Search results

1

Increasing fluency in L2 writing with singing

100%

Alisaari J., Heikkola L. M.

Studies in Second Language Learning and Teaching

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2016

|

vol. 6

|

issue 2

271-292

EN

Fluency is an essential part of a language learner’s skills. Despite various studies on fluency, little is known about the effects of different pedagogical methods on the development of written fluency. In this paper, we examine how different pedagogical methods affect the development of second language learners’ written fluency. Participants in this study were 51 language learners enrolled in two intensive Finnish courses. The pedagogical methods investigated in the study were singing, listening to songs, and reciting lyrics of songs. Written stories based on cartoon strips were used as a pretest and a posttest. The fluency of written stories was analyzed based on the number of words used in the texts. Differences between the groups taught by different pedagogical methods were analyzed. The results seem to indicate that fluency increased the most in the singing groups compared to the other groups. There was also a statistically significant difference between the singing group and the group reciting lyrics, as well as between the group listening to songs and the group reciting lyrics.

2

Increasing fluency in L2 writing with singing

100%

Heikkola L. M.

Studies in Second Language Learning and Teaching

|

2016

|

vol. 6

|

issue 2

271-292

EN

Fluency is an essential part of a language learner’s skills. Despite various studies on fluency, little is known about the effects of different pedagogical methods on the development of written fluency. In this paper, we examine how different pedagogical methods affect the development of second language learners’ written fluency. Participants in this study were 51 language learners enrolled in two intensive Finnish courses. The pedagogical methods investigated in the study were singing, listening to songs, and reciting lyrics of songs. Written stories based on cartoon strips were used as a pretest and a posttest. The fluency of written stories was analyzed based on the number of words used in the texts. Differences between the groups taught by different pedagogical methods were analyzed. The results seem to indicate that fluency increased the most in the singing groups compared to the other groups. There was also a statistically significant difference between the singing group and the group reciting lyrics, as well as between the group listening to songs and the group reciting lyrics.

3

The Singing Voice’s Charms: Aesthetic and Transformative Aspects of Singing in Literature, Art, and Philosophy

88%

Szyszkowska M. A.

Eidos. A Journal for Philosophy of Culture

|

2022

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vol. 6

|

issue 2

26-36

EN

Music, as sung and listened to, has been described in many a tale as powerful and transformative. Yet, the important question is not so much if that claim is true or whether it may be verified, but what kind of power and transformation are alluded to in those mythical and literary sources? Taking these symbolic claims and elaborating on their possible meaning, alongside thinkers such as Carolyne Abbate or Roland Barthes, proceeds to find ways in which these claims may suggest different roles that music and singing play in human lives. As much as current musicological and anthropological academic narratives point to the power and its negotiation in society, there is more to singing voices’ charms than this. The author points to an important transformation that happens when the human existential qualities found in the voice’s imperfections (its materiality) are matched with the music’s aesthetic qualities (its beauty, sublimity, its symmetry, its impression) to transform the listener and make her listen.

4

W Dzień Pański – śpiewać Panu

88%

Woźniak Z.

Colloquia Theologica Ottoniana

|

2012

|

issue 1

167-188

EN

Music and singing are an expression of the joyful experience of the Lord’s Day – Sunday. They are setting the liturgy, and yet they are emanations of the human spirit. The essence of the meeting is the unity of the Holy Spirit, who is principal of unitatis in oratione et al cantione unitatis. Not enough to be physically at Mass. The identity of the Mystical Body of Christ makes himself God sacrifice no other way than through active participation in singing and prayer. The purpose of music is to glorify God and the sanctification of the faithful participating in the Eucharist. Proper selection of singing the Mass and the involvement of all participants in the liturgy, appropriate to exercise the tasks, unite the community around the sacrifice of Christ and the Church, and give the character more worthy liturgical operations. The appearance of some improper practices in the liturgy, the characteristics of each feature and songs, and attempt to „straighten” in light of the relevant legislation, liturgical music and aim to improve during the singing of liturgical celebrations.

5

Some observations on operatic singer’s intonation

88%

Sundberg J.

Interdisciplinary Studies in Musicology

|

2011

|

issue 10

47-60

PL

Fundamental frequency (Fo) patterns are analysed in six recordings of the Romance from the First Act of Guiseppe Verdi’s opera Aida. Two of the recordings were sung by the late Swedish tenor Jussi Björling and the remaining four by other international premiere tenors. Fo tracking was carried out semi-automatically using the autocorrelation program of the Soundswell Signal Workstation™ software. Intonation characteristics were measured in relation to equally tempered tuning (ETT) based on the tuning of the orchestra. Great individual differences are found. The mean deviation from ETT varied between - 15 cent and + 30 cent. Only Björling tended to increasingly sharpen intonation, the higher he sang in his passagio region. Moreover, in the long sustained high note at the end of the Recitative he added a Portamento at the end, while the other singers increased Fo by about 40 cent over the same tone. Vibrato rate and extent were similar among the singers, but spectrum analysis of the vibrato waveform revealed various differences. The final descending octave interval exceeded the 2:1 frequency ratio in all singers except one. The results are discussed from the points of view of interval perception, performance practise and musical expression.

6

W Dzień Pański – śpiewać Panu

88%

Woźniak Z.

Colloquia Theologica Ottoniana

|

2012

|

issue 1

167-188

EN

Music and singing are an expression of the joyful experience of the Lord's Day – Sunday. They are setting the liturgy, and yet they are emanations of the human spirit. The essence of the meeting is the unity of the Holy Spirit, who is principal of unitatis in oratione et al cantione unitatis. Not enough to be physically at Mass. The identity of the Mystical Body of Christ makes himself God sacrifice no other way than through active participation in singing and prayer. The purpose of music is to glorify God and the sanctification of the faithful participating in the Eucharist. Proper selection of singing the Mass and the involvement of all participants in the liturgy, appropriate to exercise the tasks, unite the community around the sacrifice of Christ and the Church, and give the character more worthy liturgical operations. The appearance of some improper practices in the liturgy, the characteristics of each feature and songs, and attempt to „straighten” in light of the relevant legislation, liturgical music and aim to improve during the singing of liturgical celebrations.

7

Lauda Sion, Salvatorem Sequence and its Polish Translations in the Source Songbooks

88%

Garnczarski S.

The Person and the Challenges. The Journal of Theology, Education, Canon Law and Social Studies Inspired by Pope John Paul II

|

2020

|

vol. 11

|

issue 2

219-253

EN

Research on the sequence Lauda Sion, Salvatorem dedicated to the Corpus Christi ceremony, allowed us to find and analyze over a dozen translations into Polish of this 13th century Latin pattern. It consists of 12 pairs of stanzas, with their parity – according to the poetics of the sequence – is emphasized by the conformity of a sound of the final verses of each pair of the stanza and the remaining verses are connected by adjoining rhymes, usually feminine, accurate, with aab + ccb scheme. We know most translators by name: Stanisław Grochowski, Jan Białobocki, Stanisław Serafin Jagodyński, Father Ignacy Hołowiński, Father Tadeusz Karyłowski, Jadwiga Gamska-Łempicka, Leopold Staff, several translations are anonymous. All Polish translations agree with the original on the content. However, differences appear in the form, structure of the poetic sequence, number of stanzas and in metrics. The common knowledge of the sequence Lauda Sion, Salvatorem, was probably the fruit of the great Eucharistic devotion in Poland, which was marked already in the 13th century, when the Church introduced the feast of Corpus Christi and lasted for the next centuries, up to the 20th century.

8

Muzyka liturgiczna w świetle dokumentów Kościoła

88%

Celary I.

Studia Pastoralne

|

2016

|

vol. 12

75-87

EN

The Second Vatican Council initiated the process of the renewal of the liturgical music. It explained its task in the service for God and presented the principles of its renewal. This renewal was prepared by pioneers and promoters of the liturgical movement which existed from the second half of the 19th century. Sacrosanctum Concilium, the Constitution on the Sacred Liturgy, pointed that there is an inseparable connection between music and liturgy. Music was presented as an integral part of the solemn liturgy. Singing in liturgy is a form of active participation in liturgical celebrations. It is a form of the confession of faith and an element of deeper entering to the celebration of the mystery of salvation. The principles of the Constitution define the stage of Church consciousness which inspired and started the era of the renewal of liturgy and church music. Among positive effects of the Council renewal of church music, apart from new liturgical books, there is the fact of existing choirs in Church, cantors and psalterists as well as the extension of music repertoire. Music education of the clergy and the faithful is still an important task. Above all organists should be taught to organize the singing not to replace the participants of liturgical celebrations in singing.

9

Lauda Sion, Salvatorem Sequence and its Polish Translations in the Source Songbooks

88%

Garnczarski S.

The Person and the Challenges. The Journal of Theology, Education, Canon Law and Social Studies Inspired by Pope John Paul II

|

2020

|

vol. 11

|

issue 2

219-253

EN

Research on the sequence Lauda Sion, Salvatorem dedicated to the Corpus Christi ceremony, allowed us to find and analyze over a dozen translations into Polish of this 13th century Latin pattern. It consists of 12 pairs of stanzas, with their parity – according to the poetics of the sequence – is emphasized by the conformity of a sound of the final verses of each pair of the stanza and the remaining verses are connected by adjoining rhymes, usually feminine, accurate, with aab + ccb scheme. We know most translators by name: Stanisław Grochowski, Jan Białobocki, Stanisław Serafin Jagodyński, Father Ignacy Hołowiński, Father Tadeusz Karyłowski, Jadwiga Gamska-Łempicka, Leopold Staff, several translations are anonymous. All Polish translations agree with the original on the content. However, differences appear in the form, structure of the poetic sequence, number of stanzas and in metrics. The common knowledge of the sequence Lauda Sion, Salvatorem, was probably the fruit of the great Eucharistic devotion in Poland, which was marked already in the 13th century, when the Church introduced the feast of Corpus Christi and lasted for the next centuries, up to the 20th century.

10

Personality traits in singers performing various music styles and with different singing status

75%

Sielska-Badurek E. M., Sobol M., Okulicz-Kozaryn K., Gołda P., Cielecka A.

International Journal of Occupational Medicine and Environmental Health

|

2023

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vol. 36

|

issue 4

541-550

EN

Objectives Objective was to find personality traits in singers performing various music styles and with different singing status. Material and Methods The study consisted of 87 singers (66 females, 21 males; age: M±SD 25.5±8.2 years; 40 students, 22 professionals and 25 amateurs; 38 classical singers, 42 contemporary commercial music [CCM] singers; 55 solo singers and 22 choral singers). Participants filled in the NEO Five-Factor Inventory questionnaire and demographic information form. Results Median values compared to the Polish general population, suggest that solo, CCM, student and professional singers have a high level of conscientiousness. Those who sing in a choir, classical music, amateurs and students have relatively high level of agreeableness. High level of extraversion is observed among CCM singers and students. Students score higher on extraversion then professionals (p < 0.001). Professionals score higher on extraversion then amateurs (p < 0.01). Professionals less frequently than amateurs and students score high on agreeableness (p < 0.001). High scores on conscientiousness are significantly higher among professionals and students compared to amateurs (p < 0.001 in both cases). Solo singers have higher level of conscientiousness (p < 0.001) and openness (p < 0.001) and lower neuroticism (p < 0.01) than choral singers. Classical singers more often than CCM singers score low on openness (p < 0.01) and high on agreeableness (p < 0.01). Conclusions Classical singers have lower level of openness and higher level of agreeableness than CCM singers. Neuroticism is higher among choir than solo singers and conscientiousness is higher among solo than choir singers. Amateurs had the highest level of neuroticism and the lowest level of conscientiousness as compared with professional singers and students.

11

Antropologia słowa Nicka Cave’a na jego debiutanckiej płycie z zespołem The Bad Seeds From Her to Eternity (1984)

63%

Tański P.

Kultura Współczesna. Teoria. Interpretacje. Praktyka

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2021

|

vol. 114

|

issue 2

31-47

EN

This article tries to interpret the lyrics from From Her to Eternity (1984), a debut studio album by Nick Cave and the Bad Seeds, including a cover of a song originally written by Leonard Cohen. As an example of a rock song lyrics study, it follows the receptive trace while reflecting on the beginnings of the creative path of this outstanding songwriter, rock music composer and vocalist endowed with a captivating voice. Nick Cave’s first musical incarnation was the Boys Next Door (1976–1980, the band changed its name several times and for a longer time was known as Concrete Vulture), later followed by the Birthday Party (1980–1983), Nick Cave and the Bad Seeds (1984–), and Grinderman (2006–2011). Originating from Warracknabeal, Australia, Nicholas E. Cave is considered to be one of the best rock culture artists, confirming his class as with every new album. His last two productions, Idiot Prayer: Nick Cave Alone at Alexandra Palace (2020) and Carnage (2021, a studio album recorded in a duo with the outstanding multi-instrumentalist Warren Ellis), are beautiful, moving, and extraordinary works. The former is a concert film and a live album featuring Cave performing solo on piano, and it serves as the final film in a trilogy of this Brighton-based singer and composer, along with the phenomenal 20,000 Days on Earth (2014) and One More Time with Feeling (2016). Nick Cave is an artist who writes about loneliness, pain, and yearning for love, as clearly evidenced by From Her to Eternity, a moving study of the anthropology of love.

12

Muzyka liturgiczna w świetle dokumentów Kościoła

63%

Celary I.

Teologiczne Studia Siedleckie

|

2016

|

issue XIII/13

80-90

EN

The Second Vatican Council initiated the process of the renewal of the liturgical music. It explained its task in the service for God and presented the principles of its renewal. This re-newal was prepared by pioneers and promoters of the liturgical movement which existed from the second half of the 19th century. Sacrosanctum Concilium, the Constitution on the Sacred Liturgy, pointed that there is an inseparable connection between music and liturgy. Music was presented as an integral part of the solemn liturgy. Singing in liturgy is a form of active participation in liturgical celebrations. It is a form of the confession of faith and an element of deeper entering to the celebration of the mystery of salvation. The principles of the Constitution define the stage of Church consciousness which inspired and started the era of the renewal of liturgy and church music. Among positive ef-fects of the Council renewal of church music, apart from new liturgical books, there is the fact of existing choirs in Church, cantors and psalterists as well as the extension of music repertoire. Music education of the clergy and the faithful is still an important task. Above all organists should be taught to organize the singing not to replace the participants of liturgical celebrations in singing.

13

Muzyka i muzykowanie w pokonywaniu trudności komunikacyjnych i językowych u dzieci z diagnozą autyzmu

63%

Minczakiewicz E. M.

Logopedia Silesiana

|

2014

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issue Logopedia Silesiana nr 3

192-209

EN

Autism in spite of so many studies and experiments that take in recent years, there remains still the subject of lively discussion. Often, even disputes as to its complex, controversial nature. Numerous studies, which so far are involving many specialists approached much science to know this extraordinary phenomenon. Their results allowed after all, the development of many wellknown and accepted in the world of programs to stimulate the development of children and young people affected by the said disorder. The effectiveness of many methods but still not satisfied enough to satisfy the expectations of parents and teachers. Recent years have indeed resulted in a distinct change for the better, especially in terms of attitudes towards children with a diagnosis of autism, as well as their parents, but it seems to be far too little compared to the needs. This changed not only the attitude of society, but also the position of perceiving education authorities and health educational needs of children with autism. It turns out that children with a diagnosis of autism requires not only an adequate education, but also the systematic treatment multiprofile social support and rehabilitation of rational interaction. Hence, this study attempted to take this topic cognitive. The author makes an attempt to stimulate social development of children with a diagnosis of autism, the fun with singing and music. The results confirmed the validity of the assumptions that children affected by autism can be incorporated into a play activity. They may be interested in movement and music. You can while having fun make contact with them. You can also without difficulty incorporate them into a peer group, and this is their great achievement.

14

Poglądy Stefana kardynała Wyszyńskiego na rolę muzyki w Kościele

63%

Ropiak S.

Studia Elbląskie

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2021

|

vol. 22

365-385

EN

Stefan Card. Wyszyński, Primate of Poland, expressed his views on music during his speeches and sermons, especially to organists and church choirs. It follows from them that the basic source of music in the Church is the contemplative celebration of the Mystery of Faith. Music is to be performed first of all for the glory of God and secondly for the benefit of people. Cardinal Wyszyński considered as music worthy of the Lord’s temple only that musicwhich is directed to the adoration of the Creator’s majesty and arises from the contemplation of the Incarnate Word of God. Chorale, church singing as well as organ music have a therapeutic meaning, as they calm shattered emotions and help to focus scattered thoughts. Music with true artistic qualities soothes pain and suffering, gives solace, awakens hope and joy.The creators and performers of music should shape their Marian spirituality so that they can fulfil their honoured vocation well. The service in the celebration of the Holy Sacrifice demands from church musicians an exemplary life, a good knowledge of the liturgy and a high artistic level. According to Cardinal Wyszyński, the need to cultivate folk singing, which is an expression of piety and patriotism, is still valid. It is also connected with the development of new musical forms growing out of Christian culture.

PL

Prymas Polski Stefan kard. Wyszyński wyrażał swoje poglądy o muzyce podczas swoich przemówień i kazań, zwłaszcza do organistów i chórów kościelnych. Wynika z nich, że podstawowym źródłem muzyki w Kościele jest kontemplacyjne celebrowanie Misterium wiary. Muzyka w pierwszej kolejności ma być wykonywana na chwałę Boga, a w drugiej na pożytek ludzi. Kard. Wyszyński uważał za muzykę godną świątyni Pańskiej tylko tę, która ukierunkowana jest na uwielbienie majestatu Stwórcy i wyrasta z kontemplacji Wcielonego Słowa Bożego. Chorał, śpiew kościelny, a także muzyka organowa mają terapeutyczne znaczenie, gdyż uciszają rozbite emocje i pomagają w skupieniu rozbieganych myśli. Muzyka o prawdziwych znamionach sztuki łagodzi ból i cierpienie, daje ukojenie, budzi nadzieję i radość. Twórcy i wykonawcy muzyki winni kształtować swą duchowość maryjną, tak by dobrze wywiązywać się ze swego zaszczytnego powołania. Posługa w celebracjach Najświętszej Ofiary domaga się od muzyków kościelnych wzorowego życia, dobra znajomości liturgii i wysokiego poziomu artystycznego. Według kard. Wyszyńskiego wciąż aktualna jest potrzeba pielęgnowania śpiewu ludowego, który stanowi wyraz pobożności i patriotyzmu. Łączy się to także z rozwojem nowych form muzycznych wyrastających w chrześcijańskiej kultury.

15

Kol isza be-lakasz vs mulier taceat in ecclesia. Głos kobiecy w judaizmie i chrześcijaństwie

63%

Muszkalska B.

Liturgia Sacra. Liturgia - Musica - Ars

|

2018

|

vol. 51

|

issue 1

189-198

EN

The object of the considerations in the present study is the prohibition of the use of female voice in Orthodox synagogues and similar restrictions which were in force in the Christian Church, as well as changes that have taken place in this regard While in the female monasteries religious music began to flourish relatively early, the Jewish women could turn to perform liturgical chants only in effect of resistance against the dictum called in brief Kol isha. Beginning of these changes coincides with the period of the Jewish Enlightenment, Haskalah, in the nineteenth century, and they have been proceeding to modern times.

PL

Przedmiotem rozważań autorki jest zakaz używania kobiecego głosu w ortodoksyjnych synagogach i podobne restrykcje w kościele chrześcijańskim, jak również zmiany, które zachodziły w tym zakresie. O ile w żeńskich klasztorach chrześcijańskich obserwujemy rozkwit muzyki religijnej stosunkowo wcześnie, o tyle kobiety żydowskie mogły włączyć się do wykonywania śpiewów liturgicznych dopiero w efekcie poddania krytyce talmudycznego zakazu, nazywanego w skrócie kol isza. Początek owych przemian w judaizmie przypada na okres żydowskiego oświecenia, haskali (koniec XVIII w.), i proces ten trwa do czasów współczesnych.

16

Sposoby postrzegania śpiewu przez młodzież gimnazjalną – stan obecny oraz perspektywy

63%

Jarmolińska H.

Edukacja Humanistyczna

|

2015

|

issue 2

137-146

PL

Sposób, w jaki obecnie edukacja muzyczna w Polsce jest ograniczana, może mieć negatywny wpływ na rozwój muzyczny młodzieży. Poprzez ograniczenia rozumiem ciągłe redukowanie zajęć lekcji muzyki, co nie sprzyja rozwojowi muzycznemu wychowanków. Śpiew jako jedna z form aktywności muzycznej może stać się wyeksponowaniem ekspresji uczuć młodzieży. Głos ludzki, będący pierwotną formą artykułowania odczuć, może dawać młodzieży szerokie perspektywy wyrażania siebie. Perspektywę rozwoju edukacji muzycznej w Polsce możemy upatrywać w innowacyjnej edukacji muzycznej opartej na teorii uczenia się muzyki według Edwina E. Gordona. Zgodnie z nią zdobywanie kompetencji muzycznych już w wieku niemowlęcym stworzy możliwość rozwoju muzycznego przyszłych pokoleń, co ma ogromne znaczenie w dalszej edukacji.

EN

The current policy of limiting music education in Poland may have negative influence on musical development of the teenagers. The restraints include constant reduction in the number of music classes per week which does not favour the students’ musical progress. Singing, as one of the forms of musical activity, can become an instrument of expressing the youngsters’ feelings. The human voice, which is the original way of articulation of human sensations, provides young people with a unique chance of self-expression. The prospect of development of music education in Poland might be found in the innovative music education methodology developed on the basis of Edwin E. Gordon’s music learning theory which assumes that gaining musical competence should begin at infant age. The approach creates a prospect for the musical development of future generations which has a tremendous significance for further education.

17

Goreckïs creative journeys between nature and culture. Around the ‘Copernicari Symphony

63%

Małecka T.

Interdisciplinary Studies in Musicology

|

2009

|

issue 8

173-188

PL

Henryk M. Gôrecki’s oeuvre is characteristic in its almost constant oscillation between meditation on the world, the universe, nature, and implication in history, tradition, culture; between the delight in the beauty of nature and the delight in culture. ‘We were no longer the centre of the universe, we became nothing.’This idea of the composer was fundamental for his creation of his II Symphony. Its two-movement form was a consequence of his own understanding of the Copernican revolution. Its Latin text was derived from the Book of Psalms; due to the circumstances of its commission, it also includes a fragment from Copernicus tractate. The distribution of tension in the first movement is non-trivial. Judging by the composer’s “cosmic” fascinations, the beginning is a “Big Bang”. The central climax of this movement appears in its finale, when the huge chorus sings and cries the words of the Psalms. In Movement Two we are ushered into a different, a lyrical world of contemplation. The soloists are singing in traditional and simplest possible way. The chorus, harmonized modally is singing the words of Nicolaus Copernicus about the “heaven” - “beauty” relation. Chorale-like, they place us in a transcendental dimension. The work is crowned with long-standing yet pulsating sonorities of the orchestral mass in pentatonic interval structure, resolved into an A flat major triad: in the tradition of Baroque rhetoric, depicts emotions of stillness, of the calm of the night; in late Romanticism - the emotion of mild and solemn. Perhaps these sonorities of the orchestral mass in the finale - that is exactly the sound of the Universe as Górecki has been expressed?

18

Edukacja muzyczna w gimnazjach tarnowskich w dobie autonomii Galicji

63%

WĄSACZ-KRZTOŃ J.

Edukacja-Technika-Informatyka

|

2017

|

vol. 8

|

issue 4

108-113

PL

W dobie autonomii Galicji Tarnów posiadał dwa gimnazja, które miały w siatce godzin przedmioty: śpiew i muzyka. Były to przedmioty nadobowiązkowe, na które młodzież chętnie uczęszczała w porównaniu z innymi przedmiotami. Nauczanie śpiewu miało na celu przygotowanie chóru szkolnego, który zapewniał oprawę muzyczną różnych uroczystości kościelnych i szkolnych. Nauka odbywała się w dwóch oddziałach: I – niższym i II – wyższym, a liczba godzin nie przekraczała 4 tygodniowo. Repertuar obejmował przede wszystkim pieśni religijne i świeckie. Oprócz śpiewu w gimnazjach tarnowskich prowadzono także nauczanie muzyki. W I gimnazjum działała orkiestra mieszana, a w II – dęta, smyczkowa i mandolinowa. Orkiestry wchodziły w skład Kołka Muzycznego. W repertuarze zespołów znajdowały się utwory patriotyczne, muzyka poważna (operowa, operetkowa) oraz powszechnie znane i przyjemne do słuchania marsze, polo-nezy, mazury itp. Wysoka frekwencja na lekcjach śpiewu oraz w zespołach muzycznych potwierdza chęć rozwoju zainteresowań muzycznych gimnazjalistów i świadczy o potrzebie kształcenia muzycznego na każdym etapie edukacji człowieka.

EN

In the era of autonomy of Galicia Tarnow had two gymnasiums, which had in their curriculum subjects like singing and music. Although these were facultative subjects, young people were eager to attend the lessons, in comparison with other facultative subjects.Teaching singing was intended to prepare the school choir, which provided the musical setting for the church and school ceremonies. Learning was organised at two levels, I – the lower and II – higher. The number of hours did not exceed four per week. The repertoire included mostly religious songs and secular songs. Apart from singing in gymnasuims music was taught . In the I gymnasium was a mixed orchestra, and in the II gymnasium brass, string and mandolin. The orchestras was a part of Musical Circle.The repertoire of instrumental ensembles included patriotic songs, classical music (opera, operetta), commonly known and pleasant to listen to tunes, such as: marches, polonaises, mazurs. High attendance in singing lessons and in music ensembles confirms the desire to develop musical interest among junior high school students and testifies to the need for music education at every stage of human education.

19

Jan Chryzostom o śpiewie i muzyce. Zarys problematyki

63%

Szczur P.

Vox Patrum

|

2017

|

vol. 67

599-618

EN

This article has been divided into three parts. The first part discusses the importance of singing and music in Jewish and Christian traditions; the second part discusses Chrysostom’s observations on singing and secular music (a lot of space is devoted to criticizing the obscene songs) and Jewish; the last part of the article is devoted to Christian singing. John Chrysostom attributed the great importance of singing and music and pointed to their various positive functions and actions. However, he criticized apotropaic and convivial songs, and theatrical and wedding songs as well. He also spoke negatively about Jewish songs and music. Chrysostom encouraged to introduce the repertoire of Christian songs to every dimension of human existence. It had several goals: 1) to raise moral values of Christians’ life, who should avoid singing or listening to obscene theatrical songs; 2) to resist the strong influence of Judaism on a significant part of Christians in Antioch; 3) to establish the repertoire of Christian songs that would be sung for the glory of God.

20

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63%

Adamczewski J.

Studia Paedagogica Ignatiana

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2020

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vol. 23

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issue 1

PL

Wychowanie chrześcijańskie w szkole to nie tylko lekcje religii. Niniejszy artykuł podejmuje kwestię wychowania chrześcijańskiego z wykorzystaniem wartościowego repertuaru muzycznego w edukacji wczesnoszkolnej na przykładzie doświadczeń ze szkoły podstawowej w Belfaście. Na wczesnym etapie edukacji, kiedy mamy do czynienia z kształceniem zintegrowanym, można w łatwy sposób nawiązywać do wartości chrześcijańskich podczas codziennych zajęć szkolnych. Czy można jednak połączyć wychowanie chrześcijańskie z nauczaniem języka angielskiego? W artykule zostaną zaprezentowane opracowania dotyczące nauki języka, a wykorzystujące utwory muzyczne, które odwołują się do wartości duchowych w rozumieniu Maxa Schelera. Nawiązując do założeń fińskiej edukacji muzycznej oraz edukacji religijnej, zostaną przedstawione wartości płynące z opisanego rozwiązania. Zaprezentowane przykłady będą omówione z wykorzystaniem odwołań do literatury, która zarysowuje szerszy obraz wychowania chrześcijańskiego we wczesnej edukacji dziecka. Pomocne będzie również odwołanie się do następujących kategorii: pedagogika katolicka, edukacja religijna, wychowanie chrześcijańskie, wartości duchowe czy też eurytmia, które leżą u podstaw teoretycznych tego artykułu.

EN

Christian education at school is carried out not only during religion lessons. This article deals with the issue of Christian education using the valuable musical repertoire in early school education on the example of experience gained from an elementary school in Belfast. At an early stage of education, when students have an integrated education, it is easy to refer to Christian values during everyday school activities. Is it possible to combine Christian education with teaching English lessons?The article will present studies on language learning, and using musical works that refer to spiritual values as they are understood by Max Scheler. Referring to the assumptions of Finnish music education and religious education, the values resulting from the described solution will be presented. The examples presented will be discussed using references to literature that outlines the broader shape of Christian education in early childhood education. It will also be helpful to refer to the following categories: Catholic pedagogy, religious education, Christian education, spiritual values or eurhythmics, which are the theoretical foundations of this article.

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