Volume 7, Issue 1

2012

Publication date: 02.01.2012

Licence: None

Editorial team

Editor-in-Chief Regina Bochenek-Franczakowa

Secretary Monika Świda-Bieda

Volume editors Barbara Marczuk, Monika Świda

Volume rewievers Jan Miernowski, Ewa Łukaszyk, Paul Martin Langer, Tatiana Stepnowska, Piotr Fast, Izabella Malej, Elżbieta Katarzyna Dzikowska, Anna Kalewska, Krzysztof Jarosz, Józef Smaga, Prof. Tomasz Swoboda

Issue content

Introduction

Véronique Ferrer, Barbara Marczuk-Szwed

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 7, Issue 1, 2012, pp. 7-8

https://doi.org/10.4467/20843933ST.12.001.0953

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La récriture protestante du Psautier de Baïf : les Pseaumes en vers mezurez d’Odet de La Noue sur une musique de Claude Le Jeune, (1e partie)

Jean Vignes

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 7, Issue 1, 2012, pp. 9-24

https://doi.org/10.4467/20843933ST.12.002.0954

Jean-Antoine de Baïf is the first catholic poet who achieves a complete translation of the David’s Book of Psalms specifically created to be set to music in order to challenge Marot and Bèze’s own translation adopted by Calvinists. Baïf’s first fifteen psalms are set to music by the composer Claude Le Jeune around 1570. After that, the protestant poet Odet de La Noue releases a new text for Le Jeune’s music. How does this Calvinist poet adopt the Psalter when rewriting a paraphrase claimed to be a catholic one?
Jean Vignes presents the political and musical context of La Noue’s work, and introduces the major steps of the creation process of Baïf and La Noue’s works, as well as their intentions and goals.

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La récriture protestante du Psautier de Baïf : les Pseaumes en vers mezurez d’Odet de La Noue sur une musique de Claude Le Jeune (2e partie)

Isabelle Garnier

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 7, Issue 1, 2012, pp. 25-41

https://doi.org/10.4467/20843933ST.12.003.0955

Isabelle Garnier, starting from the recurrence of the holy name « grand Dieu » to refer to God, compares La Noue’s paraphrase to Marot’s and Baïf’s texts, and defines it on both theological and poetical levels as a kind of musical epexegesis, which leaded the singer to the core of reformed faith.

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La chanson spirituelle au temps de la Réforme (1533-1591)

Véronique Ferrer

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 7, Issue 1, 2012, pp. 43-52

https://doi.org/10.4467/20843933ST.12.004.0956

This article aims at drawing the history of spiritual songs of the Reformation from the first works by Mathieu Malingre (1533) to L’Uranie attributed to Odet de La Noue (1591), including: Chansons spirituelles (1548) by Guillaume Guéroult, as well as his Chansonnier huguenot (1555) and its reissues. By examining firs of all devotional and exhortative songs, it shows how little by little this spiritual poetry gives up its formal and musical ambitions to serve, in a militant way, the Reformation ideas and beliefs.

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Tekst UNKOWN Spis treści UNKOWN

Słowa kluczowe: Renaissance, Book of Psalms, protestant music, Renaissance, Book of Psalms, protestant music, God’s Name, Spiritual songs, Reformation, private devotion, music, confessional engagement

Volume 7, Issue 1

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2012