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1

PIESNE S TROJKRÁĽOVOU TEMATIKOU V SLOVENSKÝCH TLAČENÝCH A RUKOPISNÝCH KANCIONÁLOCH 17. – 19. STOROČIA

100%
Ruščin P.
Musicologica Slovaca
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2017
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vol. 8 (34)
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issue 1
50 - 105
EN
The paper summarises the repertoire of hymns for the Feast of the Epiphany in selected printed and manuscript Slovak hymnbooks of the 17th to the 19th centuries. Altogether 27 hymns on the Tree Kings from these sources reflect the various developmental phases of the Christmas hymn in Slovakia: paraphrases of Latin hymns in the language of the people; contra facts on traditional tunes from Czech and Slovak, mainly anonymous, authors of the Renaissance and Baroque; hymns in pastoral style from the late 18th and early 19th centuries; original Church hymns from 19th century hymnbooks.
2
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Světelné atributy Krista v hymnu sv. Ambrože Splendor paternae gloriae

100%
Piáčková G.
Studia theologica
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2008
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vol. 10
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issue 1
78-96
EN
The Hymn Splendor paternae gloriae was versified by Ambrosius probably at Easter in 386. In the hymn Ambrosius introduced Christ as splendor paternae gloriae, lux lucis, lumen luminis, fons luminis and dies dierum. He accepts the ancient symbology of a pagan cult and applies it to Christ who is 'a sunbeam' and 'the sun of justice' which 'brings light to the world when it suddenly appears at its sunrise and leaves the world in darkness at its sunset.'
3
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Svatováclavské písně v české barokní literatuře

100%
Ivánek J.
Česká literatura (Czech Literature)
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2011
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vol. 59
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issue 1
1-26
EN
This essay discusses Saint Wenceslas songs as a genre. These songs appeared in publications from the end of the sixteenth century to the early nineteenth. The author first considers the ‘life’ of the old Czech chorale, ‘Svatý Václave, vévodo české země’ (Saint Wenceslas, Duke of Bohemia), which remained important even in the Baroque period and functioned as prototype of the nascent hymns of intercession. In these, the most frequent, Wenceslas is portrayed as a strong ruler, warrior, and patron. A self-evident component of the songs is the narrative (the narrative song and the eulogistic narrative anthem), which often presents a distinctive picture of Wenceslas as an ascetic who is sometimes even feminized or sentimentalized. The most ambitious Wenceslas songs are contemplative. Few from this period exist and the essay analyses the most remarkable of them, ‘Kam pospícháš choti Krista?’ (Whither Dost Thou Hasten, Bride of Christ?), in its original, contemplative form, and also discusses its transformation into another genre in augmented, later versions.
4

NEJASNOSTI OKOLO VEĽKOMORAVSKÉHO STAROSLOVIENSKEHO PROGLASU

88%
Pavlovičová K.
Slovenská literatúra (Slovak Literature)
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2015
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vol. 62
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issue 3
165 – 189
EN
The paper raises a question whether it is appropriate to assess Middle-aged Proglas as a poem consisting of a certain number of lines regardless of typological features of a Middle-aged piece of writing as such. The genre classification of Proglas requires revealing the earliest version in the preserved manuscripts and its purpose including the examination of its original title. With regard to the critical chronological comparison of manuscript copies in Old Church Slavic, identical and different parts of the translations into Slovak are examined, especially the one made by Ján Stanislav as opposed to those done by other translators.
5

NEJASNOSTI OKOLO VEĽKOMORAVSKÉHO STAROSLOVIENSKEHO PROGLASU (DOKONČENIE Z MINULÉHO ČÍSLA)

75%
Pavlovičová K.
Slovenská literatúra (Slovak Literature)
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2015
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vol. 62
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issue 4
269 – 290
EN
The paper raises a question whether it is appropriate to assess Middle-aged Proglas as a poem consisting of a certain number of lines regardless of typological features of a Middle-aged piece of writing as such. The genre classification of Proglas requires revealing the earliest version in the preserved manuscripts and its purpose including the examination of its original title. With regard to the critical chronological comparison of manuscript copies in old church Slavic, identical and different parts of the translations into Slovak are examined, especially the one made by Ján Stanislav as opposed to those done by other translators.
6

NOVÉ NÁPEVY LEVOČSKÝCH VYDANÍ CITHARY SANCTORUM Z ROKOV 1674 A 1684

75%
Ruščin P.
Musicologica Slovaca
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2019
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vol. 10 (36)
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issue 1
46 – 81
EN
Among the new melodies from the editions of the Slovak hymnbook Cithara Sanctorum published in 1674 and 1684, apart from melodies carried over (principally German and Czech). There are also 35 anonymous tunes of domestic origin, attested only in Hungarian sources. In terms of musical style, these tunes belong to two strata – the older early baroque and the later with style elements of high baroque. The identification of older tunes is made possible by, among other things, their incidence in the form of four- or five-voice adaptations in German, Hungarian and Slovak manuscript sources. While the edition of 1674, which was prepared by Jeremiáš Lednický, furnishes numerous tunes in both the older and more modern styles, the later edition by Daniel Sinapius Horčička is more conservative in its selection of domestic tunes and presents only melodies from an older layer, which hitherto had not been recorded in printed sources.
7

DUCHOVNÉ PIESNE V MANUALE MUSICO-LITURGICUM (EDITIO LATINO-SLAVICA 1853) FRANTIŠKA ŽAŠKOVSKÉHO

75%
Ruščin P.
Musicologica Slovaca
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2015
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vol. 6 (32)
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issue 2
250 – 265
EN
The liturgical handbook Manuale musico-liturgicum (Editio latino-slavica) by František Žaškovský (Eger 1853) is the second published Latin-Slovak ritual, after the Cantionale Rituale of 1681 by the Piarist Father Mikuláš Hausenka. The handbook contains liturgical chants and songs for the most important Holy Days and church ceremonies and it is designed for organists and singers in the choirs of parish churches. It includes also 31 hymns to Slovak texts, of which 9 have organ accompaniment and two are adaptations for four voices. The editor, together with his brother Andrej Žaškovský, adopted and modified some hymns from older Slovak hymnals. Apart from that, they also created some texts and tunes of their own. The Slovak Catholic hymns with organ accompaniment had been published for the first time in 1847 (Martin Eliáš). As compared to M. Eliáš, the Žaškovský brothers worked out their organ accompaniment to the hymns in a more modern manner, using organ interludes in the mode of figurative passages between the lines or musical phrases. They attempted to resolve these interludes variably, in an attempt to avoid triviality and mannerism. Their ideal was rather a classical moderation and sense of proportion, and in this they stand somewhere between the classical school and the new sound ideal of another generation of organists in the second half of the 19th century.
8

ZACHARIÁŠOV BENEDICTUS (LK 1, 68 – 79): GRAMATICKÁ ANALÝZA A NOVÝ PREKLAD

75%
Feník J.
Verba Theologica. Teologický časopis
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2021
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vol. 20
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issue 1
58 – 67
EN
The year 2020 has seen the publication of a new Slovak translation of Luke’s Gospel, produced within an APVV project under the auspices of the Slovak Academy of Sciences. Based on the most recent exegetical research on Luke, the new translation diverges from the existing Slovak translations in various, more or less significant aspects. This short contribution focuses on the text of Zechariah’s hymn in Luke 1, 68 – 79, analyzes its syntactical structure, and furnishes the grammatical and exegetical reasons for the new translation. It thus provides the reader with a sample text of the new translation and includes a comparison with selected modern translations.
9
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K žánrové diferenciaci české poezie doby baroka

63%
Malura J.
Česká literatura (Czech Literature)
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2008
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vol. 56
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issue 2
155-182
EN
For its methodology this article draws chiefly on the theory of intertextuality, emphasizing the genre as model. It is premised on the idea that similar works gradually group around a successful prototype text, leading to the genre category. The author takes issue with existing classifications of Czech Baroque verse, and questions the validity of fundamental criteria such as the opposites secular:spiritual, to be sung:to be spoken, lyric:epic. He proposes a more sophisticated differentiation of genre in contrast to forms of publication, which include the hymn book and the broadside ballad. His interpretation concentrates particularly on the production of Czech hymn books, both Roman Catholic and Lutheran, which is distinguished by a quite surprisingly wide range of genres and sub‑genres. From contemporaneous books on poetics and rhetoric one can reasonably deduce mainly Humanist genre terms like eclogue, ode, and epicede. Contemporaneous sources also distinguish between two distinct, even considerably opposed, categories – the hymn and the lament –, which in practice appear in various forms (the Christmas anthem, the Easter anthem; the lament of Protestant exiles, the Passion lament, and the funeral lament). What is particularly important in hymn books is the distinction – not made in Czech scholarly literature on the topic, but common, for example, in the German‑speaking world – between the hymn (closely linked with high days and the liturgy, intended primarily for choral singing) and the spiritual song (used in the cultivation of the individual spiritual life in private; with an indirectly expressed religious content; employing topoi of contemporaneous non‑religious verse). Among the hymns there are, for example, the Whitsun anthem, the Eucharistic anthem, and the Marian hymn. Among the spiritual songs there are songs of personal anxiety, sung meditations on vanity and transience, and love songs addressed to the Lord Jesus. The various genres were concealed in the particular form of publication in which they appeared.
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