PERFORMANCE PRACTICES OF TRANSYLVANIAN LATIN IN ECCLESIASTICAL MUSIC

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dc.coverageSTUDIA UBB MUSICA, Volume 70(LXX), No. 2, December 2025, pp. 283-298en-US
dc.creatorBUHAICIUC, Mihaela
dc.creatorSZABÓ-SIKLÓDI, László-Levente
dc.date2025-12-24
dc.date.accessioned2026-02-21T20:21:11Z
dc.descriptionThe question of Ecclesiastical Latin pronunciation continues to be a subject of debate in the performing arts circles. While Latin is often labeled a “dead” language, one may argue that it remains vividly alive through performances – whether in liturgical or concert practices. For this reason, the pronunciation of Ecclesiastical Latin is not only an academic concern but an essential aspect of vocal authenticity within established religious aesthetics. Although it is widely acknowledged that no regional form of Ecclesiastical Latin mirrors the Classical Latin pronunciation of antiquity, the question today is whether performers should follow the scholarly reconstruction of local practices or adhere to Papal standardization. This is also the case with Transylvanian Ecclesiastical Music, which, based on historical evidence proves its alignment with the Hungarian-Germanic practices. Today, the performer’s pronunciation of Latin in Transylvania is often a hybrid language, blending Germanic and Italianate features. Using the International Phonetic Alphabet, this paper analyzes the fixed forms of the Ordinarium Missae comparing the German pronunciation suggested by Valentin Lanzrein with the Italian pronunciation model instructed by Michael de Angelis as per Vatican’s requirements, while describing the Transylvanian performing practices in its main communities: Hungarian, Saxon and Romanian. Ultimately, this study argues the local need for development of specialized vocal performance programs focused on Western sacred repertoire, a curriculum distinct from those centered on opera and Byzantine music.en-US
dc.formatapplication/pdf
dc.identifierhttps://studia.reviste.ubbcluj.ro/index.php/subbmusica/article/view/9894
dc.identifier10.24193/subbmusica.2025.2.14
dc.identifier.urihttps://hdl.handle.net/20.500.14637/2462
dc.languageeng
dc.publisherBabeș-Bolyai University / Cluj University Pressen-US
dc.relationhttps://studia.reviste.ubbcluj.ro/index.php/subbmusica/article/view/9894/9541
dc.rightsCopyright (c) 2025 Studia Universitatis Babes-Bolyai Musicaen-US
dc.rightshttps://creativecommons.org/licenses/by-nc-nd/4.0en-US
dc.sourceStudia Universitatis Babes-Bolyai Musica; Volume 70, No. 2, December 2025; 283-298en-US
dc.source2065-9628
dc.source1844-4369
dc.source10.24193/subbmusica.2025.2
dc.subjectIPAen-US
dc.subjectOrdinarium Missaeen-US
dc.subjectTransylvaniaen-US
dc.subjectEcclesiastical Latinen-US
dc.subjectvocal performanceen-US
dc.subjecthistorical performance practicesen-US
dc.titlePERFORMANCE PRACTICES OF TRANSYLVANIAN LATIN IN ECCLESIASTICAL MUSICen-US
dc.typeinfo:eu-repo/semantics/article
dc.typeinfo:eu-repo/semantics/publishedVersion
dc.typePeer-reviewed Articleen-US
dc.typetexten-US

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