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1

Further contributions to the study of the earliest extant Hungarian texts

100%
Molnar F.
Magyar Nyelvor (Hungarian Language Guardian)
|
2008
|
vol. 132
|
issue 1
53-63
EN
The author has been dealing with the reading, phraseology, and interpretation of debated loci, of the earliest extant Hungarian texts, including Funeral Speech (FS), Lamentations of Mary in Old Hungarian (LMOH), the Konigsberg Fragment (KF), and Lines from Gyulafehervar (LGy), for quite some time now. His results have recently been summarized in a volume entitled 'The earliest extant Hungarian texts: their reading, interpretation, explanations, and phraseology' (Debrecen, 2005). In the present paper, he offers further comments and contributions on certain words and phrases in FS, LMOH, and KF. He also adds that recent research makes it probable that the main body of Pray Codex (containing FS) was copied in Boldva - an assumption that had been abandoned earlier.
2

THE PRAY CODEX AS A SOURCE FOR MUSIC HISTORY

80%
Czagány Z.
Musicologica Slovaca
|
2023
|
vol. 14 (40)
|
issue 1
7-34
EN
Since its discovery in 1770, the manuscript known as the Pray Codex has been a subject of particular interest in Hungarian cultural history. The codex was written in the 1190s and has been examined by scholars from many fields, who have approached it from many different points of view. Music history research has been primarily focussed on the Sacramentary, which makes up the corpus of the manuscript. The service book, containing the series of Mass prayers performed by a priest – oratio, secreta and postcommunio, is not one of the liturgical books of a musical genre. However, the Pray Codex is an extended sacramentary, with numerous texts and chants besides the prayers, and its content is closer to the genre of the gradual, processional and missale plenum. Written above the manuscript’s texts and on the margins are chants with neumatic and staff notations from the end of the 12th and the beginning of the 13th century, providing a unique glimpse into the birth and early development of the Esztergom notation (“Graner Choralnotation”). The following essay discusses the musical content of the Pray Codex within the history of plainchant in medieval Hungary and in Central Europe. Special attention is given to influences that affected the liturgy and chant in Hungary in its early formation period and to phenomena which became significant for the later evolution of the repertory.
3

PAST AND PRESENT: INTERPRETING THE CHANT NOTATIONS OF THE PRAY CODEX

80%
Gilányi G.
Musicologica Slovaca
|
2023
|
vol. 14 (40)
|
issue 1
35-54
EN
The paper examines the music scripts of the Pray Codex (Budapest, National Széchényi Library, Mny 1), one of the most important manuscripts of the 12th-century Central European cultural history. This is not the first time that a systematic music paleographic review has been carried out: decades ago, the noted plainchant scholar, Janka Szendrei, subjected the notations of the codex to a detailed analysis, some of which she considered to be the earliest surviving examples of Esztergom staff notation. However, more recent studies have shown that the neume compositions of the 12th century examples of the Pray Codex are rather undeveloped compared to the 13th–14th century Esztergom notation. There are no definitive neume forms, but there is a very rich range of variants belonging to a single neume type. Can this set of signs be considered Esztergom notation? In order to answer this question, contemporary comparative sources – the Krakow and Šibenik codex fragments – were also studied, and our examination made use of the most advanced digital techniques. We also tried to go further than Janka Szendrei as regards isolating and characterizing the notations of the Pray Codex, while also exploring the genesis of the Esztergom notation and, above all, by examining the role the French university peregrinations of Hungarian archpriests may have played in the formation of the musical literacy of the 12th century Kingdom of Hungary.
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