Subtilitas: słyszalne i niesłyszalne aspekty motetu ars antiqua ; tekst - kontekst - intertekst
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Polish |
| Veröffentlicht: |
Poznań
Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk
2012
|
| Schriftenreihe: | Prace Komisji Muzykologicznej / Poznańskie Towarzystwo Przyjaciół Nauk
31 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache Bibliogr. s. 295-304 |
| Beschreibung: | 306, [1] s. Notenbeisp. 24 cm |
| ISBN: | 9788376542683 |
Internformat
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| 490 | 1 | |a Prace Komisji Muzykologicznej / Poznańskie Towarzystwo Przyjaciół Nauk |v 31 | |
| 500 | |a Zsfassung in engl. Sprache | ||
| 500 | |a Bibliogr. s. 295-304 | ||
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Datensatz im Suchindex
| _version_ | 1804151976789803008 |
|---|---|
| adam_text | Spis treści
Przedmowa
..................................................................................................................................... 9
Wprowadzenie
............................................................................................................................... 15
Rozdział
1
TEKST:
eufonia
trzynastowiecznych motetów
.......................................................................... 33
1.1.
Wstęp
................................................................................................................................ 37
1.2.
Brzmieniowa organizacja tekstów
.................................................................................. 44
1.2.1.
Podstawowe zagadnienia eufoniczne
.................................................................. 44
Metryka i rym
....................................................................................................... 44
Znaczenie samogłosek
......................................................................................... 46
Spółgłoski i układy głoskowe
............................................................................. 48
Elementy retoryki
................................................................................................ 50
Homofonia tekstu
................................................................................................ 56
1.2.2.
Teksty łacińskie
.................................................................................................... 57
1.2.3.
Teksty francuskie
................................................................................................. 59
1.3.
Współzależność tekstów
................................................................................................. 62
1.3.1.
Typologia stylów motetowych
............................................................................. 63
Styl homorytmiczny
............................................................................................ 64
Styl komplementarny
.......................................................................................... 75
Styl mieszany
........................................................................................................ 79
Styl wielowarstwowy
............................................................................................ 86
1.3.2.
Motety dwujęzyczne
............................................................................................ 90
1.3.3.
Homofonia tekstów a problematyka wykonawcza tenoru
............................... 100
Wspólne fragmenty tekstu
...................................................................................102
Samogłoskowe tło
................................................................................................104
Dominujące rymy
................................................................................................106
Tekstowanie kolejnych przeprowadzeń tenoru
.................................................110
Aspekt symboliczny
.............................................................................................115
Rozdział
2
KONTEKST: tenor jako element definiujący kulturowe konteksty twórczości motetowej
..... 119
2.1.
Wybór i rola tenoru
........................................................................................................123
2.2.
Aluzyjne związki tenoru z jego historyczno-kulturowym kontekstem
.....................128
Spis treści
2.2.1.
Dziedzictwo psalmów
..........................................................................................131
Tenory HEC
DIES,
DOMINO oraz IN SECULUM (M
13).............................131
Tenory APERJS TU (M69) oraz OMNES (Ml)
................................................
J
37
2.2.2.
Starotestamentowa glosa
-
tenor
CUMQUE
.....................................................144
Tenor
CUMQUE
[EVIGILASSET
JACOB QUASI DE GRAVI
SOMPNO AIT]
(ОЗІ)
......................................................................................... 144
2.3.
Poszukiwanie wspólnych
topoi
.....................................................................................149
2.3.1.
Zesłanie Pocieszyciela
.......................................................................................... 150
Tenory ET GAUDEBIT, DOCEBIT oraz AMORIS
........................................150
2.3.2-
Cierpiący prorok i kobiety
..................................................................................165
Tenory MULIERUM i IOHANNE
...................................................................165
2.3.3.
Królewska córka i
Court de paradis
.....................................................................177
Tenory PROPTER
VERITATEM,
ET VIDE ET INCLINA
oraz
QUIA CONCUPIVIT
REX
........................................................................
І77
2.3.4.
Uczniowie Chrystusa
...........................................................................................199
Tenor
МАШКЕ
..................................................................................................199
Rozdział
3
INTERTEKST:
polifonia tekstów
...............................................................................................211
3.1.
Symultaniczna koegzystencja tekstów
..........................................................................213
3.1.1.
Strategie relacji słowno-muzycznych
.................................................................216
Styl homorytmiczny
............................................................................................216
Styl komplementarny
..........................................................................................219
Styi mieszany
........................................................................................................227
Styl wielowarstwowy
..„,...............„„,„„„.„.....,„......„...„,....................................234
3.1.2.
Różne oblicza jednego motetu
............................................................................242
Grupa motetów opartych na tenorze IN SECULUM
.......................................243
Grupa motetów opartych na tenorze ET SPERABIT
......................................249
3.2.
Sukcesywność tekstów
-
cykle motetów
....................................................................... 255
3.3.
Intertekstualne i brzmieniowe związki w contrafactum
...............................................260
33.1.
Aluzja i kontekstualizacja w contrafactum
..........................................................261
Dwa motety oparte na tenorze
MANERE
.........................................................261
Grupa motetów opartych na tenorze IOHANNE
.............................................268
3>3.2. Parodia w contrafactum
.........................................................................................275
Marie i
Marotele
...................................................................................................275
Powtórne przybycie
.............................................................................................282
Zakończenie
...................................................................................................................................287
Wykaz skrótów
...............................................................................................................................293
Wykaz skrótów biblijnych
............................................................................................................294
Wykaz źródeł
...............................................................................................................................:. 294
Bibliografia
....................................................................................................................................295
Summary
........................................................................................................·...............................305
Summary
The aim of this book was to present and analyze usually neglected aspects
of the texts in the motet of the
ars antiqua
period.
А ІЗиі-сепїшу
motet is
most usually an anonymous composition, consisting of two or more parts sung
simultaneously over a tenor voice. The tenor part is a fragment of previously
existing liturgical chant from a Mass or an Office and is taken as a departure
point, both musically and textually, for the entire composition. Many tenors
seem to have been chosen not only for their musical characteristics, such as
containing a particular melodic formula, but also for their textual qualities
in the broadest sense. The upper voices of the motet, each carrying its own
new and often secular text (in Latin, Old French or in two of those languages
simultaneously), very often allude to the tenor text in a much richer and more
complex way than previously realised by scholars. Thus the focus of this book
is the variety of associations and
intertextual
relationships between the texts
within one motet or between various pieces. This variety is the verbal subtilitas
of the book s title.
The examination of these questions proceeds in three large chapters. In
chapter I (TEXT: the euphonia of the
13th-century
motet) the basic qualities
of the motets texts are examined in the light of the phenomenon of euphonia.
This chapter demonstrates the thoughtful and artful overall design of many
texts with regard to their metric structure, to the meaningful placement of par¬
ticular vowels and consonants and to their rhetorical impact. Different tech¬
niques used in this genre, influencing the behaviour of the elements mentioned
above, are discussed: homorhythmic techniques, rhythmically complementary
techniques, multi-layered composition and mixtures of these techniques. The
interactions of the texts in multi-textual and bilingual motets have been exam¬
ined, showing how carefully many texts were set to music, and demonstrating
how much meaning can be conveyed and understood, despite several simulta¬
neously sounding texts.
In chapter II (CONTEXT: the tenor as the element defining the cultural
aspects of
13th-century
motet) the main focus is on the text, the provenance
305
Summary
of the tenor voice and the messages that might be hiding beneath the surface.
Usually taken only as a musical foundation of the many-voiced composition,
the tenor in fact proves to be much more important, even indispensable, for the
choice of text and the content of the upper voices, despite the fact that many
scholars still assume that their texts rarely have anything to do with the verbal
content of the tenor. The message carried in the rarely more than one or two
words of the tenor, taken from liturgical chant, often puts the Latin or French
texts of the voices above into a new light. In fact, one must go even further and
relate the texts of the upper voices to the full context from which the tenor was
drawn. That means that in many cases one must take into account not only the
liturgical context, but also ultimately the Biblical source (a line, a chapter or
even an entire book) of the tenor text. This procedure allows one to understand
figuratively many seemingly standardized secular texts (like the genre of the
pastourelle
which often proves to contain strong hidden Biblical allusions not
to be at all the light and formulaic spring-time song it is usually considered)
and to offer innovative allegorical interpretations of many text constellations.
This often leads to better understanding of the co-existence, dialog and mu¬
tual influence of at least two contexts external to the motet itself: the liturgical
and scriptural context, and the context related to the tradition of vernacular
lyric poetry. In this chapter also some motet families were presented, that is
groups of motets based on the same tenor but having texts on various topics
without explicitly known connections. The comparison and the analysis of the
semantic and symbolic fields around the tenor reveal some common literary
topics not immediately apparent as well as often surprising motifs linking the
texts of the upper voices of motets within a family.
The last chapter (chapter III:
INTERTEXT:
textual polyphony) fo¬
cuses on the co-existence of multiple texts in the
13th-century
motet and on
the diversity of possible textual interrelations between them. The word-sound
relationships are examined in agreement with various stylistic features, show¬
ing the often previously underestimated or neglected highly rhetorical think¬
ing of the composers of the 13th-century. Also the singular phenomenon of
a real intertext
-
an extra textual unit with its own sense and message resulting
from the convergence of the two or three different texts sounding simultane¬
ously
-
is introduced and analyzed. This chapter also examines some succes¬
sive texts interrelationships in a particular group of motets from the region of
Artois
-
an example of a unique cycle of motets based on fragments of the same
liturgical chant. An important part of this chapter focuses on the question of
306
Summary
the allegorical interplay between certain contrafacta as well as on the allusive
character of their texts and on their humoristic features. Finally, some impor¬
tant remarks are made about the conditions of prepared listening and about
so-called litterati
-
an ideal group of listeners for this rather complex genre.
Bayerische
ţ
|
| any_adam_object | 1 |
| author | Budzińska-Bennett, Agnieszka 1973- |
| author_GND | (DE-588)1029438765 |
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| id | DE-604.BV041706630 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T01:03:23Z |
| institution | BVB |
| isbn | 9788376542683 |
| language | Polish |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-027153924 |
| oclc_num | 868048880 |
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| owner | DE-12 DE-739 |
| owner_facet | DE-12 DE-739 |
| physical | 306, [1] s. Notenbeisp. 24 cm |
| publishDate | 2012 |
| publishDateSearch | 2012 |
| publishDateSort | 2012 |
| publisher | Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk |
| record_format | marc |
| series2 | Prace Komisji Muzykologicznej / Poznańskie Towarzystwo Przyjaciół Nauk |
| spelling | Budzińska-Bennett, Agnieszka 1973- Verfasser (DE-588)1029438765 aut Subtilitas słyszalne i niesłyszalne aspekty motetu ars antiqua ; tekst - kontekst - intertekst Agnieszka Budzińska-Bennett Poznań Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk 2012 306, [1] s. Notenbeisp. 24 cm txt rdacontent n rdamedia nc rdacarrier Prace Komisji Muzykologicznej / Poznańskie Towarzystwo Przyjaciół Nauk 31 Zsfassung in engl. Sprache Bibliogr. s. 295-304 Motette (DE-588)4040357-9 gnd rswk-swf Motette (DE-588)4040357-9 s DE-604 Poznańskie Towarzystwo Przyjaciół Nauk Prace Komisji Muzykologicznej 31 (DE-604)BV005893205 31 Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027153924&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027153924&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Budzińska-Bennett, Agnieszka 1973- Subtilitas słyszalne i niesłyszalne aspekty motetu ars antiqua ; tekst - kontekst - intertekst Motette (DE-588)4040357-9 gnd |
| subject_GND | (DE-588)4040357-9 |
| title | Subtilitas słyszalne i niesłyszalne aspekty motetu ars antiqua ; tekst - kontekst - intertekst |
| title_auth | Subtilitas słyszalne i niesłyszalne aspekty motetu ars antiqua ; tekst - kontekst - intertekst |
| title_exact_search | Subtilitas słyszalne i niesłyszalne aspekty motetu ars antiqua ; tekst - kontekst - intertekst |
| title_full | Subtilitas słyszalne i niesłyszalne aspekty motetu ars antiqua ; tekst - kontekst - intertekst Agnieszka Budzińska-Bennett |
| title_fullStr | Subtilitas słyszalne i niesłyszalne aspekty motetu ars antiqua ; tekst - kontekst - intertekst Agnieszka Budzińska-Bennett |
| title_full_unstemmed | Subtilitas słyszalne i niesłyszalne aspekty motetu ars antiqua ; tekst - kontekst - intertekst Agnieszka Budzińska-Bennett |
| title_short | Subtilitas |
| title_sort | subtilitas slyszalne i nieslyszalne aspekty motetu ars antiqua tekst kontekst intertekst |
| title_sub | słyszalne i niesłyszalne aspekty motetu ars antiqua ; tekst - kontekst - intertekst |
| topic | Motette (DE-588)4040357-9 gnd |
| topic_facet | Motette |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027153924&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027153924&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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