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1

Romańskie napisy haftowane na jedwabnych pasmach z grobu nr 24 w kolegiacie w Kruszwicy

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Janicki M. A.

Studia Źródłoznawcze. Commentationes

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2016

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vol. 54

PL

Zarys treści: Artykuł stanowi analizę filologiczną i wstępną analizę epigraficzną wymienionych w tytule inskrypcji celem określenia możliwego czasu ich powstania na podstawie kryteriów epigraficznych.Abstract: This article is a philological and initial epigraphic analysis of the titular inscriptions aimed at defining the possible time of their origin upon the basis of epigraphic criteria.

EN

The article is a philological analysis and an initial epigraphic analysis of inscriptions embroidered on silk fabric found in 1960 in tomb no. 24 in the Romanesque collegiate church in Kruszwica. The preserved three pieces of silk (two are of identical length and one is a fragment) originally constituted probably a single object with the inscriptions arranged most likely into a sequence with a cohesive meaning (on the function of this object cf. articles by E. Dąbrowska and M. Cybulska and E. Orlińska-Mianowska in this volume). A philological analysis of the inscriptions preserved on the longer pieces of fabric makes it possible to ascertain that they comprise rhythmic-versification units. Inscription no.1 is in so-called rich hexameter, while inscription no. 2 is an incipit of a hymn to The Holy Spirit, attributed to Notker the Stammerer (Balbulus) from St. Gallen. The fragmentary inscription no. 3., barely several letters long, poses the greatest interpretation problem owing to the state of its preservation, which (according to B. Kürbis, who witnessed its discovery) could have been quite different than its present-day version. For this reason it seems possible to decipher the fragment in question in two ways, and the place which inscription no. 3. could have originally held in the sequence of inscriptions remains of a closely connected question. An epigraphic analysis of the inscriptions written in Romanesque capitals with elements of the uncial indicates their imitative execution (i.a. an error in the word: spiritus in inscription no. 2), albeit with the use of rather sophisticated lettering (the letter P). The shapes of the signs permit a restricted establishment of the time of the origin of the inscriptions, since some occur in codex writing and epigraphic much earlier than could be the date of the strips of fabric from Kruszwica (A in: gracia from inscription no. 2). By referring to a typology of Romanesque epigraphic writing presented by Rudolf M. Kloos, codex and epigraphic comparative material (which should be considerably expanded) allows us to propose an approximate time of the origin of the inscriptions as not later than the second half or the end of the twelfth century, especially if the object to which the discussed inscriptions belong had been imported from the West.

2

Sekwencje Notkera Balbulusa w polskich rękopisach muzycznych

100%

Pikulik J.

Archiwa, Biblioteki i Muzea Kościelne

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1969

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vol. 18

65-80

EN

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3

„Cum adhuc iuvenculus essem”. Co wynika z listu Notkera do biskupa Liutwarda?

71%

Grajewski C.

Musica Ecclesiastica

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2017

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issue 12

77-85

PL

Artykuł oparty jest na treści tzw. listu Notkera do biskupa Liutwarda. Jest to zabytek piśmiennictwa z końca IX w. napisany w szwajcarskim klasztorze St. Gallen, ważny dla historii muzyki kościelnej. Autor artykułu na podstawie treści tego listu zastanawia się, na ile dokładna była ówczesna notacja muzyczna. Czy Notker, przedstawiając nauczycielom swoje kompozycje do oceny, zaśpiewał je, czy też wystarczył im sam zapis? Pytanie jest ważne, bowiem opisana w liście sytuacja wskazuje, na ile użyteczny w procesie nauczania był zapis muzyczny IX/X w.

EN

The article is based on the content of the so called letter from Notker to Bishop Liutward. The letter, written in the Abbey of St. Gall in Switzerland, is a relic of the late 9th century writing. It is an important piece in the history of sacred music. Analyzing the letter, the author of the article reflects on the accuracy of the then musical notation. Did Notker sing his compositions while presenting them to his teachers? Or did the notation alone suffice? Finding the answers to such questions is especially important, as the situation described in the letter indicates how useful the musical notation was in the process of teaching music in 9th-10th century.

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1 Archiwa, Biblioteki i Muzea Kościelne

1 Musica Ecclesiastica

1 Studia Źródłoznawcze. Commentationes

1 Grajewski C.

1 Janicki M. A.

1 Pikulik J.

1 2017

1 2016

1 1969

Romańskie napisy haftowane na jedwabnych pasmach z grobu nr 24 w kolegiacie w Kruszwicy

Sekwencje Notkera Balbulusa w polskich rękopisach muzycznych

„Cum adhuc iuvenculus essem”. Co wynika z listu Notkera do biskupa Liutwarda?