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The Analogies between the Chants of the Jistebnický Kancionál and the Repertory of the Oldest Czech Graduals in the 16th Century

100%
Žůrek J.
Hudební věda (Musicology)
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2011
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vol. 48
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issue 1
41-78
EN
An investigation of the relationship between the earliest Czech plainchant of the Jistebnický Kancionál (ca. 1420/1430) and the Czech plainchant of the following century shows that the latter is not always a direct adaption of Latin models. A comparison of the texts and music shows that some of the chants most likely depend on the earlier Czech plainchant, but updated, with the texts edited for grammatical or theological clarity, or with syllables added to the melismata. It is thus reasonable to speak of a continuous tradition of Czech plainchant from the 15th through the 16th centuries. Furthermore, watermarks and paleography can often date the later sources to several decades earlier than previously thought.
2
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Das Prager Offizium des heiligen Adalbertus

100%
Pušová R.
Hudební věda (Musicology)
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2011
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vol. 48
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issue 1
95-115
EN
The subject of this study is the office for the Feast of St. Vojtěch (St. Adalbert) and publication thereof, which is something that Czech musicology has lacked so far. Scholars have been able to identify this complete office in sources in the Czech Republic dating back as far as the mid-fourteenth century. The source situation and also the fact that this office includes a responsory taken from the office of St. Stanislaus (from the mid-thirteenth century) indicate that formation of the complete office for the Feast of St. Vojtěch was probably related to the rapidly-developing cult of St. Vojtěch during the period around 1300. However, the conception of this office differs greatly from that of canonical hours in general at that time, because its chants do not proceed by the modes and most of them have unrhymed texts. The office contains at least three chants certainly taken from offices of other saints, and on the other hand a group of chants that may be called original, which are musical settings of an unrhymed text from the legend of St. Vojtěch by Canaparius and are distinctive in their shared archaic recitative procedures. Thus in all probability the complete Czech office of St. Adalbert came into being during the period around 1300 as a compilation of older chants supplemented by several contemporary rhymed chants.
3
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Sedlčanský antifonář M-7 a pozdní tradice hodinkových oficií

75%
Koláček J.
Hudební věda (Musicology)
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2011
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vol. 48
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issue 1
79-94
EN
The Sedlčany Antiphonary CZ-S M-7 from the fifteenth or sixteenth century is one of only a few Utraquist sources for the divine office (canonical hours). The repertoire of the manuscript was examined with the help of the CANTUS Analysis Tool in order to find the feasts where the chants differ from most other liturgical traditions. Following an article devoted to Sedlčany graduals published in 2008, this new article presents another case study of the evolution of chant repertoire and liturgy in the Czech reformation.
4
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The psalmodic cadence as a characteristic feature of a musical tradition

75%
Grajewski C.
Saeculum Christianum. Pismo Historyczne
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2021
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vol. 28
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issue 1
5-13
EN
Artykuł zawiera przegląd kadencji psalmowych, które są charakterystycznymi elementami psalmodii niektórych tradycji zakonnych. Autor na podstawie wieloletnich badań wyselekcjonował zakończenia psalmowe (euouae), które właściwe są dla cystersów, premonstratensów, franciszkanów, klarysek, krzyżaków, kartuzów i paulinów.
5

Prosoodiast meloodiani – eestikeelse Piibli proosatekstil pohineva uhehaalse a cappella kirikulaulu ehk eesti puhalaulu metodoloogia

63%
Joks E.
Mäetagused
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2017
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vol. 68
53-82
EN
The most widespread Estonian Christian chant is Lutheran chorale, which is based on a text of strophic verses, in which all verses can be sung with the same tune. The roots of the written tradition of the Western Christian chant (9th–10th cc.), however, are in the prose text of the Latin Bible. Nowadays a chanted vernacular prose text from the Bible or vernacular plainchant has found its way to the Lutheran repertoire. The article demonstrates how consideration of the parameters of Estonian prosody can contribute to the creation and practice of Estonian plainchant. In other words, the article describes a system of principles following which the stylistically versatile Estonian plainchant is created. The styles of vernacular plainchant are: (1) contemplative, (2) declarative, and (3) free style. The Estonian or vernacular plainchant can be defined either through the categories of linguistics or those of Christian piety. In terms of linguistics, the vernacular plainchant follows the three parameters of prosody: (1) the temporal parameter, (2) the dynamic parameter, and (3) the intonation parameter, while pronouncing the texts of the Holy Scriptures and realising as well as considering these three parameters in shaping the melodic information and bearing it in mind in performance. In terms of Christian piety, the vernacular plainchant is a monodic musical a cappella pronunciation of the unaltered prose texts of the Holy Scriptures, which is based on prayerful concentration and/or sacred conviction, and is trying to follow in every point the authority of the Word of God and consider the prosodic peculiarities of a particular language. The contemplative style is based on “switching off” the personal prosodic intonations of the text. To a certain extent the result resembles a phenomenon that is known in music performance as “recitation”. However, it differs from recitation, because there is no intention of a performer to express him- or herself through music. The result that is similar to recitation happens simply because the performer begins to say the syllables at the same height without any intention to sing. Melodic formulas are then applied to this recitation-like contemplative talking. There are two kinds of melodic formulas in Western plainchant: (1) formulas with accentual cadences, and (2) formulas with cursive cadences. Accentual cadence takes into consideration the prosodic principles of Latin as well as other Indo-European languages in which an accented syllable is usually perceived as the longest syllable of a word. This means that the accented syllables are always marked with dominant notes of a cadence. Cursive cadence, on the other hand, always applies the same amount of syllables in the cadences without any accentual considerations. Estonian prosody differs significantly from Indo-European prosody, as the accented syllable is not always the longest syllable of the word. Therefore, in Estonian formula-based plainchant a cursive principle should be preferred. While the contemplative style stands on “switching off” personal prosodic interpretation, the declarative style attempts to achieve the opposite: personal conviction in pronouncing the text should be enhanced and extracted as a melody. The free style is a further development of the declarative style, in which the composer decorates the melody according to his or her personal creativity and taste. Describing the contemplative, declarative, and free styles of Estonian plainchant showed that we are dealing with a genre of extensive possibilities, which appreciates our mother tongue, recognises the tradition from which our musical culture springs, and gives a dignified position to the core text of the Estonian language and culture – the Bible.
6
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Dominikańskie procesje różańcowe i tradycja śpiewanych różańców na ziemiach polskich w świetle procesjonału PL-Kd 75L oraz innych źródeł XVIII i początku XIX wieku

51%
Grabiec D.
Muzyka
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2022
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vol. 67
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issue 3
52-77
EN
The processional kept in Krakow’s Archives of the Polish Province of the Dominican Order (shelf mark 75L) is probably the only surviving handwritten Dominican processional from the post-Tridentine period. Despite its modest dimensions, it offers a unique record of readings, prayers, and songs for the solemn procession on the Feast of the Circumcision of Christ and readings for the Feast of the Rosary, complete with numerous notes on the active participation of the Rosary Confraternity, which led the singing of the rosary also during Corpus Christi processions and of Easter songs at the Resurrection procession. Several factors, including the codicological features of the manuscript and variants of rosary prayers (the same as those in a printed prayer book of 1752), indicate that the manuscript may have been compiled in the second half of the eighteenth century. The six rosary records found during the archival research all differ from one another to some extent in linguistic variants, sequence and number of prayers, instructions for their use in prayer practice, and even the contents of some song verses. This extended sung rosary form, which resembles the Liturgy of the Hours, took shape in the early seventeenth century in Rome and was then disseminated throughout Italy, later also in other countries. Having reached Poland by the early eighteenth century at the latest, it was translated from Latin to Polish in its entirety, and the Gregorian hymn was likewise replaced with a Polish translation with a new melody. The Polish version also adds songs preceding each section, as well as brief sung verses that substitute for the meditations preceding the individual mysteries of the Rosary. That sung rosaries were widely known in old Poland is confirmed not only by the surviving copies of prayer- and songbooks published in Kraków, Poznań, Warsaw, Vilnius, and other places, but also by mentions of this practice in Jędrzej Kitowicz’s ‘Description of Customs and Culture under the Reign of Augustus III’ by Jędrzej Kitowicz, and in the Dominican Processional 75L.
PL
Procesjonał sygn. 75L z krakowskiego Archiwum Polskiej Prowincji oo. Dominikanów jest prawdopodobnie jedynym zachowanym rękopiśmiennym procesjonałem dominikańskim z czasów potrydenckich. Pomimo skromnych rozmiarów jest to księga szczególna ponieważ zawiera unikatowy zapis czytań, modlitw i śpiewów przeznaczonych na uroczystą procesję w święto Obrzezania oraz czytań na procesję w święto Różańca, a także liczne wzmianki o aktywnym udziale Arcybractwa Różańcowego, prowadzącego śpiew różańca w trakcie pochodu także w święto Bożego Ciała oraz pieśni wielkanocnych podczas procesji rezurekcyjnej. Rękopis mógł powstać w drugiej połowie XVIII w., na co wskazują m.in. jego cechy kodykologiczne oraz warianty tekstów modlitw różańcowych zbieżne z wersją zamieszczoną w drukowanym modlitewniku z 1752 r. Każdy z sześciu odnalezionych podczas kwerendy przekazów różańców różni się w jakimś stopniu od pozostałych wariantami językowymi, kolejnością oraz ilością modlitw, wskazówkami dotyczącymi sposobu jego odmawiania, a nawet treścią wybranych strof pieśni. Ta rozbudowana, śpiewana forma różańca, przypominająca godziny brewiarzowe, ukształtowała się na początku XVII w. w Rzymie, następnie upowszechniła w całych Włoszech, a później także w innych krajach. Do Polski dotarła ona najpóźniej na początku XVIII w. i została przetłumaczona w całości z języka łacińskiego na polski, także gregoriański hymn zastąpiony został jego polskim tłumaczeniem z nową melodią. W polskiej wersji dodane zostały też pieśni poprzedzające każdą z części oraz krótkie śpiewane strofy zastępujące medytacje poprzedzające poszczególne tajemnice różańcowe. O powszechnej znajomości śpiewanych różańców w dawnej Polsce świadczą nie tylko zachowane egzemplarze drukowanych modlitewników i śpiewników, wydawane w różnych ośrodkach, m.in. w Krakowie, Poznaniu, Warszawie i Wilnie, ale także wzmianki o nich w Opisie obyczajów Jędrzeja Kitowicza oraz w dominikańskim Procesjonale 75L.    
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