Details
- Autor(en) / Beteiligte
- Titel
- THE ENGLISH MONASTIC LITURGY OF THE HOURS IN NORTH AMERICA. (VOLUMES I-III) (BENEDICTINE, CISTERCIAN, TRAPPIST)
- Ort / Verlag
- ProQuest Dissertations Publishing
- Erscheinungsjahr
- 1985
- Link zum Volltext
- Quelle
- ProQuest Dissertations & Theses A&I
- Beschreibungen/Notizen
- Between 1825 and 1980, 148 monasteries were founded in North America. American Benedictines cherish the Liturgy of the Hours as an essential part of their lives. For most of their history, Benedictines prayed the office in Latin, but the past two decades have witnessed the almost universal adoption of the vernacular for the Hours. The adoption of the vernacular was followed by the restructuring of the Hours, and there has been no uniform monastic office since 1967. Although some monasteries use the revised Roman breviary, most houses chose their own psalm distribution and designed their own office. Two monasteries elected to pray the Byzantine Hours. The thesis traces the history of North American Benedictines and the history of the office. Five appendices supply documentation and give the history of each monastery. Composers began to write music for the vernacular office in about 1970. During 1980-1981 I visited 97 monasteries in America to obtain copies of music, and to interview composers and liturgists. Most monasteries not visited responded to a questionnaire and sent music to me. The thesis presents 468 examples of music for the monastic office: hymns, which are always sung; Gospel canticles, which are usually sung; and the psalmody, antiphons, and responsories, which are often sung. Almost every style and quality of music is used for the office. It is sometimes sung a capella, but is usually accompanied by organ or guitar. Much of the music is monophonic, but harmonized settings are also used. Six main style categories are found: Gregorian chant or adapted chant; new modal chant; chant-like pieces; strophic hymns; popular folk songs; and fine art music. Some composers are talented amateurs while others have advanced degrees in composition. Some monasteries have abundant resources in trained musicians; others have only a few singers. Because of the contemplative dimension of the monastic office, chant-like music is preferred. The music which may hold the greatest promise for the future is new modal chant and fine art music. Much of the music presently used is not significant as music, but all of it is significant as prayer.