In September 2016 Boston College Libraries introduced Burns antiphoner, an interactive open access resource.
Using an early 14th-century Franciscan antiphoner from the collections of Boston College’s John J. Burns Library, this digital research platform presents and contextualizes a medieval liturgical manuscript for both scholarly and general audiences. Employing open source technologies to create structured data and encode over 1500 incipits and notation, the site enables users to query and view music notation, metadata, performances, and textual incipits through a searchable interface.
The website also includes scholarly essays about the manuscript written by Graeme Skinner and videos of performances from short sections of the antiphoner by Schola Antiqua.
Above, a page from the manuscript; below, one of the performances included on the website.
In 2013 Alpuerto and Centro de Investigación y Documentación Musical (CIDoM) launched the series Investigación y patrimonio musical with Música policoral de la catedral de Cuenca: Motetes al Señor y los Santos de Alonso Xuárez (1640–1696), edited by José Luis de la Fuente Charfolé.
The activities of the composer Alonso Xuárez (1640–96) were crucial for the development of the religious repertoire at the Catedral de Santa María y San Julián de Cuenca. Xuárez was responsible in great measure for the stabilization of the music chapel and its repertoire, bringing Cuenca on a par with neighboring cities in regard to the quality and breadth of its liturgical music.
The motets collected in this edition address general liturgical rituals and pay tribute to local saints and regional traditions. A list of singers and performers connected with the music chapel of Cuenca’s cathedral for the period 1661–74 is appended.
Libreria Musicale Italiana launched the series Monumenta liturgiae et cantus in 2013 with I codici liturgici di Castel Tirolo by Marco Gozzi.
The volume presents facsimiles of sources used in Castel Tirolo, which was the historical seat of the counts of Tirolo and gave the region its name. Discussions of historical and musicological issues are also included.
In the preface to his collection Polyhymnia caduceatrix et panegyrica (1619) Michael Praetorius engaged in a play on words, juxtaposing the similar-sounding Latin terms concio and cantio. But the passage is not a mere display of cleverness—it is a theological assertion that musicologists have described as a manifesto on liturgical music.
Praetorius wrote (translated here): “for the completeness of worship it is not only appropriate to have a concio, a good sermon, but also in addition the necessary cantio, good music and song.” By stating that worship would be incomplete without “good music and song”—which he further deemed “necessary”—he was expressing the underlying premise of his entire career as a Lutheran church composer and cantor.
This according to “Concio et cantio: Proclamation and praise in song and music” by Daniel Zager; the article is published online here. Below, the Monteverdichor Würzburg and the Monteverdi Ensemble, conducted by Matthias Beckert, perform Praetorius’s Puer natus in Bethlehem from the same collection.