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长期以来一直受到抱怨和阻碍将旋律传统纳入中世纪和现代早期礼拜戏剧研究的一个问题：有史以来第一次，圣周和复活节季节(即从棕榈树主日到阿森松季)83部已知的拉丁语、拉丁语和白话剧的所有旋律都将按照统一的标准进行编辑。在比较的基础上也将提供对旋律的评论。语料库包括大约2700个旋律，大约618个不同的非礼仪圣歌和298个不同的礼仪圣歌。该项目的目的是为音乐学和文献学研究创造一个基础工作。它将包括来自德国、波西米亚、法国、荷兰、英国和阿奎利亚大主教的所有可比来源，这些来源可以追溯到13世纪到17世纪。由于评论将在比较的基础上编排，例如，可以区分哪些旋律变体是地方性的或地区性的，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。这样，关于确定来源之间相关性的语文标准就可以得到确认或更正。礼仪旋律和非礼仪旋律的严格区分将有助于更详细地调查旋律的传播，涉及地方、地区和体制因素。在比较评论的帮助下，基于整个旋律传统，将有可能重新评估关于严格的礼仪访问仪式与不严格的礼仪复活节和受难节戏剧之间的关系的几个假设，例如，这两个群体之间的旋律差异有多大的问题。综上所述，本项目希望为最终将旋律传统作为一个不可分割的组成部分纳入礼仪剧的研究奠定坚实的基础，而这一点到目前为止还没有这样的情况

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