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Missa Je ne menge point de porc: nekaj misli ob Lassovi uporabi Sermisyjeve šansone
Full text linkThe works of Orlando di Lasso (1530/1532–1594) were widespread across Europe during the second half of the sixteenth and the early seventeenth century. Some of the surviving contemporary sources of music by Lasso – both printed and manuscript – are preserved in Slovenian libraries. Among them are two partially preserved manuscripts, containing his early parody Mass based on the chanson Je ne menge point de porc by Claudin de Sermisy (c. 1490–1562). Lasso’s Mass is of special interest due to its use of a thoroughly secular chanson. The reasons for using Sermisy’s chanson could be multifaceted – for instance to establish intertextual relationship between the pieces or to compose a short Mass based on a carefully chosen model.Glasba Orlanda di Lassa (1530/1532–1594) je bila v drugi polovici 16. in začetku 17. stoletja po Evropi izjemno razširjena. Nekaj njegovih izvirnih tiskov in prepisov njegovih del se je do danes ohranilo tudi v slovenskih knjižnicah. Med njimi je v dveh rokopisnih prepisih delno ohranjena zgodnja parodična maša Je ne menge point de porc, osnovana na istoimenski šansoni Claudina de Sermisyja (ok. 1490–1562). Maša je zanimiva zlasti zaradi uporabe popolnoma posvetne šansone. Razlogi za njeno rabo bi lahko bili različni, med njimi sta vzpostavitev vsebinske povezave med predlogo in mašo ter glasbena prikladnost predloge za snovanje kratke maše
Skupne fraze v traktih osmega modusa: poskus razlage tvorjenja gregorijanskih melodij
Full text linkEighth-mode tracts represent a closely connected group of chant, both by their appurtenance to the eighth mode and through their use of standard melodic phrases. The analysis allows a reconstruction of their formation process. This article presents a hypothesis on how eighth-mode tracts have remained in existence and how they were created before and during the use of musical notation.Traktom osmega modusa ni skupna le enaka modalna pripadnost, temveč je njihova povezanost vidna tudi v melodični tvarini – grajeni so namreč s skupnimi frazami. Na podlagi analize repertoarja je mogoče rekonstruirati proces njihovega snovanja. Prispevek prikazuje enega od možnih pogledov na to, kako so pred in v času zapisovanja glasbe obstajali in nastajali trakti osmega modusa
Missa Percussit Saul mille Pietra Antonia Bianca: znanilka habsburške cesarske musicae politicae sedemnajstega stoletja
Full text linkThe article establishes the most appropriate context for understanding Pietro Antonio Bianco’s Missa Percussit Saul mille. In 1601 the Inner-Austrian Archduke Ferdinand II appears to have commissioned a Mass based on Giovanni Croce’s militaristic motet Percussit Saul mille for a solemn Mass celebrated before his departure for the battle of Kanisza. Its composition was entrusted to Ferdinand’s kapellmeister, Bianco. The latter’s Mass seems to be a musical statement of political ideas and demonstrates the function, convention and ideology of ceremonial sacred music at the Graz court around the turn of the sixteenth century. It reflects a political-musical culture that flourished even more greatly after Ferdinand became Emperor.V prispevku je rekonstruiran najverjetnejši okvir, v katerem lahko razumemo nastanek skladbe Missa Percussit Saul mille Pietra Antonia Bianca. Zdi se, da je leta 1601 notranjeavstrijski nadvojvoda Ferdinand II. pri svojem vodji glasbene kapele naročil mašo, osnovano na militarističnem motetu Percussit Saul mille Giovannija Croceja, in sicer za obhajanje slovesne maše pred Ferdinandovim odhodom v bitko pri Kaniži. Biancova maša se tako kaže kot glasbeni izraz političnih idej in izkazuje funkcijo, konvencijo in ideologijo, v katero je bila vpeta slovesna cerkvena glasba na graškem dvoru na prelomu v 17. stoletje. Na ta način odraža političnoglasbeno kulturo, ki je še v večji meri cvetela po tem, ko je Ferdinand postal cesar
Thermodynamic characterisation of hot work tool steels
No full textGlavni cilj doktorske disertacije je razširitev znanj na področju orodnih jekel za delo v vročem, vpliva legirnih elementov, tehnološkega postopka izdelave in predelave ter toplotne obdelave na končne mikrostrukturne in mehanske lastnosti ter toplotno prevodnost. Prvi del naloge obsega primerjavo termodinamične karakterizacije dveh kromovih orodnih jekel za delo v vročem oznake Dievar in RS450 ter dveh jekel nove generacije oznake HTCS-130 in W600, ki so osnova za načrtovanje kemijske sestave in lastnosti novo izdelanega jekla s povečano toplotno prevodnostjo. Drugi del raziskave obsega izdelavo laboratorijske šarže novo razvitega jekla in celovito termodinamično, mikrostrukturno in mehansko karakterizacijo ter meritve toplotne prevodnosti jekla. Določena je bila kemijska sestava novega jekla, in sicer na osnovi referenčnega jekla HTCS-130, iz katerega so bile izdelane štiri šarže jekel. Referenčno jeklo je bilo v prvi šarži le pretaljeno, ostale šarže pa so bile dodatno legirane z dodatkom niobija, tantala in titana. Dokazano je bilo, da imajo dodatki legirnih elementov velik vpliv na povečanje trdote in popuščne obstojnosti jekla, na račun tvorbe in povečanja deleža novo izločenih karbidov. Mehanizem izločanja karbidov v jeklih s povečano toplotno prevodnostjo bazira na izločanju po mejah kristalnih zrn, kar negativno vpliva na poslabšanje žilavosti. V sklopu doktorske naloge je bilo dokazano, da preiskovani tip jekla dosega relativno majhne žilavosti in da velikost zrn v tem primeru nima vpliva na izboljšanje oziroma poslabšanje žilavosti jekla. Vsi dodatki so se izkazali za učinkovite pri zaviranju rasti zrn. Največji vpliv na dvig mehanskih lastnosti kot tudi na dvig toplotne prevodnosti in bistveno izboljšanje obrabne obstojnosti ima tantal. V sklopu izdelave novega jekla so bile v primerjavi z referenčnim jeklom izboljšane tako mehanske, obrabno obstojne lastnosti kot tudi toplotna prevodnost.The main goal of the doctoral dissertation is to expand the knowledge in the field of hot work tool steels, the influence of alloying elements, technological process of manufacturing, processing, and heat treatment effect on the final mechanical and microstructural properties related to thermal conductivity. The first part of the research includes a comparison of the thermodynamic characterisation of two chromium hot work tool steels Dievar and RS450, and two new generation steels with increased thermal conductivity HTCS-130 and W600. The results are the basis for planning the chemical composition and properties of the newly produced steel with increased thermal conductivity. The second part of the research includes the production of a laboratory batch of the newly developed steel and a comprehensive thermodynamic, microstructural and mechanical characterisation including measurements of the thermal conductivity of the steel. The basis of the chemical composition of the new steel was determined based on the reference steel HTCS-130, from which four batches of steel were produced. The base of the reference steel was only vacuum remelted in the first batch, while the others were additionally alloyed with niobium, tantalum and titanium. It has been proven that the additions of alloying elements have a considerable influence on the increased hardness and tempering resistance, at the expense of the formation and increase of newly formed carbides. In steels with increased thermal conductivity the formed carbides are present at grain boundaries, which has a negative effect on the decrease of toughness. As part of the doctoral dissertation, it was proven that the investigated type of steel achieves relatively low values of toughness compared to other types of hot work tools and that the grain size in this case has no effect on the improvement of steels toughness. All added alloying elements have a positive effect on preventing grain growth. The greatest impact on the increase of mechanical properties, thermal conductivity and significant improvement in wear resistance was observed in steel with addition of tantalum. In the newly developed steel, all goals of increasing mechanical properties, tempering resistance thermal conductivity while achieving maximum toughness values were achieved compared to reference steel
Uglasbitev kantika magnifikat Simoneja Gatta na primeru skladbe Magnificat primi toni
Full text linkSimone Gatto, Kappellmeister of the Archducal Chapel in Graz, composed three Magnificats. One of them, Magnificat primi toni, uses the plainchant canticle tone. The usage of this plainchant form places Gatto’s Magnificat stylistically between his predecessor Annibale Padovano and Orlando di Lasso.Simone Gatto, vodja nadvojvodske kapele v Gradcu, je avtor treh magnifikatov. V enem od njih, tj. Magnificat primi toni, je uporabil kantikov ton. Glede na način rabe tega koralnega melodičnega obrazca lahko Gattov Magnificat slogovno umestimo med tovrstne skladbe njegovega predhodnika Annibala Padovana in Orlanda di Lassa
Iz Gradca v Ljubljano? Na poti k izvoru Hrenovih kornih knjig
Full text linkThere are five scribal hands evident in the Hren choirbooks. The main scribe for these choirbooks was Georg Kuglmann; the others are unknown. Three scribes (among them, Kuglmann) worked closely together and formed part of a scribal workshop at Graz. The presence of two other scribal hands suggests that not all the repertory was copied in Graz. The Missa L’homme armé of Palestrina was probably copied in Innsbruck in the late sixteenth century (given the paper type), and a few responses in falsobordone style were added in later years, perhaps in Ljubljana.V Hrenovih kornih knjigah je prisotnih pet različnih pisav. Glavni pisec je bil Georg Kuglmann, ostali pa so neznani. Tri pisave (med njimi Kuglmannova) se med seboj prepletajo in kažejo na obstoj delavnice v Gradcu. Ostali dve pisavi pa nakazujeta, da repertoar ni bil v celoti prepisan v Gradcu. Palestrinova Missa L’homme armé je bila (zaradi uporabljenega papirja) verjetno proti koncu 16. stol. prepisana v Innsbrucku, kratki odpevi v slogu falsobordone pa so bili dodani naknadno, morda v Ljubljani
Glasbeno izobraževanje v ljubljanskih šolah v drugi polovici 16. in na začetku 17. stoletja
Full text linkThe contribution presents the musical activities which took place in the four main educational institutions in Ljubljana: the Protestant German school, the Latin school, the Cathedral school of St. Nicholas, and the Jesuit college, covering the period from ca. 1550 to ca. 1630. Also mentioned are the musical activities at the school at the monastery of the Teutonic order in Ljubljana.V prispevku je predstavljeno glasbeno delo v štirih ključnih izobraževalnih ustanovah v Ljubljani v času med 1550 in 1630: v protestantski nemški šoli, stanovski latinski šoli, stolni šoli pri sv. Nikolaju in v jezuitskem kolegiju, omenjena pa je tudi glasbenopedagoška dejavnost v šoli samostana nemškega viteškega reda
Malo znan dvozborski ciklus himnusov iz ok. 1600
Full text linkAn early-seventeenth-century choirbook originating from Graz surviving in Ljubljana (SI-Lnr, MS 343) contains alongside other compositions thirty-one hymns by Francesco Stivori uniquely known from this source. Stivori’s hymns form a cycle for the entire liturgical year. They follow a long tradition of polyphonic settings based on plainsong melodies, although they are set for a larger performing group than usual – eight voices distributed in two choirs. Polyphonic hymn settings in use earlier at the Graz court were not liturgically obsolete. It seems, therefore, that Stivori composed his own cycle to cater for the personal aesthetic needs of Archduke Ferdinand, who greatly favoured polychoral music.Ena izmed kornih knjig graškega izvora, ohranjenih v Ljubljani (SI-Lnr, MS 343), med drugim vsebuje 31 večerničnih himnusov Francesca Stivorija. Ti so ohranjeni le v omenjenem viru. Stivorijevi himnusi tvorijo cikel za celotno liturgično leto in so del dolge tradicije polifonih uglasbitev, ki temeljijo na koralnih melodijah, vendar so napisani za večjo zasedbo kot običajno, in sicer za osem glasov, razdeljenih v dva zbora. Polifoni himnusi iz druge polovice 16. stoletja, ki so bili del repertoarja graškega dvora, v liturgičnem smislu niso bili zastareli. Zato se zdi, da je Stivori svoj cikel skomponiral, da bi zadovoljil estetske potrebe nadvojvode Ferdinanda, ki je bil izjemno naklonjen večzborski glasbi
Izbrana dela iz Hrenovih kornih knjig 3 / Selected Works from the Hren Choirbooks 3. Tri maše / Three Masses
No full textThis third volume of the selected musical pieces from the Hren choirbooks presents three settings of the Ordinary by Simone Gatto (c. 1545/50–1594/95), a Venetian musician active at the Inner-Austrian archducal court in Graz: a Missa Aller mi fault, a Missa Stabunt justi and a Missa Andra la nave mia. All three Masses are of the parody or imitation type, each derived from a pre-existing polyphonic composition. Specifically, Adrian Willaert’s five-part chanson Aller m’y faut sur la verdure and Orlando di Lasso’s five-part motet Stabunt justi serve as the models for two of the Masses, while the source for the third Mass remains unidentified. These compositions reflect the changing aesthetic preferences of the period, characterized by a heightened emphasis on colour contrast and word-painting. The Missa Andra la nave mia further exemplifies the increasing esteem for polychoral music at the Graz court towards the close of the sixteenth century, illustrating the growing influence of double-choir music in Inner Austria during this time. Gatto’s craftsmanship clearly marks out these three Masses as the product of an experienced composer.V tretjem zvezku izbranih del iz Hrenovih kornih knjig so objavljene tri uglasbitve mašnega ordinarija skladatelja Simoneja Gatta (ok. 1545/50–1594/95), beneškega glasbenika, ki je deloval na notranjeavstrijskem nadvojvodskem dvoru v Gradcu: Missa Aller mi fault, Missa Stabunt justi in Missa Andra la nave mia. Vse tri maše pripadajo tipu t. i. parodične maše. Za osnovo dveh maš je skladatelj uporabil petglasno šansono Aller m’y faut sur la verdure Adriana Willaerta oz. petglasni motet Stabunt justi Orlanda di Lassa, medtem ko model za tretjo mašo ni znan. Te skladbe razkrivajo spremembe v okusu tistega časa spričo poudarjene zvočne barvitosti in slikanja besed. Missa Andra la nave mia nadalje priča o tem, da je bila večzborska glasba na graškem dvoru proti koncu 16. stoletja vse bolj cenjena in ponazarja vse večji vpliv dvozborske glasbe v Notranji Avstriji v tem času. Vse tri maše se spričo Gattove skladateljske spretnosti jasno kažejo kot plod izkušenega skladatelja
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