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1

PO STOPÁCH BUDÍNSKEHO/BRATISLAVSKÉHO ANTIFONÁRA III

100%
Veselovská E.
Musicologica Slovaca
|
2016
|
vol. 7 (33)
|
issue 2
222 - 248
EN
The Buda or so-called Bratislava Antiphonary III (Archive of the City of Bratislava) is one of the most important sources of music culture in medieval Hungary. It is one of the representative manuscripts of the principal ecclesiastical centre of the country, Estergom. The manuscript was produced in the last third of the 15th century under the powerful Renaissance influence of the scriptorium in Buda, or directly in the Buda scriptorium itself. It is the only manuscript source which documents the influence of the art of the Buda Royal Court in Bratislava. By a detailed comparison and exact accordance of codicological and music-palaeographic components, several lost folios of the Buda/Bratislava Antiphonary III were identified in the recent past. Seven pages of this manuscript are currently held by the St. Adalbert Society in Trnava and one torn folio is lodged in the Archive of the Slovak National Museum; 38 fragments from the second part of this manuscript may be found in the Austrian National Library in Vienna.
2

STREDOVEKÉ NOTOVANÉ FRAGMENTY Z KNIŽNICE EVANJELICKEJ CIRKVI A. V. V KEŽMARKU – TRANSREGIONÁLNE VZŤAHY A LOKÁLNE ŠPECIFIKÁ

88%
Veselovská E.
Musicologica Slovaca
|
2020
|
vol. 11 (37)
|
issue 2
165 - 189
EN
In the bindings of books in the library of the Lutheran Church in Kežmarok, 36 parchment bindings with notation have been preserved. Liturgical manuscripts of the 12th, 14th, and especially 15th centuries were used as an outer wrapping for later books. All of the sources document monophonic liturgical chant the so-called cantus planus. Some of these music materials were transported to Slovakia in their secondary function, hence their binding originated outside the territory of Slovakia and the music sources testify to the musical and liturgical tradition of other regions. Certain of the bindings originated in Slovakia, and manuscripts from the Spiš region, on occasion directly from the town of Kežmarok, were used as suitable parchment material. Palaeographic, liturgical and musicological analysis has indicated either the transfer of music codices from their place of origin and use (manuscripts from Bohemia, Germany, and even Belgium) or the local specificities of scriptorial workshops in Slovakia (Spiš manuscripts).
3

NEZNÁMY FRAGMENT GRADUÁLU SINE SIGN. Z 13. STOROČIA ZO ŠTÁTNEHO ARCHÍVU V BRATISLAVE

75%
Veselovská E., Luz R.
Musicologica Slovaca
|
2019
|
vol. 10 (36)
|
issue 2
239 - 260
EN
There are currently a great many medieval liturgical fragments with notation, dating from the late of the 11th to the early 16th century in Slovak archival holdings. The majority of them served as reinforcing material (top cover, alternatively front or back boards) in administrative books, later manuscripts, or prints. These precious medieval musical sources are found in this secondary function to this day, often without their own deposit signatures. Among the old musical sources deposited in Slovak archival, museum and library holdings, there are fragments of codices with Neume notation. These were imported to our territory from German, Austrian and Bohemian-Moravian Benedictine scriptoria. Among the unique examples of these very old musical monuments is the bi-folio fragment of the Gradual sine sign. from the State Archives in Bratislava with German adiastematic Neume notation.
4

STREDOVEKÉ NOTOVANÉ FRAGMENTY ZO SLOVENSKÉHO NÁRODNÉHO ARCHÍVU

75%
Veselovská E.
Musicologica Slovaca
|
2014
|
vol. 5 (31)
|
issue 1
5 - 34
EN
The sources of medieval musical culture from the territory of Slovakia are the foundation stone in the musical history of our land. The most recent investigations of 62 medieval fragments from the Slovak National Archive in Bratislava have indicated a wealth of original and imported written culture from a time period from the late 12th to the early 16th century. Newly discovered fragments fill out the complex picture of the sources of medieval musical culture, which despite severe material losses (manuscripts lost, destroyed, or removed abroad) is rich and unique. In the latest research in the Slovak National Archive many fragments have been identified from manuscripts which are currently known and more or less complete.
5

ČESKÁ NOTÁCIA NA SLOVENSKU V OBDOBÍ STREDOVEKU

75%
Veselovská E.
Musicologica Slovaca
|
2011
|
vol. 2 (28)
|
issue 2
173 - 206
EN
An important fact has been highlighted in the recent times by the complex source study of the medieval musical codices and fragments from the territorial area of Slovakia: written culture in the late 14th century and throughout the 15th century in the Slovak area was strongly under the influence of the learned culture of Bohemia. We have registered the direct impact of the Czech scribal tradition on the evolution of notation practice in Slovakian written sources, particularly within the time period 1370 – 1520. The codices, and some tens of fragments, which give documentary evidence of Czech notation in our geographical space were taken as a research topic, together with systematisation, analysis and evaluation of all currently known and processed musical sources from the Slovak area. The aim of research was to systematise knowledge of source materials, as well as establishing the fundamental structural features of Czech notation in Slovakia.
6

DIECÉZNY ARCHÍV V NITRE A NEZNÁME LITURGICKÉ RUKOPISY Z 15. A 16. STOROČIA

63%
Veselovská E., Ďurčo M.
Musicologica Slovaca
|
2013
|
vol. 4 (30)
|
issue 1
77 – 105
EN
Nitra has a special status in assessment of the liturgical musical codices from the territory of Slovakia dating from the medieval period and early modern period. Only one liturgical manuscript has been preserved in its original place from Nitra’s church institutional funds– the Nitra Codex from the 12th century (ekphonetic symbols, elements of German unlined neume notation). Religious books with notation have not been preserved from the subsequent period (12th to 16th century). All the more surprising, then, is the discovery of 7 antiphonary fragments from the turn of the 16th century with the Estergom notation system in the Nitra Diocesan Archive, which is one of the oldest church archives in the Slovak Republic. On account of the historic status of the Nitra diocese and its church archive, we regard the finding of these fragments as an exceptional discovery in the field of medieval musical research in Slovakia.
7

NOTATIO STRIGONIENSIS – OSTRIHOMSKÁ NOTÁCIA NA SLOVENSKU

63%
Veselovská E.
Musicologica Slovaca
|
2010
|
vol. 1 (27)
|
issue 1
46-79
EN
Esztergom notation is an achievement of medieval Hungarian scriptoria. Two codices (Bratislava Missal I, Nitra Gradual) and several tens of fragments coming from 12th-18th centuries have been preserved proving the presence of the Esztergom notation on the whole territory of Slovakia. However, it is not a dominating notational system of the medieval materials. The preserved sources document much more margin use of this medieval notational system in Slovakia. The Estergom notation is originated as an independent product of the scriptorium of the main church centre of the medieval Hungary-Esztergom.
8
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Pojęcie i doświadczenie czasu w polskiej sztuce konceptualnej

38%
Zdanowicz M. H.
Sztuka i Dokumentacja
|
2012
|
issue 6
141-147
EN
In my paper I analyse the art of selected Polish conceptual artists, whose art and creative strategies clearly attempt to analyse the essence of time. I consider exceptional in this context the work of Roman Opalka (Opałka 1965 /1 - ∞), Natalia LL's recordings (Permanent recordings of time), Zdzislaw Jurkiewicz's Saturn and Jupiter Ways, and the projects by Stanisław Dróżdż (FROM TO) that touch upon various levels of time. In the presented analyses, I refer to the psychological and philosophical concept of perception and aperception, as well as an anthropological understanding of time. In my view, conceptual art is the genre whose characteristics lie in the conscious cognition and deep intellectual analysis of the reality surrounding the artist. With regard to the active role of the mind in the process of perception the aperception of time may be a more appropriate term.
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