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1
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MUSIC AND MORALITY: Ethics, musical understanding and a debate on Bach

100%
Moraczewski K.
Miscellanea Anthropologica et Sociologica
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2015
|
vol. 16(3)
58-67
EN
The text presents the idea of an ethical contract as the basis of artwork interpretation. Thethesis includes the analysis of an argument between S. McClary and M. Marissen on themeaning of J.S. Bach Brandenburg Concerto no. 5.
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MUZYKA I MORALNOŚĆ: Etyka, rozumienie muzyki i pewien spór o Bacha

100%
Moraczewski K.
Miscellanea Anthropologica et Sociologica
|
2015
|
vol. 16(3)
58-67
PL
Tekst poświęcony jest przedstawieniu koncepcji ufundowania interpretacji dzieł sztukiw formie kontraktu etycznego na przykładzie analizy sporu między Susan McClary a MichaelemMarissenem o znaczenie V Koncertu brandenburskiego Johana Sebastiana Bacha.
3
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CREATIVE INITIATIVES OF BROTHERS CONSTANTINE AND METHODIUS IN SLAVIC LITURGY AND SLAVIC CHORAL IN GREAT MORAVIA

100%
Slavíková M., Honzíková J.
Ars inter Culturas
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2015
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issue 4
319-324
EN
The article deals with the musical culture of Great Moravia in the period of the Byzantine Mission that influenced greatly both liturgical texts and choral singing. The texts of this music were also influenced highly by the work of Constantine (who adopted the name of Cyril later) and Methodius. The singing of Great Moravia thus combined the elements of both the eastern and western traditions. The article also includes an example of a canon in honour of St. Cyril, the authorship of which is attributed to one of the pupils of this scholar.
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Krakowski cech muzyków

88%
Karasiński W.
Kwartalnik Młodych Muzykologów UJ
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2015
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issue 2(25)
28-46
EN
The article is a contribution to the exploration of history of Polish musical culture of the Renaissance and the Baroque period. Recognition of elementary forms of social organisation leads to understanding of the prevailing social and economical relations in those times. This article is one of the first in this topic, therefore it starts with very basic issues. A musicians guild existed in Cracow from 16th to 18th century. The article presents its history and organisation on the basis of statutes and municipal documents analysis. Simultaneously, it raises questions about circumstances of its creation and termination, welded duties and repertoire. The author questions the character of discussed association, considering to what extent it was a guild and a confraternity. The aim of the publication is to present to the reader a coherent picture of the guild, which could provide a starting point for further research.
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Kultura muzyczna w klasztorze bonifratrów w Krakowie w XVII i XVIII wieku w świetle źródeł archiwalnych

88%
Bebak M.
Roczniki Humanistyczne
|
2020
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vol. 68
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issue 12
59-72
EN
Polish musicologists have been interested in the musical culture of religious institutions in Kraków during the 17th and 18th centuries since at least the beginning of the 20th century, but up to now the musical life of the monastery belonging to the Brothers Hospitallers of St John of God was of no interest to them. The main aim of this article, based on archival sources, is to show when and what kind of music was performed in this monastery, who the musicians were and what instruments were in the church. It has been established that the Brothers Hospitallers did not have their own musical ensemble, but rather that they invited musicians from the city, including from a Jesuit ensemble, who added splendour to the most important celebrations of the liturgical year by playing masses, litanies, passions and requiems. The research has also discovered that there was a positive organ in the Brothers Hospitallers’ church, and a harpsichord in their Hospital, the sounds of which made the patients’ time there more pleasant.
PL
Religijne ośrodki kultury muzycznej w Krakowie, prowadzące działalność w XVII-XVIII wieku, interesują historyków muzyki od dawna. Badaczy nie zainteresował jednak dotąd klasztor bonifratrów. Celem niniejszego artykułu, który przygotowano na podstawie materiałów archiwalnych, jest wypełnienie tej luki oraz charakterystyka kultury muzycznej krakowskich bonifratrów. Starano się przede wszystkim odpowiedzieć na pytania: kto, kiedy i jaki rodzaj repertuaru wykonywał w tym ośrodku, a także scharakteryzować instrumenty, które znajdowały się w przyklasztornym kościele. Ustalono, że bonifratrzy nie posiadali własnej kapeli, lecz zapraszali muzyków z zewnątrz (m.in. z kapeli jezuickiej), którzy uświetniali najważniejsze uroczystości roku liturgicznego, grając msze, litanie, pasje, requiem. Kwerenda wykazała również, że w kościele bonifratrów znajdował się pozytyw, a w szpitalu – klawesyn, na którym grano, umilając czas pacjentom.
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УКРАИНСКО-ПОЛЬСКИЕ МУЗЫКАЛЬНЫЕ КОНТАКТЫ В КОНТЕКСТЕ КУЛЬТУРНОЙ МНОГОСОСТАВНОСТИ АВСТРО-ВЕНГЕРСКОЙ МОНАРХИИ

88%
Новакович М.
Ars inter Culturas
|
2018
|
vol. 7
89-102
EN
The article touches upon the problem of Ukrainian-Polish musical contacts in the context of the cultural diversity of the Austro-Hungarian monarchy. It is confirmed that the complexity of the topic lies in the need to comprehend two different cultural traditions and their contexts, as well as in an attempt to discover the true structures of these relationships. It is noted that the defining feature of Ukrainian-Polish cultural relations in the first half of the nineteenth century were not professional contacts between Polish and Ukrainian music, but the connection of culture with culture and Polish music with Ukrainian culture. The result of these contacts was the use of Ukrainian folklore by Polish composers. Particular attention in the article is drawn to the fact that the Galician burgher culture formed the same lifestyle and common values, and was also a homogenizing factor among the heterogeneous population of the region. This gives grounds to speak of the existence of a layer of musical unconscious common to the peoples of Galicia, which was spontaneously used in the then composer’s practice. It was borrowed mainly from German and Polish cultures, which music, due to certain circumstances became an integral part in the system of musical thinking of Galician amateur composers. In this context, the patriotic choral works of Ukrainian music by M. Verbytsky are considered, in which he often uses intonations and rhythms borrowed from the Polish music.
7
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Polychoral music trends in Poland in the 17th century

75%
Ślusarczyk D.
Zeszyty Naukowe Państwowej Wyższej Szkoły Zawodowej im. Witelona w Legnicy
|
2017
|
issue 2(23)
PL
Kultura muzyczna XVII-wiecznej Rzeczypospolitej ulegała silnym wpływom innych ośrodków europejskich, zwłaszcza tych z północy kontynentu. Powstałe we Włoszech kompozycje na kilka zespołów szybko znalazły uznanie wśród ówczesnego duchowieństwa oraz możnowładców ze względu na nowe jakości wyrazowe. Wykonywane w ramach liturgii dzieła rozbrzmiewały z różnych miejsc świątyni, w rezultacie dając niespotykany wcześniej efekt stereofonii. Pierwszym kompozytorem tworzącym utwory polichóralne w Niemczech był H. Schütz, natomiast jedne z najwcześniejszych polskich dzieł tego typu znaleźć można m.in. w twórczości M. Zieleńskiego. Artykuł omawia cechy stylistyczne owych rozbudowanych pod względem obsady i techniki utworów, wskazując na ich cechy wspólne wraz z odniesieniem do repertuaru środkowoeuropejskiego. Fenomen dzieł polichóralnych jest jednym z kluczowych aspektów sztuki muzycznej wczesnego baroku
EN
The music culture of the 17th century Poland was strongly influenced by other music centres, especially those in Northern Europe. Italian compositions for several ensembles soon gained high esteem among the clergy and aristocracy of that time. Works of innovative expression were performed within liturgy in different parts of the church, creating a whole new stereophonic effect. H. Schütz was the first musician to compose polychoral works in Germany. In Poland the earliest compositions of this kind include works by M. Zieleński. The article discusses the stylistic features of the aforementioned compositions, which are elaborated in terms of both cast and technique, points at their common features and refers to the repertoire offered in Central Europe. The phenomenon of polychoral works constitutes one of the key aspects of the early Baroque music.
8
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Praga festivans. Music played during the Prague Festivities of 1527 and 1558

75%
Baťa J.
Historie – Otázky – Problémy (History, Issues, Problems)
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2015
|
vol. 7
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issue 2
247-259
EN
This article considers the role of music during the two most elaborate Prague festivities during the reign of Ferdinand I, in 1527 and 1558. Using extant narrative and musical sources, it tries to identify particular monophonic and polyphonic compositions that were performed.
9
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Zachowane instrumentarium dawnego Gdańska — przyczynek do tematu

75%
Mądry A.
Aspekty Muzyki
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2012
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vol. 2
39-51
XX
Gdańsk was an important centre shaping the musical culture of the Republic of Poland in past centuries. It is evidenced by, among others, preserved musical instruments which were built by the makers working in the city, or were used by city musicians. The Museum of Musical Instruments in Poznań has in possession two instruments which are associated with Danzig — the lute-cittern made by Johann Goldberg and the clavichord by Johann Adolph Hass. Both instruments provide a valid evidence of music-making in the old Gdańsk. Luthier and musician, Johann Goldberg was a promoter of Gdańsk’s musical life in the 18th century, and he especially valued domestic music making. He was on friendly terms with the most important musicians of the city. The fact that most probably Goldberg primarily produced lute-citterns may suggest that this kind of music-making among the inhabitants of the eighteenth-century Gdańsk was popular. The Hass’ clavichord in turn does not document the musical instruments making in Gdańsk, but it is a perfect example that instruments from the best European workshops were imported to the city. In eighteenth-century Germany one of the leading centres of the clavichords making was Hamburg. In that city worked the famous Hass family. It primarily consisted of father Hieronymus Albrecht Hass (1689–1752) and his son Johann Adolph (1713–1771). Their clavichords were among the best available at that time in Europe. To this day 27 instruments have survived from their workshop — 11 built by H. A. Hass and 16 by J. A. Hass. Instruments from Hass’ workshop were highly prized by the end of the eighteenth century. The content of article about Johann Adolph Hass’ clavichord and Johann Goldberg’s instruments is another small contribution to our knowledge about Gdańsk’s old instruments.
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Primary school teachers' views on a holistic approach to facilitating the acquisition of musical cultural values

75%
Badjanova J.
Journal of Teacher Education for Sustainability
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2013
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vol. 15
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issue 2
78-90
EN
Recent tendencies in education highlight the need to align the system of general education in Latvia with the tenets of sustainability. In keeping with this broad target orientation, this paper re-examines international and Latvian experiences and perspectives on the application of a holistic approach to the content of primary education. This review of good practice is set against the backdrop of different theories and approaches concerned with the essence and principles of holism. More specifically, the paper addresses the issue of ensuring successful acquisition of musical cultural values in primary school via a holistic approach. In this regard, the latter is construed as movement towards the new that facilitates positive attitudes towards musical cultural values among learners and is both physically and spiritually nurturing. The paper proposes a theoretically and empirically grounded model for the usage of a holistic approach with a view to enabling acquisition of musical cultural values in primary school. The gradual development of the model is traced in the course of theoretical and empirical inquiry, the latter involving a survey and an interview with five experts
11
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The musical practice of the Sandomierz Benedictine nuns during the eighteenth century

75%
Walter-Mazur M.
Interdisciplinary Studies in Musicology
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2012
|
issue 11
187-198
PL
The congregation of the Benedictine nuns of Sandomierz, active between 1615 and 1903, belonged to wealthy magnatial foundations, which allowed the convent to foster cultural activities. Special emphasis was placed on musical performance of various types - the musical adornment of the liturgy. The ‘Glory of God’, as Benedictine nuns referred to it, constituted the essence of their congregational life. On weekdays, the celebration of the Liturgy of the Hours, Masses and - occasionally - other services in choir took six hours, and on numerous feast days of the liturgical year, when the Liturgy of the Hours was sung, not read, it required even more time. The higher the rank of the feast day, the greater was the effort to stress its importance by providing it with a proper musical setting, which led to the cultivation of musical practices of various kinds on special occasions. The musical repertory of the Sandomierz Benedictine nuns comprised plainchant without instrumental accompaniment, plainchant with organ accompaniment, polyphonic a cappella singing (referred to as ‘figure’), vocal instrumental music (‘fractus’) and instrumental music. A picture of religious musical practice emerges primarily from extant musical sources, and also from a ‘choir agenda’ from 1749, a convent chronicle of the years 1762-1780, ‘treasury records’ from 1739-1806 and convent registers. Eighteenth-century sources document the musical activity of twenty-four nuns of the Sandomierz convent, some of them considered to be ‘professional’ musicians and referred to as ‘singers and players’. The most interesting, but also most problematic, areas are vocal instrumental practice and the likely consitution of the nuns’ music chapel. We find information about nuns playing keyboard instruments, violin, viola da gamba, tromba marina and horn.
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Musical life in Slutsk during the years 1733-1760 in the light of archive materials

75%
Bieńkowska I.
Interdisciplinary Studies in Musicology
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2012
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issue 11
235-248
PL
This article represents the very first attempt at reconstructing musical life in Slutsk (Pol. Sluck) during the first half of the eighteenth century, and it merely outlines the issues involved. Slutsk was a typical private town - a multicultural centre inhabited by Jews, Orthodox Ruthenians, Lithuanians and Poles of the Protestant and Roman-Catholic faiths. Among the representatives of the Roman-Catholic faith, the Jesuits were the main animators of the town’s cultural and educational life, alongside the court of Prince Hieronim Florian Radziwiłł. A medium-sized music boarding school attached to the Jesuit College in Slutsk existed from around 1713. Musical instruments were purchased for the school quite regularly, often in faraway Koenigsberg. The contacts between the boarding school and the prince’s court were relatively frequent and good, and some school leavers found jobs at the court, chiefly in the garrison or janissary band, and sporadically also in Prince Radziwill’s music ensemble. The court was the main centre of the town’s cultural life. Among its numerous artistic ventures, stage shows seem to have been the most spectacular. For the purposes of such performances, a free-standing theatre was built in the centre of Slutsk at the turn of 1753. This building is worth mentioning because of the rarity of such projects in the Commonwealth of Poland-Lithuania during the 1750s. The repertoire of the Slutsk theatre was initially dominated by commedia dell’arte in German and the occasional dramma per música, but during the second half of the 1750s, one-act ballets began to dominate. Among the instrumental works performed in Slutsk were compositions by Carl Heinrich and Johann Gottlieb Graun, Georg Christoph Wagenseil, and musicians active at the Radziwiłł court (Andreas Wappler, Joseph Kohaut and Johannes Battista Hochbrucker), as well as improvisations by Georg Noelli. The town’s artistic heyday ended with the death of Prince Hieronim Florian Radziwiłł, in 1760, and the dissolution of the Society of Jesus, a decade or so later.
13
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An unknown collection of music manuscripts from Otyń (Wartenberg)

75%
Frankowski P., Mądry A.
Interdisciplinary Studies in Musicology
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2012
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issue 11
67-80
PL
The Museum of Musical Instruments in Poznan (a branch of the National Museum) is in possession of a very important collection of music manuscripts from the former Jesuit monastery in Otyń (Ger. Wartenberg), which was dissolved in 1776. The activities of this centre were associated primarily with the figure of Karol Reinach, the monastery’s last superior (from 1753). Reinach maintained friendly relations with Frederick II the Great, who was an ardent flautist, as we know, and visited Otyń from time to time. The Otyń manuscripts were bequeathed to the museum in 1947, along with three preserved instruments: a pair of kettledrums and a bass viola da gamba. At present, the collection of manuscripts from the Jesuit ensemble of Otyń contains fifty-six compositions, written between 1753 and 1768. Thirty-one pieces have fully certified provenance, reflected on the title pages of the manuscripts in the form of inscriptions, such as ‘pro Choro Residentiae Wartenbergensis’, and in the names of the Otyń transcribers. Twenty-two compositions were classified as belonging to the Jesuit collection on the basis of its inventory number, placed in the top right corner. Seventeen of the preserved manuscripts were provided with exact dates of origin (ten compositions were dated to the day, the other seven to a particular year). In these manuscripts, one can find compositions of the following types: offertoria, antiphons, Marian hymns (mostly arias), litanies, carols, a cantata, a dialogue and a sequence. All of them are vocal-instrumental. The lyrics were written in Latin and German, and their subject matter is mostly connected with the Marian cult (the antiphons Ave Regina Caelorum, Alma Redemptoris Mater and Regina Coeli Laetare\ the hymn Ave Maris Stella), Jesuit themes (a litany of St John Nepomucen, a prayer of St Francis Xavier, O Deus Amo ego te) and Christmas (carols). The well-known composers include Frantisek Xaver Brixi (1732-1771), Carl Ditters von Dittersdorf (1739-1799), Carl Heinrich Graun (1704-1759), Johann Adolph Hasse (1699-1783) and Karel Loos (1724-1772), and there are also the less well-known or nearly unknown, such as Carolus Gaebel [Gebel], F. Passelt [?], Joseph Rhodigez, Antonio Josepho Ronge (or Runge [?]), Francisco Rudolph and Wollmann. The continued examination of the collection will certainly reveal more details that are unknown or as yet barely identified. The research is due to be capped with the publication of a thematic catalogue of Otyń’s music manuscripts and their registration in the RISM database.
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Parental conceptualisations of participation in musical culture as exemplified by parents of first level music school students in Poland. A phenomenographic reconstruction

75%
Labiak D.
Przegląd Pedagogiczny
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2021
|
issue 1
261-276
EN
The paper presents the results of research conducted among parents of children attending music school. Its aim was to phenomenographically reconstruct the ways of conceptualising participation in musical culture. The analysis of the collected research material allowed for the identification of a number of categories indicating the individual and social contexts of this participation. The issues related to cultural competences, different ways of perceiving the music by the surveyed persons are of particular interest. The contexts relating to the family, its mechanisms and establishment of family ties also deserve special attention.
15
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Kanon wykonawczy muzyki poważnej jako przestrzeń spotkania Innego

75%
Sasin M.
Kultura i Wychowanie
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2018
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vol. 14
|
issue 2
125-138
EN
This article considersprocesses of exploring and popularising the culture of other nations and civilisations through the example of classical music in the context of cultural safety. The sense of cultural safety, difficult in a changing world, is not possible without openness to the Other, which, in turn, cannot be obtained without appreciating one’s own culture’s values. Taking this line, the author analyses the activity of selected concert halls and contemporary music festivals in Poland and abroad (in Europe and outside). These cultural events manifest various interesting phenomena related to tradition, listeners’ customs, social expectations towards cultural institutions, cross-cultural differences, etc. The performance and perception of a musical piece are communicative acts. Given the right circumstances, they make it possible to come closer to the Other and get to know Him/Her.
PL
Tematem artykułu jest poznawanie i upowszechnianie kultury innych narodów i kręgów cywilizacyjnych na przykładzie muzyki poważnej w kontekście bezpieczeństwa kulturowego. Poczucie bezpieczeństwa kulturowego, trudne do osiągnięcia w zmieniającym się świecie, nie jest możliwe bez otwartości na Innego, które z kolei nie może zaistnieć, gdy brak uznania wartości własnej kultury. Wychodząc z tego założenia, autorka analizuje działalność wybranych orkiestr symfonicznych i festiwali muzyki współczesnej w Polsce i za granicą (w Europie i poza nią). Ten wycinek życia kulturalnego pozwala na dostrzeżenie ciekawych zjawisk, związanych z tradycją, przyzwyczajeniami słuchaczy, społecznymi oczekiwaniami wobec instytucji kultury, różnicami międzykulturowymi. Akt wykonania i percepcji utworu muzycznego jest aktem komunikacyjnym, w sprzyjających okolicznościach umożliwiając zbliżenie się do Innego i poznanie go
16

ЗМІСТ ЗАГАЛЬНОЇ МУЗИЧНОЇ ОСВІТИ ЯК ФАКТОР ФОРМУВАННЯ МУЗИЧНОЇ КУЛЬТУРИ МОЛОДШИХ ШКОЛЯРІВ

63%
Ольга Л.
Педагогічні науки: теорія, історія, інноваційні технології
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2017
|
issue 2(66)
251-262
EN
The purpose of the article is theoretical justification of structure and the principles of selection of content of the general musical education as a factor of formation of musical culture of junior school students. Research methods are analysis of scientific and educational literature, modern musical and educational environment. The content of the general musical education is defined as the system of musical knowledge, abilities, skills and ways of musical and creative activity that is pedagogically adapted for pupils and directed at formation of musical culture of the personality in unity of its components: musical orientation, musical awareness, musical and creative good breeding and development. In this regard basic elements of content of music education of junior school students are determined: motivational and evaluative, cognitive and theoretical, active and practical, educational and developing. As far as these elements of content of education directly reflect components of musical culture of a pupil, they are considered to be prerequisites for full realization of the cultural and creative purpose of the general musical education. Selection and designing of content of the general music education of junior school students are determined by: 1) general tendencies of education reforming; 2) features of selection of content of the primary general education; 3) substantial specifics of music education; 4) author’s concept of formation of musical culture of junior school students. It is revealed that for full realization of cultural and creative, educational, developing and educative functions, the content of education has to be carefully selected, consciously directed at achievement of goals, personally enriched and expanded towards component structure. Prospects of further researches are seen in the analysis of various forms of implementation of the contents of musical education of junior school students (in textbooks, workbooks, educational process, etc.).
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Śpiewy religijne w wybranych drukach użytkowych. Idee cecylianizmu a żywa tradycja

63%
Pucia M.
Musica Ecclesiastica
|
2023
|
vol. 18
69-90
PL
Idee cecyliańskie są dziś powszechnie znane. Najważniejszą jest postulat podnoszenia poziomu muzyki liturgicznej. Na gruncie założeń cecyliańskich dostępnych jest sporo publikacji użytkowych, ukazujących ich praktyczną realizację. Nie powstały one jednak w oderwaniu od innych źródeł, z funkcjonowaniem śpiewów religijnych w żywej tradycji Kościoła włącznie. Porównanie źródeł użytkowych i wykonawstwa na przykładzie znanych wątków pieśniowych ukazuje interesujący proces wzajemnego wpływu ludowego śpiewu i ważnych idei, wyrażanych poprzez charakterystyczne sposoby animacji, których odzwierciedleniem są zapisy nutowe w licznie wydawanych śpiewnikach i zbiorach śpiewów kościelnych. Myślą przewodnią jest dostrzeżenie tego procesu oraz bogatej, wielobarwnej spuścizny chrześcijańskiej kultury muzycznej.
EN
Cecilian ideas are widely known today. The most important is the postulate to raise the level of liturgical music. Quite a few useful publications are available based on Cecilian assumptions, showing their practical implementation. However, they were not created in isolation from other sources, including the functioning of religious chants in the Church’s living tradition. A comparison of utilitarian and performance sources, using the example of well-known hymn themes, reveals an interesting process of the mutual influence of folk singing and important ideas, expressed through characteristic modes of animation, reflected in the musical notations in numerous published songbooks and collections of church chants. The main idea is to recognize this process and the rich, multicolored legacy of Christian musical culture.
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Michał Klubiński, Bohdan Wodiczko. Dyrygent wobec nowoczesnej kultury muzycznej, Kraków 2017 Wydawnictwo Universitas, ss. 476. ISBN 97883-242-3087-7

63%
Ciesielski R.
Muzyka
|
2021
|
vol. 66
|
issue 2
182-188
19
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Lisa Jakelski, Making New Music in Cold War Poland. The Warsaw Autumn Festival, 1956–1968, Oakland 2017 (= California Studies in 20th Century Music) University of California Press, ss. 272. ISBN 9780520292543

63%
Bolesławska-Lewandowska B.
Muzyka
|
2018
|
vol. 63
|
issue 2
149-153
20
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ULICZNI MUZYCY A FENOMEN MIEJSCA I EGZYSTENCJALNE DOŚWIADCZENIE SYTUACJI GRANICZEJ

63%
Tupieka-Buszmak A.
Ars inter Culturas
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2017
|
issue 6
37-56
EN
The article focuses on open forms of musical expression. A general characteristic of a street performance is only a starting point for building own identity through music and making contact with environment by means of music. Therefore, the author focuses her article on individual experience of particular people whose narrative refers to the selected theoretical solutions, including the phenomenon of place as quality-oriented geography, sociology, psychology and the extreme situation in an existential dimension.
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