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Chór kościelny wobec „ducha czasu”

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Pawlak I.

Musica Ecclesiastica

2015

issue 10

11-22

The concept of “the spirit of the time” includes in various historical periods a number of fields of human activity. These fields are philosophy of life, ideology and fashion. Philosophy denotes the acquisition of certain rules, ideology encompasses an often utopian idea created by man and imposed on society, and fashion appeals to human weaknesses offering the adjustment of customs (clothes, manner of speaking etc.) to current trends in lowbrow culture. By contrast the “church choir” is a group that exists and operates for the Church yet is not connected with any other institution (philharmonic, workplace etc.) Every historical period was characterised by specific “spirit of time”. In the Middle Ages attention was drawn towards God’s matters. At that time the pointed Gothic arches appeared along with tightly-bundled figures, stained-glass windows etc. That was Gothic art. The music of that time also corresponded to these general trends which bred the musical phenomenon that is the Gregorian chant. The Renaisance focused its interest on the beauty of the human body and well-buildings (broad windows). During that time the people developed vocal polyphony initiated in the Middle Ages. Baroque favored external ornamentation and the splendor of ceremonies. In this period the accompanied monody was created along with rich forms such as opera and oratory. Musical groups (cappellae) became very popular. Classicism and romanticism did not affect the music performed by church choirs. The 19 th Century constituted a return to the past. The Cecilian movement encouraged to the performing of the Gregorian chant, classic polyphony, church song and early-organ music. In the 20th Century music opened for completely new rules: special attention was paid to the sonorism and interval music was gradually abandoned in accordance with “the spirit of the time” which questioned the norms of composition that had been applicable in the past. Yet the repertoire suitable for church choirs was rarely created. Today choirs perform mainly early music.

SPOR O MIESTO PIESNE V LITURGII

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Pawlak I.

Musicologica Slovaca et Europaea

2006

vol. 24

71-84

The sacred song had always played an exceptional role in religiosity and the whole religious culture of the nation in Poland. Sacred songs were a kind of 'Biblia pauperum'. However, they were not appointed for the usage in liturgy because Gregorian chant was still considered to be the liturgical singing. Dispute over the place of song in liturgy began already in times before the Trident Council. The very fact of the sacred song 'liturgical transformation' did not end the disputes. Those disputes take place on two levels: on the level of artistic value and the level of the way of using the song repertory. During the period after the Council there emerged a competition between songs and religious song or a new sacred song. This fact started a new dispute. The dispute over the song's place in liturgy is only a symptom of the deep crisis of liturgy itself, which is often deprived of 'sacrum' on the basis of seeming good.

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Chór kościelny wobec „ducha czasu”

SPOR O MIESTO PIESNE V LITURGII