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Liturgická specifika a řazení obsahu českých kancionálů 15. a 16. století

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Baťová E.
Hudební věda (Musicology)
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2011
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vol. 48
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issue 1
133-142
EN
The task of this study is to present a supplementary consideration of selected liturgical and confessional traits of cantionals coming mainly from the first half of the sixteenth century. An important starting point for these reflections is the Kolin Cantional, whose unique position as a link between the Hussite period and later cantionals of the sixteenth century allows us to gain deeper insight into the principles of internal organization and liturgy peculiar to Czech Reformation cantionals – principles we should keep in mind in association with the concept of a cantional. The opening summarizes issues explored by earlier researches in relation to these sources. Then the author devotes herself in greater detail both to shared traits in the organization of the cantionals examined and, subsequently, to respects in which they differ according to the influence of the confessions to which they belong.
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Poeta poranka i wieczoru. Hymny św. Ambrożego w Liturgii godzin

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Nocoń A.
Vox Patrum
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2012
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vol. 57
437-451
EN
Following the example of the Lord, who frequently sang hymns with his dis­ciples, and encouraged to sing by St Paul, the early Christians praised God in music and song. The first Latin hymns were composed by Hilary of Poitiers. Their metrical complexity and content discouraged their liturgical use by the Church. Thus, St. Ambrose of Milan is considered the first „official” Latin hymnodist. He composed several hymns, still used in the Liturgy of the Hours, which were mu­sicated by himself. These hymns come from the particular circumstances of the Arian controversy and derive, in the main, from the necessity of encouraging „or­thodox” Christians in their defence of the Basilica Porziana in Milan. They were designed to guide their prayer at different times of the day. The Author’s text-critical analysis of two of these hymns – Aeterne rerum conditor, sung at dawn (in gallicinium) and Deus, creator omnium, sung at dusk as the lamps were lit (ad horam incensi) – well testifies to the literary and pastoral genius of the Bishop of Milan as he transforms the complex theological reflection of his time into poetry and music, while not only retaining the integrity of the depth of that reflection but also enhancing its aesthetic profile by drawing on a repertoire of images based on the parallelism of cosmic reality and human reality. St Ambrose’s corpus of hymns, together with his prose works, was admired both by his contemporaries and by successive generations. They promoted the flowering of a merciful Chris­tocentricity which, according to the experts, is the most original and attractive feature of his poetry. As is clearly seen in the hymns received into the Divine Of­fice, Ambrose’s singular ability effectively to stimulate the soul to prayer through a powerful and insuperable lyrical inspiration, is capable literally of transforming the daily hours into songs of praise, and explains Petrarch’s habit of rising during the night to sing hymns to the Lord.
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Hymny Proklosa: filozofia i kult

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Osek E.
Vox Patrum
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2013
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vol. 59
487-530
EN
The present paper consists of the introduction to the Neoplatonic and Chaldean systems, the first Polish translation of seven extant Hymns by Proclus (AD 412- 485), and the commentaries on each of them. This essay is a polemic against the well-known book by R.M. Van den Berg entitled Proclus’ Hymns (Leiden 2001, Brill), which shows, above all, the Chaldean influences (cf. The Chaldean Oracles, ed. R. Majercik, Leiden 1989, Brill). I has argued that the philosopher used much more literary patterns than the Chaldean Oracles to illustrate the Neoplatonic „oecumenism” (an expression of P. Athanassiadi), i.e. syncretism of all the late-pa­gan religions. I has argued, further, that the philosopher’s cult-songs had been used in purifications and mystery rites of all the religions, but there is no evidence for the theurgy alone. I disagree with M. Van den Berg in the main thesis of his book that the gods to whom the hymns were adressed should be identified with the lead­er-gods of Proclus’ system. My argumentation leads to the conclusion that the gods of Proclus’ Hymns can be identified with the Great Demiurges (Hymns 2, 6, 7) and the Lesser Demiurges (Hymns 1, 3, 4, 5). The elaborate theological system con­structed by Proclus and the location of gods from the Hymns in it are shown in the special diagram (table 1).
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Греческие параллели и русские переводы в лексикографическом описании церковнославянских слов

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Kaluzhnina N.
Przegląd Wschodnioeuropejski
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2014
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vol. V/1
235-243
EN
In the article, some examples of forming and functioning of supplementary metaphorical meanings of the Church Slavonic words are considered with reference to their Greek parallels. The subject of the analysis is a number of examples demonstrating different correlations between the Church Slavonic and Greek parallels from the Old Testament books and the corresponding Russian equiv¬alents, as well as the linguistic features of Psalm 22 rooted in the Greek and Church Slavonic translations and their presence in the Hymns for the Ascension.
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Convergence of form and content between indigenous and Christian songs and beliefs of the Yoruba in southwestern Nigeria

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Okewande O. T.
Studies in African Languages and Cultures
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2022
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issue 56
155-182
EN
Beginning and the development of Yoruba written poetry was believed to be influenced by the Christian songs and hymns. However, this study demonstrates the impact of Yoruba traditional poetry and beliefs in the development of local Christian religion and beliefs in the present time. Relevant data on both Christian and indigenous Yoruba beliefs were sampled through observation as well as extracted from written texts such as songs, hymns and poems in the Yoruba language. On the basis of the ethnographic and empirical materials and texts examined, the study found out that there are many parallel elements relating to form and content in traditional Yoruba and contemporary Christian songs and beliefs. It is stated that the Yoruba religious poetry and songs are valuable cultural elements in contemporary time and actively participate in propagating the Christian beliefs in the Yoruba society. This study concludes that impact of Yoruba religious poetry and beliefs is felt on the Christian religion in the contemporary time just as the Christian religious songs contributed to the development of Yoruba poetry in the past.
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Polyphonic Office Hymns with Local Traits in the Prague Strahov Codex

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Mráčková V.
Hudební věda (Musicology)
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2014
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vol. 51
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issue 1-2
91-103
XX
Studie se zabývá repertoárem polyfonních hymnů, zapsaných v rukopisném kodexu, uloženém v knihovně kláštera na Strahově.
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Tschechische und deutsche Marienklagen - ein Vergleich

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Evers U.
Hudební věda (Musicology)
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2016
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vol. 53
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issue 2-3
129-146
XX
Studie Ute Everse se zabývá srovnáním repertoáru mariánských planktů v českých a německých rukopisných pramenech.
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Die orthodoxe Kirchenmusik als ein bedeutendes Erbe von Byzanz und ihre moderne Rezeption im Westen am Beispiel des „Byzantinischen Kantorenchores München“

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Nikolakopoulos K.
Review of Ecumenical Studies Sibiu
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2015
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vol. 7
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issue 3
447-459
EN
The Byzantine Music was created within the liturgical life of Orthodoxy and has been developed accordingly in the Eastern Church Worship. Together with the hymnography the Byzantine Music in Orthodoxy has from the beginning taken a central place, especially since there is absolutely no orthodox worship without psalmodic accompaniment. It is one of the most notable achievements in the Byzantine era, for which in the last decades also in Western Europe a great interest is awakened.
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Kol 1, 15-20. Dzieło dwóch różnych autorów

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Langkammer H.
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1970
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vol. 17
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issue 1
61-101
PL
In Kol 1, 15-20 sieht die heutige ntl. Forschung ein älteres Christuslied. Man ist sich auch ziemlich einig bezüglich der Abteilung und der Gliederung des Hymnus in zwei Strophen (15-18a; 18b-20). Umstritten bleibt weiterhin die Urform des Liedes und dessen religiös-gesehichtlicher Hintergrund. Schon diese beide Faktoren nötigen zu einer gründlichen und vielseitigen Untersuchung von Kol 1,15-20. Der Verf. nimmt vor allem Stellung gegen die allgemeine Auffassung, die ältere Schicht des Hymnus (wie man sie auch sehen sollte) in ihrer „aufweisbaren” Doppelform (protologischer Teil -soteriologischer Teil), stamme aus einer Verfasserhand. Offenbar lag zunächst ein protologischer Teil zu Grunde, der (was nicht ganz ausgeschlossen ist) mit einer Epiphanieaussage endete. Diesen Teil überarbeitete der Verfasser des Kolosserbriefes und entwarf einen zweiten kosmisch orientierten soteriologischen Teil. Zu diesem Ergebnis führen den Autor einerseits stilkritische und literarkritische Beobachtungen, anderseits wird für die zweite Strophe eine Anzahl von Texten aus dem Corpus Paulinum angeführt, die eine sehr verwandte kosmische Soteriologie aufzeigen. Das wäre auch ein Fingerzeig dafür, das Paulus selbst der Verfasser der zweiten Strophe des Liedes ist und zugleich des Briefes. Die Verbindung von Protologie und Soteriologie wäre also Paulus zuzuschreiben.
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Dzieło Jehana Titelouze’a i jego znaczenie w krystalizacji stylu organowego

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Pawlisz K., Karcz B., Tyrała R., Zając A., Delimat W., Janicki J. J., Malik J., Sterczewska L., UPJPII i., Pasek W., Karcz B., Malik J., Sterczewska L., UPJPII i., Pasek W.
Pro Musica Sacra
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2013
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vol. 11
EN
The organ work of Jehan Titelouze has considerable meaning in developement of organ music in France. His two books: Hymnes de l’Eglise pour toucher sur l’orgue, avec les fugues et recherches sur leur plain-chant (1623) and Le Magnificat, ou cantique de la Vierge pour toucher sur l’orgue, suivant les huit tons de l’Eglise (1626) are a great testimony of french organ music at the beginnig of XVIIth century. Titelouze is considered both a traditionalist and an innovator. His organ style is firmly rooted in the structures and the compositional techniques of the renaissance polyphony. The significant inspiration for Titelouze was a new invented type of organ. Composer in a conscious way used its technical and sound possibilities for create new stuctures with diligent counterpoint, organ ornamentation and the linear stucture.
PL
The organ work of Jehan Titelouze has considerable meaning in developement of organ music in France. His two books: Hymnes de l’Eglise pour toucher sur l’orgue, avec les fugues et recherches sur leur plain-chant (1623) and Le Magnificat, ou cantique de la Vierge pour toucher sur l’orgue, suivant les huit tons de l’Eglise (1626) are a great testimony of french organ music at the beginnig of XVIIth century. Titelouze is considered both a traditionalist and an innovator. His organ style is firmly rooted in the structures and the compositional techniques of the renaissance polyphony. The significant inspiration for Titelouze was a new invented type of organ. Composer in a conscious way used its technical and sound possibilities for create new stuctures with diligent counterpoint, organ ornamentation and the linear stucture.
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Rzymska edycja hymnów o św. Kazimierzu z roku 1525 i jej staropolskie tło

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Okoń J.
Colloquia Theologica Ottoniana
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2017
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issue 1
91-110
PL
Przedmiotem uwagi są hymny o św. Kazimierzu wydane przez biskupa humanistę Zachariasza Ferreriego (Zaccaria Ferreri) w zbiorze Hymni novi ecclesiastici (Rzym 1525). Spisał je Ferreri cztery lata wcześniej w Wilnie, gdy jako nuncjusz papieża Leona X prowadził proces kanonizacyjny królewicza Kazimierza Jagiellończyka. Autor omawia w związku z tym żywot królewicza, a następnie poświęcone mu hymny Ferreriego jako wczesną promocję św. Kazimierza w całym Kościele. Podobnie jak cały zbiór, hymny te są przykładem odchodzenia od tradycji hymnów średniowiecznych. Tym bardziej godna uwagi jest ich recepcja w XVII wieku: zostały one ponownie wydane w Wilnie w roku 1604 z okazji kanonizacji, a w 1606 roku przełożono je na język polski. Autor analizuje przekład i jego stosunek do oryginału.
EN
The object of attention are the hymns of St. George. Kazimierz issued by Bishop-humanist Zacharias Ferreri (Zaccaria Ferreri) in the set Hymni Novi ecclesiastici (Rome, 1525). Ferreri wrote it four years earlier in Vilnius, when as the nuncio of Pope Leo X led the canonization of Prince Casimir. The author discusses the life of the prince, and then hymns by Ferreri, as an early promotion of St. Kazimierz throughout the Church. Like the entire collection, the hymns are an example of departure from the tradition of medieval hymns. Even more remarkable is their reception in the 17c.: they have been re-issued in Vilnius in the year 1604, on the occasion of the canonization, and in 1606 were translated into Polish. The author discusses the translation and its relationship to the original.
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Saint Ambrose of Milan and the establishment of Christianity within the conventions of the new language for the Christians

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Zajc N.
Vox Patrum
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2014
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vol. 61
157-169
PL
Autor artykułu chce ukazać ortodoksyjny kontekst, będący efektem orzeczeń soborowych, traktowany jako pewien ekumeniczny aspekt myśli teologicznej św. Ambrożego, który milcząco wymuszał jednoczesne korzystanie z Zachodniej i Wschodniej tradycji liturgicznej. Pozycja Ambrożego jako biskupa Mediolanu, który głęboko rozpatrywał problemy dotyczące „nowego” języka chrześcijańskie­go używanego w liturgii, a także problem historii Kościoła i liturgii, pozwoliła mu bezpośrednio wpływać na poprawę stosunków między Niceą Wschodu i Zacho­du. Jego hymny, osobiste pisma i traktaty odzwierciedlały dogmatyczne, języko­we i ikonograficzne trudności tworzenia się państwa chrześcijańskiego: od Nicei do Trullo (lub od Konstantyna Wielkiego do Justyniana II), przez które Bizancjum weszło ostatecznie w niezwykle trudny okres ikonoklazmu (w latach 711-843).
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Starość pobłogosławiona przez Boga. Studium postaci w Łk 1–2

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Rosik M.
Verbum Vitae
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2013
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vol. 24
117-134
EN
Whether God planned for people physical death and senility (are the death and senility a consequence of the original sin?) or not, is still an open question in modern theology. In the Infancy Narratives (Luke 1–2) the evangelist presents the four old persons: Zechariah, Elisabeth, Simeon, and Anne. Exegetical and theological examination of the texts concerning these individuals leads to some characteristics which are common for all or for most of them. Among them we can enumerate the following ones: remaining in God’s presence in Jerusalem temple, continuing to pray, being led and inspired by the Holy Spirit (prophecy included), expecting the coming of the Messiah and living according to the God’s Law (righteousness). It seems, however, that the most important characteristic of the old age is sensibility in recognizing God’s inspiration.
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Antonio Chemotti, The Hymnbook of Valentin Triller (Wrocław 1555). Musical Past and Regionalism in Early Modern Silesia, Warsaw 2020 Instytut Sztuki Polskiej Akademii Nauk, pp. XXIV+292. ISBN 978-83-66519-05-3, online at https://epub.uni-regensburg.de/43464/

67%
Honisch E. S.
Muzyka
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2021
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vol. 66
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issue 3
202-209
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Exulantský kancionál Václava Klejcha a utváření české kolektivní paměti

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Škarpová M.
Česká literatura (Czech Literature)
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2015
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vol. 63
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issue 4
515-540
CS
a2_Tyto Klejchovy korekce Krmanova pojetí zároveň výstižně poukazují na složitou situaci českých pobělohorských exulantů, kteří se v exilu snažili před členy ostatních reformovaných církví obhajovat svůj specifický přínos. Klejchova předmluva o historii vydávání českých kancionálů přitom vytváří s jeho dalšími předmluvami, v nichž pojednal o dějinách vydávání českých překladů bible (1720), českých katechismů (1727) a českých postil (1734), doplňující se celek, v němž Klejch usiloval o systematické představení hlavních oblastí české (reformační) tištěné náboženské literatury s podobným výkladovým konceptem. Klejchovo intenzivní angažmá v českém literárním životě první poloviny 18. století, jež má vlastně protějšek v protikladně motivovaném působení jeho generačního souputníka, jezuity Antonína Koniáše (1691 - 1760), lze vnímat též v kontextu mizející paměti živých svědků na českou reformační minulost, kdy se náboženská identita českých nekatolíků stále více utvářela pouze pomocí jednoho prostředku umožňujícího „trvalou“, transgenerační paměť, tj. pomocí knihy. Klejch se zjevně snažil o to, aby z české kolektivní paměti nezmizela její nábožensky reformační složka, resp. usiloval o formování kolektivní paměti evangelíků užívajících češtinu jako bohoslužebný jazyk, aby z ní nezmizelo vědomí jedinečného českého vkladu do dějin evropské náboženské reformace.
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Sacrum i profanum w liturgii sakramentu małżeństwa w Kościele polskim

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Kwiatkowski D.
Studia Gdańskie
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2020
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vol. 47
25-37
EN
The article depicts the intersecting elements of sacrum and profanum in the current liturgy of the marriage sacrament. The starting point was to show the structure of the liturgy of getting married and its tight connections with the Eucharist. Because the liturgy of the marriage sacrament is aimed at sanctifying the man, building Christ’s Mystical Body and worshiping God, it itself becomes the sacrament’s sacrum, through which the spouses envelop themselves in God’s holiness. In the later part of the article, chosen profanum elements were described, the ones which have almost permanently entered the marriage sacrament. Their source is the brides’ lack of faith and ignorance, regarding the core of the marriage sacrament. This often leads to reducing the sacrament to ritual form, where following elements dominate: place of the wedding, decorations, incorrectly chosen songs and music, presence of the cameras and cameramen.
PL
Artykuł przedstawia przenikające się wzajemnie elementy sacrum i profanum w aktualnej liturgii sakramentu małżeństwa. Punktem wyjścia było ukazanie struktury liturgii zawierania małżeństwa i ścisłego powiązania jej z Eucharystią. Ponieważ liturgia sakramentu małżeństwa ma na celu uświęcenie człowieka, budowanie Mistycznego Ciała Chrystusa oraz oddawanie kultu Bogu sanowi samo w sobie sacrum sakramentu, poprzez który małżonkowie zanurzają się w świętości Boga. W dalszej części artykułu omówione zostały wybrane elementy profanum, które weszły niemal na stałe do liturgii sakramentu małżeństwa. Ich źródłem jest brak wiary narzeczonych i ignorancja dotycząca istoty sakramentu małżeństwa. To bardzo często prowadzi do zredukowania go tylko do formy obrzędowej, gdzie dominują będą następujące elementy: miejsce ślubu, dekoracje, niewłaściwie dobrane śpiewy i muzyka, obecność kamer i fotografów. Artykuł przedstawia przenikające się wzajemnie elementy sacrum i profanum w aktualnej liturgii sakramentu małżeństwa. Punktem wyjścia było ukazanie struktury liturgii zawierania małżeństwa i ścisłego powiązania jej z Eucharystią. Ponieważ liturgia sakramentu małżeństwa ma na celu uświęcenie człowieka, budowanie Mistycznego Ciała Chrystusa oraz oddawanie kultu Bogu sanowi samo w sobie sacrum sakramentu, poprzez który małżonkowie zanurzają się w świętości Boga. W dalszej części artykułu omówione zostały wybrane elementy profanum, które weszły niemal na stałe do liturgii sakramentu małżeństwa. Ich źródłem jest brak wiary narzeczonych i ignorancja dotycząca istoty sakramentu małżeństwa. To bardzo często prowadzi do zredukowania go tylko do formy obrzędowej, gdzie dominują będą następujące elementy: miejsce ślubu, dekoracje, niewłaściwie dobrane śpiewy i muzyka, obecność kamer i fotografów.
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Rola modlitwy w życiu syryjskich mnichów według Teodoreta z Cyru

59%
Skotnicka K.
Vox Patrum
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2014
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vol. 62
471-492
EN
Prayer was a basic goal of the lives of Christian monks. Historia religiosa by Theodoretus of Cyrus conveys a lot of valuable information on the subject of prayer of Syrian ascetics. The bishop of Cyrus used the notion of prayed to refer to any kind of requests and begging or thanksgiving and admiration. Theodoretus recorded particularly numerous examples of recoveries, which occurred by dint of intercessive prayer of ascetics. Monks prayed at different times of a day and in various postures (standing, lying or kneeling), they were also familiar with many kinds of prayer and addressed God with varied intentions. Historia religiosa in­forms us as well about gestures that accompanied prayers, such as bows, raising arms and eyes to the sky and places where it could be said. An important issue discussed by Theodoretus was the time of praying. In Historia religiosa we can find references to the ideal of incessant prayer and to morning and evening prayers typical for Christians. The aim of prayer was to help ascetics control their bodily needs, it drew the mind of an ascetic towards God, tearing them, at the same time, from worldly issues. Prayer was also a reflection of monk’s faith, since through it, they worshipped God, referred to him their requests and thanksgiving.
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