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Boże Narodzenie w oczach współczesnych Amerykanów. Oratorium sceniczne „El Niño” Johna Adamsa
Miklaszewska, Joanna (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2011)
Stage oratorio El Nino (2000) is associated with the theme of the Nativity. Its title in Spanish means “the little boy” (it also refers to the Infant Jesus – El Nino Jesus), but to the modem listener provides a connotation to the famous weather anomaly that caused particularly severe damage and destruction in winter of 1997. The main message of El Nino is to present the miracle of the Nativity as a biological miracle, of a universal character, which is shared in some way by people living around the world. Libretto contains passages from the Bible, medieval and anonymous texts, apocrypha and poetry of authors living in the twentieth century, from the circle of Latin America. Important part of the libretto are poems written by women. Adams’s oratorio has some links with the aesthetics of postmodernism by the variety of texts and references used, a silent film introduced in the stage work and also by using of repetitive techniques by the composer. However, Adams breaks postmodern convention through a clear structure of the work and a very dramatic style of music. Intertextual context of the oratorio is manifold. It is based on links with the musical tradition (especially with Handel's oratorio Messiah, which was the model for the music of this work) and with the broader tradition of European culture.
Omówienie nadesłanych książek
Koenig, Franciszek; Sobeczko, Helmut Jan; Miklaszewska, Joanna; Pośpiech, Remigiusz (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2012)
Omówienie nadesłanych książek
Sobeczko, H.J.; Nowak, Daniel; Miklaszewska, Joanna; Pośpiech, Remigiusz; Bodzioch, Beata; Koenig, Franciszek (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2013)
Pieśniowa geneza melodyki Chopina
Miklaszewska, Joanna (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2024)
The purpose of the article is to identify quotations and reminiscences of common and folk songs, which occur in the melodics of Frédéric Chopin’s works. The issues described in the article are situated against the background of previous research, conducted by H. Windakiewiczowa, K. Bilica, J. Węcowski and M. Tomaszewski. The article shows the resonance of Polish religious and secular songs in the works of Chopin. It also indicates the connection of Chopin’s work with the melodicism of Ukrainian songs, and a hypothesis is put forward about the composer’s reference to the Marseillaise in the Etude in A minor, Op. 25, No. 11. Chopin’s compositional technique was characterized by significant transformation of quotations through changes in melody and rhythm, as well as changes in mode or scale, among other things. It can be assumed that the popular song repertoire of the first half of the 19th century was probably one of the more significant – next to Polish folk music – sources of inspiration for the composer in shaping the melodics of his works.
Recenzje i omówienia nadesłanych książek
Glombik, Konrad; Potoczny, Mateusz; Pośpiech, Remigiusz; Miklaszewska, Joanna; Koenig, Franciszek (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2014)
The Idea of an ‘Icon in Sound’ in the Works of John Tavener
Miklaszewska, Joanna (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2021)
The aim of this article is to present an innovative concept of the ‘icon in sound’ created by the English composer John Tavener. The first part of the article presents the intermedial and intertextual features of Tavener’s work, the second shows the genesis of the concept of ‘icon in sound’, to which three factors have contributed: 1) the composer’s interest in religious topics in his pieces, 2) the composer’s conversion to Orthodoxy, 3) collaboration with Mother Tekla, the author of the texts of many Tavener’s works. The last, third part of the article describes issues related to the formal structure and musical symbolism present in Tavener’s musical icons. The composer refers to painted icons by composing works characterised by static form and the expression of spirituality, mysticism and inner peace. These features result from the juxtaposing of melismatic structures, inspired by Byzantine music, with repetitive technique and dynamics often characterised by a low intensity. One characteristic of Tavener’s sound icons is a ‘luminous’ sound, achieved through the use of high registers of voices and instruments, which are combined with contemplative and lyrical expression. An important feature of John Tavener’s musical icons was the introduction of archaic elements, resulting primarily from the inspiration that the composer drew from the musical culture of the Orthodox Church (eg the use of Byzantine scales in Mary of Egypt, the introduction of instruments such as simantron in Mary of Egypt).