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    Wyświetlanie 1-8 z 8
    Tytuł:
    An Attempt to Reconstruct the Original Lyrics of the Concerto Mutetta super Nicolai Solemnia by Franciszek Lilius1
    Autorzy:
    Bebak, Marek
    Powiązania:
    https://bibliotekanauki.pl/articles/514038.pdf
    Data publikacji:
    2017
    Wydawca:
    Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
    Tematy:
    Sacred music
    contrafactum
    reconstruction
    Franciszek Lilius
    Wrocław
    Opis:
    Franciszek Lilius was one of the most prominent composers of the 17 th‐century Poland, a pedagogue and a choirmaster of Kraków’s Cathedral between 1630 and 1657. The majority of the sources containing his compositions were created after the composer’s death. Many of them are incomplete. Owing to these two facts, we do not know the original version of the compositions mentioned by Lilius. One of the examples is the concerto Mutetta super Nicolai Solemnia preserved in Staatsbibliothek in Berlin as a German contrafactum with the text “Kompt lasst uns betrachten”. The composition may havebeen performed during services at the Protestant church of St. Mary Magdalene in Wrocław. The text was probably modified and adapted to Evangelical requirements in this place. However, originally the work must have been intended to be performed in the Catholic church during the feast of St. Nicholas (the 6 th of December), as it is suggested not only by its original name—Mutetta super Nicolai Solemnia, but also by the pre‑compositional material used in it. This material comprises, on the one hand, the one‑voice hymn Nicolai solemnia preserved in e.g. the cantional of Stanisław Serafin Jagodyński from 1639 and the cantional of Literary Archconfraternity in Warsaw from 1668, and on the other hand—its four‑voice setting preserved in the Sandomierz and Wawel sources. If the copyist had not written original Latin title in his manuscript, we would not know what kind of Latin text was previously used by composer. Only this information made it possible to recreate the lost Catholic version of the concerto. The main aim of the article is an attempt to reconstruct the original lyrics of the concerto Mutetta super Nicolai Solemnia and to analyze different problems connected with it.
    Źródło:
    Kwartalnik Młodych Muzykologów UJ; 2017, 2(33) Eng; 4-23
    2956-4107
    2353-7094
    Pojawia się w:
    Kwartalnik Młodych Muzykologów UJ
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Próba rekonstrukcji pierwotnego tekstu słownego w koncercie Mutetta super Nicolai Solemnia Franciszka Liliusa
    An attempt to reconstruct the original lyrics of the concerto Mutetta super Nicolai Solemnia by Franciszek Lilius
    Autorzy:
    Bebak, Marek
    Powiązania:
    https://bibliotekanauki.pl/articles/514088.pdf
    Data publikacji:
    2017
    Wydawca:
    Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
    Tematy:
    Sacred music
    contrafactum
    reconstruction
    Franciszek Lilius
    Wrocław
    Opis:
    Franciszek Lilius was one of the most prominent composers of the 17th century Poland, a pedagogue and a choirmaster of Krakow’s Cathedral between 1630 and 1657. The majority of the sources containing his compositions was created after composer’s death. Many of them are incomplete. Owing to these two facts, we do not know the original version of compositions mentioned by Lilius. One of the examples is the concerto Mutetta super Nicolai Solemnia preserved in Staatsbibliothek in Berlin as a German contrafactum with the text „Kompt lasst uns betrachten”. The composition may have been performed during services at the Protestant church of St Mary Magdalene in Wrocław. The text probably was modified and adapter to Evangelical requirements in this place. However, originally the work must have been intended to be performed in the Catholic church during the feast of St. Nicholas (6th December), as is suggested not only by its original name – Mutetta super Nicolai Solemnia, but also by the precompositional material used in it. This material comprises, on the one hand, the one-voice hymn Nicolai solemnia preserved in e.g. the hymnbook of Stanisław Serafin Jagodyński from 1639 and the hymnbook of Literary Archconfraternity in Warsaw from 1668, and on the other hand – its four-voice arrangement preserved in the Sandomierz and Wawel sources. If the copyist hadn’t written original Latin title in his manuscript, we would not know what kind of Latin text was previously used by composer. Only this information made it possible to recreate original, missing catholic version of the concerto. The main issue of the article is an attempt to reconstruct the original lyrics of the concerto Mutetta super Nicolai Solemnia and to analyse different problems connected with it.
    Źródło:
    Kwartalnik Młodych Muzykologów UJ; 2017, 2(33); 5-24
    2956-4107
    2353-7094
    Pojawia się w:
    Kwartalnik Młodych Muzykologów UJ
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Tęsknię Więc Jestem, O Zachowywaniu Pamięci. Na Przykładzie Miasteczka Bełz
    I Miss Therefore I Am, About Savining of Memory. Based on the Example of the Song Miasteczko Bełz
    Autorzy:
    Kiec, Izolda
    Powiązania:
    https://bibliotekanauki.pl/articles/424661.pdf
    Data publikacji:
    2018
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    piosenka
    miasto
    nostalgia
    contrafactum
    palimpsest
    song
    town
    memory
    Opis:
    Artykuł jest poświęcony kolejnym wersjom piosenki Miasteczko Bełz Aleksandra Olshanetsky’ego (muzyka): 1) Mein sztetełe Bełz, 1932 (słowa w jidysz Jacob Jacobs; przekład polski 1935 – J. Roman); 2) Miasteczko Bełz dwadzieścia lat po wojnie, dwie wersje z lat sześćdziesiątych (słowa Agnieszka Osiecka); 3) Miasteczko Bełz. Pół wieku później, połowa lat dziewięćdziesiątych (słowa Roman Kołakowski); 4) Warszawo ma, 1947 (słowa Ludwik Starski). Kolejne zmiany tekstu działają na zasadzie palimpsestu – częścią, która nie ulega zatarciu, jest słowo „miasteczko” i jego nacechowane historycznie znaczenie oraz melodia z żydowskim ludowym motywem muzycznym. Te dwa powtarzalne elementy sprawiają, że kolejne kontrafaktury ujawniają źródła wszechobecnej we współczesnym świecie nostalgii oraz dokumentują sposoby działania pamięci. Kontekstem dla rozważań jest opowiadanie Zygmunta Haupta Lili Marleen.
    Źródło:
    Sztuka i Dokumentacja; 2018, 18; 275-284
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Musicafatta spirituale. Aquilino Coppini’s contrafacta of Monteverdi’s Fifth Book of Madrigals
    Autorzy:
    Budzińska-Bennett, Agnieszka
    Powiązania:
    https://bibliotekanauki.pl/articles/780359.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    contrafactum
    madrigale spirituale
    re-texting
    affetti
    sacred - profane
    Opis:
    This article focuses on Aquilino Coppini’s contrafacta of Monteverdi madrigals from the Fifth Book, Musica tolta da i Madrigali di Claudio Monteverde, e d’altri autori [...] e fatta spirituale, published in Milan in 1607. Coppini (d. 1629), a Milanese priest, professor of rhetoric at the University of Pavia and man of letters, was Monteverdi’s personal friend and admirer. He was associated with the circle of Cardinal Federico Borromeo (1564-1631), Archbishop of Milan and a great connoisseur of the arts, and his cousin, Cardinal Carlo [Charles] Borromeo (1538-1584), principally responsible for the Tridentine reform of church music, to whom Coppini dedicated the first of his three collections of contrafacta discussed here. Coppini’s efforts in re-texting Monteverdi’s compositions and transforming them into madrigali spirituali were very much welcomed by the mighty Borromeo family, as they allowed the newest stylistic achievements of the seconda prattica to be transferred to church music. Coppini’s contrafacta are of interest for their concentration on madrigals by Monteverdi, as Coppini chose to work on eleven madrigals from Monteverdi’s controversial Fifth Book. His treatment of the poetic text is quite elaborate. First, his Latin contrafacta are creative re-textings in which he reproduces the metric structure and the sound quality of Guarini’s original Italian texts through the careful placement of phonemes, vowels and consonants. Second, he transforms them into madrigali spirituali, always following their original affetti, creating strong associations and often profound intertextual relationships among the original and the new texts, in which he elevates the profane situations from Guarini’s texts to the spiritual level of the Gospel teachings. In this respect, Coppini’s work remains a fascinating contribution to the enduring discussion on the thin line between the sacred and the profane.
    Źródło:
    Interdisciplinary Studies in Musicology; 2012, 11; 273-303
    1734-2406
    Pojawia się w:
    Interdisciplinary Studies in Musicology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Music by the Gabrielis in the Levoča and Bardejov Collections
    Autorzy:
    Kalinayová-Bartová, Jana
    Powiązania:
    https://bibliotekanauki.pl/articles/473828.pdf
    Data publikacji:
    2017
    Wydawca:
    Uniwersytet Jagielloński. Musica Iagiellonica
    Tematy:
    Levoča Music Collection, Bardejov Music Collection, organ tablatures,
    contrafactum
    Opis:
    Current research into the adoption of Andrea Gabrieli’s and Giovanni Gabrieli’s oeuvres in former Upper-Hungarian music centres (situated mainly in the Spiš and Šariš regions of present-day Slovakia) is based on examinations of the music sources that have been preserved in two extensive music collections: the Levoča Music Collection and the Bardejov Music Collection. They demonstrate the importance of the late 16th- and early 17th-century anthologies, compiled by German editors, in the dissemination of Gabrielis’ compositions — and Italian music in general — into the Spiš-Šariš regions. Anthologies had become the main source of transcriptions and further spreading of both authors’ pieces. On the other hand, in its content they were a source of limitation for further choice options. Among the known local composers, the most significant interest in Gabrielis’ works had been recognized by the Bardejov organist Zachariáš Zarewutius in his transcription of 13 units. Further transcriptions of Gabrielis’ pieces have survived in the manuscripts of unknown origin. The time of their creation and the names of intavolators are also unclear or unknown. The study therefore contains also information on the current research proceedings in these questions and hypothetical thoughts on the genesis and possible sources of these transcriptions as well as the routes of their transferring and their connections to the musical life of the Spiš-Šariš centres. Special attention is dedicated to the local version of the contrafactum of Lieto godea sedendo madrigal by Giovanni Gabrieli.
    Źródło:
    Musica Iagellonica; 2017, 8; 95-116
    1233-9679
    2545-0360
    Pojawia się w:
    Musica Iagellonica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Contrafacta. Modes of music re-textualization in the late sixteenth and seventeenth century, eds. Marina Toffetti, Gabriele Taschetti, Kraków 2020 Musica Iagellonica, pp. 358. ISBN 978-83-7099-239-2
    Autorzy:
    Ferrari, Nicolò
    Powiązania:
    https://bibliotekanauki.pl/articles/26850463.pdf
    Data publikacji:
    2021
    Wydawca:
    Polska Akademia Nauk. Instytut Sztuki PAN
    Tematy:
    kontrafaktura
    XVI wiek
    XVII wiek
    contrafactum
    16th century
    17th century
    Źródło:
    Muzyka; 2021, 66, 1; 185-189
    0027-5344
    2720-7021
    Pojawia się w:
    Muzyka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Źródła melodii, metrorytmika oraz kontrafaktury w kompozycjach zawartych w zbiorze ks. Z. Piaseckiego (1916-2011) „Panu memu śpiewać chcę”
    Sources of melodies, metrorhythmics and contrafacta in the compositions included in the collection of Fr. Z. Piasecki’s (1916-2011) „Panu memu śpiewać chcę” [„I want to sing to my Lord”]
    Autorzy:
    Szczeblewski, Łukasz
    Powiązania:
    https://bibliotekanauki.pl/articles/2084269.pdf
    Data publikacji:
    2021-12-21
    Wydawca:
    Wyższe Seminarium Duchowne im. św. Jana Pawła II Diecezji Siedleckiej
    Tematy:
    śpiewnik
    Ks. Zbigniew Piasecki
    pieśń religijna
    źródła melodii
    metrorytmika
    kontrafaktura
    songbook
    Fr. Zbigniew Piasecki
    religious song
    sources of melody
    metrorhythmics
    contrafactum
    Opis:
    Dopuszczenie języka narodowego w liturgii przez reformę liturgiczną Soboru Watykańskiego II stało się ważnym impulsem nowej twórczości religijnej. Na gruncie polskim można zaobserwować swoistą eksplozję nowych kompozycji religijnych, które były upowszechniane w różnych edycjach. W tę działalność wpisuje się twórczość ks. Z. Piaseckiego. Zwieńczeniem jego pracy twórczej i redakcyjnej jest zbiór Panu memu śpiewać chcę. Kompozytor zamieścił w nim utwory znanych twórców muzyki religijnej, jak również wiele własnych kompozycje. Wśród nich są także utwory z tekstem Kompozytora. Niniejszy artykuł stanowi prezentację zbioru ze szczególnym zwróceniem uwagi na pochodzenie melodii, metrorytmikę oraz zapożyczenia melodii (kontrafaktury).
    The admission of the national language in the liturgy by the liturgical reform of the Second Vatican Council became an important impulse for new religious creativity. In Poland, one can observe a kind of explosion of new religious compositions that were disseminated in various editions. The works of Fr Z. Piasecki are part of this activity. The culmination of his creative and editorial work is the collection “I want to sing to my Lord”. The composer included works of well-known composers of religious music, as well as many of his own compositions. Among them there are also pieces with the composer's own text. This article presents the collection with particular emphasis on the origin of the melody, metrorhythmics and borrowings of the melody (contrafacta).
    Źródło:
    Teologiczne Studia Siedleckie; 2021, Teologiczne Studia Siedleckie XVIII (2021) 18; 217-236
    1733-7496
    Pojawia się w:
    Teologiczne Studia Siedleckie
    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
      Wyświetlanie 1-8 z 8

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