PL
 |
EN
Nowa wersja platformy, zawierająca wyłącznie zasoby pełnotekstowe, jest już dostępna.
Przejdź na https://bibliotekanauki.pl
Preferencje help
Polish version English version Język
Widoczny [Schowaj] Abstrakt
Liczba wyników

Znaleziono wyników: 8

Liczba wyników na stronie
first rewind previous Strona / 1 next fast forward last
Wyniki wyszukiwania
help Sortuj według:

help Ogranicz wyniki do:
first rewind previous Strona / 1 next fast forward last
1
Content available Bolesław Wallek-Walewski i jego twórczość religijna na chór mieszany
100%
Kałamarz W. , 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
|
2014
|
tom 12
EN
Boleslaw Wallek-Walewski, an outstanding musician of the pre-war Kraków, extremely active organizer of musical events, the creator of the Kraków Opera Society (1915), distinguished educator, director of the Conservatory of the Music Society in Kraków, conductor, accompanist and a composer whose works were often played in the pre-war period – is now an almost completely forgotten figure. He was most successful in his work with male choirs and he created repertoire for them, which was later performed by him and the choirs. Author of operas, oratorios, symphonic works and compositions for mixed choirs. The 70th anniversary of his death, which is celebrated this year, is an opportunity to bring this area of his professional activity to our attention as it can be helpful in working with the kind of choir which is most common today.
PL
Wybitny muzyk przedwojennego Krakowa, Bolesław Wallek-Walewski, niezwykle prężny animator życia muzycznego, twórca Krakowskiego Towarzystwa Operowego (1915), zasłużony pedagog, dyrektor Konserwatorium Towarzystwa Muzycznego w Krakowie, dyrygent i akompaniator, kompozytor, którego utwory były przed wojną często wykonywane – jest dziś postacią niemal zapomnianą. Największe sukcesy odnosił w pracy z chórami męskimi, dla nich tworzył repertuar, z którym występował. Twórca oper, oratorium, utworów symfonicznych, komponował także na chór mieszany. Obchodzona w tym roku 70. rocznica jego śmierci jest okazją, by przypomnieć ten dział jego twórczości, który może być przydatny w pracy z rodzajem chórów dziś przeważającym.
2
Content available Gorzkie żale jako forma oratoryjna na przykładzie kompozycji Kazimierza Garbusińskiego
100%
Kałamarz W. , 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
|
2015
|
tom 13
EN
Oratorio as a musical form is not very well represented among Polish music artists. Therefore, it is worth to mention the existence of a composition which premiered before the war but is no longer performed today. All the more so that it is a work based on the extremely popular Polish folk worship act as well as that its author is a composer and music activist valued before the war and creating in the capital of Małopolska. Lenten lamentations by Kazimierz Garbusiński received good reviews before the war. According to the experts in his music they are the best music piece created by the composer and they deserve not only to be discussed but also to be performed in our times.
PL
Forma oratorium nie jest zbyt licznie reprezentowana w środowisku polskich twórców muzycznych. Warto więc przypomnieć o istnieniu dzieła dzisiaj niewykonywanego, mającego swą premierę przed wojną. Tym bardziej, jeśli jest to utwór bazujący na niezwykle popularnym polskim nabożeństwie ludowym, a jego twórcą jest ceniony przed wojną kompozytor i działacz muzyczny stolicy Małopolski. Gorzkie żale Kazimierza Garbusińskiego zdobyły dobre recenzje przed wojną, zdaniem znawców jego muzyki są najlepszym utworem tego kompozytora i zasługują nie tylko na omówienie, ale także ponowne wykonanie współcześnie.
3
Content available Podstawowe zasady kompozycji chóralnej
100%
Kałamarz W. , 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
|
2016
|
tom 14
4
Content available Śpiew wiernych w liturgii w świetle watykańskiej instrukcji Musicam sacram
100%
Kałamarz W. , 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
|
2018
|
tom 16
EN
In light of the Vatican’s 1967 instruction, entitled Musicam sacram, not only Gregorian choirs may be performed during liturgy, but also songs. These should be approved by the appropriate ecclesiastical authority. They should have arisen for the glory of God, have no relation to secularity (i.e. be holy) and be perfect in form. It would be good if the songwriters were also inspired by the Gregorian chant in their creation. An important role in the proper liturgical experience is silence. The Church also encourages the faithful to practice singing the Officium as well as become familiar with Gregorian chants. 
PL
W świetle watykańskiej instrukcji z 1967 roku pt. Musicam sacram podczas liturgii można wykonywać nie tylko śpiew gregoriański, ale także pieśni. Winne one być zatwierdzone przez odpowiednią władzę kościelną. Powinny powstać dla chwały Boga, nie mieć żadnego związku ze świeckością (czyli być święte) oraz posiadać doskonałą formę. Dobrze by było, gdyby twórcy pieśni w ich tworzeniu inspirowali się także śpiewem gregoriańskim. Ważną rolę w odpowiednim przeżywaniu liturgii odgrywa milczenie. Kościół zachęca też wiernych do praktyki śpiewanego Oficjum oraz poznawania śpiewów gregoriańskich.
5
Content available Sakralność religijnej kontrafaktury świeckich utworów
100%
Kałamarz W. , 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
|
2013
|
tom 11
EN
The phenomenon of contrafactum, that is giving new lyrics to the melody that already functioned with different words, is an old and common practice which occurred in many forms. Most often the term is associated with giving religious lyrics to a melody that previously possessed secular words. But this is only one of many possibilities. For centuries valuable melodies were used with both secular and religious words, regardless of original interrelationships of a particular melody.Today, in society sensitive to copyrights, the practice of contrafactum raises a lot of emotions. Also, it often evokes mixed feelings in the milieus which are involved in sacred music. This is because melodies, to some extent, convey with them the meaning of the words to which they are related, especially in the minds of the people who know these words. The secularity of melody can therefore be present not only in purely musical characteristics of a particular melody (e.g., dance rhythm, chromatization, great variety of emotions and emotional intensity), but also with secular context with which it is identified by the people who use this melody, for example, the intention which lead to the creation of a particular melody or with its original meaning. On the other hand, sacred music is the music created to participate in a sacred reality (an integral part of liturgy) and in some sense also to co-create this reality by praising the glory of God and sanctifying the faithful.When giving a secular melody to religious lyrics it is important to make sure that during liturgy their potential users should not associate this melody with anything secular. It should be composed in a perfect manner, in accordance with the rules of counterpoint. It should be a melody containing diatonic sounds, without unnecessary tension, alterations, and with dignified rhythm so that it lent itself to being performed by a large number of people. Moreover, it should simply be beautiful and its proportionally selected components should create internal unity of music and highlight the meaning of the lyrics to which it is to be added. Finally, the melody along with the words should be approved by the appropriate authority of the Church. Only then can we begin to consider it as a sacred, i.e., a liturgical song.
6
Content available Ks. prof. dr hab. Karol Mrowiec CM (1919–2011) – sylwetka kapłana, muzykologa, kompozytora
100%
Kałamarz W. , 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
|
2012
|
tom 10
EN
Living in 1919–2011 Rev. Professor Karol Mrowiec C.M. was one of the most distinguished Polish musicologists. Throughout most of his life he worked for the Institute of the Church Musicology at KUL [Catholic University of Lublin] which he organised and managed. Supervised 70 master and 10 doctor degree students, reviewed 24 doctoral and 10 habilitation dissertations, as well as assessed 7 professorial treatises. He also greatly contributed to the music formation of the Polish clergy, devoting several years of his life to this cause. The professor conducted research on the Polish sacred music, particularly of the Baroque and of the 19th c. He made a lot of scientific discoveries in this field, publishing many sourcebooks, by which means increasing the public ad academic knowledge of the Polish church music. A vital part of his life was devoted to Polish religious chants. As the chief editor of songbooks, supervised the research on the Polish religious singing in all regions of Poland. He was a member of many Polish and international musicologist organisations. Actively participated in worldwide conferences, delivering speeches on the Polish sacred music, especially the religious chants. Rev. Professor K. Mrowiec was granted numerous medals and honoured with prestigious awards and titles, including the Honoris Causa doctor’s degree of the Pontifical Institute of Sacred Music.
PL
Living in 1919–2011 Rev. Professor Karol Mrowiec C.M. was one of the most distinguished Polish musicologists. Throughout most of his life he worked for the Institute of the Church Musicology at KUL [Catholic University of Lublin] which he organised and managed. Supervised 70 master and 10 doctor degree students, reviewed 24 doctoral and 10 habilitation dissertations, as well as assessed 7 professorial treatises. He also greatly contributed to the music formation of the Polish clergy, devoting several years of his life to this cause. The professor conducted research on the Polish sacred music, particularly of the Baroque and of the 19th c. He made a lot of scientific discoveries in this field, publishing many sourcebooks, by which means increasing the public ad academic knowledge of the Polish church music. A vital part of his life was devoted to Polish religious chants. As the chief editor of songbooks, supervised the research on the Polish religious singing in all regions of Poland. He was a member of many Polish and international musicologist organisations. Actively participated in worldwide conferences, delivering speeches on the Polish sacred music, especially the religious chants. Rev. Professor K. Mrowiec was granted numerous medals and honoured with prestigious awards and titles, including the Honoris Causa doctor’s degree of the Pontifical Institute of Sacred Music.
7
Content available Od Redakcji
100%
Kałamarz W. , 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
|
2012
|
tom 10
8
Content available Refleksje nad muzykologią kościelną w Polsce w kontekście działalności ks. prof. Hieronima Feichta CM (1894–1967)
100%
Kałamarz W.
Musica Ecclesiastica
|
2014
|
nr 9
85-89
first rewind previous Strona / 1 next fast forward last
JavaScript jest wyłączony w Twojej przeglądarce internetowej. Włącz go, a następnie odśwież stronę, aby móc w pełni z niej korzystać.