By Barra Boydell
Christ Church has had a fancy and sundry heritage because the cathedral church of Dublin, one among Anglican cathedrals within the capital of a predominantly Catholic state and the church of the British management in eire earlier than 1922. An Irish cathedral in the English culture, but via a lot of its heritage it was once basically an English cathedral in a international land. With shut musical hyperlinks to cathedrals in England, to St Patrick's cathedral in Dublin, and to the city's wider political and cultural lifestyles, Christ Church has the longest documented tune historical past of any Irish establishment, delivering a distinct standpoint at the historical past of tune in Ireland.Barra Boydell, a number one authority on Irish track heritage, has written a close research drawing at the such a lot broad musical and archival resources latest for any Irish cathedral. The choir, its composers and musicians, repertoire and organs are mentioned in the wider context of urban and country, and of the non secular and political dynamics that have formed Anglo-Irish relationships due to the fact that medieval instances. greater than only a background of tune at one cathedral, this ebook makes an enormous contribution to English cathedral tune reports in addition to to Irish musical and cultural history.BARRA BOYDELL is Senior Lecturer in tune, nationwide college of eire, Maynooth.
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Additional resources for A History of Music at Christ Church Cathedral, Dublin
Music: Documents, pp. 32–3. 73 This move put on a firmer footing whatever informal arrangement must already have been in existence since 1480 for the master of the boys. It was to be financed from the offerings made to the baculus Ihesu or staff of Jesus, the most important of the relics which made Christ Church such an important pilgrimage centre, as well as by rents from certain specified church properties and other donations. 76 This deed of 1493 can therefore be regarded as marking the formal establishment of the cathedral choir school which had effectively existed since 1480 and would continue until 1972.
9 The 5 6 7 8 9 Harper, Forms of Western Liturgy, pp. 29–30. Hawkes, ‘Liturgy’, esp. p. 34. For a detailed outline of the divine office, see Harper, Forms of Western Liturgy, ch. 6. See pp. 20–1 below. The relics included the miraculous speaking cross (supposed to be a fragment of the True Cross), the baculus Ihesu (‘the staff of Jesus which an angel had conferred on blessed Patrick’), a thorn from the crown of thorns, a piece of the cloth in which Jesus was wrapped as a baby, some of the milk of the Blessed Virgin Mary, and many relics of Irish saints including bones of St Patrick, St THE MEDIEVAL CATHEDRAL-PRIORY 13 priests and members of monastic communities prayed and celebrated mass on behalf of the people or, in the case of individually endowed masses which became increasingly common in the later Middle Ages, on behalf of specific benefactors whose presence at the mass was not essential.
182f. 29 What is certainly clear is that the involvement of the canons in drama suggested by the Visitatio Sepulcri was not exceptional. 32 The troper is however of the greatest interest in the context of both Dublin cathedrals during the later fourteenth century. The major part of this manuscript, the troper itself (fols 32r–131v), contains plainchant for the sung parts of the ordinary of the mass, the Kyrie, Gloria, Sanctus and Agnus Dei, frequently embellished with interpolated passages or ‘tropes’, along with sequences for various feasts including two in honour of St Patrick, and Marian sequences which are likely to have been sung at the votive mass of the Virgin.
A History of Music at Christ Church Cathedral, Dublin by Barra Boydell