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1

Anthropological Meanings of the Space of Liturgy. A Conversation Held by Rev. Claude Barthe with Marcel Peres

100%
Peres M.
|
2007
|
vol. 61
|
issue 2(277)
98-105
EN
The topics of this conversation encompass liturgical music, both present-day and past, whose recreation and performance are the domain of Marcel Peres; other motifs include the musical culture 'amnesia' of the contemporary Catholic Church, failed attempts at reform (the reforms proposed by Pius X and the Solesmes movement, Vaticanum II), the quest for traditional sacral space and the liturgical revival.
2

NEDEĽNÉ TROPÁRE V BYZANTSKO-SLOVANSKEJ TRADÍCII NA SLOVENSKU

80%
Marinčák Š.
Slavica Slovaca
|
2013
|
vol. 48
|
issue 1
9 – 40
EN
The present paper examines the Sunday troparia of the Byzantine-Slavic liturgical tradition as performed nowadays in Slovakia. The research, which took into the consideration their history, text, and music, tries to determine original forms of the music, as close as possible to the originals lost by 17th-18th centuries, and points to the possibilities of selecting the proper textual variants.
3
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Ceciliánske reformné hnutie v chrámovej hudbe

80%
Caban P.
Studia theologica
|
2004
|
vol. 6
|
issue 1
90-96
EN
The article deals with not very often studied period of development of church music, the movement of reformation, called cecilianism. Issues that initiated the beginning of this movement in 19th century, introduced new knowledge about the essence of liturgy, the continuity between liturgy and church music, out of which were drawn various program proclamations, affections and impulses that can be found in the present liturgy of 21st century after The Second Vatican Council. In particular, such diverse drives were first evident in the personal shapes of the representatives of cecilianism, therefore this article deals mainly with the representatives and the principles of this movement and tries to focus on what could help to improve church music of that period. It is a pity that nowadays the movement of cecilianism is not very well comprehended just because of a lack of knowledge of its primary and final causes and intended consequences for the liturgy.
4

DRUHÝ DOKUMENT UNIVERSA LAUS JAKO CESTA K PODSTATĚ NOVÉHO CHÁPÁNÍ LITURGICKÉ HUDBY

80%
Mráčková B.
Musicologica Slovaca et Europaea
|
2006
|
vol. 24
227-248
EN
The essay is a way of commentary to the second document Universa Laus 'Music in Christian liturgies'. The association Universa Laus itself, its history and the documents that come from it are briefly presented here. The following commentary then does not directly follow the text of the second document, it rather tries to point out some of the topics it brings and to confront them with some other documents concerning liturgical music. Its aim is to approach liturgical music from the point of view of the second document, which presents music in connection with other 'unmusical' liturgical parts. It does not perceive music as an element which is here just to beautify liturgy, it does not look for its particular image, but it tries to go back to the essence of musical performance, to the celebrating community, and it prompts to respect its needs and custom practice.
5

SPOR O MIESTO PIESNE V LITURGII

80%
Pawlak I.
Musicologica Slovaca et Europaea
|
2006
|
vol. 24
71-84
EN
The sacred song had always played an exceptional role in religiosity and the whole religious culture of the nation in Poland. Sacred songs were a kind of 'Biblia pauperum'. However, they were not appointed for the usage in liturgy because Gregorian chant was still considered to be the liturgical singing. Dispute over the place of song in liturgy began already in times before the Trident Council. The very fact of the sacred song 'liturgical transformation' did not end the disputes. Those disputes take place on two levels: on the level of artistic value and the level of the way of using the song repertory. During the period after the Council there emerged a competition between songs and religious song or a new sacred song. This fact started a new dispute. The dispute over the song's place in liturgy is only a symptom of the deep crisis of liturgy itself, which is often deprived of 'sacrum' on the basis of seeming good.
6

LITURGICKÉ SLÁVENIE AKO ZÁKLADNÉ VÝCHODISKO PRE CHÁPANIE RITUÁLNEJ HUDBY

80%
Dufka V.
Musicologica Slovaca et Europaea
|
2006
|
vol. 24
59-70
EN
The elements of the liturgical prayer are associated with the characteristics of the liturgical/ritual music. Four theological dimensions of the liturgical prayer are briefly explained in this study. They are dimensions of anamnesis, dimension of epiclesis and intercession, doxological dimension of the praise and thanksgiving and community dimension. These dimensions are applied to sung prayer, to the liturgical music.
7

VYUŽITIE TRADIČNÝCH HUDOBNÝCH FORIEM V SÚČASNEJ LITURGII NA SLOVENSKU

80%
Adamko R.
Musicologica Slovaca et Europaea
|
2006
|
vol. 24
85-110
EN
During the long history of Latin liturgy there emerged great amount of the musical-liturgical forms, which together with the songs in a new situation of the national languages fell into disuse because a popular form of song substituted them. In the Western Latin liturgy many forms are used, which can be divided according to several criteria. However, they are mostly divided into cantilenas, psalmody, free forms and hymnody. After the Second Vatican Council a common tendency in the whole Church is disappearing of traditional treasure of song created during the whole centuries. If we acknowledge song as the only suitable form for liturgy, richness and beauty will fade away from the prayers, what will finally results in deprivation of a contemporary man in the spiritual, aesthetic and emotional way. The newest tendencies in the individual countries indicate a return to antiphons and thus to so called 'open forms' even in the countries where a strophic song always had a dominant position. Advantage of the open forms is their simple adaptability to liturgical event and time of its duration, relatively easy opportunity for the gathering to join the singing.
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