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1

Dysharmonia pomiędzy wierszem a tekstem piosenki na przykładzie twórczości Marka Grechuty w Krajobrazie pełnym nadziei

100%

Piotrowska B.

Academic Journal of Modern Philology

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2022

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vol. Special Issue

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issue 17

153-161

EN

In this paper, the author outlines the cultural and social context of Grechuta’s work, and answers the question: why research a song as a literary genre? Attention is drawn to the inequalities between certain concepts in the Polish language: song, poet, songwriter, singer and song lyrics, which is the main topic of interest in this article. The author analyzes Marek Grechuta’s book of poetry and a music album of the same title, Landscape of Hope. The author describes the role of music in the lyrics of the song. In the article, she uses a literary tool as well as elements from the theory of music and the analysis of a musical work – giving the research an interdisciplinary character. In the conclusion, she emphasizes that it is as worthwhile to focus on researching song in Poland as it is to research poetry.

2

Tomasz Szadek – kompozytor, śpiewak, ksiądz

100%

Marszał T.

Biuletyn Szadkowski

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2007

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issue 07

7-25

3

Muzyka i medium. Szkic historiograficzny od początków do dzisiaj

75%

Faulstich W.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2009

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vol. 7

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issue 13-14

15-26

EN

The relationship between music and media is closer than it is obvious at first sight. That includes primary media such as the singer or the theatre performance of an opera, print media such as sheet music and music books, electronic media like the record, the tape, radio, film and television, and the recent digital media such as the world wide web, the compact disc or the i-pod. If turned historically, we can realize a chain of media expressing and describing the history of music – from the ancient priestess and singers over the aoide and the rhapsode in old Greek culture presenting epic poetry and narrative literature up to church and choir singers in Christian churches, from mine singers, hymnbooks and troubadours in the Middle Ages up to ballad singers and street musicians selling music sheets and books in the 18th century, from music performance as live music up to recorded and canned music and finally a kind of quarry music allowing everyone a subjective and eclectic selection. The functional history of music follows inevitably the history of media.

PL

Music and Media – From Ancient Times to The Present. A Historical Essay The relationship between music and media is closer than it is obvious at first sight. That includes primary media such as the singer or the theatre performance of an opera, print media such as sheet music and music books, electronic media like the record, the tape, radio, film and television, and the recent digital media such as the world wide web, the compact disc or the i-pod. If turned historically, we can realize a chain of media expressing and describing the history of music – from the ancient priestess and singers over the aoide and the rhapsode in old Greek culture presenting epic poetry and narrative literature up to church and choir singers in Christian churches, from mine singers, hymnbooks and troubadours in the Middle Ages up to ballad singers and street musicians selling music sheets and books in the 18th century, from music performance as live music up to recorded and canned music and finally a kind of quarry music allowing everyone a subjective and eclectic selection. The functional history of music follows inevitably the history of media.

4

Professional career and family life of Viennese Primadonnas. The case of Catarina Cavalieri and Aloysia Weber (Lange)

63%

Winiszewska H.

Interdisciplinary Studies in Musicology

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2019

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issue 19

31-40

EN

The aim of this article is to present the issue of female singers and their role in the society of eighteenth-century Vienna on the example of two women: Mozart’s sister-in-law Aloysia, née Weber, later Lange, and Catarina Cavalieri, the first Constance. These singers were rivals on the opera stage in late 18th century Vienna, as evidenced by the parts written for them by Mozart in his Der Schauspieldirektor. From the social point of view, the biographies of these two outstanding singers are very different.

5

The Valued Beauty of Ḡnā. A Genre of Tunisian Women’s Songs

51%

Oueslati J.

Rocznik Orientalistyczny

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2018

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issue 2

6

Płytowe rejestracje kantat kościelnych Johanna Sebastiana Bacha

32%

Delimat W., 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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2015

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vol. 13

EN

Johann Sebastian Bach’s church cantatas hold a special place among composer’s works. Although they were primarily intended for use in the Lutheran church liturgy in order to deepen the understanding of readings from the Bible, they are at the same time masterpieces of highest artistic value. The cantatas, accompanying Bach throughout his artistic career, became a kaleidoscope of all the forms, techniques, motifs and musical means he employed. Forgotten after the composer’s death, the works were rediscovered in the 20th century. The first chapter of this work is devoted to the description of the cantatas and their performance history. The popularization of Bach’s cantatas was connected with both their inclusion in the concert repertoire and the development of recording industry. The first, single recordings of cantatas come from 1950s. Recordings of cantata cycles began soon after. As around two hundred cantatas survive to this day, each project of recording the complete cycle excites interest among music lovers and professional critics. Until today, only a few recordings of the complete cycle of cantatas have been made, some of which deserve particular attention due to their high artistic value and cognitive significance. A detailed discussion of these selected renditions constitutes the second chapter. Apart from recordings of Bach’s complete cycle, there exists a number of recordings containing variously selected cantatas. Many of these have been internationally recognized as most important masterpieces of world phonography. These works are listed and compared in chapters two and three.

PL

Kantaty kościelne Johanna Sebastiana Bacha zajmują szczególne miejsce wśród dzieł kompozytora. Będąc muzyką użytkową, przeznaczoną do wykonania w trakcie liturgii i służącą lepszemu zrozumieniu czytań biblijnych, są jednocześnie przykładem arcydzieł prezentujących najwyższe artystyczne walory. Towarzysząc Bachowi w trakcie całego twórczego życia, stały się kantaty kalejdoskopem wszelkich stosowanych przez niego form i technik, a także wykorzystywanych motywów i środków kompozytorskich. Zapomniane po śmierci kompozytora, dzieła te zostały na nowo odkryte w XX wieku. Charakterystyka i historia wykonawstwa kantat wypełnia I rozdział pracy.Upowszechnienie kantat Bacha związane było z wprowadzeniem ich do repertuaru koncertowego oraz z rozwojem światowej fonografii. Pierwsze pojedyncze nagrania płytowe kantat pochodzą z lat 50. XX wieku. Nieco później rozpoczęto cykliczne nagrywanie tych utworów. W związku z tym, że liczba zachowanych do dnia dzisiejszego kantat wynosi około 200, każdorazowy projekt nagraniowy cyklu wzbudza ogromne zainteresowanie słuchaczy, melomanów i krytyki muzycznej. Do chwili obecnej zarejestrowanych zostało zaledwie kilka kompletów kantat Bacha. Ze względu na wysokie walory artystyczne i poznawcze niektóre z tych nagrań zasługują na szczególną uwagę. Wszystkie one zostały szczegółowo opisane w rozdziale II.Oprócz kompletnych nagrań kantat Bacha istnieje szereg płyt zawierających ich większy lub mniejszy wybór. Wiele z tych nagrań uznane zostało przez muzyczną krytykę za najważniejsze osiągnięcia światowej fonografii. Ich zestawieniem i porównaniem zajmuje się autor w rozdziałach II i III.

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1 Academic Journal of Modern Philology

1 Biuletyn Szadkowski

1 Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

1 Interdisciplinary Studies in Musicology

1 Pro Musica Sacra

1 Rocznik Orientalistyczny

1 Delimat W.

1 Faulstich W.

1 Janicki J. J.

1 Karcz B.

1 Malik J.

1 Marszał T.

1 Oueslati J.

1 Pasek W.

1 Piotrowska B.

1 Sterczewska L.

1 Tyrała R.

1 UPJPII i.

1 Winiszewska H.

1 Zając A.

1 2022

1 2019

1 2018

1 2015