found: Work cat.: Ordo ad representandum Herodem. Herod : a medieval nativity play, ©1960:t.p. (an acting-version of a thirteenth-century liturgical drama; edited, with the text translated into English, and the music transcribed into modern notation, by W.L. Smoldon)
found: Ordo ad representandum Herodem. The play of Herod : a twelfth-century musical drama, 1965.
found: Coussemaker, C.E.H.d. Drames liturgiques du moyen âge (texte et musique), 1860.
found: Medieval church music-dramas : a repertory of complete plays, 1976.
found: Holy Week and Easter ceremonies and dramas from medieval Sweden, 1990(Contains 6 versions of the Easter drama Visitatio sepulchri and 4 other texts) pp. 123-156 ("Musical transcriptions" (unacc. melodies))
found: The concise Oxford companion to the theatre, 1996, via Oxford reference online, Jan. 15, 2019(Liturgical Drama, plays based on the life, death, and resurrection of Jesus Christ; part of celebration of the Mass, particularly at Easter and Christmas; the introduction of antiphonal singing, which may have owed something to the memory of the Greek chorus, paved the way for the use of dialogue. As church services became more elaborate, the vocal additions took on dialogue forms; important step forward in dramatic evolution was taken with the introduction of extraneous lyrics; As long as the play remained within the church it was part of the liturgy, and the actors were priests, choirboys, and perhaps, later on, nuns. The dialogue, entirely in Latin, was chanted, not spoken, and the musical interludes were sung by the choir alone, with no participation by the congregation. By the end of the 13th century the evolution of liturgical drama was complete, and in its final phase it was not necessarily connected with a church service. From it came the vernacular mystery play)
found: The Methuen Drama dictionary of the theatre, 2011:liturgical drama (earliest organized drama in medieval Europe, consisting of various types of play performed in church as part of the Christian liturgy; developed in French and German Benedictine monasteries in the 10th century; although other subjects were treated, the Easter story remained central; originally Latin plays; performers usually wore church vestments; from about 1200, however, the plays began to be performed outside; by the end of the 13th century the dramas had lost their liturgical function and were mainly written in the vernacular, although they were still sometimes performed in churches until at least the 15th century; liturgical drama developed into the more sophisticated mystery play) ecclesiastical drama (See liturgical drama)
found: The new Penguin dictionary of the theatre, 2001(liturgical drama (or ecclesiastical drama): earliest form of medieval religious drama, consisting of plays performed in church as part of the liturgy; developed during the 10th century from such tropes as the famous Quem quaeritis?, performed at Easter as part of the Mass. Later such episodes were expanded to tell various stories from the scriptures and were increasingly performed outside the church building. Those illustrating the Christmas story became known as Nativity plays, while those given at Easter were referred to as Passion plays; other performances linked to specific religious festivals included the Epiphany play. Ultimately, the plays became separated from the Church liturgy and were written in the vernacular; they also came to include a strong comic element, gradually evolving into the more sophisticated Mystery play)
found: Mobley, J.P. NTC's dictionary of theatre and drama terms, c1992(liturgical theatre. Plays based on some aspect of the Roman Catholic liturgy. Beginning in European monasteries in the ninth century as short plays in Latin, these dramas continued for three hundred years with only the clergy, and occasionally choirboys, taking part)
found: Grove music online, Jan. 15, 2019(under Medieval drama: medieval drama in Latin and the major European vernaculars comprises, essentially, two types of religious drama. In the first, traditionally called the 'liturgical drama', music is integral: the whole text of the play is sung monophonically and the language is Latin. In the second, vernacular drama, the main action is conducted in the spoken vernacular, with songs and instrumental music, plainchant and polyphony, introduced as appropriate; liturgical drama, starting in its simplest form as the Quem queritis dialogue, evolved over the centuries until it took on more realistic forms such as the mystery cycles of the later Middle Ages; musical study of the drama still lags behind the literary; scholars have continued to use the traditional term 'liturgical drama' to describe the corpus of sung religious dialogues, ceremonies and plays in Latin since it was first coined; many of the plays are paraliturgical rather than strictly a part of the liturgy; the plays are found for the most part in liturgical books, and they are animated by the spirit of the liturgy and not by that of the theatre)
