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Alleluja z wersetem w liturgii mszalnej
Pawlak, Ireneusz (Polskie Towarzystwo Teologiczne, 1977)
Chorał gregoriański – śpiew muzealny czy aktualny?
Pawlak, Ireneusz (Wydział Teologiczny Uniwersytetu Opolskiego, 2008)
Clemens de Piotrków (c. 1450-1507) – canonicus gnesnensis vir in arte musica peritus
Pawlak, Ireneusz (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2012)
Clemens from Piotrków, born around 1450, studied in the Academy of Kraków, where he was conferred the title of Baccalaureate of Liberate Arts. Later he also studied abroad, where he was awarded with the title of Doctor of both laws. In the years 1480-1487 he lectured on law at the University of Kraków. In 1492 he moved to Gniezno as the Canon of the Cathedral Chapter. He was well respected by the Archbishops in Gniezno, especially by Cardinal Fryderyk Jagiellończyk, who nominated him as Official and Vicar General. As the delegate of the the Chapter and Archbishops, he often represented Gniezno during provincial synods. He even once was a head of the diocesan synod in Gniezno. His legal education did not stop him from being interested in liturgy and cathedral music. Because he was nominated as Chapter Librarian, he had the opportunity to have under his care a book collection on celebration of liturgy. He purchased books himself, and sometimes he funded them. He also used his knowledge of music to make corrections to vital manuscripts and printed books. To this day, four volumes of antiphonary manuscripts from the years 1505-1506 funded by him, and a missal printed in 1506, have survived. Both were made on the basis of his instructions. He is probably responsible for the music in large part of missal. Clemens de Piotrków died in Gniezno in 1507. He is a brilliant figure in the history of liturgy and music of the cathedral in Gniezno.
Formy chorału gregoriańskiego w polskojęzycznych obrzędach po soborze watykańskim II
Pawlak, Ireneusz (Wydział Teologiczny Uniwersytetu Opolskiego, 1998)
Główne założenia przygotowywanej edycji Słownika polskich muzyków kościelnych XX wieku
Pawlak, Ireneusz (Wydział Teologiczny Uniwersytetu Opolskiego, 1997)
Gra na instrumentach – muzyką liturgiczną?
Pawlak, Ireneusz (Wydawnictwo Św. Krzyża w Opolu, 1995)
Jaka muzyka w katechezie?
Pawlak, Ireneusz (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 2001)
Using various disciplines of knowledge, religious instruction should also take advantage of the science which is called musical education. This term is used in two meanings: as a science about musical formation and as performing practice. Musical education as a branch of knowledge embraces theological and axiological problems (aims, values), strictly theoretical (regularities, principles), technological (contents and methods, means and organization), and pedeutological issues (teachers). The great conceptions of Emile Jacques-Dalcroze, Zoltân Kodâl and Carl Orff are especially important for the development of musical education. These conceptions have made it that musical education has been transformed into a branch of art or performing practice. An artistic conception has emerged from the method of Dalccroze, from the method of Kodâl an educational conception, and from the method of Orff a conception which develops musical skills and imagination through the composition of music. Now the catechist who wants to teach music, and he should be one that teaches it, should learn how to play any instrument, how to read notes, to read music, he should know the methods of teaching music. Finally, he should be well conversant with the selection of appropriate repertoire. Even the best recording will not substitute direct teaching. Teaching music at a catechesis should include music designed for the liturgy, and nonliturgical music as well. In liturgical music the first place is occupied by chants (acclamations, dialogues, hymns, songs etc.), and then follow purely instrumental compositions. In the latter case Orff's method can hardly be overestimated. Now non-liturgical music should serve to memorize the acquired truths of faith, or illustrate them, Hence, there is a need to leach also the so called religious songs. All in all, music at a catechesis should have an auxiliary character. Performing redundant music at a catechesis, or else only one that is popular, deviates from the aim of instruction and is detrimental both to pupils and the Church.
Jaka muzyka w Triduum Paschale?
Pawlak, Ireneusz (Wydawnictwo Św. Krzyża w Opolu, 1995)
Jeszcze w sprawie okresu Bożego Narodzenia
Pawlak, Ireneusz (Wydział Teologiczny Uniwersytetu Opolskiego, 1997)
Muzyczna kultura Kościoła – zagrożona
Pawlak, Ireneusz (Wydział Teologiczny Uniwersytetu Opolskiego, 2003)
Muzyk kościelny na tle epoki. Przyczynek do działalności ks. Józefa Surzyńskiego (1851-1919)
Pawlak, Ireneusz (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2009)
Omówienie Instrukcji Episkopatu Polski o muzyce liturgicznej po Soborze Watykańskim II
Pawlak, Ireneusz (Polskie Towarzystwo Teologiczne, 1981)
Organy – instrument liturgiczny
Pawlak, Ireneusz (Wydawnictwo Św. Krzyża w Opolu, 1996)
Piękno muzyki liturgicznej
Pawlak, Ireneusz (Wydział Teologiczny Uniwersytetu Opolskiego, 2005)
Pieśni o Niepokalanym Poczęciu Najświętszej Maryi Panny w polskich przekazach śpiewnikowych XX i XXI wieku
Pawlak, Ireneusz (Polskie Towarzystwo Mariologiczne, 2005)
Polskie zwyczaje liturgiczne zachowane w graduałach piotrkowskich
Pawlak, Ireneusz (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
Liturgical traditions in Poland were formed over many centuries and were transmitted from one generation to another both in writing and orally. They were recorded in service books in a special way. After the Council of Trent quite a lot of liturgical practices were suppressed and replaced by the Roman liturgical rites. The graduals of Piotrków being edited after the Council of Trent, must in some way have been changed in this respect also. But as it turns out, these XVIIth century codexes printed in Kraków, luckily still contain a description of certain old Polish traditions. In the first place there is the Holy Week ceremony and the songs connected with it. The songs for Palm Sunday, Good Friday and the procession on Easter Sunday were handled in a special, traditional way. Many elements of these songs were drawn from the manuscript books used until that time, especially from the Kraków ones. The rites used on the above mentioned days hardly resemble the official rite of the Missale Romanum of 1570. Moreover, eight sequences were kept in the graduals of Piotrków along with the four ones accepted by post-Tridentine liturgy. Several distinguished Polish liturgists like H. Powodowski and S. Sokołowski interceded for the songs. Certain bishops, like H. Rozrażewski did the same, and bishop B. Maciejowski in his famous "Epistola Pastoralls" edited in 1601, even recommended that they continue to be performed. It seems that the books by Andrzej Piotrkowczyk reconciled in an unusually happy and balanced manner the requirements of Rome and the traditions of the Polish liturgy. It is thanks to the fact that these traditions were maintained and assimilated into the Polish liturgy that we can say today they are genuine Polish rites because they have not been known in other countries for a long time. In this respect the maintenance of these customs in Poland is an absolutely exceptional phenomenon, even on a world scale.
Program nauczania muzyki kościelnej w seminariach duchownych w Polsce
Pawlak, Ireneusz (Polskie Towarzystwo Teologiczne, 1972)
Recenzje i omówienia nadesłanych książek
Potoczny, Mateusz; Pośpiech, Remigiusz; Pawlak, Ireneusz (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2015)
Seminarium naukowe Sekcji Muzyki Kościelnej
Pawlak, Ireneusz (Polskie Towarzystwo Teologiczne, 1978)
Śpiew i muzyka w obrzędach chrztu dzieci
Pawlak, Ireneusz (Polskie Towarzystwo Teologiczne, 1972)