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1
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Bílá sobota – druhý den Velikonočního třídení

100%
Kunetka F.
Studia theologica
|
2007
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vol. 9
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issue 1
1-19
EN
The triduum paschale represents the highlight of the whole liturgical year. Whereas the contents of the first day (Good Friday) and the third, concluding day (Easter Sunday) are on the whole wellknown, Holy Saturday remains more on the margin of attention. That is why this study offers a view of the theological content (the descensus ad inferos) and of the liturgical celebration (Liturgia horarum) of the second day of the Easter triduum.
2
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Modlitwy odmawiane przed amboną

100%
Paprocki H.
ELPIS
|
2012
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vol. 14
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issue 25-26
195-215
EN
One of the characteristics of the Byzantine liturgy is the last prayer called “The Prayer Behind the Ambo”. According to the Venetian edition of the Liturgikon, it is recited by the faithful in front of the pulpit or the ambo (hence the name), or before the icon of Christ on the iconostasis according to the Jerusalem edition. This prayer is a remnant of an old ceremony where the priest came out to bless the faithful by the laying on of hands, which is still practised during the priest’s first mass in the Roman Catholic Church. The prayer continues being recited also by the newly ordained priests in the Orthodox Church. In the 10th century Codex Porphyrios there are 28 such prayers. Of the 162 manuscripts described by A. Dmitriyevsky only eight contain them, with one manuscript coming from the sixteenth-seventeenth century, which shows that these prayers were also used in later times, but not everywhere and not in the same range. Currently, there is a tendency to restore the prayers recited before the pulpit because of their didactic nature, closely associated with a particular holiday. These prayers have been restored in the Greek Church and in various U.S. jurisdictions. The article is accompanied by a translation of current prayers behind the ambo, as well as other prayers of this type, intended for various holidays and days of the liturgical year.
3
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Liturgie s mládeží v německé jazykové oblasti

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Demel Z.
Studia theologica
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2010
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vol. 12
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issue 1
72-83
EN
There is a culture gap between young people and the official liturgy of the Church. This paper deals with the relationship between the young and the liturgy since the early 1980s with its causes, and ways to bridge the gap between the young and the liturgy and also with some modern forms of liturgy adapted for youth.
4
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Vztah církve a liturgie. K recepci Druhého vatikánského koncilu

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Richter K.
Studia theologica
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2010
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vol. 12
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issue 3
30-42
EN
The proposed study recalls the intentions and goals of the liturgical reform initiated by the Second Vatican Council. The author describes the interaction between church and liturgy: on the one hand various ecclesiologies produce various liturgical forms; on the other hand, it is possible to establish ecclesiology on the Eucharist. Finally the author tries to suggest the ways, in which it is possible to remain true to the Council and at the same time answer the upcoming challenges.
5
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Obřad žehnání místní zodpovědné v sekulárním institutu Volontarií Dona Boska

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Demel Z.
Studia theologica
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2004
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vol. 6
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issue 2
64-70
EN
The paper deals with the benediction of the Group Responsible in the secular institute of Volunteers of Don Bosco, which belongs to the Salesian Family, in relation with the benediction of the Regional Responsible of this institute. Although the new members of the institute are always incorporated in the liturgical service, the real ceremony installing the Group Responsible in office has been missing. The described ceremony has removed this deficiency. The benediction prayer of the Group Responsible is derived from the abbess benediction prayer, whereas some text passages have been adjusted to the Salesian spirituality. The benediction prayer is followed by handing over the Statutes of the institute and burning lamp as service symbols of the Group Responsible. Both are accompanied by a specific prayer. The benediction ceremony can be involved in the Liturgy of the Word or in the Holy Eucharist (the latter case is described here).
6

THE PONTIFICAL LITURGY OF HOLY THURSDAY IN WAWEL CATHEDRAL (KRAKOW) ACCORDING TO CEREMONIALS FROM XVI CENTURY (Liturgia biskupia Wielkiego Czwartku w wawelskich ceremonialach z XVI wieku)

100%
Fedorowicz S.
Roczniki Liturgiczno-Homiletyczne (Liturgical and Homiletic Annals)
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2009
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vol. 56
87-99
EN
The entire ceremony, though is the Mass of the Lord's Supper, emphasizes more on blessings of three oils than on the thought about Cenacle. The theme of the Last Supper is present through biblical readings and formulas of the Canon, and also antiphons to psalms in vespers. The ceremonies of blessings dominate over the course of the entire liturgy. In this, what concerns ceremonies of the blessing are some gradations, suggesting specific valuing of individual oils. This appears with the rank of canons bringing it to the altar: canon-subdeacon carries oil of the sick, canon-deacon oil of catechumens, and two canons-presbyters the balm and oil of the chrism. Due to its meaning and the use in sacraments the holy chrism is treated as most important from among mentioned oils.
7
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Dominica sollemnia. Neděle jako den eucharistického shromáždění

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Kunetka F.
Studia theologica
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2008
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vol. 10
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issue 2
15-25
EN
The connection of the Dominical day (Sunday) with the celebration of the Eucharist can be demonstrated from the very beginnings of Christianity. This study contains a short exposition and commentary on five texts: 'breaking of bread' in Troas according to Acts 20.7, texts on the Eucharist in the Didache, the report of Pliny the Younger about Christians in Bythinia in his letter to Trajan, the description of the Sunday synaxis in Justin's Apology (67.3-5), the report about martyrs from the town of Abitene in AD 304.
8

ORATIO UNIVERSALIS V LITURGII VEĽKÉHO PIATKU

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Knap L.
Verba Theologica. Teologický časopis
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2017
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vol. 16
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issue 2
73 – 80
EN
This paper analyzes the general prayer of the faithful in the liturgy of the Great Friday. The aim of this study is to outline the historical development of the general prayers of the faithful in the liturgy in question. It is based on the historical and comparative analysis and examines the more significant texts of this prayer in the history of liturgical books, such as the Sacramentary, Pontifical, Ordine and various missals.
9

ПРОБЛЕМАТИКА ДОСЛІДЖЕНЬ ТА ДЖЕРЕЛА МУЗИЧНИХ ТЕКСТІВ ЛІТУРГІЙ ПРОСТОПІНІЯ БОКШАЯ-МАЛИНИЧА

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Zadorožnyj I.
Slavica Slovaca
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2019
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vol. 54
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issue 1
39 – 48
EN
This article exposes some aspects of general problematics of the research of sources of the Byzantine-Slavic rite’s liturgical chants of regional liturgical practice, recorded at the beginning of the XX century in the Orthodox Prostopiniya by Bokshay-Malynych. In addition to that, preservation of some elements of melodic turns of Greek and Bulgarian songs in Prostopiniya corroborates their influence on forming of chants of Liturgics of John Chrysostom and Saint Basil the Great, as well as orientation of church and singing practice towards joining of theological contents of liturgical texts with the high artistic quality of melodies of the Balkan-Slavonic monody.
10

Historyczne konsekwencje liturgicznej i architektonicznej odnowy strefy ołtarza a posoborowa obecność tabernakulum

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Bogdan M.
Polonia Sacra
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2011
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issue 29(73)
113-132
EN
The article discusses the construction of the altar area for the liturgy of the Eucharist in churches after Vatican II. It takes up the issue of the tabernacle’s place in the space of the church building and the legitimacy of constructing two altars, one general for the whole of the nave and the other belonging to the chapel for the celebrations on weekdays. The author shows the need to consider both the theological expression and artistic sensibility in creating sacred space. It is a symbiosis of architecture and liturgy, which together are responsible for the spiritual harmony of the church interiors of bygone eras and the modern period.
11

TEOLOGICKÉ ODÔVODNENIE NOVEJ TVORBY LITURGICKÝCH SPEVOV ANTIFÓN, KVÁZI-ANTIFÓN A VÝBERU VERZIKULOV

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Konečný A.
Musicologica Slovaca et Europaea
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2006
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vol. 24
111-136
EN
The Second Vatican Council gave a possibility and requirement to create a national folk liturgical song. Council designated the Gregorian Choral as an ideological model and determined his most important sources: The Holy Scripture and the liturgical texts. The new creation has mission 'deeper into sources of liturgy'. The form and content of the new tradition has a pattern in 'Graduale Romanum' or 'Graduale simplex'. The new tradition is inspired by the liturgical value of the antiphon's texts. Formally is similar to antiphon and is inspired by it, therefore we call it quasi-antiphon. The main purpose of this paper is substantiate the new tradition and present the principles for the theological selection of verses of a new tradition.
12

SPOR O MIESTO PIESNE V LITURGII

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Pawlak I.
Musicologica Slovaca et Europaea
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2006
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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.
13

Anamnesis in Roman-Catholic Theology: 'Do It in Memory of Me!'

100%
Nowak M.
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2004
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vol. 13
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issue 1(49)
137-145
EN
Anamnesis is one of the central categories in the liturgy of the Roman-Catholic Church. But it is more than a purely conscious phenomenon. It is acting with the intention of keeping a tradition alive. This tradition gives a redeeming value to the re-enactment of past events. The purpose of the article is to show how 'anamnesis' of the Gospel is related to the terms of 'zikaron' and 'azkara' of the Jewish Bible.
14

THE PRAY CODEX AS A SOURCE FOR MUSIC HISTORY

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Czagány Z.
Musicologica Slovaca
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2023
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vol. 14 (40)
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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.
15
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THE STORY OF MONASTICISM AND MUSIC IN THE EARLY MIDDLE AGES. THE ABBEY OF SAINT-DENIS-EN-FRANCE AND SAINT-MAURICE D'AGAUNE

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Maître C.
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2006
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vol. 51
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issue 4(203)
3-26
EN
During the medieval era, liturgy designated an important role to the chant. Most often accompanying psalms or lectures, the chant served to contribute both an intellectual and emotional commentary to the discourse. Both the forms and the practice of the chant evolved significantly within space and time, and Gaul, amongst other regions, developed a strong liturgical and musical identity, especially during the high Middle Ages, up until the liturgical Romanisation undertaken during the second half of the VIIIth century. At this time, Gaul itself was diverse and one of its major monastic centers was the abbey of Saint-Denis near Paris.
16
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SACRUM V PRAGMATICKOM SVETE – DIVADLO V CHRÁMOVOM A PREDCHRÁMOVOM PRIESTORE A V TICHU

88%
Hlaváčová A.
Slovenské divadlo (Slovak Theatre)
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2013
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vol. 61
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issue 3
231 - 249
EN
The author of this paper examines the development of theatrical forms connected to liturgical space and the liturgical year. The author brings a testimony about a project which was started before the fall of socialism: The initiative of a group of Bratislava students staging The St. John Passion Play was not a generational theatre but a return to the discarded. The production in Bratislava’s Trinity Church was characterized by a fascinating modern dance expression presented against the background of Gregorian chant. The production was accompanied by the singing of a teachers’ choir Cantus and was shown in the Trinity Church in 1988, 1989 and 1990 and in St. Martin’s Cathedral in 1992. Then the author analyses a production by the Brno theatre. She also focuses on two projects by Slovak artists. Confronting stone and the body, Anna Sedlačková and Ľuboš Kľučár created a dance performance entitled De Profundis (27 – 29 Oct. 1992). Besides the stone statues of Viliam Loviška and Andrej Rudavský, the De Profundis production also worked with candles, water and clay. The space of the Cum Angelis production was delineated by two lines of Viliam Loviška’s peculiar polychrome and gilded angel heads which incorporated fragments of old disintegrated stone sculptures. The later work of the ensemble moved away from the theatre production principles verging on installation. It relied on integrating the sculptural principle and motion – deriving the production form from a facial mask á la Japanese Noh theatre. Anavim, which means “to the poor” in Hebrew, is a reference to Brook’s concept of a poor theatre. Similarly, Veni, the name of a music band, is actually the shortening of Veni Sancte Spiritus. From the viewpoint of dramaturgy, they were extensions of passion plays that could not be played under socialism. However, in retrospect, both “chapel projects” can be viewed as preliminary studies for outdoor passion plays under the title Passio produced a decade later on the Main Square in Bratislava. It was not meant to be a film-like realistic rendering of the passion plays. On the contrary, it can be characterized as fragmented, analytical and sculptural, with every motion representing a certain idea or movement of the heart.
17
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Středověký plenář z Načeradce

88%
Petr S.
Studie o rukopisech (Manuscript Studies)
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2009
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vol. 37-38
25-41
EN
The plenarium of Naceradec belongs to the ten eldest diocesan missals which have been preserved in Bohemia and Moravia. It can be dated to the second decade of the 14th century according to its script and decoration. Only a small part of the ordinarium and de tempore of the proper missal have been preserved. The original calendar was substituted for a new one at the beginning of the 15th century. Municipal scribes recorded in the free margins of the codex a series of memorial entries which became a pretious source of knowledge of the everyday life in the second half of the 16th and in the first half of the 17th centuries.
18
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Nejstarší římské Ordo defunctorum v pohledu paradigmatu rites de passage

88%
Kunetka F.
Studia theologica
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2005
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vol. 7
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issue 4
13-25
EN
The oldest description of the Roman liturgy can be found in texts which were published in the middle of the twentieth century under the title 'Ordines romani' (ed. by M. Andrieu). These early medieval writings provide data on the course of the ceremonies (rubrics), and sometimes they also give incipits of the liturgical texts. The oldest description of the funeral ceremony in the Roman liturgy is contained in a manuscript from the 7th or 8th century, which was published under the title 'Ordo Romanus XLIX'. Here we can find rites for the time of dying (viaticum, the Passion), for the procession to the church (the singing of Psalms), and for the service in the church (vigil, readings). Because of the fragmentary character of the text, the ceremony in the cemetery is lacking. The rites, which are characterized by ancient Christian simplicity, accompany the human being in the last phase of his or her life journey: from the process of dying to the grave. Since Christian faith understands this situation as a transition from death to life, the ceremonies have a character of transitional rituals (rites de passages). The study is a commentary on the short text of 'Ordo XLIX', just from this perspective.
19
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Eucharistia pre život večný v byzantskej tradícii

88%
Mojzeš M.
Studia theologica
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2006
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vol. 8
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issue 3
62-72
EN
This article offers a study about the praxis of viaticum in the Byzantine tradition. At the beginning it is shown that in the first centuries the term viaticum (in Greek efodion) was not used exclusively for the Eucharist received in the last moments of the terrestrial life. The first part of the article deals with four hagiographical fonts: the biographies of St. Melany, of St. Mary of Egypt, of St. Anthony the Great, and of St. Macrina. In the earlier biographies (St. Anthony and St. Macrina), there is no mention of the Eucharist as viaticum. But it does not mean that St. Anthony and St. Macrina did not receive the Eucharist at the end of their terrestrial lives. Furthermore, in these earlier biographies, there is no mention of the Eucharist in general. On the other side, in the posterior biographies (St. Melany and St. Mary of Egypt), we can find the exact mention of the Eucharist as viaticum. After this hagiographical context, the second part of the article deals with the Byzantine liturgical texts of the divine liturgy of St. John Chrysostom and St. Basil the Great. In the Byzantine lex orandi the Eucharist is perceived as efodion, not only in relation to the last moments of the terrestrial life, but every Eucharist is received as a 'food for a journey to the eternal life,' because every Christian is called to be on this journey in every moment of his life.
20

THE LITURGY AS A NEW SONG IN HONOR OF THE LORD (Liturgia jako piesn nowa ku czci Pana)

88%
Nowak W.
Roczniki Liturgiczno-Homiletyczne (Liturgical and Homiletic Annals)
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2009
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vol. 56
309-321
EN
The Son of God who in eternity, sang the song of worship of the Father in heaven, through the incarnation brought this song on the earth. His entire life and deeds were one anthem of the worship of God the Father. A summit of this worship was His sacrifice on the cross and resurrection. The highest Priest of the New and Eternal Covenant, Jesus Christ, accepting the human nature, brought into this earthly exile that anthem of the glory of God. The Church together with the Founder Jesus Christ, as His Mystical Body united in the Holy Spirit exercises the liturgy and blesses God the Father for all His gifts. A new song of the glory of the Lord is first of all the Eucharist, the sacraments, the liturgical year, sacramentals, connected with the entire activity of Christian whose life should become the imitation of the paschal mystery of Christ. There, where the man praises God, just a word is not enough. The music and the singing in the liturgy is an indicative sign of a new song for theLord sang by the Church until the Parousia of the Lord.
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