The 14th Century Manuscript R81 with Music Topics from the Franciscan Monastery in Zadar

U članku se donosi prvi preliminarni opis drugog dijela rukopisa R81 (ovdje nazvanog De artibus liberalibus), nastalog početkom druge polovice 14. stoljeća i sačuvanog u rukopisnom fondu knjižnice Franjevačkog samostana u Zadru. Rukopis je otkriven krajem 1970-ih ili početkom 1980-ih (Vinko Velnić), a u svoje su ga preglede naknadno informativno uvrstili Žarko Dadić (Povijest egzaktnih znanosti u Hrvata, knj. 2, 1982.) i Ennio Stipčević (Hrvatska glazba, 1997.). Do sada u hrvatskoj muzikologiji o tom rukopisu nije objavljena nijedna studija. Riječ je o kratkom tekstu (na dvije nepune stranice), pisanom na latinskom jeziku i gotičkim pismom, koji se nalazi u nepaginiranom dodatku (drugi rukopis) uvezanim u jedan svezak s prvim rukopisom. Sadržajno donosi vrlo sumaran pregled temeljnih glazbenoteorijskih postavki iz repertoara kvadrivija (numerološka problematika intervala i njihovih brojčanih razmjera), kako se naučavao u crkvenim školama i sveučilištima razvijenoga srednjega vijeka. Pretpostavlja se da mu je autor Zadranin fra Nikola, školovan na Sveučilištu u Oxfordu, i da uz ostale tekstove s područja trivija i kvadrivija, te opću teološku problematiku koju donosi prvi najveći dio rukopisa, predstavlja kompendij specifičnih znanja po odgovarajućim strukama što su se proučavale na franjevačkom teološkom studiju organiziranom tijekom 14. stoljeća u Zadru. U vezi s kontekstom nastanka rukopisa upućuje se u budućim istraživanjima, s jedne strane, na komparativnu usporedbu s rukopisnim glazbenoteorijskim izvorima iz Oxforda, datiranima u 13. i 14. stoljeće (Robert Grosseteste, Robert Kilwardby, Roger Bacon, traktat Quatuor principalia musice, danas atribuiran Johnu Tewkesburyju), a s druge strane — u širem kroatološkom kontekstu — na razliku u dataciji obaju rukopisa (1355., 1360. ili kasnije za rukopis De artibus liberalibus) kao faktor po kojem bi se nastanak rukopisa mogao eventualno otčitati kao neposredni vremenski i sadržajni refleks širih društvenih zbivanja nakon Zadarskog mira 1358., u kojoj su znanost i kultura u Zadru, Dalmaciji i Hrvatsko-ugarskom kraljevstvu doživjeli polet i znatan procvat. Navodi se i mogućnost da je rukopis možda dokument što ga je proizveo dominikanski kulturni krug u Zadru uoči osnivanja 1396. tzv. svečanog studija Dalmatinske provincije kao prvog hrvatskog sveučilišta.This article consists of the first preliminary description of the second part of the manuscript R81 (here entitled De artibus liberalibus), written at the beginning of the second half of the 14th century and kept in the manuscript collection of the Franciscan monastery library in Zadar. The manuscript was discovered at the end of the 1970s or at the beginning of the 1980s by Vinko Velnić, and was subsequently included in an informative manner in Žarko Dadić’s Povijest egzaktnih znanosti u Hrvata (History of Natural Sciences among the Croats, vol. 2, 1982) and in Ennio Stipčević’s Hrvatska glazba (Croatian Music, 1997). No study on this manuscript has been published in Croatian musicology up until today. It is a short text (encompassing less than two pages) written in Latin and in Gothic script. It is situated in the unpaginated appendix (the second part of the manuscript) bound together with the first part. Its contents are rudimentary musico-theoretical assertions from the basic quadrivium repertoire (numerological articulation of intervals and their ratios), as taught in the church schools and universities of the Late Middle Ages. Its author is supposedly Father Nikola from Zadar, schooled at Oxford University. Along with other texts covering the trivium and quadrivium repertoire, as well as the general theological topics of which the major part of the text consists, it offers a compendium of specific knowledge following particular areas as taught at the Franciscan theological studies organized in Zadar during the 14th century. Concerning the context of the manuscript copying, it is suggested that, on the one hand, future investigation should involve a comparative study of manuscript musicotheoretical sources in Oxford, dated in the 13th and 14th centuries (those by Robert Grosseteste, Robert Kilwardby, Roger Bacon, the treatise Quatuor principalia musice, today attributed to John Tewkesbury); on the other hand — within a broader Croatological context — the difference in the dating of both manuscripts (either 1355 or 1360, or even later for the De artibus liberalibus manuscript) could point to the fact that the Zadar manuscript under consideration might be understood as a direct temporal and contextual reflection of broader social processes following the Zadar peace treaty of 1358, after which scholarship and culture in Zadar, Dalmatia and in the Croatian-Hungarian Kingdom witnessed a considerable upsurge and blossoming. The possibility is also mentioned that this manuscript might be considered as a document produced by the Dominican cultural circle from Zadar in the period preceding the so-called Solemn Study of the Dalmatian province, organized in 1396 as the first Croatian university