- The Oxford Handbook of the New Cultural History of Music
- Introduction: Defining the New Cultural History of Music, Its Origins, Methodologies, and Lines of Inquiry
- Gender, Performativity, and Allusion in Medieval Services for the Consecration of Virgins
- Music, Violence, and the Stakes of Listening
- Music and Pain
- “The Road into the Open”: From Narrative Closure to the Endless Performance of Subjectivity in Mahler and Freud at the Turn of the Century
- Understanding Schoenberg as Christ
- The Strange Landscape of Middles
- The Genre of National Opera in a European Comparative Perspective
- Cosmopolitan, National, and Regional Identities in Eighteenth-Century European Musical Life
- Mendelssohn on the Road: Music, Travel, and the Anglo-German Symbiosis
- “Shooting the Keys”: Musical Horseplay and High Culture
- Yvette Guilbert and the Revaluation of the <i>Chanson Populaire</i> and <i>Chanson Ancienne</i> during the Third Republic, 1889–1914
- Remembrance of Jazz Past: Sidney Bechet in France
- An Evening at the Opera in Seventeenth-Century Venice
- Josquin des Prez, Renaissance Historiography, and the Cultures of Print
- From “the Voice of the Maréchal” to Musique Concrète: Pierre Schaeffer and the Case for Cultural History
- A Matter of Style: State Sacrificial Music and Cultural-Political Discourse in Southern Song China (1127–1279)
- <i>Ernani</i> Hats: Italian Opera as a Repertoire of Political Symbols during the Risorgimento
- Modalities of National Identity: Sibelius Builds a First Symphony
- Beethoven, Napoleon, and Political Romanticism
- Translating Herder Translating: Cultural Translation and the Making of Modernity
- The Eye of the Needle: Music as History after the Age of Recording
- Afterword: Whose Culture? Whose History? Whose Music?
Abstract and Keywords
This article takes a look at tenth- and eleventh-century rituals for the consecration of virgins. These rituals are described in detail in liturgical books with prayers, pontificals, chants, and rubrics for services that were presided over by a bishop or sometimes an abbot. The pontificals also contained accounts of monastic profession, church dedication, the consecration of a cemetery, the blessing of altars and other cult objects, and clerical ordination. The article notes that the services for the consecration of virgins were more erratic than comparable ones for clerical ordination. It also discusses ritual studies, which tries to explain the meaning of cultural phenomena through interpretation.
James Borders is the Glenn McGeoch Collegiate Professor of Music and chair of the Musicology Department at the University of Michigan–Ann Arbor. He is former associate dean of graduate studies in music, theater, and dance, and former director of the Stearns Collection of Musical Instruments. He has held fellowships from the National Endowment for the Humanities and the National Endowment for the Arts, was a CIC Leadership Fellow in 1996–1997, and was nominated for an Amoco Teaching Award in 1998. He has published on a variety of topics from plainchant to the music of Frank Zappa in journals, including the Journal of Musicological Research and Perspectives on New Music.
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