Search results

1

Kolberg’s opinions on changes in the choice of instruments in 19th century folk music

100%

Przerembski Z. J.

Musicology Today

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2014

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vol. 11

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issue 1

EN

In the second half of the 19th century, when Oskar Kolberg conducted his folkloristic and ethnographic work, folk song and music were still alive and, to a great extent, functioned in their natural culture context. However, already at that time, and especially in the last decades of the century, gradual changes were taking place within folk tradition. Those changes were brought about by industrialization and factors in the development of urban civilization, which varied in intensity depending on the region. Folk music was also influenced by those changes and they themselves were further fuelled by the final (third) Partition of Poland by Austria, Prussia and Russia, declared in 1795 and lasting till the end of World War I. Oskar Kolberg noticed and described changes in the musical landscape of villages and little towns of the former Polish Republic in the 19th century, as well as in the choice of instruments. To be quite precise, musical instruments are not featured as a separate subject of his research, but various references, though scattered, are quite numerous, and are presented against a social, cultural and musical background, which provides an opportunity to draw certain conclusions concerning folk music instrumental practice. However, changes in the makeup of folk music ensembles resulted in the disappearance of traditional instruments, which were being replaced by the newer, factory-produced ones. This process worried Kolberg and he noticed its symptoms also in a wider, European context, where bagpipes or dulcimers were being supplanted not only by “itinerant orchestras” but also by barrel organs or even violins. Writing about our country, Poland, he combined a positive opinion on the subject of improvised and expressive performance of folk violinists with a negative one on clarinet players and mechanical instruments. Summing up, the musical landscape of Polish villages and both small and larger towns was definitely influenced in the 19th century by the symptoms of phenomena which much later acquired a wider dimension and were defined as globalization and commercialization. Sensing them, Oskar Kolberg viewed the well-being of the traditional culture heritage with apprehension.

2

České raněnovověké organologické názvosloví (hudební nástroje ve veleslavínských slovnících)

100%

Nejedlý P.

Listy filologické (Folia philologica)

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2018

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vol. 141

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issue 1-2

131-157

EN

The article characterizes the Czech humanistic organological terms included in dictionaries edited by the publisher, writer, and translator Daniel Adam of Veleslavín (and in one case in the dictionary by Petr Lodereker). The author concentrates on the names of musical instruments and musicians. The names are analysed in comparison with the names mentioned in the inventory of musical instruments in the possession of the Lords of Rožmberk. A number of designations, mainly the dictionary ones, are known from previous periods: some of them belong to the general Czech or Slavonic lexicon, but most of them are of international (Greek-Latin, German, Italian) origin. As far as the semantic aspect is concerned, the dictionaries do not generally reflect the actual situation in the period music, but rather reproduce the lexicographical tradition, that often has Mediaeval roots. The Rožmberk inventory, in contrast, provides an accurate image of the period music and also presents the upcoming designations of the newly introduced instruments.

3

Zachowane instrumentarium dawnego Gdańska — przyczynek do tematu

86%

Mądry A.

Aspekty Muzyki

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2012

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vol. 2

39-51

XX

Gdańsk was an important centre shaping the musical culture of the Republic of Poland in past centuries. It is evidenced by, among others, preserved musical instruments which were built by the makers working in the city, or were used by city musicians. The Museum of Musical Instruments in Poznań has in possession two instruments which are associated with Danzig — the lute-cittern made by Johann Goldberg and the clavichord by Johann Adolph Hass. Both instruments provide a valid evidence of music-making in the old Gdańsk. Luthier and musician, Johann Goldberg was a promoter of Gdańsk’s musical life in the 18th century, and he especially valued domestic music making. He was on friendly terms with the most important musicians of the city. The fact that most probably Goldberg primarily produced lute-citterns may suggest that this kind of music-making among the inhabitants of the eighteenth-century Gdańsk was popular. The Hass’ clavichord in turn does not document the musical instruments making in Gdańsk, but it is a perfect example that instruments from the best European workshops were imported to the city. In eighteenth-century Germany one of the leading centres of the clavichords making was Hamburg. In that city worked the famous Hass family. It primarily consisted of father Hieronymus Albrecht Hass (1689–1752) and his son Johann Adolph (1713–1771). Their clavichords were among the best available at that time in Europe. To this day 27 instruments have survived from their workshop — 11 built by H. A. Hass and 16 by J. A. Hass. Instruments from Hass’ workshop were highly prized by the end of the eighteenth century. The content of article about Johann Adolph Hass’ clavichord and Johann Goldberg’s instruments is another small contribution to our knowledge about Gdańsk’s old instruments.

4

The musical practice of the Sandomierz Benedictine nuns during the eighteenth century

86%

Walter-Mazur M.

Interdisciplinary Studies in Musicology

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2012

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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.

5

Czego o portatywie i pozytywie historyk sztuki nie wie, a co wiedzieć powinien

86%

Grajewski C.

Artifex Novus

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2019

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issue 3

130-143

EN

The author briefly describes the history and use in music of two organ-type instruments: a portative organ and a positive organ. He shows the difference in construction between the two and the characteristic features that allow to identify both types in old painting. An important feature of both instruments is the arrangement of the pipes. In the paintings we can see two possibilities: from the left to the right side, the height of the pipes may decrease or increase. An accurate depiction would (always) show the pipe row decreasing from left to right.

PL

Autor opisuje pokrótce historię i zastosowanie w muzyce dwóch instrumentów organowych: portatywu i pozytywu. Ukazuje różnicę w budowie między nimi i charakterystyczne cechy, które pozwalają zidentyfikować oba typy w dawnym malarstwie. Ważną cechą obu instrumentów jest ułożenie piszczałek. Na obrazach widzimy dwie możliwości: od lewej do prawej wysokość piszczałek może się zmniejszyć lub zwiększyć. Właściwe przedstawienie pokazałoby (zawsze) malejący rząd piszczałek od lewej do prawej.

6

Between the Silence of the Past and the Future

86%

Gruszczyńska-Ziółkowska A.

Światowit

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2018

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vol. 57

117-128

EN

Archaeomusicological research currently con- ducted at the Institute of Musicology, University of Warsaw, institutionalised thanks to the financial support from the Ministry of Science and Higher Education (grant NPRH), gave the opportunity to develop a wider field of research. The project includes not only the documentation of musical instruments but first and foremost experimental studies. We started with completely new research on idiophones (e.g. on the sounds of lithophones and rattles), returned to previously closed topics (e.g. gusli from Opole), and developed reconstruction methods using state-of-the-art technology (e.g. the reconstruction of flutes).

7

Chrześcijańska symbolika instrumentów muzycznych

86%

Towarek P.

Studia Elbląskie

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2014

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vol. 15

221-232

EN

The Christian symbolism of musical instruments presented in this article belongs to one of the most beautiful and the deepest layers of theology of church writers and it is based primarily on the so-called evolution of the divisions of music: musica mundana, musica humana and musica instrumentalis (Boecius; cf. Casiodoro). They directed their attention and allegorical theology primarily to the string instruments already known in the Bible (harp, lyre, zither, psalterium). And so, the harp was to signify the spiritual, whereas the zither – the corporal; sometimes also the two natures of Christ (harp – Divine nature; zither – the human nature). In many authors we encounter a comparison of zither to a suffering body of Christ and His passion, during which the tendons were strained to its limits, and the bones were numbered, and He himself sounded as a spiritual song of virtues due to his patience(Tertullian, Casiodoro, Venantius Fortunatus). Hence, there was born in the theology of the patristic period and the Middle Ages an allegory of the so-called „harp of the Cross” on which theSon of God hanged (Paulinus of Nola, Nicetas of Remesiana, Honorius of Autun, Bernard of Clairvaux, Bonaventura), who is a Logos Singing and playing a new song on this instrument. The Father God was compared to the Ultimate Violin-Maker who built Universum in a shape of a giant zither where the spirit and the matter, celestial choruses, heaven and hell, elements and all that the senses experience were the strings (Honorius of Autun, Clemens of Alexandria, Athanasius of Alexandria, Rupert of Deutz).

8

Instrumenty muzyczne w Księdze Amosa

81%

Kubies G.

The Biblical Annals

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2015

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vol. 5

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issue 1

81-94

EN

References to music are common elements of prophetic literature, especially in the Books of the Major Prophets (Isaiah, Jeremiah and Ezekiel), indirectly indicating writers’ interests in that form of art. There are five musical terms mentioned in the Book of Amos: šôpär - horn (Am 2,2; 3,6), qînäh - lamentation, dirge (Am 5,1; 8,10), nëbel - probably lyre (Am 5,23; 6,5), šîr - song (Am 5,23; 6,5; 8,3.10) and Külê-šîr - instruments of song, string instruments (Am 6,5). The purpose of the article is to interpret the musical motifs excluding two related to singing in the biblical and archeomusicological contexts. Am 5,23 and 6,5 can be linked with real musical performance practices in sacred and secular environments in ancient Israel/Palestine. Am 2,2 confirms how important part in the Near East played signal aerophones, whereas Am 3,6 reflects characteristic aspects of Amos’s vocational narrative. The figure of Kind David in Am 6,5 is analyzed in the context of the origin of musical instruments. The comparative materials for Am 2,2; 3,6; 5,23 and 6,5 are mainly the prophetic Books.

PL

References to music are common elements of prophetic literature, especiallyin the Books of the Major Prophets (Isaiah, Jeremiah and Ezekiel), indirectly indicating writers’ interests in that form of art. There are five musical terms mentioned in the Book of Amos: šôpär - horn (Am 2,2; 3,6), qînäh - lamentation, dirge (Am 5,1; 8,10), nëbel - probably lyre (Am 5,23; 6,5), šîr - song (Am 5,23; 6,5; 8,3.10) and Külê-šîr - instruments of song, string instruments (Am 6,5). The purpose of the article is to interpret the musical motifs excluding two related to singing in the biblical and archeomusicological contexts. Am 5,23 and 6,5 can be linked with real musical performance practices in sacred and secular environments in ancient Israel/Palestine. Am 2,2 confirms how important part in the Near East played signal aerophones, whereas Am 3,6 reflects characteristic aspects of Amos’s vocational narrative. The figure of Kind David in Am 6,5 is analyzed in the context of the origin of musical instruments. The comparative materials for Am 2,2; 3,6; 5,23 and 6,5 are mainly the prophetic Books.

9

Chromatická harfa z pozůstalosti Marie Zunové-Skalské ve sbírce Českého muzea hudby

72%

Kotašová D.

Hudební věda (Musicology)

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2014

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vol. 51

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issue 3-4

365-383

XX

Organologická studie se zabývá nástrojem, který byl v držení harfenistky, pedagožky a hudební publicistky Marie Zunové-Skalské a dnes je uložen ve sbírkovém fondu NM-ČMH.

10

Dziecięce instrumenty perkusyjne we wspieraniu niepełnosprawnej młodzieży w drodze ku dorosłości. Aspekty edukacyjno-rehabilitacyjne

72%

Cylulko P.

Niepełnosprawność - zagadnienia, problemy, rozwiązania

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2020

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issue 1(34)

67-86

PL

W muzyce i dzięki muzyce młody człowiek ma możliwość spontanicznego i niemal intuicyjnego wyrażania swoich uczuć, emocji, pragnień, oczekiwań, predyspozycji, postaw oraz prowadzenia dialogu z innymi osobami. Dzięki jej dźwiękowej naturze czyni to w sposób bezpieczny w przestrzeni wolnej od ograniczeń i barier. Jednak ze względu na utrudniony kontakt z tą dziedziną sztuki nie zawsze jest to możliwe w sposób artystyczny i na profesjonalnych instrumentach muzycznych. W takiej sytuacji pomocnymi w samorealizowaniu się dorastającej niepełnosprawnej młodzieży mogą okazać się proste instrumenty perkusyjne zwane dziecięcymi. Instrumenty te nie wymagają od osoby posługującej się nimi specjalnych umiejętności manualnych, szczególnych uzdolnień muzycznych oraz dużej wrażliwości emocjonalno-estetycznej na muzykę. Dzięki tym właściwościom mogą one pełnić w życiu osób niepełnosprawnych różnorodne funkcje, wśród których można wymienić funkcję rozwojową, rekreacyjno-ludyczną i komunikacyjną. Dziecięce instrumenty perkusyjne wraz ze swoimi możliwościami i ograniczeniami wydają się odgrywać zasadniczą rolę w próbie zrozumienia specyfiki niewerbalnej wypowiedzi młodego niepełnosprawnego człowieka przy pomocy środków muzycznego wyrazu. Celem artykułu jest ukazanie możliwości zastosowania muzykowania na prostych instrumentach muzycznych w oddziaływaniach edukacyjnych, rehabilitacyjnych i terapeutycznych służących wspieraniu adaptacji społecznej młodego niepełnosprawnego człowieka u progu jego dorosłości.

EN

Through music and thanks to music a young person can spontaneously and almost intuitively express their feelings, emotions, desires, expectations, predispositions and attitudes and enter into a dialogue with other people. Because of the specific nature of music they do it safely in the atmosphere free of any restrictions or barriers. However, due to the fact that their contact with this field of art is impeded, it is not always possible for them to do it artistically and with the use of professional musical instruments. In such a situation adolescents with impairments may find fulfilment in playing simple percussion instruments called children instruments. These instruments require no special manual dexterity, musical skills or emotional and aesthetic sensitivity to music. Because of that they can serve various functions in an impaired person’s life including developmental, recreational, ludic and communicative function. Children percussion instruments, with their possibilities and limitations, seem to play a vital role in the understanding of the specific nature of an impaired young person’s non-verbal expression by means of music. The aim of the paper is to show how simple musical instruments can be used in educational, rehabilitation and therapeutic intervention with the aim to facilitate an impaired young person’s social adaptation as they move towards adulthood.

11

Gwizdek (?) z poroża z Wyspy Sobieszewskiej w Gdańsku

58%

Kurzyk K., Litwinienko A.

Pomorania Antiqua

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2022

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vol. Tom XXXI

189–199

EN

In May 2020, Ms Sylwia Ziółkowska donated to the collection of the National Maritime Museum in Gdańsk an artefact made of antler, which she accidentally discovered while walking on the beach of Wyspa Sobieszewska in Gdańsk (Fig. 1). The artefact probably originally served as a whistle. Dimensions: maximum length 24 cm, maximum diameter at the mouthpiece 2.8 cm, diameter of the inner hole 1.2 cm (Figs. 2-3). After calibration, the radiocarbon dating with a probability of 95.4% is at the maximum in the period 172 BC to 8 AD (Fig. 4), i.e. in the younger Pre-Roman period in Poland. The simple form of the artefact is intercultural, and we know similar finds also from other periods and archaeological cultures, e.g. from Denmark, Germany, Austria, the Czech Republic, Romania, Spain and Portugal (Fig. 5). Some researchers criticized the hypotheses about the acoustic purpose of the discussed subjects. Among alternative interpretations, there were often proposals to consider them as basketry tools or, in the case of smaller specimens, as pendants and amulets. Among the alternative interpretations in the literature, there are ones ascribing to the discussed items the role of elements of the horse harness (side pieces). The artefact discovered on Wyspa Sobieszewska in Gdańsk has morphological features typical of stopped edge-blown aerophones. However, the plug closing the blow hole has not survived. Undoubtedly, the collection of these extremely interesting artefacts requires a broader view and further analysis, especially attempts to reconstruct the sound.

12

Kosmogoniczne źródła muzyki w kontekście autoklasyfikacji tradycyjnych instrumentów muzycznych Hucułów. Nowa perspektywa analizy

58%

Cząstka-Kłapyta J.

Łódzkie Studia Etnograficzne

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2023

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vol. 62

217-236

EN

The Hutsul tradition divides musical instruments into two categories: the divine and the devilish ones. This classification serves as a starting point for a multifaceted analysis of the sources and products of traditional music. The analysis concerns various factors, including an attempt to reconstruct the original design idea of the instrument’s creator, the choice of material for the instrument, and the way in which its sound properties are used. Of key importance to these considerations is a thorough analysis of these qualities in various performance contexts, in relation to the archaic belief worldview that refers to cosmogony (myth), i.e. the relationship between man and nature (macrocosm) and with his conscious musicalized microcosm. The article addresses the issue of how these relationships are reflected in the form, matter, sound qualities, and the musical performance of both groups of instruments.

PL

W tradycji huculskiej instrumenty muzyczne dzielą się na dwie kategorie: boże i diabelskie. Podział ten stanowi punkt wyjścia do wielopłaszczyznowej analizy źródeł i wytworów muzyki ludowej. Refleksje badawcze dotyczą próby zrekonstruowania pierwotnego zamysłu konstrukcyjnego twórcy instrumentu, uzasadnienia wyboru odpowiedniego tworzywa instrumentu i sposobu wykorzystania jego właściwości brzmieniowych. Kluczowe dla rozważań jest dokładne prześledzenie tych jakości w różnych kontekstach wykonawczych w związku z archaicznym światopoglądem wierzeniowym, który odwołuje się do kosmogonii (mitu), czyli relacji łączących człowieka z naturą (makrokosmosem) i z jego uświadomionym umuzycznionym mikrokosmosem. W artykule podjęta została próba odpowiedzi na pytanie, w jaki sposób te relacje odzwierciedlają się w formie, materii, jakościach dźwiękowych, wykonawstwie muzycznym obu grup instrumentów.

13

Wstępne wyniki badań nad rękopisami muzycznymi ze skasowanego opactwa cystersów w Obrze przechowywanymi w Bayerische Staatsbibliothek w Monchium

58%

Mądry A.

Hereditas Monasteriorium

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2015

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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.

14

Musica non grata? Motywy i obrazy muzyczne w Księdze Izajasza

58%

Kubies G.

Ruch Biblijny i Liturgiczny

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2014

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vol. 67

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issue 4

EN

In the article I interpret musical motifs and images in the Book of Isaiah. The main musicological part of the text precede comments on biblical prophecy, symbolic acts (among them acts connected with music) and Isaiah, the prophet living in the VIII century BC. The research material – eleven passages where musical instruments are mentioned (ḥālîl, šōpār, tōp, kinnôr, nēbel), has been divided into three groups. In the first one (2 passages) I discuss the topos of shofar as the signalling tool, in the second (6 passages) I undertake research into ancient music performance practice. In the last group I examine three passages where musical instruments form parts of the simile, a figure of speech. All musical motifs and images are presented in broad biblical, theological and cultural contexts. Although the music in the Book of Isaiah is linked with drunkenness (Isaiah 5, 12, 24, 10), prostitution (Isaiah 23, 16), associated with the hostile powers (Isaiah 14, 1, 30, 32), it „sounds” ad maiorem Dei gloriam (Isaiah 30, 29, 38, 20), it is not unwanted art (non grata). The negative image of the music can not be associated with the shofar (Isaiah 18: 3, 27, 13, 58, 1).

PL

W prezentowanym artykule dokonuję interpretacji motywów i obrazów muzycznych w Księdze Izajasza, dziele zredagowanym w V wieku przed Chrystusem lub później, łączonym z imieniem wybitnego proroka z VIII wieku przed Chrystusem. Zasadnicze rozważania muzykologiczne poprzedzają uwagi na temat biblijnego profetyzmu, czynności symbolicznych, pośród nich muzyki oraz osoby samego proroka. Materiał badawczy – jedenaście fragmentów, w których wzmiankowane są instrumenty muzyczne (ḥālîl, šōpār, tōp, kinnôr, nēbel) został podzielony na trzy grupy. W pierwszej (2 fragmenty) omawiam topos rogu-narzędzia sygnalizacyjnego, w drugiej (6 fragmentów) podejmuję zagadnienia starożytnej praktyki wykonawczej. W ostatniej grupie (3 fragmenty) poddaję analizie fragmenty, w których instrumenty muzyczne pojawiają się w ramach konstrukcji semantyczno-stylistycznej, jaką jest porównanie. Wszystkie omawiane motywy i obrazy muzyczne zostały ukazane w szerokim kontekście biblijno-kulturowym. W rozważaniach nie zabrakło odniesień do innych ksiąg biblijnych. Tekst Biblii Tysiąclecia (wyd. 5, Poznań 2000), który został uzupełniony o nazwy hebrajskie, jest konfrontowany z innymi współczesnymi przekładami – Biblią Warszawską (1975) i Biblią Lubelską (1991–). Choć muzyka w Księdze Izajasza jest łączona z pijaństwem (Iz 5, 12; 24, 10), prostytucją (Iz 23, 16), kojarzona z wrogimi potęgami (Iz 14, 11; 30, 32), to – podkreślmy – „rozbrzmiewa” także ad maiorem Dei gloriam (Iz 30, 29; 38, 20), nie jest sztuką niechcianą (non grata). Z negatywnym obrazem muzyki nie można w żaden sposób łączyć rogu (Iz 18, 3; 27, 13; 58, 1).

15

Tim Shephard, Sanna Raninen, Serenella Sessini, Laura Ştefănescu, „Music in the Art of Renaissance Italy, 1420‒1540”, London–Turnhout: Harvey Miller Publishers, 2020, ss. 408. ISBN 978-1-912554-02-7

58%

Grabiec D.

Muzyka

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2022

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vol. 67

|

issue 4

165-172

EN

The article concerns the book Music in the Art of Renaissance Italy 1420‒1540 by Tim Shephard, Sanna Raninen, Serenella Sessini and Laura Ştefănescu (Brepols 2020), devoted to music iconography and music during the Renaissance in Italy. Its purpose is to present the content of individual chapters to the Polish reader and draw attention to the most important threads and problems raised by the authors, as well as to an interesting methodological approach that allowed the authors to look at already known topics and works from a new perspective and show them in a broad cultural context.

PL

Artykuł dotyczy książki Music in the Art of Renaissance Italy 1420‒1540 autorstwa Tima Shepharda, Sanny Raninen, Serenelli Sessini i Laury Ştefănescu (Brepols 2020), poświęconej ikonografii muzycznej oraz muzyce w okresie renesansu we Włoszech. Jego celem jest prezentacja polskiemu czytelnikowi treści poszczególnych rozdziałów i zwrócenie uwagi na najważniejsze wątki i problemy poruszane przez autorów, a także na ciekawe ujęcie metodologiczne, które pozwoliło autorom spojrzeć na znane już tematy i dzieła z nowej perspektywy i ukazać je w szerokim kontekście kulturowym.

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Kolberg’s opinions on changes in the choice of instruments in 19th century folk music

České raněnovověké organologické názvosloví (hudební nástroje ve veleslavínských slovnících)

Zachowane instrumentarium dawnego Gdańska — przyczynek do tematu

The musical practice of the Sandomierz Benedictine nuns during the eighteenth century

Czego o portatywie i pozytywie historyk sztuki nie wie, a co wiedzieć powinien

Between the Silence of the Past and the Future

Chrześcijańska symbolika instrumentów muzycznych

Instrumenty muzyczne w Księdze Amosa

Chromatická harfa z pozůstalosti Marie Zunové-Skalské ve sbírce Českého muzea hudby

Dziecięce instrumenty perkusyjne we wspieraniu niepełnosprawnej młodzieży w drodze ku dorosłości. Aspekty edukacyjno-rehabilitacyjne

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