Studying Gregorian chant presents many problems to the researcher because its most important stages of development were not recorded in writing. From the 6th to the 10th century, this form of music existed only in song as medieval musicians relied on their memories and voices to pass each verse from one generation to the next. Jeffery offers an approach for understanding how these melodies were created, memorized, performed, and modified. Drawing on a variety of disciplines, including anthropology and ethnomusicology, he identifies characteristics of Gregorian chant that closely resemble other oral traditions in non-Western cultures and demonstrates ways music historians can take into account the social, cultural, and anthropological contexts of chant's development.

In 1958, Bible scholar Morton Smith announced the discovery of a sensational manuscript–a second-century letter written by St. Clement of Alexandria, who quotes an unknown, longer version of the Gospel of Mark. When Smith published the letter in 1973, he set off a firestorm of controversy that has raged ever since. Is the text authentic, or a hoax? Is Smith’s interpretation correct? Did Jesus really practice magic, or homosexuality? And if the letter is a forgery . . . why?Through close examination of the “discovered” manuscript’s text, Peter Jeffery unravels the answers to the mystery and tells the tragic tale of an estranged Episcopalian priest who forged an ancient gospel and fooled many of the best biblical scholars of his time. Jeffery shows convincingly that Smith’s Secret Gospel is steeped in anachronisms and that its construction was influenced by Oscar Wilde’s Salomé, twentieth-century misunderstandings of early Christian liturgy, and Smith’s personal struggles with Christian sexual morality.

Comparative studies of medieval chant traditions in western Europe, Byzantium and the Slavic nations illuminate music, literacy and culture.Gregorian chant was the dominant liturgical music of the medieval period, from the time it was adopted by Charlemagne's court in the eighth century; but for centuries afterwards it competed with other musical traditions, local repertories from the great centres of Rome, Milan, Ravenna, Benevento, Toledo, Constantinople, Jerusalem, and Kievan Rus, and comparative study of these chant traditions can tell us much about music, liturgy, literacy and culture a thousand years ago. This is the first book-length work to look at the issues in a global, comprehensive way, in the manner of the work of Kenneth Levy, the leading exponent of comparative chant studies. It covers the four most fruitful approaches for investigators: the creation and transmission of chant texts, based on the psalms and other sources, and their assemblage into liturgical books; the analysis and comparison of musical modes and scales; the usesof neumatic notation for writing down melodies, and the differences wrought by developmental changes and notational reforms over the centuries; and the use of case studies, in which the many variations in a specific text or melodyare traced over time and geographical distance. The book is therefore of profound importance for historians of medieval music or religion - Western, Byzantine, or Slavonic - and for anyone interested in issues of orality and writing in the transmission of culture.PETER JEFFERY is Professor of Music History, Princeton University. Contributors: JAMES W. McKINNON, MARGOT FASSLER, MICHEL HUGLO, NICOLAS SCHIDLOVSKY, KEITH FALCONER, PETER JEFFERY, DAVID G.HUGHES, SYSSE GUDRUN ENGBERG, CHARLES M. ATKINSON, MILOS VELIMIROVIC, JORGEN RAASTED+, RUTH STEINER, DIMITRIJE STEFANOVIC, ALEJANDRO PLANCHART.

Studying Gregorian chant presents many problems to the researcher because its most important stages of development were not recorded in writing. From the 6th to the 10th century, this form of music existed only in song as medieval musicians relied on their memories and voices to pass each verse from one generation to the next. Jeffery offers an approach for understanding how these melodies were created, memorized, performed, and modified. Drawing on a variety of disciplines, including anthropology and ethnomusicology, he identifies characteristics of Gregorian chant that closely resemble other oral traditions in non-Western cultures and demonstrates ways music historians can take into account the social, cultural, and anthropological contexts of chant's development.

In 1958, Bible scholar Morton Smith announced the discovery of a sensational manuscript–a second-century letter written by St. Clement of Alexandria, who quotes an unknown, longer version of the Gospel of Mark. When Smith published the letter in 1973, he set off a firestorm of controversy that has raged ever since. Is the text authentic, or a hoax? Is Smith’s interpretation correct? Did Jesus really practice magic, or homosexuality? And if the letter is a forgery . . . why?Through close examination of the “discovered” manuscript’s text, Peter Jeffery unravels the answers to the mystery and tells the tragic tale of an estranged Episcopalian priest who forged an ancient gospel and fooled many of the best biblical scholars of his time. Jeffery shows convincingly that Smith’s Secret Gospel is steeped in anachronisms and that its construction was influenced by Oscar Wilde’s Salomé, twentieth-century misunderstandings of early Christian liturgy, and Smith’s personal struggles with Christian sexual morality.

Comparative studies of medieval chant traditions in western Europe, Byzantium and the Slavic nations illuminate music, literacy and culture.Gregorian chant was the dominant liturgical music of the medieval period, from the time it was adopted by Charlemagne's court in the eighth century; but for centuries afterwards it competed with other musical traditions, local repertories from the great centres of Rome, Milan, Ravenna, Benevento, Toledo, Constantinople, Jerusalem, and Kievan Rus, and comparative study of these chant traditions can tell us much about music, liturgy, literacy and culture a thousand years ago. This is the first book-length work to look at the issues in a global, comprehensive way, in the manner of the work of Kenneth Levy, the leading exponent of comparative chant studies. It covers the four most fruitful approaches for investigators: the creation and transmission of chant texts, based on the psalms and other sources, and their assemblage into liturgical books; the analysis and comparison of musical modes and scales; the usesof neumatic notation for writing down melodies, and the differences wrought by developmental changes and notational reforms over the centuries; and the use of case studies, in which the many variations in a specific text or melodyare traced over time and geographical distance. The book is therefore of profound importance for historians of medieval music or religion - Western, Byzantine, or Slavonic - and for anyone interested in issues of orality and writing in the transmission of culture.PETER JEFFERY is Professor of Music History, Princeton University. Contributors: JAMES W. McKINNON, MARGOT FASSLER, MICHEL HUGLO, NICOLAS SCHIDLOVSKY, KEITH FALCONER, PETER JEFFERY, DAVID G.HUGHES, SYSSE GUDRUN ENGBERG, CHARLES M. ATKINSON, MILOS VELIMIROVIC, JORGEN RAASTED+, RUTH STEINER, DIMITRIJE STEFANOVIC, ALEJANDRO PLANCHART.