Annotated melody edition of the liturgical plays belonging to the Holy Week and the Easter season

该项目的目的是消除一个迫切需要解决的问题，这是一个长期抱怨的话题，也是将旋律传统纳入中世纪和近代早期礼拜仪式戏剧研究的障碍：有史以来第一次，圣周和复活节季节的83个已知的拉丁语，拉丁方言和方言戏剧的所有旋律（即从棕枝主日到Ascension），包括21 Planctus，都要按照统一的标准进行编辑。还将提供对旋律的比较性评论。该语料库包括大约2700首旋律，约618种不同的非礼仪圣歌和298种不同的礼仪圣歌。该项目的目的是为音乐学和语言学研究创造一个基础工作。它将包括来自德国、波希米亚、法国、荷兰、英国和阿奎莱亚牧首辖区的所有可比资料，这些资料可追溯到13至17世纪。由于评论将在比较的基础上进行，因此可以区分哪些旋律变体是本地或区域性的，哪些旋律变体是按时间顺序排列的，以及某些戏剧或戏剧传统是否有自己的旋律传统。通过这种方式，关于确定来源之间的依赖关系的语言学标准可以得到确认或纠正。严格区分礼仪和非礼仪的旋律将有助于更详细地调查有关地方，区域和制度因素的旋律传播。借助比较评论，并以整个旋律传统为基础，我们有可能重新评估一些关于严格的礼拜仪式的探访仪式与不严格的礼拜仪式的复活节和受难剧之间关系的假设，例如，这两个群体之间在旋律上有多大差异的问题。总而言之，本研究希望为最终将旋律传统作为不可分割的一部分纳入仪式戏剧研究奠定坚实的基础，这是迄今为止尚未实现的

The project's aim is to eliminate a desideratum, which has been a topic of longtime complaint and a hindrance to the inclusion of the melody tradition into the research on liturgical dramas of the Middle Ages and the Early Modern period: For the first time ever all melodies of the 83 known Latin, Latin-vernacular and vernacular dramas of the Holy Week and the Easter Season (i.e. from Palm Sunday to Ascension), including 21 Planctus, are to be edited according to uniform standards. A commentary to the melodies on a comparative basis is to be provided, too. The corpus comprises approximately 2700 melodies to about 618 different non-liturgical chants and to 298 different liturgical chants. The aim of the project is to create a fundamental work for both musicological and philological research. It will comprise all comparable sources from Germany, Bohemia, France, the Netherlands, England and the Patriarchate of Aquileia, which date from the 13th to the 17th century. As the commentary will be laid out on a comparative basis, it will e.g. be possible to tell, which melodic variants are local or regional and which melodic variants are chronological instead and whether certain dramas or dramatic traditions have their own melody tradition. In this way philological criteria concerning the determination of dependencies between the sources may be confirmed or corrected. The strict distinction between liturgical and non-liturgical melodies will contribute to a more detailed investigation of the transmission of melodies concerning local, regional and institutional factors. With the help of the comparative commentary and based on the whole melody tradition it will be possible to reassess a couple of assumptions about the relationship between the strictly liturgical visitatio ceremonies and the not strictly liturgical Easter and Passion plays, e.g. the question, in how far there are melodical differences between these two groups. To sum up the project wants to create a solid basis in order to finally include the melody tradition as an integral part into the research on liturgical drama, which has not been the case up to now