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1

Contrafacta. Modes of music re-textualization in the late sixteenth and seventeenth century, eds. Marina Toffetti, Gabriele Taschetti, Kraków 2020 Musica Iagellonica, pp. 358. ISBN 978-83-7099-239-2

100%

Ferrari N.

Muzyka

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2021

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vol. 66

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issue 1

185-189

2

Sakralność religijnej kontrafaktury świeckich utworów

67%

Kałamarz 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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2013

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vol. 11

EN

The phenomenon of contrafactum, that is giving new lyrics to the melody that already functioned with different words, is an old and common practice which occurred in many forms. Most often the term is associated with giving religious lyrics to a melody that previously possessed secular words. But this is only one of many possibilities. For centuries valuable melodies were used with both secular and religious words, regardless of original interrelationships of a particular melody.Today, in society sensitive to copyrights, the practice of contrafactum raises a lot of emotions. Also, it often evokes mixed feelings in the milieus which are involved in sacred music. This is because melodies, to some extent, convey with them the meaning of the words to which they are related, especially in the minds of the people who know these words. The secularity of melody can therefore be present not only in purely musical characteristics of a particular melody (e.g., dance rhythm, chromatization, great variety of emotions and emotional intensity), but also with secular context with which it is identified by the people who use this melody, for example, the intention which lead to the creation of a particular melody or with its original meaning. On the other hand, sacred music is the music created to participate in a sacred reality (an integral part of liturgy) and in some sense also to co-create this reality by praising the glory of God and sanctifying the faithful.When giving a secular melody to religious lyrics it is important to make sure that during liturgy their potential users should not associate this melody with anything secular. It should be composed in a perfect manner, in accordance with the rules of counterpoint. It should be a melody containing diatonic sounds, without unnecessary tension, alterations, and with dignified rhythm so that it lent itself to being performed by a large number of people. Moreover, it should simply be beautiful and its proportionally selected components should create internal unity of music and highlight the meaning of the lyrics to which it is to be added. Finally, the melody along with the words should be approved by the appropriate authority of the Church. Only then can we begin to consider it as a sacred, i.e., a liturgical song.

3

Źródła melodii, metrorytmika oraz kontrafaktury w kompozycjach zawartych w zbiorze ks. Z. Piaseckiego (1916-2011) „Panu memu śpiewać chcę”

67%

Szczeblewski Ł.

Teologiczne Studia Siedleckie

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2021

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issue Teologiczne Studia Siedleckie XVIII (2021) 18

217-236

PL

Dopuszczenie języka narodowego w liturgii przez reformę liturgiczną Soboru Watykańskiego II stało się ważnym impulsem nowej twórczości religijnej. Na gruncie polskim można zaobserwować swoistą eksplozję nowych kompozycji religijnych, które były upowszechniane w różnych edycjach. W tę działalność wpisuje się twórczość ks. Z. Piaseckiego. Zwieńczeniem jego pracy twórczej i redakcyjnej jest zbiór Panu memu śpiewać chcę. Kompozytor zamieścił w nim utwory znanych twórców muzyki religijnej, jak również wiele własnych kompozycje. Wśród nich są także utwory z tekstem Kompozytora. Niniejszy artykuł stanowi prezentację zbioru ze szczególnym zwróceniem uwagi na pochodzenie melodii, metrorytmikę oraz zapożyczenia melodii (kontrafaktury).

EN

The admission of the national language in the liturgy by the liturgical reform of the Second Vatican Council became an important impulse for new religious creativity. In Poland, one can observe a kind of explosion of new religious compositions that were disseminated in various editions. The works of Fr Z. Piasecki are part of this activity. The culmination of his creative and editorial work is the collection “I want to sing to my Lord”. The composer included works of well-known composers of religious music, as well as many of his own compositions. Among them there are also pieces with the composer's own text. This article presents the collection with particular emphasis on the origin of the melody, metrorhythmics and borrowings of the melody (contrafacta).

4

Rerum patris Pii Hancke. O muzykaliach nyskiego dominikanina

51%

Hauptmn-Fischer E.

Hereditas Monasteriorium

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2013

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vol. 2

81-93

EN

The collection of Pius Hancke’s works includes numerous pieces written for the harp. Its outstanding repertoire and provenance distinguishes it from other monastic collections. The collection belonged to the monk who developed it during his whole life and carried it with him when changing places he lived in. Last 30 years of his life Pius Hancke spent in Dominican monastery in Nysa. Notes used during the liturgy (masses, litanies) certainly were used there and currently are the only testimony of the music culture of this monastery. Next to liturgical pieces Hancke’s collection includes a number of instrumental pieces for the harp with the accompaniment of other instruments and contrafacta of opera arias. The latter often include arrangements of harp parts, most probably made by Hancke himself. Scriptors’ names relate this collection to the unique manuscript containing Antonio Vivaldi’s Credo.

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1 Hereditas Monasteriorium

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1 Teologiczne Studia Siedleckie

2 2021

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1 Delimat W.

1 Ferrari N.

1 Hauptmn-Fischer E.

1 Janicki J. J.

1 Karcz B.

1 Kałamarz W.

1 Malik J.

1 Pasek W.

1 Sterczewska L.

1 Szczeblewski Ł.

1 Tyrała R.

1 UPJPII i.

1 Zając A.

Contrafacta. Modes of music re-textualization in the late sixteenth and seventeenth century, eds. Marina Toffetti, Gabriele Taschetti, Kraków 2020 Musica Iagellonica, pp. 358. ISBN 978-83-7099-239-2

Sakralność religijnej kontrafaktury świeckich utworów

Źródła melodii, metrorytmika oraz kontrafaktury w kompozycjach zawartych w zbiorze ks. Z. Piaseckiego (1916-2011) „Panu memu śpiewać chcę”

Rerum patris Pii Hancke. O muzykaliach nyskiego dominikanina