LITURGICAL MUSIC BETWEEN THE PRESERVATION OF MUSICAL HERITAGE AND LITURGICAL PRACTICE

Predmet razmatranja ovog članka je međuodnos liturgijske glazbene baštine i aktualne liturgijske prakse s posebnim osvrtom na problematiku vrjednovanja domaće glazbene baštine u odnosu prema novim oblicima liturgijsko-glazbenog izraza. Ovim se prilogom želi ukazati na važnost njegovanja i potrebu promicanja glazbene baštine izvan i u sklopu liturgijskog slavlja, njihovo integrativno vrjednovanje i učinkovito posredovanje u glazbenoj kulturi Crkve, te razbistriti prikladnu kriteriologiju odabira djela u aktualnoj liturgijskoj praksi. Prvi dio članaka uvodi u zadanu tematiku, eksplicirajući neke vidove suvremenih izazova pred kojima se nalazi glazbena kultura Crkve. Pritom se autor ukratko osvrće na saborski nauk o glazbi za liturgiju i izvodi neka načela, koja izvorno obilježavaju liturgijsku glazbu. Drugi dio članka, u kraćem povijesnom presjeku, upozorava na bogate i slojevite oblike domaće glazbene baštine splitske prvostolnice. Glazbena baština i liturgija u vremenu komunikacije umjetnosti, predmet je razmatranja trećeg dijela priloga. U njemu se obrađuje problematika suvremene percepcije liturgijske glazbe, te nnjezina neotuđiva teologalna i komunikativna vlastitost na obzoru postmoderne komunikacije umjetnosti. Završni, četvrti dio, obrađuje neke normativne kriterije s obzirom na prisutnost djela iz glazbene baštine u suvremenoj liturgijskoj praksi i izvan nje.The subject of this article is the correlation between liturgical musical heritage and actual liturgical practice, with special reference to the issue of evaluation of home musical heritage in relation to the new forms of liturgical-musical expression. The aim of this contribution is to point out the importance of fostering and need of promoting the musical heritage out of and within the liturgical celebration, their integrative evaluation and efficient mediation in the Church musical culture, and also to clear up the criteria of selecting the works in the actual liturgical practice. The first part of the article gives an introduction into the subject, explicating some aspects of contemporary challenges posing to the Church musical culture today. At it the author refers to the council doctrine on music for the liturgy and derives some principles, which authentically characterize liturgical music. The second part of the article, in a brief historical review, points to the rich and complex form of home musical heritage of the cathedral of Split. The third part of this contribution deals with the musical heritage and liturgy at the time of the arts’ communication. In it the author refers to the issue of contemporary perception of liturgical music, and to its inalienable theological and communicative properties on the horizon of the post-modern communication of art. The last, fourth part deals with some normative criteria regarding the presence of works from musical heritage in and out of contemporary liturgical practice