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Ulrike Hascher-Burger

This volume deals with the music of the Devotio moderna, an influential religious movement in Northern Europe during the late Middle Ages. As its point of departure it takes a unique source from the second half of the fifteenth century, manuscript 16 H 34 (olim B 113) from the University library of Utrecht, which was hitherto largely unknown.
Five studies deal with the codicological construction, the systems of notation, the function, liturgical and paraliturgical aspects and the polyphonic arrangements of the songs.
The multi-disciplinary approach of this research makes the volume a valuable source for anyone interested in the Devotio moderna movement, especially musicologists, codicologists and (church-)historians.
This volume is illustrated with many facsimiles from the manuscript and contains an edition of all the music of MS.16 H34.
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Ulrike Hascher-Burger

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Ulrike Hascher-Burger

Abstract

The Rosetum exercitiorum spiritualium et sacrarum meditationum of Johannes Mauburnus is considered the most extensive and influential treatise on meditation in the circles of the late Devotio Moderna. It was printed in five editions from the late fifteenth to the early seventeenth century. Besides instructions for numerous meditations of varying length, this treatise contains seven religious songs which were intended to stir up the emotions and facilitate the correct disposition for meditation. These songs were created as contrafacts, meaning that the newly composed texts were sung to well-known melodies of liturgical hymns and religious songs. In song rubrics, Mauburnus gives precise instructions about their function as an aid to summoning the motivation for the great number of spiritual exercises that had to be accomplished by the adherents of the Devotio Moderna every day. A unique feature of the Rosetum is the combination of a concrete meditation with a corresponding written song. These songs have not yet been examined systematically. The texts were edited by Guido Maria Dreves in Analecta hymnica on the basis of the edition printed in Paris in 1510. The melodies have not yet been reconstructed. In this article, the seven contrafacts are studied for the first time from the point of view of their structure and function, and their melodies are reconstructed on the basis of liturgical sources associated with the Devotio Moderna.

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Ulrike Hascher-Burger

An important source for the monastic reform movement in fifteenth century North Germany has been the Liber de reformatione monasteriorum of the Windesheim canon Johannes Busch. In this book, he gives more attention to the liturgical reform of nunneries than to that of monasteries. In introducing the new liturgy, Busch took the first step himself by singing and celebrating with the communities. The liturgical reform primarily aimed to separate the monastic liturgy, celebrated by the nuns, from the liturgy of the secular clergy of the churches. The separation resulted from the introduction of enclosures in female convents. Part of the liturgical reform was the implementation of a uniform liturgy, which was realized to a great extent. It failed, however, with regard to the liturgical use of the organs, which was forbidden in reformed circles, but nevertheless practiced to a great extent in late medieval cloisters in North Germany.

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Singen für die Seligkeit

Studien zu einer Liedersammlung der Devotio moderna: Zwolle, Historisch Centrum Overijssel, coll. Emmanuelshuizen, cat. VI. Mit Edition und Faksimile

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Ulrike Hascher-Burger

This volume concerns a music manuscript written at the end of the fifteenth century and associated with the Brethren of the Common Life at Zwolle. The manuscript is bound together with an incunable containing one of the most influential theological treatises of the Devotio moderna: the De spiritualibus ascensionibus of Gerard Zerbolt of Zutphen. The music manuscript contains 25 one-part hymns and two text excerpts on the Four Last Things (death, judgement, heaven, and hell), the core theme of the Brethren’s penitential meditation. The book deals with the codicological construction of the book, the transmission, and the function of the songs in their context of the practice of pentitential meditation. The multidisciplinary study makes an important contribution to research on hymns in the late Middle Ages as well as on the music and spirituality of the Devotio moderna.