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Cantus fractus und Engelberger Mottetenstil : Zur Frage möglicher Zusammenhänge

100%
Schmid B.
Hudební věda (Musicology)
|
2016
|
vol. 53
|
issue 2-3
147-160
XX
Studie Bernholda Schmida se zabývá společnými prvky a odlišnostmi mezi formami cantus fractus a engelberským motetem, které autor dokládá na konkrétních příkladech.
2
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Polyphonic Office Hymns with Local Traits in the Prague Strahov Codex

100%
Mráčková V.
Hudební věda (Musicology)
|
2014
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vol. 51
|
issue 1-2
91-103
XX
Studie se zabývá repertoárem polyfonních hymnů, zapsaných v rukopisném kodexu, uloženém v knihovně kláštera na Strahově.
3
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Some observations on the VatS 18 and BoIC Q19 Settings of the Antiphon Da Pacem: Were They Composed by Costanzo Festa?

100%
Odoj W.
Hudební věda (Musicology)
|
2014
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vol. 51
|
issue 1-2
115-132
XX
Studie se zabývá novými zjištěními v případě uvedených rukopisů a možností, že jako autora antifony Da Pacem je možno určit Costanza Festu.
4
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Podíl profesionálních pražských písařských dílen na šíření vokální polyfonie v českých zemích na přelomu 16. a 17. století:

80%
Krátká N., Pulkrábek J.
Knihy a dějiny (Books and history)
|
2020
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vol. 27
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issue 1-2
200-217
EN
There are many uncertainties about the production and dissemination of vocal polyphony manuscripts from Prague illuminators’ and scribes’ ateliers compared with the dissemination of monophonic vocal manuscripts. The only known “workshop” producing manuscripts with primarily polyphonic music is the one led by Master Jan Kantor Starý († 1582) in Prague’s New Town. However, the number of surviving manuscripts suggests that more “workshops” might have existed in Prague at the turn of the 16th and 17th centuries. The goal of this study is to ascertain if there were any other ateliers in Prague producing vocal polyphony manuscripts during the analysed period. The findings are based on recent palaeographic and codicological analyses of the selected group of polyphonic sources written by identical scribal hands: Kutná Hora Codex from 1593 (Czech Museum of Music, Prague), Trubka’s Gradual from 1604 (Prague City Archives, Prague), the Partbook of the St. Barbara Literary Brotherhood in Přeštice from 1619 (National Library of the Czech Republic, Prague) and a bifolio from an unknown partbook in the Gradual of the St. Castulus Church from 1580 (Library of the Archbishop’s Chateau, Kroměříž). The comparison of the analysed scribal hands indicates the existence of an atelier that was probably from the milieu of the royal court. Systematic inquiries into the professional production of polyphonic manuscripts should thus continue because that is the only way to better and fully understand the musical culture of the Czech lands during the Renaissance.
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