Search results

1

The role of magnesium salts in germination and growth of Cucumis sativus L.

100%

Zandi P., Możdżeń K., Barabasz-Krasny B., Wang Y.

Annales Universitatis Paedagogicae Cracoviensis Studia Naturae

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2019

119-131

EN

The aim of the study was to determine the eect of magnesium sulphate and carbonate on the germination and growth of cucumber seeds (Cucumis sativus L.). For the experiment was used (1) Kottke et al. (1987) medium (pH 5.4) and its modification: (2) Kottke medium with the addition of MgSO4×7H2O (pH 4.8), (3) Kottke medium with the addition of MgCO3×3H2O (pH 6.5) and (4) distilled water (control). Characterisation of the germination capacity of cucumber seeds, under the influence of Kottke medium and its modification, were measured by germination indexes. An attempt was also made to assess the eect of mediums on growth on the length of plants, fresh and dry mass and water content. Germination indexes showed that the presence of magnesium carbonates and sulphates slightly inhibited seed germination, compared to the control. Biometric analysis of C. sativus roots showed a stimulating effect of mediums regardless of the time of watering the plants. Compared to the control, the length of hypocotyl was inhibited in the presence of the magnesium and sulphates ions. Thee highest growth of cucumber stalks in plants watered with mediums supplemented with magnesium salts for all time of experiment was observed. The petiole growth in length was stimulated by all modifications of Kottke medium. Fresh mass values, regardless of the type of medium and the time of its use, were higher in relation to the mass values from the control sample. Only the fresh mass of hypocotyl from plants watered throughout the experiment with magnesium salts was lower compared to the control. For all tested C. sativus organs an increase in the dry mass value was demonstrated. The percentage of water content was the lowest for roots and first leaves compared to the control.

2

The Ordinarium Parts of the Mass by Nicolaus de Radom in Relation to Works by Antonio Zacara da Teramo and Johannes Ciconia1

88%

Miszke J.

Kwartalnik Młodych Muzykologów UJ

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2017

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issue 1(32) Eng

29-56

EN

The aim of the article is to bridge the gap in the study of Nicolaus de Radom’s output by presenting a comparative analysis of his works as juxtaposed with other European artists. The prevailing opinion of musicologists, such as Maria Szczepańska and Mirosław Perz, is that Nicolaus de Radom’s music is closely related to the worksof northern Italian composers. However, such a claim has not yet been supported with the detailed comparative analysis. The article presents the analysis of the manuscripts of Kras 52 and Wn 378, signed by Nicolaus de Radom, confronted with selected masses by Johannes Ciconia and Antonio Zacara da Teramo. A detailed analysis of a two-sectioned cyclic mass helps to distinguish certain similarities and differences in the unification of the Mass pairs, as they are exemplified in the music of the composers. The works of all of the three artists manifest secular songs’ influence on the shaping of the Mass as a genre, although each composer adapts it in a slightly different way. Moreover, it is stated that a thorough analysis of the 15th-century Masses is necessary to determine whether there are any links between Nicolaus de Radom, Antonio Zacara da Teramo and Johannes Ciconia’s works, and whether there are any similarities in their compositional technique. Presented analysis of de Radom, Zacara da Teramo and Ciconia’s Masses refutes the claim that Nicolaus de Radom’s output bears closest relation to those of Zacara da Teramo’s. The results of the study reveal that there are no straightforward examples which would support such a theory.

3

Kompozycje mszalne Mikołaja z Radomia w kontekście twórczości mszalnej Antonia Zacary da Teramo i Johannesa Ciconii

88%

Miszke J.

Kwartalnik Młodych Muzykologów UJ

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2017

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issue 1(32)

29-58

EN

The aim of the article is to bridge the gap in the study of Nicolaus de Radom’s output by presenting a comparative analysis of his works as juxtaposed with other European artists. The prevailing opinion of musicologists, such as Maria Szczepańska and Mirosław Perz, is that Nicolaus de Radom’s music is closely related to the works of northern Italian composers. However, such a claim has not yet been supported with the detailed comparative analysis. The article presents the analy¬sis of the manuscripts Kras 52 and Wn 378, signed by Nicolaus de Radom, confronted with selected masses by Johannes Ciconia and Antonio Zacara da Teramo. A detailed analysis of a two-sectioned cyclic mass helps to distinguish certain similarities and differences in the unification of the Mass pairs, as they are exemplified in the music of the composers. The works of all of the three artists manifest secular songs’ influence on the shaping of the Mass as a genre, although each composer adapts it in a slightly different way. Moreover, it is stated that a thorough analysis of the 15th-century Masses is necessary to determine whether there are any links between Nicolaus de Radom’s, Antonio Zacara da Teramo’s and Johannes Ciconia’s works, and whether there are any similarities in their compositional technique. Presented analysis of de Radom’s, Zacara da Teramo’s and Ciconia’s Masses refutes the claim that Nicolaus de Radom’s output bears closest relation to those of Zacara da Teramo’s. The results of the study reveal that there are no straightforward examples which would support such a theory.

4

Kompozycje mszalne Mikołaja z Radomia w kontekście twórczości mszalnej Antonia Zacary da Teramo i Johannesa Ciconii

88%

Miszke J.

Kwartalnik Młodych Muzykologów UJ

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2017

|

issue 1(32)

29-58

EN

The aim of the article is to bridge the gap in the study of Nicolaus de Radom’s output by presenting a comparative analysis of his works as juxtaposed with other European artists. The prevailing opinion of musicologists, such as Maria Szczepańska and Mirosław Perz, is that Nicolaus de Radom’s music is closely related to the works of northern Italian composers. However, such a claim has not yet been supported with the detailed comparative analysis. The article presents the analy¬sis of the manuscripts Kras 52 and Wn 378, signed by Nicolaus de Radom, confronted with selected masses by Johannes Ciconia and Antonio Zacara da Teramo. A detailed analysis of a two-sectioned cyclic mass helps to distinguish certain similarities and differences in the unification of the Mass pairs, as they are exemplified in the music of the composers. The works of all of the three artists manifest secular songs’ influence on the shaping of the Mass as a genre, although each composer adapts it in a slightly different way. Moreover, it is stated that a thorough analysis of the 15th-century Masses is necessary to determine whether there are any links between Nicolaus de Radom’s, Antonio Zacara da Teramo’s and Johannes Ciconia’s works, and whether there are any similarities in their compositional technique. Presented analysis of de Radom’s, Zacara da Teramo’s and Ciconia’s Masses refutes the claim that Nicolaus de Radom’s output bears closest relation to those of Zacara da Teramo’s. The results of the study reveal that there are no straightforward examples which would support such a theory.

5

ks. Zdzisław Janiec, Jak godnie celebrować Mszę Świętą? Zasady i nieprawidłowości, Towarzystwo Naukowe Katolickiego Uniwersytetu Lubelskiego, Lublin 2020, ss. 208

75%

Golec Ł.

Studia Elbląskie

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2020

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vol. 21

517-518

6

„Nie opłaca się inwestować w poezję”? Poetycka krytyka popkultury w wybranych wierszach Lipskiej z lat 2007–2015

75%

Sapa J.

Facta Ficta. Journal of Theory, Narrative & Media

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2020

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vol. 5

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issue 1

95-112

EN

In the article "'Investing in poetry isn't worth it'? The poetical criticism of popculture in Lipska's chosen poems from the years 2007-2015", Joanna Sapa proposes an analysis of the way in which the lyrical subject estimates and comments on the present cultural transformations that result from mass culture drawing in almost all elements of reality. The author's considerations begin with a reminder of Eagleton’s observations on the contemporary diminished importance of the real content of culture (understood as the material, ethical, and moral goods of a society) as compared to the meanings it is attributed by the society. The development of mass culture – including the reproduction of works, consumerism, globalization, and Theodor Adorno's „cultural industry” – caused a transformation of cultural goods into commodities. Zygmunt Bauman also writes about the special "consumer syndrome” being the effect of an ubiquitous and importunate marketization of human workings. The aim of the presented analysis is to highlight the poems from Lipska's newest poetical volumes: Newton's orange (2007), Aftersound (2010), Reader of papillary lines (2015) in which the lyrical I subject narrates the consequences of the chaotic, mass circulation of culture and of the mixing that occurs between the sphere of elitist culture and mass culture. In these poems, the lyrical I additionally talks about aging and death in the context of popular culture, and exposes various ways of valuing reality in media records. The Key according to which the author arranged Lipska’s poems into different sections is based on the metaphors they use (from diverse thematic circles). These are: the combination of high art and colloquial language ("MacHamlet’s on stage”); the consumers' uncritical acceptance of media's idealized world ("in apartments of television the pleb with the stars”); aging and dying as described by metaphors related to fashion and clothes ("in wide woollen shoulders of death”).

7

Od mas rewolucyjnych do mas pracujących. O masie w sieci

71%

Krajewski M.

Ruch Prawniczy, Ekonomiczny i Socjologiczny

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2020

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vol. 82

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issue 3

283-297

EN

In my paper, I try to demonstrate how two processes that are crucial for modern societies, namely digitalization and networking, are transforming the categories of mass and massification. These latter phenomena, treated by social sciences as symptoms of disturbing social changes, both transient and short-term, are today changing in terms of their nature. In the text, this identification is based on a presentation of how mass has evolved from the early days of the internet to today, going through three stages (mass 1.0, 2.0 and 3.0). In the latter, the most modern stage, networked working masses have appeared. The presentation of their characteristics and the reflection on how they differ from classic masses form an important part of the article.

PL

W swoim artykule staram się pokazać, jak dwa kluczowe dla współczesności procesy, a więc digitalizacja oraz usieciowienie rzeczywistości, przeobrażają kategorię masy i umasowienia. Te ostatnie zjawiska, traktowane przez nauki społeczne jako symptomy niepokojących zmian społecznych, fenomeny przejściowe o krótkotrwałym charakterze, dziś znacząco zmieniają swoją naturą. Jej identyfikacja zostało w tekście oparta na prezentacji tego, jak masa ewoluuje od początków Internetu do dzisiaj, przechodząc przez trzy stadia, określone mianem masy 1.0, 2.0 i 3.0. W tym ostatnim, najbardziej współczesnym stadium pojawia się to, co określam mianem sieciowych mas pracujących. Ich charakterystyka oraz refleksja nad tym, czym różnią się one od klasycznych mas, stanowi ważną część artykułu.

8

Perception of Democracy in the Turkish Political Culture

63%

Kabaçam S. B.

Świat Idei i Polityki

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2020

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issue 19

230-242

PL

Tematem tego artyułu jest relacja jaka zachodzi pomiędzy demokracją a kulturą polityczną. Autorka skoncentrowała się głównie na praktykach demokratycznych w tureckiej kulturze demokratycznej. Jasne jest, że system polityczny łączy się z kulturą polityczną społeczeństw. Powstaje jednak pytanie w jaki sposób odróżnić kulturę polityczną od innych zjawisk? Celem tego artykułu jest wskazanie głównej roli jaką pełni kultura polityczna, która oddziałuje na różne poziomy tolerancji, zaufania interpersonalnego, itd., jak również odpowiada za adaptację instytucji demokratycznych do obecnego systemu politycznego. Główne problemy życia politycznego Turcji są podejmowane w tym artykule z perspektywy relacji jakie zachodzą pomiędzy kulturą polityczną a demokracją. Zaprezentowano koncepcje kultury politycznej, refleksje o wpływie czynników politycznych i gospodarczych, wpływie struktury społecznej, jak również wskazano kompleksowość relacji pomiędzy nimi. Stąd obserwuje się, że stabilna demokracja nie jest dziełem przypadku, ale rezultatem oddziaływania przywołanych czynników.

EN

The subject of this article is political culture and its relationship with democracy. The article is focused mainly on Turkish political culture and democratic practices. It is clear that the political system is directly connected with the political culture of society. But how could we distinguish political culture from other things or do we even have to? The purpose of this article is to present and evaluate the main role of political culture, which affects levels of tolerance, interpersonal trust, etc., as well as the adaption of democratic institutions to the current system. The main problems of Turkish political life are discussed in the article with the perspective of the relationship between political culture and democracy. The aim of this article is to present concepts of cultural orientations, the reflection of economic and political factors, social structures, as well as complex and unclear relations between them, which are simultaneously linked to a stable democracy. Therefore, it can be observed that stable democracy is not a coincidence but a result of all mentioned factors.

9

Pokolenie jesiennego protestu. Co o nim wiemy?

63%

Trudnowski P.

Dyskurs & Dialog

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2021

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issue (2) 8

45-59

EN

Political polarization, a sharp increase in left-wing self-identifications, widespread aversion to the ruling formation, negative experiences of forced isolation, abrupt increase in secularization rates, and finally, above-standard high activity during presidential elections - these are several key variables affecting the youngest Poles, which, confirmed by public opinion polls, allow us to look at the radicalism of the autumn protests in a broader context.

PL

Polityczna polaryzacja, gwałtowny wzrost lewicowych autoidentyfikacji, powszechna niechęć do formacji rządzącej, negatywne przeżywanie przymusowej izolacji, skokowy wzrost wskaźników laicyzacji, wreszcie ponadstandardowo wysoka aktywność w czasie wyborów prezydenckich – to kilka kluczowych zmiennych dotykających najmłodszych Polaków, które potwierdzane sondażami opinii społecznej pozwalają nam spojrzeć na radykalizm jesiennych protestów w szerszym kontekście.

10

Dwie zachowane msze ks. Jana Żukowskiego (1870–1911) w kontekście wybranych zagadnień muzycznych i semantycznych

63%

Kaczorowski R.

Studia Gdańskie

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2022

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vol. 50

119-135

EN

This article is the first attempt to describe a fragment of the musical work that remains in the shadow of the oblivion of the Polish composer, Fr. Jan Żukowski (1870–1911). After he was ordained priest, Fr. Jan worked in the pastoral ministry, in the bishop’s curia and lectured at the University of Lviv. At the same time, he was a composer. A small musical legacy has been preserved, consisting of two masses and four religious songs. In this article, the author describes the masses. One of them was created for the liturgical Latin text, and the other for the text in Polish, the author of which is also Fr. Jan. These compositions, small in size, testify to the extraordinary musical talent of Fr. John and patriotism brought from the family home, in order to create religious songs in Polish in the difficult times of the Austrian partition and the ubiquitous Germanization, and thus strengthen the sense of national identity among others.

PL

Niniejszy artykuł jest pierwszą próbą opisania fragmentu twórczości muzycznej wciąż pozostającego w cieniu zapomnienia polskiego kompozytora ks. Jana Żukowskiego (1870–1911). Po przyjęciu święceń kapłańskich ks. Jan pracował w duszpasterstwie, w kurii biskupiej oraz wykładał na Uniwersytecie Lwowskim. Jednocześnie był kompozytorem. Zachowała się po nim niewielka spuścizna muzyczna, którą tworzą dwie msze oraz cztery pieśni religijne. W niniejszym artykule autor opisuje msze. Jedna z nich powstała do liturgicznego tekstu łacińskiego, zaś druga do tekstu w języku polskim, której autorem jest również ks. Jan. Te niewielkie w swych rozmiarach kompozycje są świadectwem niezwykłego talentu muzycznego ks. Jana oraz wyniesionego z domu rodzinnego patriotyzmu, aby w trudnych czasach zaboru austriackiego i wszechobecnej germanizacji tworzyć pieśni religijne w języku polskim i w ten sposób umacniać wśród innych poczucie tożsamości narodowej.

11

The Self-governing Republic in the Third Republic

63%

Gliński P.

Polish Sociological Review

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2006

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vol. 153

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issue 1

55-74

EN

This article discusses The Self-governing Republic, a programmatic-ideological conception which was part of the “Solidarity” Program accepted at the union’s First Convention in 1981. This conception was rooted in the ideas of the democratic opposition of the nineteen-seventies but it also reflected the pivotal changes in social consciousness which took place in 1980–81. Its main focus were postulates for the development of democratic institutions in all walks of social, political and economic life, postulates concerning the development of participant institutions, and the postulate to lay the moral foundations for democracy (e.g., responsibility of those guilty of communist crimes). This text confronts the programmatic legacy of The Self-governing Republic with its only partial implementation after 1989. The foundations of procedural democracy had been lain by this time but development of themoral foundations for democratic transformation were conspicuously lacking. The institutions of social self-government were only partly developed in the formof territorial self-government and, not without considerable resistance, development of the NGO sector which became the main programmatic successor of “Solidarity’s” legacy. In the nineties those changes which did take place in this sector were mainly the result of grassroots pressure and foreign aid. Since 2001/2002, however, positive institutional improvements have been observed in the vicinity of this sector. These improvements correspond with the sector’s new conditions of functioning following Poland’s accession to the European Union.

12

Różnorodność form muzycznych w zbiorze „Panu memu śpiewać chcę” ks. Zbigniewa Piaseckiego (1916-2011)

51%

Szczeblewski Ł.

Teologiczne Studia Siedleckie

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2014

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issue XI/11

169-182

EN

According to the music, religious folk songs are not a homogeneous material. The repertoire of religious songs disseminated in many editions is characterized by stylistic and formal diversity. The example of such a set is Rev. Zbigniew Piasecki’s collection “I want to sing for my Lord”. This article is a presentation of the musical forms included in the collec-tion. At the beginning, the forms of verses and choruses were discussed. Afterwards, differen-tiation of the verse forms was shown by the presentation of one-, two- and three-part compo-sition. The next step was the presentation of the hymns that are a special kind of the verse songs. Then, the psalms that belong to a group of refrain songs were discussed. The following part of the article presented the liturgical masses. The final part discussed the wide range of religious songs, that can be found in Rev. Piasecki’s edition. The variety of the music forms shows the diverse nature of songs included in this edition. However, the further study of the detailed aesthetic and liturgical assessment of the repertoire contained in the collection are required.

13

Wielkie formy muzyczne dedykowane św. Józefowi

51%

Towarek P.

Studia Elbląskie

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2021

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vol. 22

227-257

EN

The submitted article presents in outline the great musical forms dedicated to St Joseph.They developed in the Church especially in the 16th and 17th centuries with the increase ofthe cult and veneration towards the person of the Guardian of the Holy Family (1621, PopeGregory V). This applies to the proprium Missae (introits, alleluias, sequences, communions) as well as to the Baroque ordinarium Missae (Zelenka, Bassani, Zumaya) and litanies (Biber, Wagner, Biechteler, Eberlin, Lolli). The heyday of the latter is especially associated with the establishment of St Joseph as the patron saint of the Habsburg state and monarchy (1676).To the musical heritage connected with St Joseph belong also the oratorios of the Italian Baroque period (Cazzati, Colonna, Alberici, Perti, Corradini, Conte, Fischietti), especially the work of G. B. Pergolesi (La fenice sul rogo, ovvero La morte di San Giuseppe). Traces of musical references to St Joseph can also be found in the Classical (Haydn brothers, Albrechtsberger) and Romantic (Elsner, Ravanello) eras. Compositions dedicated to the Saint in the 20th and 21st centuries include masses (Peeters, Tinel, Krężołek, Kern, Korczak, Di Rocco) and oratorio works (Frisina, Golinski, Pałka, Schmid). They are important contemporary testimonies of transforming faith into culture (Pope John Paul II).

PL

Przedłożony artykuł prezentuje w zarysie wielkie formy muzyczne dedykowane św. Józefowi. Rozwinęły się one na gruncie kościelnym zwłaszcza w XVI i XVII w. wraz ze wzrostem kultu i czci wobec osoby Opiekuna św. Rodziny (1621 r., papież Grzegorz V). Dotyczy to proprium Missae (introity, alleluja, sekwencje, communiones) a także barokowego ordinarium Missae (Zelenka, Bassani, Zumaya) oraz litanii (Biber, Wagner, Biechteler, Eberlin, Lolli). Rozkwit tych ostatnich związany jest zwłaszcza z ustanowieniem św. Józefa patronem państwa i monarchii habsburskiej (1676). Do muzycznego dziedzictwa związanego ze św. Józefem należą też oratoria okresu włoskiego baroku (Cazzati, Colonna, Alberici, Perti, Corradini, Conte, Fischietti), a zwłaszcza dzieło G. B. Pergolesiego (La fenice sul rogo, ovvero La morte di San Giuseppe). Ślady muzycznych odniesień do osoby św. Józefa odnajdujemy też w epoce klasycyzmu (bracia Haydn, Albrechtsberger), a także romantyzmu (Elsner, Ravanello). Do kompozycji dedykowanych świętemu w XX oraz XXI w. należą msze (Peeters, Tinel, Krężołek, Kern, Korczak, Di Rocco) oraz dzieła oratoryjne (Frisina, Goliński, Pałka, Schmid). Są one współczesnym świadectwem przekuwania wiary na kulturę (papież Jan Paweł II).

14

Wielkie formy muzyczne dedykowane św. Jackowi Odrowążowi

51%

Towarek P.

Studia Elbląskie

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2019

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vol. 20

177-192

EN

The presented article introduces the modern recipient to great musical forms dedicated to St. Jacek Odrowąż (Hyacinth of Poland). These include first monodic compositions: rhyme officially Adest dies celebris (1540), two Latin sequences Salvator collaudemus (first half of the 16th century) and Funde de caelestibus (from the turn of the 15th and 16th centuries), as well as two melodies of the Mass Alleluia with verses Gaude Hyacinthe and Memor pater, about Hyacinthe (1536). To the group of polyphonic compositions related to St. Jacek Odrowąż includes: a polychoral church concert Ave Florum Flos Hyacinthe by Marcin Mielczewski (d. 1651), an anonymous church concert, as well as a cantata Saint Jacek Patron of the Polish Crown (1780) by JakubGołąbek and priest Wacław Sierakowski (preserved only in the text version). This group also includes two contemporary mass compositions: Mass for St. Jacek Odrowąż (2004) by JacekSykulski and Missa in honorem sancti Hyacinthi (2015) composed by Paweł Bębenek.

PL

Przedłożony artykuł przybliża współczesnemu odbiorcy wielkie formy muzyczne dedykowane św. Jackowi Odrowążowi. Należą do nich najpierw kompozycje monodyczne: oficjum rymowane Adest dies celebris (1540), dwie łacińskie sekwencje Salvatorem collaudemus (I poł. XVI w.) oraz Funde de caelestibus (z przełomu XV i XVI w.), a także dwie melodie Alleluja mszalnego z wersetami Gaude fili Hyacinthe oraz Memor pater, o Hyacinthe (1536). Do grupy kompozycji polifonicznych związanych ze św. Jackiem zaliczamy: polichóralny koncert kościelny Ave Florum Flos Hyacinthe Marcina Mielczewskiego (†1651), anonimowy koncert kościelny Gaude Fili Hiacinthe, a także kantatę Święty Jacek Patron Korony Polskiej (1780) autorstwa Jakuba Gołąbka i ks. Wacława Sierakowskiego (zachowaną tylko w wersji tekstowej). Do kręgu tego należą także dwie współczesne kompozycje mszalne: Msza o św. Jacku Odrowążu (2004) autorstwa Jacka Sykulskiego oraz Missa in honorem sancti Hyacinthi (2015) skomponowana przez Pawła Bębenka.

15

Teoria elit Charlesa Wrighta Millsa w perspektywie współczesnych procesów regresu demokracji

51%

Potulski J.

Athenaeum. Polskie Studia Politologiczne

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2022

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vol. 74

19-47

EN

The aim of the article is to present the works of Charles Wright Mills, primarily his trilogy that criticizes contemporary American society and elites: The New Men in Power, White Collar: The American Middle Classes, and The Power Elite. Although more than half a century has passed since the first publication of these works, the conclusions made by Mills seem to be still valid for us. In his works Mills described the negative aspects resulting from the development of modern society: mass society, disappearance of the public sphere, bureaucratization and concentration of corporate power in the hands of the “power elite”. All this means that Mills’ thought is still relevant. The article attempts to indicate the universal nature of Mills’ elite theory and use it to explain the causes of contemporary processes of democratic regression.

PL

Celem tego artykułu jest przybliżenie prac Charlesa Wrighta Millsa, przede wszystkim jego trylogii, będącej krytyką współczesnych Millsowi amerykańskich elit: The new man in power: America’s labor leaders (1948), White collar: The American Middle classes (1951) i The power elite (1956). Mimo iż upłynęło przeszło półwieku od pierwszej publikacji tych prac, wnioski, jakie wysunął Mills, wydają się nam nadal aktualne. Mills w swoich pracach analizował negatywne aspekty będące efektem rozwoju nowoczesnego społeczeństwa: masowość, zanik sfery publicznej, biurokrację czy też raczej biurokratyzację, racjonalizację oraz koncentracje władzy korporacyjnej w rękach „elit władzy”. To wszystko powoduje, że myśl Millsa jest nadal aktualna. W artykule podjęta została próba wskazania na uniwersalny charakter teorii elit Millsa i wykorzystanie jej do wyjaśnia przyczyn współczesnych procesów regresu demokracji.

16

Biskup Kazimierz Józef Kowalski (1896-1972) jako prekursor odnowy liturgicznej w Diecezji Chełmińskiej, w świetle „Orędownika diecezji chełmińskiej”

51%

Megger A.

Studia Pelplińskie

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2021

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vol. 55

175-188

EN

The Most Rev. Kazimierz Jozef Kowalski was the first diocesan bishop of Chelmno to participate in an ecumenical council. As a consultant of the conciliar liturgical commission he took an active part in the preparation of the reforms. The bishop was presenting his ideas and opinions in the official diocesan review known as „Oredownik Diecezji Chelminskiej”. A common theme of his articles was the active participation of the faithful in the liturgy, its purpose and normative requirements for clergy and laity. Bishop Kowalski was both a guardian of the liturgical tradition of the Church and a worship moderator of his diocesan flock who was systematically introducing the new celebratory forms.

PL

Biskup Kazimierz Józef Kowalski był pierwszym w historii diecezji chełmińskiej ordynariuszem uczestniczącym w pracach soboru powszechnego. Jako konsultor Komisji Liturgicznej Drugiego Soboru Watykańskiego brał czynny udział w przygotowaniu reformy liturgii i rozumiał jej istotę i cele. Swoje stanowisko prezentował przede wszystkim w różnych formach w „Orędowniku Diecezji Chełmińskiej”, jako urzędowym piśmie Kościoła partykularnego. Biskup Kowalski nauczał o fundamentalnym znaczeniu zasady actuosa participatio dla liturgii, poprzez którą wierni tworzą żywy Kościół, Mistyczne Ciało Chrystusa, oddając chwałę Bogu i uczestnicząc w misterium paschalnym. Realizacją zasady „aktywnego uczestnictwa” były konkretne zarządzenia wprowadzające duchowieństwo i wiernych w życie Kościoła po soborze. Ordynariusz chełmiński był zarówno strażnikiem Tradycji Kościoła wyrażającej się w lex orandi, jak i mistagogiem, który konsekwentnie wprowadzał powierzoną mu wspólnotę diecezjalną w posoborową rzeczywistość Kościoła objawiającego się w liturgii.

17

Znaczenie inspiracji religijnej w muzyce

45%

Garnczarski S.

Tarnowskie Studia Teologiczne

|

2013

|

vol. 32

|

issue 2

EN

The issue of religious inspiration in the music is complex and multifaceted, rooted in the vast area of faith (internal, deeply personal) and art. In the present study was undertaken reflection on two kinds of inspiration: biblical, liturgical or religious text in general and sacred music motives and precisely liturgical.First, a significant source of inspiration is own singing of the Catholic Church – Gregorian chant, which in the Middle Ages was the main stream of sacred music, and became a source of development of polyphony, as its cantus firmus. Culmination of the polyphony development was the work of P. Palestrina. From the religious inspiration drew the composers of all eras in the history of music. In the Baroque period developed next to a popular mass such forms as oratory, its particular variant – passion and cantata. Also the form of instrumental music, especially organ (J.S. Bach, J.F. Handel). In the classicism religious music formed mainly three Viennese classicists: J. Haydn, W.A. Mozart and L. van Beethoven. Composed by them religious music bears the features of instrumental music of the period, as well as signs of secular vocal and instrumental music. The composers of the Romantic period are fulfilled in the form of a classical type of cantata mass or a symphony mass. In Poland in the field of religious music marked S. Moniuszko. Nowadays, the example of the composer inspired by religious contents is Krakow composer J. Łuciuk, forming based on Gregorian chant, biblical and liturgical texts, inspired by the person and the pontificate of John Paul II and the Marian theme. He confirms this, saying, “Poetry and literature, as faith and prayer, are inextricably linked with what I write. Always important and inspiring was the reflection associated with the reading of Scripture, liturgical texts, lives of the saints and papal documents”.

PL

The issue of religious inspiration in the music is complex and multifaceted, rooted in the vast area of faith (internal, deeply personal) and art. In the present study was undertaken reflection on two kinds of inspiration: biblical, liturgical or religious text in general and sacred music motives and precisely liturgical.First, a significant source of inspiration is own singing of the Catholic Church – Gregorian chant, which in the Middle Ages was the main stream of sacred music, and became a source of development of polyphony, as its cantus firmus. Culmination of the polyphony development was the work of P. Palestrina. From the religious inspiration drew the composers of all eras in the history of music. In the Baroque period developed next to a popular mass such forms as oratory, its particular variant – passion and cantata. Also the form of instrumental music, especially organ (J.S. Bach, J.F. Handel). In the classicism religious music formed mainly three Viennese classicists: J. Haydn, W.A. Mozart and L. van Beethoven. Composed by them religious music bears the features of instrumental music of the period, as well as signs of secular vocal and instrumental music. The composers of the Romantic period are fulfilled in the form of a classical type of cantata mass or a symphony mass. In Poland in the field of religious music marked S. Moniuszko. Nowadays, the example of the composer inspired by religious contents is Krakow composer J. Łuciuk, forming based on Gregorian chant, biblical and liturgical texts, inspired by the person and the pontificate of John Paul II and the Marian theme. He confirms this, saying, “Poetry and literature, as faith and prayer, are inextricably linked with what I write. Always important and inspiring was the reflection associated with the reading of Scripture, liturgical texts, lives of the saints and papal documents”.

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