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1

The Sense of “Pleasure” in Eastern Chant

100%
Chaldaeakes A.
Human and Social Studies
|
2015
|
vol. 4
|
issue 1
119-138
EN
Music is by default a key element of every kind of Entertainment. Actually, the two terms (Pleasure and Music) are almost synonymous in the geographical area of the East - especially during the late medieval period - and there is a plethora of relevant evidence in the rescued literature and musicological sources to support this argument. It seems that there is a mutual and interactive “dialogue” between the two terms. This is an ideological and philosophical dialogue, as well as a completely fundamental and practical one: the musicians (the people who actually carry out the musical task) channel in abundance and mainly ensure the pleasure of the people who participate in any type of entertainment; and they do so through both their presence and their performance. However, at the same time, in order to acquire the ability to act in this way, i.e. to bring the “entertaining” dimension of music to the forefront, they themselves have to be in a position to experience music as pleasure, to grasp the multiple gratifications which are hidden at the very core of every kind of music. In both circumstances we can refer to two high level conquests of the Spirit and the Art: the pleasure of Music and music for Pleasure. In the present article Ι will attempt a first approach of the issue and an outline of its twofold dimension.
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Music in 19th-Century Venezuela

80%
Palacios M.
Politeja : Pismo Wydziału Studiów Miedzynarodowych i Politycznych Uniwersytetu Jagiellońskiego
|
2013
|
issue 2(24): Venezuelan Studies
243-253
EN
Beginning as a Spanish colony to become an independent republic – the 19th century was a pivotal point for Venezuela. Socially, politically, and economically speaking, the changes were numerous, and so were the cultural and artistic manifestations that flourished in those circumstances. One of them will be tackled in this study: music. This paper is a review of one of the richest information sources: the publications of the times. Venezuelan 19th century hemerography contains hundreds of music news on composers and their environment, works, performers, musical institutions, events, concerts, critical reviews, and others of the sort. They are the witness of the events of an epoch. By analyzing them, a partial reconstruction of the Venezuelan music history can be made possible.
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MUSIC AND MORALITY: The Reverend Hugh Haweis and his Music and Morals. A voice from the Victorian England about the morality of music: ethical effects of musical emotions

80%
Siechowicz P.
Miscellanea Anthropologica et Sociologica
|
2015
|
vol. 16(3)
144-152
EN
The Reverend Hugh Reginald Haweis with his book Music and Morals received an astoundingpopularity in the Victorian England. In his writings, he affirms the moral powerof music, both in temporal and eternal terms, describing carefully its similarity to humanemotions. The link between emotions and music can be found in their formal characteristics. The moral virtue of music is closeness to life when it comes to its emotional content.The moral sin of music is that it expresses false emotions. What is even more important,Haweis asserts that the moral power of music depends on the disposition of a composer,a performer, and a listener. In his considerations one can find a certain ethics outlining theduties of the three to make the moral power of music serve the good. That is the developmentof emotionality and the understanding of feelings in everyday life. The lesson thatwe can learn from Haweis today is to think carefully about the conditions that make thesocial practice of music serve good.
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MUZYKA I MORALNOŚĆ: Muzyka i etyka. Przegląd wybranych publikacji i stanowisk.

80%
Koszewska A.
Miscellanea Anthropologica et Sociologica
|
2015
|
vol. 16(3)
13-38
PL
Niniejszy szkic jest w głównej mierze sprawozdaniem z poszukiwania lektur, argumentów,refleksji, przekonań, które pozwoliły rozwinąć i doprecyzować własne idee autorki.Uwzględnione zostały zwłaszcza publikacje i zawarte w nich stanowiska współczesnychautorów na temat związków muzyki i etyki, powstałe w ostatnich kilku-, kilkunastu latach.Wybrane prace zostały ukazane w szerokim kontekście tzw. „etycznego krytycyzmu”, nowegoparadygmatu w angloamerykańskich badaniach nad literaturą i kulturą.Wśród wymienionych tekstów znalazły się bardzo zróżnicowane w swym rodzajuprace autorów m.in. polskich, francuskich, angielskich, rumuńskich, niemieckich. Wśródnich wiele miejsca zajmują studia rumuńskich badaczy, a zwłaszcza książka rumuńskiejautorki, prof. Carmen Cozmy, pt. Ethos of Music Art. Essays in Moral Philosophy (2000).Najbardziej obszernie dyskutowanym dziełem jest książka Nanette Nielsen i Marcela CobussenaMusic and Ethics (2012).Z fragmentarycznego, pobieżnie naszkicowanego przeglądu wybranych jedynie publikacjii prezentowanych stanowisk na temat skomplikowanych i wielowymiarowychwzajemnych relacji muzyki i etyki można wnioskować, że trudno byłoby stwierdzić zaistnienieradykalnego „zwrotu etycznego” w muzykologii, który miałby nastąpić w sposóbanalogiczny do nagłego przypływu zainteresowania kwestiami etycznymi w badaniachliterackich tradycji angloamerykańskiej końca lat dziewięćdziesiątych XX wieku.Można mówić jedynie o pewnych impulsach, inspiracjach badawczych, nie zaś o nowym paradygmacie.Na zakończenie autorka wspomina o własnych badaniach skoncentrowanych wokół tajemniczych powiązań muzyki i etyki, których fundament został zbudowany na twierdzeniachzaczerpniętych z myśli antropologicznej Karola Wojtyły, z zachowaniem niezależności względem nurtu „etycznego krytycyzmu”. Muzyczny komentarz i zarazem końcowąkonkluzję tekstu tworzą zacytowane końcowe takty III Części Sinfonii Luciana Berio.
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MUZYKA I MORALNOŚĆ: Music and Morals wielebnego Hugh Haweisa – głos z wiktoriańskiej Anglii w sprawie moralności muzyki. Etyczne oddziaływanie muzycznej emocjonalności

80%
Siechowicz P.
Miscellanea Anthropologica et Sociologica
|
2015
|
vol. 16(3)
144-152
PL
Wielebny Hugh Reginald Haweis i jego książka Music and Morals cieszyli się w wiktoriańskiejAnglii ogromną popularnością. W swoich pismach Haweis przekonuje o moralnymoddziaływaniu muzyki, tak krótko-, jak i długotrwałym, opisując dokładnie jej podobieństwodo ludzkich emocji. Związek pomiędzy muzyką i uczuciami opiera się na podobieństwieich cech formalnych. Cnotą muzyki jest prawdziwe odwzorowanie ludzkichuczuć. Grzechem muzyki jest wyrażanie fałszywych emocji. Co jednak jeszcze ważniejsze,Haweis podkreśla, że moralne oddziaływanie muzyki zależy od postawy kompozytora,wykonawcy i słuchacza. Z jego pracy można wyczytać etykę określającą powinności każdegoz nich, tak by muzyka służyła dobru rozumianemu tutaj jako rozwój uczuciowościi lepsze zrozumienie emocji doświadczanych w codziennym życiu. Dzisiejsza lektura pismHaweisa uczy, że istotną kwestią w rozważaniach o moralności muzyki jest namysł nadwarunkami, w jakich muzyka służy dobru.
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Ogarnąć muzyję

80%
Chęćka-Gotkowicz A., Ashkenazy V.
Estetyka i Krytyka
|
2002
|
issue 2(3)
PL
wywiad z Vladimirem Ashkenazym
EN
interview with Vladimir Ashkenazy
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MUZYKA I MORALNOŚĆ: Dyskursywna niemoc Petera Kivy’ego: problem moralnego uwikłania muzyki

80%
Chęćka-Gotkowicz A.
Miscellanea Anthropologica et Sociologica
|
2015
|
vol. 16(3)
77-85
PL
Esej jest krytyczną analizą poglądów Petera Kivy’ego na temat moralnego uwikłania muzykiabsolutnej. Jest ona, zdaniem autora, niezdolna do oddziaływania na sferę moralnościw trzech wyróżnionych przez Kivy’ego aspektach. Po pierwsze, nie może działać nasłuchaczy na poziomie behawioralnym; następnie, nie może wpływać trwale na zmianępostaw i charakteru; wreszcie, nie przekazuje, nawet pośrednio, żadnej wiedzy w sensieepistemicznym. Choć autor na poziomie argumentacji filozoficznej nie umie wykazaćbezpośredniego związku muzyki z moralnością, to jednak jako wrażliwy słuchacz wierzyw tajemniczą zdolność muzyki do przemiany ludzkich serc.
8

РОЗВИТОК ХУДОЖНЬО-ЕСТЕТИЧНОЇ ОСВІТИ УЧНІВ У СУЧАСНІЙ ПОЧАТКОВІЙ ШКОЛІ

80%
Соколик Ж.
Педагогічні науки: теорія, історія, інноваційні технології
|
2014
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issue 9(43)
57-64
EN
The suggested article reviews present state of development of artistic-and-aesthetic education in elementary school pupils within education and bringing-up process in comprehensive school. It comprises the analysis of the aim and main tasks of artistic-and-aesthetic education. The article contains a list of educational programs developed in accordance with the latest State standard of elementary general education and respective textbooks of various text-writers. Artistic-and-aesthetic education of students of elementary school is viewed within the framework of acquiring of the educational subjects like «Fine Art», «Music», and «Art». Art within the system of modern education is viewed as significant component of general school education. Its powerful cognitive and educational resource is related to aesthetic nature due to which the most complex and mysterious processes of man’s spiritual life and inner world become comprehensible.Integrative orientation of the program of artistic-and-aesthetic education of students in secondary schools is aimed at developing a holistic artistic image of the world as an integral part of the total picture of the world. At the same time we shouldn’t absolutize any model of integration of knowledge, because organization of knowledge is not only systematic courses and purposeful pedagogical efforts in general, but the identity of the pupils. It’s the lessons of the artistic-and-aesthetic course at school – music and visual art, literature, artistic culture, choreography, aesthetics – that breed the sense of harmony and value, rhythm and sound, color, plastic forms and imagination. All those are of primary importance for upbringing of highly dignified person. The article brings forward prospects for the development in this direction. Principle concepts and their influence on artistic-and-aesthetic upbringing of young pupils are highlighted. The author concludes that implementation of effective artistic-and-aesthetic activity of pedagogical process encourages comprehensive children development. The need of developing a holistic system of formation of aesthetic culture of the younger generation is emphasized, basis of which should become school, where involving children to art and treasures of human culture is a priority. Teachers should pay due attention to the implementation of this task. Otherwise, without paying attention to it in elementary school age, the desire for learning and understanding aesthetic in future can be destroyed.
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MUSIC AND MORALITY: Music and ethics. A survey of selected publications and standpoints.

80%
Koszewska A.
Miscellanea Anthropologica et Sociologica
|
2015
|
vol. 16(3)
13-38
EN
This study is, in its great part, a report on the search of arguments, ideas, reflections, andopinions which can be helpful in specifying the author’s statements. Especially, writingsfrom the last several years have been taken into account: papers, collective works, articles,reviews related to the problem of interactions between music and ethics. The selectedpublications have been reviewed in the broad context of the so-called “ethical criticism”,i.e. a new paradigm in the English and American literary and cultural studies.Among the mentioned texts there are various works by Polish, French, English, German,and other authors. A lot of space has been devoted to studies by Romanian scholars,especially to the book by Romanian author Prof. Carmen Cozma Ethos of Music Art. Essaysin Moral Philosophy (2000). The most widely discussed work is the book Music andEthics by Nanette Nielsen and Marcel Cobussen (2012).From this merely fragmentary and cursorily sketched review of the selected studiesand the points of view presented by their authors that concern the complicated and multidimentionalrelations between music and ethics, one can come to a conclusion that it ishardly possible to claim a significant primodal “ethical turn” in musicology. There is nonew “ethical” paradigm in musicology; only some inspirations are evidently present.In the last place, the author mentioned her own research on the connections betweenmusic and ethics, based on the anthropological thought of Karol Wojtyła and independentof the “ethical criticism”. A musical comment and at the same time a final conclusion of thetext is given in the last bars of the third movement of Luciano Berio’s Sinfonia.
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MUSIC AND MORALITY: Peter Kivy’s discursive “weakness”: the problem of moral entanglement of music

80%
Chęćka-Gotkowicz A.
Miscellanea Anthropologica et Sociologica
|
2015
|
vol. 16(3)
77-85
EN
In my essay I provide a comprehensive view of Peter Kivy’s argumentation concerningmoral entanglement of music. According to him, absolute music has no impact whatsoeveron morality, which has been examined in three respects. First of all, music cannotmake people act in a moral way (behavioral moral force). Secondly, it cannot help peopleto build a moral character (character building moral force). Finally, music has no power toimpart moral insights, even indirectly (epistemic moral force). Apart from that, however, Kivy seems to believe in the “mystery” of absolute music. As a listener, he wants to be toldthat great music has a power to transform a heart.
11

Muzyka „najszlachetniejszą służebnicą” liturgii. O muzyce jako źródle i tworzywie kaznodziejskim

80%
Szewczyk L.
Studia Pastoralne
|
2016
|
vol. 12
36-48
EN
Music can help man in prayers and make him sensitive to the matters of God. Today, in the times of low level of a general culture of the society we can perceive a danger of misunderstanding the need of music in liturgical rites. This state of affairs imposes duty to foster musical culture in our churches, so that music performed at our churches is of the most perfect form possible. If the aim is met, music shall become a tool for transmitting faith. This task is also to be taken on by homilists and preachers. In this paper music is shown as the source and matter of preaching the Word of God. The place of music in particular preaching units has been discussed (homilies, sermons and conferences). Also, the author points at dangers of misuse of music in preaching the Word of God. The paper is concluded with proposals and suggestions.
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Medical - muses and music: an historical "medical-orchestra".Dedicated to Maestro Nachum Pereferkowich and "The Second Round Jazz Octet

80%
Ohry A.
Progress in Health Sciences
|
2014
|
vol. 4
|
issue 2
172-180
EN
Paracelsus said that : "Medicine is not only a science; it is also an art. It does not consist of compounding pills and plasters; it deals with the very processes of life, which must be understood before they may be guided." The meeting points of music and medicine, both art and science, are many: the stories of physicians who became musicians; diseases or infirmaries of famous composers; musical use while performing medical, surgical or psychological procedures; and music as a mean of therapy. Along history, many physicians were deeply involved in music: medical practitioners may well improve their everyday skills of the patients-physicians interrelationship, being more humane, more patient to their clients and much more happier.
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Wschodnie kontakty Feliksa i Rudolfa Nowowiejskich (Lwów - Wilno - Białowieża)

70%
Dulisz I.
Acta Polono-Ruthenica
|
2014
|
issue 19
37-45
EN
The activity of Feliks and Rudolf Nowowiejski plays a significant part in the history and culture of pre-war Lviv and Vilnius. In the years 1906-1912 Rudolf was a chaplain and a secretary of the Metropolitan Archbishop of Lviv J. Bilczewski. At that time Feliks entered into cooperation with music circles of Lviv where the world premiere of the oratorio Znalezienie św. Krzyża [Finding of the Holy Cross] took place. Biographies of the two brothers are also associated with Vilinius. Rudolf for many years taught Latin in the J. Slowacki Lower Secondary School. Rela- tions of Feliks with that city are primarily associated with a rapidly growing singing movement there. Melody of the Rota was until 1929 the official bugle call of Vilinius. In organ and choral music of F. Nowowiejski one can find references to the most significant symbol of the city - Our Lady of Ostra Brama painting. However, the inspirations by Białowieża wilderness produced such works as Hejnał Prezydenta R.P [Bugle call of the President of the Republic of Poland] and the triptych Teka Białowieska.
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MUZYKA I MORALNOŚĆ: Muzyka i moralność w społeczeństwach tradycyjnych

70%
Muszkalska B.
Miscellanea Anthropologica et Sociologica
|
2015
|
vol. 16(3)
153-161
PL
Każde społeczeństwo musi posiadać ustalone wzory moralne, aby móc utrzymać koniecznydo prawidłowego funkcjonowania ład społeczny. Ich przestrzeganie jest wynikiemstopniowego przyswajania sobie przez jednostkę obowiązujących w danej grupiepostaw, norm oraz wartości – i podlega kontroli społecznej. Proces ten rozpoczyna się wewczesnym dzieciństwie i trwa przez całe życie człowieka, a muzyka może pełnić w nimkluczową rolę. W artykule zostały wskazane trzy rodzaje źródeł do badań nad wpływemmuzyki na kształtowanie postaw moralnych w społeczeństwach tradycyjnych – teksty pieśni,przekazy instrumentalne oraz nauki filozofów, reprezentowanych przez Konfucjusza.
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MUSIC AND MORALITY: Music and morality in traditional societies

70%
Muszkalska B.
Miscellanea Anthropologica et Sociologica
|
2015
|
vol. 16(3)
153-161
EN
Every society must have some fixed moral standards to be able to maintain the social orderwhich is necessary for the proper functioning of the group. To comply with them, an individualhas to gradually assimilate attitudes, norms and values applicable in the community,which is a subject of the social control. The process begins in an early childhood andcontinues throughout life. Music can play a key role in it. This article refers to three typesof sources of research that focus on the effects of music on the establishment of moral attitudes in traditional societies: song lyrics, instrumental pieces with moralizing messages,and doctrines of philosophers who are represented by Confucius.
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Imagined Engagements: Interpreting the Musical Relationship with the Canadian North

70%
van den Scott J., van den Scott L.-J. K.
Qualitative Sociology Review
|
2019
|
vol. 15
|
issue 2
90-104
EN
In this article, we extend Benedict Anderson’s notion of imagined communities to examine the idea of an “imagined engagement” between or among people and groups that have not met. These imagined engagements include a blurring of temporal lines, as one group “interacts” with another’s past, present, or future. Imagined engagements are a form of failed interaction, and, as such, have their place in Goffman’s interaction order. We argue that musical language can comprise a meeting point of these engagements. We then demonstrate how two composers-one historic and one contemporary-have used the musical cultures of an Othered people, with a focus on Indigenous America, in an attempt to create a sense of community and common ties between the West and these Others-a sense of community in which the Othered have no part.
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Muzyka. Od recreatio do contemplatio

70%
Bramorski J.
Forum Teologiczne
|
2013
|
vol. 14
35-49
EN
Ancient thinkers, especially Aristotle, underlined the meaning of music in relaxation as the inner ”revival” of a human being. Music had an important place in the Aristotelian concept among the four disciplines constituting the basis of education (grammar, gymnastics, music and drawing). It was not as the other three disciplines subordinated to some activity or useful purpose, but taught the human being how to relax in a decent way. Music did not constitute the component of common entertainment but characterized the attitude of diagogé, in which pleasure joined in beauty in an ethical sense. In Roman culture, it was expressed by the Latin term otium - indicating first of all the freedom of planning your time. In ancient thought, the understanding of relaxation supplied by music (otium musicum) did not restrict itself to recreational dimension only, but referred to the deeper spiritual sense. For music led the human being to contemplating beauty. That conviction was undertaken in the thought of the Church Fathers, especially St. Augustine. The Bishop of Hippo showed it in the dialogue About music as a philosophical discipline, which constitutes the basic condition of contemplation by clearing the mind and moral rebukes. Medieval theology also comprehended music not only as an esthetic form of entertainment, but first of all as the expression of cosmic harmonia mundi, finding its reflection in the spirituality of a person. Music as one of the ways of inner revival (recreatio), leads the human being to contemplation (contemplatio), in other words, to the attitude of admiration over the mystery of God. Such understanding of music reveals its theological dimension – as via pulchritudinis.
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Eidos Muzyki

61%
Lipiec J.
Estetyka i Krytyka
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2002
|
issue 2(3)
PL
Artykuł analizuje muzykę od strony ontologicznej. Wychodząc od koncepcji Pitagorasa i związanej z nią koncepcji harmonii i muzyki sfer pokazuje czym tak ujmowana muzyka mogła by być dla świata – bytową harmonią rzeczywistości. Śledząc pragmatyczne i normatywne rozumienie muzyki autor przekracza pitagorejską wizję muzyki jako absolutnej i uniwersalnej wskazując na jej pluralistyczny charakter. Analizując wartościowość muzyki oraz jej znaczenie dla człowieka jako istoty osadzonej w kulturze i świecie dochodzi do rozumienia muzyki, z jednej strony, jako pewnej metafizycznej własności świata, z drugiej zaś, jako rozwijającą możliwości poznawcze i zmysłowe człowieka. Dzieląc muzykę na “naszą” (doznawaną i tworzoną w obrębie kultury przez człowieka) i “nie–naszą” (kosmiczną) artykuł odsłania rozumienie muzyki jako pewnej specyficznej sfery rzeczywistości, poprzez którą człowiek jest w stanie dostrzec rzeczywistość, więcej, zostaje na nią otwarty. Sam człowiek dzięki istnieniu muzyki, jej wielu przejawów, ma możność twórczej ekspresji, oraz przybliżania się do tego, co piękne i przynależne światu wartości.
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Muzyka w dramatach Tadeusza Micińskiego na przykładzie Termopili polskich. Misterium na tle życia i śmierci Księcia Józefa Poniatowskiego

61%
Jastrząbek M.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
|
2012
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vol. 15
|
issue 1
58-76
EN
I begin this outline, dedicated to the music in Termopile polskie by Tadeusz Miciński, with a question regarding the author’s hearing, sensitivity and taste in music. I also consider the substantial importance of the playwright’s experience garnered from his sojourn in Leipzig and Dresden (e.g. fascination with Emil Jasques-Delcroze’s rhytmics and Adolphe Appia’s vision of theatre) in the use of music to create a modern mystery play. On the example of Termopile polskie. Misterium na tle życia i śmierci ks. Józefa Poniatowskiego I comment on the divergence between the spectacle’s musical layer and it’s storyline. I therefore seek to discover the proper place and character in the original dramatic con-cept. The article is completed with remarks concerning the use and importance of the musical component in creating a modern mystery play.
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Fräulein Elses Begehren: Kolorierungen von Emotionen in Arthur Schnitzlers Novelle und in Manuele Fiors Comic

61%
Tacke A.
Studia Germanica Posnaniensia
|
2015
|
issue 36
139-158
EN
The following article compares the representation of nakedness in the novella Fräulein Else (1924) by Arthur Schnitzler and in the Graphic Novel Fräulein Else (2009) by Manuele Fior. While Schnitzler is inserting parts of the musical score Carnaval by Robert Schumann at that point of the text, when Fräu-lein Else is showing herself naked publically, and thus refuses to give more details, Fior cites in his Comic adaption the famous painting Nuda Veritas by Gustav Klimt, which was scandalized at its time. Slight changes are made also at the ending: while Schnitzler refers to the Orpheus-Eurydike-Myth, Fior compares the interior monologue of Fräulein Else to the myth of Echo.
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