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Robert L. Kendrick, Singing Jeremiah. Music and Meaning in Holy Week . Indiana University Press, Bloomington/Indianapolis 2014, x + 337 pp. ISBN 9780253011565. US $50; £33. The subtitle of this study, ‘Music and Meaning in Holy Week,’ is potentially misleading. It does indeed focus on music and meaning in Holy Week, but of one particular service within Holy Week, Tenebrae, as it was celebrated and performed between 1550 and the late eighteenth century. The rites of Holy Week are a prime example of the liturgical law promulgated by Anton Baumstark, namely that primitive conditions are maintained with greater tenacity in the most sacred seasons of the Liturgical Year. In other words, their structure and content is less developed than daily or even weekly services. The rites themselves, beginning with Palm Sunday through to the Vigil of Holy Saturday and the first mass of Easter, trace their roots to the particular rememorative re-enactments in the Jerusalem Church of the fourth century, and described by the pilgrim Egeria. Pilgrims liked what they saw and participated in, and although the historical places could not be replicated (the Disney Corporation didn’t exist then!), the rituals could be copied and adapted for local
Church History and Religious Culture (formerly Nederlands Archief voor Kerkgeschiedenis) – Brill
Published: Jan 1, 2015
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