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    Tytuł:
    The Charter of the Kwidzyn (Marienwerder) Convivium Musicum of 1587 as a source for the history of musical culture in Prussian towns
    Autorzy:
    Bogdan, Izabela
    Powiązania:
    https://bibliotekanauki.pl/articles/780171.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    music society
    ‘convivium musicum’
    ‘collegium musicum’
    ‘Kantoreigesellschaft’
    Kwidzyn
    Marienwerder
    Ducal Prussia
    sixteenth-century Protestant music
    Reformation
    Salomon Klein
    Opis:
    Music societies, referred to in German documents as ‘Kantoreigesellschaften’, ‘Musikgesellschaften’ or ‘Musikkranzlein’, and in Latin records as ‘collegia musica’ or ‘convivia musica’, were founded in numerous towns in German-speaking territories during the veiy first years after the Reformation. They were of an elite character, comprising the most prominent burghers, including the mayor, aldermen, councillors, church officials (pastor, deacon, cantor, organist) and local schoolteachers. Pupils and students attending Protestant schools and universities in German-speaking regions also actively participated in musical performances given by the societies. Their members provided a polyphonic setting for the Mass and other services, as the convivia had the noble mission of singing to the glory of God and educating young people. There are few extant charters of sixteenth-century societies of this type. The present article provides a detailed description of the charter of the Convivium Musicum in Kwidzyn, a town located during the sixteenth century and the first half of the seventeenth century within the borders of Ducal Prussia. This society, founded on 18 February 1587, followed an early modem trend for creating music societies under the patronage of municipal councils and the Church. Its initiator was a local Protestant superintendent (‘Erzpriester’) and pastor, Salomon Klein, supported by deacons, a local teacher, an organist, mayors, aldermen, a notary, a municipal judge, town councillors and others. The article carefully examines each chapter of the charter, providing information on the Convivium’s structure, organisation and activities and the duties of its members.
    Źródło:
    Interdisciplinary Studies in Musicology; 2012, 11; 213-234
    1734-2406
    Pojawia się w:
    Interdisciplinary Studies in Musicology
    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:
    La récriture protestante du Psautier de Baïf : les Pseaumes en vers mezurez d’Odet de La Noue sur une musique de Claude Le Jeune (2e partie)
    Autorzy:
    GARNIER, ISABELLE
    Powiązania:
    https://bibliotekanauki.pl/articles/638669.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
    Tematy:
    Renaissance, Book of Psalms, protestant music, God’s Name
    Opis:
    Isabelle Garnier, starting from the recurrence of the holy name « grand Dieu » to refer to God,compares La Noue’s paraphrase to Marot’s and Baïf’s texts, and defi nes it on both theologicaland poetical levels as a kind of musical epexegesis, which leaded the singer to the core ofreformed faith.
    Źródło:
    Studia Litteraria Universitatis Iagellonicae Cracoviensis; 2012, 7, 1
    2084-3933
    Pojawia się w:
    Studia Litteraria Universitatis Iagellonicae Cracoviensis
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    La récriture protestante du Psautier de Baïf : les Pseaumes en vers mezurez d’Odet de La Noue sur une musique de Claude Le Jeune (1e partie)
    Autorzy:
    VIGNES, JEAN
    Powiązania:
    https://bibliotekanauki.pl/articles/638671.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
    Tematy:
    Renaissance, Book of Psalms, protestant music
    Opis:
    Jean-Antoine de Baïf is the fi rst catholic poet who achieves a complete translation of the David’sBook of Psalms specifi cally created to be set to music in order to challenge Marot andBèze’s own translation adopted by Calvinists. Baïf’s fi rst fi fteen psalms are set to music bythe composer Claude Le Jeune around 1570. After that, the protestant poet Odet de La Nouereleases a new text for Le Jeune’s music. How does this Calvinist poet adopt the Psalter whenrewriting a paraphrase claimed to be a catholic one?Jean Vignes presents the political and musical context of La Noue’s work, and introducesthe major steps of the creation process of Baïf and La Noue’s works, as well as their intentionsand goals.
    Źródło:
    Studia Litteraria Universitatis Iagellonicae Cracoviensis; 2012, 7, 1
    2084-3933
    Pojawia się w:
    Studia Litteraria Universitatis Iagellonicae Cracoviensis
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Kościoły, parafie ewangelickie w Gdańsku, organiści, carilloniści, kapelmistrzowie, kantorzy i ich dzieła oraz organmistrzowie związani z kościołem protestanckim od reformy Lutra do 1945 roku
    THE PROTESTANT CHURCHES, COMMUNITIES, THEIR CANTORS, MUSICIANS AND THEIR WORKS IN PROTESTANT GDANSK FROM LUTHER ERA TILL 1945
    Autorzy:
    Perucki, Roman
    Powiązania:
    https://bibliotekanauki.pl/articles/425330.pdf
    Data publikacji:
    2012
    Wydawca:
    Parafia Ewangelicko-Augsburska w Gdańsku z siedzibą w Sopocie
    Tematy:
    GDANSK
    PROTESTANT MUSIC
    PROTESTANT CHURCHES IN GDANSK
    ORGANISTS
    CANTORS
    CARILLONISTS
    Opis:
    The cultural traditions of Gdańsk have been developing since Reformation times. Among the very important features of this city have always been multilingualism, multiculturalism and multiconfessionalism. One of the most important religions in Gdańsk was Protestantism. Since the Reformation times till the end of the Second World War, Protestant traditions influenced the culture of the city and most of all its music life. The development of the music culture in Gdańsk is well-documented in the article. Among the most important sources of Protestant pieces of music from the 16th till 18th century quoted by the author, there are Gdańsk Tablature (Tabulatura Gdańska), Organ tablature from The Cathedral in Gdańsk Oliva (Oliwskiej Tabulaturze Organowej), and Musicalia Gedanenses, which can be found in Staatsbibliothek in Berlin Preußischer Kulturbesitz. recently published by D. Szlagowska, B. Długońska, D. Popinigis, J. Woźniak in Music Collections from Gdańsk (Vol. 1-3, 2007-2011).
    Źródło:
    Gdański Rocznik Ewangelicki; 2012, 6; 105-131
    1898-1127
    Pojawia się w:
    Gdański Rocznik Ewangelicki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-5 z 5

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