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  • 1.
    Strinnholm Lagergren, Karin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    A reformed Cantus Sororum in Maria Refugie around 18002017In: Continuity and change: papers from the Birgitta Conference at Dartington 2015 / [ed] Elin Andersson, Claes Gejrot, E. A. Jones, Mia Åkerstam, Stockholm: Kungl. Vitterhets Historie och Antikvitets Akademien, 2017, p. 325-337Chapter in book (Other academic)
  • 2.
    Strinnholm Lagergren, Karin
    Stockholm University, Sweden.
    Dagsländor, halvkändisar och kanoniserade genier2010In: Från borg till julmarknad - slott och herrgårdar i Västergötland / [ed] Christer Ask, Skara: Västergötlands fornminnesförening , 2010, 1, p. 99-104Chapter in book (Other (popular science, discussion, etc.))
  • 3.
    Strinnholm Lagergren, Karin
    University of Gothenburg.
    Enstämmigt kulturarv skapar känsla av samhörighet2009In: Tvärsnitt. Humanistisk och samhällsvetenskaplig forskning, ISSN 0348-7997, no 4, p. 34-37Article in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    Hur kommer det sig att man i litteraturen behandlar den gregorianska sången som något som i princip upphörde i och med reformationen, när man än idag sjunger gregoriansk sång i katolska kloster? I en nyutkommen avhandling undersöks vilken repertoar ur den stora gregorianska musikskatten som framförs och hur man idag ser på denna musik i klostren.

  • 4.
    Strinnholm Lagergren, Karin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    [ Inventory of ] Tongeren Onze-Lieve-Vrouwebasiliek: Ms. 001 (olim III) & Ms. 002 (olim II)2015In: Antiphonaria. A Catalogue of Notated Office Manuscripts Preserved in Flanders (c. 1100 -c. 1880): Volume I. Averbode, Dendermonde, Geel, Ghent, Tongeren / [ed] Inga Behrendt, Sarah Long, Pieter Mannaerts, Turnhout: Brepols, 2015, p. 101-103Chapter in book (Refereed)
  • 5.
    Strinnholm Lagergren, Karin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Kommentar till transkription av sekvensen Hec est dies dominus2013In: Fragment ur arkiven: festskrift till Jan Brunius / [ed] Marie Lennersand, Åsa Karlsson & Henrik Klackenberg, Stockholm: Riksarkivet, 2013, 1, p. 158-161Chapter in book (Other academic)
  • 6.
    Strinnholm Lagergren, Karin
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences.
    Medeltida kyrkomusik i Skara stift: forskningsöversikt och källpresentation2012In: Kyrka, kultur, historia: en festskrift till Johnny Hagberg / [ed] Markus Hagberg, Lena Maria Olsson & Sven-Erik Pernler, Skara: Skara stiftshistoriska sällskap , 2012, 1, p. 419-438Chapter in book (Other academic)
  • 7.
    Strinnholm Lagergren, Karin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art. KU Leuven, Belgium.
    Monastic liturgical singing after the Second Vatican Council2013In: Papers read at the 15th meeting of the IMS study group Cantus Planus: Dobogókő/Hungary, 2009, Aug. 23-29 / [ed] Barbara Haggh-Huglo & Debra Lacoste, Lions Bay, BC: The Institute of Mediaeval Music , 2013Conference paper (Other academic)
  • 8.
    Strinnholm Lagergren, Karin
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences.
    Musiken i Torstunamissalet2012In: Härnevi kyrka och socken: perspektiv på ett uppländskt lokalsamhälle under medeltiden / [ed] Olle Ferm, Mia Åkestam, Stockholm: Stockholm University, 2012, 1, p. 86-98Chapter in book (Other academic)
  • 9.
    Strinnholm Lagergren, Karin
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences.
    Några preliminära iaktagelser kring hymnerna i Psalterium Scarense2011In: Melos och Logos: festskrift till Folke Bohlin / [ed] Mattias Lundberg & Sven-Åke Selander, Skellefteå: Artos & Norma bokförlag, 2011, 1, p. 337-349Chapter in book (Other academic)
  • 10.
    Strinnholm Lagergren, Karin
    University of Gothenburg, Sweden.
    Ordet blev sång: liturgisk sång i katolska kloster 2005-20072009Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The intention of this dissertation is to study the musical praxis and associated conceptions in Catholic monasteries during the early 21st century. The dissertation will analyse the musical life in approximately 20 Catholic monasteries with an emphasis on Gregorian chant. The background for the dissertation is Gregorian chant’s diminished importance after the Second Vatican council (1962-65). The Second Vatican council was a Catholic council that aimed to reform the Catholic Church which also affected the liturgy. The study has been conducted as an ethnomusicological study in which the material is interpreted via the framework of the sociology of knowledge and Cultural Analysis. The theory of the symbolical universe as the place where Gregorian chant exists and is legitimized is central. The empirical data consist of interviews, sheet music and CD recordings gathered during fieldwork visits. The study encompassed monasteries in Sweden, Norway, the Netherlands, Great Britain and Italy, France. The orders that have been studied are Dominicans, Benedictines, Carmelites, Bridgettines and Cistercians. The musical material has been divided into three categories that are analysed using the terms Recreated, Reshaped and Renewed. The Recreated category refers to liturgies that maintained Gregorian chant in Latin, the Reshaped refers to Gregorian chant that have been adapted to be sung in the vernacular language and the Renewed category refers to brand new compositions composed in individual monasteries for their personal liturgies. All three categories can coexist in the same monastery. The music in the Renewed category is modelled after Gregorian chant but the music's theoretical ties are in most cases more ideological in nature than musically traceable. Regardless as to how great an extent the monasteries sing the three different categories, Gregorian chant has a very important role and is the foundation of both liturgical and musical identity of the Catholic monasteries today. Gregorian chant’s role in the symbolical universe is fortified through different legitimization processes, of which the teaching exercise is an important example. The practical and ideological factors behind the unique monastic musical ideal are discussed as are the reasons why so many monasteries chose to record their repertoires on CD. Finally the dissertation discusses a present tendency in the monastic world which sees an increasing use of Gregorian chant in the liturgy, a so called Re-gregorianisation. The most important factors behind this process are the Western world’s great interest in the past alongside a desire for a less divided Catholic liturgy.

  • 11.
    Strinnholm Lagergren, Karin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Placing the Torstuna Missal in the Dominican Sphere2017In: The Torstuna Missal: A Dominican manuscript produced in 14th century France and its fate in Sweden / [ed] Gunilla Björkvall, Olle Ferm, Mia Åkestam, Stockholm: Riksarkivet, 2017, p. 15-18Chapter in book (Refereed)
  • 12. Strinnholm Lagergren, Karin
    Re-gregorianisering: Gregoriansk renässans i katolska kloster2009In: Noterat, ISSN 1400-7339, no 17, p. 95-113Article in journal (Other (popular science, discussion, etc.))
  • 13.
    Strinnholm Lagergren, Karin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    'Save us from plague, sudden death, and every tribulation': The Antiphon Hec est preclarum vas in the Birgittine Context2015In: Journal of the Alamire Foundation, ISSN 2032-5371, Vol. 7, no 2, p. 101-116Article in journal (Refereed)
    Abstract [en]

    This article discusses the Marian antiphon Hec est preclarum vas and its place in the liturgy of the Order of St. Birgitta of Sweden using sources from the abbey of Mariënwater/Maria Refugie (a single abbey known under two names in Noord-Brabant, the Netherlands). Hec est preclarum vas originated in the Low Countries in the late Middle Ages and was widely used in different ecclesiastical contexts. It was sung to protect against plague (and other contagious diseases) and unexpected death. Among the Birgittines in Mariënwater/Maria Refugie it gained a short but intense popularity for about seventy years starting in the second half of the seventeenth century, when it was sung as a suffrage after the daily Lady mass Salve sancta parens. A possible reason for introducing this antiphon at Mariënwater/Maria Refugie may have been a plague epidemic or a similar disease that affected the community or benefactors of the abbey. Several plague epidemics are reported in Noord- Brabant during the seventeenth century, and the community itself suffered from plague in the 1630s, but there are no sources that clearly indicate a link between the antiphon and these plague epidemics. The antiphon’s melody and text as found in the sources from Mariënwater/Maria Refugie show that it connects to known variants of the chant in the Low Countries. The article shows how external factors could motivate the introduction of local customs into the Birgittine liturgy of this community.

  • 14.
    Strinnholm Lagergren, Karin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    The Birgittine Mass Liturgy Through Five Centuries: A Case Study of the Uden Sources2016In: Archiv für Liturgiewissenschaft, ISSN 0066-6386, Vol. 57, p. 49-71Article in journal (Refereed)
    Abstract [en]

    The Mass Liturgy of the Birgittine Sisters and Brethren is a sparely investigated subject and its development after the Middle Ages is an unknown topic. This article presents the Birgittine Mass Liturgy by investigating sources at the Abbey Mariënwater/Maria Refugie, in the Nether- lands which date from the late fifteenth century until the late nineteenth century. Since sources for the Brethren’s liturgy are lacking, this study primarily concerns the liturgy of the Sisters. The most important results are first that the Sisters’ liturgy was not limited to the daily „Salve sancta parens“ Mass, as stated in the Constitutions, but also included a number of Marian feasts. Sec- ondly, it shows that when the double abbey was dissolved in 1652, the Sisters took over a num- ber of feasts previously included in the Brethren’s diocesan liturgy in order to complete the litur- gical year. This article also presents material that has hitherto been only little known, namely the liturgical manuscripts in the Abbey Library of Mariënwater/Maria Refugie, which could be con- sidered for a number of studies on Birgittine liturgy and chant. 

  • 15.
    Strinnholm Lagergren, Karin (Recording engineer)
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    The Torstuna Missal: Dominican Chant from the 14th Century2015Artistic output (Unrefereed)
1 - 15 of 15
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