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Tytuł:
Budownictwo organowe na Słowacji po roku 2000
Organ-building in Slovakia after 2000
Autorzy:
Adamko, Rastislav
Powiązania:
https://bibliotekanauki.pl/articles/24020104.pdf
Data publikacji:
2023
Wydawca:
Uniwersytet Opolski. Diecezjalny Instytut Muzyki Kościelnej. Katedra Muzykologii Uniwersytetu Opolskiego
Tematy:
Słowacja
organy piszczałkowe
organmistrz
traktura
wiatrownica
Slovakia
Pipe Organ
Organ-builde
Windchest
Action
Opis:
A total of 60 organs were built in Slovakia after 2000, including 10 positives, 13 smaller one-manual instruments, 30 two-manual instruments, 6 three-manual instruments and one four-manual instrument. In addition to Slovak and Czech organ-builders, other foreign companies became contractors for these installations, and brought a new level of quality, as they followed the most modern trends in organ-building to a much greater extent. Some Slovak companies have also moved in this direction. However, anachronistic approaches can also be noted, especially among the older generation of Slovak organ builders. The tonal concept of many new instruments is aimed at creating versatility. In recent years, however, there has been an emerging trend to create stylistically distinct dispositions.
Źródło:
Folia Organologica. International yearbook of organ and organ music; 2023, 1; 7-21
2657-6082
2719-3284
Pojawia się w:
Folia Organologica. International yearbook of organ and organ music
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Renowacja organów Josefa Bacha w kościele parafialnym pw. św. Piotra i Pawła w Sycowie
Renovation of the Josef Bach organ in the parish church of st. Peter and Paul in Syców
Autorzy:
Cieplik, Kazimierz
Powiązania:
https://bibliotekanauki.pl/articles/24020107.pdf
Data publikacji:
2023
Wydawca:
Uniwersytet Opolski. Diecezjalny Instytut Muzyki Kościelnej. Katedra Muzykologii Uniwersytetu Opolskiego
Tematy:
Syców
organy
Joseph Bach
renowacja
Andrzej Sutowicz
Sycow
pipe organ
renovation
Opis:
After the 1905-1906 reconstruction of the parish church of st. Peter and Paul in Syców, the organ building company of A. Spiegel from Rychtal, led by Joseph Bach, constructed an organ with 21 voices in 1907, according to the instruction of prof. Emil Bohn from Wroclaw. Only the prospectus and box bellows were re-used for their construction from the old instrument. By 1920, 2 stops were added to the pedal, and in 1943, the Sauer company of Frankfurt (Oder) added 3 stops to the second manual. The new voices were placed on separate wind chests. An additional a small float bellow was also installed. After World War II, the instrument was repaired several times, but its technical condition continued to deteriorate until it was finally put out of use for several years. Only in 2021 did it undergo a thorough renovation.
Źródło:
Folia Organologica. International yearbook of organ and organ music; 2023, 1; 77-91
2657-6082
2719-3284
Pojawia się w:
Folia Organologica. International yearbook of organ and organ music
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Crisis or Renaissance of Europe’s organ heritage?
Kryzys czy renesans europejskiego dziedzictwa organowego?
Autorzy:
Bernat, Sebastian
Powiązania:
https://bibliotekanauki.pl/articles/24200994.pdf
Data publikacji:
2022
Wydawca:
Stowarzyszenie Konserwatorów Zabytków
Tematy:
cultural heritage
pipe organ
music
craftsmanship
threats
challenges
dziedzictwo kulturowe
organy
muzyka
rzemiosło
zagrożenia
wyzwania
Opis:
The organ heritage has attracted increasing interest of the international community. The objective of this paper is to examine the current situation of Europe’s organ heritage. Interviews with experts on the contemporary threats and challenges to the heritage of the organ were the most important part of the study. The main contemporary threats to Europe’s organ heritage are: unprofessional organ-building services; enormous costs of restoration work; incomplete inventories of instruments; secularization of European societies; relatively poor awareness of organ users and administrators (mainly clergy). Among the most important challenges for the preservation of Europe’s organ heritage, the experts mention education activities at several levels. There is also a special challenge of trying to restore the functioning of the organ music and organ building community to the state from before the pandemic, and to continue the already started organ building or reconstruction projects.
Dziedzictwo organowe przyciąga coraz większą uwagę społeczności międzynarodowej. Celem artykułu jest zbadanie obecnej sytuacji europejskiego dziedzictwa organowego. Wywiady z ekspertami na temat współczesnych zagrożeń i wyzwań dla europejskiego dziedzictwa organowego były najważniejszą częścią badania. Główne współczesne zagrożenia dla europejskiego dziedzictwa organowego to: nieprofesjonalne usługi budowy organów, ogromne koszty prac renowacyjnych, niepełne inwentarze instrumentów, sekularyzacja społeczeństw europejskich, relatywnie niski poziom świadomości użytkowników i administratorów organów (głównie duchowni). Wśród najważniejszych wyzwań stojących przed zachowaniem europejskiego dziedzictwa organowego eksperci wymienili wielopoziomowe działania edukacyjne. Szczególnym wyzwaniem jest też próba odbudowy funkcjonowania muzyki organowej i społeczności budowniczych organów do stanu sprzed pandemii, a także kontynuacja już rozpoczętych projektów budowy i rekonstrukcji organów.
Źródło:
Wiadomości Konserwatorskie; 2022, 72; 126--135
0860-2395
2544-8870
Pojawia się w:
Wiadomości Konserwatorskie
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Revisiting the Open-End Reflection Coefficient and Turbulent Losses in an Organ Pipe with Low Mach Number Flow
Autorzy:
Hruška, Viktor
Dlask, Pavel
Powiązania:
https://bibliotekanauki.pl/articles/1953497.pdf
Data publikacji:
2021
Wydawca:
Polska Akademia Nauk. Czasopisma i Monografie PAN
Tematy:
organ pipe
reflection coefficient
end correction
flow-acoustic interactions
Opis:
The reflection coefficient of the open end belongs among the essential parameters in the physical description of a flue organ pipe. It leads directly to practical topics such as the pipe scaling. In this article, sound propagation is investigated inside an organ pipe with the most intense mean flow that is achievable under musically relevant conditions. A theoretical model is tested against the experimental data to obtain a suitable formula for the reflection coefficient when a non-negligible flow through the open end is considered. The velocity profile is examined by means of particle image velocimetry. A fully developed turbulent profile is found and interactions of the acoustic boundary layer with the turbulent internal flow are discussed. A higher value of the end correction than expected from the classical result of Levine and Schwinger is found, but this feature shall be associated with the pipe wall thickness rather than the mean flow effects.
Źródło:
Archives of Acoustics; 2021, 46, 2; 197-204
0137-5075
Pojawia się w:
Archives of Acoustics
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Moritz Brosig (1815–1887) – działalność organoznawcza na Śląsku Opolskim na podstawie zbiorów Archiwum Państwowego w Opolu
Moritz Brosig (1815–1887) – his Activity as a Pipe Organ Supervisor in Opole Silesia Based on the Collection in the State Archives of Opole
Autorzy:
Poźniak, Grzegorz Michał
Powiązania:
https://bibliotekanauki.pl/articles/595515.pdf
Data publikacji:
2020
Wydawca:
Uniwersytet Opolski. Redakcja Wydawnictw Wydziału Teologicznego
Tematy:
Moritz Borsig
Śląsk Opolski
organy piszczałkowe
organoznawstwo
Opole Silesia
pipe organ
pipe organ supervisor
Opis:
Moritz Brosig (1815–1887) was a Silesian musician, organist, and composer. His creative activity focused on broadly understood liturgical music. The State Archives in Opole have conserved 35 opinions about organs that were arranged by him in the years 1871–1884, and which pertain to instruments in Opole Silesia. It is an interesting and rich set of documents, full of still undiscovered knowledge about Silesian organ construction in the 18th–20th centuries. The article presents the content of expert opinion about Moritz Brosig, and focuses mainly on sound issues. The author lists many names of the then organ building companies.
Moritz Brosig (1815–1887) był śląskim muzykiem, organistą i kompozytorem. Jego twórcza działalność koncentrowała się na szeroko pojętej muzyce liturgicznej. Archiwum Państwowe w Opolu przechowuje 35 opinii organoznawczych sporządzonych przez niego w latach 1871–1884, które dotyczą instrumentów na Śląsku Opolskim. Jest to niezwykle interesujący i bogaty zestaw dokumentów, pełen ciągle nieodkrytej wiedzy o śląskim budownictwie organowym XVIII–XX w. Artykuł prezentuje zawartość opinii eksperckich Moritza Brosiga. Autor skupia się na kwestiach brzmieniowych, ale wymienia także wiele nazw ówczesnych warsztatów organmistrzowskich.
Źródło:
Studia Teologiczno-Historyczne Śląska Opolskiego; 2020, 40, 1; 179-214
0137-3420
Pojawia się w:
Studia Teologiczno-Historyczne Śląska Opolskiego
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Odstraňování vlivu velmi hlubokých a širokých nepůvodních vpichů/vrypů na jádřekovové varhanní píšťaly barokního typu na zvuk píšťaly
The elimination of impact of the deep wide unoriginal nicks/notches in the languid of the baroque type metal organ pipe on pipe sound
Autorzy:
Otčenášek, Zdeněk
Dlask, Pavel
Powiązania:
https://bibliotekanauki.pl/articles/570371.pdf
Data publikacji:
2020
Wydawca:
Uniwersytet Opolski. Diecezjalny Instytut Muzyki Kościelnej. Katedra Muzykologii Uniwersytetu Opolskiego
Tematy:
restaurování historických varhanních píšťal
vpichy a vrypy na jádře
výměna jádra
obnova zvuku
historical organ pipe restoration
languid nicks and notches
languid replacement
sound renewal
Opis:
1. Introduction For centuries, nicks in the languid of the labial metal could be found in organ pipes throughout the world. It is one of the techniques of pipe voicing adjustment (an overview of voicing techniques see e.g. in: [www1]; [Otčenášek Z., Dlask P., Syrový V., Hruška V., Otčenášek J., 2018]). The use of nicks differs between countries, districts, organ builder schools, and also between different cultural times. In Czech historical lands, the principal pipes in baroque period were built mostly without nicking (together with the used of low air pressures in windchest). If nicks were used than they were typically slim, low deep, and sparse (from 3 to 7 at languid width). Later, in romantic time, when some baroque organs were romanticized, nicks were doubled (up to tripled) and enlarged (being deeper, broader and wedged). Nowadays, Czech historical organs can be found with original baroque pipes without any modification (original state), with the addition of unoriginal romantic nicking later added to original pipes as well as pipes presenting both types of nicks concurrently. Less often we can find an organ with the pipes where the large number of deep broad notches were made at the edge of the languid resembling the teeth on a saw. In such cases the material of the languid was partly excised, and partly pressed and displaced below both the bottom edge and over the side walls of the saw teeth. In the last decades, when historical organs have had to be restored to original stage, also restoration of original sound was required; the elimination of the unoriginal nicks influence on the sound is necessary. Since the saw notches introduce heavy damage to the languid material, their elimination is an ongoing problem yet to be solved. Nowadays, the restoration of such organ with the saw notches can be 1) kept the pipes unchanged (what gives unsatisfactory, not eliminated influence on sound) or 2) cleared away with the common technology of smoothing (proper for thin nicks (Otčenášek Z., Koukal P., Švejda M. Moravec O., Dlask P., 2014); at saw notches, however not possible to get back the excised material and to correctly move back the displaced material; consequently the languid edge stay with the ripples). The present study verified a third possibility in which a new method of replacing the damaged languid by new ones is done. Since the cutting of the languid and soldering of a replica is considered an invasive intervention, the method was experimentally verified on the copies of historical pipes with identical modifications made (the original pipe being untouched). A replica model of the historical principal metal pipe (SupOctava 2, tone d1 [Dlask P., Otčenášek Z., Kopeček Š., Vorlíček M., Koukal P., Otčenášek J., Frič M., Hruška V., 2018]) from the Jesuit church in Klatovy (Czech Republic) was used (original can be seen in top of figure Obr. 1, replicas underneath). All copies were voiced at optimal sound for the air pressure in windchest of 55 mm H2O (539 Pa). The copies had very similar sound (see spectra in figures Obr. 4). Similar results were obtained also after each modification of the pipes; therefore, only results from measurement of only one replica pipe are presented here. 2. Method Acoustical measurements were performed in anechoic room (see figure Obr. 2). The recordings (wav format) were made with 24 bit A/D conversion, sampling frequency 48 kHz. The signal of tone attack was synchronized with the opening voltage of electromagnet of air valve (0 s). The FFT of spectrograms (see figures from Obr. 13 to Obr. 16) were computed with 42,66 ms hanning time window and 2,13 ms shift. The spectra (see figures Obr. 4, Obr. 11 and Obr. 12) are the average of 60x FFT with hanning time windows 682,66 ms and 13,66 ms shift. 3. Experiment The sound recordings, the spectra analysis, and listening tests with recorded sounds were done after each step of pipe modifications. 3.1. The documentation of default manufactured pipes without nicks was the first initial step (see figures Obr. 1, Obr. 3, spectra are in Obr. 4, and spectrogram of pipe K3 in Obr. 13). The frequency of 1st harmonic fo, pipe body length, cut-up height, cut-up with, slit breadth, foot length, foot opening diameter of measured pipes are in Tab. 1 (from left to right). The pipe K4 was used as a reference (without other alterations; the K4 spectra measured in the time after each step of other pipes show the temperature and humidity influence on results and repeatability of the method used, see figure Obr. 11). 3.2. In the second step the deep breadth saw notches were created (see figure Obr. 5). The notches where not accurately the same at all pipes (figure Obr. 6) but in spectra of all pipes we observed great lowering of both high harmonics (see difference between the red and green curves in figures Obr. 12) and noises (see sound pressure levels in figure Obr. 14). 3.3. In the third step the saw notches were cleared away by the common technology of smoothing. The material overhanging the languid edge from the bottom was pushed up from bellow by the metallic rod (see figure Obr. 7 left) through pipe foot. The saw teeth were aligned by other metallic tool by pushing both the material displaced from bottom and the tips of the saw tops back inside the teeth (see figure Obr. 7 right). After this step none of the pipe languid edges was straight (see languids after smoothing in figure Obr. 8 top; and languid detail viewed from the bottom after smoothed languids were cut out in next step see in figure Obr. 8 bottom). 3.4. The last step was the replacement of the languid by a new one. The authors were not experienced with this procedure. Firstly, all labial diameters were documented. Then a cut was made with a thin saw (cut width cca 0,2 mm) at the foot close to the languid (cca 0,5 mm) (see figure Obr. 9 left). The next cut was made in the upper edging of the languid (see languid in figure Obr. 10 top). Then the potential defects at foot, labium and pipe body were cleared and an accurate copy of languid was made (without nicks and notches). The languid replica was soldered at the foot and body (see figure Obr. 10 bottom). The cutting-up process of replacing the languid slightly changes the length of pipe and fo frequency (new values see in Tab. 2 in comparison with Tab. 1). 4. Acoustical results and assessment The results of the acoustical analysis demonstrate that the creation of deep breadth saw notches at pipe languid produced major changes in the pipe’s sound and tone attack. Changes were observed in the spectra of the established tone, the sound pressure waveforms and spectrograms of the starting part of the tone (figures Obr. 12 and Obr. 14). If the lowering of higher harmonics (green in figure Obr. 12) is not compensated by increasing the air pressure in the windchest (it was compensated in the case of organ romanticized modifications), a degradation of the organ sound can be noticed. The common smoothing method gives increasing of harmonic amplitudes at maximum 1/3 of their original values and therefore is not proper for the elimination of saw notches influence on pipe sound. When the sound of a historical organ needs to be restored, the windchest air pressure will be decreased when compared to the original baroque value and therefore it must be accompanied by the removal of the unoriginal saw notches. The results verify that, if the languid replica and soldering is done properly, and the languid cutting-up is replaced with a copy without notches, the original sound can be replicated. The sound before and after the substitution of the languid is not distinguishable when listen, and the spectra and spectrograms are similar (compare red and black curves in figures Obr. 12 or figures Obr. 13 and Obr. 16). 5. Conclusion The authors are aware that the experiments were performed on new pipes in which the material was not corroded, and without damage what occasionally occur in historical organs. Therefore, the new languid cutting-up and replacing method of saw notches elimination can not be directly used on historical pipes. Additional experiments have to be carrying out in order to ascertain such possibility.
Źródło:
Folia Organologica. International yearbook of organ and organ music; 2020, 3; 43-61
2657-6082
2719-3284
Pojawia się w:
Folia Organologica. International yearbook of organ and organ music
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Problem of placing the organ pipes on the windchest
Autorzy:
Węgrzyn, Damian
Wrzeciono, Piotr
Powiązania:
https://bibliotekanauki.pl/articles/128020.pdf
Data publikacji:
2019
Wydawca:
Politechnika Poznańska. Instytut Mechaniki Stosowanej
Tematy:
pipe organ
windchest
organ pipe distance
organy piszczałkowe
wiatrownica
odległość między piszczałkami organowymi
Opis:
This paper presents research showing the problem occurring in the construction of a pipe organ, related to the placement of the organ pipes on the windchest. The close location of the organ pipes to each other influences the parameters of the sound generated by the pipes. It causes an intonation problem, namely the detuning of the organ pipes if they are located too close to each other on the windchest. The presented measurements show the influence of a distance between pipes of various types on basic sound parameters, such as frequency or volume level. The research carried out shows that in extreme cases the detuning reaches a temperate halftone. This has undoubtedly an impact on the tuning of organ pipes, especially in the case of a table organ or pipe organ built in a small space. In the future, the outcomes of the presented research can be applied in the windchest design.
Źródło:
Vibrations in Physical Systems; 2019, 30, 1; 1-8
0860-6897
Pojawia się w:
Vibrations in Physical Systems
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Międzyuczelniany Instytut Muzyki Kościelnej w Krakowie. Dziesięć lat działalności (2008–2018)
Autorzy:
Zając, Andrzej
Powiązania:
https://bibliotekanauki.pl/articles/668925.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Papieski Jana Pawła II w Krakowie
Tematy:
Intercollegiate Institute of Church Music in Cracow
Music Academy
pope emeritus Benedict XVI
Witold Zalewski
church music
pipe organ
concerts
organ recitals
master courses
music workshops
Międzyuczelniany Instytut Muzyki Kościelnej w Krakowie
Akademia Muzyczna w Krakowie
papież-senior Benedykt XVI
muzyka kościelna
organy
koncerty
recitale organowe
kursy mistrzowskie
warsztaty muzyczne
Opis:
The article presents various forms of the activity performed by the Intercollegiate Institute of Church Music in Cracow over the span of 10 years (2008–2018) with regard to scientific-and-didactic and to artistic aspects. The scientific-and-didactic performance is mainly the result of the activities regulated with a teaching curriculum, of scientific conferences and symposia, the outcome of the journal “Pro Musica Sacra”, devoted to church music, as well as of the activity of the Student Research Club, BA and MA theses be the effect of scientific seminars, and of post-graduate studies of liturgical monody. The artistic activity of the institute is best manifested through concerts, master courses and music workshops, through diploma organ recitals and liturgical diploma performances, CD recordings and music-related publications. The author of the article emphasizes that the major educational aim of all the educational, artistic and formative activities of the institute is to prepare competent and professional musicians who will undertake the jobs at various pastoral institutions of the church. And it is them on whom the music of the liturgical rituals shall represent a required standard, dignity and a desired form. The article concludes with the account of a tremendously important event for the history of the Institute, namely conferring upon the pope emeritus Benedict XVI the honoris causa doctorate by the John Paul II University and the Music Academy in Cracow in 2015.Keywords Intercollegiate Institute of Church Music in Cracow, John Paul II University, Music Academy, pope emeritus Benedict XVI, Mons. Robert Tyrała, Witold Zalewski, church music, pipe organ, BA and MA seminars, concerts, organ recitals, scientific conferences, Student Research Club, master courses, music workshops, journal “Pro Musica Sacra”
W artykule autor przedstawia różnorodne formy działalności naukowo-dydaktycznej i artystycznej Międzyuczelnianego Instytutu Muzyki Kościelnej w Krakowie na przestrzeni dziesięciu lat (2008–2018). Działalność naukowo-dydaktyczna to zadania określone programem nauczania, a także organizowanie konferencji i sesji naukowych, wydawanie czasopisma poświęconego muzyce kościelnej „Pro Musica Sacra”, praca Koła Naukowego Studentów, prace licencjackie i magisterskie pisane w trakcie seminariów naukowych oraz prowadzenie studiów podyplomowych z monodii liturgicznej. Działalność artystyczna Instytutu znajduje swój wyraz w organizowanych koncertach, kursach mistrzowskich i warsztatach muzycznych, w dyplomowych recitalach organowych i dyplomach z gry liturgicznej, nagraniach płytowych i wydanych materiałach muzycznych. Autor podkreśla, że zasadniczym celem wszelkich poczynań – edukacyjnych, artystycznych i formacyjnych Instytutu – jest wykształcenie kompetentnych, profesjonalnych muzyków, którzy w przyszłości podejmą pracę w kościelnych ośrodkach duszpasterskich. Od nich bowiem zależeć będą odpowiedni poziom, godność i właściwy kształt muzyki w obrzędach liturgicznych Kościoła. Zwieńczeniem artykułu jest opis ważnego i wyjątkowego w historii Instytutu wydarzenia, jakim było nadanie w 2015 roku papieżowi seniorowi Benedyktowi XVI doktoratu honoris causa przez Uniwersytet Papieski Jana Pawła II i Akademię Muzyczną w Krakowie.
Źródło:
Pro Musica Sacra; 2018, 16
2083-4039
Pojawia się w:
Pro Musica Sacra
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Orgeln und Orgelbauer in Regensburg. Das Regensburgische Diarium von 1760–1810 als Quelle orgelbauhistorischer Aspekte
Organs and organ builders in Regensburg (Germany). The „Regensburgisches Diarium“ from 1760 to 1810 as a source of organ building historical aspects
Autorzy:
Haberl, Dieter
Powiązania:
https://bibliotekanauki.pl/articles/570419.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Opolski. Diecezjalny Instytut Muzyki Kościelnej. Katedra Muzykologii Uniwersytetu Opolskiego
Tematy:
Orgelbaugeschichte
Orgelbauer
18. Jahrhundert
19. Jahrhundert
Regensburg
Pipe organ history
organ builder
18th century
19th century
Regensburg (Germany)
Opis:
The Regensburg organ life in the second half of the 18th century and at the beginning of the 19th century is characterized by a surprisingly large variety. The playing and the building of organs and the organ trade have left clear traces in the Regensburg newspapers (“Regensburgisches Diarium”, “Regensburgische Frag- und Anzeige-Nachrichten” and “Kurfürstlich Erzkanzlerisches Regierungs- und Intelligenzblatt”). Organ music did not only take place in the Regensburg sacred buildings, but was also played on numerous verifiable house and chamber organs in the private houses and apartments of different social classes. Advertisements of about 40 organ instruments were documented during the reporting period. The domestic organ playing seems to have fulfilled a function in Regensburg at the end of the 18th century, which was replaced by the piano at the beginning of the 19th century. This large base of organ playing in Regensburg promoted the construction of organ positivs and house organs in different sizes (with up to three manuals and pedal) by the local organ builders. During their travels, numerous organ builders stayed as guests in Regensburg. The Regensburg and Regensburg-Stadtamhof-based organ builder families Herberger, Mälzel, Schmahl und Späth are documented with numerous entries in the “Diarium”. Both, the company and family stories of the individual organ building workshops like the contacts between local and traveling organ builders were extensively documented by newspaper reports. Especially the story of the famous Regensburg workshop Späth-Schmahl could be supplemented by the “Diariums” data to new findings. Also the knowledge of the organ and instrument maker family Mälzel and her best known son, the so-called metronome inventor Johann Nepomuk Mälzel the younger was augmented with important facts. The present evaluation of the organ-specific aspects of the “Regensburg Diarium” sees itself as a music-historical basic research for the local, regional as well as the national area. It would like to provide data and facts for later constructive research, well-founded starting point for new research approaches, detailed knowledge of the current state of research and reliable corrective of older researches.
Źródło:
Folia Organologica. International yearbook of organ and organ music; 2018, 1; 95-111
2657-6082
2719-3284
Pojawia się w:
Folia Organologica. International yearbook of organ and organ music
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Zadania organów i posługa organisty w Musicam sacram. Bilans i perspektywy
Autorzy:
Sesantini, Gilberto
Powiązania:
https://bibliotekanauki.pl/articles/668943.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Papieski Jana Pawła II w Krakowie
Tematy:
the instruction Musicam sacram
liturgy
music
pipe organ
organist
instrukcja Musicam sacram
liturgia
muzyka
organy
organista
Opis:
The position of a pipe organ in the liturgy of the Roman Catholic Church has been precisely clarified nowadays. Its major role is to support singing of the faithful, accompany choral bands and to perform solo music conformed with the character of a given feast or celebration. The instruction Musicam sacram of 1957 most clearly specifies when and on what occasions the organ ought to be used during liturgy and when its involvement is undesirable. These regulations appertain as well to organist’s service, defining its crucial role in building the community of the faithful.The instruction Musicam sacram, issued 50 years ago, is not only a document of historical value. It has also become a launch pad for many subsequent documents regarding the church music. What is more, many specifications included in Musicam sacram are still relevant today. Recounting and analyzing some of its directions referring to the organ and organ playing allowed the author of this study to conclude that: “Nowadays, the liturgy still cannot cope without the organ and the organ cannot cope without liturgy. The dictum of Musicam sacram is clear, so is its mens (the so called «spirit»). As always, it is the hearts of people who are supposed to implement these regulations and who need repentance”.
Miejsce organów w liturgii Kościoła rzymskokatolickiego jest w dzisiejszych czasach bardzo precyzyjnie dookreślone. Ich rolą jest podtrzymywanie śpiewu wiernych, akompaniowanie zespołom śpiewaczym, a także wykonywanie muzyki solowej, dostosowanej do charakteru danego święta czy uroczystości. Instrukcja Musicam sacram z roku 1967 w sposób niezwykle przejrzysty wyjaśnia, kiedy i w jakich okolicznościach należy używać organów w liturgii, a także kiedy ich użycie jest niepożądane. Odnosi się także do posługi organisty, określając jej niezwykle istotną rolę w budowaniu wspólnoty wiernych.Powstała przed 50 laty instrukcja Musicam sacram nie jest dziś tylko reliktem historycznym. Stała się punktem wyjścia dla wielu innych późniejszych opracowań dotyczących muzyki w Kościele. Ponadto wiele z jej zapisów nie straciło nic na swej aktualności. Przypomnienie i analiza po pół wieku tych zapisów odnoszących się do organów i gry organowej pozwala według autora na stwierdzenie, iż „Dziś nadal liturgia nie może obejść się bez organów, a organy nie mogą obejść się bez liturgii. Dictum Musicam sacram jest jasne. Jej mens (tzw. «duch») – również. Jak zawsze to serca ludzi, którzy mają wcielić te przepisy w życie, potrzebują przemiany”.
Źródło:
Pro Musica Sacra; 2018, 16
2083-4039
Pojawia się w:
Pro Musica Sacra
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
MENSURA INSTRUMENTI ORGANICI – CZYLI JAK STROJONO ORGANY W X W
MENSURA INSTRUMENTI ORGANICI – HOW THE PIPE ORGAN WERE TUNED IN THE X CENTURY
Autorzy:
Dyka, Lucjan
Powiązania:
https://bibliotekanauki.pl/articles/947233.pdf
Data publikacji:
2017
Wydawca:
Stowarzyszenie Polskich Muzyków Kościelnych
Tematy:
organy
piszczałka
strój naturalny
stosunek liczbowy
harmonia
interwał
pipe organ
pipe
natural tuning
ratio
harmony
interval
Opis:
The paper is intended to interpret the anonymous Latin Treaty entitled Mensura instrumenti organici written in the X century. The text is very concise and takes the form of a simple instruction intended for a potential constructor of pipe organs. Tuning pipes (of the same circuit) is performed exclusively by means of two ratios – epitritos (4:3) and epogdoos (9:8). The exact calculation confirms that this method proved to be reliable and results in well-tuned pipes using natural Pythagorean tuning in three octave range. Numerous mathematical calculations and the figures of pipes measurements are presented in the paper. The issues of terminology are explained in detail and Greek and Latin texts necessary for the proper interpretation of the treaty are also presented.
Źródło:
Musica Ecclesiastica; 2017, 12; 37-53
2353-6985
Pojawia się w:
Musica Ecclesiastica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
MUZYKA LITURGICZNA W DEKANACIE KUŹNIA RACIBORSKA PO POWSTANIU DIECEZJI GLIWICKIEJ W 1992 R
LITURGICAL MUSIC IN THE DEANERY KUŹNIA RACIBORSKA AFTER THE FOUNDING OF THE DIOCESE OF GLIWICE IN 1992
Autorzy:
Kupczyk, Karina
Powiązania:
https://bibliotekanauki.pl/articles/947270.pdf
Data publikacji:
2017
Wydawca:
Stowarzyszenie Polskich Muzyków Kościelnych
Tematy:
muzyka liturgiczna
muzyk kościelny
zespoły śpiewacze
liturgia
organy
liturgical music
church musician
singing groups/choirs
liturgy
pipe organ
Opis:
For nearly 60 years, music in churches has been changing its form. Today’s way of celebration liturgy in Silesian churches, as well as in Church in overall, is mainly influenced by the teaching of the Second Vatican Council. Conciliar postulates referring to church music, which were included in the “Constitution on the Sacred Liturgy” became the impetus for a series of measures and actions aimed at enrichment and making the Silesian tradition of church singing more beautiful. The article is an attempt to describe to what extent the post-conciliar demands were reflected in the parishes of the deanery Kuźnia Raciborska, which belongs to the Diocese of Gliwice. Image of the liturgical music in the described deanery will be presented in three thematic groups: church musicians who are responsible for the shape of liturgical music, their musical and liturgical formation, the presence of choirs, as well as the technical condition and sound quality of organ. In addition to the above described issues, the author also makes an attempt to describe the overall picture of the musical life of the deanery Kuźnia Raciborska. Analysis of the theme and conclusions drawn in this article are based on the empirical data (surveys), and on the basis of own research.
Źródło:
Musica Ecclesiastica; 2017, 12; 135-149
2353-6985
Pojawia się w:
Musica Ecclesiastica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Sound Intensity Distribution Around Organ Pipe
Autorzy:
Odya, P.
Kotus, J.
Szczodrak, M.
Kostek, B.
Powiązania:
https://bibliotekanauki.pl/articles/177568.pdf
Data publikacji:
2017
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
organ pipe
acoustic vector sensor
sound intensity
Cartesian robot
Opis:
The aim of the paper was to compare acoustic field around the open and stopped organ pipes. The wooden organ pipe was located in the anechoic chamber and activated with a constant air flow, produced by an external air-compressor. Thus, a long-term steady state response was possible to obtain. Multichannel acoustic vector sensor was used to measure the sound intensity distribution of radiated acoustic energy. Measurements have been carried out on a defined fixed grid of points. A specialized Cartesian robot allowed for a precise positioning of the acoustic probe. The resulted data were processed in order to obtain and visualize the sound intensity distribution around the pipe, taking into account the type of the organ pipe, frequency of the generated sound, the sound pressure level and the direction of acoustic energy propagation. For the open pipe, an additional sound source was identified at the top of the pipe. In this case, the streamlines in front of the pipe are propagated horizontally and in a greater distance than in a case of the stopped pipe, moreover they are directed downwards. For the stopped pipe, the streamlines of the acoustic flow were directed upwards. The results for both pipe types were compared and discussed in the paper.
Źródło:
Archives of Acoustics; 2017, 42, 1; 13-22
0137-5075
Pojawia się w:
Archives of Acoustics
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Muzyka liturgiczna w świetle dokumentów Kościoła
Liturgical music in view of documents of The Church
Autorzy:
Celary, Ireneusz
Powiązania:
https://bibliotekanauki.pl/articles/2056661.pdf
Data publikacji:
2016-12-07
Wydawca:
Wyższe Seminarium Duchowne im. św. Jana Pawła II Diecezji Siedleckiej
Tematy:
chorał gregoriański
liturgia
muzyka
organy
śpiew
Gregorian chant
liturgy
music
pipe organ
singing
Opis:
The Second Vatican Council initiated the process of the renewal of the liturgical music. It explained its task in the service for God and presented the principles of its renewal. This re-newal was prepared by pioneers and promoters of the liturgical movement which existed from the second half of the 19th century. Sacrosanctum Concilium, the Constitution on the Sacred Liturgy, pointed that there is an inseparable connection between music and liturgy. Music was presented as an integral part of the solemn liturgy. Singing in liturgy is a form of active participation in liturgical celebrations. It is a form of the confession of faith and an element of deeper entering to the celebration of the mystery of salvation. The principles of the Constitution define the stage of Church consciousness which inspired and started the era of the renewal of liturgy and church music. Among positive ef-fects of the Council renewal of church music, apart from new liturgical books, there is the fact of existing choirs in Church, cantors and psalterists as well as the extension of music repertoire. Music education of the clergy and the faithful is still an important task. Above all organists should be taught to organize the singing not to replace the participants of liturgical celebrations in singing.
Źródło:
Teologiczne Studia Siedleckie; 2016, XIII/13; 80-90
1733-7496
Pojawia się w:
Teologiczne Studia Siedleckie
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Organy — instrument, który „oddycha”
A pipe organ — an instrument that breathes
Autorzy:
Poźniak, Grzegorz
Powiązania:
https://bibliotekanauki.pl/articles/585161.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet Opolski. Redakcja Wydawnictw Wydziału Teologicznego
Tematy:
organy
aerofon
kalikant
budownictwo organowe
pipe organs
aerophones
blower – pumper
organ building
Opis:
Artykuł omawia organy jako instrument z rodziny aerofonów. Punktem wyjścia do przeprowadzenia analiz jest niewielka tabliczka informująca kalikanta o należytym wykonywaniu pracy, która znajduje się na chórze muzycznym kościoła parafialnego pw. Najświętszego Serca Pana Jezusa w Roszkowie (pow. Racibórz). Tego rodzaju instrukcje były typowe dla organów pochodzących z warsztatu organmistrzowskiego Schlag & Söhne. W artykule omówiona jest funkcja kalikanta. Artykuł stawia tezę o konieczności przywrócenia organom ich „aerofoniczności”. Przedłożone zostały trzy postulaty końcowe: 1) Należy wyposażać nowo budowane organy w mechanizmy do kalikowania — uzupełnieniem zaś tego rodzaju urządzeń powinny być „dzwonki na kalikanta” oraz instrukcje „uwrażliwiające” na to, że organy „oddychają”. 2) Wykonawcy muzyki organowej powinni być w czasie swojej edukacji artystycznej uczeni obsługi mechanizmów do kalikowania oraz gry na instrumencie kalikowanym. 3) Nagrania dokonywane na instrumentach zabytkowych, mających czynny mechanizm do kalikowania, choćby tylko w niewielkiej części powinny zostać zarejestrowane z użyciem tegoż.
The article discusses organs as an instrument of the family of aerophones. The starting point for the analyzes is a small plaque indicating an organ blower about satisfactory work performance, which is placed on the music choir of the parish church of Sacred Heart of Jesus in Roszków (near Racibórz). This kind of instructions was typical for organs from the workshop of the master organ-builder Schlag & Söhne. The article discoursed the function of a organ blower. It formulates the thesis about the need to restore the organs as an aerophone. Three final proposals were submitted: 1) The newly built organs for the artistic education should be equipped in mechanisms to organs blow. 2) Contractors of organ music should be taught manning mechanisms to organs blow and playing the blowing instrument in the course of their artistic education. 3) Recordings made on antique instruments which have active mechanism to organs blow should be recorded at least to some extent.
Źródło:
Liturgia Sacra. Liturgia - Musica - Ars; 2016, 22, 48; 541-549
1234-4214
Pojawia się w:
Liturgia Sacra. Liturgia - Musica - Ars
Dostawca treści:
Biblioteka Nauki
Artykuł
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