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EN
The Book of Job read in synchronic way shows the evolution of prayer of the biblical hero. This hero, in the course of painful experiences, undergoes metamorphosis and passes the subsequent stages when approaching God in his prayer. From a rebellion against God, through an anger and argument with God, the hero experiences a deep spiritual depression. Finally, he accepts with confidence God’s way of proceeding in life and in the rule over the world. The hero’s prayer constitutes a model of maturation in human encounter with God.
EN
This paper presents an analysis of the spiritual message sent by the French bishops to the French faithful in the Letter to the French Catholics: Proposing Faith to Contemporary Society. The author analyses the text in the anthropocentric perspective, giving the reader an insight into the axiological crisis in the French society. This helps explain why this society finds it difficult to open itself to spiritual, Christian values. At the same time, those aspects of the religious functioning that are still present in the French society are pinpointed as the assets on which the Church evangelization action should rely. Also discussed is the French crisis of the Catholic faith, and the methods that the episcopal Letter (composed by Claude Dagens, Bishop of Angouleme) suggests for overcoming the crisis. The need for the mobilization of the priests, more active prayer and apostolic associations and for the collective action of all the faithful is also emphasised. The change is only possible if the whole Church returns to the roots of the faith (the mystery of the Trinitarian God, Baptism, the Gospel and the sacraments); accepts a morality based on the experience of the faith, and not on the doctrinal law; preaches about salvation through Christ in a close relationship to the values of contemporary people; seeks power in her liturgy and in the service for the neighbour (diacony). The Letter can be inspirational for Polish Catholicism at the beginning of the Year of Faith. The author claims that the following elements of the Letter are worth pondering upon in the Polish context: (1) taking into account human experience in the time of axiological crisis; (2) a more integrated preaching of the Gospel, liturgy and the service for the neighbour; and (3) increased participation of the lay Catholics in religious communities, in order to shape one’s Catholic identity and to get engaged in the apostolic mission of the Church.
EN
On the basis of his own experiences of music, starting with the early childhood, throughout the university studies, until holding various managerial positions at music institutions, the author reaches the final conclusion that the very idea of musical school was born in the Church. The Church has always taught music and singing. Liturgical music has invariably been viewed as “primordial” (“di prim’ordine”), requiring professional skills from its performers. It has not only been a form of artistic expression or the aim in itself, but an instrument of communicating the Gospel and the words directed by the Church to God since the dawn of her history. The “professionalism” of the music within the Church, however, calls for the places of formation and education, so as to endure in time and to lay the foundation for setting guidelines to follow. The above postulate of teaching music in the Church originates from the very mission of the latter which, through her evangelization, “sings out” her faith. The author proposes his own, based on the experiences of many musicians as well, “definition” of the Church music: “Performing music in Church is the experience of faith, enlightened with aesthetic joy which moves the deepest recesses of the soul”. The Church music, understood in this way, evokes in us responsibility for preserving and passing down to next generations the idea of balance between the conception of art as the celestial gift of God (virtus cujusdam caelestis influxus) and the fruit of human intelligence (vehementia assidue exercitationis). Art and music – according to the author – are the fruits (ingenium et opus) of intelligence, efforts and commitment, and they compound with one another into a complete and final work of art (opus cansummatum et effectum).
PL
Na kanwie osobistych doświadczeń z muzyką, począwszy od wczesnej młodości przez lata studiów muzycznych, pełnienia różnych kierowniczych funkcji w instytucjach muzycznych, autor dochodzi do przekonania, że sama idea szkoły muzycznej zrodziła się w Kościele. Kościół zawsze nauczał muzyki i śpiewu. Muzyka liturgiczna zawsze była postrzegana jako „pierwszorzędna” („di prim’ordine”) i domagała się od jej wykonawców profesjonalizmu. Od zarania dziejów Kościoła była nie tylko formą artystycznego wyrazu i  celem sama dla siebie, ale narzędziem komunikowania Słowa Bożego oraz słowem Kościoła zwracającego się do Boga. „Profesjonalizm” muzyki w Kościele potrzebuje jednak miejsc formacji i nauczania, aby móc przetrwać w czasie i mieć solidne podstawy do wytyczania kierunku dla przyszłości. Ten postulat nauczania muzyki ma swoje podstawy w samej naturze misji Kościoła, który ewangelizując, „wyśpiewuje” swoją wiarę. Autor proponuje swoją własną, powstałą także na bazie doświadczeń wielu muzyków, „definicję” muzyki kościelnej: „Wykonywanie muzyki w Kościele jest doświadczeniem wiary, oświeconej estetyczną radością, która porusza najgłębsze zakamarki duszy”. Z tak pojmowanej muzyki kościelnej rodzi się nasza odpowiedzialność za to, aby nadal utrzymywać i przekazać następnym pokoleniom ideę równowagi między koncepcją sztuki jako niebiańskiego daru Boga (virtus cujusdam caelestis influxus) a owocu ludzkiej inteligencji (vehementia assidue exercitationis). Sztuka i muzyka – według autora – są owocem (ingenium et opus) inteligencji, wysiłku i zaangażowania oraz dopełniają się w kompletnym i efektywnym dziele sztuki (opus cansummatum et effectum).
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