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The Process of Printing the Notation in the Manuals ad Sacramenta Published in Nagasaki in 1605

1605 年长崎出版的《圣礼手册》中符号的印刷过程

基本信息

批准号：
15520406
负责人：
TAKEI Shigemi
金额：
$ 0.45万
依托单位：
University of Miyazaki
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (C)
财政年份：
2003
资助国家：
日本
起止时间：
2003 至 2004
项目状态：
已结题

来源：
https://kaken.nii.ac.jp/en/grant/KAKENHI-PROJECT-15520406/
关键词：
ITO, Mansho Tensho Mission Constantinus Douratus Gutenberg Printing Machine Manuale ad Sacramenta Chiristian Publication Gregorian Chant Neuma Notation セミナリオ

项目摘要

The Manuale ad Sacramenta, this 400-page sacramentary was printed on the Jesuit Mission Press at the college in Nagasaki in 1605. As the title-page, printed in black and vermilion, clearly indicates, the purpose of the Manuale ad Sacramenta was to serve as a handbook for the administration of five of the seven sacraments. Moreover, the book provides detailed instructions on how to conduct the rite of Christian Burial.The nineteen notated chants interspersed among the rites for "Sacramentals" in the latter half of this liturgical book merit particular attention. The angular "neumatic" notation of the melodies is printed in black on the lines and in the spaces of vermilion-coloured five-line staves, with the text of the chant added below each staff. Printing music required much greater technical skill than printing simple text, and the Manuale ad Sacramenta affords a fine example of such technique, in which the vermilion lines of the staves and the black notes(neums) of the chant melodie … More s were printed separately in a two-stage process.Of these nineteen Gregorian chants, thirteen were intended as hymns to be sung during burial rites, whereas the remaining six were intended for use during the official visitation of local churches by the bishop. Almost all of the chants used for burial rites present complex melodies which would have been very difficult for the Japanese Christians of the time to master. One exception to this rule is the third chant, the Miserere mei Deus, taken from the book of Psalms, which consists in a simple four-note melody and which presumably could have been easily sung by the whole congregation.On the other hand ; two of the chants sung during episcopal visitation, the Veni Creator Spiritus and the Tantum ergo, were more elaborate hymns divided into several verses. Although both of these chants presented a considerable musical challenge to the faithful, in comparison with the complexity of the remaining four chants, the latter two would still have been less difficult to master, provided that the congregation was afforded the opportunity to hear the hymns sung regularly.As for the Tantum ergo found in the Manuale, it is thought to be a melody native to Portugal and Spain ; in fact, it appears as the central theme in one of the works of the Spanish composer. These two surviving melodies of the Tantum ergo bear witness to the depth of the cultural exchange that took place at the time between East and West. Less

这本400页的圣礼手册于1605年在长崎的耶稣会使命出版社印刷。正如标题页，印在黑色和朱红，清楚地表明，目的的手册广告Sacramenta是作为一个手册的管理五个圣礼。此外，这本书提供了详细的指示，如何进行仪式的基督教埋葬。十九记圣歌穿插在仪式的“圣礼”在这本礼仪书的后半部分值得特别注意。有角度的旋律“neumatic”符号是印在黑色的线条和空间的朱红色的五行五线谱，与文字的圣歌下面添加每个工作人员。印刷乐谱比印刷简单的文本需要更高的技术技巧，《圣礼手册》提供了这种技术的一个很好的例子，其中五线谱的朱红线条和圣歌旋律的黑色音符（neums） ...更多信息在这19首格里高利圣咏中，有13首是在葬礼上唱的，其余6首是主教正式访问当地教堂时使用的。几乎所有用于葬礼仪式的圣歌都呈现出复杂的旋律，这对于当时的日本基督徒来说是很难掌握的。这一规则的一个例外是第三个圣歌，Miserere mei Deus，取自《诗篇》，它由一个简单的四音符旋律组成，大概可以很容易地被整个会众唱。另一方面，在主教访问期间唱的两个圣歌，Veni Creator Spiritus和Tantum ergo，是更复杂的赞美诗，分为几节。虽然这两首圣歌对信徒来说都是一个相当大的音乐挑战，但与其余四首圣歌的复杂性相比，后两首圣歌仍然不太难掌握，只要会众有机会经常听到赞美诗的演唱。至于在手册中发现的坦图姆ergo，它被认为是葡萄牙和西班牙本土的旋律;事实上，它是这位西班牙作曲家的一部作品的中心主题。这两个幸存的旋律的坦图姆ergo见证了深度的文化交流，发生在当时的东方和西方之间。少