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Nekateri vidiki povezovalne vloge glasbe v poznosrednjeveških provincah kartuzijanskega reda
To delo avtorja Katarina Šter je ponujeno pod Creative Commons Priznanje avtorstva-Nekomercialno-Deljenje pod enakimi pogoji 4.0 Mednarodna
Datoteke (1)
Opis
Gregorijanski koral že od samega začetka predstavlja pomemben dejavnik v življenju kartuzijanskega reda kot celote, pa tudi njegovih posameznih provinc in posameznih ustanov. Glasbeno življenje v posamezni provinci in povezovalno vlogo korala na tej ravni je zato treba opazovati v odnosu do obeh drugih ravni: širše redovne in ožje samostanske. Kartuzijanski koral je glasba, ki je imela v srednjem veku (in ima še danes) na prvem mestu liturgično vlogo. Estetska oz. povsem glasbena vloga je tej, vsaj na ravni prioritete, podrejena, čeprav je bila skozi zgodovino zaželena in v redu skrbno negovana. V okviru provinc so glasbene povezave potekale predvsem na ravni zapisane liturgične glasbe, prek koralnih rokopisov, nekoliko manj pa na ravni izvedbe, ki se je oblikovala v določenih hišah, čeprav so menihi v okviru posameznih provinc prek potujočih kartuzijanov, priorjev in vizitatorjev prihajali v stik tudi s to platjo glasbe.
Metapodatki (12)
- identifikatorhttps://hdl.handle.net/11686/41529
- naslov
- Nekateri vidiki povezovalne vloge glasbe v poznosrednjeveških provincah kartuzijanskega reda
- Orders’ Houses and Orders’ Provinces as Connecting Factors in Geographical and Spiritual Spaces
- ustvarjalec
- Katarina Šter
- soavtor
- Gregor Jenuš (gl. in odg. ur.)
- Dunja Mušič (teh. ur.)
- Petra Markuš (prev.)
- Tanja Martelanc (foto.)
- predmet
- ČLANKI IN RAZPRAVE
- meniški redovi
- kartuzijani
- skupnost
- redovne province
- gregorijanski koral
- ARTICLES AND PAPERS
- monastic orders
- Carthusians
- monastic community
- order provinces
- Gregorian chant
- opis
- Carthusian chant, a special compilation and adaptation of Gregorian chant, was the only music of the Carthusian order. The chant of the Carthusian order has represented an important factor in the life of the order as a whole, as well as of its individual provinces and institutions since its very beginning. Music in individual provinces and the connecting role of chants at this level should be examined in relation to two other levels: broader »order« level and narrower »house« level. In the Middle Ages the Cartusian chant had primary a liturgical role (this remains unchanged until today). The aesthetic or purely musical role is inferior to liturgical although it was considered desirable throughout history and carefully nurtured by the Order, as evidenced by order rules and numerous anecdotes. Music links within Carthusian provinces emerged primarily in the field of written liturgical music, through chant manuscripts and copying of manuscripts as well as regular visitations. Characteristics of individual provinces can be found in certain details of otherwise uniform manuscripts (not recording, for example, the rounded b); however, these details are frequently specific to the time of the origin of a manuscript and not only its local provenance. It is understandable that provinces were less connected at the level of direct performing practice that had formed in individual houses where the psychological effect was also a factor; however, monks were influenced of different versions of the same chant through traveling Carthusians, priors, and visitators. There is little in the way of research findings on the subject of visitations (especially as concerns music), owing also to lack of sources; visitors were doubtlessly respected Carthusians who influenced certain manners of performing and writing chant throughout the province during their functioning. Further study of changes in performing chant at the time when general chapter was meeting in Žiče and exemplary Carthusians from the whole Urbanist branch of the order gathered would be especially welcome for Slovenian area.
- založnik
- Arhivsko društvo Slovenije
- datum
- 2017
- 01. 01. 2017
- tip
- besedilo
- jezik
- Slovenščina
- jeDelOd
- pravice
- licenca: ccByNcSa