Sung Lessons in the Liturgical Practices of the Parish Church of St. Martin the Bishop in Vranjic

Dispozicijom i analizom transkripcija jedanaest autohtonih napjeva autor pokazuje praksu solističkoga pjevanja štenjâ, odlomaka iz Staroga i Novoga zavjeta kao i nekih drugih liturgijskih i paraliturgijskih tekstova, pripadajućih pučkoj baštini glagoljaških korijena, koja u bogoslužju župne crkve svetoga Martina biskupa u Vranjicu ima zasvjedočenu višestoljetnu prisutnost. Kako nekad, tako i danas, izvedbe određenih, najčešće tipskih melodijskih obrazaca, sustavno uklopljenih u bogoslužne čine tijekom čitave liturgijske godine, povjeravane su redovito pojedinim, nadarenijim pjevačima-laicima koji ih tijekom svojega pjevačkog staža načelno interpretiraju kroz dulji vremenski period. Pripadajuće analize osim osvrta na melodijske tijekove te modalitetne odrednice, jednako kao i ritamske, izvedbene i druge karakteristike donose gdjekad i dopunske opise praktičnih okolnosti u kojima su pojedini napjevi (bili) izvođeni. Uz vlastite zvukovne pohrane, autor se u radu, sa svrhom nadopune i komparacije pripadajućih notnih materijala, oslanja i na snimke odnosno transkripciju dvojice drugih, ranijih istraživača i snimatelja pučkoga crkvenog pjevanja u Vranjicu.By presenting and analysing transcripts of eleven local traditional chants, the author is dealing with the tradition of (soloist) sung lessons (so-called »štenja«) of texts from the Old and New Testaments, as well as of other liturgical and paraliturgical texts, belonging to the folk tradition originating from the field of Glagolitic singing, that has been proven to have existed in the liturgy of the parish church of St. Martin the Bishop in Vranjic for several centuries now. Same in the past as now, performing certain, normally melodic patterns of certain types, systematically incorporated in the church ritual activities throughout the liturgical year, has been entrusted to certain, the most gifted lay singers, who performed them over longer periods of time during their lifetimes. The presented analyses, besides dealing with melodic sequences and modal determinants, as well as rhythmic, performance and other properties, also occasionally present additional descriptions of practical circumstances in which certain chants are (were) performed. Aimed to add to and compare the music sheets, the author is in this paper, besides his own audio recordings, using also recordings and transcription made by two other, older, researchers and recorders of the traditional church singing in Vranjic