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2 Musicologica Slovaca

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PAST AND PRESENT: INTERPRETING THE CHANT NOTATIONS OF THE PRAY CODEX

100%

Gilányi G.

Musicologica Slovaca

2023

tom 14 (40)

nr 1

35-54

The paper examines the music scripts of the Pray Codex (Budapest, National Széchényi Library, Mny 1), one of the most important manuscripts of the 12th-century Central European cultural history. This is not the first time that a systematic music paleographic review has been carried out: decades ago, the noted plainchant scholar, Janka Szendrei, subjected the notations of the codex to a detailed analysis, some of which she considered to be the earliest surviving examples of Esztergom staff notation. However, more recent studies have shown that the neume compositions of the 12th century examples of the Pray Codex are rather undeveloped compared to the 13th–14th century Esztergom notation. There are no definitive neume forms, but there is a very rich range of variants belonging to a single neume type. Can this set of signs be considered Esztergom notation? In order to answer this question, contemporary comparative sources – the Krakow and Šibenik codex fragments – were also studied, and our examination made use of the most advanced digital techniques. We also tried to go further than Janka Szendrei as regards isolating and characterizing the notations of the Pray Codex, while also exploring the genesis of the Esztergom notation and, above all, by examining the role the French university peregrinations of Hungarian archpriests may have played in the formation of the musical literacy of the 12th century Kingdom of Hungary.

IRMOLOGION AKO PROSTREDNÍK MEDZI GRÉCKOU A SLOVANSKOU BYZANTSKOU HUDBOU

88%

Marinčák Š.

Musicologica Slovaca

2024

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.