Until recently, research on the late medieval English Office liturgy has suggested that all manuscripts of the same liturgical Use, including those of the celebrated and widespread Uses of Sarum and York, are in large part interchangeable and uniform. This study demonstrates, through detailed analyses of the manuscript breviaries and antiphonals of each secular liturgical Use of medieval England, that such books do share a common textual core. But this is in large part restricted to a single genre of text--the responsory. Other features, even within manuscripts of the same Use, are subject to striking and significant variation, influenced by local customs and hagiographical and textual priorities, and also by varying reception to liturgical prescriptions from ecclesiastical authorities. The identification of the characteristic features of each Use and the differentiation of regional patterns have resulted from treating each manuscript as a unique witness, a practice which is not common in liturgical studies, but one which gives the manuscripts greater value as historical sources. The term 'Use', often employed as a descriptor of orthodoxy, may itself imply a greater uniformity than ever existed, for the ways that the 'Use of Sarum', a liturgical pattern originally designed for enactment in a single cathedral, was realised in countless other venues for worship were dependent on the times, places, and contexts in which the rites were celebrated.

The study of medieval liturgy can tell us a great deal not only about the worship of the church, but also about the people who practised it. However, existing scholarship can be problematic and difficult to use. This short book aims to unsettle the notion that liturgiology is a mysterious, abstruse, and monolithic discipline. It challenges some scholarly orthodoxies, hints at the complexity of the liturgy and shows that it needs to be examined in new and different ways.

In this volume, readers experience, in English translation, the colorful and varied textual fabric of the most important literary and creative repertory of the Middle Ages. The public, organized worship of the Church had a central role in medieval life. Studying its forms and genres allows readers not only to become aware of one of the most important influences on culture and religion, but also to consider these texts, which were widely disseminated and had fundamental effects on daily life.

This book critically explores ways in which our understanding of late medieval liturgy can be enhanced through present-day enactment. It is a direct outcome of a practice-led research project, led by Professor John Harper and undertaken at Bangor University between 2010 and 2013 in partnership with Salisbury Cathedral and St Fagans National History Museum, near Cardiff. The book seeks to address the complex of ritual, devotional, musical, physical and architectural elements that constitute medieval Latin liturgy, whose interaction can be so difficult to recover other than through practice. In contrast with previous studies of reconstructed liturgies, enactment was not the exclusive end-goal of the project; rather it has created a new set of data for interpretation and further enquiry. Though based on a foundation of historical, musicological, textual, architectural and archaeological research, new methods of investigation and interpretation are explored, tested and validated throughout. There is emphasis on practice-led investigation and making; the need for imagination and creativity; and the fact that enactment participants can only be of the present day. Discussion of the processes of preparation, analysis and interpretation of the enactments is complemented by contextual studies, with particular emphasis on the provision of music. A distinctive feature of the work is that it seeks to understand the experiences of different groups within the medieval church - the clergy, their assistants, the singers, and the laity - as they participated in different kinds of rituals in both a large cathedral and a small parish church. Some of the conclusions challenge interpretations of these experiences, which have been current since the Reformation. In addition, some consideration is given to the implications of understanding past liturgy for present-day worship.