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1

THE LINKS BETWEEN THE STRAHOV CODEX AND AUSTRIA AND THE IMPERIAL COURT OF FREDERICK III

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Gancarczyk P.

Muzyka

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2004

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tom 49

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nr 2(193)

79-88

EN

One of the most interesting research tasks relating to the Strahov codex (dated 1467-1470) is establishing its provenance. Until now the areas considered likely included eastern Silesia or the Bohemian-Silesian borderland (Plamenac, Snow), Moravia, particularly Olomutz and, more recently, the Catholic part of southern Bohemia (Cerny, Mrácková). In this paper the author discusses the links between the Strahov codex and Austria and the imperial court of Frederick III, which throw some light on the manuscript's provenance. Evidence for the existence of such links is provided by the following facts: 1) repertory and codicological kinship with the Trent codices, which has often been referred to in the literature; 2) repertory kinship with the older part of the Leopold codex (dated 1466-1470) - at various points in the Strahov codex one finds six of the works from the fascicle II of the Leopold codex; 3) the presence of 11 works by Johannes Touront who, according to a previously overlooked document, was chaplain to the court of Frederick III. Until this time we had no biographical data relating to Johannes Touront. However, a document dated 3rd July 1460 concerning this composer is preserved at the Vatican. The document tells us that: 1) Touront was chaplain to Emperor Frederick III in 1460; 2) he received a prebend at the Church of Our Lady in Antwerp; 3) he was a cleric of the Tournai diocese. The form of his surname used in the document ('Tourout') leads to supposition that he came from Thourout (now Torhout) in eastern Flanders (Tournai diocese). The new source gives us a reason why Touront's works were so popular in Central Europe, and its date coincides exactly with the date of the first records of his compositions in manuscripts Trent 89, Trent 88 and Schedelsches Liederbuch. It seems probable that the composer remained in this region for a while after 1460, as a number of his new works appeared around 1470 in the Strahov codex and in the Buxheimer Orgelbuch. The document also allows one to hypothesise that Touront might have had some closer connections with Antwerp at the time when Johannes Pullois was active there, particularly as, at an earlier time, a Johannes van Tourhout (d. 1438) was a singer in Antwerp. Perhaps he may have been a relation of our Touront (vel Tourout).

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'A DESPERATE CONFUSION OF CLEFS'. THE USE OF CLEFS IN THE ST. EMMERAM CODEX IN THE LIGHT OF CENTRAL EUROPEAN MUSIC THEORY

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Schmid B.

Muzyka

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2004

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tom 49

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nr 2(193)

57-78

EN

A wide variety of unusual clefs can be observed in the mensural codex from St. Emmeram, available in the Bavarian State Library (Clm 14274): Gamma-clefs, d-clefs, in combination within a single staff-system with clefs such as c1/g3/d5 or c1/gg3/dd5 , and double clef-letters as well, such as gg. Occasionally clefs are almost totally absent, or they occur only at the beginning of a voice-part, etc. The uses of clefs in this manner seldom occur in practical sources, yet such uses are well known in central European music theory of the fifteenth century, particularly in chant theory. Moreover they are described as such in theoretical treatises, and are used repeatedly in the musical examples. The present study will present the thesis that clefs employed in the St.Emmeram Codex are rooted in the tradition of music theory, and, at the same time, that they are corroborated by this very music theory. The Gamma-clef occurs frequently in a group of texts that are described as the 'Hollandrinus tradition', but it is found in other treatises as well. The Gamma-clef is most often cited within the context (i.e., theoretical context) of five frequently used clefs, and it is described as rarely occurring e.g. in the Musica Magistri Szydlovite. Moreover the clef is often used in theoretical treatises for musical examples (modal theory, hexachord theory, mutation theory). Even in the 17th century the Gamma-clef is encountered; on the one hand in texts that are based on theory of earlier epochs, and on the other in Michael Praetorius, one of the leading theorists of the early 17th century. Yet the context for the clef is transformed by Praetorius, for he employs it in figured-bass theory and for lower wind instruments - in combinations of Gamma and F within a single stave, a practice that one might encounter in late medieval theory. Combinations other than Gamma/F are found within a single system in theoretical sources. Now and then combinations appear, in which clef-letters stand in the spaces rather than on the lines. The usual interval of a fifth between clefs is thus laid aside, and the interval of a fourth takes its place e.g. gg/c/f with c in a space. The doubling of note-letters and clef-letters appears regularly from a-superacutae in the Guidonian system. In a number of texts, as well as in Guidonian hands, clefs with double letters are found from e-superacutae and higher. In the St. Emmeram Codex all of this occurs inconsistently, since clefs such as g and d, as well as gg and dd are found. (The occasional appearance of double-letters in the lower ambitus does not occur in the St. Emmeram Codex: for example, gg instead of G, and even in Praetorius, who uses CC under the G).The various scribes in the St. Emmeram Codex seem to work differently with respect to clefs. One can only assume that they represent different traditions. If one were able accurately to distinguish clefs from each other according to paleographical criteria and to assign them to definite scribes, then one would gain considerable knowledge concerning the division of work among the scribes, and, along with that, a much deeper knowledge concerning the historical origins of the St. Emmeram Codex.

3

: EXISTENTIAL AND TRANSCENDENTAL ANALYSIS OF MUSIC

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Tarasti E.

Muzyka

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2006

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tom 51

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nr 4(203)

73-115

EN

In the last decade the author has launched a new theoretical project to renew the so-called classical semiotic approach and to rethink its epistemological basis. These theoretical and philosophical reflections have started from the hypothesis that semiotics cannot stay forever as Peirce, Saussure, Greimas, Lotman, Sebeok and others have established it. Semiotics is in flux and reflects new epistemic choices in the situation of sciences in the twenty-first century. The author presents some aspects of problem: e.g. contept 'moi' and 'soi' in music, change of Hegelian concepts 'an-sich sein' (being-in-itself) and 'für-sich-sein' (being-for-itself) into 'an-mich sein' (being-in-myself) and 'für-mich-sein' (being-for-myself). In the final part of this essay, he would present an analysis of the first movement of Beethove's Sonata in E flat major op. 7.

4

OD HUDOBNEJ HISTÓRIE K HUDOBNEJ TEÓRII

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Lengová J.

Musicologica Slovaca

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2013

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tom 4 (30)

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nr 2

197 – 208

EN

The most important works by Jozef Kresánek (1913 – 1986) include the scholarly trilogy Základy hudobného myslenia (Fundamentals of musical thinking) (1977), Tonalita (Tonality) (1982) and Tektonika (Tectonics) (1994). This sequence gives proof of the lifelong effort he devoted to music theory as a musicological discipline, which enabled him to explore, within the category of musical thinking, the developmental laws of European art music in all their complexity. Jozef Kresánek began as a music historian, and in his scholarly studies, monographs, surveys and musical editions he devoted himself especially to the problems of the modern history of Slovak music from the 18th to the 20th century. In terms of methodology, he applied a synthesis of the music-historical and music-theoretical approaches. This paper makes a close analysis of the lasting contribution, as well as the period residues, in the conception of two of his works: Dejiny hudby (History of music) (1942) and Vznik národnej hudby v 19. storočí (Birth of the national music in the 19th century).

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HOW TO COMPOSE A MOTET FOR THE VIRGIN. JOSQUIN DES PREZ AND HIS MOTET 'ILLIBATA DEI VIRGO NUTRIX' (Jak skomponowac motet ku czci Dziewicy. Josquin des Prez i jego motet 'Illibata Dei virgo nutrix')

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Benthem J. v.

Muzyka

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2007

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tom 52

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nr 3(206)

3-30

EN

Both by its text as by its musical setting, the motet for the Virgin, 'Illibata dei virgo nutrix', of Josquin des Prez mirrors particular fundamentals of Christian Faith, ideated by means of elements from the language of later medieval symbolism; in particular number symbolism. Totals of textlines and syllables, of letter values and number of notes stay to each other in a close connection, by which the structure of the composition as a whole symbolically represents the composer's ardent wish, that hailing the Virgin in his own musical language will be acceptable to her.

6

MILAN LICHARD A JEHO TEÓRIA SLOVENSKEJ ĽUDOVEJ PIESNE

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Urbancová H.

Musicologica Slovaca et Europaea

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2006

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tom 23

58-116

EN

In the 19th century a folk song motivated musical-theoretical way of thinking in Slovakia in a close connection with a composition practice of adaptation and harmonization. The theory of Slovak folk song in Milan Lichard's (1853-1935) work documents permeation of this orientation till the 20th century. Lichard linked to older opinions concerning analogy between folk tunes and historical forms of modality of the European Antiquity and the Middle Ages. He developed the idea to form an original theory based on a comparison between the folk songs and a 'medieval' modal system. On this base Lichard determinated three musical-stylistic layers of the folk song ('medieval' modality, the harmonic major-minor, 'heterogeneous' scales), which he interpreted in genetic-developmental and inter-ethnical context.

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DYNAMIZMUS HUDOBNEJ ŠTRUKTÚRY. ÚVAHY O HUDOBNOTEORETICKEJ TERMINOLÓGII

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Ferková E.

Musicologica Slovaca

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2015

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tom 6 (32)

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nr 1

5 – 18

EN

The verbalisation of music involves many perils. Musicologists have surmounted those perils by creating suitable concepts and metaphors and by adopting specialised terminology from other scholarly disciplines. The development of scholarly terminology in musicology goes together with the attempt to find the most adequate means for description and characterisation of musical language. One way of doing so is to regard the current of musical sound, flowing in time, as a means of expressing changes of force, tension, quiet or disquiet. This quality of music may be compared to the idea of a dynamised current of sound, in which the listener is able directly to perceive changes of forces, tensions, kinesis and stasis. These changes are conveyed by relationships: harmonic, melodic-formal structural relationships, and also relationships of sound, metre and rhythm, texture, and register.