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Muzyka
|
2005
|
vol. 50
|
issue 4(199)
31-43
EN
The article examines a number of fragments from 'Dialogues' by Gregory the Great which contain allusions to monastic liturgical practices, and in particular to the antiphonal singing of psalms, the nature of which is still the subject of controversy among liturgists and musicologists. The traditional view of the congregation being divided into two choirs during the singing of a psalm with an antiphon has been questioned both by the liturgists (Anton Baumstark, Robert F. Taft) and the musicologists (David Hiley, Joseph Dyer), who claim that the verses of the psalms were sung as solo performances until at least the ninth century, and the two-choir singing involved only the antiphon. The proposal by Edward Nowacki is the one furthest removed from the traditional interpretation: according to him, the antiphon was also sung by a soloist, and its text was selected (this is the way Nowacki interprets the word 'imponere' which appears in the sources) spontaneously by the performer. However, Gregory's tales from the fourth book of 'Dialogues' seem to indicate that the practice of singing psalms by a choir divided into two was familiar as early as the sixth century. In the stories describing the circumstances of the death of the monk John (Chapter 36) and the Roman Servulus (Chapter 15) there are clearly references to communal singing (fratres psallerent, psalmos... decantarent). In this respect, the most interesting fragment of 'Dialogues', which mentions the psalmody accompanying the death of the nun Romula (Chapter 16), is perhaps the most precise description of antiphonal chanting from the early Middle Ages. According to this report, the dying Romula is accompanied by two celestial choirs (duo chori psallentium), of which the first - composed of men - sings the verses of the psalm (psalmodiae cantus dicebant viri), while the second, composed of women, performs the refrain (et feminae respondebant), which should be regarded as an antiphon.
EN
Lexicography may seem to be nothing more than drudgery. However, there are many unexpected treasures waiting to reward the researcher. The context of 'pictura doctoricia' (instructive painting) in the 'translatio Severini' written in 902 by deacon John of Naples illustrates the authority of images and the function of iconography. The same theme recurs in the legend of the emperor Constantine and Pope Silvester, well-known throughout the Middle Ages. The recurrence of beautiful quotations from the homiliae in evangelia of saint Gregory the Great demonstrates how widely used this treatise was. Consideration of textual variants in excerpting can lead to the discovery of a new lemma, as in the case of exhereditas, and may highlight the transmission of rare words and the reception of texts.
EN
The main subject of letters sent by pope Gregory the Great to Africa is the activity of the Donatists. The pope appeals severely to bishops and secular authorities to suppress schism. There is little evidence of the Donatists' survival after the conference of Carthage in the year 411. Therefore certain researchers (e.g. R.A. Markus) claim that Gregory wrongly estimated the situation, applying the old name to other phenomena, such as the autonomy of African episcopate. It was also possible that the Donatists had achieved some modus vivendi with the Catholics under the reign of Arian Vandals. Some 5th and 6th century sources indicate that the Donatists were considered as opponents by both Catholics and Arians. On the other hand, as it happens, there are sometimes no information about the Donatists where we would expect them. Hence, it may be difficult to estimate clearly the value of information provided by Gregory the Great, but it is definitely not true that nothing is known about the Donatists in the times between Augustine and Gregory.
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