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Stan badań nad monodią liturgiczną apostolskiego kościoła ormiańskiego

100%
Kopczyński J.
Seminare. Poszukiwania naukowe
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2012
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vol. 32
227-241
EN
The article discusses the state of research on liturgical monody of the Armenian Apostolic Church. This monody is a collection of musical and literary works, coming mostly from the period from the fifth to the fifteenth centuries and performed during the liturgy of the Armenian Apostolic Church. In the Middle Ages khaz (neumatic) systems were developed for recording the melodies of monody, but most of the systems have been forgotten. In the nineteenth century in several centers of Armenian culture, melodies of that monody were written down from the oral tradition with the so-called new Armenian notation. Studies of the monody since the eighteenth century were followed by both researchers of Armenian origin, as well as other nationalities, but to this day no university has established any entity, which could be regarded as a center for research on liturgical monody of the Armenian Apostolic Church. In the world literature no monograph has been written, which would include general issues concerning the liturgical monody of the Armenian Apostolic Church. There are several lines of research on this monody: history, theory and khazology (neumology), retrieving, processing and cataloging sources, the study of medieval commentaries on sacred music, the study of various kinds of the monody, and finally performance practice in the liturgy of the Armenian Apostolic Church. There are difficulties in conducting research on this monody, including scattered sources and limited contact between researchers from Armenia and other countries. The final conclusion of the work is that the issues concerning the Armenian Apostolic Church monody not yet been sufficiently studied.
2
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Liturgical monody as a subject of musicological research - an athempt at synthesis

75%
Wiśniewski P.
Seminare. Poszukiwania naukowe
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2018
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vol. 39
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issue 4
207-218
EN
Until the Second Vatican Council, Gregorian chant was the only type of sacred song classified as the liturgical monody. Currently, the liturgical monody covers various genres of music, from Gregorian chants to contemporary compositions contained in manifold liturgical books. Preserved manuscripts provide a source of knowledge about the epoch, ways of worshipping God and the musical tradition prevailing at that time. A wide range of topics addressed by Polish musicologists include all genres and forms of the liturgical monody that constitute musical tradition of the Church. Studies of historical sources and analytical studies bear testimony to Poland’s substantial contribution to the musical culture of Europe.
PL
Za monodię liturgiczną do Vaticanum II uważano wyłącznie chorał gregoriański. Obecnie obejmuje ona różne gatunków muzyki, od śpiewów gregoriańskich aż do współczesnych kompozycji zawartych w różnych księgach liturgicznych. Zachowane rękopisy są źródłem wiedzy na temat epoki, sposobu sprawowania kultu Bożego i obowiązującej wówczas tradycji muzycznej. Szeroki zakres zagadnień podejmowanych przez polskich muzykologów obejmuje wszystkie gatunki i formy monodii liturgicznej będące wytworem tradycji muzycznej Kościoła. Studia źródłoznawcze i analityczne dowodzą, iż wkład Polski w dorobek kultury muzycznej Europy jest znaczny.
3

Officium gratiarum actionis pro victoria ex Turcis obtenta zachowane w antyfonarzach rodziny Piotrkowczyków (cz. I)

63%
Bodzioch B.
Roczniki Teologiczne
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2016
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vol. 63
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issue 13: Muzykologia
41-53
EN
At present, three versions of Officium Gratiarum actionis pro victoria ex Turcis obtenta are well known. The first two are anonymous forms (1624, 1624-1628) which can be described as services honouring saint Patrons of Poland. We still do not know anything about their musical arrangements. The third form (1628) was created as an expression of thanks for the victory in the Battle of Chocim (Khotyn, 1621). Its authors (Jan Fox and Sebastian Nuceryn) were undoubtedly familiar with earlier texts, yet none of them reached the final version of the Officium (the mediaeval theatrical form). The melodies composed to fit this version were preserved in the fourth edition of the antiphonary by Andrzej Piotrkowczyk (1645). The Fox-Nuceryn form functioned until 1961.
XX
Obecnie znane są trzy wersje Officium Gratiarum actionis pro victoria ex Turcis obtenta. Dwie pierwsze to anonimowe formularze (1624, 1624-1628), które określić można jako nabożeństwa ku czci świętych patronów polskich. Jak dotąd, nic nie wiadomo o ich opracowaniach muzycznych. Formularz trzeci (1628) ułożono w duchu podziękowania za zwycięstwo pod Chocimiem (1621). Jego twórcy, Jan Fox i Sebastian Nuceryn, bez wątpienia znali dawniejsze teksty, żaden z nich jednak nie wszedł do ostatecznej wersji oficjum. Do wersji tej skomponowano melodie zachowane w czwartym wydaniu antyfonarza Andrzeja Piotrkowczyka (1645). Formularz Foxa-Nuceryna funkcjonował do 1961 r.
4

Officium gratiarum actionis pro victoria ex turcis obtenta zachowane w antyfonarzach rodziny Piotrkowczyków (cz. II – melodie)

51%
Bodzioch B.
Roczniki Teologiczne
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2018
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vol. 65
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issue 13: Muzykologia
45-55
EN
The melodies were published in the last edition of the antiphonaries of the Piotrkowczyk family (1645). The author is unknown. The compositions (12 antiphons, 2 responsories, 1 hymn) are not stylistically uniform, which is not strange considering the fact that artists living in the Baroque period combined the heritage of the several centuries in which the liturgical singing of the Catholic Church had developed. They also remained under the influence of the achievements of polyphonic singing. In the collection of 15 melodies we can find elements of Gregorian chant, the neo-Gregorian style and the pseudo-Gregorian style. The entire collection is consistent with the aesthetics of the late Middle Ages and concludes the epoch of Polish monody to the Latin texts in proprium sanctorum.
PL
Melodie Officium gratiarum actionis pro victoria ex Turcis obtenta anno 1621 opublikowano w ostatniej edycji tzw. antyfonarza Piotrkowczyka (1645), nie wiadomo, kto jest ich autorem. Kompozycje (12 antyfon, 2 responsoria, 1 hymn) nie są jednolite stylistycznie. W grupie 15. melodii odnajdujemy elementy klasycznego chorału gregoriańskiego, stylu neogreriańskiego oraz stylu pseudogregoriańskiego. Całość odpowiada estetyce epoki późnego średniowiecza i kończy etap polskiej twórczości monodycznej do łacińskich tekstów proprium sanctorum.
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