Pium dictamen: Difference between revisions
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The '''''pium dictamen''''' (plural ''pia dictamina''), known in German as a ''Reimgebet'' or ''Leselied'',<ref name=JS>Joseph Szövérffy, [https://www.persee.fr/doc/ccmed_0007-9731_1961_num_4_16_1203 "L'hymnologie médiévale: recherches et méthode"], ''Cahiers de Civilisation Médiévale'' '''4'''.16 (1961): 389–422, at 390–391 (plurals ''Reimgebete'' and ''Leselieder'').</ref> is a [[Christian hymn]] for private devotion, generally [[rhyming]] and often using [[acrostic]]s.<ref>Christina E. A. Marshall, ''Late Medieval Liturgical Offices in Acrostic Form: A Catalogue and Study'', PhD diss. (University of Toronto, 2006), p. 23 ("a paraliturgical genre of poetry for private devotion").</ref> The genre is highly variable. It includes "psalters" (''psalteria'') with 150 [[strophe]]s and "rosaries" (''rosaria'') with 50.<ref name=JS/><ref>[http://www.hymnology.co.uk/p/pia-dictamina "Pia dictamina"], in ''The Canterbury Dictionary of Hymnology'' (Canterbury Press, 2013), accessed 26 November 2022.</ref> Another type was the "gloss song" (''Glossenlied'', ''prière glosée''), in which a popular prayer was divided up by word, with each word be "glossed" by a stanza of commentary. They were popular in both [[Latin]] and the vernacular and were sometimes multilingual.<ref>Patrizia Noel Aziz Hanna and Levente Seláf, "Textsetting of Multilingual Poems: The Example of Bruder Hans' ''Ave Maria''", in Teresa Proto, Paolo Canettieri and Gianluca Valenti (eds.), ''Text and Tune: On the Association of Music and Lyrics in Sung Verse'' (Peter Lang, 2015), pp. 111–127, at 114–115.</ref> |
The '''''pium dictamen''''' (plural ''pia dictamina''), known in German as a ''Reimgebet'' or ''Leselied'',<ref name=JS>Joseph Szövérffy, [https://www.persee.fr/doc/ccmed_0007-9731_1961_num_4_16_1203 "L'hymnologie médiévale: recherches et méthode"], ''Cahiers de Civilisation Médiévale'' '''4'''.16 (1961): 389–422, at 390–391 (plurals ''Reimgebete'' and ''Leselieder'').</ref> is a [[Christian hymn]] for private devotion, generally [[rhyming]] and often using [[acrostic]]s.<ref>Christina E. A. Marshall, ''Late Medieval Liturgical Offices in Acrostic Form: A Catalogue and Study'', PhD diss. (University of Toronto, 2006), p. 23 ("a paraliturgical genre of poetry for private devotion").</ref> The genre is highly variable. It includes "psalters" (''psalteria'') with 150 [[strophe]]s and "rosaries" (''rosaria'') with 50.<ref name=JS/><ref>[http://www.hymnology.co.uk/p/pia-dictamina "Pia dictamina"], in ''The Canterbury Dictionary of Hymnology'' (Canterbury Press, 2013), accessed 26 November 2022.</ref> Another type was the "gloss song" (''Glossenlied'', ''prière glosée''), in which a popular prayer was divided up by word, with each word be "glossed" by a stanza of commentary. They were popular in both [[Latin]] and the vernacular and were sometimes multilingual.<ref>Patrizia Noel Aziz Hanna and Levente Seláf, "Textsetting of Multilingual Poems: The Example of Bruder Hans' ''Ave Maria''", in Teresa Proto, Paolo Canettieri and Gianluca Valenti (eds.), ''Text and Tune: On the Association of Music and Lyrics in Sung Verse'' (Peter Lang, 2015), pp. 111–127, at 114–115.</ref> |
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The hymn ''[[Stabat |
The hymn ''[[Stabat Mater]]'' was originally a ''pium dictamen''.<ref name=JS/> |
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==References== |
==References== |
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Latest revision as of 01:06, 29 April 2024
The pium dictamen (plural pia dictamina), known in German as a Reimgebet or Leselied,[1] is a Christian hymn for private devotion, generally rhyming and often using acrostics.[2] The genre is highly variable. It includes "psalters" (psalteria) with 150 strophes and "rosaries" (rosaria) with 50.[1][3] Another type was the "gloss song" (Glossenlied, prière glosée), in which a popular prayer was divided up by word, with each word be "glossed" by a stanza of commentary. They were popular in both Latin and the vernacular and were sometimes multilingual.[4]
The hymn Stabat Mater was originally a pium dictamen.[1]
References[edit]
- ^ a b c Joseph Szövérffy, "L'hymnologie médiévale: recherches et méthode", Cahiers de Civilisation Médiévale 4.16 (1961): 389–422, at 390–391 (plurals Reimgebete and Leselieder).
- ^ Christina E. A. Marshall, Late Medieval Liturgical Offices in Acrostic Form: A Catalogue and Study, PhD diss. (University of Toronto, 2006), p. 23 ("a paraliturgical genre of poetry for private devotion").
- ^ "Pia dictamina", in The Canterbury Dictionary of Hymnology (Canterbury Press, 2013), accessed 26 November 2022.
- ^ Patrizia Noel Aziz Hanna and Levente Seláf, "Textsetting of Multilingual Poems: The Example of Bruder Hans' Ave Maria", in Teresa Proto, Paolo Canettieri and Gianluca Valenti (eds.), Text and Tune: On the Association of Music and Lyrics in Sung Verse (Peter Lang, 2015), pp. 111–127, at 114–115.
Further reading[edit]
- Christina Lechtermann, "Commentary as Literature: The Medieval Glossenlied", in Christina Lechtermann and Markus Stock (eds.), Theories and Practices of Commentary (Vittorio Klostermann, 2020), pp. 160–180.