Women in Medieval Music Womens involvement with gallant symphony took on a variety of forms; they served at times as audience, as participant, as supporter, and last but not least as composer. The proof of their roles is quite random. Many musical sources cede been lost, and those sources that do survive only sometimes provide the composer credit. discipline on specific performances is close to non-existent, and what does exist must be interpreted carefully. An artwork portraying a women musician whitethorn be re symboliseational or symbolic, or both. Yet, despite these handicaps, present day studies reveal many ways in which medieval women were engaged with and enriched by the music that flourished around them.
One of the so binglest witnesses to Christian church practice was the nun Egeria (ca. 400), whose credentials of her pilgrimage to Jerusalem provides evidence for the emerging office work and for the development of the mass. She was writing for an audience of fellow-nuns, and assumed that they understood the elaborate of the services, but her descriptions give hints of the divisions of services and the types of chants used, as well as dilate about the rituals involved.
From this, she gives more specifically musical details; for example, in a pre-dawn service on the Lords Day (Sunday), at that place are hymns and antiphons (sacred songs) alternating with prayers before the service begins, and the service itself begins with the usage of psalms: When the first cock has crowed, forthwith the bishop descends and enters inside of the hollow out to the Anastasis (the sanctuary). All the doors are opened, and the whole crowd streams into the Anastasis. Here measureless lights are shining; and when the people have entered, one of the priests says a psalm, and they all respond; then prayer is offered. Again one of the deacons says a psalm,
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