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„Neue“ Lieder im Gesangbuch Jesličky (1658) von Fridrich Bridelius und ihre Textvorlagen. Bemerkungen zu den Inspirationsquellen der tschechischen barocken Kirchenlieder

100%
Škarpová M.
Hudební věda (Musicology)
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2012
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vol. 49
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issue 4
377-398
EN
This study deals with that portion of the repertoire of the Czech Advent and Christmas songbook Jesličky (Prague, 1658) by Fridrich Bridelius, which newly appeared in Czech hymnography thanks to this song book, and it summarizes the various results of the search for textual sources from other languages for these “new” songs in Jesličky. It points out their ties to contemporary German written hymnography (of both German and Bohemian provenience) and to Latin hymnography, i.e. to contemporary Latin songs. The text is thus not only a contribution towards discovering the ways that Czech hymnographers of the 17th century became familiar with the new, i.e. baroque, poetic language, but also, above all, an attempt to stimulate further hymnological research on baroque hymnographic works in the early modern history of Central Europe and the interconnections and relationships between them.
2
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Die Weihnachtslieder im Gesangbuch Jesličky (1658) zwischen deutscher Hymnographie und übernationalem Repertoire

100%
Slavický T.
Hudební věda (Musicology)
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2012
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vol. 49
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issue 4
399-415
EN
The songbook Jesličky (1658) has tended to be cited primarily as an example of direct contacts between Czech and German hymnography of the 17th century. Opening the door to consideration of a broader context was the presence of certain tunes in Latin-Slovak and Latin-Croatian printed material as well. An entire set of identical tunes has subsequently been confirmed in Latin, German, Czech, Slovak, Hungarian, and Croatian hymnography. The situation outlined above has thus shifted the original issue – the “new” songs printed in Jesličky are not just a new layer of the Czech Christmas repertoire with proven German sources, but also an attempt at creating Czech versions of a supranational repertoire. The search for source models is thus growing into research surveying the new repertoire of Christmas songs that was spreading its way around Central Europe near the middle of the 17th century.
3
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Opomíjený pramen husitského zpěvu doby poděbradské a repertoár cantiones hebdomadae sanctae

75%
Baťová E.
Hudební věda (Musicology)
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2014
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vol. 51
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issue 3-4
229-274
XX
Studie se zabývá rukopisným pramenem z 15. století, uloženým v Národní knihovně ČR pod signaturou XVII F 3, s reflexí obecně liturgických hledisek. Zaměřuje se na jeho pravděpodobnou dataci a repertoárovou skladbou. Obsahuje sondu do repertoáru Svatého týdne.
4
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Рефрены кондаков в церковнославянских и греческих акафистах

75%
Lyudogovskij F.
Przegląd Wschodnioeuropejski
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2014
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vol. V/1
283-288
EN
The article studies the specific character of refrains of the kontakions in Church Slavonic and Greek akathists. In most akathists (in various languages), refrains in kontakions (except the first one) contain the expression “Alleluia”, but there are some Church Slavonic texts with other endings. On the other hand, there are several Greek akathists in which the endings of the first kontakions do not coincide with the refrains of the ikoses (unlike the Great Akathist and most of other akathists).
5
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Prameny k lidovému zpěvu při mši v 17. a 18. století

63%
Smyčková K.
Hudební věda (Musicology)
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2014
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vol. 51
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issue 1-2
133-147
XX
Studie se zabývá prameny, obsahujícími poznatky k provozovací praxi lidového zpěvu jako součásti mešního obřadu v 17. a 18. století.
6
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Innsbrucké tisky J. Stadlmayra a Ch. Sätzla - neznámé předlohy českých vánočních písní v Brideliových Jesličkách, Michnových zpěvnících i rukopisných kancionálech

63%
Smyčková K., Slavický T.
Hudební věda (Musicology)
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2014
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vol. 51
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issue 3-4
277-282
XX
Studie se zabývá nově objevenými písňovými tisky z první poloviny 17. století, jejichž repertoár se později stal součástí repertoáru v českých zemích.
7
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České roráty. K dezideratům a výzvám českého literárního dějepisectví

51%
Škarpová M.
Slovo a smysl - Word & Sense
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2019
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vol. 16
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issue 32
127-160
EN
This article resumes research on the so-called Rorate chants, that is to say on the chants connected with morning Votive Mass in honor of the Virgin Mary in Advent, otherwise known as the Rorate Mass after its incipit. The central aim of this article is to present the Rorate chants as an interesting topic for (Czech) literary historiography as well as comparative hymnology. One may well point out that the polymedial nature of Rorate chants directly suggests an interdisciplinary approach. In the case of the Czech tradition, however, this only puts into sharper relief the imbalance of scholarship across the hymnological disciplines. On the one hand, one is struck by the almost total absence of research on literary historiography; in the first part of the article, we analyze how and under what circumstances Czech literary historians have excluded Rorate chants from Czech literary studies. On the other hand, one finds a rather long history of musicological research, which, conversely, has carved out an important place for the Rorate chants in the history of Czech music, going so far as to establish them as a characteristically Czech musical form. What the Czech Rorate chants seem to offer Czech society, as we show in the second part of the article, is a certain potential for self-identification — a potential that has manifested itself, at various times and with varying intensity, in a tendency to identify the Rorate chants as a product of a national past and as one of the nation’s identifying features. However, the creation of a specific vocal repertoire for the Rorate Mass is also documented in other (Central) European regions. The third part of our essay seeks to answer the question: how significantly does the Czech Rorate tradition differ from its counterparts? The difference between the various Rorate traditions cannot be understood (merely) with respect to a language traditionally characterized by monolingually defined national philologies. It is therefore possible to study the Czech Rorate tradition in the context of a pan-European process made up of various church denominations in the early modern period — that is, by investigating the Czech Rorate chants from the perspective of denominational liturgies, in reference to a particular church polity or corresponding socio-cultural context.
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