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Pre-Lenten Gospel antiphons as testimony of chant traditions of medieval Europe
Škoviera, Samuel ; Eben, David (advisor) ; Baťa, Jan (referee)
The presented work deals with the research of the Gospel antiphons of the pre-Lenten period of the liturgical year. Its main goal is, based on the antiphon variation, to reveal different choral traditions and to contribute to the understanding of the spread of the choral repertoire in medieval Europe. Similar to the post-Pentecost period (i.e. after the feast of the descent of the Holy Spirit), also in the pre-Lenten period, there are series of antiphons in the sources (an- tiphonaries, breviaries or tonars) that reflect the Sunday pericope of the Gospel. These antiphons were then sung at various places in the service - at vespers ad Magnificat, at matins in the third nocturne, at lauds ad Benedictus and at minor hours. Similar to the case of gospel antiphons of the post-Pentecosten period (Eben and Demská, n.d.), antiphons of this type have the potential to document various choral traditions of me- dieval Europe, based on the repertoire of antiphons in individual sources, their textual, but also melodic-modal variation. The methodology of the work is as follows. First of all, we determined the source sample according to diversity and availability - here we mainly reflect provenance, pe- riod of creation/use and cursus (monastic/secular). These manuscripts are divided into five geographical groups:...
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Late Renaissance Polychoral Style and Its Contemporary Reception in Bohemia
Jurák, Pavel ; Baťa, Jan (advisor) ; Maýrová, Kateřina (referee)
This diploma thesis deals with the reception of the late renaissance polychoral style in Bohemia. The thesis firstly defines the term of cori spezzati and shows that this compositional technique has its origin in the first decade of the 16th century in Ferrara. Furthermore, it focuses on the composers in the St. Mark's Basilica in Venice, it analyzes their works and characterizes the Venetian polychoral style; it also mentions how the cori spezzati spread from the Apennine Peninsula beyond the Alps. The second part of the thesis is dedicated to the composers in Bohemia and to their polychoral works. The analyses of these works showed that many of the domestic composers were influenced by the Venetian polychoral style and some of them even by its Gabrielian brand. Key words: Andrea Gabrieli, Giovanni Gabrieli, Adam Michna z Otradovic, cori spezzati, polychoral, renaissance, church music, St. Mark's Basilica, Venice, Ferrara, Prague
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Václav Clemens Žebrácký - Idea unionis musicae et poeticae (1617). Edition and analysis.
Pacala, Frederik ; Baťa, Jan (advisor) ; Horyna, Martin (referee)
The main purpose of the thesis is a commented critical edition of treatise Idea unionis musicae et poeticae written by Václav Clemens Žebrácký. The treatise is a written version of the disputation presented on 8 March, 1617 in a great hall of Carolinum. The small print (9 ff.), preserved uniquely in the Castle library in K ivoklát (shelf-mark XLIV. f. 12, extra draft 33) has not been hitherto reflected in the scientific (musicological and non-musicological) literature. Apart from the critical edition of the Clement's treatise, the aim of the thesis is to pou it in the historical context and to point out its connection with the intellectual background outside of Prague. Keywords Václav Clemens Žebrácký, Johannes Lippius, Library of Castle K ivoklát, Charles University, music theory, poetica, musica
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The Relationship of Music and Word in the 15th Century Songs
Jakoubková, Petra ; Hlávková, Lenka (advisor) ; Baťa, Jan (referee)
The polyphonic songs from the 15th-century Czech manuscript Codex Speciálník were studied allready in 1980s and 1990s by Dagmar Vanišová and Jitka Petrusová. In the context of actual research, the former interpretation of songs with Latin sacred texts (understood as cantiones) needs a revision. In my study, I am discussing problems concerning the relationship of music and words within individual compositions and in the context of the period musical culture.
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Concordances of Song Part of a Convolut CZ-Ps, DA III 17 within the Sources from 15th to 17th Centuries
Hrábek, Šimon ; Baťa, Jan (advisor) ; Ciglbauer, Jan (referee)
The following thesis is basically an edition of one particular part of the Strahov convolute CZ- Pst, Ms. DA III 17 called the "song section". Majority of its repertoire are songs, yet it isn't standard monothematic section, but rather collection of various relics. The other crucial aspect of the following thesis is the table of concordances and it also contains several chapters focused on the DA III 17 manuscript itself and on three particular pieces: cantiones Pulcherrima rosa, Jesus Christus dum cernitur and trophus Alle- Domina, flos virginalis as well. Other remaining compositions are also shortly commented. The main goal of the thesis is to open up this repertoire for wider spectrum of reaserchers and musicians. And last but not least to add some new informations about this still insufficiently processed musical material.
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Oral tradition of cantiones in Czech lands and its imprint in late medieval manuscripts
Kodýtek, Pavel ; Hlávková, Lenka (advisor) ; Baťa, Jan (referee)
Oral tradition of cantiones in Czech lands and its imprint in late medieval manuscripts Abstract The sources extant in the Czech lands transmit a vast body of cantiones, i.e., Latin spiritual monophonic or polyphonic songs that provide a rich basis for research into their tradition and transmission during the late Middle Ages. Though they have been subject of scholarly study for a century and a half, much of the literature is limited by the approach employed, be it the philological method, which saw a cantio's extant sources a tool for deriving its archetype and in its variants merely errors to be emended (Mužík, Černý), or a nationalistic bias (Nejedlý). In the case of chant, scholars have suggested that the tradition of medieval music was strongly impacted by oral transmission (Treitler, Hucke) and hence should be looked at from a different perspective, one close to that of ethnomusicology (Jeffery). Though some recent papers reflect this approach (Gancarczyk), it has not yet been tested on a larger body of songs, nor its implications systematically outlined. My study of several dozen songs recorded around 1410 in CZ-VB 42 that survived and thrived-as evidenced by a selection of sources-well into the following century demonstrates the diversity of the genre and the continuing dominance of monophonic...
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Contribution of Prague's Professional Scribal Workshops to the Dissemination of Vocal Polyphony at the Turn of the 17th Century
Krátká, Natálie ; Baťa, Jan (advisor) ; Hlávková, Lenka (referee)
The thesis about Prague as the leading musical center of the Czech Kingdom is generally accepted in musicological discourse. Likewise, the key role of professional Prague writing workshops in spreading monophonic singing is not questioned. In the distribution of vocal polyphony are many uncertainties. The only known workshop that also created primarily polyphonic manuscripts is the New Town workshop of Jan Kantor Starý († 1582). The number of other surviving manuscripts indicates that there were more such workshops in Prague at the turn of the 16th and 17th centuries. The object of the master thesis is therefore to reveal another possible workshop based on detailed paleographic and codicological research of a selected group of polyphonic sources, which demonstrably contain common writing hands. Keywords musical iconography, codicology, vocal polyphony, Prague
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Musical Life at the Parrish School of the Church of St. Bartholomew in Pilsen 1550-1620
Kotsu, Masako ; Baťa, Jan (advisor) ; Hlávková, Lenka (referee)
The aim of the thesis is to explore a lesser known chapter from the history of music in Pilsen. Her particular focus on the parish school at St George's Church Bartholomew in 1550-1620 stems from the fact that school choirs formed one of the key musical institutions of the Renaissance city. The work will summarize the current state of research and on the basis of preserved musical and non-musical sources will try to reconstruct the musical life in the St. Bartholomew school in the pre-White Mountain period and its relation to musical events in the parish church.
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