(Statement of Responsibility) in Musik gesetzt für eine Singstimme mit Begleitung des Pianoforte von Franz Schubert and (Ownership) Provenience: Dundáček CZ-CbJVK
(Statement of Responsibility) in Musik gesetzt und seinem Freunde HERRN PAUL SOINI gewidmet von Anton Diabelli, (Ownership) Provenience: Dundáček CZ-CbJVK, and (Version Identification) N. 16. CZ-CbJVK
Studie Elišky Baťové se zabývá dosud nepříliš hodnocenou koncepcí liturgického roku v duchovních písních od biskupa Jednoty bratrské a teologa Jana Augusty., The goal of the present study is to bring together the questions of hymnological research with the history of the liturgy and homiletics. In the integrated liturgical conception of Jan Augusta as it is known to us thanks to two Viennese manuscripts and a newly processed, unique printed document from the Unity of the Brethren church, these areas cannot be separated, since they mutually support each other to create a whole. The author has therefore dedicated herself to the broader context of the creating of a new arrangement of Biblical readings and songs in the Unity of the Brethren church, regarding which there were disputes from its inception in 1545 until the deaths of Jan Blahoslav and of Jan Augusta in 1572., Eliška Baťová., Rubrika: Studie, and Anglické resumé na s. 43, anglický abstrakt 33.
Studie se zabývá prameny, obsahujícími poznatky k provozovací praxi lidového zpěvu jako součásti mešního obřadu v 17. a 18. století., Kateřina Smyčková., Rubrika: Studie, and Anglické resumé na s. 147, anglický abstrakt na s. 133
1 vokální part (Canto) + 1 instrumentální part (varhany), píseň ke Svatému Kříži, (Ownership) Provenience: neznámá CZ-CbJVK, and (Version Identification) bez značek CZ-CbJVK
Studie Veroniky M. Mráčkové se zabývá problematikou přejímání středověkých hymnických melodií, ilustrovanou na konkrétním zvoleném příkladu., The hymn, one of the most frequently encountered songs in Western European sources, poses many questions with regard to the conflict between common and local traits. The Office hymns on which I focus were transmitted mainly in fourteenth- and fifteenth-century sources, which contain huge collections of hymns for different liturgical occasions, including those in honour of local saints. We still do not have a reasonable explanation of how or why the same tunes were adapted for different texts (or vice versa). The ‘Franciscan’ hymn melody Stäblein 752 (originally devoted to St Francis), for example, which occurs with different hymn texts in Austria, Germany, Bohemia, Poland and Spain, has many melodic variants reflecting regional characteristics. Why was this particular melody transferred to and adopted in other parts of Europe, where there was certainly no shortage of alternative hymn melodies? Is it a question of the adoption of favourite melodies in the Middle Ages? Were the same tunes used for hymns in honour of both male and female saints? What are the implications for us when the same ‘local’ tune can be identified in polyphonic hymn settings?, Veronika M. Mráčková., Rubrika: Studie, and České resumé na s. 32, anglický abstrakt na s. 19.