Motetas – cantus mediocris. Liturginės ir kompozicinės paralelės

LDB
RinkinysMokslo publikacijos / Scientific publications
Publikacijos rūšisStraipsnis / Article
KalbaLietuvių kalba / Lithuanian
AntraštėMotetas – cantus mediocris. Liturginės ir kompozicinės paralelės
Kita antraštėMotet - cantus mediocris : the liturgical and compositional analogue
AutoriaiDaunoravičienė, Gražina
LeidinyjeSoter . 2005, 16 (44), p. 89-106
PastabosLDB Open.
Reikšminiai žodžiai
LTmotetas; musica ecclesiastica; musica intelligible; Tridentino Susirinkimas; Jono XXII bulė "Docta Sanctorum Patrum"
ENmotet; musica ecclesiastica; musica intelligible; The Council of Trent I; the bull by Pope John XXII "Docta Sanctorum Patrum"
Santrauka / Anotacija

LTStraipsnyje aptariamas moteto žanro specifikos klausimas, akcentuojant jo priskyrimą bažnytinei muzikai (musica ecclesiastica). Tyrinėjamos moteto istorinės raidos sąsajos su XI1-XVI a. muzikos kompozicijos novacijomis (ypač Ars Nova). Aptariami Bažnyčios dokumentai, gvildenantys klausimą, ar motetą dera atlikti bažnyčioje. Ieškoma priežasčių, nulėmusių pirmąją moteto kaip bažnytinio žanro krizę XIV a. pradžioje bei popiežiaus Jono XXII bulės „Docta Sanctorum Patrum" paskelbimą. Aptariama moteto žanro sklaida po Tridento Susirinkimo (1545-1563). [Iš leidinio]

ENThe juridical documents of Ars Nova and Renaissance periods that discuss the music sounding at the church herewith demonstrate the importance of motet as a genre of church music (after Grocheio - musica ecclesiastica}. Obviously the motet had become an object of concern to music theorists (Franco from Kein, Johannes de Grocheio, Johannes Tinctoris, Athanasius Kircher, Johann Gottfried Walthcr, Michael Practorius and others) as well as to the priests (Jacobin Petrus de Palude, Bishop Guillielmus Durandus, Archbishop Carlo Barromeo, Pope John XXII and others). The music theorists had discussed the motet's compositional construction, the definition of genre and the questions of musical style mostly. At that time the discussion by the priests had developed over the propriety of molet sounding in the church. The first crisis of motet as an ecclesiastical genre has shown around the 1300. Supposedly the crisis was influenced by two essential elements - as the classification of music styles by Bocthius was disproved by Johannes de Grocheio in the treatise „De arte musicae" (ХІII-XIV ct.) and the church music was separated distinctly from the other styles of music (musica simplex civilis vulgaris ir musica composite regularis canonica). The second element of crisis was involved by striking compositional novations of Ars Nova. The treatise „Speculum musicae" (-1325) by one of the most savage critics of Ars Nova music Jacques de Liźge appeared at the same time as the bull „Docta Sanctorum Patrum " by Pope John XXII. This text where the prohibition of motet in the church was prompted amazes by its perfect knowledge of music theory and compositional processes. But also it resembles the propositions of treatise by Jacques de Liźge in its arguments. In the XVI ct.In the XVI ct. Milan Archbishop Carlo Barromeo paid an attention to mass and motet compositions. He highlighted the conception „musica intelligible" that demanded for the clearly articulated liturgical text in the music. In his letters to Milan Cathedral vicar in 1565 we may see the ways of implanting the decisions by Council of Trent 1 into the practice of composing motets and mass. [From the publication]

ISSN1392-7450, 2335-8785
Mokslo sritisMenotyra / Arts
Susijusios publikacijosReligijos mokslo leidinio SOTER straipsniai katalikiška muzikine tematika (1999 m. - 2009 m. vid.) / Daiva Kšanienė. Soter. 2009, 31 (59), p. 63-74.
Nuoroda į įrašą https://www.lituanistika.lt/content/4550
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