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Dr Raquel Rojo Carrillo

Text, liturgy and music in the Old Hispanic rite: the vespertinus genre

In very general terms I am interested in understanding how Old Hispanic chant developed during the 400 years that separate its earliest and its latest sources with musical notation, and in how this development occurred across the different contexts in which these sources were copied. I am approaching this very general question through an analysis of the vespertinus genre, in which I cover textual, musical and liturgical variables. I chose this genre because it appears in most Old Hispanic chant manuscripts, throughout the entire liturgical year, in different types of offices (i.e., temporale, sanctorale, litanies, and in votive and other offices for special occasions), and because it can be contrasted with chants that have the same placement and function in other rites (namely the Milanese lucernaria and the Neo-Mozarabic laudes), allowing a broader geographical, chronological and liturgical contextualisation of the Old Hispanic rite.

The vespertinus is the first chant that was sung in the Old Hispanic vespers service. Vespers were normally chanted every evening as the first service of each liturgical day, before the rest of the services. Thus, the vespertinus was the very first chant to be sung in each office and its function was to introduce an important topic of the day. Vespertini also open second vespers, which were the last service of certain liturgical days. Here the vespertinus would remind an important topic of the day and/or have a praising role. 


Research keywords

  • Old Hispanic Chant
  • Medieval chant
  • Medieval music
  • Medieval studies
  • Liturgy/transmission
  • Codicology
  • Palaeography
  • Music analysis
  • Notation
  • Musicology
  • Music History
  • Music
  • Hispanic studies
  • Other interests (previous professional experience and investigations): music criticism and press history.