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PROBLEMATIKA PREKLADOV BOHOSLUŽOBNÝCH TEXTOV V KATOLÍCKEJ CIRKVI BYZANTSKÉHO OBRADU NA SLOVENSKU Z HUDOBNÉHO HĽADISKA

100%

Marinčák Š.

Musicologica Slovaca et Europaea

2006

tom 24

197-211

Church of the Byzantine tradition requires considerable number of the liturgical books. According to the canons 656 and 657 of the CCEO, only the texts approved by the Apostolic See may be translated to the national language. However, most of the Byzantine liturgical books were not published in Rome; hence do not possess necessary approval. The Greek-Catholic Church in Slovakia thus has to face unordinary situation, and is forced to work with three textual recensions. Other problem constitutes the application of translated text to the original music.

O SKÚMANÍ BYZANTSKEJ TRADÍCIE NA SLOVENSKU Z HĽADISKA HUDOBNEJ BOHOSLUŽOBNEJ TRADÍCIE

100%

Marinčák Š.

nr 1

15 - 24

The Byzantine music is intimately connected to the Byzantine liturgy. They both constitute a whole of man’s outer religious expression of faith in a way proper to certain nation and its culture. The liturgical music cannot be studied and understood without taking the liturgical formularies in account; the same applies vice versa. Byzantine-Slavic religious culture has long history, starting in the 9th century, when it gave rise to unique Slavic culture that eventually spread to all the Slavic countries. The development of music closely followed the development of liturgical formularies. Thus, deep knowledge and understanding of their history is inevitable and a condition sine qua non for the adaptation of liturgical formularies and music into vernacular.

IRMOLOGION AKO PROSTREDNÍK MEDZI GRÉCKOU A SLOVANSKOU BYZANTSKOU HUDBOU

100%

Marinčák Š.

tom 15 (41)

nr 1

90 – 102

After the adoption of the Byzantine form of Christianity by the Slavs in Great Moravia, some Byzantine liturgical books were also translated into the Slavic language. Their aim was to convey the Byzantine form of Christianity to the Slavic peoples, but also to better understand the mysteries of the Christian faith from the so-called theologia prima, i.e. liturgical celebration. However, such communication also required the adaptation of Byzantine melodies to Slavic texts, which were all the more difficult because at that time there was no musical notation capable of capturing individual melodies.