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Wyszukujesz frazę "religious poetry" wg kryterium: Temat


Wyświetlanie 1-4 z 4
Tytuł:
Śląski modlitewnik – Skarbiec modlitw i pieśni. Tradycja i współczesność
Autorzy:
Reginek, Antoni
Powiązania:
https://bibliotekanauki.pl/articles/669081.pdf
Data publikacji:
2012
Wydawca:
Uniwersytet Papieski Jana Pawła II w Krakowie
Tematy:
Polish religious poetry
church songs
origin of church songs
Opis:
It has been largely prayer books which helped to preserve faith and Polish culture in the Upper Silesia, Poland, as they often accompanied people throughout their entire lives. A considerable number of Polish sacred songs can be found amongst the Silesian collections of prayers and chants dated from the turn of the 19th and 20th centuries. They were mainly chorale books with lyrics, but also music scores in the form of pipe organ accompaniments. Since the beginning of the 20th c. there were two Upper-Silesian prayer books which gained widespread popularity: Droga do nieba (Way to Heaven) and Skarbiec modlitw i pieśni (The Treasure of Prayers and Songs), published in numerous editions, including those targeted exclusively at children and youth, and at the poor-sighted readers. On the occasion of the great jubilee of 2000 the collection of sacred songs with scores was published under the title Śpiewnik archidiecezji katowickiej (The Song Book of the Katowice Archdiocese). It was completed by a collection of organ accompaniments, Chorał Śląski (The Silesian Chorale) in a similar arrangement. So as to popularise more widely the repertoires of songs, the Katowice Publishing House of Księgarnia Św. Jacka developed a project releasing a collection of sole lyrics to songs, Skarbiec pieśni kościelnych (The Treasure of Sacred Songs). All editorial attempts so far, to have been aimed at enlivening liturgical gatherings, have greatly contributed to continuing the glorious tradition of the sacred singing in Silesia.
It has been largely prayer books which helped to preserve faith and Polish culture in the Upper Silesia, Poland, as they often accompanied people throughout their entire lives. A considerable number of Polish sacred songs can be found amongst the Silesian collections of prayers and chants dated from the turn of the 19th and 20th centuries. They were mainly chorale books with lyrics, but also music scores in the form of pipe organ accompaniments. Since the beginning of the 20th c. there were two Upper-Silesian prayer books which gained widespread popularity: Droga do nieba (Way to Heaven) and Skarbiec modlitw i pieśni (The Treasure of Prayers and Songs), published in numerous editions, including those targeted exclusively at children and youth, and at the poor-sighted readers. On the occasion of the great jubilee of 2000 the collection of sacred songs with scores was published under the title Śpiewnik archidiecezji katowickiej (The Song Book of the Katowice Archdiocese). It was completed by a collection of organ accompaniments, Chorał Śląski (The Silesian Chorale) in a similar arrangement. So as to popularise more widely the repertoires of songs, the Katowice Publishing House of Księgarnia Św. Jacka developed a project releasing a collection of sole lyrics to songs, Skarbiec pieśni kościelnych (The Treasure of Sacred Songs). All editorial attempts so far, to have been aimed at enlivening liturgical gatherings, have greatly contributed to continuing the glorious tradition of the sacred singing in Silesia.
Źródło:
Pro Musica Sacra; 2012, 10
2083-4039
Pojawia się w:
Pro Musica Sacra
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Utrwalone dziedzictwo – pieśni religijne w twórczości Władysława z Gielniowa, Franciszka Karpińskiego i Kazimierza Brodzińskiego
Autorzy:
Reginek, Antoni
Powiązania:
https://bibliotekanauki.pl/articles/668945.pdf
Data publikacji:
2015
Wydawca:
Uniwersytet Papieski Jana Pawła II w Krakowie
Tematy:
Polish religious poetry
church songs
origin of church songs
polska poezja religijna
pieśń kościelna
źródła śpiewów kościelnych
Opis:
The study of Polish religious songs shows the literary and musical values of selected works and also presents the authors of these works. This paper presents the achievements of three eminent poets: Władysław of Gielniow (ab. 1440–1505), Franciszek Karpiński (1741–1825) and Kazimierz Brodziński (1791–1835). Their activity in the field of popularization of church chant deserves to be particularly appreciated. Also the motives of fascination with religious chant are interesting. Sometimes this form of expression was the result of personal faith, sometimes it sprang from some additional motives or conditioning. The popularity of a particular poetic work depends to a large extend on its musical form. The religious chants of the poets mentioned above, though coming from various times and composed in various places are truly outstanding and popular, which makes them constantly present in the repertory of church songs. The fact that they were included in the latest edition of Śpiewnik kościelny (Church Songbook) by Fr. Jan Siedlecki may serve as a proof of keen acceptance and a sign of their belonging to cultural heritage.
Badania nad polską pieśnią religijną wskazują na walory literacko-muzyczne wybranych utworów, jak również przybliżają sylwetki samych twórców. Niniejszy artykuł przedstawia najważniejsze osiągnięcia trzech wybitnych poetów: Władysława z Gielniowa (ok. 1440–1505), Franciszka Karpińskiego (1741–1825) i Kazimierza Brodzińskiego (1791–1835), których działalność na polu upowszechnienia pieśni kościelnej zasługuje na szczególne uznanie. Interesujące są również same motywy fascynacji poezją pieśniową o tematyce religijnej, czasem taka forma twórczości wynikała z osobistej wiary, niekiedy też z dodatkowych pobudek czy uwarunkowań. Duże znaczenie w upowszechnieniu danego utworu poetyckiego odgrywa forma muzyczna. Pieśni religijne wspomnianych poetów z różnego czasu i miejsca powstania odznaczają się cennymi walorami i popularnością, co sprawia, że są one stale obecne w repertuarze śpiewów kościelnych. Umieszczenie ich w najnowszym wydaniu Śpiewnika kościelnego ks. Jana Siedleckiego może stanowić potwierdzenie żywej recepcji i znak trwałego dziedzictwa.
Źródło:
Pro Musica Sacra; 2015, 13
2083-4039
Pojawia się w:
Pro Musica Sacra
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Henryk Mikołaj Górecki i jego muzyka
Autorzy:
Siedlik, Włodzimierz
Powiązania:
https://bibliotekanauki.pl/articles/669039.pdf
Data publikacji:
2012
Wydawca:
Uniwersytet Papieski Jana Pawła II w Krakowie
Tematy:
choral music
poetry
sacred music
religious concentration and meditation
musical composition
simplicity
logic RT
Opis:
Henryk Mikołaj Górecki, one of the most renowned Polish composers, died on 12 November 2009. Athough he is no longer present among us, his music lives on. Sadly, many of contemporary musicians did not or did not want to notice the music composed by Professor Górecki. Some listeners got shocked, others were astonished by it. The music, aesthetic and philosophical values of his III Symphony were only discerned after 17 years. The triumphal return to Poland of the III Symphony’s scores arouse the great, unprecedented worldwide, interest in H. M. Górecki’s compositions. This unbelievably modest artist, both in life and in art, remained uncompromising until the end.Henryk Mikołaj Górecki created his compositions while being deeply rooted in the Polish tradition, particularly folk and religious, which was his source of inspiration. Before developing his own style he went a long artistic way. Always openly declared his origin that can be heard in his compositions and in his views of which he was never ashamed. He lived an austere life among his highlanders, disregarding his fame, solemn banquets and presents.During the last 20 years I have been privileged to perform Professor Górecki’s choral music with ten choirs, including 4 professional ones at the distinguished concerts, competitions and festivals. The choral music has been recorded on 12 CD records featuring various performers. With the assistance of the Choir of Polish Radio and as requested by the composer, I delivered several first performances of his works.I am a great debtor to the Professor for his teaching me humbleness towards music, humbleness towards every artist, co-performer and myself.
Henryk Mikołaj Górecki, one of the most renowned Polish composers, died on 12 November 2009. Athough he is no longer present among us, his music lives on. Sadly, many of contemporary musicians did not or did not want to notice the music composed by Professor Górecki. Some listeners got shocked, others were astonished by it. The music, aesthetic and philosophical values of his III Symphony were only discerned after 17 years. The triumphal return to Poland of the III Symphony’s scores arouse the great, unprecedented worldwide, interest in H. M. Górecki’s compositions. This unbelievably modest artist, both in life and in art, remained uncompromising until the end.Henryk Mikołaj Górecki created his compositions while being deeply rooted in the Polish tradition, particularly folk and religious, which was his source of inspiration. Before developing his own style he went a long artistic way. Always openly declared his origin that can be heard in his compositions and in his views of which he was never ashamed. He lived an austere life among his highlanders, disregarding his fame, solemn banquets and presents.During the last 20 years I have been privileged to perform Professor Górecki’s choral music with ten choirs, including 4 professional ones at the distinguished concerts, competitions and festivals. The choral music has been recorded on 12 CD records featuring various performers. With the assistance of the Choir of Polish Radio and as requested by the composer, I delivered several first performances of his works.I am a great debtor to the Professor for his teaching me humbleness towards music, humbleness towards every artist, co-performer and myself.
Źródło:
Pro Musica Sacra; 2012, 10
2083-4039
Pojawia się w:
Pro Musica Sacra
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„Litania do Marii Panny” Jerzego Lieberta w kantacie Karola Szymanowskiego
Autorzy:
Szczurko, Elżbieta
Powiązania:
https://bibliotekanauki.pl/articles/669067.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet Papieski Jana Pawła II w Krakowie
Tematy:
Jerzy Liebert
Karol Szymanowski
cantata
poetic litany
prayer
Polish poetry
Polish religious music
transcendence
kantata
litania poetycka
modlitwa
poezja polska
polska muzyka religijna
transcendencja
Opis:
The subject of the article is Litany to Virgin Mary op. 59 by Karol Szymanowski, written to excerpts of a poem by Jerzy Liebert. The author starts by concentrating on the characteristics of the works of Liebert, who was a leading representative of religious‑philosophical poetry during the period between the two world wars. She also discusses the evolution of the poet’s religious‑philosophical views and the way in which they influenced his literary activity. The analysis begins with Liebert’s lyrical poem Litany to the Virgin Mary, a poem of great simplicity yet symbolically charged, constituting an example of the kind of poetry where the subject “becomes locus transcendentiae”. The context for the poem is provided both by liturgical litany and poetic litany, with examples of poems written by Liebert prior to the Litany. In the later part of the article the author focuses on the attributes of Szymanowski’s cantata, which the composer himself regarded as “perhaps the best work he had ever written”. Having indicated the reasons why Liebert’s poem was the source of inspiration, and having described the circumstances under which the work was composed, the author moves on to characterise the constitutive features of the cantata, identifying them at the level of style and aesthetics, in the relation between words and music, and the symbolism of the imagery and expressive figures. In the interpretation of the work she refers to analyses by other authors, including Mieczysław Tomaszewski’s conception which depicts the Litany as an embodiment of the “Franciscan” idiom.
Przedmiotem artykułu jest Litania do Marii Panny op. 59 Karola Szymanowskiego, napisana do fragmentów wiersza Jerzego Lieberta. Autorka koncentruje się najpierw na cechach twórczości Lieberta, jako czołowego przedstawiciela poezji religijno‑filozoficznej dwudziestolecia międzywojennego, wskazując także na ewolucję poglądów filozoficzno‑religijnych poety, determinujących jego aktywność literacką. Analizie poddany jest najpierw pełen prostoty, nacechowany symbolicznie liryk Lieberta Litania do Marii Panny, stanowiący przykład poezji, w której podmiot „staje się locus transcendentiae”. Kontekst dla wiersza stanowi zarówno litania liturgiczna, jak i litania poetycka, z przykładami wierszy napisanych przed Litanią Lieberta. W dalszej części artykułu autorka skupia się na walorach kantaty Karola Szymanowskiego, uznanej przez samego kompozytora za „może najlepszy utwór, jaki napisał”. Wskazując najpierw na przyczyny inspiracji wierszem Lieberta oraz okoliczności powstania dzieła, autorka przechodzi do charakterystyki cech konstytutywnych kantaty, odnajdując je na poziomie stylu i estetyki, w relacji słowa i muzyki oraz symbolice figur obrazowych i wyrazowych. W interpretacji dzieła pojawiają się odniesienia do analiz innych autorów, m.in. koncepcji Mieczysława Tomaszewskiego, przedstawiającego Litanię jako wcielenie idiomu „franciszkańskiego”.
Źródło:
Pro Musica Sacra; 2017, 15
2083-4039
Pojawia się w:
Pro Musica Sacra
Dostawca treści:
Biblioteka Nauki
Artykuł
    Wyświetlanie 1-4 z 4

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