Roczniki Teologiczno-Kanoniczne, 1987, T. 34, z. 7

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Eksperymentalny aspekt Ave Sanctissima Maria Jacka Różyckiego
Szweykowski, Zygmunt M. (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
One manifestation of the process whereby the modal tonality of the music of the XVI and XVII century was changed to the tonality of major and minor was the application of chromatics. A good example is "Chromatica" by A. Jarzębski. In the work of J. Różycki we come across a similar phenomenon. In such compositions as "Magnificat", "Fidelis servus" and "Exsultemus omnes" we can see that chromatic progressions are applied sporadically. However, the concerto "Ave Sanctissima Maria", a composition written for solo soprano, violin solo and basso continuo is evidence for the composer's experimentation: he introduces a lot of chromatics and he operates completely within a major-minor tonality. The composition, which is written in the key of B-major is gradually modulated to F-sharp, C-sharp, G-sharp and D-sharp and then, going in the same direction, it tends towards the primordial tonality. The experiment can be explained in several ways. 1. The composition was composed exclusively as an experiment and was not meant for performance. 2. The composition was written to be performed but was obviously experimental. 3. Perhaps the very carelessly written figured bass is not the work of the author. 4. One can also suppose that Różycki had a special instrument at his disposal – an instrument where all the cross tonalities had a sastisfactory sound. 5. He could also have had an instrument tuned especially for experimental purposes. 6. It is also probable that Różycki had no key board instruments at his disposal, with the exception of some instruments tuned in middle key and that the vocalist and the violinist used to take their key from the sound of the key board instrument. The solution of this problem is not possible today. He can only state that "Ave Sanctissima Maria" is a significant composition in Polish musical culture.
Teksty liturgiczne w XVIII-wiecznych kompozycjach z Grodziska Wielkopolskiego
Idaszak, Danuta (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
It was In the XVIIIth century that secular music started to make its way into church music. Liturgical texts were disregarded, they were shortened or changed or even omitted. Pope Benedict XIV tried to prevent such abuse by issuing the encyclical "Annus Qui" in 1749. In the collection of manuscripts from Grodzisk a great degree of freedom can be observed in the way the composers use liturgical texts. The so called "Missae breves" consisted exclusively of the Kyrie and the Gloria. In the case of solemn mass on the other hand, certain fragments were extended to an extraordinary degree and followed by numerous instrumental insertions or divided from one another by musical interludes composed in the spirit of the epoch. The collection of scores in Grodzisk contains a series of small-scale compositions elaborated in the style of the concerto motet. They can be divided into four groups: antiphones, hymns, sequences and cantiones. As for the Vespers, the Sunday Vespers and the Vespers of the Holy Virgin occupy a special place, but there can also be found quite a number of compositions in which the texts are either a kind of free elaboration of biblical texts or religious poetry. Characteristic of the Grodzisk compositions is their considerable liberty in their use of the texts. The compositions for masses were the closest to the original liturgical texts. The composers no longer paid any attention to the contents in compositions of the motet type, in offertories, graduals or in arias. The arbitrary changes of text can be partially justified by the formal structure of the compositions and, on the other hand, by the performance possibilities of the musical groups they were written for.
Ksiądz Wacław Gieburowski (zarys biografii)
Bernat, Zdzisław (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
The entries on professor Wacław Gieburowski in many lexicographical sorces contain a lot of erroneous information, the verification of which provided a basis for further work on his life and deeds. Wacław Kazimierz Gieburowski was born on the 6th of February 1877 in Bydgoszcz. He studied philosophy and theology and took holy orders in the city of Gniezno. In the years 1902-1909 he worked as a pastor in several parishes of the Gniezno archidiocese. He participated in a course of church music in Regensburg in 1908. In 1909 he fulfilled the duties of the so called choir vicar in Poznań Cathedral. Then he became a lecturer in church music in the seminary in Poznań. In 1915 he got his doctor's degree from the University of Wrocław for his dissertation about the medieval musical treatise "Musica Magistri Szydlovite". He was lecturer in the theory and history of music in the University of Poznań from 1919, from 1920 lecturer in the Gregorian chant at the Poznań Conservatory. He passed his examination for the right to teach at the universities as docent in Lwów in 1922. His numerous academic papers are mainly about the Gregorian chant and the use of church music in Poland. In 1914 he became choirmaster of the boys' and men's choir in Poznań Cathedral. Under his direction the choir became world famous thanks to the transmission of masses from the church, thanks to radiobroadcasts and because of many concert Journeys, some of them abroad (Prague 1929, Vienna, Budapest, Frankfurt 1936, Paris 1937). He was also composer of many choral works. He was arrested by the Gestapo in 1939, interned in Kazimierz Biskupi, and released half a year later. He helped in pastoral work in Poznań. Then he was obliged to.leave Poznań in 1942 and he set for Warszawa where he died on the 27th of November 1943. His body was transported to Poznań in 1946 and placed in the vaults of the Graves of Men of Distinction in the church of Saint Wojciech.
Kilka uwag o ezoterycznej naturze izorytmii
Dobrzańska, Zofia (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
In musicologlcal literature one can find contradictory opinions about the esoteric character of the isorhythmic motet. H. H. Eggebrecht, G. Reichert and R. H. Hoppin do not agree with the opinions expressed by H. Besseler and U. Günther, who state that the sensory perception of isorhythms is impossible. It seems that the conflict originates in the differentiation of the range of the repertory, the analysis of which has become the base for general opinions. The research carried out by various scholars in various periods of time show some different specific qualities of the isorhythmic formation; they expose to various degree the technical means (especially the hoquet with a motorial culmination) which make it possible to hear the isorhythmic form. Besseler analyses the isoperiodic motets of F. de Vitry of those times. The construction of their motets shows a loose connetion with the isorhythmic structure of tenor. Hence the form of such compositions is usually illegible in the auditory perception. The hoquet groups have an essential form-creating role in the motets by Machaut which were studied by Reichert and by Eggebrecht which are usually partially isorhythmic and the form of which does strictly depend on the formation of cantus firmus. They favour the formation of a clear formal plan which is possible to be heard. The complete isorhythmic motets from Manuscript 564 from the Bibliothèque du Musée Condé at Chantilly and from Manuscript a. M. 5, 24 from the Biblioteca Estense at Modena were analysed by Günther. They show an extreme complication of the rhythmical contrapunctal process and of very lengthened isorhythmic periods. The formal frames become blurred and difficult to perceive. Hoppin has also analysed certain completely isorhythmic motets from Manuscript J. II. 9 from the Biblioteca Nazionale at Turin. In these motets there is a simplified rhythmic relation accompanied by increased motorial centrast within the isorhythmic periods which gives a more distinct expressiveness to the composition's structure, and this in consequence can be more easily perceived by the senses.
Pierwszy polski drukowany śpiewnik katolicki na Śląsku Cieszyńskim
Poloczek, Edward (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
The first Polish Catholic songbook printed in Cieszyn Silesia is entitled "The work for every day, for every year and for the whole of every Catholic Christian". The author of the songbook was Father Antoni Janusz. It was published anonymously in Cieszyn in 1857. The ample collection contains no notes but does contain 436 songs, as well as many prayers for the whole church year. Scores of commentaries concerning the liturgical periods, the holy days and various situations in life were also included in it. The purpose of those commentaries is to deepen the understanding of the secret of faith through the explanation of its theological basis and of the way believers experience it. The contents of the collection concerns the whole of Christian life, both the religious life in the strict sense and lay life. The collection is an important work in many respects. It is primarily a songbook which initiated a whole series of such publications in Cieszyn Silesia. For the majority of authors at that time it provided a model both as regards arrangement and repertory. The collection of Father Janusz started the process of eliminating foreign language songbooks from use. It propagates not only a regional repertory and local traditions, customs and rites, but also is aware of the repertory of other regions of Poland. Its most outstanding quality is the spirit of respect for the teaching of the Catholic Church and for its liturgy. It is considered to be one of the most significant Polish Catholic songbooks from the middle of the XIXth century. The work of the Rev. Antoni Janusz found an enthusiastic reception among the Catholic Polish population of Cieszyn Silesia. The value of this songbook was also appreciated beyond the confines of Cieszyn Silesia.
Refleksje przy strojeniu organów
Chwałek, Jan (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
An instrument with 12 keys in an octave can be tuned according to the natural system and as a result 12 consonant triads can be obtained (6 major and 6 m inor ones), each of which consists of natural thirds and fifths. (The remaining triads are more or less dissonat). The set of twelve consonant triads is not fixed. On the basis of my own experiences during many years of organ-tuning practice, I have managed to establish 106 distinct sets of triads: 6 major + 6 minor ones, which can be produced by tuning the instrument properly. In order to represent these possibilities graphically, special tables have been designed (Table II and III), plus 12 so-called "formats", i. e. differently shaped frames which, when superimposed on the tables, reveal a complete set of 12 consonances (Tables VII - XVIII) . Among the sounds which make up each "format" we find full and primeless four- and five-chord sounds, diminished and augmented triads as well as in complete chords (without a prime or a fifth). It may be assumed that at least some of 106 "formats" under discussion were employded quite consciously in tuning the organs in the Renaissance period. The above remarks may be helpful in investigating certain problems of early music, e. g. the rich chromatics in works based as a rule on diatonic modal scales and "bold combinations" of chords; the justification for certain triads (now referred to as secondary ones, e. g. S II dim.); the search for the basis and origins of the sketchy notation system for keyboard instruments (the so-called thorough-bass); the addition of another manual to the instrument, which could be tuned according to a different "format" in order to broaden the total set of consonances. The above are only a handful of theoretically formulated suggestions which can be verified against the relevant literature and musical scores.
De conceptione BVM Franciszka Liliusa. Do problemów notacji i rytmiki wielogłosowości XVII wieku
Jasiński, Tomasz (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
Franciszek Lilius (c. 1600-1657), the conductor of the cathedral church group in Kraków and a composer of religious works, is the author of the four part composition "De Conceptione BVM", which is a cycle consisting of an introitus, graduale, offertorium and communio. The composition is preserved in a handwritten score, unluckily with one of the voices missing. In the composition we find some unconventional solutions concerning notation and rhythm. They are unusual primarily because the voices are notated with the help of various tactus signatures, and in particular there is a simultaneous juxtaposition of tactus C alla semibreve (cantus firmus) and tactus tripla 3/1 (contrapunctal voices). The synchronization of the fragments noted in this way takes place according to the traditional mensural notationt one semibrevis tactus C corresponds to three semibreves tactus tripla. This system of notation has been conditioned by the composer's idea: to elaborate a cantus firmus of long notes and to introduce simultaneously segments in tactus tripla which were so characteristic of XVII century music. In other words there is a tendency to relate the technique of a conservative composer with the progressive stylistic conventions of the baroque epoch. An extremely interesting phenomenon of rhythm is communio which almost entirely relies on the simultaneous operation of tactus C and tripla. Tactus tripla does not bring the contrapunctal voices quasitactous fragment. It only acts according to the rule of the old mensura: it establishes integer valor notarum and the proportions of division. In consequence the level of the contrapunctal voices shows a high degree of complexity and it forms a highly contrasting plane in relation to the mensural cantus firmus. In this case one can talk about a manifestation of the neo-gothic style.
System pitagorejski w ujęciu Jana de Muris
Witkowska-Zaremba, Elżbieta (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
The Pythagorean system i.e. the bases of the Pythagorean tune and its theoretical argumentation was presented by J. de Muris in his first musical treatise "Notitia artis musicae" in 1321. He developed his ideas in the treatise "Musica speculativa" published in two versions in 1323 and in 1325. "Musica speculative" became, especially in Central Europe, one of the best known music manuals of the Late Middle Ages and the Pythagorean system as formulated by de Muris for nearly two centuries provided a presentation of the problems related to the "artis muslcae" among the "artes liberales". All three above mentioned approaches to the Pythagorean system by the author "are based on the treatise "De institutione musica" by Boethius. The differences which exist between them result from the fact that various methodological assumptions were made. In the first book titled "Notitiae" de Muris exposed the relation between music and physics. In the first version of "Musica speculativa" written in 1323 he discussed only the mathematical aspects of music. The second version of this treatise (1325) presented a kind of intermediary approach. This approach is the fullest reflection of an idea very popular at that time, according to which music is something half-way between mathematics and physics, and in consequence has the status of a "scientiae mediae". De Muris is perhaps the first theoretician of music who was ever known by name and who used the terms "musica speculativa" and "musica practica" in the titles of his treatises. He did not, however, formulate any definition of those terms and any criterion for the classification. An undeniable achievement of this theoretician is the definition of the theory of interval, described in the Pythagorean system as "musica speculativa". Thus, in contradistinction to the "Speculum muslcae" by J. de Liege or the "De muslcae speculations" by W. Odington - which were comprehensive late medieval syntheses of the whole of the musical knowledge of those times - (with regerad to both theory and practice) - "Musica speculativa" by de Muris covers only one branch of the science of music. The reasons for which, this branch represented music among the "quadrivium disiclplines" are obvious: It was a kind of "normative acoustic" which investigated the reality of sound with the help of mathematics and at the same time discovered the very nature of objective and rational beauty deducing the rules of the art of music from it.
O estetyce muzycznej ks. Wacława Sierakowskiego
Poniatowska, Irena (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
Wacław Sierakowski in his treatise "The art of music – a book for Polish youth" published in 1795 tried to explain the whole problem of music i. e. the creative process, composition preformance, the evaluation of musical culture and the educational function of the art of music. His system was a kind of compilation of European ideas - from antiquity to the Encyclopaedists. The works of. J. J. Rousseau were the most significant influence of him. Sierakowski also refers to Holy Scripture in his essay, though he often does so in quite a superficial way. Nevertheless, he tries to found his aesthetics on a. theological base. In general, two traditions go to make up Sierakowski's aesthetics: 1. the conservative counter-reformation which attempts to maintain the "purity" of church music, and, 2. the aethetlc theoretical tradition of the musical Enlightenment. His understanding of beauty and of the music can be described in three categories: sensual beauty, sentimental beauty and associative or imitative beauty. This conception of music was characteristic of the whole XVIIIth century, not only of Rousseau, whose ideas were so fascinating for Sierakowski. On the other hand, the author of "The art of music" added to the musical aesthetics of the Enlightenment period some social and educational thoughts concerning the task of music in Poland, which gives his treatise a didactic aspect.
Muzykalne anioły Hermana Hana
Perz, Mirosław (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
Herman Han (1574-1626) was born in Nysa (Silesia) and he was "civis gedanensis" and "pictor regis" of Zygmunt III. He is considered to have been the most outstanding representative of international mannerism working in Polish territory. He performed commissions for the Polish Cistercian abbots from Oliwa and Pelplin. In the Pelplin catherdal church in the predella of the altar of the Assumption of the Holy Virgin there is a picture painted by this painter in 1618 and representing "The Adoration of the Shepherds". The present article is dedicated to this picture and to the musical scenes it represents. The iconological analysis proves that Han intended to express in pictorial form the following five problems, at the least: 1. The One God united in the Holy Trinity in His perfection and infinity, 2. Heaven and Earth as two different but connected places of the Universe. 3. The details of the glorious nature of the angels, 4. Earthly concord and finiteness, 5. The musical opposition of the sacred and the profane. In the top right-hand corner of the painting there is a group of several angels among clouds and a canon of three voices sings "In excelsis" in unison, with the words "Gloria in excelsis Deo" repeated two more times without the first word "Gloria". The notes of the composition are written down very carefully and with all the details. This is a three-voice canon in unison which ideally expresses three parts of unity. We are dealing here with the so called circular canon which is potentially infinite since it is enclosed in an infinite number of repetitions and is related to infinity. There is a mixolidian type of tonality where the canon corresponds to the atmosphere of joy. The terrestrial music takes up much more space in the painting, being situated at two opposite points in it. The musical subject is this time a fivepart composition with the canon in the octave between the cantus and tenor with the words "Et in terra pax hominibus bonae voluntatis". The counterpoint presented here proves that the composer was acquainted with polyphony. This common motto, repeated here, obviously refers to the beginning of the previous "celestial" canon and we have here also a common mixolydian tonality. The musical relation of the two compositions is obvious. The painting by Herman Han described above belongs to those paintings which can be "heard" and this "hearing" is meant to be a condition to a complete understanding of its contents, which are represented by an artist who knows both how to paint and how to describe sounds.
Wielość i jedność w muzyce sakralnej Bogusława Schaeffera
Buczek, Barbara (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
Among the compositions written by B. Schaeffer before 1986 there are six of a definitely religious character: "aDieu" (1973) for trombone solo, "Missa eletronlca" (1975) for boyschoir and an electronic tape, "Miserere" (1978) for soprano, choir and tape, "Te Deum" (1979) for solo voices, vocal group and orchestra, "Stabat Mater" (1983) for soprano, alt, choir (descants and contraltos), stringed instruments and organ, "Missa symphonica" (1986) for orchestra, soprano, violin and soprano saxophone solo. "Miserere" and "Missa eletronlca" are considered by the author to be two of his most important compositions. Thus religious music is a separate chapter in his musical production – it is very close to the composer himself and at the same time (except for the "Missa elettronica") it is quite an unknown part of his work. The religious compositions of Schaeffer were not composed to order and probably none of them were made to meet the future demands of his audience. The compositions came into being as a result of the autonomous development of the author's creativity and they are genetically related to his world outlook and to the traditions he was brought up in. Here we should look for the reasons for which he composed these works, which were meant primarily for himself, e. g. "Te Deum" is a composition of thanksgiving on his 50th birthday. The meaning and the religious ideas of the word "catholic" are especially inspiring motives for Schaeffer. Universality in his compositions finds its correspondent in the plurality and diversity present both in the techniques used and in all possible musical languages which may and should be employed to "praise the Lord". The range of techniques is vast: from subtle changes and nuances ("Stabat Mater") to clashes of contrast (both Masses), from archaization (choirs) to extremely avantgard solutions ("aDieu"), from the natural lyricism, full of simplicity of the vocal parts to the dignity and seriousness of the sounds of the orchestra. The concept of aesthetics becomes more pronounced: vocal and instrumental music, venerated for centuries, now cooperate with the newest musical forms like electronic music which only lately was elevated to a religious function.
Technika parodiowania w Mszy Tomasza Szadka
Poźniak, Piotr (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
One of the two masses by T. Szadek (ca. 1550-after 1610) which have been preserved is based on the five voice chanson of Crecquillon "Pis ne me peult venir". The mass was written before 1580 and was intended for the musical group in the Kraków Cathedral Church in Wawel. In order to cater for the needs of this group, Szadek reduced the number of the voices in this chanson to 4 voices only, which is exceptional in parody masses. It was also exceptional to base the mass in those times on chanson, as the composers of the second part of the XVI century used to use longer motets, richer in material. A detailed analysis of the mass by Szadek (as comparative material we used mainly the analysis of the mass by Palestrina /J. Klassen/ and by J. Gallus /P. Pisk/ as well as of a mass by Crecquillon based on the same model) proves that the composer has used the chanson "Pis ne me" in his own way. He created a humble work – a limited number of voices and relatively limited dimensions. A certain monotony results from the scanty melodious material of the model. Szadek did not concentrate on supplementing this material, but rather on transforming it. He did this in an ingenious way changing not only the single melodies but also the whole of the polyphonic structure. In comparison to the chanson, Szadek enlarged the part played by the imitative technique and introduced transformations based on double counterpoint. He gave an especially important role to those images of the main phrase of the model which clearly determine the (dorian) tonality. He is profoundly aware of the text of the mass (e. g. of the difference in meaning between the epitets "Kyrie" and "Christe"). This influences both the choice of melodies related to a cognate sense in the model (the planning of the material selected) and the choice of technical means (imitation, canon). All this gives a special symbolic meaning to the separate segments of Szadek's mass in relation to the contents of the text.
Kategorie sacrum i profanum we współczesnej literaturze muzykologicznej
Waloszek, Joachim (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
The distinction between sacred and secular music has obtained almost uninterruptedly ever since the time when professional music developed. In contemporary muslcologlcal literature there is a lot of ambiguity and many different ideas about it. Many authors use the definition of "sacred" or "profane" to describe a musical work in reference to its function (e. g. Th. Georglades). Others would like to find elements of a sacred or secular character in the very substance of music (e. g. O. Söhngen, B. Pociej). Subscribers to the last thesis often base their convictions on the philosophical analysis of the "musical time" (tempo) (e. g. E. Krenek). The majority of contemporary musicologists – while not denying the existence of a hyperaesthetic category of the sacred – avoid the radical statements of those who advocate the interpretation of this musical element in an exclusively "material" way. Such authors introduce a historical perspective into their research. They affirm that one cannot talk about aesthetical categories if one does not take into consideration the cultural context, the auditory habits, traditions, the spirit of a given epoch etc. A. Orel, W. Arlt, O. Ursprung represent such musicologists. Ch. Albrecht contemplates church music and secular music and draws some conclusions of a general character. According to what he says the sacred and the secular elements are not mutually exclusive. Secular does not mean anti-sacred but a-sacred. This author proposes several negative criteria which make it impossible to classify secular music as sacred music: denaturalized sounds, ludic elements, subjectivism, ecstasy, grotesque elements. The problem indicated in the title has not so far been studied properly and awaits further work.
Ave Maria w polskiej pieśni solowej XIX w. Przyczynek do badań nad związkami słowa i muzyki
Gabryś, Jerzy (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
Solo songs about Our Lady were very popular in Poland in the XIXth century, especially the song "Ave Maria". The authours of these songs were both professional composers like W. Czerwiński, Antoni Kętski, J. Nowakowski, A. Zarzycki, musician-instrumentalists (A. Teichman) and amateurs (the Rev. J. Karesz). The composers of these songs tried to compose music for the songs which would give them the flavour of religious music. The text of the "Ave Maria" inspired the composers to two-part compositions and emotional colouring. The joint action of word and music is limited in the "Ave Maria" song almost exclusively to the problem of tempo (moderato, andante) and to metro-rhythical ordering. The musical content creates a kind of religious atmosphere. The accompaniment is subordinate to the melody and it is the melody which decides on the aesthetic values of the whole composition. The old rhetorical figures are of little importance. Hence there appears an individuality of atmosphere which makes it difficult to discover the regularities which exist. Nevertheless, it is possible to a certain degree to find some common features in these compositions, like the text transformations which serve to accentuate the words "Ave Maria" and "Sancta Maria", and to deepen the spirit of awe contained in the words "sin" and “death". The text is treated as prose by means of the musical expression i. e. the slow tempo, the flat tonality, the quiet rhythmic contour and the limitation of the accompaniment to the background. The melody starts with a rising motion. There is a decorative cadence on the word "Jesus". The Polish solo songs "Ave Maria" are marked by a lot of improvisation and amateurship. When evaluating them, however, we should take into consideration the climate of the epoch they were created in. The worship of Our Lady, especially in the period of foreign domination, signified for the Polish people the hope of future liberation. Appealing to the name of Our Lady was not only a religious act but also a patriotic one. That is why the form of expression and the aesthetic values of the above mentioned songs played in this case only a sacondary part. The problem discussed here requires more detailed study.
Koncepcja formy i brzmienia Magnificat Mikołaja z Radomia
Dąbek, Stanisław (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
The "Magnificat" by Mikołaj of Radom is above all one of the earliest examples of the application of the fauxbourdon technique in European music. (This technique is described in the manuscript as "per bordunum"). The composition has an interesting and ingenious conception of form and sound. It is composed of 11 segments which use the text of the consecutive verses of the "Magnificat". Its form can be described as symmetrical. (Its graphic shape can be seen on page 143 of the present article). The segmentation of the whole composition into two macro-formal structures of an identical interior arrangement is evidence of this. An important part is played here by those verses which are elaborated with the help of the fauxbourdon technique. These mark "the axis of symmetry" of the form of the work (verse no. 6) and at the same time the whole formal structure of the "Magnificat" is rounded and framed by them. The first segment is an introductory structure, and the last segment is a concluding structure. The other segments, because of the regularity and symmetry of their occurrence, form microformal structures. Almost every segment – because of the kind of technique used here – has its "correspondent" or its "correspondents" in the structure of the composition. This is a constructivistic law of analogy. The main base in the forming of the sound of the composition is the Gregorian model found in the first psalm tone. The given elements of the model (initium – tuba – mediatio – tuba – terminatio) constitute the sound material of the highest voice of the composition (discantus) which is used in various ways (see examples 1 and 2). The composer applies moreover some sound patterns of the segments of the model which contain the whole three part structure: five sound patterns for the initium (see example 3), four models for the terminatio (see example 4), one model for the tuba (example 5). It should be noted that the models used here are applied in a constructivist way based on the law of analogy mentioned previously i. e. one model is used in several verses. As a result of the analyses carried out we can state that the constructivistic law of analogy and that of symmetry embrace and unif all three levels of the composition: its form, its horizontal structure of the highest voice (discantus) and the sound of the three part structures. This is proof of the existence of a constructivistic conception of not only the form but also of the sounding.
Muzyka kościelna w Polsce okresu oświecenia w relacji i ocenie ks. Wacława Sierakowskiego (1741-1806)
Przybylski, Tadeusz (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
By the XVIII century the process of secularization of music in European churches had become more intense. This took place with the full approval of the church authorities who not only supported the change, but even introduced new forms in to the music. So operatic elements were introduced in to churches, people began to perform instrumental symphonies, abandoing the separate character of church music. This process did not pass Poland by, where operatic compositions were also performed during services, as well as church symphonies and even lay symphonies. Because voices of protest were raised demanding the reform of church music. One of the reformers was Father Wacław Sierakowski who was active in Cracow as a parish priest and a member of the Wawel chapter house. Sierakowski kept a "Song school" at his own cost (in the years 1781-1787) where young people were educated. He also fought with his pen for the regeneration of music. His manuscript "A project for the reformation of the Wawel cathedral church chapel", from about 1790, is preserved to this day. Father Sierakowski also published in 1795/96 his three volume work entitled: "The art of music – book for Polish youth". In the above works he presented the decline of church music. He tried to prevant the introduction of musical Instruments into churches and he considered this a source of scandal. The cause of this degeneration – according to him – was both the inappropriate repertory and the misbehaviour of the musicians during the mass. The only salvation he saw was a return to the Palestrina style. In our opinion Sierakowski did not preceive the proper reasons for the dacedence of church music: it was not the instruments but the poor church music, lacking in style that was to blame. Sierakowski’s ideas, nevertheless, are worthy of attention.
Uwagi o polskich, religijnych pieśniach narracyjnych
Bartkowski, Bolesław (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
Since 1970 the Institute of Church Musicology of the Catholic University of Lublin has been collecting all the Polish Catholic religious songs which have been preserved in the living folk tradition. The material gathered in rural areas during local research work is the basis for a more detailed study with a musicological character. The majority of the songs collected have never been performed as church songs. They function in the realm of folk religiosity which is beyond all the liturgical norms. The written texts of most of the songs can be found in songbooks, prayer books, in some pamphlets etc. while their melodies have been kept alive thanks mainly to the oral tradition. The narrative songs are one type of song, sometimes they are called "legendary songs" and they are still alive in all regions of Poland. They refer to bibilcal events in the form of a free paraphrase, they contain apocryphal motifs, stories and legends about visions of God's Mother or about the lives of the saints. Two- and four-verse strophs, or sometimes three-verse strophs, are the typical metre of these songs. The verses of the dystychs or fragments of them are usually repeated in the song refrains which seldom occur – they are fragments added in the later periods. Inspired by the new function of the song. The characteristic feature of this repertory is its new function or multiplicity of functions. A periodical structure is typical of the narrative songs, the melodies are usually of between 6 and 16 bars (less 24 bars). The melodies are usually constructed from shorter or longer phrases of a uniform character. These phrases can be repeated in sequence or subjected to variations. The rhythms are syllabic, the schematism of the rhythmical structures is sometimes modally formed, the melodious lines are fluid, all of which means that the narrative character of the songs is given precedence. The penta- and hexachordal scales, more often major than minor, are characteristic of the tonality of the songs.
Muzyka i epifania. (Fragmenty hermeneutyczne)
Piotrowska, Maria (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
There are two threads in this article: an objective and a meta-objective thread. The objective thread is the more prominent. This is the music of the highest phase of classicism, Hochklassik. The purpose of this work is to show that the music of this period is used to convey Epiphany, i.e. "the revelation of the sacred through a reality which is different from it or which identifies itself with it". The polyphonic music of the XV-XVIIIth century belongs - in general terms - to this area from which emanates the sacrum. However, the idealistic message of the musical language of Hochklassik is not so obvious. This is not the language of the Renaissance man. This is the language of a man faced with different possibilities. But this man has served his contacts with God. Let us assume the truth of the axiom that underlies all of modern philological hermeneutics, namely, that art is concerned not with appearances but with the truth. Hence the hermeneutical understanding of art is almost like scientific knowledge. Hence musical language can mediate the world. The exposition of this is the task of the musicologist-hermeneutician. At the same time one should not identify musical hermeneutics with the interpretation of single works but should give as broad a meaning to it as possible. In what kind of "reasonable unity" can we place the music of about 1800? The era when the Viennese symphony flourished has as its focus the category of freedom. Classicism's high phase contained in its works something that corresponded with man's most exalted possibilities which in those times were revealed in morality. In the musical composition of about 1800 the general takes precedence over the singular, the particular and the accidental. This is purely instrumental music which constitutes a monolithic blend of various national elements and which is destined for listeners of all social classes. Hence its language is universally intelligible both to the connoisseurs and to the laymen, and both the composers and the thinkers of those times consider it to be "humanity's language", a "universal language". And, what is most important, the Hochklassik music is a reflection or an incarnation in sound of the Kantian state aims and in this sense it acts as a carrier of Epiphany.
Z problematyki badań nad tonalnością polskich śpiewów religijnych z żywej tradycji
Zoła, Antoni (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
It is only recently that folk religious songs have become the object of systesatic scientific study. So far the investigations carried out have proved that the source of inspiration for Polish folk religious songs is both the Gregorian chant and the nusical folk tradition with its roots somewhere deep in pre-gregorian times. In the religious songs which are still alive in various parts of Poland we also find the influence of some local musical traditions. The song material gathered in the whole country is so various and so rich that it offers a lot of new research possibilities. One of the most interesting and least investigated problems is the tonal structure of the songs. The present article discusses a variety of problems, especially the methodological ones, related to the study of their tonality. When considering the songs tonal structure we must look at it from several points of view: of these, the genetic aspect seems to be the most important. Quite different tonal structures we found in the songs which derive from Gregorian melodies and those which originate in folk traditions. So the genetic point of view helps us to interpret the tonal structure of the songs. The tonality can also be considered as a criterion for dating of these musical works. This is not, however, a sufficient criterion nor is it absolutely fool-proof. At most, we can establish a relative chronology with its help. This is not the place to discuss its usefulness. One of the most characteristic properties of the folk religious songs is their variability which may affect all the songs elements, including the tonality. The vastness and the variety of the collected material does not allow us to study the phenomenon in detail. It seems, however, that the problem of the tonal variants will prove to be one of the most interesting ones in the course of further study of the folk religious songs of Poland.
Naukowe, edytorskie i kompozytorskie osiągnięcia reformatora muzyki kościelnej w Polsce ks. dra Józefa Surzyńskiego
Winowicz, Krystyna (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 1987)
The Rev. J. Surzyński (1851-1919) was a priest, a doctor of theology, an editor, a conductor, an organist and a representative of the first generation of Polish musicologists (without an educational qualification). In the first place he was well-known for his muslcologlcal activity which had its aim in the discovery and popularization of numerous Polish musical relics. His editorial work was strictly connected with this activity. The series of the 4 volumes of "Monumenta musices sacrae in Polonia" (1885-1896) was an achievement of the European scale. Surzyński published there the compositions of such Polish composers as Sebastian from Felsztyn, Marcin Leopolita, Bartłomiej Pękiel, Tomasz Szadek, Mikołaj Gomółka, Grzegorz Gerwazy Gorczycki, Wacław from Szamotuły, Mikołaj Zieleńskl and others. One of his most valuable scholarly achievements is represented by his "Songs of the Polish Catholic Church from the most ancient times until the end of the XVI century" and "The Mother of God in Polish music". Moreover, he used to publish hymn-books and song-books, and he edited the periodical "Church Music". As for his achievements as composer, they number 215 compositions of which 163 are original and 52 elaborations. As the conductor he vived in 1894 the boys' and men's choir of Poznań Cathedral and it was with this choir that he performed some XVI and XVII century compositions as well as some newer ones. In 1883 he founded the Society of St. Wojciech in Poznań and later also in other Polish cities. From 1889 on he was professor of liturgical studies and of Gregorian chant in the seminary of Poznań. As an expert, he often assisted with the delivery of newly-built organs. By his activity J. Surzyński made his mark on Polish music culture.

Przeglądaj

Przeglądaj Roczniki Teologiczno-Kanoniczne, 1987, T. 34, z. 7 wg Data wydania