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Moravské pramene prvého slovenského katolíckeho kancionála Cantus Catholici (1655) a jeho spevy ordinária

100%
Dufka V.
Studia theologica
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2017
|
vol. 3
133-146
EN
Cantus Catholici, published in 1655 in Levoča, is the first printed Catholic hymnal in Slovak, used in the liturgy and in the catechesis. The editor was the Jesuit and missionary Benedikt Szölösy SJ. The hymnal contains 294 chants; 227 of them are in the Slovak language, 66 in Latin and one song uses both languages. This hymnal is an important source for the contemporary hymnal. The first goal of this article is to demonstrate a link between Moravian and Slovak musical and liturgical traditions. This link is documented by the sources of the Slovak hymnal. There are two main Moravian sources of the Cantus Catholici: the hymnal of Jan Rozenplut from 1601 and the hymnal of Jiří Hlohovský from 1622. Both hymnals were published in Olomouc. The second objective of this study is to describe the Slovak chants of Cantus Catholici used for the ordinary of the mass. Although the Counsel of Trent confirmed primacy of Latin in the liturgy, the Slovak chants used in the liturgy in the seventeenth century are documented in the Cantus Catholici (1655) and in the Cantionale Rituale (1681).
2
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Nowenna ku czci świętego józefa w pieśniach wraz z litanją na chór 2-głosowy autorstwa ks. Franciszka Walczyńskiego

84%
Garnczarski S.
Seminare. Poszukiwania naukowe
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2013
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vol. 33
369-385
EN
The novena, one of the forms of popular piety developing in many epochs, consists in turning to God more fervently for a period of nine days, months or years, typically through the intercession of a saint, in order to obtain a favor. This article is concerned with A Novena in Honor of St. Joseph in Songs with a Litany for a Two-Voice Choir contained in a collection of Fr. Franciszek Walczyński, priest of the Tarnów Diocese, musician, and teacher. The cult of St. Joseph flourished especially in the 15th century. In 1870, Pope Pius IX proclaimed him patron of the Universal Church. Four out of the nine analyzed songs were earlier pieces which were given new melodies. The remaining ones were written entirely by Walczyński. The songs are stanzaic, mostly with four-line highly regular stanzas. Most lines have 11 or 8 syllables and exact and paired rhymes. One song has a mid-verse (intra-stanzaic) refrain. The songs have a two-part structure with various components AB retaining strict symmetry or deviating from it. The songs are highly melodious, which stems from the prevalence of seconds and thirds. The meter of the songs, with a few exceptions of 2-note melismas, is syllabic. The tonality is major-minor, with a predominance of the former. The analyzed songs are accessible and have a simple texture.
3
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Między Bogiem a Naturą. Słowo i muzyka w świecie Leśmiana

43%
Cieślik M.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2019
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vol. 52
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issue 1
49-67
EN
This essay shows how multidirectional relations between the words and the music are bound in Leśmian’s world. The medium is a human being, a poet-singer oversensitive to the voice of being, who turns music into words and reaches the state of exaltation thanks to music at the same time. The music permeates the poet who should let it speak out inside himself and then express it through words. The rhythm perceived as life itself is a part that allows the restricted word to be relieved form the rigid frames of meanings. The relations between the word and the music (and accordingly between God and Nature) can be seen as well in the elements of the world which hasn’t become flesh or turned into music. Thanks to its vital character, music helps to locate Leśmian’s world on the border, on the edge, over the precipice or to incorporate a human being into the Nature. The music itself is sometimes located on the edge of the word, overtaking its part or going into the abyss.
PL
Niniejsza praca pokazuje, w jaki sposób w świecie Leśmiana powstają wielokierunkowe relacje zawiązujące się między biegunami słowa i muzyki. Pośrednikiem jest w nich człowiek, a szczególnie poeta-śpiewak obdarzony wyjątkową wrażliwością na głos istnienia, który ujmuje muzykę w słowa i jednocześnie zostaje przez nią wprowadzany w uniesienie. Muzyka wnika w poetę, który powinien we własnym wnętrzu pozwolić jej się „wygwarzyć”, a następnie wyrazić ją poprzez słowo. Elementem, który wyzwala ograniczone słowo ze sztywnych ram znaczeń, jest rytm rozumiany jako samo życie. Związki zachodzące pomiędzy słowem a muzyką (i odpowiadającymi im – Bogiem i Naturą) obejmują także elementy świata, które zostają wcielone w słowo lub umuzycznione. Poprzez swój witalistyczny charakter muzyka sprzyja usytuowaniu Leśmianowskiego świata „na pograniczu”, na krawędzi, nad przepaścią lub wpisaniu człowieka w Naturę. Sama muzyka bywa również umieszczona na granicy ze słowem, przejmując jego rolę lub wraz z nim przechodząc w niebyt.
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