Katarina Šter and Nejc Sukljan, ed.
(articles in Italian, English, German, and Slovenian).
Au... more Katarina Šter and Nejc Sukljan, ed.
(articles in Italian, English, German, and Slovenian).
Authors:
Giovanni Varelli,
David Hiley,
Eva Veselovská and Eduard Lazorík,
Nejc Sukljan,
Klemen Grabnar,
Katarina Šter,
Matjaž Barbo,
Maruša Zupančič,
Aleš Nagode,
Sara Zupančič,
Katarina Bogunović Hočevar,
Gregor Pompe.
The sources of medieval musical culture from the territory of Slovakia are the foundation stone i... more The sources of medieval musical culture from the territory of Slovakia are the foundation stone in the musical history of our land. The most recent investigations of 62 medieval fragments from the Slovak National Archive in Bratislava have indicated a wealth of original and imported written culture from a time period from the late 12th to the early to the early 16th century. Newly discovered fragments fill out the complex picture of the sources of medieval musical culture, which despite severe material losses (manuscripts lost, destroyed, or removed abroad) is rich and unique. In the latest research in the Slovak National Archive many fragments have been identified from manuscripts which are currently known and more or less complete.
Die Denkmäler der einstimmigen liturgischen Musik vom Gebiet der Slowakei bilden ein wertvolles Q... more Die Denkmäler der einstimmigen liturgischen Musik vom Gebiet der Slowakei bilden ein wertvolles Quellenmaterial, dank dem wir die mittelalterliche Musikkultur in der Zeit vom 9. bis 15. Jahrhundert rekonstruieren können. In der Slowakei ist leider nur sehr geringe Anzahl vollständiger Handschriften erhalten. Die Materialien bilden einen kleinen Teil der hierzulande im Mittelalter verwendeten liturgischen Bücher. In jüngster Zeit wird daher der Erforschung von fragmentarisch erhaltenen Handschriften, die sich in verschiedenen Archiven, Museen und Bibliotheken der ganzen Slowakei befinden, großes Augenmerk choRAlnotAtionen deR mittelAlteRlichen lituRgischen kodiZes des 14. und 15. JAhRhundeRts in slowAkischen ARchiVBeständen
Recent research of Slovakian medieval notated codices and manuscript fragments raised an importan... more Recent research of Slovakian medieval notated codices and manuscript fragments raised an important fact: the written culture of the late 14th and 15th centuries in Slovakia was strongly influenced by education from Czech lands. Particularly between 1370 and 1520, the direct impact of the scribal notation tradition from Czech lands to Slovak area can be detected in a number of Slovakian music sources. Codices and dozens of manuscript fragments documenting Bohemian notation in the Slovak geographical area have become the subject of research, along with the systematization, analysis and evaluation of all currently known and edited medieval notated sources from Slovakia. The main purpose of this research is to organise the information gained from these sources, and to determine the general structural features of Bohemian notation in Slovakia.
This study explores the status of the Bohemian system of notation in Central Europe and the ident... more This study explores the status of the Bohemian system of notation in Central Europe and the identity of the scribes and notators of specific mediaeval manuscripts from Slovakia, Bohemia, Moravia, Austria, Hungary and Romania. Especially in the latter half of the fourteenth century and in the course of the fifteenth century, Bohemian notation became an important export product (article) which also appeared outside the territory of the mediaeval Kingdom of Bohemia. Active scriptoria, or migrating scribes, illuminators and notators, created a large number of liturgical manuscripts which reveal valuable information about their activities and migrations. Several sources point to various combinations with respect to the identity of the manuscripts, with the liturgy or the musical contents representing the customer and the notation representing the creator of the particular source, such as in Antiphonary CCl. 65 – 68 (Augustinian Library in Klosterneuburg), Bratislava Missal “D” Clmae 216 from the Library of the Bratislava Chapter (National Széchényi Library in Budapest) or the Antiphonary Varadinense (Diocesan Seminary Library Győr + Fragments from Austria, Hungary, Romania and Slovakia).
The study examines recently found fragments of the Buda Antiphonal. The codex, containing Office ... more The study examines recently found fragments of the Buda Antiphonal. The codex, containing Office chants representing the Esztergom liturgical tradition, was notated at the end of the 15th century with Messine-Hungarian mixed notation. 21 folios, originating from its beginning and preserved at the National Széchényi Library (Budapest), were identified by László Dobszay in 1978. Fragments of the same antiphonal surfaced recently in two collections from Slovakia: 7 folios, with summer and autumn historiae as well as antiphons for Sundays in ordinary time, in the archives of the Saint Adalbert Association (Trnava) and a single truncated folio, with responsories for Christmas Matins, in the music collection of the Slovak National Museum.
This study of medieval notated liturgical manuscripts from Slovakia documents, analyzes, and eval... more This study of medieval notated liturgical manuscripts from Slovakia documents, analyzes, and evaluates the oldest written sources of musical culture from the end of the eleventh century to the early sixteenth century. The typological structures of notational systems in liturgical codices reflect their historical, cultural, and religious processes and stimuli. The paper offers a comprehensive view of the penetration of fundamental structures of the Slovak medieval notational system into the European context and presents some of the most interesting examples. The latest findings are available from a new database of medieval notated historical pieces from Slovakia (Cantus Planus in Slovacia, http:// cantus.sk).
In Slovakian archives there are 15 completely preserved medieval music manuscrips: five Bratislav... more In Slovakian archives there are 15 completely preserved medieval music manuscrips: five Bratislava antiphoners (the Bratislava Antiphoners I–IV, 15th century, written in the Messine-Gothic notation, the Bratislava Antiphoner V, 15th century, in the Bohemian notation); the Bratislava Missal I (Esztergom notation, 14th century); the Notated Missal Nr. 387 from the former Lycean Library in Bratislava (square notation, 13th century); the Carthusian Gradual-Psalter from Martin (square notation, 15th century); the Kosice Psalter and theMissal from the East-Slovakian museum in Kosice (Messine-Gothic notation, 14th–15th century); the Evangeliary from Nitra (ekphonetic signs, 12th century); two manuscripts from Presov (Messine-Gothic notation, 14th century); two manuscripts from Spisska: the Gradual of Georgius of Kezmarok and the Antiphoner from Spisska (Messine-Gothic notation, 15th century).
Magyar könyvszemle. A Magyar nemzeti múzeum országos Széchényi könyvtárának közlönye .., Sep 6, 2021
Az Esztergomi Főszékesegyházi Könyvtár Ms I 3c jelzetű antifonáléjának egy töredéke a Nagyszombat... more Az Esztergomi Főszékesegyházi Könyvtár Ms I 3c jelzetű antifonáléjának egy töredéke a Nagyszombati Városi Levéltárban. A Pozsonyi Állami Levéltár Nagyszombati Fióklevéltárában (Štátny archív v Bratislave pobočka Trnava) a IIId/599 jelzetű nagyszombati számadáskönyv (Liber restantiarum 1659, 1670, 1676) kötése egy pergamen antifonále-töredék a 15. század közepéről. Az in situ töredéknek jelenleg csak az egyik oldala vizsgálható. Mérete 434 × 312 mm, a levél szélei a kötéstáblára belső oldalára vissza vannak hajtva és a kiragasztott előzéklappal letakarva. Az írástükör, melynek felső szélén egy csík ugyancsak a hajtásba esik *385 × 250 mm, eredetileg 390 × 250 mm. Az írás a liturgikus kódexeknél használt igényes gótikus könyvírás. Hangjelzése metzigót-magyar keveréknotáció öt vörös vonalon, dupla keretvonalakkal, c-és f-kulcsokkal. A custos kvadrátformájú, ami cseh hatást tükröz, a magyar notációra a rombikus custos-forma jellemző (Pozsony, Szepesség, Esztergom). A clivis derékszögű alakzat (tipikus metzi írásmód), ahol az alsó hang levágott formájú (szepességi és lengyel kéziratokra jellemző). Egy oldalon nyolc szöveg-és kottasor van. A kottaszisztéma magassága 30-32 mm, punctum 7 × 7 mm, custos: 5 × 4 mm. A töredék az antifonále Commune sanctorum részéből, a püspök hitvalló (Commune unius Confessoris/Commune unius Confessoris Episcopi) éjszakai zsolozsmájának responzóriumaiból őrzött meg egy részletet: 1 Noct. II. R. 2. [Iste homo ab adolescentia …; V. Ec]ce homo sine querela verus dei cultor abstinens se ab omni opere malo et permanens in innocentia sua; 2 R. 3. Amavit eum dominus et ornavit eum stolam gloriae induit eum et ad portas paradisi coronavit eum. 3 Amikor 2014-ben eredetiben megnézhettem az esztergomi Főszékesegyházi Könyvtár Ms. I. 3c jelzetű, esztergomi rítusú antifonáléját, 4 notációja rögtön nagyon emlékeztetett erre a nagyszombati kódextöredékre. Az alapos összevetés megerősítette a hangjegyek, kulcsok, custos-forma azonosságát, s így megállapíthatjuk, hogy a számadáskönyv bekötésére felhasznált kódexlap-az apró méretbeli eltérések ellenére-ebből az antifonáléból származik. eva veselovsKá
The contents and the surviving part of medieval manuscripts in Europe were influenced by the Chri... more The contents and the surviving part of medieval manuscripts in Europe were influenced by the Christianization process. Monophonic liturgical chant, the cantus planus, or plainchant, which accompanied the liturgical celebrations, was a dominant representative of musical culture. Migrations of cultural, religious, and artistic stimuli, which influenced the religious centres, institutions, towns, and individuals, were a frequent phenomenon in medieval society. The transfer of stimuli, inspirations, and artistic models led to liturgical music and its components (musical content, liturgy, notation) becoming firmly established. As part of the stratification of local elements and transregional connections, in the research process on the components of chant, we identified a specific repertoire of the medieval Office of the Dead in manuscripts from the territory of Slovakia. Based on the analysis of the chants of the responsories of the Matins, we traced the provenance and musical characteristics of selected manuscripts from the territory of Slovakia.
Source research into medieval musical materials from the territory of Slovakia has brought many n... more Source research into medieval musical materials from the territory of Slovakia has brought many new and valuable findings in recent times. The sources include newly discovered musical fragments from various archive, book and museum collections from the 11th to the end of the 15th centuries. Almost all the surviving musical sources contain monophonic Latin liturgical song, so-called Gregorian chant (in Latin cantus planus) of domestic and foreign origin. The manuscript materials from the Kingdom of Hungary include fragments in the Slovak National Archives from the Leles Premonstratensian Monastery place of authentication (locus credibilis). Fragments of four manuscripts with notes represent a scriptorium tradition that is specific from the points of view of content and musical notation. The medieval fragments with notation are preserved as the packaging for documents (Acta anni-varia). They come from four different liturgical books: a Sequentiar from the second half of the 14th century, a Missal from 1350-1375, an Antiphonar from 1350-1375 and a Psaltar with notes from about 1400. The aim of the study is to present the content and significance of these musical materials for research on medieval musical culture, religion and manuscript production in medieval Slovakia.
Missale Romanum Sign. Rkp. zv. 387 aus der Zentralbibliothek der Slowakischen Akademie der Wissen... more Missale Romanum Sign. Rkp. zv. 387 aus der Zentralbibliothek der Slowakischen Akademie der Wissenschaften-das Missale 387-ist der erste (Sommer-)Teil eines original zweiteiligen liturgischen Buches. Es wird in der ehemaligen Lyzeums-, der heutigen Zentralbibliothek der Slowakischen Akademie der Wissenschaften in Bratislava aufbewahrt. 1 Nach Július Sopko ist der Ursprung dieser Quelle in der zweiten Hälfte des 14. Jahrhunderts in einem klösterlichen Umfeld in Österreich zu suchen. 2 Eine andere Ansicht vertreten die ungarischen Musikhistoriker Janka Szendrei und László Dobszay. Ihnen zufolge stammt die Handschrift aus dem 13. Jahrhundert aus Norddeutschland oder Dänemark. 3 Eva Veselovská neigt zu dieser zweiten Meinung und präzisiert, dass das Missale in der zweiten Hälfte des 13. Jahrhunderts in Nordwesteuropa angefertigt worden sein könnte. 4 Die Verwandtschaft des Missale 387 mit den Quellen aus diesem Umfeld wurde auch durch die komplexe quantitative Analyse der im Kalender der Handschrift angeführten Feiertage bestätigt. 5 Das Fehlen des Fronleichnamsfestes in
Katarina Šter and Nejc Sukljan, ed.
(articles in Italian, English, German, and Slovenian).
Au... more Katarina Šter and Nejc Sukljan, ed.
(articles in Italian, English, German, and Slovenian).
Authors:
Giovanni Varelli,
David Hiley,
Eva Veselovská and Eduard Lazorík,
Nejc Sukljan,
Klemen Grabnar,
Katarina Šter,
Matjaž Barbo,
Maruša Zupančič,
Aleš Nagode,
Sara Zupančič,
Katarina Bogunović Hočevar,
Gregor Pompe.
The sources of medieval musical culture from the territory of Slovakia are the foundation stone i... more The sources of medieval musical culture from the territory of Slovakia are the foundation stone in the musical history of our land. The most recent investigations of 62 medieval fragments from the Slovak National Archive in Bratislava have indicated a wealth of original and imported written culture from a time period from the late 12th to the early to the early 16th century. Newly discovered fragments fill out the complex picture of the sources of medieval musical culture, which despite severe material losses (manuscripts lost, destroyed, or removed abroad) is rich and unique. In the latest research in the Slovak National Archive many fragments have been identified from manuscripts which are currently known and more or less complete.
Die Denkmäler der einstimmigen liturgischen Musik vom Gebiet der Slowakei bilden ein wertvolles Q... more Die Denkmäler der einstimmigen liturgischen Musik vom Gebiet der Slowakei bilden ein wertvolles Quellenmaterial, dank dem wir die mittelalterliche Musikkultur in der Zeit vom 9. bis 15. Jahrhundert rekonstruieren können. In der Slowakei ist leider nur sehr geringe Anzahl vollständiger Handschriften erhalten. Die Materialien bilden einen kleinen Teil der hierzulande im Mittelalter verwendeten liturgischen Bücher. In jüngster Zeit wird daher der Erforschung von fragmentarisch erhaltenen Handschriften, die sich in verschiedenen Archiven, Museen und Bibliotheken der ganzen Slowakei befinden, großes Augenmerk choRAlnotAtionen deR mittelAlteRlichen lituRgischen kodiZes des 14. und 15. JAhRhundeRts in slowAkischen ARchiVBeständen
Recent research of Slovakian medieval notated codices and manuscript fragments raised an importan... more Recent research of Slovakian medieval notated codices and manuscript fragments raised an important fact: the written culture of the late 14th and 15th centuries in Slovakia was strongly influenced by education from Czech lands. Particularly between 1370 and 1520, the direct impact of the scribal notation tradition from Czech lands to Slovak area can be detected in a number of Slovakian music sources. Codices and dozens of manuscript fragments documenting Bohemian notation in the Slovak geographical area have become the subject of research, along with the systematization, analysis and evaluation of all currently known and edited medieval notated sources from Slovakia. The main purpose of this research is to organise the information gained from these sources, and to determine the general structural features of Bohemian notation in Slovakia.
This study explores the status of the Bohemian system of notation in Central Europe and the ident... more This study explores the status of the Bohemian system of notation in Central Europe and the identity of the scribes and notators of specific mediaeval manuscripts from Slovakia, Bohemia, Moravia, Austria, Hungary and Romania. Especially in the latter half of the fourteenth century and in the course of the fifteenth century, Bohemian notation became an important export product (article) which also appeared outside the territory of the mediaeval Kingdom of Bohemia. Active scriptoria, or migrating scribes, illuminators and notators, created a large number of liturgical manuscripts which reveal valuable information about their activities and migrations. Several sources point to various combinations with respect to the identity of the manuscripts, with the liturgy or the musical contents representing the customer and the notation representing the creator of the particular source, such as in Antiphonary CCl. 65 – 68 (Augustinian Library in Klosterneuburg), Bratislava Missal “D” Clmae 216 from the Library of the Bratislava Chapter (National Széchényi Library in Budapest) or the Antiphonary Varadinense (Diocesan Seminary Library Győr + Fragments from Austria, Hungary, Romania and Slovakia).
The study examines recently found fragments of the Buda Antiphonal. The codex, containing Office ... more The study examines recently found fragments of the Buda Antiphonal. The codex, containing Office chants representing the Esztergom liturgical tradition, was notated at the end of the 15th century with Messine-Hungarian mixed notation. 21 folios, originating from its beginning and preserved at the National Széchényi Library (Budapest), were identified by László Dobszay in 1978. Fragments of the same antiphonal surfaced recently in two collections from Slovakia: 7 folios, with summer and autumn historiae as well as antiphons for Sundays in ordinary time, in the archives of the Saint Adalbert Association (Trnava) and a single truncated folio, with responsories for Christmas Matins, in the music collection of the Slovak National Museum.
This study of medieval notated liturgical manuscripts from Slovakia documents, analyzes, and eval... more This study of medieval notated liturgical manuscripts from Slovakia documents, analyzes, and evaluates the oldest written sources of musical culture from the end of the eleventh century to the early sixteenth century. The typological structures of notational systems in liturgical codices reflect their historical, cultural, and religious processes and stimuli. The paper offers a comprehensive view of the penetration of fundamental structures of the Slovak medieval notational system into the European context and presents some of the most interesting examples. The latest findings are available from a new database of medieval notated historical pieces from Slovakia (Cantus Planus in Slovacia, http:// cantus.sk).
In Slovakian archives there are 15 completely preserved medieval music manuscrips: five Bratislav... more In Slovakian archives there are 15 completely preserved medieval music manuscrips: five Bratislava antiphoners (the Bratislava Antiphoners I–IV, 15th century, written in the Messine-Gothic notation, the Bratislava Antiphoner V, 15th century, in the Bohemian notation); the Bratislava Missal I (Esztergom notation, 14th century); the Notated Missal Nr. 387 from the former Lycean Library in Bratislava (square notation, 13th century); the Carthusian Gradual-Psalter from Martin (square notation, 15th century); the Kosice Psalter and theMissal from the East-Slovakian museum in Kosice (Messine-Gothic notation, 14th–15th century); the Evangeliary from Nitra (ekphonetic signs, 12th century); two manuscripts from Presov (Messine-Gothic notation, 14th century); two manuscripts from Spisska: the Gradual of Georgius of Kezmarok and the Antiphoner from Spisska (Messine-Gothic notation, 15th century).
Magyar könyvszemle. A Magyar nemzeti múzeum országos Széchényi könyvtárának közlönye .., Sep 6, 2021
Az Esztergomi Főszékesegyházi Könyvtár Ms I 3c jelzetű antifonáléjának egy töredéke a Nagyszombat... more Az Esztergomi Főszékesegyházi Könyvtár Ms I 3c jelzetű antifonáléjának egy töredéke a Nagyszombati Városi Levéltárban. A Pozsonyi Állami Levéltár Nagyszombati Fióklevéltárában (Štátny archív v Bratislave pobočka Trnava) a IIId/599 jelzetű nagyszombati számadáskönyv (Liber restantiarum 1659, 1670, 1676) kötése egy pergamen antifonále-töredék a 15. század közepéről. Az in situ töredéknek jelenleg csak az egyik oldala vizsgálható. Mérete 434 × 312 mm, a levél szélei a kötéstáblára belső oldalára vissza vannak hajtva és a kiragasztott előzéklappal letakarva. Az írástükör, melynek felső szélén egy csík ugyancsak a hajtásba esik *385 × 250 mm, eredetileg 390 × 250 mm. Az írás a liturgikus kódexeknél használt igényes gótikus könyvírás. Hangjelzése metzigót-magyar keveréknotáció öt vörös vonalon, dupla keretvonalakkal, c-és f-kulcsokkal. A custos kvadrátformájú, ami cseh hatást tükröz, a magyar notációra a rombikus custos-forma jellemző (Pozsony, Szepesség, Esztergom). A clivis derékszögű alakzat (tipikus metzi írásmód), ahol az alsó hang levágott formájú (szepességi és lengyel kéziratokra jellemző). Egy oldalon nyolc szöveg-és kottasor van. A kottaszisztéma magassága 30-32 mm, punctum 7 × 7 mm, custos: 5 × 4 mm. A töredék az antifonále Commune sanctorum részéből, a püspök hitvalló (Commune unius Confessoris/Commune unius Confessoris Episcopi) éjszakai zsolozsmájának responzóriumaiból őrzött meg egy részletet: 1 Noct. II. R. 2. [Iste homo ab adolescentia …; V. Ec]ce homo sine querela verus dei cultor abstinens se ab omni opere malo et permanens in innocentia sua; 2 R. 3. Amavit eum dominus et ornavit eum stolam gloriae induit eum et ad portas paradisi coronavit eum. 3 Amikor 2014-ben eredetiben megnézhettem az esztergomi Főszékesegyházi Könyvtár Ms. I. 3c jelzetű, esztergomi rítusú antifonáléját, 4 notációja rögtön nagyon emlékeztetett erre a nagyszombati kódextöredékre. Az alapos összevetés megerősítette a hangjegyek, kulcsok, custos-forma azonosságát, s így megállapíthatjuk, hogy a számadáskönyv bekötésére felhasznált kódexlap-az apró méretbeli eltérések ellenére-ebből az antifonáléból származik. eva veselovsKá
The contents and the surviving part of medieval manuscripts in Europe were influenced by the Chri... more The contents and the surviving part of medieval manuscripts in Europe were influenced by the Christianization process. Monophonic liturgical chant, the cantus planus, or plainchant, which accompanied the liturgical celebrations, was a dominant representative of musical culture. Migrations of cultural, religious, and artistic stimuli, which influenced the religious centres, institutions, towns, and individuals, were a frequent phenomenon in medieval society. The transfer of stimuli, inspirations, and artistic models led to liturgical music and its components (musical content, liturgy, notation) becoming firmly established. As part of the stratification of local elements and transregional connections, in the research process on the components of chant, we identified a specific repertoire of the medieval Office of the Dead in manuscripts from the territory of Slovakia. Based on the analysis of the chants of the responsories of the Matins, we traced the provenance and musical characteristics of selected manuscripts from the territory of Slovakia.
Source research into medieval musical materials from the territory of Slovakia has brought many n... more Source research into medieval musical materials from the territory of Slovakia has brought many new and valuable findings in recent times. The sources include newly discovered musical fragments from various archive, book and museum collections from the 11th to the end of the 15th centuries. Almost all the surviving musical sources contain monophonic Latin liturgical song, so-called Gregorian chant (in Latin cantus planus) of domestic and foreign origin. The manuscript materials from the Kingdom of Hungary include fragments in the Slovak National Archives from the Leles Premonstratensian Monastery place of authentication (locus credibilis). Fragments of four manuscripts with notes represent a scriptorium tradition that is specific from the points of view of content and musical notation. The medieval fragments with notation are preserved as the packaging for documents (Acta anni-varia). They come from four different liturgical books: a Sequentiar from the second half of the 14th century, a Missal from 1350-1375, an Antiphonar from 1350-1375 and a Psaltar with notes from about 1400. The aim of the study is to present the content and significance of these musical materials for research on medieval musical culture, religion and manuscript production in medieval Slovakia.
Missale Romanum Sign. Rkp. zv. 387 aus der Zentralbibliothek der Slowakischen Akademie der Wissen... more Missale Romanum Sign. Rkp. zv. 387 aus der Zentralbibliothek der Slowakischen Akademie der Wissenschaften-das Missale 387-ist der erste (Sommer-)Teil eines original zweiteiligen liturgischen Buches. Es wird in der ehemaligen Lyzeums-, der heutigen Zentralbibliothek der Slowakischen Akademie der Wissenschaften in Bratislava aufbewahrt. 1 Nach Július Sopko ist der Ursprung dieser Quelle in der zweiten Hälfte des 14. Jahrhunderts in einem klösterlichen Umfeld in Österreich zu suchen. 2 Eine andere Ansicht vertreten die ungarischen Musikhistoriker Janka Szendrei und László Dobszay. Ihnen zufolge stammt die Handschrift aus dem 13. Jahrhundert aus Norddeutschland oder Dänemark. 3 Eva Veselovská neigt zu dieser zweiten Meinung und präzisiert, dass das Missale in der zweiten Hälfte des 13. Jahrhunderts in Nordwesteuropa angefertigt worden sein könnte. 4 Die Verwandtschaft des Missale 387 mit den Quellen aus diesem Umfeld wurde auch durch die komplexe quantitative Analyse der im Kalender der Handschrift angeführten Feiertage bestätigt. 5 Das Fehlen des Fronleichnamsfestes in
Catalogus fragmentorum medii aevi ex castello Betliar, 2021
Sie ordnet die Quellen von St. Gallen oder aus dem deutschen Milieu dem sog. fränkischen (resp. d... more Sie ordnet die Quellen von St. Gallen oder aus dem deutschen Milieu dem sog. fränkischen (resp. dem ostfränkischen) Schrifttypus zu, s. ebendort, S. 108-110.
THE IMAGE OF PIETY IN MEDIEVAL MANUSCRIPTS IN SLOVAKIA AND IN EUROPE, 2021
Sources of mediaeval musical culture from the territory of Slovakia document the musical repertoi... more Sources of mediaeval musical culture from the territory of Slovakia document the musical repertoire of Latin liturgical chant (cantus planus in Latin) from the late eleventh century to the early sixteenth century. Most of the materials, however, survived only fragmentarily. Today, mediaeval fragments can be found in their secondary function as bindings of younger books and manuscripts in several archives, museums, and libraries. This study focuses on the analysis of certain musical sources from two historical libraries, the Library of the Evangelical Church of the Augsburg Confession in Kežmarok, and the former aristocratic library of the Andrássys in the Betliar Mansion (Betliar Museum of the Slovak National Museum). A part of the musical materials of both libraries represents samples of European scribal, liturgical, and musical traditions of various provenance. An important part, however, is formed by manuscripts from domestic, Hungarian scriptoria, exhibiting mainly local elements.
NOTATED SOURCES FROM MEDIEVAL EUROPE AND MEDIEVAL HUNGARY, 2020
This publication, Notated Sources from Medieval Europe/ Medieval Hungary. Transregional Research ... more This publication, Notated Sources from Medieval Europe/ Medieval Hungary. Transregional Research and Online Database Building, is a conference omnibus edition of the homonymous scientific workshop that took place in Bratislava on 24 October 2017. The event was part of a bilateral project of international collaboration between the Slovak and the Hungarian Academies of Sciences.
CATALOGUS FRAGMENTORUM CUM NOTIS MUSICIS MEDII AEVI IN SLOVACIA CATALOGUS FRAGMENTORUM CUM NOTIS MUSICIS MEDII AEVI E CIVITATE KESMARKINI TOMUS V, 2019
The fifth volume of the Catalogus fragmentorum cum notis musicis medii aevi in Slovacia edition i... more The fifth volume of the Catalogus fragmentorum cum notis musicis medii aevi in Slovacia edition is the publication Catalogus fragmentorum cum notis musicis medii aevi e civitate Kesmarkini, which aims at making the oldest sources of music culture from the Slovak area more accessible, features the oldest music culture sources from the city of Kežmarok (German: Kesmark/Käsmark, Hungarian: Késmárk, Polish: Kieżmark, Latin: Kesmarkium). 36 medieval manuscripts originate from different types of liturgical books (Antiphoner, Breviary, Gradual, Missal, Sequentiale, Cantionale) dating from the 12 - 15th century. The last volume brings new notions for the history of culture of medieval Hungary as well as unique findings of preserved sources from the Slovak territory (Spiš) and from foreign territories (Germany, Poland, Bohemia, Moravia, Austria, Hungary, Netherlands – Belgium). The publication is in German, Latin + Slovak Résumé).
Monograph by Eva Veselovská, Rastislav Adamko, and Janka Bednáriková summarizes the key findings ... more Monograph by Eva Veselovská, Rastislav Adamko, and Janka Bednáriková summarizes the key findings and conclusions of the analysis of valuable medieval manuscripts dating from the period of late 9th to early 16th century. The publication represents the first comprehensive summary of medieval music culture sources from the territory of Slovakia.
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Papers by Eva Veselovska
(articles in Italian, English, German, and Slovenian).
Authors:
Giovanni Varelli,
David Hiley,
Eva Veselovská and Eduard Lazorík,
Nejc Sukljan,
Klemen Grabnar,
Katarina Šter,
Matjaž Barbo,
Maruša Zupančič,
Aleš Nagode,
Sara Zupančič,
Katarina Bogunović Hočevar,
Gregor Pompe.
(articles in Italian, English, German, and Slovenian).
Authors:
Giovanni Varelli,
David Hiley,
Eva Veselovská and Eduard Lazorík,
Nejc Sukljan,
Klemen Grabnar,
Katarina Šter,
Matjaž Barbo,
Maruša Zupančič,
Aleš Nagode,
Sara Zupančič,
Katarina Bogunović Hočevar,
Gregor Pompe.