| Abstract | Paper -a:
Two legends of Saint Andrew's relics in Scotland survive: a 12th-century legend, and another in three 14th-century sources. Robert, the first prior of Saint Andrews (c. 1140-1160), holds favour among scholars as the likely author. But the narrative details crafted into this later version of the legend indicate significant editorial intervention in the 13th century. This paper argues that the 13th-century editors reconstrued the cult of Saint Andrew to reflect the shifting identity of Scottish clerics. A similar impulse led to the creation of Parisian polyphony in the most significant artifact of medieval music from Scotland, W1 (Herzog August Bibliothek, Guelf. 628 Helmst.).
Paper -b:
From the late 12th century parodies of liturgical texts became widespread throughout Europe, forming a genre of Parodia Sacra. This paper investigates forms of comedy characteristic for this kind of texts and deals with the correlation between sacred originals and profane parodies and the transcendence of the boundaries of sanctity. Focusing on two exemplar parodies, 'Missa Potatorum' and 'Offcium Lusorum', the survey explores textual peculiarities such as paronimyc attraction, distinct imagery and attributes of the exact opposite to the Christian world formed within these texts, and discovers multiple Latin sources of parodies, such as false Evangel fragments, prayers and hymns, embracing various means of liturgical travesty.
Paper -c:
The close relationship among sequentiae and tropi had allowed many confusing taxonomies, some of them conceived in such a specific way that does not permit to link some repertories as sequentia, and troped Benedicamus Domino, being both items two kind of embodiment of a single creative process consisting in the exegetical comment. The study of Ave virgo singularis (E-Mn 19421) will be useful to see how an approach via medieval conceptions of poetics can help to relate repertoires separated in modern taxonomies, and subsequently bring them forth into light in performance, since they are part of a single interconnected liturgical repositorium.
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