Putování za německou duchovní písní po barokní Moravě

Bc. Aleš Kučírek

Master's thesis

Abstract:

Sféra duchovního zpvu tvoí modelový píklad prolínání dvou národních kultur. Nmecká duchovní píse v Sudetech na jedné stran pechovávala germánskou tradici, na stran druhé do sebe nov vstebávala vlivy eské. Hymnologické odkazy obou zemí mají spolenou bohatou základnu, která dodnes zstává neprobádanou oblastí. Tato práce se pokouší vytvoit celkový pehled nmecké duchovní písn v eském prostedí se zamením na Moravu. První kapitola popisuje pedevším náboženskou situaci na Morav a zabývá se problémem konfesionalizace. Líí vlnu nmecké imigrace a kulturní obrodu baroka, která umožnila rozvoj rzných náboženských korporací, a jako píklad jedné z nich uvádí literátská bratrstva. Další dv kapitoly už mapují konkrétní výskyt nmeckých katolických kancionál na území ech a Moravy, piemž rozlišují ti kategorie zpvník. Prosté zpvníky užívané v kostelech bez doprovodu, zpvníky s generálbasem a zpvníky urené pro soukromou pobožnost. Samostatný oddíl tvoí tvrtá kapitola, jež zkoumá vývoj nmecké duchovní písn. Djiny duchovního zpvu v nmecky mluvících zemích znamenají totiž naprosto ojedinlý fenomén, který v evropské kultue nemá konkurenci. Její koeny sahají až do 12. stol., ímž došlo k vytvoení širokého repertoáru, jenž se formoval také v Sudetech. Práv na moravské kancionály se pak zamuje druhá ást kapitoly. Závrem jsme se pokusili analyzovat 40 písní z olomoucké agendy, která nejlépe reprezentuje barokní duchovní zpv v Moravských kostelech. Pomocí komparaní metody, která posloužila k srovnání s dalšími dvma nejužívanjšími zpvníky, se dosplo k nkolika dílím závrm. Jednak bylo možné posoudit, nakolik se mnila melodie a její zápis, a pak nakolik se písn pebíraly z protestantských zpvník a zda je tyto zpvy vbec možné považovat za nekatolické. V práci se podailo odkrýt nkteré nové údaje a rozšíit tím soupis kancionál. Zámrem však také bylo poukázat na nové nevyhnutelné smry v bádání, jako je napíklad studium a zmapování rukopisných zpvník, nebo bez tohoto znamená nmecká duchovní píse v eském teritoriu stále málo prozkoumanou oblast.

Abstract:

Domain of spiritual singing constitutes a model example of mutual pervading of two national cultures. German spiritual song in Sudety (area in the territory of the todays Czech Republic along the borders with Germany and Austria) on one hand kept preserving a Germanic tradition; on the other hand, it newly kept absorbing Czech influences. Hymnologic references of both countries have a common rich base which has so far remained an unexplored area. In this thesis, I try to create a general overview of German spiritual song in the Czech surroundings focusing on the territory of Moravia. First chapter describes mainly a religious situation in Moravia and deals with a problem of confessionalization. It describes a wave of German immigration and cultural revival of baroque which enabled development of various religious corporations and it presents literary brotherhoods as an example of one of them. Next two chapters try to map a concrete occurrence of German catholic hymnbooks in the territory of Bohemia and Moravia distinguishing three categories of singers - first, simple hymnbooks used in churches with no accompaniment; second, hymnbooks with thorough bass and third, hymnbooks designated for private religious services. Fourth chapter constitutes a separate section investigating a development of German religious song in general. History of religious singing in the German-speaking countries is an absolutely unique phenomenon which has no competition in the European culture. It has roots as long ago as in the 12th century which enabled a creation of a wide repertoire which formed in Sudety too. And it is the Moravia hymnbooks what the second part of this chapter focuses on. In conclusion, I have tried to analyze forty songs coming from the agenda of Olomouc which best represents baroque spiritual singing in Moravian churches. With the help of a comparative method which was used for comparison with other two most frequently used hymnbooks, I have reached several partial conclusions. Partly, it was possible to judge to what extent melody and its score changed and partly, to what extent the songs were taken over from protestant hymnbooks and if it is ever possible to consider these songs non-Catholic. In my thesis, I have managed to reveal some new data and thus enlarge a hymnbook list. My other intention, however, was to point out some new inevitable trends in research, such as studying and mapping handwritten hymnbooks because without these sources, German spiritual song in the Czech territory still stands for only a slightly explored area.

Keywords

I try to create a general overview of German spiritual song in the Czech surroundings focusing on the territory of Moravia. First chapter describes mainly a religious situation in Moravia and deals with a problem of confessionalization. It describes a wave of German immigration and cultural revival of baroque which enabled development of various religious corporations and it presents literary brotherhoods as an example of one of them. Next two chapters try to map a concrete occurrence of German catholic hymnbooks in the territory of Bohemia and Moravia distinguishing three categories of singers, first, simple hymnbooks used in churches with no accompaniment, second, hymnbooks with thorough bass and third, hymnbooks designated for private religious services. Fourth chapter constitutes a separate section investigating a development of German religious song in general. History of religious singing in the German-speaking countries is an absolutely unique phenomenon which has no competition in the European culture. It has roots as long ago as in the 12th century which enabled a creation of a wide repertoire which formed in Sudety too. And it is the Moravia hymnbooks what the second part of this chapter focuses on. In conclusion, I have tried to analyze forty songs coming from the agenda of Olomouc which best represents baroque spiritual singing in Moravian churches.

Language used: Czech

Date on which the thesis was submitted / produced: 18. 1. 2006

Thesis defence

• Date of defence: 18. 1. 2006
• Supervisor: Mgr. Vladimír Maňas, Ph.D.

Masaryk University

Faculty of Arts

Master programme / field:
General Theory and History of Arts and Culture / Musicology