Exhibition of the music manuscripts from the the National library of the Czech Republic

Introduction to the collection: Renáta Modráková (National library of the Czech Republic), Jana Vozková (Institute of Art History, CAS), Hana Vlhová-Wörner (Masaryk Institute and Archivas, CAS)

Starts at 10:00

Capacity: 20 persons

National library of the Czech Republic, Klementinum 190

The National Library of the Czech Republic houses historical collections in the Department of Manuscripts and Early Printed Books, as well as in the Musical Department. These historical collections represent cultural development in Czech lands. A higher number of rare musical manuscripts and early printed books demonstrate key milestones in the development of music and chant in a broader European context.

During the meeting, some of the most important music manuscripts will be presented. The prepared presentation will focus on two manuscript groups:

1) music manuscripts from medieval monasteries in Bohemia, specifically from the Benedictine St George convent at the Prague Castle, the Antiphonary from Sedlec (OCist) and the Antiphonary from a Franciscan monastery.

2) monumental 16th-century graduals

The meeting will take place directly in historical rooms of Klementinum (today the National Library of the Czech Republic).

Tour through Emmaus (Emauzy) monastery in Prague, explanation of the wall painting

Guide: Jan Dienstbier (Institute of Art History, Czech Academy of Sciences)

Benedictine Abbey of BMV and St Jerome in Emausy, Vyšehradská 320/49

Starts at 10:00

Capacity: 35 persons

Entrance: 60 Kč / person

The Emmaus Monastery in Prague was founded in 1347 by Charles IV, King of Bohemia and later Holy Roman Emperor. Very important wall-paintings were created in the cloister of the monastery during his reign as well.

It is an extensive typological cycle of New Testament scenes and their Old Testament prefigurations. The cycle was created around 1370 by painters, who also participated in the decoration of the royal castle Karlstein. Among other things, the paintings are also interesting from a musicological point of view due to several realistic depictions of angels playing different musical instruments.

Lecture with a concert. Medieval organ tabulature on a manuscript fragment from the National museum library

Introduction: Martin Horyna (Institute of Art History, Czech Academy of Sciences)

Members of the ensemble Dyškanti (České Budějovice), conductor and organ player Martin Horyna

Dominikánská 8, Prague - Old Town

Starts at 17:00

The fragment 1 D a 3/52 of the National Museum Library in Prague includes an inscription of 14th-century organ music. The inscription documents the state of the organ playing on the transition between the improvised (not-written) practice based on a pattern book of pre-formulated progressions known from the group of texts with “ars arganisandi” and a written tradition. The lecture of the fragment editor, Martin Horyna, focus on the relation between the fragment to the liturgy, to treatises of the “ars organisandi” type and to the contemporary notation.

Following the lecture will be a concert of organ compositions from the fragment in question. A digitally reconstructed sound of medieval organ will be used in the interpretation, to introduce the interpretation to the context of liturgical and mensural music of Czech and Central-European late medieval fragments.

Conference Program 15 - 19 July 2020

POSTERS

Abstracts for download

Inga Behrendt, News from https://gregorien.info/en

Miklós István Földváry, USUARIUM: A Handbook and Database for the Study of European Liturgical Uses

Jean-François Goudesenne, The Project Coenobia Turonensia (Coenotur) – Fragmentarium: Reconstructing the Tours sacramentary and Marmoutier Breviaries (10^th-12^th centuries)

Jan Koláček and Jennifer Bain, The Cantus Analysis Tool and Melody Search

Debra Lacoste and Jennifer Bain, The DACT Project, Digital Analysis of Chant Transmission

Wednesday 15 July 2020

14:30-16:00

Abstracts for download

1a. Semiology: Chant Interpretation based on the Oldest Manuscripts

Inga Behrendt, Cheironomie – Wie wird Choral dirigiert?

Christoph Hönerlage, Wozu Centonisation? - Ein neuer Erklärungsansatz zum Komponieren mit „formulae“ in den Gradualien des V. Modus

Stephan Klarer, The sound of neumes – Performance practice in the 19^th and 20^th centuries

1b. Traditions, Travel, and Transmission

Shin Nishimagi, Traditions des manuscrits du Dialogus de musica (c. 1000)

Barbara Haggh-Huglo, Chant travelling, or not? The treatise by John revisited through its chant repertory

James Borders, Paradigm found? The transmission of non-CAO antiphons in medieval pontificals

16:15-18:15

2a. Later Medieval and Early Modern Notation

Thomas Forrest Kelly, Vertical lines in later chant notations

David Merlin, Eingesetzte Akzidentien. Normativität, Benutzerfreundlichkeit und Verkäuflichkeit im Fall der gedruckten Liturgica

Irina Chachulska, On the transformation of musical notation in Silesian Cistercian manuscripts dating from the 12th to the 16th centuries

Veronika Garajová, Bohemian elements in medieval notated manuscripts from Slovakia

2b. Hildegard among the Sisters

Jennifer Bain, Traces of liturgy: Analyzing manuscript fragments from the binding of the Riesencodex (D-WI1 2)

Lucia Denk, A culture of Mariological allusion: Implicit Mariology and intertextuality in the compositions of Hildegard of Bingen

Sister Ilaria Culshaw, The “Paired” Antiphons and Responsories of Francis and Clare of Assisi in Plimpton MS 034

Gillian Hurst, The Shape of the Birgittine Liturgy at Syon Abbey: Laying the groundwork for processional practice

18:30-20:00

3a. Memory, Thought, and Codes

Geert Maessen, Shaping a memory for lost chants of the Mozarabic Rite

Elizabeth J. Markham, Does graphic alteration to a glossed neumatic script point to conscious “modal modulation” in early Japanese Buddhist singing?

Leo Lousberg, Melodic codes supporting political statements: An introduction to musemes employed in the Utrecht Antiphonary U 406

3b. Chant and Reform

Mgr. Jan Ciglbauer, The Melk reform and Latin song: New light on the Tegernsee Cantional?

Michael L. Norton, Through the Reformation and beyond: Liturgical observance and musical practice in late sixteenth-century Klosterneuburg

Alberto Medina de Seiça, Melodic responses to textual variants introduced by the Roman Missal of 1570: a case-study based on the Post-Tridentine plainchant choir books of Coimbra’s cathedral (1603-1609)

Thursday 16 July 2020

9:00-10:30

Abstracts for download

4a. Digitale Fragmentologie

Gábriel Szoliva, OFM, The thirteen-century Breviarium notatum Strigoniense. Discovery of the second volume in the Metropolitanska knjižnica in Zagreb/Croatia

Gabriella Gilányi, Mosaics of a plainchant tradition in Transylvania. Interpreting the fragments of a 14th-century antiphoner in Güssing/Austria

Zsuzsa Czagány, Codices Varadinenses saec. XV. Das bewegte Schicksal der Prunkhandschriften der Waradiner Kathedrale

4b. Medieval Views of Chant

Carmen Julia Gutiérrez and Raquel Rojo Carrillo, Across medieval rites: Iberian saints from the Hispanic to the Roman liturgy, a case study

Miklós István Földváry, Weekday hymns: Their typology and history

Miriam Wendling, Liturgical programs in fourteenth-century wills

10:45-12:45

5a. Old Hispanic Liturgy and Chant

Emma Hornby, Paradigms of confessorship in the Old Hispanic liturgy: San Millan and the common of saints I

Rebecca Maloy, Paradigms of confessorship in the Old Hispanic liturgy: San Millan and the common of saints II

Santiago Ruiz Torres, Key aspects in the plainchant composition in Late Medieval Spain: the rhymed office of St. Froilanus, bishop of León

Marcus Jones, Identifying scribal hands in the unpitched notation of Old Hispanic chant.

5b. Chant Performance in Medieval and Modern Times

Greta-Mary Hair, Revisiting Carlton Thrasher Russell's observations on differentia / antiphon connections

Stefan Engels, Das Antiphonar von St. Peter in Salzburg (Cod. ÖNB Ser. Nov. 2700)

Joseph Dyer, The performance of cantus planus ca. 1300

Ágnes Watzatka, Louis Lambillotte’s “Chants communs des Messes” – mirror of the plainchant practice in mid-nineteenth century

14:00-16:00

6a. Ex Oriente Lux: Current Research in Eastern Liturgical Chant

Alexander Lingas, ‘The New Musical Question’: Contesting sources of authority in contemporary Byzantine chanting

Spyridon Antonopoulos, Kalophonia and modulation according to the treatise of Manuel Chrysaphes

Flora Kritikou, The Sinai fragment NF M110: Towards a classification of the Asmatikon group signs

Vasileios Salteris, Aspects of Cretan liturgical music in the work of Demetrios Tamias

6b. Chant and Religious Orders

Robert Mehlhart, OP, Alleluia Pie Pater Dominice – a new chant for a new saint

Dominika Grabiec, Chants for the feast of St. Hyacinth OP in Polish Dominican graduals

Katarina Šter, Text Relationships between the Responsories and their Verses in the Carthusian Tradition

Karin Strinnholm Lagergren, The Magnificat antiphon Maria, Maria in the Birgittine office Cantus sororum – 700 years of wrestling with music, text, and taste

16:15-17:45

7a. Materiality of Sound in Chant Manuscripts I

Giulio Minniti, Beneventan as ‘reinforced iconic’ notation? New perspectives on its origins via semiotic analysis

Elsa De Luca, Old Hispanic notation: Peculiarities of an Iberian-Frankish music script

Giovanni Varelli, Digital reconstruction of early chant manuscript palimpsests

7b. Musical Transfer Processes between East and West

Charles Atkinson and Gerda Wolfram, On modulation in early medieval chant: The φθοραί in Byzantium and the vitia in the West

Christian Troelsgård, Byzantine chant in the early Postbyzantine epoch – seen through Leo Allatius’ De libris ecclesiasticis Graecorum (Paris 1646) and his ‘Nachlass’ in the Biblioteca Vallicelliana

Nina-Maria Wanek, The Lord reigns in East and West: A new look at O Kyrios evasileusen / Dominus regnavit (Ps. 92) in Byzantine and Western sources

20:00-21:30

8a. Materiality of Sound in Chant Manuscripts II

Dominique Gatté, The domain of the Paleofrankish notation

Jean-François Goudesenne, Comparing Eastern and Western Paleofrankish notations: The auestion of melodic tradition in Paleography of neumes

Christelle Cazaux, Approaching the musical notation of the Codex Buranus

8b. The Dominicans and their Books

Alessandra Ignesti, New insights into the Dominican liturgy in northern Italy: MS 73 from McGill’s Rare Books and Special Collections (CDN-Mlr 73)

Innocent Smith, OP, Rome, Santa Sabina, XIV L3 and the development of the Dominican Missal

Laine Tabora, Fifteenth-century devotional books („ breviaries “) and their musical notation from the Cistercian Women’s Monastery of Riga (Latvia)

Friday 17 July 2020

Study Trip Day—tour of monasteries and other historical sites in the South-Moravian region

Saturday 18 July 2020

9:00-10:30

Abstracts for download

9a. Chant in Epic and Dramatic Contexts

Benjamin Brand, Singing biblical epic in medieval Winchester: A case of literary borrowing uncovered

Harald Buchinger, Dramatization and materialization of chants: Actualizing the Bible in mimetic and hyper-mimetic rituals

Melanie Batoff, The Role of reactualization in Visitatio sepulchri reenactments from Prague

9b. Processions

William Mahrt, Processional chants versus choir chants: Style and function

Tova Leigh-Choate, Animating legend and liturgy: Abbot Suger and the processions at Saint-Denis, ca. 1000-1240

Anna Zakova, Les empreintes du répertoire marial dans des processions à Saint-Georges de Prague

10:45-12:45

10a. Computational Approaches to Chant

Debra Lacoste, Jennifer Bain, Inga Behrendt, Elsa De Luca, Ichiro Fuginaga, Kate Helsen, Alessandra Ignesti, Sarah Long, and Gabriel Vigliensoni, Refining computational approaches to digitized chant manuscripts

Rebecca Shaw, The Differentiae Database: Interrogating assumptions and quantifying definitions with standardized data

Kate Helsen and Mark Daley, What’s in a Riff? Statistically significant musical gestures in large Office chant datasets

Xaver Kainzbauer, The second-mode Responsoria prolixa

10b. Beyond Western Europe: Adaptions and Transformations

Balázs Déri, Is Coptic music Pharaoh’s music?

Haig Utidjian, On the Armenian versions of the Phōs hilaron

Robert Galbraith, The role of chant books in the development of Russian Sacred Music.

Lionel Li-Xing Hong, Da Rike: a Chinese adaptation of the Gregorian Divine Office by Fr. Vincent Lebbe

14:00-15:30

11a. Chant in the Northern Reformations I

Chair: Daniel J. DiCenso

Marit Johanne Høye, Niels Jesperssøn’s Graduale and Missale Scardense: Chant transmission in Nordic medieval manuscripts

Árni Heimir Ingólfsson, Singing and writing plainchant in Lutheran Iceland, ca. 1550–1650

Anne Heminger, “Mit der alten gewoͤnlichen noten” Hymns, liturgical chant and politics in sixteenth-century Livonian service books

11b. Chant in Benedictine Nunneries

Luisa Nardini, Beneventan nuns and the Propers of the Mass

Giulia Gabrielli, Music and manuscripts from female Alpine convents

Alessandra Fiori, Il manoscritto I-Bc Q11: un repertorio per le monache tra invenzione e riadattamento

15:45-17:15

12a. Chant in the Northern Reformations II

Chair: Karin Strinnholm Lagergren

Marianne C.E. Gillion, Neyer Psalmen und Geseng, auch mit den Noten: The reformation of musical liturgies and religious identities in Livonian service books (1537–1559)

Mattias Lundberg, Reconstructing the liturgy of Uppsala Cathedral ca.1520-c.1570

Sanna Raninen, Good impressions: Printing and readership of Liber Cantus-books (1620 and 1623) in Sweden

12b. Composition and Recomposition

Charles E. Brewer, Bartłomiej z Jasła’s “Buccinemus in hac die” in the context of late medieval Latin song

Rhianydd Hallas, The Visitation as a case study in medieval musical insider trading

Sunday 19 July 2020

9:30-11:00

Abstracts for download

13a. Analysis and Notation

Marie Winkelmüller-Urechia, Modus – Text – Liturgie – Theologie – Patristik: Ein Beitrage zur Textvertonung in den (alt-)römischen Messgesängen

Antanina Kalechyts, Artistic Research anhand einer synoptischen Vergleichsstudie der SG Handschriften

Emily Wride, Methodological approaches towards Old Hispanic notation

13b. Source Studies

David Eben and Dalibor Havel, Otlohs Erben: die ältesten Quellen des liturgischen Gesangs in den böhmischen Ländern

Eva Veselovská, Das 4-bändige Antiphonar CCl 65 – 68 aus Klosterneuburg: Transfer von Einflüssen (Weg: Böhmen – Österreich – Slowakei)

Morné Bezuidenhout, A liturgical manuscript from the Abbey of Benediktbeuern in the Port Elizabeth Public Library, South Africa

11:15-12:45

14. Tropes, Sequences, and Ordinary Chants

Lori Kruckenberg, New perspectives on Proper tropes: France, Spain, and northern Germany in the late Middle Ages

Nausica Morandi, The Gradual III from the Gemona del Friuli Cathedral Treasury: Comparative analysis of its later added chants

Hana Vlhová-Wörner, The late sequence tradition in Central Europe: Genre transformations and research perspectives

15:00

Departure for Prague

Information for speakers