Roczniki Teologiczne, 2016, T. 63, nr 13
Stały URI dla kolekcjihttps://theo-logos.pl/handle/123456789/20711
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Pozycja Repertuar liturgiczno-muzyczny w rękopiśmiennym „Graduale karmelitańskim” (b.s.) z ObórWiśniewski, Piotr (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 2016)The article presents the content of the Carmelite gradual from Obory. Having compared the repertoire of the Carmelite book with the Roman gradual, it can be stated that the Carmelite mass liturgy comprises a bit different compositions. Only eight of the formularies proprium de tempore contain complete or almost complete sets of songs. Undoubtedly, choosing songs for the formularies of the liturgical days in such a selective way indicates that the codex served mainly a particular performer and that this gradual contains only some songs chosen from a different (complete) codex for a cantor. Out of 278 songs in the codex of Obory (including psalms and verses) 235 are the same as in the Roman gradual. Some of the song sets follow the tradition, while other sets do not. This kind of lability in dealing with the liturgical repertoire in relation to the Roman tradition implies that the book was created exclusively for the local monastery.Pozycja Ks. Ireneusz Pawlak, De musica sacra in Polonia. Quaestiones selectae, red. Ks. Stanisław Garnczarski, t. I-II, Tarnów: Biblos 2013, ss. 429 (t. I), ss. 552 (t. II), t. III, Tarnów: Biblos 2015, ss. 370. ISBN: 978-83-7793-193-6 (t. I), 978-83-7793-194-3 (t. II), 978-83-7793-407-4 (t. III).Wiśniewski, Piotr (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 2016)Pozycja Obchody ku czci św. Cecylii w Instytucie Muzykologii KUL. Lublin, KUL, 24 listopada 2015 rokuWiśniewski, Piotr (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 2016)Pozycja Organy w kościołach dekanatu chodelskiego w XVIII wieku (na podstawie akt wizytacyjnych)Szymanowicz, Maria (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 2016)The following article is the fifth, and the last one, of the series of texts concerning organs in the 18th century in the Lublin Archdeaconry, to which the Chodel Deanery used to belong. It was created on the basis of four Bishop’s inspections carried out in 1721, 1739, 1748 and 1781. The inspection acts are a valuable source in order to get to know the history of the organs. Basing on the records in the researched inspections, the information on 32 instruments functioning in the Chodel Deanery was obtained. To define them 31 versions of naming were used in the sources, originating from the two basic terms: organum and positivum. It is very characteristic to use complex names, consisting even of six elements. Majority of the organs were placed on the choir loft, above the great church doors. There is no information concerning the localisation of a few small movable positives. All instruments were of small sizes ‒ from four to ten voices, most of them consisted of seven voices. The knowledge about the organs in the Chodel Deanery obtained from the inspections, confirms the characteristics of the instruments functioning in the 18th century in the rural parish churches. This article is a contribution to the comprehensive monograph of the Polish organ construction, which still awaits to be analysed.Pozycja Śpiewy wielkanocne w liturgii i ludowej tradycji muzycznej na Podkarpaciu. Analiza i charakterystykaStrycharz-Bogacz, Kinga (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 2016)The aim of this article is to present the Easter singing in the liturgy and in folk music tradition of Podkarpacie as well as their analysis and characterization. The collected repertoire includes both melodies referring to the Gregorian chant patterns and created in the majorminor mode. Studies show that Easter songs are mainly performed within the liturgical rites of the Mass of Resurrection as well as during the liturgies celebrated throughout the whole Easter time. Still, in Podkarpacie this repertoire entering into folk circulation combines liturgical aspect with folk reception. The result of these relationships is the phenomenon of variability with which one can meet in this species of singing. The analysis proves that the transformations that occur due to folk performance relate primarily to melodies and metrorythmics of Easter singing as well as to their form and text layer. Prevalence of the non-metric melodies as a result of folk thinking with a music phrase should be noted. One can also meet genetically folk songs. In the studied Easter repertoire functioning in the oral tradition of Podkarpacie there are clear regional conditions that determine the specific, locally different face of these singing.Pozycja Spotkanie z kompozytorką Marzeną Komstą. Lublin, KUL, 13 października 2015 rokuSmolarek, Dariusz (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 2016)Pozycja Kompozytorzy muzyki instrumentalnej zachowanej w Archiwum Opactwa Cystersów w Krakowie-Mogile. Problem atrybucjiSmolarek, Dariusz (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 2016)In many monasteries of the 18th century Poland, there were vocal-instrumental ensembles. Their repertoire consisted mostly of songs designed for liturgy and religious services. An interesting fact is, that besides religious music, church ensembles had also strictly instrumental works in their repertoires. One of the largest and well preserved volumes of such music, is the musical collection of the Archive of the The Sanctuary of the Holy Cross of the Cistercian Abbey in Kraków-Mogiła. The problematic aspect presented in the article, indicates that among the 87 instrumental works from the collection in Kraków-Mogiła, only 19 are anonymous, and from those, 6 compositions have an uncertain attribution. The collection of notes includes 68 individual instrumental works which originate in the following music centers (names of only a number of composers will be presented as examples): Mannheim (J. Stamitz, A. Fils, G.B. Toeschi), Berlin (F. Benda, brothers C.H. Graun and J.G. Graun), Dresden (J. Adam), the Czech Republic (F. Brixi, A. Laube, A. Neumann), Vienna (G. Ch. Wagenseil, K Ditters von Dittersdorf, J. B. Vanhal, V. Pichl, J. Haydn, L. Hofmann), London (C.F. Abel, J.Ch. Bach, A. Kammel, I. Raimondi), Italy (and especially Naples ‒ P. Anfossi, P.A. Guglielmi, G. Paisiello and Milan ‒ G.B. Sammartini) and Poland (J. Gołąbek, A. Fischer). The preserved musical collection of the Clarae Tumbae is a perfect example of a repertoire representativeness (orchestral and not only) of one of the most important music centers of the 18th century Poland and a relevant, at the time, ensemble.Pozycja Nurt awangardowy w twórczości Andrzeja Nikodemowicza na przykładzie „Sonorita quasi una sonata per violono, violoncello e pianoforte”Dudek, Marek (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 2016)Andrzej Nikodemowicz whose literary output concentrates mainly around religious works also displayed an interest in avant-garde musical achievements. This can hardly be called a permanent tendency since his fascinations with the „new music” are of a short-lived nature, constituting exclusively an element of satisfying the composer’s curiosity about the dodecaphonic technique and sonoristics. A representative example of these endeavours is the Composizione sonoristica cycle consisting of four pieces for violin, piano and cello and ‒ combining these instruments ‒ Sonorita quasi sonata… The latter, being the topic of the paper ‒ is dominated by sound effects devised by the composer which are accompanied by motifs based on a 12-note scale, numerous clusters and variation processes drawing on neo-classical features. Thanks to this, Nikodemowicz, while making a stylistic synthesis of various epochs, preserves the continuity of his own aesthetics.Pozycja Beata Bodzioch, Cantionale Ecclesiasticum na ziemiach polskich w XIX i XX wieku, Lublin: Wydawnictwo Polihymnia 2014, ss. 444. ISBN 978-83-7847-201-8.Pośpiech, Remigiusz (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 2016)Pozycja Organy w kościołach dekanatu bobowskiego diecezji tarnowskiej w świetle protokołów wizytacji dziekańskich z lat 1856-1869Gładysz, Andrzej (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 2016)The article examines the visitation protocols of Bobowa deanery by the dean Stanislaw Baniak. As a result of detailed analysis of the source material has been determined that 14 parish temples and one branch church, in this period had organ or positive. They were small instruments (5–14 voices), of which at least 10 were located at the musical choir. Their condition was rewarding and if the instrument had a serious defect, there were made necessary repairs or replacements, which have also been characterized.Pozycja Współczesna polska pieśń kościelna ku czci Bożego Miłosierdzia na przykładzie dwóch zbiorów: „Pieśni do Miłosierdzia Bożego” oraz „Bóg bogaty w miłosierdzie”Garnczarski, Stanisław (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 2016)The contemporary song in honor of Divine Mercy develops relatively quickly. The study involved a collection of 56 songs included in the collection formed in the environment of Sanctuary in Łagiewniki in Krakow. The source of texts is St. Faustina’s Diary: Divine Mercy in My Soul and psalms, and the poetic works of more than 20 authors. The melodies are original and come from 25 artists, with one exception the use of contrafactum. Structure of the text fits generally in the overall tendencies of Polish poetry, where the popular and dominant metric measurements are reflected in the studied texts (11-, 13-syllable), rhyme (female, perfect paroxytone), stanzas (4 verses of even rhymes and alternating, with predominance of the latter). Similarly, in the musical layer dominates two-parts form, with different elements (AB) systems of internal links: ab + cd, aa + a1b, aa1 + bc, ab + cc1 and ab + ca1. Less numerous are three parts forms with types of structures AA1B, ABA1, ABB and ABC. Moreover, we find forms of refrains and psalms.Pozycja Studium analityczne „Thema und Variationen” op. 34 Józefa KromolickiegoCharlińska, Elżbieta (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 2016)ózef Kromolicki is not a widely known composer. His œuvre comprises choral and organ works. One important composition is the cycle Thema und Variationen, Op. 34, which consists of the following movements: Kanzone (theme) Perpetuum mobile (Var. I), Zwiegesang (Var. II), Brausend (Var. III), Aeolscharfe (Var. IV) and Chromatische Quadrupelfuge (Var. V). The analytical study deals with the elements of the musical work: melody, rhythm, harmony, agogics and formal design. The most complicated element, albeit a schematic one (theme with Vars. I and II), is the harmony. A highly elaborate movement in terms of composition technique is the last, a quadruple fugue. The study concludes by indicating the most important means of variation technique employed by Kromolicki, including changes of mode, metre and agogics. The evolution of the rhythm is based on the gradual diminution of rhythmic values (this concerns the theme as well). An important factor in the shaping of the form is the use of polyphonic techniques (canon in Var. II, the closing fugue). In the last movement, the composer displays a mastery of counterpoint technique, wielding four themes at once. It is a great pity that Kromolicki’s Thema und Variationen, Op. 34 is not familiar to a wider audience of organ music. It is an ambitious work of considerable value, in both compositional and performance terms.Pozycja Muzyczny wymiar dzieła stworzenia w perspektywie „harmonia mundi”Bramorski, Jacek (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 2016)Harmonia mundi is an ancient philosophical concept that regards proportions in the movements of celestial bodies as a form of music. In Greek philosophy, since music is an expression of order and harmony, it is analogous with the harmony of nature, and is sympathetic with it. For Christians, the harmony of creation mirrors the Creator. For St. Augustine concordance and harmony, both in music and in creation, are icons of the perfect concord realized in divine life. In the Middle Ages a special mention is reserved for St. Hildegard von Bingen, for whom the creation’s accomplishment is the resonance of the harmony of human praise in God. The connection between the order of creation, the order of numbers and that of musical composition, which is to be found throughout Western thought for centuries, was developed in the Baroque era by important theorists, among whom was Johannes Kepler. It was the form of music itself, with its internal order, which made it part of the cosmic harmony, and, therefore, a mirror of divine wisdom. Western music traditions has indeed displayed that “cosmic character” which Cardinal Joseph Ratzinger considers appropriate for celebration of the Liturgy. He expounded a cosmological vision of worship. The music of the Church is the divine praise of the Logos in the cosmos. As a recent historian of the relation between music, theology and cosmology he has shown the Pythagorean account of music, as a revelation of divine order of creation. Thus the Classical merge into the Christian world is not dismantled.Pozycja „Officium Gratiarum actionis pro victoria ex Turcis obtenta” zachowane w antyfonarzach rodziny Piotrkowczyków (cz. I)Bodzioch, Beata (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 2016)At present, three versions of Officium Gratiarum actionis pro victoria ex Turcis obtenta are well known. The first two are anonymous forms (1624, 1624-1628) which can be described as services honouring saint Patrons of Poland. We still do not know anything about their musical arrangements. The third form (1628) was created as an expression of thanks for the victory in the Battle of Chocim (Khotyn, 1621). Its authors (Jan Fox and Sebastian Nuceryn) were undoubtedly familiar with earlier texts, yet none of them reached the final version of the Officium (the mediaeval theatrical form). The melodies composed to fit this version were preserved in the fourth edition of the antiphonary by Andrzej Piotrkowczyk (1645). The FoxNuceryn form functioned until 1961.Pozycja Sztuka „akompaniamentu” organowego we Francji na przełomie XVII i XVIII wieku. Jacques Boyvin i jego „Traité abregé de l’accompagnement pour l’orgue et pour le clavessin” (1705)Aleksandrowicz, Miłosz (Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego, 2016)The article focuses on the rules of organ playing presented by Jacques Boyvin in his Traité abregé de l’accompagnement pour l’orgue et pour le clavessin (Paris, 1705). Boyvin, born about 1653 in Paris, and died 1706, June 30th, spent most of his life in Rouen, the capital of Normandy. There, since 1676, he occupied the position of cathedral organist, earning fame of one of the most accomplished organists of the second half of the 17th century. His main musical output consists of two collections of organ music: Premier livre d’orgue contenant les huit tons à l’usage ordinaire de l’Eglise, published in Paris in 1690, and Second livre d’orgue contenant les huit tons à l’usage ordinaire de l’Eglise (Paris, 1700) and the above-mentioned treatise, which is considered to be one of the most important sources regarding keyboard playing practice at the turn of 18th century. In the first chapter Traité abrégé Boyvin discusses the main rules of music composition and he explains the symbols used in the transcription of basse continuë. In the second chapter he concentrates on various aspects of practical harmony of sounds. The third chapter includes a list of remarks on practical and performing aspects, which should be followed while playing the organ and the harpsichord. The last chapter (Des transpositions) deals with the important issue of scales transposition, which is often applicable in liturgical music. The important part of this article is the first in Polish literature of the subject, translation of the whole treatise, and the collection of organ exercises (preludes) originally published at the end of the treatise. The author of the article hopes to provide satisfactory amount of information both for organists and musicologists interested in the 18th century French music theory.