Search results

1

Harmonie v nesnázích: několik poznámek k Hábově Neue Harmonielehre

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Spurný L.

Hudební věda (Musicology)

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2007

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vol. 44

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issue 3-4

261-288

EN

This article is a critical interpretation of selected theoretical musical ideas of the Czech composer Alois Hába (1893–1973), which first appeared in his book Neue Harmonielehre (1927). This work is generally considered to be the author‘s individual expression of his own creative ideas. However, it also links to the past, specifically to the Bohemian theorists who were not influenced by Riemann’s Funktionstheorie. Hába‘s work becomes of greater value when one considers its links to the work of Arnold Schönberg. The interpretation uses a copy of Hába‘s Neue Harmonielehre annotated by Schönberg, now in the Arnold Schönberg Center in Vienna. Much of what has been said by Schönberg (in the field of Harmonielehre), appears in a different forms in Hába‘s work. His effort to differ Schönberg, whilst at the same time finding a common ground, can easily be followed in the discussion on dissonances (including harmonic dissonances), as well as accentuating the importance of keys and the harmony of fourths. The passage on aesthetic production (principles of the creation of a work of art) is of special interest.

2

HarMA+ Project: European Landscape of Teaching Practices and Pedagogical Innovation in HMEI’s - Harmony and Music Analysis Fields

80%

Gioveni S., Skupin R.

Aspekty Muzyki

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2021

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issue 11

143-153

3

Aby słowo Boże dzięki śpiewowi wśród ludzi przebywało

80%

Wojciechowska K.

Gdański Rocznik Ewangelicki

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2017

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vol. 11

189-196

EN

The article presents Martin Luther, the Reformer as a musician and theologian of music. From his early age, Luther played the lute well, later on also the flute and sang.When Luther studied in Eisenach, he had music lessons. Because music was taught in a mathematical manner, Luther acquired good understanding of the theory of harmonics. He learned to distinguish between different musical genres. In the monastery, already as a monk, he could refine his skills. Later on Lutherwas able to transcribe and adapt folk melodies (contrafactum) and to harmonise them as well as to write music for psalms. The Reformer himself composed 36 hymns for German texts. As Luther reformed the liturgy, he accorded full importance to the sermon as well as to community singing. The singing was defined as an assertion of faith and spiritual commentary on biblical texts.Music was at the heart of the Lutheran Reformation. Luther’s theology of music is formed through the conviction that music is a particularly beautiful and unique offering of the divine creation. „Music is a gift from God and next to theology” – wrote Luther.Music also moves human hearts. To bring people joy and to praise the Lord is the music’s true task and service.

4

ДИСТАНЦІЙНЕ НАВЧАННЯ СОЛЬФЕДЖІО І ТЕОРІЇ МУЗИКИ В УКРАЇНІ: ОГЛЯД INTERNET-ДЖЕРЕЛ

70%

Лариса В.

Педагогічні науки: теорія, історія, інноваційні технології

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2017

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issue 2(66)

196-208

EN

This article analizes the open online-courses, video-lessons, video-schools for sol-fa and studying of music theory. We investigated the reasons for their accessibility and efficiency for musician’s study. We used for it the empirical methods (measurement, comparison, description) and experimental and theoretical methods (hypothetical, analysis, inductive). We have identified five reasons for occurrence of the open online-courses, video-lessons, video-schools for sol-fa and studying of music theory in Ukraine. One of them is the emergence of the lifelong learning’s concept. The second reason is Internet spreading. The third one is practices of active using Internet by modern youth. The fourth – imperfect infrastructure of the Websites of the Ukrainian educational establishments. And finally, impossibility of distance learning on the Websites of Ukrainian musical education institutions. That is why now it is popular to study on the open Web-resources. It was found out that the majority of open video-lessons are predominantlyRussian-speaking. We found one official site of the Ukrainian online music school, three video-schools, one video of the open lesson. They were all in Russian. We hope, that the reason of that is intention to reach a larger audience. We have determined that video-courses are made taking into account the psychological features of learning people of all ages. Classes are becoming longer and more difficult if students were more trained. The Internet has a lot of video on sol-fa and music theory for beginners-musicians of different ages, which corresponds to mission of the distance learning as part of “lifelong education”. This means that distance learning can be used in the process of music education. But there are some videos for the average level of learning (video recordings of open lessons), and there is almost no videos for higher school. We hope, that distance learning begin to develop faster in Ukraine if we will begin to use Ukrainian language more often and to develop the infrastructure of the official Websites of the Ukrainian educational establishments. Musical-theoretical subjects also include polyphony and analysis of musical composition. So, we will investigatе the situation of their distance learning in Ukraine .

5

The notion of nature in modern music theory and history as seen hy Carl Dahlhaus and Karol Berger

70%

Jarzębska A.

Interdisciplinary Studies in Musicology

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2009

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issue 8

93-108

PL

Modern music theory, ignoring the problems connected with the subject’s auditive experience but referring to the objective laws of nature, was criticised by Carl Dahlhaus, although he accepted - to a certain extent - the hypothesis of historical determinism. Dahlhaus links this turning point in the history of reflection on music with the transition from the ‘ontological contemplation’ of the Tonsystem to the ‘aesthetic contemplation’ of the Tonkunstwerk, the fundamental characteristic of which is the idea of ‘wholeness’ (die Idee der Ganzheit). The new conception of the discourse on the theory and history of modern music proposed by Karol Berger in his book A Theory of Art (2000) bears testimony to crucial changes in the contemporary humanities linked to the so-called ‘cognitive revolution’. According to Berger, the fundamental characteristic distinguishing modern art from premodern art is its autonomy. Berger distances himself from the modern tradition of theoretic- aesthetic discourse treating the work of art, including the work of music, as an axiologically neutral entity independent of ‘human nature’, that is, of the functioning of our memory, imagination and cognitive mechanisms, and also not having a specific social function. At the centre of Berger’s theoretical interests is aesthetics, as broadly understood, coupled with ethics and history, poetics and hermeneutics. He is not interested - like Dahlhaus - in considering ‘what art is’ or ‘what music is’ , but poses the question: ‘What should the function of art be, if art is to have a value for us ?’

6

THE PASSACAGLIA – A PRIMER FOR TEACHING BAROQUE IMPROVISATION

70%

Terefenko D.

Ars inter Culturas

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2013

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issue 2

173-196

EN

During the lifetime of Bach such disciplines as harmony and thoroughbass were realized directly at the keyboard by the student, providing a solid foundation for later and more elaborate improvisatory skills – skills which were mandatory for all clavier players of that period. Unfortunately, the great majority of today’s Baroque counterpoint classes rely on the more academic process of committing notes to paper, thereby subjugating aural and performance skills. In this article, I propose amending music theory curricula with topics in baroque improvisation. To that end I will employ one of the most accessible variation forms from common practice music: the passacaglia.

7

Starożytne źródła koncepcji muzyki sfer w XII w.

70%

Konik M.

Państwo i Społeczeństwo

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2012

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issue 1

125-140

EN

The theory of “music of the spheres” (musicamundana) introduced by Boethius in his treaty De institutione musica is an original contribution in development of mediaeval theory of music. However, it’s roots trace back to the Greek antiquity. When considering the sources of medieval theory of musicamundana, one shall underline three most important sources: (1) mythology with its complex cosmogony (esp. by Homer and Hesiod), (2) early cosmology by pre-Socratic philosophers (incl. Anaximander, Heraclit), (3) Pythagorean school. Despite of the fact that idea of the music of the spheres – as presented by the Pythagoreans – was criticized by Aristotle in his De caelo, it became one of the most inﬂ uential cosmological concept. One of the most important periods – from the point of view of the reception of discussed theory – is the twelfth century. It is often called the aetas Boethiana as it is distinguished by an increased interest in the works of Boethius, with special emphasis on his theological writings and Consolatio, which was very popular at the time. The reason behind this phenomenon was a growing specialization of issues relating to the theory of music, which ﬁ nally led to its independence from the other areas of knowledge; yet this is not the only reason why the subject of the harmony of the spheres was again widely discussed in philosophical circles. An essential factor was the development of Neo-platonic philosophical schools, such as the famous School of Chartres. The interest in natural sciences in the School of Chartres and later in the Oxford School made the scientists of the time focus on the works of authors whose ideas were essential to the concept of the harmony of the spheres, among them such philosophers as Calcidius, Macrobius and Boethius

8

Karel Janeček’s concept of music theory teaching

61%

Hons M., Vomáčka I.

Hudební věda (Musicology)

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2019

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vol. 56

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issue 3

246-292

EN

Karel Janeček (1903–1974) was a key figure in the process of laying down the foundations of Czech modern music theory. Apart from his contribution as a scholar and a composer, he entered the history of Czech music as the originator of a new concept of university-level music theory teaching, setting up a framework whose essence has continued to serve as a model to this day. After a brief period of teaching at the Prague Conservatory, he spent the following three decades of his career at the Academy of Performing Arts in Prague (AMU), where he was head of the Department of Music Theory. It was also there that he initiated the publication of an edited volume of scholarly texts by various authors entitled Živá hudba (Living Music), containing theoretical and musicological contributions by members of his department as well as other AMU teachers. The volume’s concept took shape under Janeček’s editorial supervision, and its contents included several relevant texts penned by himself. His work as a teacher of players, conductors, music directors and, most notably, composers, served Janeček as an empirical testing ground for the premises, concepts and systemic principles he came to formulate in his major books and essays. Viewed from the historical perspective, his most significant books include Základy moderní harmonie (Modern Harmony, 1965), Hudební formy (Music Forms, 1955), and Tektonika – nauka o stavbě skladeb (Tectonics: A Theory of the Structure of Compositions, 1968). Beyond that, he was the author of innovative treatises on melodics (Melodika, 1956), an analytical method of teaching harmony (Harmonie rozborem, 1963), and compositional work in the field of Classical harmony (Skladatelská práce v oblasti klasické harmonie, 1973). Janeček’s teaching commitments at AMU were centered around two theoretical courses whose concepts he drew up and put into practice: namely, Theory of Composition, and Composition Analysis Seminar which was later renamed to Study of Compositions. Both courses were intended primarily for students of composition and conducting, i.e., fields whose study presupposes a higher level of theoretical background. With the passage of time, as Janeček brought out his essential theoretical writings, his theory of composition came to serve as the obligatory supplement to all disciplines of music theory. It was focused on three areas: (a) modern harmony, (b) melodics, and (c) tectonics. Janeček centered the methodology of teaching these disciplines around the synthesis of two primary methods: compositional, and analytical. The ultimate stage of analytical work was represented by activated analysis, an approach he applied most notably in his analysis of the chamber output of Bedřich Smetana (Smetanova komorní tvorba, 1978).

CS

Karel Janeček (1903–1974) je zakladatelskou osobností české moderní hudební teorie. Kromě vědecké a skladatelské činnosti se do dějin české hudby zapsal jako tvůrce nové koncepce vysokoškolské hudebně teoretické výuky, která ve svém základním modelu trvá dodnes. Po krátkém působení na Pražské konzervatoři rozvíjel svou činnost po třicet let na Akademii múzických umění v Praze ve funkci vedoucího katedry hudební teorie. Zde se také zasloužil o vznik sborníku s názvem Živá hudba, který byl věnován teoretické a muzikologické tvorbě členů katedry a dalších pedagogů AMU. Koncepce sborníku vznikala za Janečkova redaktorského vedení a v tomto sborníku publikoval řadu významných studií. Výuka interpretů, dirigentů, režisérů a zejména skladatelů byla pro Janečka prostředkem empirického ověřování názorů, koncepcí a systematik, které uplatnil ve svých velkých spisech a studiích. Z historického pohledu patří k nejcennějším knihy Základy moderní harmonie (1965), Hudební formy (1955) a Tektonika – nauka o stavbě skladeb (1968). Kromě těchto spisů byl autorem prvního pojednání o melodice (Melodika, 1956), analytické výuce harmonie (Harmonie rozborem, 1963) a skladatelské práci v oblasti klasické harmonie (Skladatelská práce v oblasti klasické harmonie, 1973). Janečkovou hlavní pedagogickou náplní na AMU se staly dva teoretické předměty, jejichž koncepci vymyslel a realizoval: nauka o skladbě a seminář rozboru skladeb, později označovaný jako studium skladeb. Oba předměty byly koncipovány především pro studenty skladby a dirigování, tedy obory, u nichž se předpokládala vyšší úroveň teoretického rozhledu. Nauka o skladbě se postupem doby, jak vznikaly jeho zásadní teoretické spisy, stala nadstavbou hudebně teoretických disciplin a byla zaměřena na tři oblasti: (a) moderní harmonii, (b) melodiku a (c) tektoniku. Metodiku výuky těchto předmětů Janeček založil na syntéze dvou základních metod – kompoziční a analytické. Vrchol analytické činnosti představovala tzv. aktivizovaná analýza, kterou uplatnil zejména v rozboru komorní tvorby Bedřicha Smetany (Smetanova komorní tvorba, 1978).

9

Starożytne źródła koncepcji harmonii sfer

61%

Konik M., Karcz B., Tyrała R., Zając A., Delimat W., Janicki J. J., Malik J., Sterczewska L., UPJPII i., Pasek W., Karcz B., Malik J., Sterczewska L., UPJPII i., Pasek W.

Pro Musica Sacra

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2012

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vol. 10

EN

The theory of “music of the spheres” (musica mundana) introduced by Boethius in his treaty De institutione musica is an original contribution in development of mediaeval theory of music. However, it’s roots trace back to the Greek antiquity. When considering the sources of medieval theory of musica mundana, one shall underline three most important sources: (1) mythology with its complex cosmogony (esp. by Homer and Hesiod), (2) early cosmology by pre-Socratic philosophers (incl. Anaximander, Heraclit), (3) Pythagorean school. Despite of the fact that idea of the music of the spheres – as presented by the Pythagoreans – was criticized by Aristotle in his De caelo, it became one of the most influential cosmological concept. One of the most striking results of this situation is the fact, that for many ages (during mediaeval era) music was regarded as a scientific discipline, despite its aesthetical dimension.

PL

The theory of “music of the spheres” (musica mundana) introduced by Boethius in his treaty De institutione musica is an original contribution in development of mediaeval theory of music. However, it’s roots trace back to the Greek antiquity. When considering the sources of medieval theory of musica mundana, one shall underline three most important sources: (1) mythology with its complex cosmogony (esp. by Homer and Hesiod), (2) early cosmology by pre-Socratic philosophers (incl. Anaximander, Heraclit), (3) Pythagorean school. Despite of the fact that idea of the music of the spheres – as presented by the Pythagoreans – was criticized by Aristotle in his De caelo, it became one of the most influential cosmological concept. One of the most striking results of this situation is the fact, that for many ages (during mediaeval era) music was regarded as a scientific discipline, despite its aesthetical dimension.

10

Listening for Stockhausen

61%

Zagorski M.

Hudební věda (Musicology)

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2018

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vol. 55

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issue 2

193-201

XX

Karlheinz Stockhausen’s theory of listening reflected essential tenets of his creative practice and aesthetic inclinations. He outlined an admirably tolerant and accepting approach to listening and encouraged different listeners to generate different formal models to describe the same music. His method of listening thereby challenged the perceptual reconstruction of known, pre-existing forms that was so important to listening in the preceding 150 years, and this complemented his compositional challenge to another established aesthetic category – that of the closed musical work. By revealing this aesthetic background, this article shows the significance of Stockhausen’s thinking about listening.

11

Scholarship in Cyberspace : Music Research in the Digital Age

51%

Rothfarb L.

Biblioteka i Edukacja

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2014

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issue 6

EN

Digital resources for humanistic research have expanded dramatically in the last two decades. Scholars can browse libraries and archives located around the world and read digitized documents on networked computers in the comfort of their university offices and private homes. This essay identifies and discusses several electronically accessible archives and bibliographic sources in the field of music theory, and goes on to briefly describe the usefulness of digitized resources in research on the reception of composer Anton Bruckner's symphonies and music theorist Heinrich Schenker's early education.

12

Ohlasy filozofie Georga Wilhelma Friedricha Hegela v hudebněteoretickém díle Moritze Hauptmana

51%

Myslivcová E.

Hudební věda (Musicology)

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2015

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vol. 52

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issue 2

221-229

XX

Studie Evy Myslivcové se zabývá vlivem názorů filozofa a estetika Georga Wilhelma Friedricha Heugela v hudebně-teoretickém díle Moritze Hauptmanna "Die Natur der Harmonik und der Metrik" z roku 1853.

13

Działalność kompozytorska, naukowa i pedagogiczna Alicji Gronau w świetle biografii kompozytorki

51%

Łukaszewski M. T.

Seminare. Poszukiwania naukowe

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2012

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vol. 32

253-266

EN

‘High-calibre artists who are women’ – was the motto of an exhibition ‘Polish women composers 1816-1939’, which was held in Katowice in 2003. In the nineteenth century, professional composers were almost all men. Only a handful of women earned a reputation for accomplishments that went beyond amateur music-making. In the twentieth century, women made their presence felt in various forms of artistic activity, including music. Grażyna Bacewicz (1909-1969) is regarded as the patron of Polish women composers of the last century. She achieved worldwide reputation and ranks among the most outstanding 20th-century Polish composers, alongside Karol Szymanowski, Witold Lutosławski and Krzysztof Penderecki. Alicja Gronau, born in 1957, belongs to the most interesting Polish women composers. She began her musical education in 1971 in one of Warsaw’s secondary music schools, attending eurhythmics classes with Barbara Turska and studying piano improvisation with Szabolcs Esztényi, a Hungarian pianist and composer domiciled in Poland. It was thanks to Esztényi that improvisation charted the development of her career. Having graduated from secondary school, Gronau enrolled at the Fryderyk Chopin Music Academy in Warsaw, where she gained two diplomas: in music theory (the class of Witold Rudziński) and subsequently in composition (under the guidance of Marian Borkowski). During her studies, she worked closely at the Experimental Eurhythmics Workshop at her Alma Mater. She participated in the Workshop’s study visit to Hungary, the 14th Congress of the International Society for Music Education in Warsaw and in the eurhythmics courses organized by the E. Jaques-Dalcroze Institute in Geneva and Zakopane (Poland). Gronau stresses that eurhythmics and improvisation played a highly important role in the development of her compositional workshop. Gronau’s first composition, written during her studies with Marian Borkowski, was Przenikanie (Penetration) for solo clarinet (1981). It was followed by Mironczarnie I for a cappella vocal septet (1982), Gioco per voci e batteria (1982), Open for clarinet, viola and horn (1983), Flowing for orchestra (1984), String Quartet No. 1 (1984) and Versioni for 24 performers (1984). In these works, she employed a wide range of techniques. She developed her skills at numerous master courses, including those in Kazimierz Dolny-on-the-Vistula. She is a prizewinner of many composers’ competitions, as well as grants and state distinctions (see – the final fragment of the Polish version of the article). Her creative interests proceeded from a freely-elaborated dodecaphony to controlled aleatory and a search for her own, individual musical idiom. One of her latest major compositions is Poemat – Requiem for orchestra. Her entire output includes several dozen compositions for various performance forces and of diverse stylistic and expressive features. (see the list of compositions at the end of the Polish version of the article). Gronau has also developed a teaching career. She joined the faculty of the Fryderyk Chopin Music Academy (now the Fryderyk Chopin Music University) in 1983. She gained a doctor’s degree in 1997 and became an assistant professor in music composition in 2007. She also worked closely with the Universities in Warsaw and Zielona Góra, as well as with universities in Romania and Chile. At her Alma Mater, she is Head of postgraduate studies in music theory and composition, and of doctoral studies. She also organizes academic sessions and concerts in the ‘composer portrait’ series. In her research, she concentrates on her own compositional method (see the list of publications in the Polish version of the article), the problems of eurhythmics and the theory of rhythm, musical graphics and the analysis of works by other composers (e.g. Marian Borkowski, Jani Christou, Piotr Perkowski, Witold Rudziński, Kazimierz Sikorski). She has several books and numerous articles in Polish and foreign periodicals to her credit.

14

„Musicae Scientiae” 22 (2018) nr 1 [wydanie specjalne pt.] „Creative Conceptual Blending in Music”, red. Emilios Cambouropoulos, Danae Stefanou, Costas Tsougras. Journal of the European Society for the Cognitive Sciences of Music, wyd. Sage Publications, Thousand Oaks, CA, ss. 144, ISSN 1029-8649, online ISSN 2045-4147

51%

Kostka V.

Muzyka

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2021

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vol. 66

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issue 4

154-163

15

From the Inside Out: An Analytical Perspective of André Caplet’s Harmonic Evolution Through Selected Mélodies, 1915-1925

41%

Wilson C.

Kwartalnik Młodych Muzykologów UJ

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2017

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issue 3(34)

75-95

EN

André Caplet is a noteworthy figure in the early years of the 20th century French music. A founding member of the Société Musicale Indépendante and advocate of new contemporary music, Caplet is also remembered for his contributions to Debussy’s Le Martyre de Saint-Sébastien and La boîte à joujoux. Caplet’s musical output from the years pertaining to the Great War and beyond demonstrates a colourful harmonic language. This authentic harmonic language presents itself as a highly complex and sophisticated interweaving of modality and diatonicism, and there are numerous instances of progressive use of modal structures within these mélodies. This article presents a reflection upon some of the developments within Caplet’s exploration of tonality through the lens of selected works, from 1914 to his death in 1925. Supporting examples of Caplet’s distinctive approach to the fusion of diatonicism and modality, and the usage of synthetic scale structures will be considered. Caplet’s inventive harmonic language offers much richness in terms of creativity and imagination. He was a composer who favoured different musical processes and conventions. Exploring his compositional approach will help illuminate André Caplet’s individual harmonic language, and place within the field of French musical modernism.

PL

André Caplet jest ważną postacią muzyki francuskiej początku XX wieku. Był założycielem Société Musicale Indépendante i orędownikiem muzyki nowej. Został zapamiętany także dzięki swojemu wkładowi w powstanie Le Martyre de Saint-Sébastien i La boîte à joujoux Claude’a Debussy’ego. Cechą charakterystyczną dorobku twórczego Capleta z lat poprzedzających I wojnę światową i późniejszych jest bogaty język harmoniczny, będący mieszanką harmoniki modalnej i diatoniki, przeplatających się w wyszukany i skomplikowany sposób. Także w Mélodies można odnaleźć wiele przykładów nowatorskiego użycia struktur modalnych. Niniejszy artykuł jest refleksją nad niektórymi z odkryć na polu tonalności dokonanych przez Capleta w jego wybranych dziełach z lat 1914-1925. Przedstawiono także przykłady innowatorskiego podejścia Capleta do łączenia modalizmów z diatonizmami, zwracając uwagę na użycie struktur powstałych w wyniku ich syntezy. Nowoczesny język harmoniczny Capleta oferuje bogactwo rozwiązań na polu kreatywności i wyobraźni muzycznej. Był to kompozytor, który używał różnych konwencji i technik kompozytorskich. Analiza jego warsztatu pomoże zrozumieć indywidualny język harmoniczny André Capleta i umieścić go w kręgu francuskiego modernizmu.

16

Polski przekład "Ars et praxis musica" Zygmunta Lauksmina z 1798 roku i problemy nauczania śpiewu chorałowego na ziemiach polskich w XVII i XVIII wieku

36%

Grabiec D.

Muzyka

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2021

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vol. 66

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issue 1

81-104

EN

The handwritten copy of a hitherto unknown Polish-language plainchant handbook held in the Cistercian Fathers’ Library in Szczyrzyc (shelf mark S.II.8/2), produced in 1798 in Limanowa and entitled Nauka y praktyka muzyczna do używania uczącey się młodzi w Kollegiach Societatis Jesu za pozwoleniem starszych przełożona w Wilnie [The teaching and practice of music for the use of pupils of Jesuit colleges, translated in Vilnius with the permission of superiors] has been identified by the author of this article as a translation of the Jesuit Zygmunt Lauksmin’s handbook Ars et praxis musica. The latter was first published in 1667 in Vilnius, and later reissued twice (1669, 1693). Its reception has not been studied thus far. Of the three editions, only several copies have come down to us. The discovery of a Polish translation made during the last years of the eighteenth century, more than a hundred years after the print’s last edition, sheds new light on the history of the handbook and its impact, which extended beyond Jesuit circles and the Baroque era, and also on aspects of plainchant teaching during the early nineteenth century. Lauksmin’s treatise was addressed to pupils and students as an aid to mastering the practice of plainchant. The author included no theoretical commentary and limited himself to the absolute basics, as well as practical methodological guidelines. The Polish translation was prepared in a different historical reality and is one of the relatively few surviving examples of how Polish musical terminology took shape and evolved during the eighteenth century. Indirectly, it also represents the state of musical education at the time and shows that, due to the lack of contemporary handbooks, teachers turned to educational aids from the previous era, adapting them for their current local needs.

PL

W bibliotece oo. Cystersów w Szczyrzycu, pod sygnaturą S.II.8/2, przechowywany jest rękopiśmienny egzemplarz nieznanego dotąd, polskojęzycznego podręcznika do nauki śpiewu chorałowego, sporządzony w 1798 r. w Limanowej i zatytułowany Nauka y praktyka muzyczna do używania uczącey się młodzi w Kollegiach Societatis Jesu za pozwoleniem starszych przełożona w Wilnie. Tekst ten zidentyfikowany został przez autorkę artykułu jako przekład traktatu Ars et praxis musica jezuity Zygmunta Lauksmina, wydanego w Wilnie w 1667 r. i dwukrotnie wznawianego w 1669 oraz 1693 roku. Recepcja wileńskiego podręcznika nie była do tej pory badana, a z trzech wydań zachowało się do dziś zaledwie kilka egzemplarzy. Odkrycie polskiego tłumaczenia sporządzonego w ostatnich latach XVIII w., a więc po ponad stu latach od ukazania się ostatniego wydania druku, w nowym świetle przedstawia zarówno dzieje wileńskiego podręcznika i jego oddziaływania, wykraczającego poza środowisko jezuickie i epokę baroku, jak również problemy nauczania śpiewu chorałowego u progu XIX wieku. Traktat Lauksmina był przeznaczony dla uczniów i studentów i miał być pomocą w praktycznym opanowaniu umiejętności śpiewu chorałowego, dlatego nie zawierał rozważań teoretycznych i ograniczał się jedynie do najbardziej podstawowych wiadomości oraz praktycznych wskazówek metodycznych. Tłumaczenie traktatu na język polski sporządzone w odmiennych już realiach historycznych, jest jednym ze stosunkowo niewielu zachowanych przykładów kształtowania się i ewoluowania polskiej terminologii muzycznej w XVIII wieku. Jest ono pośrednio także świadectwem ówczesnego stanu szkolnictwa muzycznego i braku nowoczesnych podręczników, który skłaniał do korzystania z materiałów dydaktycznych publikowanych jeszcze w poprzedniej epoce i przystosowywania ich do bieżących potrzeb lokalnych.

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