This thesis is focused on the spiritual folk songs in the Czech environment, especially from a theological point of view. The first chapter puts the topic in historical, geographical and spiritual context and generally attempts to describe what a spiritual folk song is and from which sources and in which contexts it has been created. The second chapter reflects several theological themes or areas that generally apply to the genre of spiritual folk songs. A separate sub-chapter also reflects biblical songs. The lectures are supplemented by specific examples of songs. The third and largest chapter attempts to map out which areas and situations of human life is spiritual folk song concerned. The chapter is subdivided into three time cycles: day, year, life. This chapter contains numerous examples of songs related to the discussed areas. The last chapter aims to interpret and use the songs in the context of today. It examines how the genre of folk songs generally enters into contemporary culture and deals with the possibilities of practical implementation of this genre in the church hymnology practice. Powered by TCPDF (www.tcpdf.org)

This thesis focuses on the analysis of anonymous Kancionálek (printed in Prague at K. F. Rosenmüller between 1712-1727). The thesis shows, based on survey sources, his relationship to other hymn-books and his possible sources (non-Catholic "litterati" hymn- book and other). Main part of the thesis analyzes the modifications of the old repertoire and overall concept of the hymn-book: purpose is to describe the editorial strategies for creating a small non-noted hymn-book for broad masses of people. The appendix consists of catalog of all the songs, that are included in Kancionálek.

This dissertation thesis follows on the contemporary research focused on the early modern manuscript culture. The thesis deals with the Moravian manuscript hymnals from the 17th and 18th century and with their repertoire. The manuscript hymnography is one of the richest sources for an understanding of the popular piety, the Baroque literature and the church music. Some of the hymnals are accompanied by musical notation and a large number of them are beautiful illuminated. However, they have never been made accessible through modern edition, and there are hardly any analytical studies concerning these hymnbooks. The opening chapter summarizes the existing research on the given topic. It is followed by the description of approximately forty manuscript hymnals. The next chapter concentrates on some specific qualities of the manuscript publication and focuses on the song repertoire. The third chapter further develops the general theses. It is devoted to four manuscript hymnals from the sixties and the seventies of the 17th century. The analysis of their writing, ilumination and repertoire proves the same author - Jan Klabík from Želechovice. This chapter concentrates on the song repertoire, relations to older hymnals and the song canon. The fourth chapter focuses on two specific groups of songs: the...

This work deals with analysis and comparation of three baroque hymn-books by authors Jan Amos Komenský, Jiří Třanovský and J. J. Božan. Hymn-book by JAK, Tranoscia Citharu sanctorum and Slavíček rájský are analysed according to their authors? creed and period context and they are compared according to their content and arrangement of their songs.

The goal for this dissertation was to research the music in liturgy and daily life of early Christians (of the first two centuries AD) and to reveal the main factors affecting the fornation of music and liturgy in the early church. Therefore the music backgrounds of the early Christians (the Jewish and Hellenistic music cultures) together with the evidences from early Christian literature (New Testament and some of the Church Fathers) have been examined. On the strength of the investigations done, the author concludes that Christianity inherited musical traditions first of all from Judaism, and later on, as it was extended to the entire Roman Empire, it was influenced by Hellenism as well. Consequently, there was not a united form of worship in early Christian church, and from the very beginning the music of different communities could vary depending on their cultural backgrounds.Thus, music life of Jewish Christianity differed from the churches consisting mainly of Christians from the Gentiles. / Cristian Spirituality, Church History and Missiology / M. Th. (New Testament)

The goal for this dissertation was to research the music in liturgy and daily life of early Christians (of the first two centuries AD) and to reveal the main factors affecting the fornation of music and liturgy in the early church. Therefore the music backgrounds of the early Christians (the Jewish and Hellenistic music cultures) together with the evidences from early Christian literature (New Testament and some of the Church Fathers) have been examined. On the strength of the investigations done, the author concludes that Christianity inherited musical traditions first of all from Judaism, and later on, as it was extended to the entire Roman Empire, it was influenced by Hellenism as well. Consequently, there was not a united form of worship in early Christian church, and from the very beginning the music of different communities could vary depending on their cultural backgrounds.Thus, music life of Jewish Christianity differed from the churches consisting mainly of Christians from the Gentiles. / Cristian Spirituality, Church History and Missiology / M. Th. (New Testament)