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11. St Scholastica's Office in Medieval Manuscripts of St George's Convent at Prague Castle

Creator:
Barbora Kabátková
Format:
print, bez média, and svazek
Type:
article, články, model:article, and TEXT
Subject:
svatá, Scholastika, 480-543, Klášter sv. Jiří (Praha, Česko), 12.-14. století, muzikologie, musicology, středověké rukopisy, medieval manuscripts, hudební rukopisy, music manuscripts, duchovní hudba, sacred music, Praha (Česko), Prague (Czechia), 78.01, 091"04/14", 091:78, 783, and (046)
Language:
Czech
Description:
Studie se zabývá officiem ke sv. Scholastice, dochovaném ve středověkých hudebních rukopisech kláštera sv. Jiří na Pražském hradě., Barbora Kabátková., Rubrika: Studie, and České resumé na s. 52, anglický abstrakt na s. 33
Rights:
http://creativecommons.org/licenses/by-nc-sa/4.0/ and policy:public

12. The Transmission of Hymn Tune Stäblein 752 in Europe during the Late Middle Ages

Creator:
Mráčková, Veronika
Format:
print, bez média, and svazek
Type:
article, studie, studies, model:article, and TEXT
Subject:
14. století, duchovní hudba, duchovní písně, hymnologie, muzikologie, středověká hudba, středověké hymny, hymnology, medieval hymns, medieval music, musicology, sacred music, sacred songs, 78.01, 783.6, 78.03"04/14", 783, (048.8), and 783.6:781
Language:
Czech
Description:
Studie Veroniky M. Mráčkové se zabývá problematikou přejímání středověkých hymnických melodií, ilustrovanou na konkrétním zvoleném příkladu., The hymn, one of the most frequently encountered songs in Western European sources, poses many questions with regard to the conflict between common and local traits. The Office hymns on which I focus were transmitted mainly in fourteenth- and fifteenth-century sources, which contain huge collections of hymns for different liturgical occasions, including those in honour of local saints. We still do not have a reasonable explanation of how or why the same tunes were adapted for different texts (or vice versa). The ‘Franciscan’ hymn melody Stäblein 752 (originally devoted to St Francis), for example, which occurs with different hymn texts in Austria, Germany, Bohemia, Poland and Spain, has many melodic variants reflecting regional characteristics. Why was this particular melody transferred to and adopted in other parts of Europe, where there was certainly no shortage of alternative hymn melodies? Is it a question of the adoption of favourite melodies in the Middle Ages? Were the same tunes used for hymns in honour of both male and female saints? What are the implications for us when the same ‘local’ tune can be identified in polyphonic hymn settings?, Veronika M. Mráčková., Rubrika: Studie, and České resumé na s. 32, anglický abstrakt na s. 19.
Rights:
http://creativecommons.org/licenses/by-nc-sa/4.0/ and policy:public