Search results

1

Lithuanian Activities of the Students of Seinai Theological Seminary

100%

Katilius A.

Studia Ełckie

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2021

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vol. 23

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issue 2

189-205

EN

From 1826 to 1903, about 80% of the students of Seinai Theological Seminary were ethnic Lithuanians, and Lithuanian was their or their parents’ native language. The question about Lithuanian activities of the Lithuanian students at the seminary is therefore well founded. During first decades of its existence, national consciousness of the Lithuanians was not relevant. For performing pastoral work in Lithuanian parishes, the Lithuanian brought from parental home was sufficient. Using the Lithuanian language at Seinai Theological Seminary was stimulated by the reforms of Bishop K. I. Łubieński and encouragement of Professor Stanisław Jamiołkowski. First of all, the use of Lithuanian manifested itself through the singing of Lithuanian folk songs. Singing Lithuanian songs stressed the ethnic difference between the Lithuanian and Polish students of the seminary. Officially, the Lithuanian language was not taught at the seminary until 1904. For this reason, Lithuanian students started learning Lithuanian secretly: they realised they would need it in their pastoral work. Seminary students spoke Lithuanian among themselves, thus demonstrating their national awareness, but they also learned Polish at the seminary. The students’ Lithuanian activities should be viewed in the context of Lithuanian nationalism. National revival was raising specific requirements to the Church and it was important that the seminary trained future clergymen to meet the demands of the public. The students engaged in Lithuanian activities through participation in a secret association of future Lithuanian priests. One of the forms of its activities was distribution of the banned Lithuanian press. The students not only distributed banned literature but also contributed to its printing and publishing: they produced hand-written newspapers in the seminary and wrote articles, first for illegal publications and later, after the ban on the Lithuanian press was lifted, for legally published periodicals.

2

Wschodniosłowiańskie i polskie pieśni tradycyjne jako uniwersalny nośnik kultury

99%

Braszak P.

Scripta Neophilologica Posnaniensia

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2020

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vol. 20

EN

In the presented article, the author considers a rarely discussed subject of traditional song lyrics perceived as culture transmitters. Even though they are very universal and comprehensive sources in terms of cultural transmission, academics use them in scientific discourse incommensurately less frequently than other textual forms or art works from the epoch. The author analyzes traditional folk songs as texts which unfold before the reader. Their crucial value and broad possibility to understand different and interfusing realms of human activity associated with Polish and East Slavic culture are presented.

3

Zbójnicy żywieccy w strofach starszych i nowszych

86%

Kastelik-Herbuś A.

Rocznik Muzeum "Górnośląski Park Etnograficzny w Chorzowie"

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2013

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vol. 1

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issue 1

48-60

PL

Żywiecczyzna i jej zbójnicy mieli wszelkie atuty, by stworzyć literacką postać godną mitu. Celem artykułu jest postawienie kilku hipotez badawczych, dlaczego to słowacki Janosik, a nie żywiecki harnaś stał się jednoznacznym symbolem. Materiałem badawczym są przede wszystkim ludowe przyśpiewki tego regionu oraz utwory wierszowane grupy literackiej im. Emila Zegadłowicza „Gronie”.

EN

Żywiecczyzna (The Żywiec region of the Beskids) and its highland robbers had everything it takes to create a literary character worth a myth. The aim of the article is to put forward few research hypotheses on why it was Janosik of Slovakia rather than one of the brigands of the Żywiec region who became an unequivocal symbol of brigandry. The research is based mainly on folk songs of the region as well as on the repertoire of Emil Zegadłowicz Literary Group “Gronie”.

4

Pamięć o tumulcie toruńskim (1724) w polskiej dziewiętnastowiecznej pieśni ludowej. Wizja świata – propaganda – pobożność i wartości

86%

Kożuchowski Ł.

Zapiski Historyczne

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2020

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vol. 85

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issue 2

133-155

EN

The subject of the article is an analysis of a nineteenth-century folk song originating from Lesser Poland and the region of Kielce, which describes the events of the Tumult of Toruń (1724). The author used the historical method (factual analysis), anthropological method (theories of memory and orality) and discourse analysis (a written text as a reflection of mentality) to focus on three main issues. The first one is a polemic with the previous opinions of researchers, who argued that the folk song faithfully represents the events of the riots in Toruń (Thorn). In fact, it seems to be more of a propaganda text. It is impossible to determine precisely the place and time it was created, however, it seems that its author was a clergyman who wanted to convey his vision of the Tumult to the lower social strata. The song presents the community of Toruń as divided into two hostile camps, namely aggressive Protestants and pious Catholics. The article embedded the images of both sides in broader contexts of the German-Protestant stereotype and religious polemics in the Polish-Lithuanian Commonwealth. The last part of the text is an attempt to answer the question why this particular song was internalized by the common people. The interest in the Tumult of Toruń could result from its sensational character, the fact that it was very well fitted to folk culture, and the possibility to derive satisfaction from the course of this event. The article ends with the presentation of folk songs as an interesting research material for historians, cultural anthropologists and scholars conducting interdisciplinary memory studies.

5

Frazeologizmy dotyczące uczuć w pieśniach ludowych z Warmii i Mazur, Kujaw oraz Kaszub

86%

Wełpa A.

Prace Językoznawcze

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2012

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issue 14

253-262

EN

Phraseology is an important part of the Polish lexicon. People and literature often use it to talk about feelings which are quite difficult to explain. The folk songs of Warmia and Masuria, Kujavia and Kashubia are rich in phraseology related to emotions. The analysis is followed by certain conclusions: – both positive and negative emotions can be explained by phraseology, – words ‘tear’ (‘łza’) and ‘heart’ (‘serce’) are frequently used in folk songs, – numerous phrasemes used in folk songs are unknown in common Polish.

6

Znaczenie i funkcja motywu klonu w warmińsko-mazurskich pieśniach ludowych

86%

Lechocka E.

Poznańskie Studia Polonistyczne. Seria Językoznawcza

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2017

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vol. 24

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issue 1

161-174

PL

This article is an analysis of maple motives, which occurred in collection of Warmian and Masurian folk songs elaborated in XIX and XX century. The purpose of this study was to define meaning and function botanic vocabulary mentioned in folkloristic texts and to compare poetic representation of maple motif with its role in every-day-life and culture of Warmia and Masuria’s inhabitants. As it was deducted from maintained analysis, the folk output and botanic themes are a valuable source of information about identity of rural population from Warmia and Masuria territories. Utilization of maple motif in folksongs is characteristic for its strong resemblance to empiric reality, in which the plant plays a great role in every-day-life and in immaterial culture.

7

„Talent to dobro powierzone...” – etyka chrześcijańska w postawie twórczej i życiowej Witolda Lutosławskiego

81%

Bolesławska-Lewandowska B., Karcz B., Tyrała R., Zając A., Delimat W., Janicki J. J., Malik J., Sterczewska L., UPJPII i., Pasek W., Karcz B., Malik J., Sterczewska L., UPJPII i., Pasek W.

Pro Musica Sacra

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2013

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vol. 11

EN

„Talent is a form of wealth entrusted to us” – these words may serve as Witold Lutosławski’s motto. He repeated them often and at many occasions, emphasising that each creative artist is obliged to treat his talent carefully and develop it to produce great results for public consumption. This corresponds well with Biblical parable on talents but does it mean that Lutosławski was a religious man? Was Christian ethic important to him? In his music there is no much connection with religion – only his youthful Lacrimosa for soprano, choir and orchestra, and the arrangements of traditional Polish Christmas carols, composed shortly after the Second World War, present his direct relations to religious inspirations. However, he did not like to talk about his beliefs and worldview, especially in the context of his own music, which for him always was abstract and free from any extra-musical features. But his attitude to composing, as well as to the public activity, reveals many connections with Christianity values. He was brought up in the family of strongly catholic and patriotic beliefs, connected with high moral principles. An atmosphere of Lutosławskis’ family, which belonged to the intellectual elites of pre-war Poland, made strong influence on young Witold. For the rest of his life he felt obliged to pay his duties both as a composer and as a man of a high moral standards. He not only concentrated on his creative work (though it was his main life obligation) but searched for public weal in his social activity, always aiming „to behave decently”. This corresponds perfectly with Christian ethic and indeed in one of his interviews Lutosławski openly admitted that not only his worldview was formed by Catholicism, towards which he remained faithful, but also that in his opinion Christian ethic remains pre-eminent among all ethic systems formed by the humanity.

PL

„Talent is a form of wealth entrusted to us” – these words may serve as Witold Lutosławski’s motto. He repeated them often and at many occasions, emphasising that each creative artist is obliged to treat his talent carefully and develop it to produce great results for public consumption. This corresponds well with Biblical parable on talents but does it mean that Lutosławski was a religious man? Was Christian ethic important to him? In his music there is no much connection with religion – only his youthful Lacrimosa for soprano, choir and orchestra, and the arrangements of traditional Polish Christmas carols, composed shortly after the Second World War, present his direct relations to religious inspirations. However, he did not like to talk about his beliefs and worldview, especially in the context of his own music, which for him always was abstract and free from any extra-musical features. But his attitude to composing, as well as to the public activity, reveals many connections with Christianity values. He was brought up in the family of strongly catholic and patriotic beliefs, connected with high moral principles. An atmosphere of Lutosławskis’ family, which belonged to the intellectual elites of pre-war Poland, made strong influence on young Witold. For the rest of his life he felt obliged to pay his duties both as a composer and as a man of a high moral standards. He not only concentrated on his creative work (though it was his main life obligation) but searched for public weal in his social activity, always aiming „to behave decently”. This corresponds perfectly with Christian ethic and indeed in one of his interviews Lutosławski openly admitted that not only his worldview was formed by Catholicism, towards which he remained faithful, but also that in his opinion Christian ethic remains pre-eminent among all ethic systems formed by the humanity.

8

Kraków w gwarach i folklorze

81%

Tyrpa A.

Polonica

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2016

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vol. 36

167-180

EN

This article tries to recreate the image of Cracow and its inhabitants, as well as the population of nearby villages. Material analyzed in the article consists of dialect vocabulary, phraseology and lyrics of folk songs. Dialects and folklore preserve the image of the city and its architecture, as well as products with names containing a referrence to Cracow. There exists a rich collection of words describing the Cracow regional costume and its various parts, as well as names of objects used i the countryside, songs and dances connected to Cracow. It is worth noting that things considered Cracovian are often automatically identified with Polishness.

9

Pionierskie kierunki badawcze Adolfa Dygacza. Wybrane aspekty

72%

Krajewska A.

Rocznik Muzeum "Górnośląski Park Etnograficzny w Chorzowie"

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2021

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vol. 9

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issue 9

46-65

PL

Projekty popularyzujące dorobek profesora Adolfa Dygacza, realizowane przy okazji digitalizacji archiwaliów etnomuzykologa w Muzeum „Górnośląski Park Etnograficzny w Chorzowie”, wydają się mieć fundamentalne znaczenie dla zachowania i utrwalania lokalnego dziedzictwa muzycznego w dobie obecnych przemian i niepewnych losów zanikających już tradycji. Jednym z takich przedsięwzięć była biograficzno-muzyczna wystawa czasowa „Życie jako pieśń. Z teki profesora Adolfa Dygacza”. Ciekawe materiały etnomuzykologiczne Adolfa Dygacza, wówczas pionierskie, zebrane przez niego pod wpływem zainteresowania kulturą górniczo-hutniczą, wciąż mają wiele niezbadanych „białych plam”. Niniejszy tekst wskazuje na niektóre z nich – te, których nie podkreśla się w jego dorobku zbyt często. A z pewnością są warte uwagi i dalszych badań.

EN

Projects popularizing the achievements of Professor Adolf Dygacz, carried out on the occasion of the digitization of the archives of the ethnomusicologist at the Museum “Upper Silesian Ethnographic Park in Chorzów”, seem to be of fundamental importance for the maintenance and preservation of the local musical heritage in the era of current changes and uncertain fate of vanishing traditions. One of such undertakings was the temporary biographical and musical exhibition „Życie jako pieśń. Z teki profesora Adolfa Dygacza” (Eng. “Life as a Song. From the Portfolio of Professor Adolf Dygacz”). Interesting ethnomusicological materials by Adolf Dygacz, pioneering at the time, collected by him under the influence of his interest in the mining and metallurgical culture, still have many unexplored elements. This text highlights some of them – those that are not emphasized too often when Adolf Dygacz output is being discussed. And they are certainly worth attention and further research.

10

Nazwy gatunków drzew i krzewów oraz ich derywaty w pieśniach ludowych z Warmii i Mazur

72%

Lechocka E.

Rozprawy Komisji Językowej ŁTN

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2017

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vol. LXIV

147-166

EN

This article is an analysis of names of species of trees and shrubs used in folk songs of Warmia and Masuria, which are dated from XIX and XX century. The names collected in ten Warmian and Masurian anthologies show varied material to study. In examined collection there are twenty–six names of trees and shrubs kinds used, i.e. birch-tree, beech, cedar, yew, cypress, oak, hawthorn, pear, apple-tree, juniper, rowan, sycamore, mistletoe, ash, fir, viburnum, maple, hazel, linden, alder, aspen, pine, spruce, poplar, willow, cherry-tree. The researched lexis, except for basic nouns, is created by formative derivatives, which are diminutive and collective names and deriving from substantives – adjectival lexemes describing species’ connection to part of plant and material, which specific object is made of. Almost every name, except for prevailing nationwide form, assumes bypass forms, representing dialectal phonetic phenomenon, which is the main purpose of this analysis. Moreover folk songs mention numerous dialectic terms for names of trees and shrubs species, which confirms variety in naming plants by inhabitants of Warmia and Masuria.

PL

Artykuł stanowi analizę nazw gatunków drzew i krzewów występujących w pieśniach ludowych z Warmii i Mazur, pochodzących z przełomu XIX i XX wieku. Słownictwo wybrane z dziesięciu antologii warmińsko-mazurskich przedstawia bogaty materiał gwarowy: w badanych zbiorach pojawia się dwadzieścia sześć nazw gatunków drzew i krzewów. Są to: brzoza, buk, cedr, cis, cyprys, dąb, głóg, grusza, jabłoń, jałowiec, jarzębina, jawor, jemioła, jesion, jodła, kalina, klon, leszczyna, lipa, olcha, osika, sosna, świerk, topola, wierzba i wiśnia. Badaną leksykę roślinną, oprócz rzeczowników podstawowych, tworzą derywaty słowotwórcze, którymi są nazwy deminutywne i kolektywne oraz derywowane od rzeczowników leksemy przymiotnikowe określające przynależność gatunkową części rośliny oraz tworzywo, z jakiego dany przedmiot został wykonany. Niemal każda nazwa, oprócz wykazującej zazwyczaj przewagę formy ogólnopolskiej, przyjmuje również formy oboczne, reprezentujące gwarowe zjawiska fonetyczne, które stanowią główny przedmiot niniejszej analizy. Ponadto pieśni ludowe notują liczne określenia gwarowe gatunków drzew i krzewów, takie jak choina, jegla, kadyk i osowa, co potwierdza bogactwo i różnorodność w nazewnictwie roślin wśród mieszkańców Warmii i Mazur.

11

Gwara śląska w zbiorach pieśni Adolfa Dygacza

72%

Synowiec H.

Rocznik Muzeum "Górnośląski Park Etnograficzny w Chorzowie"

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2021

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vol. 9

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issue 9

9-18

PL

W artykule wykazano, że zbiory pieśni Adolfa Dygacza z różnych subregionów Śląska stanowią cenny materiał dla badań dialektologicznych. Omówiono właściwości gwarowe występujące w tekstach pieśni. Zwrócono uwagę na zróżnicowanie dialektu śląskiego (zwłaszcza w warstwie fonetycznej), które się w nich ujawnia. Pokazano, jak w gwarowych słownictwie odzwierciedla się swoistość kulturowa regionu i jego przeszłość. Postulowano, by zbiory pieśni wykorzystywać w edukacji szkolnej i akademickiej. Sugerowano także, by przygotować do druku liczne teksty pieśni, które do tej pory nie zostały opublikowane. W przygotowaniu redakcyjnym pieśni powinni uczestniczyć nie tylko folkloryści i etnolodzy, ale też dialektolodzy.

EN

The idea of the following paper is to show that Adolf Dygacz’s song collections coming from different parts of Silesia provide precious data for dialectological studies. The characteristic features of the dialect that could be traced in the lyrics are discussed here. Special attention was paid to differences concerning phonetics in particular that appear in the lyrics and influence the dialect. Furthermore, the study also presents how the specific culture of the region as well as its past are described by means of the special vocabulary. It is postulated that the song collections were used in the school and academic education. It is also suggested that numerous lyrics of the songs that have not been published yet were prepared for publication. Scholars specializing not only in folklore studies and ethnology but also in dialectology should participate in the whole process.

12

Anioły w tekstach bułgarskiego folkloru

72%

Walczak-Mikołajczakowa M., Ivanova M.

Język. Religia. Tożsamość

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2017

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issue 1(15)

185-198

EN

The article contains information about people's notions about angels and the role they play in human life. Starting from the presentation of the heavenly forces hierarchy by Pseudo-Dionysius, the authors focus their attention on how people pictured angels as God's emissaries. Much space is devoted to contemporary relations, confirming the presence of the angels on earth also today. The texts of folk songs are also analysed, in which the angels accompany not only people, but also the Mother of God and the saints. Folk images of angels and the angel's features are also represented by the idiomatic expressions and anthroponyms, both secular and religious.

13

Prototyp polskiego przysłowia komicznego w rozumieniu młodzieży z początku XXI wieku

72%

Lipińska M.

Rozprawy Komisji Językowej ŁTN

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2017

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vol. LXIV

167-185

EN

The article describes the results of a survey conducted among high school and French Philology students. The aim of the survey was establishing what the Polish comic proverb prototype is. The status of research on which the above analysis is based refers to a proverb prototype theory and the concept of a verbal comic aspect. The characteristics of the research method defines the way in which the survey was conducted. The description of the Polish comic proverb prototype is both direct and indirect. The former points to the features of the comic proverb provided by the respondents, while the latter defines semantic and stylistic as well as pragmalinguistic qualities of a particular comic proverb mentioned by the respondents. The results of the conducted survey let us state that comic proverbs are not only well known but also easily formed and modified according to different types of variant forming rules. The comic aspect of prototype makes use of vocabulary features, its blunt and colloquial aspect, emotionality and can be defined by means of pragmatic research tools. Violating conversational maxims is a necessary feature for humour to be present. Disobeying maxims as well as defining features of proverbs, novitas above all, make humour of prototypical proverbs be perceived as their defining quality. The contrast of cultural presupposition with the sense of a prototypical proverb is not a necessary element, yet it is sufficient for the comic aspect to occur. A prototypical comic proverb is not identical to a separate, most easily formed type of humour proverb, i.e. a wellerism.

PL

Artykuł opisuje wyniki ankiety przeprowadzonej wśród uczniów liceum i studentów romanistyki. Celem sondażu było ustalenie prototypu polskiego przysłowia komicznego. Stan badań, będący podstawą powyższej analizy, dotyczy teorii prototypu przysłowia i pojęcia komizmu słownego. Charakterystyka metody badawczej określa, w jaki sposób został przeprowadzony sondaż. Opis prototypu polskiego przysłowia komicznego dzieli się na bezpośredni i pośredni. Pierwszy z nich wskazuje cechy przysłowia komicznego podane bezpośrednio przez osoby ankietowane. Drugi zaś precyzuje właściwości semantyczno-stylistyczne i pragmalingwistyczne konkretnego proverbium humorystycznego wyróżnionego przez respondentów. Wyniki przeprowadzonej ankiety wskazują, że komiczne przysłowia są nie tylko znane, ale też łatwo tworzone i modyfikowane według różnych typów wariantywności. Komizm prototypu wykorzystuje cechy słownictwa, jego dosadność, potoczność i emocjonalność i daje się opisać przy pomocy pragmatycznych narzędzi badawczych. Naruszanie maksym konwersacyjnych stanowi cechę konieczną dla zaistnienia humoru. Przekraczanie maksym, a także właściwości definicyjne przysłów, przede wszystkim novitas sprawiają, że humor paremii prototypowych jest odbierany jako ich cecha definicyjna. Kontrast presupozycji kulturowej z sensem przysłowia prototypowego należy do cech niekoniecznych, choć wystarczających dla pojawienia się komizmu. Komiczne przysłowie prototypowe nie pokrywa się z wyodrębnionym, najłatwiej tworzonym typem paremii humorystycznej, tj. welleryzmem.

14

Konszabelant: osobliwy transfer językowy

72%

Bańko M.

Język Polski

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2022

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vol. 102

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issue 4

55-65

PL

Artykuł dotyczy słowa konszabelant, znanego z dziecięcej piosenki Jestem muzykantem konszabelantem. Przedmiotem uwagi jest jej niemieckie źródło, paralelne piosenki w kilku innych językach, etymologia, znaczenie i zakres użycia słowa konszabelant, a przede wszystkim powody, dla których niemiecka fraza (Ich) komm’ aus Schwabenland ‘pochodzę (ew. przychodzę) ze Szwabii’ została w polskim tekście oddana w taki sposób, oraz okoliczności, w których się to stało.

XX

The article concerns the word konszabelant, known from the children’s song Jestem muzykantem konszabelantem ‘I’m a music man’. It focuses on the German source of the song, parallel songs in several other languages, the etymology of konszabelant, its meaning and scope of use, and above all the reasons why the German phrase (Ich) komm’ aus Schwabenlad ‘I come/arrive from Swabia’ was in the Polish text rendered in such a way, and the circumstances in which it happened.

15

Znaczenie pieśni religijnej w liturgii Kościoła katolickiego

72%

Stachyra M.

Studia Elbląskie

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2016

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vol. 17

227-236

EN

The purpose of the article – in which its author raises a subject of the meaning Catholic Church liturgy’s religious song – is to introduce the genesis and development of religious song concept in Catholic Church, with special consideration of ecclesial legislation that are currently in force in that field. The most important church documents and – as past as present – all popes teaching, which are analyzed in the article, express a concern for liturgy music, which aim is – by its beauty – to connect people to God and be an integral part of the liturgy. At the same time, it is noticeable that folk songs, that were enjoined to perform rather beyond Holy Mass in the past, are in continued development now. Nowadays, folk songs pose a common norm and immanent part of every Holy Mass. The article raises also the problems with terminology and performing the religious songs during the liturgical services, and finally, the manners of improvement of this current, far from ideal situation.

PL

Celem artykułu - w którym jego autor podejmuje temat znaczenia pieśni religijnej w liturgii Kościoła katolickiego - jest przedstawienie genezy i rozwoju koncepcji pieśni religijnej w Kościele katolickim, ze szczególnym uwzględnieniem obowiązującego w tym zakresie prawodawstwa kościelnego. Analizowane w artykule najważniejsze dokumenty kościelne oraz - tak dawne, jak i obecne - nauczanie wszystkich papieży wyrażają troskę o muzykę liturgiczną, której celem jest - poprzez swoje piękno - łączenie ludzi z Bogiem i bycie integralną częścią liturgii. Jednocześnie zauważa się, że pieśni ludowe, które w przeszłości były nakazane do wykonywania raczej poza Mszą Świętą, obecnie przeżywają ciągły rozwój. Obecnie pieśni ludowe stanowią powszechną normę i immanentną część każdej Mszy Świętej. Artykuł porusza również problemy związane z terminologią i wykonywaniem pieśni religijnych podczas nabożeństw liturgicznych, a także sposoby poprawy tej obecnej, dalekiej od ideału sytuacji.

16

Hudební typologie tanečních nápěvů českých lidových písní (na příkladu Erbenovy sbírky)

72%

Vejvoda Z.

Hudební věda (Musicology)

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2017

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vol. 54

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issue 3

319-362

EN

This study presents a proposed dance-music typology of Czech folksong melodies on the basis of the structural analysis of the musical material in Nápěvy prostonárodních písní českých (Melodies of Czech Folk Songs, 1862) by Karel Jaromír Erben, taking into consideration earlier studies on songs and instrumental melodies from Czech collections of the nineteenth and twentieth centuries. It presents the results of comprehensive musical analysis of Erben’s notations with respect to melody and rhythm, musical form, meter, tempo, text structure, and declamation.

CS

Studie Zdeňka Vejvody je věnována české lidové taneční hudbě. Autor se zaměřuje na strukturální analýzu hudebního materiálu ve sbírce " Nápěvy prostonárodních písní českých", kterou v roce 1862 publikoval Karel Jaromír Erben. Analyticky se zabývá způsobem Erbenovy notace ve vztahu k melodii a rytmu, hudební formě, metru, tempu, textové struktuře a deklamaci.

17

A digital map of folk songs from the collection of Adolf Dygacz

72%

Napiórkowski M.

Literatura Ludowa

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2021

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issue 1

EN

Adolf Dygacz. Historia muzycznej podróży (Adolf Dygacz: The history of the musical journey). Website created by Agata Krajewska: https://adolfdygacz.pl/

18

New Sources for Janáček's Essay Brezovská píseň and His Notation of Long-Drawn-Out Folksong

72%

Procházková J.

Hudební věda (Musicology)

|

2018

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vol. 55

|

issue 1

41-55

EN

This text deals with Leoš Janáček’s essay Brezovská píseň (Folksong in Brezová, 1899), which was not published during the author’s lifetime. In it, he described his visit to Březová. The notations of folk songs made on this occasion as an organic component of Janáček’s text were previously regarded as lost, and only a selection from them was later arranged and included in his treatise O hudební stránce národních písní moravských (On Musical Aspects of Moravian Folk Songs, 1901). It is now possible to supplement the original essay Brezovská píseň with all of the musical examples, for which originals and copies of long-drawn-out songs and dance songs are available. The newly discovered sources allow a comparison of the descriptive and prescriptive treatment of long-drawn-out songs, to which the composer attracted attention as the first observer with expert training, thereby arousing the interest of future generations of scholars to the given topic.

CS

Studie Jarmily Procházkové je věnována literárnímu textu hudebního skladatele Leoše Janáčka. Autorka touto prací zabývá i v rámci připravovaného druhého dílu kritického vydání Janáčkova folkloristického odkazu a na tomto příkladě prezentuje způsob Janáčkovy práce.

19

Działalność kompozytorska Henryka Miłka (1878-1943) w świetle zbiorów Biblioteki Śląskiej w Katowicach

58%

Kucharski W.

Bibliotheca Nostra. Śląski Kwartalnik Naukowy

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2019

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issue 2(56)

56-73

PL

Zbiory Biblioteki Śląskiej – rękopisy, zdjęcia, muzyczne silesiana a w szczególności materiały z archiwum Polskiego Związku Chórów i Orkiestr – pozwalają na odkrywanie licznych brakujących ogniw w historii polskiej muzyki chóralnej XX w. Artykuł pokazuje, jak wiele informacji o twórczości, wykonaniach i ocenie dorobku muzycznego przez współczesnych można wyłowić z tych zasobów pod kątem danych biograficznych, niemal zupełnie zapomnianego po wojnie, kompozytora Henryka Miłka.

EN

The Silesian Library collections – manuscripts, photos, regional music files and in particular documents from the archive of The Polish Union of Choirs and Orchestras – brim with treasures to discover numerous missing links in the history of 20th century Polish choir music. The paper presents information about works, performances and achievements assessed by musician contemporaries that can be picked out from these collections to complement the biographical data, almost forgotten after the Second World War, composer Henryk Miłek.

20

Znaczenie i funkcja motywu lilii w warmińsko-mazurskich pieśniach ludowych

58%

Lechocka E.

Annales Universitatis Paedagogicae Cracoviensis. Studia Linguistica

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2016

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issue 11

87-98

EN

This presentation is an analysis of lily motives, which occurred in collection of Warmian and Masurian folk songs elaborated in 19th and 20th century. The purpose of this study was to define meaning and function of botanic vocabulary mentioned in folkloristic texts and to compare poetic representation of lily motif with its role in everyday life and culture of Warmia’s and Masuria’s inhabitants. As it was deducted from maintained analysis, the folk output and botanic themes are a valuable source of information about identity of rural population from Warmia and Masuria territories. Utilization of lily motif in folksongs is characteristic for its strong resemblance to empiric reality, in which the plant plays a great role in everyday life and in immaterial culture.

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A digital map of folk songs from the collection of Adolf Dygacz

New Sources for Janáček's Essay Brezovská píseň and His Notation of Long-Drawn-Out Folksong

Działalność kompozytorska Henryka Miłka (1878-1943) w świetle zbiorów Biblioteki Śląskiej w Katowicach

Znaczenie i funkcja motywu lilii w warmińsko-mazurskich pieśniach ludowych