History of the Origin of the Bogurodzica Song. A Musical Monument of 1407 (original) (raw)
Related papers
Singing in the Battle. About the »Bogurodzica«
„Senoji Lietuvos Literatūra”, 31: 47-64., 2011
Different liturgical issues have given shape to the close relations between war and religion in the Middle Ages. Devotional behavior accompanied military phenomena from introductory drill via the knightly accolade to actual fighting in battles. Even the political dimension of warfare was at times partly regulated by religious intervention (the Pax Dei and Treuga Dei). The famous Polish Bogurodzica was reportedly sung before the Battle of Grunwald (Tannenberg). The question “Why” bothered generations of historians. Recent research seems to have brought us closer to a solution of this enigma. The connection of the song’s origin to the circumstances of the Battle of 1410 appears to be possibly much closer than previously assumed. Consequently, the song as we know it from two manuscripts dated not before 1408 may be not much older than that. On the other hand, the musical roots, e. g. the melody of the main phrase of the song can be followed as far back as the year 1025. Keywords: Middle Ages; war; liturgy; battle songs; Bogurodzica.
The purpose of this submitted scientific article is based on emphasizing of archaic musical styles evaluation problem in the earliest Lithuanian folklore publications. The target of this investigation is defined on analysis of the historical music notations in the historical musical folklore editions. The methods of this represented exploration are formed on the basis of historical method, where some well-known stereotypes have to be re-thought. Systemic method is also important here to understand the whole socio-cultural context of early notations of Lithuanian folk songs. The structurally analytical method allows maximal profoundly holding out the contemporary outlook concerning previous actual investigations on this theme. The scientific newness of the presented article is determined by new attitude for evaluation of earliest musical styles throughout Lithuanian folklore heritage. The actual facts discovering from large period of historical times in Lithuanian ethnomusicology might be understood as also important novelty of this our scientific work. Conclusions. We are not allowed to bring guarantees, that the earliest musical descriptions of folk songs and their melodies are really earliest in historical life and development of local folk tradition. The described, fixed folklore materials are just very fragmentary moments, taken from the real and eternal folk life development both in Lithuanian case, and worldwide. And this development has no any clear beginning, any clear outset. The main task of all ethnomusicologists is to find, to understand, and to evaluate the level of the antiquity and authenticity of particular local melodic tunes in the context, certainly, of all contemporary scientific knowledge.
Roczniki Teologiczne, 2015
The aim of this article is to present the research activity of the Department of Ethnomusicology and Hymnology of the John Paul II Catholic University of Lublin (KUL) as well as its music collections. They consist of religious folk singing that are relevant to the written sources as well as those that exist exclusively in oral tradition and multigenerational transmission. Research on the repertoire was started in 1970 and so far there have been over 25.000 religious folk songs (among others Advent songs, Christmas carols and pastoral Christmas songs, Lent songs, Easter songs, Marian songs, songs to the Heart of Jesus, Eucharist songs, songs to the Saints, funeral songs and narrative songs) collected. Folk songs from the “living tradition” fascinate with variety and authenticity of their transmission—hence for years they have been an invaluable source of multifaceted and interdisciplinary research for many generations of ethnomusicologists, hymnologists, folklorists and ethnolinguists. Analysis of this repertoire shows processes in the development of Polish religious folk songs as well as confirms its exceptional qualities and uniqueness.
Crossing Bridges: Music, Intergenerational Transmission and Transformation, 2016
In the case of the Podhale region (the Polish Tatra mountains) we have historical records describing the musical culture reaching the first half of the nineteenth century. This puts the ethnomusicologist in a convenient situation, allowing the reconstruction of historical processes of changing traditions. From the perspective of contemporary research it is interesting to trace the evolution of opinions about tradition expressed by the representatives of the Podhale communities as well as the intelligentsia visiting the region in crowds. This allows us to show how the opinions were formed and what their vision is for the continuation of tradition. Meanwhile, this tradition, located on the Polish-Slovak border (Orava, Spis, Liptov) and influenced by other social groups (intelligentsia, Jews, Gypsies), has undergone numerous changes in the past and nowadays. The person of Bartek Obrochta (1850-1926), the great musical innovator whose legend still forms the social vision of the Podhale musical tradition, will be the case study for discussing the issues described below.
Духовна пісня в жанровій системі сакральної музики: питання термінології
2019
The purpose of the research. The purpose of the article is to clarify the place of the spiritual song in the genre system of sacred music of the main Christian denominations based on the analysis of the basic definitions of the spiritual song genre in various national traditions. The research methodology consists of a combination of comparative, historical, cultural and musical-liturgical methods, with the help of which the spiritual song was described as a component of the genre system of the European liturgical musical tradition from the Middle Ages to the present. The scientific novelty of the work lies in the fact that for the first time in Ukrainian science, based on the characteristics of the definitions of the genre of spiritual song in different national traditions and confessional centres, national and confessional features of the genre system of European sacred music were highlighted. Conclusions. The genre of spiritual song throughout the history of Christian music has been interpreted in different ways. In early Christianity, the spiritual song was interpreted as a poetic fragment of the biblical text, which came on behalf of the Old Testament or New Testament characters. This tradition has been preserved in Western Christian and Eastern Christian hymnography. In the late Middle Ages in Western Europe, the genre of spiritual songs transformed. The term «song» («cantio») began to denote musical and poetic works of the strophic form written in Latin, and later in national languages, which performed the paraliturgical function, but over time became the central musical and poetic genre of the liturgy of the Western rite, radically changing it genre system. In the Ukrainian-Belarusian lands, under the influence of the Western liturgical tradition, the term «song» as a musical and poetic work of a strophic form became the basis for defining the genre in all Christian denominations. In the Russian spiritual-song tradition, which was fundamentally different from the Ukrainian-Belarusian lack of long-term connections with the Catholic culture, the musical and poetic works of the strophic form were called psalms or spiritual verses. Key words: sacred music, spiritual song, church hymnography, genre system of liturgical music, Christian denominations.
The composition of the population has changed significantly in the city of Klaipėda and throughout all the Klaipėda region at the end of the Second World War. The city was completely destroyed, the remaining native inhabitants quickly left for the West. The then Soviet authorities in the 1950s-1960s in a deserted city created favorable social conditions for volunteers who came from other regions of Lithuania and from the entire Soviet Union to Klaipėda to restore the port and the entire marine industry. So at that time shoulder to shoulder in Klaipėda worked representatives of about 70 peoples and nationalities. Many of them stayed here for the rest of their lives. Moreover, at the beginning of the 21st century, state borders opened up in independent Lithuania, new flows of emigration and immigration emerged. The multi-layered and multicultural society has started to form, and national communities are being created and officially registered. What is the national composition of the inhabitants of modern Klaipeda at the beginning of the 21st century? In 1990 – 2000s, there were founded 1 Belarusian, 1 Polish, 3 Russian, and 3 Ukrainian national societies, together with Azerbaijani, Latvian, German, Jewish, Tatar and Armenian ones. How often do they intend to communicate with each other? Do Slavic immigrants of different times, their children and grandchildren preserve their national roots? Do they remember their native speech, rites, song and verbal folklore, their traditional dances and instrumental music? The results of such studies will be presented in this paper.