Nicolas of Clairvaux and the Twelfth-Century Sequence with Special Reference to Adam of St. Victor
The vast number and variety of sequences, those liturgical interpolations which in the middle ages commonly followed the repetition of the Alleluia in the Mass, and the freedom of their development, show that they were an outlet for the creative talents of musicians and poets. A sample of sequences...
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| Format: | Electronic Article |
| Language: | English |
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| Published: |
Cambridge University Press
1962
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| In: |
Traditio
Year: 1962, Volume: 18, Pages: 149-179 |
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Volltext (JSTOR) Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
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| 520 | |a The vast number and variety of sequences, those liturgical interpolations which in the middle ages commonly followed the repetition of the Alleluia in the Mass, and the freedom of their development, show that they were an outlet for the creative talents of musicians and poets. A sample of sequences from successive periods allows the literary historian to trace the development of rhyme and accentual meter, and a musicologist has described the sequence ‘as the parent of oratorio and the grandparent of modern drama.’ But while a view which encompasses centuries reveals to us variety and change, the compositions of any given time were largely shaped by inherited traditions. Not the least value of studies on the early history of the sequence is their demonstration of the close connection between various Alleluia melodies and their sequences and the way in which appropriate texts were fitted to melodies for specific feasts. | ||
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