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1

Styl koncertujacy w repertuarze siedemnastowiecznej kapeli pijarów z Podolinca

100%
Smolarek D.
Additamenta Musicologica Lublinensia
|
2011
|
vol. 7
71-109
EN
In the 17th century composition, besides a multi-choir style represented in Polish music by Mikolaj Zielenski, a concerting style was applied as well. Compositions were written for vocal instrumental ensembles by Italian and Polish composers working at royal and magnates' courts. One of those was ensemble of Piarists from Podoliniec (Spisz). The author of the paper explores lists of mostly unpreserved compositions from Podoliniec and presents one of those preserved: Dixit Dominus by Wladyslaw Leszczynski.
2

Implikacja muzyki i tekstu w Offertoria et communions totius anni Mikolaja Zielenskiego

63%
Dudek M.
Additamenta Musicologica Lublinensia
|
2011
|
vol. 7
45-69
EN
The author of the paper is trying to capture the dependencies between the word and the music in the work Offertoria et communiones by Mikolaj Zielenski. The theory of musical affects and rhetorical figures (wildly known in the 16th century) laid at the basis of Zielenski's compositions. There were also many other factors which played a significant role in the composer's work. Among them was undoubtedly a secret of the composer's sensibility.
3

Mikolaj Zielenski's cantus alleluiaticus

51%
Jasinski T.
Additamenta Musicologica Lublinensia
|
2011
|
vol. 7
9-44
EN
Musical elaborations of the word alleluia are especially numerous in Mikolaj Zielenski's compositions. There are several characteristic features of these elaborations, such as predominance of syllabic over melismatic movement of melody, different patterns of accentuation in opposed choirs in his multi-choir compositions, and many others. Different rhythms and declamations of the word alleluia are the starting-point in the process of composition which begins with a single word and grows to great compositive structures.
4

Reguly XVII-wiecznego kontrapunktu w ujeciu Salomona de Caus. Institution harmonique (1615)

51%
Aleksandrowicz M.
Additamenta Musicologica Lublinensia
|
2011
|
vol. 7
111-132
EN
Salomon de Caus was a French engineer, architect and designer. His teaching of counterpoint - presented in the treatise Institution harmonique published in 1615 - is a very original way of looking at musical composition. According to his view, the harmony is a kind of structure composed of different elements.
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