Search results

1

Świat ptaków w staropolskich kolędach i pastorałkach (na materiale Kantyczek karmelitańskich z XVII i XVIII wieku)

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Borejszo M.

Poznańskie Studia Polonistyczne. Seria Językoznawcza

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2011

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vol. 18

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issue 1

89-106

PL

The article discusses the image of birds as documented in Kantyczki karmelitańskie [Carmelite canticles] from the 17th and the 18th centuries published by Barbara Krzyżaniak in 1980. Birds are to be found in more than 30 lyrics of Christmas carols (for the total number of 357 contained in the set under scrutiny). These include mainly domestic birds, very well-known both to the authors of the canticles and to the recipients and users of Polish Christmas carols and Christmas festivity songs. In total, about 60 species of birds are specified, including two exotic birds (the canary and the parrot). The bird’s realm was used in Christmas carols for different purposes, e.g. in the descriptions of the Bethlehem shed that is inhabited by petty birds, mentioned on account of the enumeration of gifts given to Jesus by shepherds, in accounts of the Flight to Egypt by the Holy Family, and in descriptions of the joy of the whole of the world of nature at the birth of the Saviour. It is worth noting that creators of Christmas carols did not limit themselves to just mentioning names of particular species of birds, but also provide a description of characteristics, sometimes a detailed one, such as the appearance and behaviour of its particular representatives. The carols include, for example, information on the habitat of birds, type and colouring of the plumage, common sounds made by various birds, staple food of birds, the shape of the beak and the size of the gullet. The birds pictured in the Christmas carols were either members of a village band up in the air (some sort of flying band), joyfully proclaiming Good News to the world (a motif often made used of in old-Polish Christmas carols and festive songs), or gathered at the manger to perform menial services and functions in real word reserved only for humans. Birds take on typically human behaviour, show human dispositions and fancies, customs and habits (e.g. wine or beer drinking in the nuptials).

2

Polskie realia w kolędach i pastorałkach XVII i XVIII wieku (na materiale tzw. Kantyczek karmelitańskich)

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Borejszo M.

Poznańskie Studia Polonistyczne. Seria Językoznawcza

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2014

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vol. 21

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issue 1

11-34

PL

The object of research for the author of the article has been the ancient realities recorded in the texts of carols from the 17th and 18th centuries. The material originates from an extensive manuscript collection of Christmas carols and songs, comprising 357 texts, owned by the cloister of Carmelite nuns in Cracow. This invaluable written monument of religious lyric poetry was published in print by Barbara Krzyżaniak in 1980. The image of the world presented in the Old-Polish carols reflects – in a careful and detailed manner – the realities of the Baroque and the Enlightenment periods, especially the realities of poor Polish rural areas, which the authors of Christmas carols must have known firsthand. Specific saturation of Christmas songs with lay motifs can be observed in the central and closing part of the studied collection. In the lexicon found in Kantyczki karmelitańskie, which describes Old-Polish realities, two basic categories can be distinguished: one of them is composed of proper names (mainly the names and nicknames of shepherds and the names of nuns), the second – much more extensive and internally diversified – comprises the names of all kinds of objects that appear in the descriptions of shepherds’ preparations prior to their journey or merry-making at Christ’s crib. They are, for example, the information about the clothes worn by shepherds, farming implements and household objects, the means of transportation, foodstuffs, dishes, the animals reared or living free, the plants cultivated by people or growing naturally, musical instruments etc.

3

Integracja językowa w dziejach polszczyzny

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Dubisz S.

Poznańskie Studia Polonistyczne. Seria Językoznawcza

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2013

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vol. 20

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issue 2

85-97

PL

The author has been for a longer time making excerpts from church hymns used in Roman Catholic priests’ prayers (breviaries) and liturgy, as well as in church songs. The excerpted material relates to (artistic) designations of Mother of God, Christ, Holy Ghost, and the Saints (cf. footnotes in the article). In this way, the article describes the names of persons in the Holy Trinity. The collection is of use as philological documentation, for historical research in European and Polish piety, and as help for preachers, religious instructors, and Christian literary authors.

4

Trójca Święta w „Hymnach kościelnych” i w pieśniach kościelnych

100%

Breza E.

Poznańskie Studia Polonistyczne. Seria Językoznawcza

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2013

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vol. 20

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issue 2

73-83

PL

The author has been for a longer time making excerpts from church hymns used in Roman Catholic priests’ prayers (breviaries) and liturgy, as well as in church songs. The excerpted material relates to (artistic) designations of Mother of God, Christ, Holy Ghost, and the Saints (cf. footnotes in the article). In this way, the article describes the names of persons in the Holy Trinity. The collection is of use as philological documentation, for historical research in European and Polish piety, and as help for preachers, religious instructors, and Christian literary authors.

5

Zaangażowanie, bierność i skandal. „Piosenkowe strategie” w konfliktach międzypokoleniowych

100%

Łukowicz M.

Facta Ficta. Journal of Theory, Narrative & Media

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2021

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vol. 8

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issue 2

319-332

EN

The article aims to present the analysis of three Polish songs that are treated in the social space as important statements by „voices of their generation”. Jacek Kaczmarski in Our Class [Nasza klasa], Zygmunt „Muniek” Staszczyk in the song This nurture [To wychowanie] and Michał „Mata” Matczak in Pathointeligency [Patointeligencja], expressing the problems of their peers, occupy a specific place towards the older generation, which is symbolized by the educational system. Using a different music genre and functioning in different socio-political realities, each of the artists also proposes a different strategy of „fighting” in a generational conflict, which ranges from (apparent) passivity, through commitment, to rebellion. The interpretation of the aforementioned cultural texts (the song is understood as a multi-code message with a solid performative potential) considers their verbal and musical content and the historical and performance context, and the dynamically changing reception. The analysis of the differences and common points of the mentioned texts is intended to capture the phenomenon of popularity of these three completely different songs, which confirm that the most fortuitous statements of specificity and generational distinctiveness in the art use the mechanism of dispute.

6

Z zagadnień przekładu audiowizualnego: tłumaczenie piosenek w pełnometrażowych filmach animowanych na przykładzie polskiego i rosyjskiego dubbingu do Sing

100%

Abramska M.

Acta Polono-Ruthenica

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2018

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vol. Tom 1 Nr XXIII

95-102

EN

The article focuses on the problem of translating songs in animated movies. Using Russian and Polish dubbing as examples, the following issues will be discussed: the place and role of the song, the translation strategy adopted, and the consequences and possible impact on reception of the translation strategy. An excellent example that will allow the problem to be fully discussed is Sing the latest animation from the Illumination Entertainment studio – a 2016 American 3D computer- animated comedy.

7

Wirus Zenek. Próba analizy memetycznego fenomenu twórczości Zenona Martyniuka

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Krajewska A.

Kwartalnik Młodych Muzykologów UJ

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2021

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issue 2(49)

25-50

EN

Zenon Martyniuk – founder and main singer of a disco polo band Akcent has been triumphant in the Polish music scene for many years, and his infectious songs are steadily taking down barriers and becoming more widespread in various Polish institutions of culture. This article attempts to analyse the memetic phenomenon of Zenek, which originates in its easily accessible melody and simple lyrical layer with clear references to folklore. Are we experiencing the emergence of a new 'musical meme', which makes listening to disco polo no longer embarassing and trashy?

8

Muzyka liturgii sakramentu małżeństwa w aspekcie historycznym

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Malec M.

Studia Ełckie

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2019

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vol. 21

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issue 4

489-506

EN

Music accompanies each celebration of the sacraments. In the liturgy of the marriage, music has a special character, because the sacrament is celebrated very solemnly. Music has accompanied rituals and wedding customs in the Church since antiquity. Until the Second Vatican Council, it survived in the rituals and piety of the people expressed in church songs.

9

Pieśni ku czci Trójcy Przenajświętszej w “Śpiewniku archidiecezji katowickiej”

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Hudek W.

Studia Pastoralne

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2018

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vol. 14

171-191

EN

The Book of Songs of Katowice Archdiocese, published in 2000 by Rev. Professor Antoni Reginek, contains 9 songs of praise to the Holy Trinity in the collection in which they are numbered from 197 to 205. Compared with other collections of church songs, it is placed as the second in row as far as the quantity of such works is concerned. The biggest collection of songs of praise to the Holy Trinity is the Evangelical Book of Songs (Bielsko-Biała 2002) with a number of eleven songs. Following The Book of Songs of Katowice Archdiocese is the book The Way to Heaven (Droga do nieba, Opole 2006) with six songs and The Hymn Book by Rev. Jan Siedlecki (Kraków 2017) with five songs of praise to the Holy Trinity. The texts of the analyzed songs can be divided into three formal genres: antiphonies, hymns, and stanza songs. Their content is bound up by descriptions of the nature of the Holy Trinity (Divinity and Unity), internal relations (creation, origin, and inspiration) and the external action (creation, salvation and devotion). The language of the songs is rich with metaphors and poetics that approximates the mystery of God. Musically, the songs are characterized by the noble simplicity. The melody in majority of them is held in key major and in two cases one can find references to church modes. Four are held in 4/4 meter, and two in duple meter, which reinforces the musical illustration of the Holy Trinity mystery. The ambitus of the songs accommodates to the average human voice capacity and varies from the largest one containing the eleventh (203) to the smallest one in the interval of the sixth (199, 202). The examples of particularly vital songs can be: the Silesian Hymn Te Deum Laudamus or We praise you God (199) and the song The Undivided and Holy Trinity (202). This hymn is known and sung in all parishes of the archdiocese (paradoxically in all churches it is sung in the meter different from 3/4). The second song, apart from the melodic variation placed in the collection (counter-facture to the morning song When the morning stars are awake [549] and the evening hymn All our daily matters [553]) has its original version which functions in the living musical tradition in the Silesian Chełm parish.

10

Polskie tłumaczenia hymnu św. Tomasza z Akwinu Adoro te devote w katolickich śpiewnikach

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Garnczarski S.

Studia Pastoralne

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2018

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vol. 14

192-211

EN

The origin of the Eucharistic hymns, including Adoro te devote of Saint Thomas Aquinas was the fruit of the Eucharistic devotion developed in the Middle Ages, which was manifested by the desire to see the Host and the establishment of the Feast of Corpus Christi. Research on the original anthem in Latin has collected three of its versions: Adoro te deuote, latens ueritas; Adoro te devote, latens Deitas; Adoro these supplex latens Deitas. It seems, however, that most of translations have Adoro te devote, latens Deitas as a model. Author of the study found 7 versions of the translations of this hymn. They are preserved in collections of varying provenance, both temporal and territorial.Translations generally differ in the size of the verses. Are used texts included 11-, 12- and 13-syllable. The stanzas are 4-line, with female rhymes, perfect and contiguous: aabb. The number of versions of the hymn Adoro te devote in Polish translation testifies to the great popularity of this hymn among the faithful.

11

The History and Development of the Musical Romans as a Genre: A Short Overview

88%

Politi G.

Pamiętnik Teatralny

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2023

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issue 2(285)

147-164

EN

The purpose of this essay is to trace the lines of evolution of the Russian romance, which found fertile ground for its development from the mid-18th century. The genre was firmly embedded in a tradition that had originated a century and a half earlier, but its roots lay in the oral production of ancient Rus’. Despite this strong historical-anthropological imprint, the diachronic development of Russian romance, as a hybrid genre of dual nature—poetic and musical—addressed to both elite and mass audiences, is marked by a series of revivals and contaminations (mainly in 19th-century Europe, especially in Italy). The article, based on culturological, literary and historical studies, presents a brief overview of the development of the genre and its various sub-genres, such as bytovoĭ romans, romans-ballad, romans-elegii͡a, up to contemporary songs and melodies.

12

Pod urokiem piosenki – o twórczości Juliana Tuwima dla kabaretów, teatrów i filmu

88%

Ignaczak L., Uniwersytet Łódzki I. F. P., Lidia Ignaczak – dr s. w. w. K. O. i. L. S. W. F. U. P. b. i., liignacz@konto.pl

Czytanie Literatury. Łódzkie Studia Literaturoznawcze

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2014

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vol. 03

EN

The article is an extension of my previous research on Tuwim’s cabaret and theatre songs, which resulted in the article “Tuwim’s affair with the song”. It is an attempt to answer the question: how the achievement of Tuwim as a bibliophile influenced the output of Tuwim as a writer in the field of cabaret, theatre, and film songs (with special emphasis on poets cooperation with artists performing his songs).

PL

Artykuł jest rozwinięciem wcześniejszych badań poświęconych Tuwimowskim piosenkom kabaretowym i teatralnym, których efektem był artykuł Tuwimowski romans z piosenką. Jest to próba odpowiedzi na pytanie: w jaki sposób dokonania Tuwima – bibliofila wpłynęły na twórczość Tuwima – autora tekstów w dziedzinie piosenki kabaretowej, teatralnej i filmowej (ze szczególnym uwzględnieniem współpracy poety ze scenicznymi wykonawcami jego piosenek)

13

Роль песен и стихотворений на занятиях по РКИ с польскими студентами

75%

Anchimiuk O.

Linguodidactica

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2017

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vol. 21

PL

Przy zaburzeniu parametrów rytmicznych (podczas względnie poprawnej artykulacji) rozumienie mowy jest znacznie trudniejsze. Nie fonem, lecz rytm oraz intonacja stają się podstawą pomyślnej komunikacji. Rytm jest pierwotną właściwością poezji i muzyki, bez którego nie mogą one istnieć. Wykorzystanie piosenki i wiersza na zajęciach ze studentami nie tylko stwarza możliwość wypracowania tempa i rytmu mowy, jest to również efektywna metoda umożliwiająca opanowanie suprasegmentalnych jednostek języka. Dzięki piosence i wierszowi, istotnym komponentom kultury, studenci poznają także historię, zwyczaje i tradycje kraju, którego języka się uczą.

EN

When the rhythmical parameters are abnormal (even the articulation is relatively correct) the speech understanding is much more difficult. Not the phoneme, but the rhythm and intonation are the guarantee of successful communication. The rhythm is the original property of poetry and music, they cannot exist without it. The use of songs and poems in classes with Polish students gives not only the opportunity to develop the tempo and the rhythm of speech, it is also an effective method to master suprasegmental language units. Through song and poetry, important components of culture, students will also learn the history, customs and traditions of the country whose language they learn.

14

A dissertation by Zygmunt Gloger Czy lud polski jeszcze śpiewa? [Does the Polish folk still sing?] (1905) a question about understanding of tradition, community and good remembrance12

75%

Józefowicz A.

Kultura-Społeczeństwo-Edukacja

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2019

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vol. 16

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issue 2

PL

Józefowicz Anna, A dissertation by Zygmunt Gloger Czy lud polski jeszcze śpiewa? [Does the Polish folk still sing?] (1905) a question about understanding of tradition, community and good remembrance. Culture – Society – Education no 2(16) 2019, Poznań 2019, pp. 149–162, Adam Mickiewicz University Press. ISSN 2300-0422. DOI 10.14746/kse.2019.16.10. The question contained in the title of the dissertation of the great folklore, researcher of the past, a lover of sightseeing trips – Zygmunt Gloger Czy lud polski jeszcze śpiewa? [Does the Polish folk still sing?] was asked, far more than a hundred years ago. It was put to Gloger by a French musician and journalist who was staying in Poland in 1901 to celebrate the opening of the Warsaw Philharmonic. He asked this way, because he was fascinated with musicpieces he had heard on the stage, based “on beautiful folk motifs”. Small size, because only 24-page Gloger’s dissertation issue in 1905 is an attempt to answer the problem raised in the title. Above all, the dissertation is an expression of Gloger’s regret over the changes that took place in contemporary culture, namely forgetting the role of the song for the Slav community. This is way the author knew the achievements of this community, he devoted his whole life tosaving them, he could not understand how contemporary intelligentsia did not see the need for protection, as he described it “our ancient, native and indigenously Slavicnational song and music”. This text is an attempt to analyze Gloger’s essay Czy lud polski jeszcze śpiewa? [Does the Polish folk still sing?], extracting and developing the main theses contained in it, as well as noticing their value today, not forgetting the circumstances of creating the text over 100 years ago.

15

Zastosowanie piosenki we wspomaganiu rozwoju sprawności językowych, komunikacyjnych i poznawczych dziecka

75%

Wysocka M.

Logopedia

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2021

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vol. 50

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issue 1

143-156

EN

A song is a frequent form of the child’s musical activity. The child’s singing fulfills many important functions: it introduces him/her into the world of music, helps establish and maintain relationships with parents/caregivers and peers, acquaints the child with many thematic areas, helps understand different social phenomena, and improves the speech apparatus. The use of songs also supports the development of other functions determining the development of speech and language. The present paper shows the functions of the child’s language, communication and cognitive, functioning that can be developed by use of children’s songs, both during daily and prevention or therapy activities.

PL

Piosenka jest częstą formą aktywności muzycznej dziecka. Dziecięce śpiewanie spełnia wiele ważnych funkcji: wprowadza w świat muzyki, pomaga nawiązywać i podtrzymywać relacje z opiekunami i rówieśnikami, zapoznaje dziecko z licznymi obszarami tematycznymi, pomaga w zrozumieniu różnych zjawisk społecznych, usprawnia aparat mowy. Wykorzystanie piosenki wspiera także rozwój innych funkcji, warunkujących rozwój mowy i języka. W niniejszym artykule zostały wskazane funkcje językowego, komunikacyjnego i poznawczego funkcjonowania dziecka, które mogą być rozwijane przez zastosowanie dziecięcej piosenki, zarówno podczas codziennych aktywności, jak i w czynnościach profilaktycznych czy terapeutycznych.

16

“Zur Müllerin hin / so lautet der Sinn?” Power Structures in the Performance Tradition of Franz Schubert’s Die schöne Müllerin and Winterreise1

75%

Wozonig T.

Kwartalnik Młodych Muzykologów UJ

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2017

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issue 4(35) Eng

4-37

EN

Since the middle of the 19th century, Franz Schubert’s song cycles Die schöne Müllerin and Winterreise are not only considered as an outstanding contribution to the Lied genre, but also as “romantic” compositions par excellence, whose protagonists might be depicted adequately only by performances of male singers. The “masculine nature” (Carl Lafite) of these thoughts, emotions and actions might be inappropriate for female singers. This attitude, which is still present today (even amongst professional musicians and musicologists), though, contradicts not only the performance practice of the early 19th century, but even Schubert’s handling of his songs. In fact, the idea of these two cycles as “men’s cycles” has only developed in the course of the 19th century, when various impacts such as the general upvaluation of the Lied genre, the transfiguration of the composer, the interpretation of his songs as being a personal statement, and the idea of Werktreue shaped the reception of Schubert’s compositions. These factors led to the consolidation of strong and still valid power structures, in which men are regarded as the norm, whereas women (and other alternative voice categories like countertenors) appear as deviation from this norm. These structures are tightly related to similar conditions and principles which have been outlined in the past decades by the masculinity studies on higher levels of our society. In this paper, I will set out this whole process by delineating the performance practice at Schubert’s time, his own attitude (insofar as it is possible), the various influences of romantic musical aesthetics, and the development of the mentioned performance tradition towards the end of the 19th and the beginning of the 20th century. Furthermore, a number of statements from the 21st century will demonstrate that these concepts are still common today, and I will correlate them with some certain principles pointed out by masculinity studies from the last decades.

17

“Zur Müllerin hin / so lautet der Sinn?” Power Structures in the Performance Tradition of Franz Schubert’s Die schöne Müllerin and Winterreise1

75%

Wozonig T.

Kwartalnik Młodych Muzykologów UJ

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2017

|

issue 4(35)

5-38

EN

Since the middle of the 19th century, Franz Schubert’s song cycles Die schöne Müllerin and Winterreise are not only considered as an outstanding contribution to the Lied genre, but also as “romantic” compositions par excellence, whose protagonists might be depicted adequately only by performances of male singers. The “masculine nature” (Carl Lafite) of these thoughts, emotions and actions might be inappropriate for female singers. This attitude, which is still present today (even amongst professional musicians and musicologists), though, contradicts not only the performance practice of the early 19th century, but even Schubert’s handling of his songs. In fact, the idea of these two cycles as “men’s cycles” has only developed in the course of the 19th century, when various impacts such as the general upvaluation of the Lied genre, the transfiguration of the composer, the interpretation of his songs as being a personal statement, and the idea of Werktreue shaped the reception of Schubert’s compositions. These factors led to the consolidation of strong and still valid power structures, in which men are regarded as the norm, whereas women (and other alternative voice categories like countertenors) appear as deviation from this norm. These structures are tightly related to similar conditions and principles which have been outlined in the past decades by the masculinity studies on higher levels of our society. In this paper, I will set out this whole process by delineating the performance practice at Schubert’s time, his own attitude (insofar as it is possible), the various influences of romantic musical aesthetics, and the development of the mentioned performance tradition towards the end of the 19th and the beginning of the 20th century. Furthermore, a number of statements from the 21st century will demonstrate that these concepts are still common today, and I will correlate them with some certain principles pointed out by masculinity studies from the last decades.

18

Convergence of form and content between indigenous and Christian songs and beliefs of the Yoruba in southwestern Nigeria

75%

Okewande O. T.

Studies in African Languages and Cultures

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2022

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issue 56

155-182

EN

Beginning and the development of Yoruba written poetry was believed to be influenced by the Christian songs and hymns. However, this study demonstrates the impact of Yoruba traditional poetry and beliefs in the development of local Christian religion and beliefs in the present time. Relevant data on both Christian and indigenous Yoruba beliefs were sampled through observation as well as extracted from written texts such as songs, hymns and poems in the Yoruba language. On the basis of the ethnographic and empirical materials and texts examined, the study found out that there are many parallel elements relating to form and content in traditional Yoruba and contemporary Christian songs and beliefs. It is stated that the Yoruba religious poetry and songs are valuable cultural elements in contemporary time and actively participate in propagating the Christian beliefs in the Yoruba society. This study concludes that impact of Yoruba religious poetry and beliefs is felt on the Christian religion in the contemporary time just as the Christian religious songs contributed to the development of Yoruba poetry in the past.

19

Profanity in songs. Seeking the limits of freedom of speech, and the reproduction and sanctioning of contemporary linguistic tendencies

75%

Gajda K.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2017

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vol. 45

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issue 7

245-282

EN

The article is showing the presence of vulgar expressions in song lyrics. This is a clear testimony to the changes in the customs and language of culture of recent decades. The paradox is that the development of negative phenomena can contribute to events naturally valued positively, such as expanding the sphere of freedom together with the birth of “Solidarity” or the abolition of the censorship institution with the transformation after 1989. Vulgarism today, after more than a quarter of a century since the release of language from the “care” of censorship, is intensively present in songs that many Poles find important. This stylistic device helps to express and shapes the expressed emotions, describe reality, and it is a manifestation of the generational fear of the sublime. The text discusses the songs of authors such as: Andrzej Garczarek, Jacek Kaczmarski, Kazik Staszewski, Krzysztof Grabowski (Grabaż), Marcin Świetlicki, Hubert Dobaczewski (Spięty), Paweł Sołtys (Pablopavo).

20

Polska i polskość w tekstach kultury popularnej (na przykładzie wybranych piosenek)

71%

Latoch-Zielińska M.

Polonistyka. Innowacje

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2020

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issue 11

183-198

EN

One of the key elements of building respect for such values as patriotism, freedom, tolerance is to learn, read, interpret at school the texts that these values represent, without excluding works belonging to popular culture, which is so close to young people. The article presents the results of the analysis of selected texts from the circle of popular culture (songs) in terms of the functioning of Polish and Polishness issues in them. Formulated conclusions may be helpful in designing education aimed at building multidimensional identity of young people.

PL

Jednym z kluczowych elementów budowania szacunku dla takich wartości jak patriotyzm, wolność, tolerancja jest poznawanie, czytanie, interpretacja w szkole tekstów, które te wartości reprezentują, bez wykluczania utworów przynależnych do kultury popularnej, która jest tak bliska młodzieży. W artykule przedstawiono wyniki analizy wybranych tekstów z kręgu kultury popularnej (piosenek) w aspekcie funkcjonowania w nich problematyki Polski i polskości. Sformułowane wnioski mogą być pomocne w projektowaniu edukacji nakierowanej na budowanie wielowymiarowej tożsamości młodych ludzi.

Refine search results

Świat ptaków w staropolskich kolędach i pastorałkach (na materiale Kantyczek karmelitańskich z XVII i XVIII wieku)

Polskie realia w kolędach i pastorałkach XVII i XVIII wieku (na materiale tzw. Kantyczek karmelitańskich)

Integracja językowa w dziejach polszczyzny

Trójca Święta w „Hymnach kościelnych” i w pieśniach kościelnych

Zaangażowanie, bierność i skandal. „Piosenkowe strategie” w konfliktach międzypokoleniowych

Z zagadnień przekładu audiowizualnego: tłumaczenie piosenek w pełnometrażowych filmach animowanych na przykładzie polskiego i rosyjskiego dubbingu do Sing

Wirus Zenek. Próba analizy memetycznego fenomenu twórczości Zenona Martyniuka

Muzyka liturgii sakramentu małżeństwa w aspekcie historycznym

Pieśni ku czci Trójcy Przenajświętszej w “Śpiewniku archidiecezji katowickiej”

Polskie tłumaczenia hymnu św. Tomasza z Akwinu Adoro te devote w katolickich śpiewnikach

The History and Development of the Musical Romans as a Genre: A Short Overview

Pod urokiem piosenki – o twórczości Juliana Tuwima dla kabaretów, teatrów i filmu

Роль песен и стихотворений на занятиях по РКИ с польскими студентами

A dissertation by Zygmunt Gloger Czy lud polski jeszcze śpiewa? [Does the Polish folk still sing?] (1905) a question about understanding of tradition, community and good remembrance12

Zastosowanie piosenki we wspomaganiu rozwoju sprawności językowych, komunikacyjnych i poznawczych dziecka

“Zur Müllerin hin / so lautet der Sinn?” Power Structures in the Performance Tradition of Franz Schubert’s Die schöne Müllerin and Winterreise1

“Zur Müllerin hin / so lautet der Sinn?” Power Structures in the Performance Tradition of Franz Schubert’s Die schöne Müllerin and Winterreise1

Convergence of form and content between indigenous and Christian songs and beliefs of the Yoruba in southwestern Nigeria

Profanity in songs. Seeking the limits of freedom of speech, and the reproduction and sanctioning of contemporary linguistic tendencies

Polska i polskość w tekstach kultury popularnej (na przykładzie wybranych piosenek)