By Barra Boydell
Christ Church has had a fancy and sundry historical past because the cathedral church of Dublin, one in every of Anglican cathedrals within the capital of a predominantly Catholic state and the church of the British management in eire sooner than 1922. An Irish cathedral in the English culture, but via a lot of its heritage it used to be primarily an English cathedral in a overseas 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 existence, Christ Church has the longest documented tune background of any Irish establishment, offering a different point of view at the heritage of track in Ireland.Barra Boydell, a number one authority on Irish song heritage, has written an in depth learn drawing at the so much broad musical and archival assets present for any Irish cathedral. The choir, its composers and musicians, repertoire and organs are mentioned in the wider context of urban and kingdom, and of the non secular and political dynamics that have formed Anglo-Irish relationships because medieval instances. greater than only a heritage of track at one cathedral, this publication makes a massive contribution to English cathedral song stories in addition to to Irish musical and cultural history.BARRA BOYDELL is Senior Lecturer in tune, nationwide collage of eire, Maynooth.
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Additional info for A History of Music at Christ Church Cathedral, Dublin
16 A HISTORY OF MUSIC AT CHRIST CHURCH CATHEDRAL Image not available Plate 3. The Christ Church psalter (Oxford, Bodleian Library, MS Rawl. G. 185). Illuminated initial to Psalm 80, Exultate Deo. Three Sarum manuscripts survive from the church of St John the Evangelist (demolished in the nineteenth century) which was situated immediately to the north-east of Christ Church and had been served by the canons of Christ Church from the time of Archbishop Luke of Dublin (1230–55). These manuscripts may very likely have originated in the cathedral-priory, but even if this is not the case they can at least be expected to reflect its liturgical practice.
Photograph: Roger Stalley) might loosely be described as a rectangular ‘harp’, and two straight trumpets, together with two singers (Plate 3). The imagery is symbolic, reflecting the words of the psalm, and is certainly not an attempt to portray actual musical performance by the monks. While it does include instruments in contemporary use, others, notably the rectangular ‘harp’, are symbolic and do not bear organological scrutiny. A second miniature accompanying Psalm 97, Cantate Domino (‘O Sing unto the Lord a new song’), belongs to a widely represented iconographical tradition in which this psalm is illustrated with a group of monks or clerics singing from music (Plate 4).
Lxxxiv f and pls lxi–lxiv. Rota versatilis, in honour of St Catherine, the complete music and text for which has been reconstructed from four fragments including this one. The motet is English in origin and dates from before 1325. GB-Lbl, MS Add. 24198; facsimile: Harrison & Wibberly, Manuscripts, pp. 3–8; Bent, ‘Rota Versitilis’, including transcription. NMI, accession nos 1961: 12, 24, 34, 41. Transcribed and illustrated in Harrison, ‘Polyphony’; see also Bliss, ‘Inscribed Slates’. THE MEDIEVAL CATHEDRAL-PRIORY 23 The fact that these came from a church not in a major religious centre or town suggests that more sophisticated polyphony was sung not only in the major centres, presumably including Christ Church cathedral, but also in smaller and more isolated communities.