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JAN KARLOWICZ - A PORTRAIT WITH MIECZYSLAW IN THE BACKGROUND

100%
Wagiel A.
Muzyka
|
2005
|
vol. 50
|
issue 4(199)
67-103
EN
The article presents a portrait of Jan Karlowicz (1836-1903), the father of Mieczyslaw. The author refers to Jan Karlowicz's work as a historian and linguist, which is generally known, but concentrates on his activities as a musician, composer and musicographer, an aspect of his persona which has been little known so far. The issues discussed here present a picture of the home environment in which Mieczyslaw Karlowicz grew up. On the basis of extant documents the authoress reconstructs, among other things: the musical education of Jan Karlowicz as a cellist and pianist and his activities as a virtuoso cellist. She also discusses his work as a translator of works on the theory of music, a teacher of a class of ensemble music at Warsaw Music Conservatory, an author of a proposal for new musical notation, a participant of cultural events of nineteenth-century Europe and America, a member and activist of Warsaw musical societies, and an initiator of research into the works of Polish composers. A separate area of interest presented in the article is Jan Karlowicz's work as a composer, known from extant scores and the works of his first biographers.
2

FROM MANUSCRIPT TO PRINT. MUSIC FACING THE CHANGE OF ITS MEDIUM (Od rekopisu do druku. Muzyka wobec zmiany medium.)

88%
Gancarczyk P.
Przegląd Muzykologiczny
|
2011
|
issue 8
5-26
EN
The article deals with chosen aspects of the transformation of European musical culture caused by the invention of printing. On the one hand, the first printers followed the patterns of the manuscripts, but, on the other hand, they must have considered the technological and economic conditions in which musical printing was developing. This led in the XVIth century to the emergence of new forms of transmitting music which had important consequences for the character of musical culture at that time. The musical notation was standardised and simplified, making the flow of the repertoire easier and enlarging the number of purchasers. From the time of Petrucci, music started to be notated in the partbooks which strongly supported the development of the polychoral, as in Monteverdi, and of the vocal-instrumental music. The newly created models of musical editions were influenced by economic calculations and by market strategies. One of the elements of those strategies consisted in printing madrigals and chansons in multi-volume series, which contributed to the emergence of categorising the various works. The power of print was so substantial, that already in the second half of the XVIth century, we find manuscripts modelled on the printed versions. Whether we consider the changes caused by the typography to be revolutionary or evolutionary, there is no doubt that their influence was crucial. The consequences of this new medium spread over vast areas of culture of early modern times, including music, which still remains to be thoroughly investigated.
3

THE FUNCTION OF MUSIC IN MICHAEL MAIER'S ALCHEMIC TREATISE 'ATALANTA FUGIENS' (Funkcja muzyki w traktacie alchemicznym 'Atalanta fugiens' Michael Maiera)

88%
Jaglowski T.
Przegląd Muzykologiczny
|
2009
|
issue 7
5-40
EN
Michael Maier's alchemic treatise Atalanta fugiens (1617) is an emblematic book containing 50 three-part musical compositions. Each of them has a form of a two-part canon based on a fixed cantus firmus. These compositions constitute a musical equivalent of the content of particular engravings and of both poetic and prose texts. The originality of these compositions consists in a conceptual union of the word and the image with its musical notation, and particularly with the elements of notation and compositional techniques which are used in polyphony. From the artistic and aesthetic perspective, Maier's works are lacking in originality and are of little value, but they are an important example of an hermetic way of thinking and of philosophy of life.
4

STREDOVEKÉ NOTOVANÉ FRAGMENTY ZO SLOVENSKÉHO NÁRODNÉHO ARCHÍVU, FOND HODNOVERNÉHO MIESTA KONVENTU PREMONŠTRÁTOV V LELESE

88%
Veselovská E.
Historický časopis (Historical Journal)
|
2021
|
vol. 69
|
issue 2
223 – 246
EN
The source research into medieval musical materials from the territory of Slovakia has brought many new and valuable findings in recent times. The sources include newly discovered musical fragments from various archive, book and museum collections from the 11th to the end of the 15th centuries. Almost all the surviving musical sources contain monophonic Latin liturgical song, so-called Gregorian chant (in Latin cantus planus) of domestic and foreign origin. The manuscript materials from the Kingdom of Hungary include fragments in the Slovak National Archives from the Leles Premonstratensian Monastery place of authentication (locus credibilis). Fragments of four manuscripts with notes represent a scriptorium tradition that is specific from the points of view of content and musical notation. The medieval fragments with notation are preserved as the packaging for documents (Acta anni – varia). They come from four different liturgical books: a Sequentiar from the second half of the 14th century, a Missal from 1350–1375, an Antiphonar from 1350–1375 and a Psaltar with notes from about 1400. The aim of the study is to present the content and significance of these musical materials for research on medieval musical culture, religion and manuscript production in medieval Slovakia.
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