Questões em torno dos Ordinários do Oficio Divino de Alcobaça

This paper focus on the Ordinals of the Divine Office copied in the scriptorium of Alcobaça’s abbey during the second half of the 15th century and the first half of the 16th. The Ordinals were not meant to be used in the celebration of the liturgical service, but they were used as a guide, to help solving conflicts between offices that converge in the same day. These Ordinals also show us some aspects of the life and habits of Alcobaça monks.

[დაოჳსაბამოჲ თანა-მოსაყდრჱ მამისაჲ შორის ავაზაკთა დაისაჯე]

I-II + 1r – 183v 2 წიგნი; I წიგნი 1r – 90r Inc. დაოჳსაბამოჲ თანა-მოსაყდრჱ მამისაჲ შორის ავაზაკთა დაისაჯე Des. მესმა ჴმისა მნისაჲ და მმშენა გვცდიდ საქმეთა შნთა და მე ვძრწოჳნდე; II წიგნი 90v – 183v Inc. ესმა და იხარებდა სიონი Des. შენ, რომელმან მოციქოჳლთა ასწავე სიმდაბლჱ და თხოვაჲ იგი ძეთა მათ ზებედჱსთაჲ, შეოჳძლებელ ჰყავ დიდე...; მთავრული, სათაურები და საზედაო ასოები სინგურით, 1 სვეტად; სტრიქონების რაოდენობა 15 - 16; ნაკლული, შეიცავს ე-კზ რვეულებს, ე რვეული ნაკლულია, ექვსფურცლიანია, მომდევნო ვ - ათფურცლიანი, ყველა დანარჩენი - რვაფურცლიანი, გარდა კზ, რომელიც ნაკლულია და შეიცავს 7 ფურცელს.

[სიყუარული წყალობისაჲ ძეთა კაცთაჲსა ჯუარსა ზედა აჰმაღლდი]

I-III + 1r _ 132v 1 წიგნი; Inc.სიყუარული წყალობისაჲ ძეთა კაცთაჲსა ჯუარსა ზედა აჰმაღლდი... Des. ოდეს საფლავსა დაგდვეს შენ მაცხოვარ; თავნაკლული, 1 სვეტად, სტრიქონების რაოდენობა 18-19-21; რვეულებრივი აღრიცხვა. ა რვეულის ბოლო 24v-ზე მოდის, ბ რვეული ექვსფურცლიანია, 87r ი რვეულის ბოლო ფურცელია; არ იკითხება 50 r და 94v.

[დასადებლნი ადგომისანი]

I წიგნი I-II+ 1 r – 128r Inc. დასადებლნი ადგომისანი Des. და იტყოდეს ოსანა მაღალთა შინა კხლ ხრ შნ მაცხოვარო ჩნო; II წიგნი 128 v - 254 v Inc. ბაიაჱ აქნდა ყრმებსა მას ძლევისა Des. ივანე კუმურდოელი, ქნ შეიწყალენ, ამენ.; ნაკლული, აკლია პირველი რვეული მთლიანად, მეორე რვეულიდან შემორჩენილია 6 ფურცელი. რვეულებრივი აღრიცხვა გასდევს 22 რვეულის ფარგლებში, ბოლო 10 ფურცელზე პაგინაცია არ იძებნება, რვეულების უმეტესობა რვაფურცლიანია, გარდა 5 (9 ფურცლიანი), 19 (7 ფურცლიანი) და 22 (6 ფურცლიანი) რვეულებისა.

The Original Risk: Over-Theologizing Ethics and Under-Theologizing Sin

The project of articulating a theological ethics on the basis of liturgical anthropology is bound to fail if the necessary consequence is that one has to quit the forum of critical modern rationality. The risk of Engelhardt's approach is to limit rationality to a narrow vision of reason. Sin is not to be understood as the negation of human holiness, but as the negation of divine holiness. The only way to renew theological ethics is to understand sin as the anthropological and ethical expression of the biblical message of the justification by faith only. Sin is therefore a secondary category, which can only by interpreted in light of the positive manifestation of liberation, justification, and grace. The central issue of Christian ethics is not ritual purity or morality, but experience, confession and recognition of our own injustice in our dealing with God and men.

Libellus musicus

Kirjanen on Michael Michaeliksen, Naantalin kappalaisen, Mikael Agricolan aikalaisen ja oppilaan käsikirjoitus, joka voidaan ajoittaa 1500-luvun lopulle. Kyseessä on ns. sekakirjanen, joka sisältää eri kirkkolaulujen traditioista syntyneitä sävelmiä erikielisine sanoituksineen. Kirjaseen kuuluu mm. luterilainen graduale, ruotsalainen kyriale, latinalainen hymnikokoelma, Te Deum käännöksineen ja muutamia muita kappaleita, joita joko seurakunta tai kuoro lauloivat kirkoissa.

A liturgical miscellany, consisting of a tonarium, parts of a graduale (including a kyriale), sequentiarium and a hymnarium, produced by one scribe, probably for his own use, in the last quarter of the sixteenth century. Complete critical and codicological description of the book and its contents available in the Codices Fennici -database.

Contents: Fols. 1r–8v, 9r–v, tonarium (defect); Fols. 10r–14v, sequentiarium in Latin (defect); Fols. 15r–24r, Te Deum in Latin (defect), O Jumala sinua me kijtämme (Te Deum in Finnish), O Gudh wij lofwe tig och bekenne tig (Te Deum in Swedish), O Gudh wij lofwe tig, o Gudh wij tacke tig (rhymed Te Deum in Swedish) and O Jumal sinua kijtäm (rhymed Te Deum in Finnish); Fols. 24r–32r, Kyriale in Swedish; Fols. 32r–40v, sequentiarium in Latin; Fols. 41r–42v, 43br–v, 43r–v, 44r–56v, hymnarium in Latin; Fol. [b]. "| co | side [verso] |orum | signifi |"; Fols. [c–k], fragments without legible text.

En torno al cardenal Don Gil Álvarez de Albornoz y el platero sienés Andrea Petrucci: el relicario de la mano de Santa Lucía y el cáliz de San Segundo

Este artículo trata de la complicada y hasta ahora inédita historia de la llegada a España de dos obras cumbres de la orfebrería sienesa del s. XIV en plata con esmaltes translúcidos: el relicario de la mano de Santa Lucía en la catedral de Toledo y el cáliz de San Segundo en la catedral de Ávila. La importación de estos dos importantísimos objetos devocionales y litúrgicos, ambos firmados por el platero sienés Andrea Petrucci, está relacionada con la estancia en Italia del cardenal don Gil de Albornoz, arzobispo de Toledo y posteriormente cardenal de San Clemente y Santa Sabina y legado papal. El mecenazgo del cardenal castellano y de su círculo en Italia explica la comisión y adquisición de estas piezas, cuyos accidentados itinerarios desembocarían finalmente en Toledo y en Ávila.

Hvordan øve hellige handlinger? : en profesjonsdidaktisk studie av øving av muntlige ferdigheter innenfor en norsk presteutdanning

How can the holy craft of liturgy be trained? A study of approaches to instruction in training oral skills within education of the Norwegian clergy The theme of this study is the competence of expression of clerics performing liturgies as part of their duties in the Norwegian Lutheran Church. The aim of the study is to find a teaching practice which can raise the competence in oral expression characteristic of the clergy profession. The teaching practice is explored and discussed within the context of the basic education of the clergy. The main thesis is formulated as a question: How can the holy craft of liturgy be trained? An underpinning of the study is that liturgical acts are holy, which gives these performances an aspect of otherness. This otherness constitutes a clear agreement between the students and the teacher, and between the professional and the employer. The pre-understanding of the researcher is that these liturgical oral acts are trainable, and that there is a need and a necessity to train in these skills. Three research questions are elaborated on in the explorative section of the study: • What is characteristic of a competence of expression connected to the profession? • How can this competence of expression connected to liturgical performance be developed? • What is the importance of this competence in the holy craft of liturgy for the development of a cohesive professional self-understanding? The study is based on a research and development project where the researcher as the teacher and students from one specific clergy education in Norway (MF) were the source of the empirical material. The empirical data came from practice with two external observers› logs on the coaching, video observations, of the teacher and the students› texts on the practice under study, which is liturgical performance. The researcher›s log and field notes also provide material for the analysis. This is a qualitative project and an arts education project carried out within an interpretative framework. The theoretical framework has three perspectives: a structural approach based on the system theory of Niklas Luhmann, an epistemological approach discussing forms of knowledge in practice or informing practice and an arts education approach. The results indicate that the competence in oral liturgical performance can be considered a trainable skill, and that this training can be understood as an arts education method of instruction based on meaningful communication, dramaturgical thinking and the development of authenticity. The main result from this study can be considered as articulating and sketching the contours of the field of knowledge where the students embody the meaning of the clergy profession ‒ and this articulation has an innovative potential as knowledge combining experience and theoretical understanding.

St. Petersburg Court Chant and the Tradition of Eastern Slavic Church Singing

The present study examines the repertory of liturgical chant known as St. Petersburg Court Chant which emerged within the Imperial Court of St. Petersburg, Russia, and appeared in print in a number of revisions during the course of the 19th century, eventually to spread throughout the Russian Empire and even abroad. The study seeks answers to questions on the essence and composition of Court Chant, its history and liturgical background, and most importantly, its musical relationship to other repertories of Eastern Slavic chant. The research questions emerge from previous literary accounts of Court Chant (summarized in the Introduction), which have tended to be inaccurate and generally not based on critical research. The study is divided into eight main chapters. Chapter 1 provides a survey of the history of Eastern Slavic chant and the Imperial Court Chapel of St. Petersburg until 1917, with special emphasis on the history of singing traditional chant in polyphony, the status of the Court Chapel as a government authority, and its endeavours in publishing church music. Chapter 2 deals with the liturgical background of Eastern chant, the chant genres, and main repertories of Eastern Slavic chant. Chapter 3 concentrates on chant sources: it introduces the musical notations utilised, after which a typology of chant books is presented. The discussion continues with a survey of the sources of Court Chant and their content, the specimens selected for closer analysis, the comparative materials from other repertories, and ends with a commentary on some chant sources that have been excluded. The comparative sources include a specimen from around the beginning of the 12th century, a few manuscripts from the 17th century, and printed and manuscript chant books from the early 18th to early 20th century, covering the geographical area that delimits to the western Ukraine, Astrakhan, Nizhny Novgorod, and the Solovetsky Monastery. Chapter 4 presents the approach and methods used in the subsequent analytical comparisons. After a survey of the pitch organization of Eastern Slavic chant, the customary harmonization strategy of traditional chant polyphony is examined, according to which a method for meaningful analysis of the harmony is proposed. The method is based on the observation that the harmonic framework of chant polyphony derives from the standard pitch collection of monodic chant known as the Church Gamut, specific pitches of which form eight harmonic regions that behave like the usual tonalities of major and harmonic minor. Because of the considerable quantity of comparative chant forms, computer-assisted statistical methods are applied to the analysis of chant melodies. The primary chant forms and their respective comparative forms have been pre-processed into reduced chant prototypes and divided into redactions. The analyses are carried out by measuring the formal dissimilarities of the primary chant forms of the Court Chant repertory against each comparative form, and also by measuring the reciprocal dissimilarities of all chant versions in a redaction, the results of which are subjected to agglomerative hierarchical clustering in order to find out how the chant forms relate to each other. The dissimilarities are determined by applying a metric dissimilarity function that is based on the Levenshtein Distance. Chapter 5 provides the melodic and harmonic analyses of generic chants (chants used for multiple texts of different lengths), i.e., chants for stichera samoglasny and troparia, Chapter 6 of pseudo-generic chants (chants that are used for multiple texts but with certain restrictions), i.e., chants for heirmoi, prokeimena, and three other hymns, and Chapter 7 of non-generic chants, covering nine chants that in the Court repertory are not shared by multiple texts. The results are summarized and evaluated in Chapter 8. Accordingly, it can be established that, contrary to previous conceptions, melodically, Court Chant is in effect a full part of the wider Eastern Slavic chant tradition. Even if it is somewhat detached from the chant versions of the Synodal square-note chant books and the local tradition of Moscow, it is particularly close to chant forms of East Ukraine and some vernacular repertories from Russia. Respectively, the harmonization strategies of Court Chant do not show significant individuality in comparison with those of the available polyphonic comparative sources, the main difference being the part-writing, which generally conforms to western common practice standard, whereas the deviations from this tend to be more significant in other analysed repertories of polyphonic chant. Thus, insofar as the subsequent prevalence of Court Chant is not based on its forceful dissemination by authorities (as suggested in previous literature but for which little tangible evidence could be found in Chapter 1), in the present author’s interpretation, Court Chant attained its dominance principally because musically it was considered sufficiently traditional, and as a chant body supported by the government, was conveniently available in print in serviceable harmonizations.

Graduale (MS C.ö.III.17)

A Lutheran gradual from Kalanti. As covers used a fragment of the Liturgical calendar of the Diocese of Turku, Saec. XIV 2/2, Diocese of Turku.

Missale (C.ö.IV.9, Oripään missale II)

A (mainly votive) missal consisting of seven distinct parts. Put together in several stages, somewhat haphazardly. Parts II and III are probably the oldest parts. The final stage in the composition of the book is probably the addition of part VII. Part II belongs in the same liturgical tradition as C.ö.IV.7 (Oripään Missale I), probably that of Diocese of Linköping. Part III, a votive missal, is an informal copy of a book that would most probably have been used close to a Swedish cathedral (Linköping?). How the present book found its way to Oripää chapel is not known.

Kyriale, Sequentiarium (MS C.ö.I.23)

A graduale and a sequentiarium were copied in the reformation period for use in the Diocese of Turku, possibly in Raisio. The graduale in Finnish appears to depend on Jacobus Finno's hymnbook of 1586, whereas the sequentiarium is probably somewhat older, possibly even coeval with Mathias Westh's liturgical codex (1540's). The present fragments probably come from at least two (possibly three) originally distinct books or booklets.

Graduale (MS A.ö.II.41, "Graduale Uskelense")

Complete critical and codicological description of the book and its contents available in the Codices Fennici -database.

Bâtir des territoires cultuels pour construire des identités

Le théologien protestant Olivier Bauer réfléchit sur la manière dont les actions liturgiques bâtissent des espaces cultuels et sur les identités qu’elles construisent ainsi. Ses réflexions sont nourries par son expérience des cultes sur 3 continents, en Europe, en Océanie et en Amérique du Nord. Dans une première partie, il détaille ce que font les officiants et les célébrants – célébrer, regarder, bouger, écouter, s’exprimer, toucher, manger, sentir… – pour faire apparaître les représentations de l’espace cultuel qu’elles créent. Dans une seconde partie, il met en évidence les conséquences de l’aménagement d’un territoire cultuel sur l’identité religieuse de celles et ceux qui le fréquentent : sur leurs relations à Dieu, à l’Église et au culte lui-même.

Sofia Gubaidulina's violin concerto Offertorium : theology and music in dialogue

L’objectif de ce mémoire est de comprendre comment une certaine vision du monde, basée sur des croyances théologiques, a contribué à la composition du concerto pour violon Offertorium de Sofia Gubaïdulina. C’est par le biais de cette œuvre qu’est explorée l’idée du dialogue musicothéologique, en proposant des façons par lesquelles la pièce musicale en question peut servir de porteuse ou d’interprète d’une pensée théologique. Afin d’appuyer cette idée, la démarche intertextuelle employée par Heidi Epstein est utilisée. Cette méthode permet de faciliter non seulement le travail interdisciplinaire, mais aussi la lecture théologique de l’œuvre musicale. Le premier chapitre explore les sources, les questions et la problématique qui entoure le dialogue musicothéologique. La conclusion tirée est que l’étude d’Offertorium nécessite une approche équilibrée. Nous entendons par cela, une approche qui prend en ligne de compte la réflexion théologique autant que la recherche musicologique tout en respectant les contributions théologiques que l’œuvre musicale peut apporter en soi. Dans le deuxième chapitre, une analyse thématique d’Offertorium a été tentée ainsi qu’une étude du discours théologique et spirituel de la compositrice. Il a été conclu que l’arrière-plan russe orthodoxe de Gubaidulina a beaucoup influencé sa vision du monde et son approche artistique. Le concerto est porteur d’idées et de symboles liturgiques ou théologiques de l’Orthodoxie dans sa structure et dans sa construction thématique. Le troisième chapitre explore les parallèles entre la pensée de Gubaidulina et les écritures de plusieurs théologiens russes orthodoxes du 20e siècle. La conclusion de ce chapitre démontre que, même s’il est improbable que la compositrice connaisse bien ces auteurs, sa compréhension théologique et spirituelle sort du climat religieux de l’Église Orthodoxe. Cette idée explique les complémentarités et les similarités entre son discours, son œuvre et les propos des théologiens discutés. Le quatrième chapitre évalue la validité d’Offertorium comme moyen d’expression théologique ainsi que de générateur de réflexion théologique. La conclusion de la recherche est qu’Offertorium peut bel et bien être un espace théologique. Ce qui veut dire que des idées théologiques peuvent être communiquées par le biais de l’expérience sonore que ce soit par la mélodie ou l’ambiance générale. Également, cela implique que la musique devient un partenaire égal, quoique différent des méthodes de réflexion traditionnelles au sein de la conversation théologique.