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by Norma Kroll ANY fine twentieth-century studies of the Latin liturgical drama have explored the correspondences between the plays and the Carolingian liturgy as well as the dramatized Ottonian Quem quaeritis tropes. Certainly, all three are hybrid works, consisting of stylized enactments of chanted texts.1 Since each involves some sort of acting out, scholars generally infer that the originating principle of drama is impersonation. They also assume that the church plays grew out of one or both of the earlier forms, even though they acknowledge that the plays somehow constitute a distinct category.2 Indeed, very dif- 1 Paul Evans's ``Reflections on the Origins of the Trope'' (Journal of the American Musicological Society 14.2 [1961]: 11930) includes a highly useful discussion of the term tropes in musical as well as poetic texts. We also have many superb studies of the texts' musical notation and staging. For example, Susan Rankin exhaustively explores the music of the Fleury and the other plays as well as the sources and transmission of their melodies in The Music of the Medieval Liturgical Drama in France and England, 2 vols. (New York: Garland, 1989), 1:6979, 12023, and 15560. Yet Rankin's work clearly reveals that the
Studies in Philology – University of North Carolina Press
Published: Mar 10, 2005
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