Tarnowskie Studia Teologiczne, 2014, T. 33, cz. 2

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Osoba i kultura – odkrywanie personalnego wymiaru ludzkiej kultury
Drożdż, Michał (Wydział Teologiczny Sekcja w Tarnowie Uniwersytetu Papieskiego Jana Pawła II w Krakowie, 2014)
The present paper is an attempt at an analysis of the anthropological and ethical dimension and foundation of media culture. Culture is herein regarded as a space for a person’s manifestation and communication. While in search of the most deeply rooted foundations of the personalistic concept of culture, it seems worthwhile to recall a fundamental truth that genus humanum arte et ratione vivit. It is a truth which reveals a close connection and dependence between the human dimension of life and the rationality of culture. On the one hand, the personalistic deep-rootedness of media culture shows the human being in the large-scale character of culture; on the other hand, it emphasizes the fact that it is the human being that is the subject and creator of culture.
Guillaume-Gabriel Nivers (ok. 1632–1714) – ostatni z „przedklasyków” czy pierwszy z klasyków?
Ferfoglia, Susi (Wydział Teologiczny Sekcja w Tarnowie Uniwersytetu Papieskiego Jana Pawła II w Krakowie, 2014)
In the French music the period 1665–1703 is the time of great changes, when the style known generally as classical organ music of the so-called Grand Siècle took its shape. Among the numerous composers active during that period was Guillaume-Gabriel Nivers, organist of Saint-Sulpice – one of the most eminent Parisian churches. His career developed in connection with the church, the convent of Benedictine nuns as well as the school for noble young ladies in Saint-Cyr-l’École. That is why Nivers composed only church music. His works, collected in three organ books and in the Thièry manuscript (ascribed to him), are representative of French music composed in the 17th–18th cent. It was the tradition associated with alternatim technique, with alternating sections in organ verses and chant. The thee organ books by Nivers constitute a large opus which includes numerous genres characteristic for the period; Nivers worked on all of them systematically, which led to their development, especially in liturgical music. On the one hand, Nivers was „pre-classical”, which can be seen in his use of Gregorian cantus firmus (Mass, Hymns, Sequences), from which his contemporaries would largely depart, as well as in the „modal thinking”, especially in the works included in the Premier and Troisième Livre d’Orgue. On the other hand, his oeuvre opened the door to welcome the new period, which can be seen primarily in the „new style” – melodious, based on meticulously chosen registers, varied according to the character of a particular piece and its place in liturgy.
Kultura muzyczna w klasztorze klarysek w Starym Sączu
Garnczarski, Stanisław (Wydział Teologiczny Sekcja w Tarnowie Uniwersytetu Papieskiego Jana Pawła II w Krakowie, 2014)
Big impact on the life of Church and on the public and cultural sphere has the formation of the new forms of religious life in Europe of the twelfth and thirteenth-century. So it was in Poland in the case of the monasteries of Poor Clares, especially Poor Clares in Stary Sacz which developed the rich musical life. Helpful in this regard were the structure of monastic life with various functions and ministries. Among them we find many serving liturgical music and not only and assigned to sisters of a special musical abilities. Moreover, sisters have led regular singing practice; learned new songs and even composed themselves. Inside the monastery acted religious band, for which the instruments were purchased; in a different period the monastic band functioned, employing also secular musicians, in addition to constantly employed organists. Sisters maintained also close contacts with the clergy who visiting the monastery brought ordered by Sisters liturgical books, among them a musical. In this way library of the monastery enriched by the book, which today are relics of the highest quality and sources of the specialized research on the culture of the monastery of Stary Sacz.
Dyspozycje prawne regulujące muzykę i śpiew liturgiczny po Soborze Watykańskim II (kontekst polski)
Kantor, Robert (Wydział Teologiczny Sekcja w Tarnowie Uniwersytetu Papieskiego Jana Pawła II w Krakowie, 2014)
The article addresses the issue if legal requirements regulating liturgical music and singing. There is no mention of it in The Code of Canon Law of 1983. However, the last one hundred and fifty years were characterised in this respect by two great reforms. The first one of 1903 was conducted by Pope Pius X, and the second one was done by means of the Second Vatican Council. The main subject of the first reform was the recovery of the „purity” of music in response to numerous instances of abuse which polluted liturgical music. The second reform was aimed at active and conscious participation of the faithful during a liturgical assembly. This paper presents the most important documents regarding this subject after the Second Vatican Council, including the Constitution of the Sacred Liturgy (Sacrosanctum concilium), Musicam sacram instruction and – with regard to the Polish background – Polish Episcopate instruction of 8 February 1979 on liturgical music.
Zraniony strzałą piękna. Piękno i misja Kościoła według Josepha Ratzingera
Michalik, Andrzej (Wydział Teologiczny Sekcja w Tarnowie Uniwersytetu Papieskiego Jana Pawła II w Krakowie, 2014)
Thoughts about beauty appear in various places of incredibly rich writings of Joseph Ratzinger. Accordingly with his method, he undertakes this topic in a historical context reaching as far as to the Ancient Times, and develops its theological basis, in order to finally present its ecclesiastic context and a practical development. As always though, the point of origin is the existential problem and the answer of the Revelation as well as diagnosis of modernity. Beauty – according to Joseph Ratzinger – today, is rarely a product of inspiration, but it became a subject of commerce. Beauty seems to suffice by itself, which leads to an art crisis. However, because beauty in its deepest essence points towards a different Reality, that is why we discover all over again its special role in the fulfillment of the Church’s mission. The first task of the Church is to oppose the wicked beauty, which diminishes human, and the second one is to breathe new one in the apostolate thanks to discovering anew the purpose and the meaning of beauty in the human life, in experiencing God and in the Church’s liturgy. Against the crisis of apostolate we need to see the pedagogical aspect of beauty. Human wounded by an arrow of beauty – according to a personal experience of Joseph Ratzinger – is lifted up, above himself. For it is the protection of true beauty and seeing its role in the Church’s mission that are the tasks and a chance for the Church.
Historia organów w kościele Najświętszego Serca Pana Jezusa w Tarnowie
Szczerba, Wojciech (Wydział Teologiczny Sekcja w Tarnowie Uniwersytetu Papieskiego Jana Pawła II w Krakowie, 2014)
The purpose of this article is to enunciate the history of the organs in the church of the Sacred Heart of Jesus in Tarnów – Grabówka. This church, which was being built from 1935 till 1939 and from 1945 till 1952, despite of its short history, had been a place for two instruments and now the third one is being built. The author of this article, basing on the available archives and oral reports, wrote the short history of all three instruments, showing their specification: disposition, technical information, etc.
Wychowanie i formacja na przykładzie Federacji Pueri Cantores
Tyrała, Robert (Wydział Teologiczny Sekcja w Tarnowie Uniwersytetu Papieskiego Jana Pawła II w Krakowie, 2014)
Education and formation are the two key words of tremendous importance in the activity of the International Federation of Pueri Cantores. Learning the Christian values and deepening faith both derive from the identity of and identification with the group which Pueri Cantores is. Creative education, commonly associated with musical formation of young people, is a peculiar quality characterizing this church movement. The Pueri Cantores actions performed in many countries of the world, counting today almost 40, prove the growing effectiveness and popularity of this Federation. And such is are the aims which were officially approved by its Presidents in the document ratified in Paris last year. The history of the Pueri Cantores community has featured a great number of excellent tutors and educators. Their remarkable activities are certified by their living pupils, acting and developing worldwide. Amongst these magnificent pillars of the Federation was Siegfried Koesler, deceased two years ago, a great friend of the Polish Federation of Pueri Cantores and of the main celebrator of today’s anniversary. The entire international community of Pueri Cantores Presidents, Correspondents and Guests shall meet on 24–26 October 2014 in Würzburg so as to commemorate this great and good teacher. At the funeral service of Siegfried Koesler at Würzburg cemetery on 5 December 2012 I said on behalf of the International Federation of Pueri Cantores: „Thank you fory your shiny example. You were for us a living sign of God’s presence amongst us. Your thoughts and deeds shall remain in us for they have stayed alive in our hearts. You will live in us. Your remarkably good manners, culture and life, permeated with God’s presence, will always be an inspiration and encouragement for us in our aiming at ideals, to which you were invariably faithful” (R. Tyrała, The 10th Letter of President of FIPC, Kraków 2014. Archives of the International Federation of Pueri Cantores in Rome). It is a matter of undeniable certainty that the modern world, the modern Church and we ourselves need such authentic educators and authorities. May the conclusion of these few thoughts on educating through music, as exemplified by the Federation of Pueri Cantores, be the words expressed by the man who, like anyone else, knows how to run a choir, and educate and form young people: „I believe, working with a choir in respect of human activity belongs to a hierarchy of values. Because man as such is a value himself. And this man, whether a child or an adult singing in our choir, whom God provided with abilities to sing and with musical sensitivity, and whom He entrusted to us, choirmasters so we would educate, tutor and form, is truly worth a trial” (A. Zając, Chór kościelny – środowiskiem edukacyjnym, wychowawczym i formacyjnym. Sacred Choir – An Educational, Tutorial and Formative Environment, w: Pro Musica Sacra, t. III, Kraków 2006, p. 80).
Muzyka sakralna w służbie tajemnic wiary
Królikowski, Janusz (Wydział Teologiczny Sekcja w Tarnowie Uniwersytetu Papieskiego Jana Pawła II w Krakowie, 2014)
Sacred music acts as a service for liturgy and is in fact the service for faith mysteries. So if you want to say something reasonable from a theological point of view on the theme: sacred music, its elements and ways of manifestation you have to begin with understanding of the mystery in the faith of the Church and in the theology. This article treats therefore of the mentioned above. In this way there is emphasized that if you talk about sacred music you can speak about it only on the basis of faith in the mystery thus creating the right spiritual climate in which the music can be experienced and further creatively developed. There is paid particular attention to the issue of worship being the appropriate environment to use sacred music and the reference point for its creation. The point is the music is supposed to serve in deeper experiencing of faith mysteries in worship. The final conclusion is as follows: the mystery, whose sacred music is in fact on service, is the mystery of „spirit and truth” (Jn 4, 23). If sacred music subordinates to spirit and truth of the faith mystery and does not treat itself as another reality, the music will be always open to the mystery realizing its the most appropriate function to lead a man to joy in God, whose fullness is achieved in an attitude of adoration.
Wszechświat – Boska muzyka
Maziarka, Tomasz (Wydział Teologiczny Sekcja w Tarnowie Uniwersytetu Papieskiego Jana Pawła II w Krakowie, 2014)
The nature of music and the nature of the universe reveals a lot of common features. Similarity of both was perceived in mythical era; the world of music and the world of astronomy was devoted under patronage of the sisters – the divine Muses. The discovery of the mathematical nature of the musical intervals, which was made by Pythagoras ordered him to base the harmony of the universe on the numerical relations and to recognize that music accompanies the revolution of the heavenly spheres. Plato gave the „music of the spheres” geometric form, and in the Middle Ages, when the Christianity assimilated the idea of the world as a rational structure, harmonia mundi was a model for the composers as well as for ascetic struggles. Modern times and characteristic development of natural sciences, very clearly supported the argument that the world is mathematical. Metaphorical approach of the modern String Theory, which describes the evolution of the first moments of the universe, permits to assign to God the role of the Great Musician who „playing on the strings” – creates the universe.
Gabriel Marcel – muzyka i odnajdywanie Boga
Noworolnik, Czesław (Wydział Teologiczny Sekcja w Tarnowie Uniwersytetu Papieskiego Jana Pawła II w Krakowie, 2014)
Man, wondering for himself discovers the existence of the spiritual world. The source of this spiritual reality can only be the most perfect spiritual being, namely God. There are different routes to encounter with God. This article shows one of these human paths to God, which was crossed by the French philosopher Gabriel Marcel. For Gabriel Marcel his personal an experience of the beauty of music has become an important factor in the meeting with God, who is the source of all the beauty. The first part of the article presents some small outline of the Church’s teaching on beauty as an attribute of God. God is the highest (absolute) beauty and the source of all beauty. Each created beauty participates in this highest beauty and it is the image of the Creator and His beauty. In an art, and therefore also in music, as the Church teaches (recently John Paul II and Benedict XVI spoke about it), man can find a reflex of God’s beauty. Music can therefore be one of the way to God. In the next part of the article is presented an important impact that music has had on the life and philosophical thought of Marcel. Music was accompanied our author throughout all his life. Marcel often listened the music. He played the piano and composed his own pieces. Music was also a tool with which Marcel explored the deepest crannies of the human spirit. Music helped Marcel meet One who is the source of beauty. It is to this theme to which is dedicated the last part of the article. Marcel has sought and found the way to find the eternal and personal THOU. Music and theater were to the French thinker the „creative testimony” of the spiritual and transcendent world. In conclusion we can say that the meeting with the great, beautiful music opens man up to the spiritual world. Music opens man to God who is the source of what is beautiful in the world, so we can say that music is a trace of God. Gabriel Marcel, his life experiences and philosophical obserwation can serve the man as a guidepost in his searching of God.
Uniwersytecka „melodia”. Tarnowski przyczynek do współpracy międzynarodowej Uniwersytetu Papieskiego Jana Pawła II w Krakowie
Stala, Józef (Wydział Teologiczny Sekcja w Tarnowie Uniwersytetu Papieskiego Jana Pawła II w Krakowie, 2014)
The Erasmus exchange programme is one of the greatest culture and education programs, which helps students, teachers and administrative staff to explore and to grow their potential. Programme offers a chance to gain professional development through studying, teaching or training in a partner Higher Education Institution in Europe. Nine students and ten academic teachers from the Faculty of Theology, Section in Tarnow of the Pontifical University of John Paul II in Krakow have participated in programme since 2007. The author of this article presents contribution of the Faculty of Theology, Section in Tarnow to the international cooperation and development of the Pontifical University of John Paul II in Krakow.
Wskazania dla artystów w przesłaniu św. Jana Pawła II
Marcinkowska, Barbara (Wydział Teologiczny Sekcja w Tarnowie Uniwersytetu Papieskiego Jana Pawła II w Krakowie, 2014)
Through music people can fully express their feelings and emotions, even the ones of religious nature. Therefore, music is an inseparable part of the liturgy in the Christian Church. The music used during religious ceremonies is aimed at praising God and blessing the faithful. This goal will be accomplished only when the rules referring to sacred music are followed. These rules are found in the documents formed by the Church legislation. The Letter to Artists by St. John Paul II plays the vital role among the regulations. It can be treated as a kind of invitation sent to all people of art, so music as well, to join in the dialogue with the Church. The following article presents the tasks given authors and performers of worship music by the Church, in the context of the message conveyed in the Letter to Artists. Pope writes about their responsibility. At the same time he expresses a wish as far as the beauty they create is concerned. Namely, he wants that beauty to evoke admiration among the next generations.
Akty strzeliste jako wyrazy wiary i pobożności chrześcijańskiej
Szczych, Jan (Wydział Teologiczny Sekcja w Tarnowie Uniwersytetu Papieskiego Jana Pawła II w Krakowie, 2014)
Enchiridion indulgentiarum of Vatican treats, among others, of prayers of aspiration (aspirations), commonly called ejaculatory prayers (ejaculations), which are complements to individual indulgences. According to the document, an ejaculatory prayer is usually very short, expressed verbally or as a thought and as such externalizes a Christian’s internal attitude. Among pious invocations, it is possible to distinguish prayers which spontaneously flow from within a believer’s inside and those that have been confirmed by worshippers’ long practice or are customarily acknowledged. A collection of these prayer formulas as well as reflection on their content shows not only a believer’s individual piety but also portrays a praying person’s depth of consciousness of salvational occurrences. Thus, aspirations, whilst preserving their simplicity and expressiveness of significance, become a believer’s undisputed proof of faith and devotion.
Z dziejów organów w kościele parafialnym w Ryglicach (diecezja tarnowska)
Szymanowicz, Maria; Gładysz, Andrzej (Wydział Teologiczny Sekcja w Tarnowie Uniwersytetu Papieskiego Jana Pawła II w Krakowie, 2014)
The parish in Ryglice was created in 14th century. The currently existing church was built in the years 1928–1940. Basing on the archives it has been discovered that there were four instruments used in the churches of Ryglice: – Organs built before 1647 (14 voices); – Organs from 1721 (12 voices); Organs built by Rudolf Haase from Lwów in 1909 (12 voices), in 1957 extended to 18 voices by Stanisław Czachor from Tuchów; – Organs built by Mieczysław Gwóźdź from Nowy Sącz in 1991 (25 voices). This instrument has been still existing and being used in the parish church in Ryglice as the accompaniment during the devotions. The first and last names of the 9 organists working in Ryglice have also been identified. Kazimierz Zając (father of the Rev. Prof. Andrzej Zając), who had been on this duty for 40 years, is also among them.
Ksiądz profesor doktor habilitowany Andrzej Zając
Garnczarski, Stanisław (Wydział Teologiczny Sekcja w Tarnowie Uniwersytetu Papieskiego Jana Pawła II w Krakowie, 2014)

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