My paper would examine under a multidisciplinary approach how in the Latin medieval music-liturgical drama (10th-15th centuries) the rubrics constitute a normative written down body of rules that the monastic community followed for performing a drama. The Rubrics give detailed prescriptions for: spaces and movements, special effects, costumes, personifications, qualities and use of the voice, executives, mimics, means of conveying emotions, acts adapted from ritual, soloists-chorus and qualities of the music. The Rubrics were often differentiated and varied over time and they were transmitted from a monastery to another, undergoing a process of local adaptation and transformation and answering to an increased dramatic need in the complex relation between ritual and verisimilitude and between tradition and innovation.
Pietro Barozzi, a prominent figure in the venetian humanism, besides being bishop of Belluno and Padua, was also a writer, a poet, and a patron of the arts. Among his works are three music-liturgical offices written in the second half of the 15th century. They include votive masses and processions which, comparing to official rituals fixed by medieval tradition and included in liturgical books, contain some innovative elements. The purpose of my paper is to find out the historical, social and religious context that induces Pietro Barozzi to introduce some innovations in these votive rituals, focusing particularly on the key role played by monodic chant.
Mallorca Cathedral is an outstanding example of the introduction of the vernacular languages in the most important liturgical Celebracions in medieval times. The conquest of the island from the Muslims in 1230 and the establishment of the Catholic Church, determined a methodology different from the model already present in the territories of the Crown of Aragon. The staging of liturgical celebrations, the use of Catalan and the role of music were crucial to the development of the particularities of the liturgical use in Majorca during the Middle Ages.