series of chants known today as the Improperia ("Reproaches") beginning with the following text: Popule meus, quid feci tibi? aut in quo contristavi te? responde mihi. Quia eduxi te de terra Egypti, parasti crucem Salvatori tuo ("My people, what have I done to you, or in what have I grieved you? Answer me. Because I led you out of the land of Egypt, you prepared a cross for your Savior"). The earliest witness to the chants is a Carolingian liturgical book from around 880, but it is agreed among scholars that their history extends back farther than this. Employing comparative analysis of Biblical exegesis, chant texts, and chant melodies, this study suggests that the initial chant verse, Micah 6:3-4a plus a Christianizing addendum ("My people ... you prepared ... "), originated in northwestern Italy between the end of the 4th century and the end of the 7th century and carried associations of the Last Judgment, the Passion, and Christian works, penitence, and forgiveness. Although previous scholarship has sometimes pointed to the Reproaches as a key text of Christian anti-Jewish history, it is clear that the initial three verses, the Popule meus verses, originally held allegorical rather than literal meanings. The fact that there are several preserved Popule meus chants across various liturgical repertoires and, moreover, several sets of Popule meus verses in a smaller subset of these repertoires--in northern Italy, southern France, and the Spanish March--bespeaks the pre-Carolingian origins of the Popule meus verses and raises the question of why the verses appear in the Carolingian liturgy when they do. This study proposes that the Popule meus verses were incorporated into the Carolingian liturgy at the Abbey of Saint-Denis under the abbacy of Charles the Bald (867-77). In the Adoration of the Cross ceremony adopted from Rome, paired with the Greek Trisagion, and carrying Gallican melody and meaning, the Carolingian Popule meus verses would have been an ecumenical declaration, as they spread, of the expediency of the crucified Christ and a penitent people, even in the face of impending political disintegration.
“My People, What Have I Done to You?”: The Good Friday Popule meus Verses in Chant and Exegesis, c. 380–880
“My People, What Have I Done to You?”: The Good Friday Popule meus Verses in Chant and Exegesis, c. 380–880 - read free eBook in online reader or directly download on the web page. Select files or add your book in reader. Download and read online ebook “My People, What Have I Done to You?”: The Good Friday Popule meus Verses in Chant and Exegesis, c. 380–880 write by Armin Karim. This book was released on 2014-04-04. “My People, What Have I Done to You?”: The Good Friday Popule meus Verses in Chant and Exegesis, c. 380–880 available in PDF, EPUB and Kindle. The Roman Catholic Good Friday liturgy includes a series of chants known today as the Improperia ("Reproaches") beginning with the following text: Popule meus, quid feci tibi? aut in quo contristavi te? responde mihi. Quia eduxi te de terra Egypti, parasti crucem Salvatori tuo ("My people, what have I done to you, or in what have I grieved you? Answer me. Because I led you out of the land of Egypt, you prepared a cross for your Savior"). The earliest witness to the chants is a Carolingian liturgical book from around 880, but it is agreed among scholars that their history extends back farther than this. Employing comparative analysis of Biblical exegesis, chant texts, and chant melodies, this study suggests that the initial chant verse, Micah 6:3-4a plus a Christianizing addendum ("My people... you prepared..."), originated in northwestern Italy between the end of the 4th century and the end of the 7th century and carried associations of the Last Judgment, the Passion, and Christian works, penitence, and forgiveness. Although previous scholarship has sometimes pointed to the Reproaches as a key text of Christian anti-Jewish history, it is clear that the initial three verses, the Popule meus verses, originally held allegorical rather than literal meanings. The fact that there are several preserved Popule meus chants across various liturgical repertoires and, moreover, several sets of Popule meus verses in a smaller subset of these repertoires--in northern Italy, southern France, and the Spanish March--bespeaks the pre-Carolingian origins of the Popule meus verses and raises the question of why the verses appear in the Carolingian liturgy when they do. This study proposes that the Popule meus verses were incorporated into the Carolingian liturgy at the Abbey of Saint-Denis under the abbacy of Charles the Bald (867-77). In the Adoration of the Cross ceremony adopted from Rome, paired with the Greek Trisagion, and carrying Gallican melody and meaning, the Carolingian Popule meus verses would have been an ecumenical declaration, as they spread, of the expediency of the crucified Christ and a penitent people, even in the face of impending political disintegration.
Micah in Ancient Christianity
Micah in Ancient Christianity - read free eBook in online reader or directly download on the web page. Select files or add your book in reader. Download and read online ebook Micah in Ancient Christianity write by Riemer Roukema. This book was released on 2019-09-02. Micah in Ancient Christianity available in PDF, EPUB and Kindle. What happened when the writing of the Old Testament prophet Micah from the 8th century BCE was read and interpreted by Christians in the 1st to 5th century BCE? This research meticulously describes data from patristic commentaries and other ancient Christian works in Greek and Latin, as well as the remains of Gnostic receptions of Micah, and it analyses the interpretative strategies that were adopted. Attention is paid to the partial retrieval of Origen’s Commentary on Micah, which is lost nowadays, but was used by later Christian authors, especially Jerome. This work includes the ancient delimitation of the Septuagint version and patristic observations on the meaning of particular terms. Other aspects are the liturgical readings from Micah’s book up to the Middle Ages, its use in Christ’s complaints about Israel on Good Friday (the Improperia), and a rabbinic tradition about Jesus quoting Micah. It is noted whenever patristic authors implicitly use or explicitly quote Jewish interpretations, many of which are supplied with parallels in contemporaneous or medieval Jewish works. This first comprehensive survey of the ancient Christian reception and interpretation of Micah is a valuable tool for Biblical scholars and historians.
Hearing the Scriptures
Hearing the Scriptures - read free eBook in online reader or directly download on the web page. Select files or add your book in reader. Download and read online ebook Hearing the Scriptures write by Eugen J. Pentiuc. This book was released on 2021. Hearing the Scriptures available in PDF, EPUB and Kindle. "This is a book on the use and interpretation of Scriptures in Byzantine Orthodox hymnography. The idea of writing such a book emerged with the publication of my The Old Testament in Eastern Orthodox Tradition (Oxford University Press, 2014). In the last two chapters of that work, I dealt with two media through which liturgists have interpreted the Scriptures, namely, the "aural" (e.g., hymnography, lectionaries, homilies, etc.) and "visual" (e.g., portable icons, mosaics, frescoes, liturgical acts, etc.) modes of interpretation, which I coined "liturgical exegesis." In that work, I made a general remark about liturgical exegesis: "The condensed liturgical exegesis is again a challenge to hearers and readers to locate the texts, events, images, and figures woven into the hymnography." I took on that challenge myself, having researched and written the present book, which seeks to identify Scriptures in Byzantine hymnography, a challenge as difficult as finding the proverbial needle in a haystack. Through a comprehensive and minute analysis of selected hymns, I have strived to make sure that no scriptural needle, as tiny and unobservable as it might be (i.e., scriptural hapax legomena [Gr. forms "occurring once" in the Bible] or rare words), remains hidden in the depths of the hymnic tapestry. Therefore, the first goal of my research was to find Scriptures, primarily Old Testament, in Byzantine Orthodox hymnography. The selection criteria for which hymns to consider rested fundamentally upon the presence of references and hints of the Old Testament in the targeted hymns. However, due to the resilient "hiddenness" of scriptural material within the poetic fabric of the hymns, it took me quite some time to decide which hymns should be selected and then thoroughly analyzed. The second goal of my research was to identify key features and hermeneutical procedures characteristic of "liturgical exegesis" in comparison to "discursive exegesis" (i.e., the interpretive method of ancient biblical commentaries)."--
Cultural Transfer of Music between Byzantium and the West?
Cultural Transfer of Music between Byzantium and the West? - read free eBook in online reader or directly download on the web page. Select files or add your book in reader. Download and read online ebook Cultural Transfer of Music between Byzantium and the West? write by Nina-Maria Wanek. This book was released on 2024-04-25. Cultural Transfer of Music between Byzantium and the West? available in PDF, EPUB and Kindle. This is the first comprehensive study of Greek language ordinary chants (Gloria/Doxa, Credo/Pisteuo, Sanctus/Hagios and Agnus Dei/Amnos tu theu) in Western manuscripts from the 9th to 14th centuries. These chants – known as “Missa Graeca” – have been the subject of academic research for over a hundred years. So far, however, research has been almost exclusively from a Western point of view, without knowledge of the Byzantine sources. For the first time, this book presents an in-depth analysis of these chants and their historical, linguistic and theological-liturgical environment from a Byzantine perspective. The new approach enables the author to refute numerous (and largely contradictory) theories on the origin and development of the Missa Graeca and provides new answers to old questions.
