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    Tytuł:
    Muzyczna ilustracja tekstu w XVIII-wiecznych cyklach nieszpornych kompozytorów jasnogórskich
    Autorzy:
    Ślusarczyk, Dawid
    Powiązania:
    https://bibliotekanauki.pl/articles/668915.pdf
    Data publikacji:
    2018
    Wydawca:
    Uniwersytet Papieski Jana Pawła II w Krakowie
    Tematy:
    Jasna Góra
    Vespers
    music rhetoric
    Liturgy
    history of Polish music
    nieszpory
    retoryka muzyczna
    liturgika
    historia muzyki polskiej
    Opis:
    The Vespers attracted the interest of many church composers and were – apart from the Mass – the second most frequently chosen service text. The musical setting of this part of officium divinum became richer in the course of time, especially in the monastic rite. The Vespers of Jasna Góra were of special nature since the prayer of the monks was accompanied by the Pauline monastery music ensemble. Its repertoire included works by composers connected with Częstochowa, who were instrumentalists or kapellmeisters in the monastery.The article presents seven composers connected with Jasna Góra in the 1700’s. The material was analyzed in terms of the relationship between the liturgical text and the musical setting, which was the very core of the 18th century art of composition. The musical works studied show features characteristic for the music of early Classical period, at the same time retaining some elements typical of the Baroque rhetoric. The Vespers of Jasna Góra are valuable evidence of Polish cultural heritage – one of the few preserved works of this kind.
    Opracowania tekstów nieszpornych stanowiły drugą, obok mszy, grupę utworów chętnie podejmowanych przez kompozytorów tworzących na potrzeby Kościoła. Celebrowanie tej części officium divinum zyskało w ciągu wieków bogatą oprawę muzyczną, zwłaszcza w rycie monastycznym. Szczególny charakter miały vesperae na Jasnej Górze, gdzie codziennej modlitwie zakonników towarzyszyła paulińska kapela. Repertuar tego zespołu obejmował m.in. kompozycje twórców związanych z Częstochową, pełniących w klasztorze funkcje kapelmistrzów lub instrumentalistów.Artykuł prezentuje dzieła siedmiu kompozytorów związanych z Jasną Górą w XVIII wieku. Materiał przeanalizowano pod względem związków tekstu liturgicznego z oprawą dźwiękową, będącego kluczowym zagadnieniem ówczesnej sztuki kompozycji. Analizowane utwory wykazują cechy znamionujące twórców doby wczesnego klasycyzmu, chociaż nadal obecne są w nich środki charakterystyczne dla barokowych retorów. Jasnogórskie nieszpory są cennym świadectwem kultury dawnej Polski – jednym z nielicznych zabytków, które przetrwały do naszych czasów.
    Źródło:
    Pro Musica Sacra; 2018, 16
    2083-4039
    Pojawia się w:
    Pro Musica Sacra
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    „Talent to dobro powierzone...” – etyka chrześcijańska w postawie twórczej i życiowej Witolda Lutosławskiego
    Autorzy:
    Bolesławska-Lewandowska, Beata
    Powiązania:
    https://bibliotekanauki.pl/articles/668977.pdf
    Data publikacji:
    2013
    Wydawca:
    Uniwersytet Papieski Jana Pawła II w Krakowie
    Tematy:
    Witold Lutosławski
    history of Polish music
    WWII
    Martial Law in Poland
    folk songs
    Christmas carols
    Opis:
    „Talent is a form of wealth entrusted to us” – these words may serve as Witold Lutosławski’s motto. He repeated them often and at many occasions, emphasising that each creative artist is obliged to treat his talent carefully and develop it to produce great results for public consumption. This corresponds well with Biblical parable on talents but does it mean that Lutosławski was a religious man? Was Christian ethic important to him? In his music there is no much connection with religion – only his youthful Lacrimosa for soprano, choir and orchestra, and the arrangements of traditional Polish Christmas carols, composed shortly after the Second World War, present his direct relations to religious inspirations. However, he did not like to talk about his beliefs and worldview, especially in the context of his own music, which for him always was abstract and free from any extra-musical features. But his attitude to composing, as well as to the public activity, reveals many connections with Christianity values. He was brought up in the family of strongly catholic and patriotic beliefs, connected with high moral principles. An atmosphere of Lutosławskis’ family, which belonged to the intellectual elites of pre-war Poland, made strong influence on young Witold. For the rest of his life he felt obliged to pay his duties both as a composer and as a man of a high moral standards. He not only concentrated on his creative work (though it was his main life obligation) but searched for public weal in his social activity, always aiming „to behave decently”. This corresponds perfectly with Christian ethic and indeed in one of his interviews Lutosławski openly admitted that not only his worldview was formed by Catholicism, towards which he remained faithful, but also that in his opinion Christian ethic remains pre-eminent among all ethic systems formed by the humanity.
    „Talent is a form of wealth entrusted to us” – these words may serve as Witold Lutosławski’s motto. He repeated them often and at many occasions, emphasising that each creative artist is obliged to treat his talent carefully and develop it to produce great results for public consumption. This corresponds well with Biblical parable on talents but does it mean that Lutosławski was a religious man? Was Christian ethic important to him? In his music there is no much connection with religion – only his youthful Lacrimosa for soprano, choir and orchestra, and the arrangements of traditional Polish Christmas carols, composed shortly after the Second World War, present his direct relations to religious inspirations. However, he did not like to talk about his beliefs and worldview, especially in the context of his own music, which for him always was abstract and free from any extra-musical features. But his attitude to composing, as well as to the public activity, reveals many connections with Christianity values. He was brought up in the family of strongly catholic and patriotic beliefs, connected with high moral principles. An atmosphere of Lutosławskis’ family, which belonged to the intellectual elites of pre-war Poland, made strong influence on young Witold. For the rest of his life he felt obliged to pay his duties both as a composer and as a man of a high moral standards. He not only concentrated on his creative work (though it was his main life obligation) but searched for public weal in his social activity, always aiming „to behave decently”. This corresponds perfectly with Christian ethic and indeed in one of his interviews Lutosławski openly admitted that not only his worldview was formed by Catholicism, towards which he remained faithful, but also that in his opinion Christian ethic remains pre-eminent among all ethic systems formed by the humanity.
    Źródło:
    Pro Musica Sacra; 2013, 11
    2083-4039
    Pojawia się w:
    Pro Musica Sacra
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    „Tam, gdzie podążał Szymanowski, zmierzam i ja”
    Autorzy:
    Malecka, Teresa
    Powiązania:
    https://bibliotekanauki.pl/articles/668987.pdf
    Data publikacji:
    2013
    Wydawca:
    Uniwersytet Papieski Jana Pawła II w Krakowie
    Tematy:
    Karol Szymanowski
    Henryk Mikołaj Górecki
    history of Polish music
    artistic activities
    inspirations
    intertextuality
    historia muzyki polskiej
    twórczość
    inspiracje
    intertekstualność
    Opis:
    There has been no greater contrast of personality, biography, worldview, and lifestyle. And yet there is no end to similarities, proximities, even kinship; great was Górecki’s fascination with Szymanowski.First was the score of Beethoven’s Ninth, bought for the money earned by selling a ping-pong racket; but Górecki then spent his first savings on Chopin’s Impromptus and Szymanowski’s Mazurkas. He would recount later: “I still have these scores, and that is how my strange story begins: Beethoven’s Ninth Symphony, Chopin’s Impromptus and Szymanowski’s Mazurkas.”28 Yet apart from Górecki’s fascination with Szymanowski music and oeuvre, there is another link still. Both artists fell in love with Podhale, the Tatra Mountains and the culture of the region; so much that its main spa, Zakopane, became their second home. This went hand in hand with their fascination with the music of Podhale.The focal point for Szymanowski’s impact on Górecki brings together two masterpieces of sacred music: Stabat Mater and Symphony of Sorrowful Songs.Stabat Mater is one of Szymanowski’s few religious works; Górecki’s Sorrowful Songs are one of the many sacred works written both before and after the Symphony. Yet they are both instances of the highest artistry, of the apogee in their author’s creative achievements.Outside explicit examples of correlation between the work of Szymanowski and Górecki, there is an analogy between them of a more general nature. Taking into account the historical situation in which the two composers lived and worked, and the meanders of Polish music of the 20th centuries, the stylistic breakthrough that took place both in Szymanowski – before his Stabat Mater – and in Górecki – before his Third Symphony – was of tantamount import to establish their rank and their position in the history of Polish music.
    There has been no greater contrast of personality, biography, worldview, and lifestyle. And yet there is no end to similarities, proximities, even kinship; great was Górecki’s fascination with Szymanowski.First was the score of Beethoven’s Ninth, bought for the money earned by selling a ping-pong racket; but Górecki then spent his first savings on Chopin’s Impromptus and Szymanowski’s Mazurkas. He would recount later: “I still have these scores, and that is how my strange story begins: Beethoven’s Ninth Symphony, Chopin’s Impromptus and Szymanowski’s Mazurkas.”28 Yet apart from Górecki’s fascination with Szymanowski music and oeuvre, there is another link still. Both artists fell in love with Podhale, the Tatra Mountains and the culture of the region; so much that its main spa, Zakopane, became their second home. This went hand in hand with their fascination with the music of Podhale.The focal point for Szymanowski’s impact on Górecki brings together two masterpieces of sacred music: Stabat Mater and Symphony of Sorrowful Songs.Stabat Mater is one of Szymanowski’s few religious works; Górecki’s Sorrowful Songs are one of the many sacred works written both before and after the Symphony. Yet they are both instances of the highest artistry, of the apogee in their author’s creative achievements.Outside explicit examples of correlation between the work of Szymanowski and Górecki, there is an analogy between them of a more general nature. Taking into account the historical situation in which the two composers lived and worked, and the meanders of Polish music of the 20th centuries, the stylistic breakthrough that took place both in Szymanowski – before his Stabat Mater – and in Górecki – before his Third Symphony – was of tantamount import to establish their rank and their position in the history of Polish music.
    Źródło:
    Pro Musica Sacra; 2013, 11
    2083-4039
    Pojawia się w:
    Pro Musica Sacra
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    O historii komunikowania muzyką i jej inspiracjach
    The history and interpretation of musical communication
    Autorzy:
    Raś, Dariusz
    Powiązania:
    https://bibliotekanauki.pl/articles/30108113.pdf
    Data publikacji:
    2019
    Wydawca:
    Uniwersytet Papieski Jana Pawła II w Krakowie
    Tematy:
    muzyka
    komunikacja
    historia
    gatunki
    źródła
    Benedykt XVI
    music
    communication
    history
    music genre
    origins
    Benedict XVI
    Opis:
    O historii komunikowania muzyką i jej inspiracjach. Jedną z centralnych ról w historii komunikacji międzyludzkiej pełni muzyka. Z początku proste, a potem coraz bardziej wyszukane formy muzyczne towarzyszą człowiekowi już od starożytności. Muzyczna komunikacja i ekspresja odróżnia się od innych form wyrazu znacznie większą abstrakcyjnością przekazywanych treści oraz wykorzystaniem oprócz głosu ludzkiego, również innych dźwięków naturalnych oraz instrumentów muzycznych. Celem opracowania jest przestawienie emanacyjnej analizy źródeł muzycznych autorstwa papieża Benedykta XVI w zestawieniu z wybranymi informacjami o źródłach, gatunkach muzyki i historii tej formy komunikacji.
    The history and interpretation of musical communication. Music plays one of the central roles in the history of interpersonal communication. From ancient times, various musical forms, simple at first and later more complex, have accompanied man. Musical communication and content differ from other forms of expression in that they are significantly more abstract in transmitting their content and use. This is true not only of the human voice but other natural sounds and musical instruments. The purpose of this paper is to present an emanational analysis of musical sources as proposed by Pope Benedict XVI as well as with selected information relating to sources, musical genres and the history of this form of communication.
    Źródło:
    Studia Socialia Cracoviensia; 2019, 11, 2; 55-72
    2080-6604
    Pojawia się w:
    Studia Socialia Cracoviensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Sakralność religijnej kontrafaktury świeckich utworów
    Autorzy:
    Kałamarz, Wojciech
    Powiązania:
    https://bibliotekanauki.pl/articles/668991.pdf
    Data publikacji:
    2013
    Wydawca:
    Uniwersytet Papieski Jana Pawła II w Krakowie
    Tematy:
    contrafactum
    types of contrafacta
    history of Christian music
    folk melodies
    choral
    Christmas carol
    liturgical chants
    Protestant music
    kontrafaktura
    rodzaje kontrafaktur
    historia muzyki chrześcijańskiej
    melodie ludowe
    chorał
    kolęda
    pieśni liturgiczne
    muzyka protestancka
    Opis:
    The phenomenon of contrafactum, that is giving new lyrics to the melody that already functioned with different words, is an old and common practice which occurred in many forms. Most often the term is associated with giving religious lyrics to a melody that previously possessed secular words. But this is only one of many possibilities. For centuries valuable melodies were used with both secular and religious words, regardless of original interrelationships of a particular melody.Today, in society sensitive to copyrights, the practice of contrafactum raises a lot of emotions. Also, it often evokes mixed feelings in the milieus which are involved in sacred music. This is because melodies, to some extent, convey with them the meaning of the words to which they are related, especially in the minds of the people who know these words. The secularity of melody can therefore be present not only in purely musical characteristics of a particular melody (e.g., dance rhythm, chromatization, great variety of emotions and emotional intensity), but also with secular context with which it is identified by the people who use this melody, for example, the intention which lead to the creation of a particular melody or with its original meaning. On the other hand, sacred music is the music created to participate in a sacred reality (an integral part of liturgy) and in some sense also to co-create this reality by praising the glory of God and sanctifying the faithful.When giving a secular melody to religious lyrics it is important to make sure that during liturgy their potential users should not associate this melody with anything secular. It should be composed in a perfect manner, in accordance with the rules of counterpoint. It should be a melody containing diatonic sounds, without unnecessary tension, alterations, and with dignified rhythm so that it lent itself to being performed by a large number of people. Moreover, it should simply be beautiful and its proportionally selected components should create internal unity of music and highlight the meaning of the lyrics to which it is to be added. Finally, the melody along with the words should be approved by the appropriate authority of the Church. Only then can we begin to consider it as a sacred, i.e., a liturgical song.
    Źródło:
    Pro Musica Sacra; 2013, 11
    2083-4039
    Pojawia się w:
    Pro Musica Sacra
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Place and Purpose of Vocal Ensembles in Liturgy
    Autorzy:
    Szlachetka, Tomasz
    Powiązania:
    https://bibliotekanauki.pl/articles/30146651.pdf
    Data publikacji:
    2023
    Wydawca:
    Uniwersytet Papieski Jana Pawła II w Krakowie
    Tematy:
    Place of singing ensembles
    tasks of singing ensembles
    history of singing en sembles
    liturgy
    music
    choir
    schola cantorum
    Opis:
    Over the centuries, singing ensembles have occupied assorted liturgical locations in church space. Nowadays – pursuant to music-related church laws – they ought to occupy a place duly highlighting their special participation and purpose in liturgy. Singing group place[1]ment shall take account of its composition as well. The placement and purpose of signing ensembles alike have to be viewed in the context of Church traditions and laws. In terms of the nature and tasks assigned to specific singing groups in liturgy, they may be classified as the choir and schola cantorum, respectively. A synthetic presentation of the topic will be particularly helpful to persons responsible for preparing solemn liturgical celebrations
    Źródło:
    Pro Musica Sacra; 2023, 21; 83-93
    2083-4039
    Pojawia się w:
    Pro Musica Sacra
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Znaczenie Słowa w liturgii
    Autorzy:
    Jurczak, Dominik
    Powiązania:
    https://bibliotekanauki.pl/articles/668889.pdf
    Data publikacji:
    2019
    Wydawca:
    Uniwersytet Papieski Jana Pawła II w Krakowie
    Tematy:
    Liturgy
    word(s) in the liturgy
    incarnation
    creativity in the liturgy
    history of liturgy
    Second Vatican Council
    Logos
    liturgical music
    Dominican rite
    Roman rite
    liturgia
    słowo w liturgii
    wcielenie
    kreatywność w liturgii
    historia liturgii
    Sobór Watykański II
    muzyka liturgiczna
    ryt dominikański
    ryt rzymski
    Opis:
    There is no wordless liturgy, a celebration employing solely gestures or thoughts. Even if a liturgy of that sort could materialize, it would necessarily prove demeaning to man’s very humanity by eliminating the proper human “tools” which elevate him above all other creatures. In addition to this, a wordless liturgy would also clearly contradict the nature of the Creator himself who, especially in the liturgy, uses the Word to perform and to bring to completion the work of creation and redemption. In this article I would like to move closer towards the mystery of a word, or rather, towards the mystery of the Word and words, in the liturgy, so that eventually the full significance of words in Christian celebrations may be brought out. To achieve this goal I suggest a wide perspective, both historical and theological, which hopefully will allow for a better understanding of liturgy.
    Nie istnieje liturgia, która byłaby bezsłowna, to znaczy taka, w której celebracji posiłkowano by się wyłącznie gestami czy myślami. Gdyby przyjąć, że taką liturgię dałoby się zrealizować, to w konsekwencji musiałaby ona być swoistego rodzaju zdeprecjonowaniem człowieka, ograbiałaby go z typowo ludzkich „narzędzi”, z tego, co znacząco wynosi go ponad wszystkie inne stworzenia. Z drugiej strony bezsłowna liturgia stanęłaby w głębokiej sprzeczności z naturą samego Stwórcy, który Słowem – par excellence w liturgii – dokonuje oraz dopełnia dzieła stworzenia i odkupienia. Niniejszy tekst jest próbą przybliżenia się do tajemnicy słowa – czy raczej Słowa i słów – w liturgii, by koniec końców wydobyć pełne znaczenie słów dla celebracji chrześcijańskiej. Zaproponowana refleksja chce spojrzeć na problematykę w sposób możliwe szeroki, historyczny i teologiczny zarazem, poszukując syntezy, dzięki której lepiej będzie można zrozumieć samą liturgię.
    Źródło:
    Pro Musica Sacra; 2019, 17
    2083-4039
    Pojawia się w:
    Pro Musica Sacra
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-7 z 7

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