Dissertation--Philosophische Fakultät--Universität Passau, 2002. / Bibliogr. p. 425-437.

Texte remanié de: Diss.--Neuphilologische Fakultät--Tübingen--Eberhard-Karls-Universität, 1996. / Bibliogr. p. 525-552. Index.

Texte remanié de: Diss.--Philosophische Fakultät für Sprach- und Literaturwissenschaft IV--Universität Regensburg, 1994. / Bibliogr. p. 351-375. Index des auteurs et des oeuvres.

Diss.--Technische Universität Dresden, 1998. / Bibliogr. p. 255-281.

Texte remanié de: Diss.--Philosophische Fakultät--München--Ludwig-Maximilians-Universität, 1999. / Bibliogr. p. 234-251.

Diss.--München--Ludwig-Maximilians-Universität, 1992.

While troubadour and trouvère repertoires have recently received fresh attention from music scholars, the study of medieval German vernacular song—Minnesang—continues to be located firmly outside the canon(s) of musicology. The present thesis seeks to re-insert Minnesang into musicological discourse by demonstrating the ways in which the repertoire has been constructed as musical, both by the creators of medieval manuscript sources and by modern scholars. The modern ontology of music as defined by notation and performance has prevented scholars from understanding manuscripts such as the Codex Manesse (C) as intrinsically musical. While the texts alone may have sufficed to enable their intended audiences to view them as musical entities, C’s 137 author miniatures further contribute to the manuscript’s musicality: the Minnesänger are depicted as authors and experiencing personae, revealing a strong concern for oral communication—which, in the Middle Ages, was inherently musical. The Jenaer Liederhandschrift (<b>J</b>) and other manuscripts equally reveal their musicality when scrutinised beyond the search for musical notation: through ordering and folio design. The thesis establishes the influence exerted by previous scholarship on today’s lack of interest in the music of Minnesang, and outlines the importance of scholarly discourse and its study in a historiographical context. Before the 1970s, an existing musical discourse on Minnesang encouraged musicologists and philologists to continue to engage in it—despite the fact that the dominant interest in contrafacture and rhythm found few answers in the surviving source material. A concluding case study of Walther von der Vogelweide’s Palästinalied exemplifies the musicality of medieval manuscripts and its complex (mis)construction by modern scholarship. The thesis provides the basis for a fresh assessment of the music of Minnesang: beyond the confines of modern ontologies of music, and as part of the study of medieval song.

Zugl.: Passau, Univ., Diss., 2007

Qualifying work has interdisciplinary charakter. This work is concentrate on knowledge of history and culture of age last members of Přemysl´s dynasty and the first members of Luxembourg´s dynasty. The primary aim of work is to identify the conditions under which there is courtly literature and minnesing on the courts of these rulers. Next aim is using the comparative method to define the basic topics in prose and poetry. The secondary aim is recognizing influence of German and Latin literature domestic and foreign on literature written in Czech. The work ?Minnesing and court literature at the court of last members of Přemysl's dynasty and the first members of Luxembourg's dynasty? deals with years 1283?1306 and 1310?1333 taking into account also past years.