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1

Zachodnia i wschodnia tradycja wykonawcza śpiewu sakralnego: aspekt estetyczny

100%
Lazarevych I.
Kwartalnik Młodych Muzykologów UJ
|
2016
|
issue 4(31)
6-22
EN
Western and Oriental vocal performing tradition: the aesthetic aspect Fundamental differences between Kyiv-Pechersk choral style and Western model of performance of religious chants can be considered in various contexts and at several levels. One should take into account diversity of church rules (canon), mentality, even geographical location and physiological capabilities of voices of the singers coming from a particular area. The performance practice is also connected with such factors as cultural traditions, language, way of life and social issues related to faith. It is therefore understandable that, after a short period of a fragile cultural unity of the Church, different traditions emerged. The author argues that the way of singing is directly dependent on the fundamental philosophical and theological ideas, originating from the Church canon. Then, the differences between chant performance in two main branches of the Christian Church seem to be a consequence of the distinct ways in which the theological doctrine, dogma of the Church, the temporal and spatial principles of worship and art developed in Roman Catholic and Byzantine Orthodox traditions. The two different perceptions of communication with God and its influence on church singing are considered by the author as an exemplary case.
2
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The musical practice of the Sandomierz Benedictine nuns during the eighteenth century

86%
Walter-Mazur M.
Interdisciplinary Studies in Musicology
|
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.
3

Functions of Scordatura on the Example of Selected Compositions from the Collection of St Anne’s Church on Piasek Island in Wrocław’s Chapel (1679–1686)

86%
Stopczańska D.
Kwartalnik Młodych Muzykologów UJ
|
2018
|
issue 2(37) Eng
5-25
EN
Scordatura is a tuning of a string instrument, which is different than the standard one. It has been used for both plucked and string instruments since the 16th century and it was quite popular in the Baroque era, especially in the case of violins. Because of their specific tuning—based on the same intervals—it is possible to distinguish two types of violin scordatura. The first one relates to the situation when all strings are tuned up or down in the same interval relations. Such tuning is still based on fifths, but the pitches are different than using standard tuning, so it is called transpose scordatura. In the second one, each string is tuned up or down in different interval relation, in another direction or even only some of them are tuned in the unusual way. In this case, violin tuning is based on different intervals than fifths, usually on thirds and/or fourths, although sometimes there are three dissimilar intervals (thirds, fourths and fifths). The second type of scordatura was a very popular technique in the Baroque era and its functions were variable. The main of them were allowing to perform figures, which are impossible in standard tuning, especially double-notes and chords (technical aspect), and changing sound qualities of the instrument (sound aspect). It does not mean that scordatura was used only to achieve these goals. For example, it was sometimes used to imitate other instrument. There are certain examples of such a usage of this playing technique in the oldest (1679–1686) part of the collection of manuscripts connected with activity of Canonesses Regular of St Augustine in Wrocław (provenance St Anna in Arena). The scordatura can be found there in seven manuscripts, and in four of them it is possible that composers (or composer?) tried to assimilate the violin sound and/or technique with other instruments, such as viola, lute or trumpet.
4

Funkcje skordatury na przykładzie wybranych utworów ze zbiorów z kościoła św. Anny na Piasku we Wrocławiu (1679–1686)

86%
Stopczańska D.
Kwartalnik Młodych Muzykologów UJ
|
2018
|
issue 2(37)
5-26
EN
Scordatura is a tuning of a string instrument, which is different than the standard one. It has been used for both plucked and string instruments since the 16th century and it was quite popular in the Baroque era, especially in the case of violins. Because of their specific tuning – based on the same intervals – it is possible to distinguish two types of violin scordatura. The first one relates to the situation when all strings are tuned up or down in the same interval relations. Such tuning is still based on fifths, but the pitches are different than using standard tuning, so it is called transpose scordatura. In the second one, each string is tuned up or down in different interval relation, in another direction or even only some of them are tuned in the unusual way. In this case, violin tuning is based on different intervals than fifths, usually on thirds and/or fourths, although sometimes there are three dissimilar intervals (thirds, fourths and fifths). The second type of scordatura was a very popular technique in the Baroque era and its functions were variable. The main of them were allowing to perform figures, which are impossible in standard tuning, especially double-notes and chords (technical aspect), and changing sound qualities of the instrument (sound aspect). It does not mean that scordatura was used only to achieve these goals. For example, it was sometimes used to imitate other instrument. There are certain examples of such a usage of this playing technique in the oldest (1679–1686) part of the collection of manuscripts connected with activity of Canonesses Regular of St Augustine in Wrocław (provenance St Anna in Arena). The scordatura can be found there in seven manuscripts, and in four of them it is possible that composers (or com¬poser?) tried to assimilate the violin sound and/or technique with other instruments, such as viola, lute or trumpet.
5
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Wstępne wyniki badań nad rękopisami muzycznymi ze skasowanego opactwa cystersów w Obrze przechowywanymi w Bayerische Staatsbibliothek w Monchium

58%
Mądry A.
Hereditas Monasteriorium
|
2015
|
vol. 7
265-279
EN
Between 5 and 9 October 2015 I conducted preliminary research at the Bayerische Staatsbibliothek in Munich (Musikabteilung). Its purpose was to carry out a more detailed examination of a part of the collection of music items associated with the vocal-instrumental ensemble active in the 18th century at the Cistercian Abbey of Obra, items currently kept in Munich. Over the course of five days I carried out an in-depth analysis of 26 musical manuscripts. The Obra collection encompasses 181 manuscripts, including 16 sets (between two and six compositions in one manuscript). They originated mostly in the 18th century. The choice of manuscripts from the collection was inspired by my previous research into music items from Wielkopolska, and a desire to confirm, explain or revise some my research hypotheses. We know that the Obra manuscripts currently kept in Munich are not the complete collection the Obra ensemble used. The question is explained in the article. The analysed manuscripts can be divided into three groups: – Wojciech Dankowski’s autographs: Mus.ms. 5025, 5027, 5030, 5096, 5121; – compositions by other authors for whom Dankowski acted as a scribe: Mus.ms. 5017, 5063, 5066, 5083, 5084,5110, 5417; – other compositions: Mus.ms. 4996a, 5060, 5061, 5070, 5090, 5094, 5098, 5102, 5122-1, 5122-2, 5139, 6594,6596, 6597. The analysis of the selected manuscripts clearly demonstrates that there is a need for further research. The Obra collection should be examined in detail as a whole and compared with other music collections from Wielkopolska, especially with the one from Grodzisk Wielkopolski frequently mentioned in the article. The collection should also be digitised to make it accessible to scholars. My analysis of the 26 manuscripts has shown unequivocally that the musical manuscripts from Obra are an important part of the musical culture of 18thcentury Polish-Lithuanian Commonwealth and must be returned to it as quickly as possible through research.
6
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The music collection of Prešov’s parish church of St. Nicolas from the perspective of the canon of musical classicism (on the current research)

58%
Kopčáková S., Kačmárová A.
Hudební věda (Musicology)
|
2021
|
vol. 58
|
issue 3
314-334
EN
During eighteenth-century dynamic development of music styles in today’s Slovakia as well as during gradual music-style-related lagging outside the biggest cultural centers in the nineteenth-century, the city of Prešov was one of significant music centers of Upper Hungary. Music life took place not only in the choir of the parish church of St. Nicolas, but also in the surrounding aristocratic residences near Prešov. Performance practice of sacred music in the choir loft of Prešov’s St. Nicolas Church was connected to the idea of ‘classicalness’ that appeared in the early nineteenth-century in church music practice in the sense of the emerging canon and included the focal creators of Viennese music classicism. Thus, it represented and still represents, on a wider European scale, some models for music creation and performance practice; in the case of larger vocal and vocal-instrumental works, taking into account the creative abilities of regional composers and interpretive background (musicians and church ensembles). This logically resulted in the inclination towards smaller musical genres in smaller communities and in the fluctuating quality of the work of local composers in the past. In the case of shorter compositions and music genres, within ceremonial liturgies, in addition to the mass cycle, compositions such as mass, offertories, pastorale, antiphons, the passion, parts of oratorios, but also concert works for chamber cast are played practically till today; especially those of late Baroque and music Classicism. To date, the music collection on the choir of the parish church has not been made accessible to researchers, has not been systematized, or deposited in a museum or archival institution. It has remained the property of the Roman Catholic Church. The most valuable part of the collection are musical sources from the eighteenth- and nineteenth-centuries, on the basis of which it is possible to identify not only the repertoire and the existing contemporary canon, but also regional and local composers. The aim of the study is to deal with the collection in terms of repertoire and composers, but also as valuable comparative material for research into music history in Slovakia in classicism.
CS
V období dynamického stylového vývoje hudby na území dnešního Slovenska v 18. století, ale také postupného stylového zaostávání mimo největší kulturní centra v 19. století, bylo město Prešov jedním z nejvýznamnějších hudebních center Horních Uher. Hudební život se odehrával nejen na kůru farního kostela sv. Mikuláše, ale také ve šlechtických sídlech v okolí Prešova. Prováděcí praxe duchovní hudby na kůru kostela sv. Mikuláše v Prešově navazovala na ideu „klasičnosti“, jak se objevila na počátku 19. století v církevní hudební praxi ve smyslu vznikajícího kánonu. Tato idea se týkala interpretace hudebních děl hlavních tvůrců vídeňského hudebního klasicismu, takže v širším evropském měřítku představovala a stále představuje jakýsi vzor pro hudební tvorbu a interpretační praxi – v případě větších vokálních a vokálně-instrumentálních děl s přihlédnutím k tvůrčím schopnostem regionálních tvůrců a interpretačnímu zázemí (hudebníci a chrámová tělesa). Z toho logicky vyplývala tendence k menším hudebním druhům v menších lokalitách a kolísavá kvalita tvorby lokálních skladatelů v minulosti. V případě skladeb a hudebních druhů menšího rozsahu se s výjimkou mešního cyklu prakticky až do současnosti v rámci slavnostních liturgií provádějí skladby jako mše, offertoria, pastorely, antifony, pašije, části oratorií, ale i koncertantní díla pro komorní obsazení (obvykle orchestr a sólistu), zejména z období pozdního baroka a klasicismu. Sbírka hudebnin na kůru farního kostela nebyla dosud badatelům zpřístupněna, systematizována, ani nebyla deponována do muzejní či archivní instituce. Nejcennější částí sbírky jsou hudební prameny z 18. a 19. století, na jejichž základě lze identifikovat nejen repertoár a existující dobový kánon, ale také regionální a lokální skladatele. Cílem studie je představit sbírku z hlediska repertoáru a skladatelských osobností, ale také jako cenný komparační materiál pro výzkum dějin hudby v období klasicismu na území dnešního Slovenska.
7
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Sztuka gry na instrumentach klawiszowych początku XV wieku a średniowieczna mnemotechnika

58%
Lubieniecki R.
Muzyka
|
2021
|
vol. 66
|
issue 1
26-48
EN
Keyboard playing is a musical discipline in which the ‘suspension’ between oral and written traditions seems to be particularly strongly felt. I place the early fifteenth-century ars organica in the context of memory-based culture and present the consequences of such a perspective for the study and perception of the surviving musical repertoire. My basic source material consists of two anonymous organ treatises, Octo principalia de arte organisandi and Opusculum de arte organica, found in manuscript M.CIII, which is now held in the Library of the Metropolitan Chapter in Prague. In the first part of my article, I analyse the structure of the Prague organ treatises in the context of the mediaeval ars memoriae. I point out such mnemonic techniques as numerical orders, information marked in the text with the word nota (Lat. for ‘note’ or ‘remember’), and persuasive devices. The second part is devoted to issues directly concerning keyboard practice. I first discuss the basic melodic-rhythmic models (tactus) with reference to the preserved musical repertoire (the Faenza Codex and such incomplete sources as the Prague organ fragments). Analysis carried out by numerous authors shows a similarity between the tactus figures in the treatises and those found in the surviving organ tablatures. I subsequently relate the structure of the treatise Opusculum de arte organica to Jeff Pressing’s theory of improvisation and compare two compositions (Kyrie Magne Deus from the Prague organ fragments, CZ-Pnm 1D a 3/52, recto, and Kyrie Cunctipotens genitor Deus from the Faenza Codex, I-Fz MS 117, fol. 79r–79v) from the perspective of shaping the musical process through improvisation. On the basis of this comparison, I stress the importance of the ‘internalisation’ of the key melodic patterns, necessary for improvisation, thereby drawing attention to the physiological aspect of playing the instrument, reflected in the word tactus (Lat. for ‘touch’, ‘the sense of touch’). The article ends with remarks concerning the art of memory and the related problem of a mediaeval composer’s individuality.
PL
Sztuka gry na instrumentach klawiszowych stanowi dziedzinę muzyczną, w której szczególnie wyraźne wydaje się „zawieszenie” pomiędzy tradycją ustną a piśmienną. Autor umieszcza ars organica początku XV w. w kontekście kultury opartej na pamięci oraz nakreśla wynikające z tej perspektywy konsekwencje dla badania i postrzegania zachowanego repertuaru muzycznego. Podstawowy materiał źródłowy stanowią dwa anonimowe traktaty organowe: Octo principalia de arte organisandi i Opusculum de arte organica, pochodzące z rękopisu M.CIII, przechowywanego w Bibliotece Kapituły Metropolitalnej w Pradze. W pierwszej części artykułu autor analizuje konstrukcję praskich traktatów organowych z perspektywy funkcjonowania średniowiecznej memorii. Wskazuje na zabiegi mnemotechniczne, takie jak stosowanie porządków numerycznych, informacji wydzielonych słowem nota (łac. „zanotuj”, „zapamiętaj”) oraz zabiegów perswazyjnych. Druga część poświęcona została kwestiom dotyczących bezpośrednio praktyki gry na instrumentach klawiszowych. Najpierw przedstawione zostają podstawowe modele melodyczno-rytmiczne (tactus) z odniesieniem do zachowanego repertuaru muzycznego (Kodeksu z Faenzy oraz źródeł fragmentarycznych, m.in. praskich fragmentów organowych). Analizy (dokonane już wcześniej przez wielu innych autorów) wykazują zbieżność figur tactus zawartych w traktatach z zachowanymi tabulaturami organowymi. Następnie konstrukcja traktatu Opusculum de arte organica skojarzona zostaje z teorią improwizacji Jeffa Pressinga oraz z perspektywy kształtowania muzycznego procesu w improwizacji porównane zostają ze sobą dwie kompozycje: Kyrie Magne Deus z praskich fragmentów organowych (CZ-Pnm 1D a 3/52, recto) oraz Kyrie Cunctipotens genitor Deus z Kodeksu z Faenzy (I-Fz MS 117, fol. 79r–79v). Na podstawie tego zestawienia autor podkreśla znaczenie niezbędnego w improwizacji „przyswojenia” podstawowych modeli melodycznych, a tym samym zwraca uwagę na fizjologiczny aspekt gry na instrumencie, obecny w znaczeniu słowa tactus (łac. „dotyk”, „zmysł dotyku). Artykuł zamykają uwagi dotyczące mnemotechniki oraz związanym z nią problemem indywidualizmu średniowiecznego twórcy.
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