Wyniki wyszukiwania - Biblioteka Nauki

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Liturgie s mládeží v německé jazykové oblasti

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Demel Z.

Studia theologica

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2010

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tom 12

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nr 1

72-83

EN

There is a culture gap between young people and the official liturgy of the Church. This paper deals with the relationship between the young and the liturgy since the early 1980s with its causes, and ways to bridge the gap between the young and the liturgy and also with some modern forms of liturgy adapted for youth.

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SPOR O MIESTO PIESNE V LITURGII

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Pawlak I.

Musicologica Slovaca et Europaea

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2006

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tom 24

71-84

EN

The sacred song had always played an exceptional role in religiosity and the whole religious culture of the nation in Poland. Sacred songs were a kind of 'Biblia pauperum'. However, they were not appointed for the usage in liturgy because Gregorian chant was still considered to be the liturgical singing. Dispute over the place of song in liturgy began already in times before the Trident Council. The very fact of the sacred song 'liturgical transformation' did not end the disputes. Those disputes take place on two levels: on the level of artistic value and the level of the way of using the song repertory. During the period after the Council there emerged a competition between songs and religious song or a new sacred song. This fact started a new dispute. The dispute over the song's place in liturgy is only a symptom of the deep crisis of liturgy itself, which is often deprived of 'sacrum' on the basis of seeming good.

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TEOLOGICKÉ ODÔVODNENIE NOVEJ TVORBY LITURGICKÝCH SPEVOV ANTIFÓN, KVÁZI-ANTIFÓN A VÝBERU VERZIKULOV

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Konečný A.

Musicologica Slovaca et Europaea

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2006

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tom 24

111-136

EN

The Second Vatican Council gave a possibility and requirement to create a national folk liturgical song. Council designated the Gregorian Choral as an ideological model and determined his most important sources: The Holy Scripture and the liturgical texts. The new creation has mission 'deeper into sources of liturgy'. The form and content of the new tradition has a pattern in 'Graduale Romanum' or 'Graduale simplex'. The new tradition is inspired by the liturgical value of the antiphon's texts. Formally is similar to antiphon and is inspired by it, therefore we call it quasi-antiphon. The main purpose of this paper is substantiate the new tradition and present the principles for the theological selection of verses of a new tradition.

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Obřad žehnání místní zodpovědné v sekulárním institutu Volontarií Dona Boska

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Demel Z.

Studia theologica

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2004

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tom 6

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nr 2

64-70

EN

The paper deals with the benediction of the Group Responsible in the secular institute of Volunteers of Don Bosco, which belongs to the Salesian Family, in relation with the benediction of the Regional Responsible of this institute. Although the new members of the institute are always incorporated in the liturgical service, the real ceremony installing the Group Responsible in office has been missing. The described ceremony has removed this deficiency. The benediction prayer of the Group Responsible is derived from the abbess benediction prayer, whereas some text passages have been adjusted to the Salesian spirituality. The benediction prayer is followed by handing over the Statutes of the institute and burning lamp as service symbols of the Group Responsible. Both are accompanied by a specific prayer. The benediction ceremony can be involved in the Liturgy of the Word or in the Holy Eucharist (the latter case is described here).

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THE PRAY CODEX AS A SOURCE FOR MUSIC HISTORY

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Czagány Z.

Musicologica Slovaca

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2023

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tom 14 (40)

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nr 1

7-34

EN

Since its discovery in 1770, the manuscript known as the Pray Codex has been a subject of particular interest in Hungarian cultural history. The codex was written in the 1190s and has been examined by scholars from many fields, who have approached it from many different points of view. Music history research has been primarily focussed on the Sacramentary, which makes up the corpus of the manuscript. The service book, containing the series of Mass prayers performed by a priest – oratio, secreta and postcommunio, is not one of the liturgical books of a musical genre. However, the Pray Codex is an extended sacramentary, with numerous texts and chants besides the prayers, and its content is closer to the genre of the gradual, processional and missale plenum. Written above the manuscript’s texts and on the margins are chants with neumatic and staff notations from the end of the 12th and the beginning of the 13th century, providing a unique glimpse into the birth and early development of the Esztergom notation (“Graner Choralnotation”). The following essay discusses the musical content of the Pray Codex within the history of plainchant in medieval Hungary and in Central Europe. Special attention is given to influences that affected the liturgy and chant in Hungary in its early formation period and to phenomena which became significant for the later evolution of the repertory.

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Bílá sobota – druhý den Velikonočního třídení

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Kunetka F.

Studia theologica

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2007

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tom 9

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nr 1

1-19

EN

The triduum paschale represents the highlight of the whole liturgical year. Whereas the contents of the first day (Good Friday) and the third, concluding day (Easter Sunday) are on the whole wellknown, Holy Saturday remains more on the margin of attention. That is why this study offers a view of the theological content (the descensus ad inferos) and of the liturgical celebration (Liturgia horarum) of the second day of the Easter triduum.

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Dominica sollemnia. Neděle jako den eucharistického shromáždění

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Kunetka F.

Studia theologica

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2008

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tom 10

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nr 2

15-25

EN

The connection of the Dominical day (Sunday) with the celebration of the Eucharist can be demonstrated from the very beginnings of Christianity. This study contains a short exposition and commentary on five texts: 'breaking of bread' in Troas according to Acts 20.7, texts on the Eucharist in the Didache, the report of Pliny the Younger about Christians in Bythinia in his letter to Trajan, the description of the Sunday synaxis in Justin's Apology (67.3-5), the report about martyrs from the town of Abitene in AD 304.

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Historyczne konsekwencje liturgicznej i architektonicznej odnowy strefy ołtarza a posoborowa obecność tabernakulum

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Bogdan M.

Polonia Sacra

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2011

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nr 29(73)

113-132

EN

The article discusses the construction of the altar area for the liturgy of the Eucharist in churches after Vatican II. It takes up the issue of the tabernacle’s place in the space of the church building and the legitimacy of constructing two altars, one general for the whole of the nave and the other belonging to the chapel for the celebrations on weekdays. The author shows the need to consider both the theological expression and artistic sensibility in creating sacred space. It is a symbiosis of architecture and liturgy, which together are responsible for the spiritual harmony of the church interiors of bygone eras and the modern period.

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Anamnesis in Roman-Catholic Theology: 'Do It in Memory of Me!'

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Nowak M.

Przegląd Filozoficzny. Nowa Seria

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2004

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tom 13

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nr 1(49)

137-145

EN

Anamnesis is one of the central categories in the liturgy of the Roman-Catholic Church. But it is more than a purely conscious phenomenon. It is acting with the intention of keeping a tradition alive. This tradition gives a redeeming value to the re-enactment of past events. The purpose of the article is to show how 'anamnesis' of the Gospel is related to the terms of 'zikaron' and 'azkara' of the Jewish Bible.

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Modlitwy odmawiane przed amboną

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Paprocki H.

ELPIS

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2012

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tom 14

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nr 25-26

195-215

EN

One of the characteristics of the Byzantine liturgy is the last prayer called “The Prayer Behind the Ambo”. According to the Venetian edition of the Liturgikon, it is recited by the faithful in front of the pulpit or the ambo (hence the name), or before the icon of Christ on the iconostasis according to the Jerusalem edition. This prayer is a remnant of an old ceremony where the priest came out to bless the faithful by the laying on of hands, which is still practised during the priest’s first mass in the Roman Catholic Church. The prayer continues being recited also by the newly ordained priests in the Orthodox Church. In the 10th century Codex Porphyrios there are 28 such prayers. Of the 162 manuscripts described by A. Dmitriyevsky only eight contain them, with one manuscript coming from the sixteenth-seventeenth century, which shows that these prayers were also used in later times, but not everywhere and not in the same range. Currently, there is a tendency to restore the prayers recited before the pulpit because of their didactic nature, closely associated with a particular holiday. These prayers have been restored in the Greek Church and in various U.S. jurisdictions. The article is accompanied by a translation of current prayers behind the ambo, as well as other prayers of this type, intended for various holidays and days of the liturgical year.

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THE STORY OF MONASTICISM AND MUSIC IN THE EARLY MIDDLE AGES. THE ABBEY OF SAINT-DENIS-EN-FRANCE AND SAINT-MAURICE D'AGAUNE

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Maître C.

Muzyka

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2006

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tom 51

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nr 4(203)

3-26

EN

During the medieval era, liturgy designated an important role to the chant. Most often accompanying psalms or lectures, the chant served to contribute both an intellectual and emotional commentary to the discourse. Both the forms and the practice of the chant evolved significantly within space and time, and Gaul, amongst other regions, developed a strong liturgical and musical identity, especially during the high Middle Ages, up until the liturgical Romanisation undertaken during the second half of the VIIIth century. At this time, Gaul itself was diverse and one of its major monastic centers was the abbey of Saint-Denis near Paris.

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Vztah církve a liturgie. K recepci Druhého vatikánského koncilu

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Richter K.

Studia theologica

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2010

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tom 12

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nr 3

30-42

EN

The proposed study recalls the intentions and goals of the liturgical reform initiated by the Second Vatican Council. The author describes the interaction between church and liturgy: on the one hand various ecclesiologies produce various liturgical forms; on the other hand, it is possible to establish ecclesiology on the Eucharist. Finally the author tries to suggest the ways, in which it is possible to remain true to the Council and at the same time answer the upcoming challenges.

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ПРОБЛЕМАТИКА ДОСЛІДЖЕНЬ ТА ДЖЕРЕЛА МУЗИЧНИХ ТЕКСТІВ ЛІТУРГІЙ ПРОСТОПІНІЯ БОКШАЯ-МАЛИНИЧА

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Zadorožnyj I.

Slavica Slovaca

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2019

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tom 54

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nr 1

39 – 48

EN

This article exposes some aspects of general problematics of the research of sources of the Byzantine-Slavic rite’s liturgical chants of regional liturgical practice, recorded at the beginning of the XX century in the Orthodox Prostopiniya by Bokshay-Malynych. In addition to that, preservation of some elements of melodic turns of Greek and Bulgarian songs in Prostopiniya corroborates their influence on forming of chants of Liturgics of John Chrysostom and Saint Basil the Great, as well as orientation of church and singing practice towards joining of theological contents of liturgical texts with the high artistic quality of melodies of the Balkan-Slavonic monody.

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ORATIO UNIVERSALIS V LITURGII VEĽKÉHO PIATKU

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Knap L.

Verba Theologica. Teologický časopis

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2017

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tom 16

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nr 2

73 – 80

EN

This paper analyzes the general prayer of the faithful in the liturgy of the Great Friday. The aim of this study is to outline the historical development of the general prayers of the faithful in the liturgy in question. It is based on the historical and comparative analysis and examines the more significant texts of this prayer in the history of liturgical books, such as the Sacramentary, Pontifical, Ordine and various missals.

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Wspomnienie Matki Boskiej i świętych w Anaforach wschodnich

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Paprocki H.

ELPIS

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2011

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tom 13

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nr 23-24

251-266

EN

In his article the Author analyze the role of saints and the Mother of God in intercession for various anaphora. Then he poses the thesis that the evolution of this part of liturgies is passed as follows: in the oldest anaphora does not commemorations of saints, later we find the commemoration of the various classes of saints, and finally the commemoration of the Mother of God and the saints in ways difference.

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VZŤAH TEOLÓGIE A LITURGIE V DIELE C. VAGAGGINIHO A S. MARSILIHO (II. ČASŤ)

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Zvara P.

Verba Theologica. Teologický časopis

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2016

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tom 15

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nr 2

27 – 40

EN

Salvatore Marsili was a Benedictine monk, professor of liturgy, and editor of the oldest liturgical Italian magazine La Rivista Liturgica for a long time. Cipriano Vagaggini, though not a member of the liturgical movement, contributed significantly to a deeper knowledge of liturgy through his works. He also was a Benedictine monk, professor of dogmatic and Eastern theology, and systematic theologian. Both lived in Benedictine communities, occupied by teaching theology and researching various theological and liturgical questions. The issue of the relationship of theology and liturgy as well as that of the inclusion of liturgical studies into the structure of a complex theological research was of crucial importance for them. Both developed integrated concepts which are still inspiring and motivating for theologians and liturgists. Their research has opened new horizons in the field of theology and liturgy, and raised a number of issues that have become the subject of further research. Both showed keen interest in other, more practical areas of liturgy. Their work has produced fruitful results for the current liturgical practice of the Church in several areas. The article analyzes some areas of the scientific work of these two authors in order to highlight their merit in the field of theological and liturgical exploration. It also offers a specific basis for further research of their works.

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ON BYZANTINE MUSIC IN SLOVAKIA FROM THE END OF GREAT MORAVIA TO THE COLONIZATION ON THE WALACHIAN LAW (10.-14 TH CENTURY) (Problematika byzantskej hudby na Slovensku od konca Velkomoravskej rise po kolonizaciu na valasskom prave (10.-14. storocie).)

88%

Marincak S.

Slavica Slovaca

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2010

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tom 45

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nr 1

3-19

EN

The present paper endeavours to survey the historic line of the Byzantine music in the territory of Slovakia of today, focusing on the 'dark centuries' - the 10th to 14th centuries. It starts with the introduction of Byzantine culture to the Moravian State in 9th century, and includes the brief description of extant liturgical fragments dated from 10th to 15th centuries. The lack of substantial resources presses us upon relying on the indirect historical references in order to prove the presence of the Eastern faithful during the old Hungarian kingdom, thus trying to detect marginal information regarding the liturgical chant at least.

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Związki pomiędzy ikoną, teologią i liturgią

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Paprocki H.

ELPIS

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2011

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tom 13

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nr 23-24

39-58

EN

Contribution is devoted to the issue of the icon and his spot in the worship of the Church and its aspects, which is linked with the Greek word eikon, which marks all of the two statues and the Emperor, and table Christian worship them. The image in this event each event represent another reality. This word means and the image of God in man and Christ as the image of the Father. Majority report of the meaning of the icon to take a reality stain and understanding the role and place of the icon in the Church. In this context the author approach the relationship between the icon and theology and liturgy.

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SACRUM V PRAGMATICKOM SVETE – DIVADLO V CHRÁMOVOM A PREDCHRÁMOVOM PRIESTORE A V TICHU

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Hlaváčová A.

Slovenské divadlo (Slovak Theatre)

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2013

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tom 61

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nr 3

231 - 249

EN

The author of this paper examines the development of theatrical forms connected to liturgical space and the liturgical year. The author brings a testimony about a project which was started before the fall of socialism: The initiative of a group of Bratislava students staging The St. John Passion Play was not a generational theatre but a return to the discarded. The production in Bratislava’s Trinity Church was characterized by a fascinating modern dance expression presented against the background of Gregorian chant. The production was accompanied by the singing of a teachers’ choir Cantus and was shown in the Trinity Church in 1988, 1989 and 1990 and in St. Martin’s Cathedral in 1992. Then the author analyses a production by the Brno theatre. She also focuses on two projects by Slovak artists. Confronting stone and the body, Anna Sedlačková and Ľuboš Kľučár created a dance performance entitled De Profundis (27 – 29 Oct. 1992). Besides the stone statues of Viliam Loviška and Andrej Rudavský, the De Profundis production also worked with candles, water and clay. The space of the Cum Angelis production was delineated by two lines of Viliam Loviška’s peculiar polychrome and gilded angel heads which incorporated fragments of old disintegrated stone sculptures. The later work of the ensemble moved away from the theatre production principles verging on installation. It relied on integrating the sculptural principle and motion – deriving the production form from a facial mask á la Japanese Noh theatre. Anavim, which means “to the poor” in Hebrew, is a reference to Brook’s concept of a poor theatre. Similarly, Veni, the name of a music band, is actually the shortening of Veni Sancte Spiritus. From the viewpoint of dramaturgy, they were extensions of passion plays that could not be played under socialism. However, in retrospect, both “chapel projects” can be viewed as preliminary studies for outdoor passion plays under the title Passio produced a decade later on the Main Square in Bratislava. It was not meant to be a film-like realistic rendering of the passion plays. On the contrary, it can be characterized as fragmented, analytical and sculptural, with every motion representing a certain idea or movement of the heart.

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RUSʼ (RUTHENUS) AKO NOSITEĽ TRADÍCIE BYZANTSKO-SLOVANSKÉHO OBRADU V STREDOVEKOM UHORSKU

88%

Kurák J.

Slavica Slovaca

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2023

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tom 58

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nr 2

411 - 420

EN

The paper’s focus will be an examination of the various manifestations, by which the culture of the Cyrillo-Methodian heritage manifested itself in the territory of Rurikid (Kievan) Rus´. The key moment was the transfer, acceptance, and subsequent adoption of the Slavic liturgy, along with Slavic literature. Today it is almost certain that the East Slavic environment absorbed the cultural legacy of the Cyrillo-Methodian mission, probably from the environment of the first Bulgarian Empire. These cultural manifestations in language, religiosity, and literature could settle down only after the adoption of Christianity. However, it is not clear exactly when or how this could happen. The adoption of Christianity fundamentally transformed the East Slavic area. Gradual Slavization of the elites with the adoption of Christianity and the liturgical language was established within the Rurikid dynasty. Therefore, it remains questionable how long the legacy of the Cyrillo-Methodian tradition travelled before it reached the Carpathian Basin with various cultural expressions during the time of the first Hungarian kings.