Over the past century, scholars have identified examples of liturgical chant belonging to more th... more Over the past century, scholars have identified examples of liturgical chant belonging to more than one Western liturgical tradition, including Franco-Roman, Old Hispanic, Old Beneventan and Milanese. In a seminal study, Kenneth Levy identified a set of offertories that circulate in the Franco-Roman, Old Hispanic and Milanese traditions, arguing that all existing versions derive from an earlier, Gallican tradition. This article expands the evidence for connections between the Franco-Roman and Old Hispanic traditions, identifying nearly two dozen Franco-Roman responsories that are shared with the Old Hispanic rite and may be of Gallican or Iberian origin. The diversity of their liturgical assignments and circulation patterns suggests that the exchange of repertory took place at different times and through different routes. Many of these responsories are assigned to the later layers of the Roman liturgy. Others were added to the Old Hispanic liturgy between the eighth and tenth centuries. Just over half of these responsories show enough melodic connections between the Franco-Roman and Old Hispanic versions, in contour and melismatic density, to imply a shared melodic ancestor. Each version, however, uses the formulas associated with its own tradition, indicating that the melodies have been assimilated to the style and formulaic content of the receiving tradition. Despite the resulting melodic differences, we identify certain commonalities between Franco-Roman and Old Hispanic chant, such as text-setting strategies and common cadential contours, that facilitated the exchange of repertory. Over the past century, scholars have identified examples of liturgical chant belonging to more than one Western liturgical tradition, including Gregorian (hereafter Franco-Roman), Old Hispanic, Old Beneventan and Milanese. In a seminal essay, Kenneth Levy identified a set of offertories that circulate in the Franco-Roman, Old Hispanic and Milanese traditions, arguing that all existing versions derive from an earlier, Gallican tradition. 1 The extent of these exchanges and their implications for the early history of liturgical chant have not been fully explored. Here we expand the evidence for connections between liturgical traditions, identifying nearly two dozen Franco-Roman responsories that are shared with the Old Hispanic rite and may be
This study investigates the use of bongo music as a medium for social commentary in society. Afri... more This study investigates the use of bongo music as a medium for social commentary in society. African traditional musicians, without formal education have been able to address socio-political and moral issues. The methodology includes the use of autobiographic stories and lyrical analysis. The lyrics are drawn from the musical CDs of two musicians who are of different generations. Reviews of literatures are also used to discuss the historical background of Nigeria and the Igbo people, the function of music in the life of an African culture including music, and the impact of colonization in African music. The analysis explores the musicians' ability to resist cultural hegemony through musical instruments, language and lyrics. The lyrics specifically address issues of decolonization, unity, family relations and social justice. By addressing socio-political and moral issues, these bongo musicians have been able to provide philosophical insight into the African way of life. v
Why are conversations about seduction, the female body, and choosing partners central at a funera... more Why are conversations about seduction, the female body, and choosing partners central at a funeral during the Ikorodo music performance? How does Ikorodo enact the act of seduction? How has the act of seduction and Ikorodo performance practice evolved? How do Ikorodo performances express the indigenous conceptions of seductions? These are the questions this article addresses to reveal—how Ikorodo dance provides a platform for new beginnings and enactments of Nsukka Igbo societal gender ideologies. Drawing from indigenous conceptions of seduction, histories, practitioners’ and audiences’ narratives, archival materials, existing scholarship, and Ikorodu performance practice as experienced and collected during fieldwork, this article explores how Ikorodo dance—a traditional musical genre well known and performed in Nsukka, Enugu State, Nigeria—maintains its primary function of providing a space where maiden dancers utilize music to find life partners even when performed at a funeral. E...
Over the past century, scholars have identified examples of liturgical chant belonging to more th... more Over the past century, scholars have identified examples of liturgical chant belonging to more than one Western liturgical tradition, including Franco-Roman, Old Hispanic, Old Beneventan and Milanese. In a seminal study, Kenneth Levy identified a set of offertories that circulate in the Franco-Roman, Old Hispanic and Milanese traditions, arguing that all existing versions derive from an earlier, Gallican tradition. This article expands the evidence for connections between the Franco-Roman and Old Hispanic traditions, identifying nearly two dozen Franco-Roman responsories that are shared with the Old Hispanic rite and may be of Gallican or Iberian origin. The diversity of their liturgical assignments and circulation patterns suggests that the exchange of repertory took place at different times and through different routes. Many of these responsories are assigned to the later layers of the Roman liturgy. Others were added to the Old Hispanic liturgy between the eighth and tenth centuries. Just over half of these responsories show enough melodic connections between the Franco-Roman and Old Hispanic versions, in contour and melismatic density, to imply a shared melodic ancestor. Each version, however, uses the formulas associated with its own tradition, indicating that the melodies have been assimilated to the style and formulaic content of the receiving tradition. Despite the resulting melodic differences, we identify certain commonalities between Franco-Roman and Old Hispanic chant, such as text-setting strategies and common cadential contours, that facilitated the exchange of repertory.
Over the past century, scholars have identified examples of liturgical chant belonging to more th... more Over the past century, scholars have identified examples of liturgical chant belonging to more than one Western liturgical tradition, including Franco-Roman, Old Hispanic, Old Beneventan and Milanese. In a seminal study, Kenneth Levy identified a set of offertories that circulate in the Franco-Roman, Old Hispanic and Milanese traditions, arguing that all existing versions derive from an earlier, Gallican tradition. This article expands the evidence for connections between the Franco-Roman and Old Hispanic traditions, identifying nearly two dozen Franco-Roman responsories that are shared with the Old Hispanic rite and may be of Gallican or Iberian origin. The diversity of their liturgical assignments and circulation patterns suggests that the exchange of repertory took place at different times and through different routes. Many of these responsories are assigned to the later layers of the Roman liturgy. Others were added to the Old Hispanic liturgy between the eighth and tenth centuries.
Just over half of these responsories show enough melodic connections between the Franco-Roman and Old Hispanic versions, in contour and melismatic density, to imply a shared melodic ancestor. Each version, however, uses the formulas associated with its own tradition, indicating that the melodies have been assimilated to the style and formulaic content of the receiving tradition. Despite the resulting melodic differences, we identify certain commonalities between Franco-Roman and Old Hispanic chant, such as text-setting strategies and common cadential contours, that facilitated the exchange of repertory.
Over the past century, scholars have identified examples of liturgical chant belonging to more th... more Over the past century, scholars have identified examples of liturgical chant belonging to more than one Western liturgical tradition, including Franco-Roman, Old Hispanic, Old Beneventan and Milanese. In a seminal study, Kenneth Levy identified a set of offertories that circulate in the Franco-Roman, Old Hispanic and Milanese traditions, arguing that all existing versions derive from an earlier, Gallican tradition. This article expands the evidence for connections between the Franco-Roman and Old Hispanic traditions, identifying nearly two dozen Franco-Roman responsories that are shared with the Old Hispanic rite and may be of Gallican or Iberian origin. The diversity of their liturgical assignments and circulation patterns suggests that the exchange of repertory took place at different times and through different routes. Many of these responsories are assigned to the later layers of the Roman liturgy. Others were added to the Old Hispanic liturgy between the eighth and tenth centuries. Just over half of these responsories show enough melodic connections between the Franco-Roman and Old Hispanic versions, in contour and melismatic density, to imply a shared melodic ancestor. Each version, however, uses the formulas associated with its own tradition, indicating that the melodies have been assimilated to the style and formulaic content of the receiving tradition. Despite the resulting melodic differences, we identify certain commonalities between Franco-Roman and Old Hispanic chant, such as text-setting strategies and common cadential contours, that facilitated the exchange of repertory. Over the past century, scholars have identified examples of liturgical chant belonging to more than one Western liturgical tradition, including Gregorian (hereafter Franco-Roman), Old Hispanic, Old Beneventan and Milanese. In a seminal essay, Kenneth Levy identified a set of offertories that circulate in the Franco-Roman, Old Hispanic and Milanese traditions, arguing that all existing versions derive from an earlier, Gallican tradition. 1 The extent of these exchanges and their implications for the early history of liturgical chant have not been fully explored. Here we expand the evidence for connections between liturgical traditions, identifying nearly two dozen Franco-Roman responsories that are shared with the Old Hispanic rite and may be
This study investigates the use of bongo music as a medium for social commentary in society. Afri... more This study investigates the use of bongo music as a medium for social commentary in society. African traditional musicians, without formal education have been able to address socio-political and moral issues. The methodology includes the use of autobiographic stories and lyrical analysis. The lyrics are drawn from the musical CDs of two musicians who are of different generations. Reviews of literatures are also used to discuss the historical background of Nigeria and the Igbo people, the function of music in the life of an African culture including music, and the impact of colonization in African music. The analysis explores the musicians' ability to resist cultural hegemony through musical instruments, language and lyrics. The lyrics specifically address issues of decolonization, unity, family relations and social justice. By addressing socio-political and moral issues, these bongo musicians have been able to provide philosophical insight into the African way of life. v
Why are conversations about seduction, the female body, and choosing partners central at a funera... more Why are conversations about seduction, the female body, and choosing partners central at a funeral during the Ikorodo music performance? How does Ikorodo enact the act of seduction? How has the act of seduction and Ikorodo performance practice evolved? How do Ikorodo performances express the indigenous conceptions of seductions? These are the questions this article addresses to reveal—how Ikorodo dance provides a platform for new beginnings and enactments of Nsukka Igbo societal gender ideologies. Drawing from indigenous conceptions of seduction, histories, practitioners’ and audiences’ narratives, archival materials, existing scholarship, and Ikorodu performance practice as experienced and collected during fieldwork, this article explores how Ikorodo dance—a traditional musical genre well known and performed in Nsukka, Enugu State, Nigeria—maintains its primary function of providing a space where maiden dancers utilize music to find life partners even when performed at a funeral. E...
Over the past century, scholars have identified examples of liturgical chant belonging to more th... more Over the past century, scholars have identified examples of liturgical chant belonging to more than one Western liturgical tradition, including Franco-Roman, Old Hispanic, Old Beneventan and Milanese. In a seminal study, Kenneth Levy identified a set of offertories that circulate in the Franco-Roman, Old Hispanic and Milanese traditions, arguing that all existing versions derive from an earlier, Gallican tradition. This article expands the evidence for connections between the Franco-Roman and Old Hispanic traditions, identifying nearly two dozen Franco-Roman responsories that are shared with the Old Hispanic rite and may be of Gallican or Iberian origin. The diversity of their liturgical assignments and circulation patterns suggests that the exchange of repertory took place at different times and through different routes. Many of these responsories are assigned to the later layers of the Roman liturgy. Others were added to the Old Hispanic liturgy between the eighth and tenth centuries. Just over half of these responsories show enough melodic connections between the Franco-Roman and Old Hispanic versions, in contour and melismatic density, to imply a shared melodic ancestor. Each version, however, uses the formulas associated with its own tradition, indicating that the melodies have been assimilated to the style and formulaic content of the receiving tradition. Despite the resulting melodic differences, we identify certain commonalities between Franco-Roman and Old Hispanic chant, such as text-setting strategies and common cadential contours, that facilitated the exchange of repertory.
Over the past century, scholars have identified examples of liturgical chant belonging to more th... more Over the past century, scholars have identified examples of liturgical chant belonging to more than one Western liturgical tradition, including Franco-Roman, Old Hispanic, Old Beneventan and Milanese. In a seminal study, Kenneth Levy identified a set of offertories that circulate in the Franco-Roman, Old Hispanic and Milanese traditions, arguing that all existing versions derive from an earlier, Gallican tradition. This article expands the evidence for connections between the Franco-Roman and Old Hispanic traditions, identifying nearly two dozen Franco-Roman responsories that are shared with the Old Hispanic rite and may be of Gallican or Iberian origin. The diversity of their liturgical assignments and circulation patterns suggests that the exchange of repertory took place at different times and through different routes. Many of these responsories are assigned to the later layers of the Roman liturgy. Others were added to the Old Hispanic liturgy between the eighth and tenth centuries.
Just over half of these responsories show enough melodic connections between the Franco-Roman and Old Hispanic versions, in contour and melismatic density, to imply a shared melodic ancestor. Each version, however, uses the formulas associated with its own tradition, indicating that the melodies have been assimilated to the style and formulaic content of the receiving tradition. Despite the resulting melodic differences, we identify certain commonalities between Franco-Roman and Old Hispanic chant, such as text-setting strategies and common cadential contours, that facilitated the exchange of repertory.
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Papers by Ruth Opara
Just over half of these responsories show enough melodic connections between the Franco-Roman and Old Hispanic versions, in contour and melismatic density, to imply a shared melodic ancestor. Each version, however, uses the formulas associated with its own tradition, indicating that the melodies have been assimilated to the style and formulaic content of the receiving tradition. Despite the resulting melodic differences, we identify certain commonalities between Franco-Roman and Old Hispanic chant, such as text-setting strategies and common cadential contours, that facilitated the exchange of repertory.
Just over half of these responsories show enough melodic connections between the Franco-Roman and Old Hispanic versions, in contour and melismatic density, to imply a shared melodic ancestor. Each version, however, uses the formulas associated with its own tradition, indicating that the melodies have been assimilated to the style and formulaic content of the receiving tradition. Despite the resulting melodic differences, we identify certain commonalities between Franco-Roman and Old Hispanic chant, such as text-setting strategies and common cadential contours, that facilitated the exchange of repertory.