„I Lituani” Amilcare Ponchiellego – mickiewiczowska opera włoskiego twórcy

Author(s): Ryszard Daniel Golianek / Language(s): Polish Issue: 1/2016

The opera 'I Lituani' [Lithuanians], written in 1872 by Amilcare Ponchielli (1834–86), a major Italian opera composer of the second half of the nineteenth century (his works include 'La Gioconda'), is one of the few operas inspired by the poetry of Adam Mickiewicz to be written by foreign (non-Polish) composers. The libretto, drawing on the themes of Mickiewicz’s narrative poem 'Konrad Wallenrod', was written by Antonio Ghislanzoni, who also wrote the book of Verdi’s 'Aida'. The premiere of 'I Lituani' took place at La Scala in Milan on 7 March 1874. A comparison of the structure of the libretto and Mickiewicz’s poem reveals a range of modifications and adaptations that Ghislanzoni was forced to introduce in order to obtain a text suitable for dramatic performance. Apart from obvious reductions, transformations and the inevitable elimination of the author’s voice from the narrative, the text of the libretto reveals departures from the original that reflect both an aspiration to realism and also the theatrical qualities sought by the composer and the librettist. In many ways, the musical language of the opera brings to mind the style of Verdi’s late operas. Like Verdi, Ponchielli employed the technique of recurring motifs (or rather musical themes) that function as reminders. But the overriding principle behind Ponchielli’s design of the opera was the idea of creating elaborate ensemble and choral scenes featuring many characters. Compared to Mickiewicz’s relatively intimate narrative, the opera displays a considerable transformation of the poetical work and markedly different means of expression. The reasons for such far-reaching modifications of the original should no doubt be sought in the aesthetic and cultural differences between the Polish and Italian artistic traditions of the nineteenth century and linked to the expectations of the audience, who insisted that the expression of the characters’ experiences be given an adequate setting on the stage.

Iwona Sowińska: Chopin idzie do kina. Kraków 2013

Author(s): Sławomir Wieczorek / Language(s): Polish Issue: 1/2016

Book review of "Chopin idzie do kina" by Iwona Sowińska

Kolekcjoner obrazów w Warszawie na przełomie XIX i XX wieku.

Author(s): Kamila Kłudkiewicz / Language(s): Polish Issue: 2/2017

Analysis of the collection of Polish contemporary painting of Count Juliusz Ostrowski (1854-1917), previously little known in literature, is analyzed. Committed to social, Catholic, and scholar activity, the Count of Ujazd began to collect art works in the 1890s. Upon his death, the collection contained 250 works by Polish artists. On the grounds of the posthumous list of his movables, the analysis of Count Ostrowski’s collectorship decisions is conducted. Count Juliusz Ostrowski purchased art works only in Warsaw: at the ‘Zachęta’ exhibitions, from Warsaw art dealers (Józef Pawłowski Artistic Salon; Krywult Salon; Stanisław Malicki; Stefan Kulikowski Fine Arts Salon), and occasionally through their mediation from private individuals (e.g. Maria Chełmońska). The place particularly important for the history of the purchases of the Count of Ujazd was the ‘Zachęta’; being its regular member, at exhibitions he would occasionally buy paintings almost wholesale. Ostrowski owned pieces of Polish painting from the late 18th century to the early 19th century. The dominating feature was that the collection comprised works of the artists who were the collector’s contemporaries: Leon Wyczółkowski, Anna Bilińska-Bohdanowicz, Julian Fałat, Wacław Pawliszak, Henryk Siemiradzki, Juliusz Kossak, Jan Styka, Teodor Ziomek, Jacek Malczewski, Wlastimil Hofman, or Alfred Wierusz-Kowalski. Moreover, what stood out were a substantial number of pieces by Piotr Michałowski, this resulting from family connections and the fact that Juliusz Ostrowski had inherited them from his aunt and Michałowski’s wife, Julia Michałowska née Ostrowski. The comparison of the collection content in 1894 (the period of the most intense purchasing activity of the Count when he actually built a large collection from scratch) against that following his death in 1917, displays a shift in his preferences. When he first started buying paintings, he would mainly focus on mediocre artists who displayed their works in large numbers at the Zachęta. Such names as Antoni Austen, Alfonsa Kanigowska, Aleksander Kozłowski, Julian Maszyński, Stefan Popowski, Mieczysław Reyzner, Jan Rozen, Leon Szpądrowski, Feliks Cichocki, with time disappeared from the collection. In the early 20th century, Count Ostrowski started searching for works of the Gierymski brothers, Wyczółkowski, Pankiewicz, and Podkowiński. He may have come across Young Poland’s art in Warsaw: in private salons and galleries, but also at the Zachęta, undergoing a reform at the time. As a result, the collection of Count Juliusz Ostrowski turned to be an interesting assortment of Polish works in which next to mediocre amateurs’ pieces, also those by artists of major impact on Polish art at the turn of the 19th and 20th centuries could be found.

Rafał Quirini-Popławski, Sztuka kolonii genueńskich w Basenie Morza Czarnego (1261–1475). Z badań nad wymianą międzykulturową w sztuce późnośredniowiecznej, Uniwersytet Jagielloński, Kraków 2017, ss. 309.

Author(s): Małgorzata Dąbrowska / Language(s): Polish Issue: 3/2017

Dzieje pojęcia „Wersal Polski”, czyli językowy obraz świata

Author(s): Karol Łopatecki / Language(s): Polish Issue: 2/2018

The History of the Concept ‘Polish Versailles’, Namely the Verbal Image of the World The article presents the circumstance of creating and applying the concept ‘Polish Versailles’ outside the Polish-Lithuanian Commonwealth. In Białystok, Jan Klemens Branicki created one of the most interesting palace and garden ensembles in 18th-century Europe. The phrase appeared for the first time in German-speaking press in 1752. Despite dozens, and if not hundreds of opportunities of recording sumptuous ceremonies held by Jan Klemens Branicki, the European elites became acquainted with the appearance of Hetman’s residence thanks to the book by Jean-Baptiste Chappe d’Auteroche published in 1768. The physicist described his 1761 trip, when heading for Tobolsk, he stopped only for several hours on the way in Białystok, and he visited the palace and the gardens. The facility was elevated to the rank of the most important palace and garden ensembles in the map of the Polish-Lithuanian Commonwealth published in 1772 by Giovanni Rizzi-Zannoni. Quite exceptional in this respect was the encyclopaedic publication of Anton Friedrich Büsching from 1754 who began endorsing the concept Polnische Versailles. At that time, under Izabela Branicka the palace was living its decline, while the sale of Białystok to Alexander I only slowed down the deterioration process. Büsching, the promoter of the description, verified his opinion in 1786, and stopped applying the concept. The symbol, written down in many popular books, however, survived, and was copied by numerous subsequent artists throughout the whole of the 19th century. The consequence was the clash of travellers’ expectations with the grim realities, this exemplified by the 1814 experience of Casimir Stanislas d’Arpentigny. Such a situation yielded the saying Similar like Białystok and Versailles, applied to describe two totally incongruous elements.

Almanach wrocławski na rok 1495 w katalogu Sichergestellte Kunstwerke im Generalgouvernement, czyli o losach polskich zbiorów artystycznych w okresie II wojny światowej

Author(s): Tadeusz Zadrożny / Language(s): Polish Issue: 4/2018

Wrocław Almanac for 1495 in the Sichergestellte Kunstwerke im Generalgouvernement Catalogue. From the Research into the History of Polish Artistic Collections during WW II It is the Wrocław Almanac for 1495 (GW 1502) from the collection of the Jagiellonian Library in Kraków (Inc. 1979), included in the Sichergestellte Kunstwerke im Generalgouvernement Catalogue, elaborated and printed in the first half of the 1940, that is discussed in the paper. The Catalogue was not a publication in circulation, but a sumptuous canvas-bound volume printed in merely over a hundred copies, and containing the report of Kajetan Mühlmann, fulfilling his mission of the Sonderbeauftragte für die Erfassung und Sicherung der Kunst- und Kulturschätze, namely of the Special Delegate for the Registration and Securing of Artistic and Cultural Treasures on the Former Polish Occupied Territories, from the first stage of his activities and those of his office from October 1939 to June 1940. The mission’s goal was to catalogue, as well as make a qualitative selection and secure items valuable from the point of view of the interest of the German State from among the Polish artistic collections on the territory of the General Government, i.e. Polish occupied territories. According to the introduction to the Catalogue, the Special Delegate and his co-workers were supposed to demonstrate their exceptional efficiency, in merely six months overtaking all the artistic resources in the occupied country, while also studying them at the same time. The author of the Introduction, possibly Kajetan Mühlmann himself, questioned, or more strictly speaking, negated an independent development of Polish art, demonstrating the impact of the German culture in Eastern Europe. Moreover, he boasted that all the works recorded in the Catalogue, and of European standing, regardless of their place of origin, essentially expressed, also in their character, only the German spirit, proving the power of German culture. The undertone of the Introduction, as well as the used phrases, and the meticulously lavish cover of the Catalogue prove that it was a purposefully and unequivocally work of a propaganda, while the seemingly academic claims they contained were groundless. When analyzing the description of the 1495 Wrocław Almanac in the Sichergestellte Kunstwerke im Generalgouvernement Catalogue, the Author was determined to thoroughly analyze the external form of the print, its factual contents, as well as the woodcut decoration enriching the Almanac. He also traced all the changes occurring in the bibliographic records, and subsequent stages of the research into the item, particularly sensitive to any fake trails that occasionally appeared, and which subsequently undertaken by scholars or bibliographers, could reveal their inspirations. Consistently following his adopted method, the Author proved that the note by the German functionary and related to the Wrocław Almanac was based on the note by Zofia Ameisen published in 1929 in Volume 69 of the Einblattdrucke des Fünfzehnten Jahrhunderts series, accepted uncritically, with no verification, merely substantially reduced. The putting together the descriptions of other items selected for the Catalogue part dedicated to graphic art and actually limited to graphic incunabulistics allows to state that the German functionary, representative of the office of the Special Delegate who decided which objects were to be selected for confiscation, and later elaborated, and who put together the notes in this section, in all of the activities was dependant on the earlier publications by Prof. Ameisen, a custodian at the Jagiellonian Library, of Jewish descent, at the time away from Kraków, staying in Łuck, thus on the territories occupied by the Soviets. As has been ascertained by the paper’s Author, the German functionary Werner Kudlich, administrator of the Regional Museum in Opawa, a PhD, was appointed a functionary in the Office of the Special Delegate while being enrolled in the SS Totenkopf-Standarte formed at the time in occupied Kraków. Not knowing the whole collection, he selected those objects that had been earlier elaborated, so they had already been noticed, their value confirmed, and what was more, a ready-made description was available. From the 27 objects selected for confiscation and described in the Sichergestellte Kunstwerke im Generalgouvernement, which were extremely rare or almost unique prints, only one incunabulum containing 14 coloured wood engravings, namely Passio Domini Jesu Christi secundum quattuor Evangelia [German], Augsburg: Johann Bämler, 1475, returned to the Jagiellonian Library after WW II. Others, the rest of the 27 objects, are still wartime loses.

Смяната на имената като сюжет в киното от периода на Прехода и след него

Author(s): Nikolay Papuchiev / Language(s): Bulgarian Issue: 3/2020

The article was written in the frames of the project „The Transition after 1989 – the interpretations of historical transformations, social experience and cultural memory in the modern Bulgarian literature and culture“. In the main focus of the present study are two movies. The first one – „Gori, gori, ogunche“ (Burn, Burn Fire) (1994), scenario – Malina Tomova, director – Rumyana Petkova, is a metaphor of the initiated by the Communist government process of the violent change of Turks or Arabian names of Bulgarian Muslims, realized in 60-ties and 70-ies of 20th century. The second movie – „Radiogramofon“ (Radiogram) (2017) – scenario and director Ruzie Hasanova – is a more concrete narrative about a particular family story, which happened in the beginning of 70-ies. Analysed in a confrontative aspect both movies show different social and cultural aspects of the so-called Time of transition and the time after it. This approach helps to understand the main topics of changing Bulgarian society – the collective images, the attitudes towards history, the problems of group identities in new social, political, economic and historical period.

Между тревожността и интимното. Драматургията на Михаил Величков

Author(s): Nikolay Kirilov / Language(s): Bulgarian Issue: 3/2020

This article is dedicated to the dramaturgy of one forgetfulness Bulgarian playwright from the years of the so-called Socialism when he builds his own existential poetics, different from the official ones. The meaning of human life is understood by Velichkov as balancing between two categories – the mystery of Intimacy and the wisdom of Anxiety. His style has been seen as a language of silence and anger as a language of Harold Pinter and David Campton. His style has been seen as a language of Poetry itself, as a language of Theatre as a Ritual of the Love.

Драматургията на Станислав Стратиев и наследството на commedia dell’arte

Author(s): Alexandar Panov / Language(s): Bulgarian Issue: 3/2021

The article seeks to outline the basic constructive principles in the dramaturgy of Stanislav Stratiev. Even in a superficial overview of his comedies, it is clear that they are not built according to the usual dramaturgical scheme, in which the action is driven by the opposition between a reasoned desire of one of the characters and the obstacles to fulfilling that desire posed by circumstances or by any other character. In most cases, Stratiev's initial situation introduces some sharp provocation to the every lifestyle, which provokes a series of actions following not the course of the dramaturgical action, but the accidental changes in the situation. It is this series of actions, realized in a series of poorly connected episodes in a single plot thread that also carries the main ideological message of the play, presenting various aspects of the main, developed in it, social problem. The theatrical model used by Stratiev is, by this sign, strongly reminiscent of the model introduced in the 16th century by the Italian commedia dell'arte. The article analyzes the four main features of this theatrical model. First of all, the plot framework in which the spectacle develops is considered. In the case of commedia dell'arte, this function is performed by the so-called canovaccio – a finding description of a series of episodes with a detailed presentation of the actors and their actions. This plot frame arranges a series of poorly connected episodes called lazzi. Their content highlights various absurdities and contradictions in a living subject more to ideological dogmas than to normal human logic. In these episodes, typical figures of public life take part, whose characters and actions define them more as masks than as living people. The only exception is only the couple in love, who are present in each of Stratiev's plays. Those in love, striving for normal human dreams and values, just as they do in the world, usually fall victim to the circumstances in which they are forced to live. And since a spectacle built on a typized plot and typized character-masks must always be fresh and topical, commedia dell'arte uses improvisation, in which typized acts are presented using topicals of the context in which the spectacle takes place, events, and lines. In the case of Stanislav Stratiev, this is the biggest problem facing the current productions of his plays, because, for the most part, they contain the reals, slogans, and problems of socialist society, which are not relevant today. At the same time, the main problems that Stratiev's comedies pose have not lost their relevance. And it's a challenge that's increasingly finding a solution.

Ариадна и Лабиринта. Хипотези около женското начало в двете „салонни пиеси“ на Димитър Димов

Author(s): Nikolay Kirilov / Language(s): Bulgarian Issue: 3/2021

The article discusses two of the plays of the classical Bulgarian writer Dimitar Dimov: "Women with a Past" (1959) and "The Guilty One" (1961). The female rudiment is seen as a basis for the structure and style of the dialog, also for ‘deheroization’ of male characters. In the sense of Balzac's allegory of marriage as a Labyrinth, the relations of the characters are understood. In the context of socialist society, during which the plays were written, the small-talk in the plays is interpreted as a mask for the dangerous topics. In the two plays of Dimov a parallel, along with the paradox-style of O. Wilde plays, but and with A. Chekhov’s poetics is found. Dimov's works are understood as conquered by the image of the Femininity, as a strong and at the same time weak and charming rudiment.

Meme Culture and the Joy of Recognition

Author(s): Elena Panova / Language(s): English Issue: 2/2022

The twenty-first century gave birth to a new generation of “internet natives” that are actively developing a new form of communication – the laconic semi-visual and semi-verbal tidbits of wit and wisdom known as memes. The study of memes is only just beginning to emerge, mainly in the West, and the ubiquitousness of the phenomenon requires researchers to actively classify the linguistics of meme culture according to its integral semiotic properties and its unique historicity. Memes have become the new form of sharing and togetherness, and to ignore the significance of this phenomenon is to miss the core dynamics of the new generation of communicators.

Evaluating the Impact of Interactive Cinema in Audiovisual Literacy and Education: An Eye-Tracking Study

Author(s): Giorgos Dimitriadis,Katerina Gouleti,Michalis Kokonis / Language(s): English Issue: 1/2024

The present paper explores the use of interactive cinema in education from the perspective of young students’ responsiveness. With the use of an eye-tracker, gaze data was collected from students aged between 10-13 years who watched a short film extract, enhanced with a number of interactive elements or “hotspots” that appeared during playback. During the experiment, the eye-tracker collected data on the behavioral patterns of student participants with regard to their willingness to access the interactive elements on screen, the time they devoted to reading them, possible optimal positions of those elements, etc., also studied in relation to demographic information concerning age group, area of living, and gender of the participants. The aim of the experiment was to assess students’ responses in the context of exploring the prospects for using interactive cinema in education in order to teach elements of audiovisual literacy as well as any other cross-curricular content.

Organy i organiści w parafii Racławice w latach 1650-1998. Studium źródłowe

Author(s): Tomasz Moskal,Piotr Wiśniewski,Rastislav Adamko / Language(s): Polish Issue: 12/2023

This article deals with the organ and organists of the Racławice parish (Sandomierz diocese) over a period of nearly 350 years. The parish church was erected in the late 13th/14th century. Source information about the church’s furnishings goes back to 1604, while it was not until 1650 that the first mention of a musical instrument was recorded. In the 18th century, a 13-voice organ is mentioned, which was in use until 1914. After the church fire during World War I, a two-voice harmonium was used, which was replaced by a 12-voice organ in 1955. Attempts made by the then parish priest to build a new organ eventually ended with the expansion of the existing instrument. A 25-voice organ was commissioned in 1975 and moved into the new church in 1998. Sources provide information about the organists of Racławice from 1694 on. From the 19th century comes detailed information about the housing conditions and salaries of organists, and from the 20th century their training and involvement in the musical culture of the parish.

Kultura muzyczna trynitarzy w podkrakowskim Kazimierzu w XVIII wieku

Author(s): Marek Bebak / Language(s): Polish Issue: 12/2023

This article, based on archival sources, presents some new information about the musical culture in the Trinitarians’ church in Kazimierz near Krakow during the 18th century. The study is divided into five parts: the first indicates the feasts and ceremonies when the musicians were present in the church. The second documents the names and/or surnames of some 20 organists employed by the monks. The third shows since when other church ensembles (Jesuits’ and Academic) have performed the polyphonic repertoire in the Trinitarians’ church. The fourth part of the article presents the instruments which were used in the church in the 18th century. In the last part of the article, there is some information about the musical setting of the services. On the basis of the Trinitarians’ legislation and the manuscript chronicle, it is known that both plainchant and polyphony were performed during the liturgy.

Od salonu do buduaru. Wystrój i wyposażenie wnętrz łódzkiej burżuazji 1890–1939 – wybrane problemy

Author(s): Łukasz Grzejszczak / Language(s): Polish Issue: 11/2023

At the beginning of the 20th century, the social structure of the Łódź bourgeoisie is dominated by the petty bourgeoisie group, that makes up about 20% of the citizens, while the bourgeoisie that derived from it constitutes about 7%, with the representatives of wealthy intelligentsia estimated at about 2.2–5%. In the intital stages of establishing their lifestyles they aspired to follow the living patterns of the upper class, espacially the aristocracy. According to the words of Norbert Elias – Elegance and sophistication, being the basis of prestige, allow them to separate from other social strata, just as it was in the case of the aristocracy. One of the core elements of social status was having a adequately equipped home, because as Walter Benjamin said ”the interior, for the private man, represents the universe. In the interior, he brings together the far away and the long ago”.The interior is a space strictly defined by boundaries and functionality, in which not only basic human needs are contained, but also the desire for comfort. It is reflected in the representative functions that support the social life, limited not only to the extended family, but involving a much wider community.The article provides a closer look at the issues of designing and decorating the interiors of both residences and apartments of the rich, predominantely neostylish in nature, subordinated to certain content, among which the will of self-presentation was the most prominent. Were they just the products of ever changing trends or a universal value derived from the ideas of representativeness and privacy? The article presents the results of research related to material culture, furnishings, iconographic program of interiors and customs. It references archival and iconographic materials including, but not limited to diary accounts and memoirs. It focuses on various parameters for ordering not only furniture.

Remiksowanie iluzji. Krzysztofa Wieczorka droga od grafiki do malarstwa

Author(s): Dariusz Leśnikowski / Language(s): Polish Issue: 11/2023

Krzysztof Wieczorek, a Lodz-based artist who died in 2021, was an outstanding printmaker. In his creative pursuit, he revealed himself as an inquisitive modern mannerist. In his works, he “processed”, among other things, quotations from the paintings and prints of Hercules Seghers. Fragments of landscapes created by the Dutch artist complemented the landscape composed by the Polish artist.Wieczorek used various graphic and painterly interventions to complete the picture. These efforts were aimed at differentiating the prints from the edition, making them unique. In his artwork Krzysztof Wieczorek used previously made matrices, also their fragments, juxtaposing them in various configurations. We can speak here of a kind of “remixing” of the artistic content. Wieczorek created variants of images and even sequences of them. The successive modifications of the graphic background were made largely through complex actions of a painting character.In Wieczorek’s works, the base is both a homogeneous graphic print and their collage. The component parts could be executed in the etching technique, aquatint, mezzotint, drypoint, or come from a computer printout. The choice of technique (or techniques), the degree of destruction of the matrix (carried out, for example, by roughening, engraving and etching the surface) determined to some extent the further actions of the artist. So did the use of coloured papers for printing. The artist also experimented with substrates, using surfaces of canvas, cardboard or wood for his compositions. The graphic’s background was subjected to the painting interventions. The artist applied a layer of watercolour, oil or acrylic paint to the surface of the graphic. He would impregnate the surfaces with varnishes.The essence of the creative inquiry undertaken by Krzysztof Wieczorek, of course, lies in maintaining a balance between the technical and technological aspects and the aesthetic qualities of the work and the content determined by the elements of the depicted world. In his search, the artist addressed the complex relations between what is graphic and what belongs to the painting domain. He was looking for a universal, integral language of visual communication.

Fabryka Wyrobów Metalowych Famak – zapomniana firma łódzka

Author(s): Łukasz Grzejszczak / Language(s): Polish Issue: 11/2023

The article presents the pioneering results of research on the history of Fabryka Wyrobów Metalowych Famak, the largest manufacturer of cutlery and table accessories in Łódź in the 1920s. So far, the literature on the subject has not dealt with issues related to the activities of Łódź – based companies producing clad products. The creation of the plant, its history and production profile are described.

Młyny czasu. Mąka

Author(s): Krzysztof Cichoń / Language(s): Polish Issue: 11/2023

РАЗВОЈ МУЗИЧКИХ СПОСОБНОСТИ И (МУЗИЧКЕ) КРЕАТИВНОСТИ КРОЗ ПРИМЕНУ ИМПРОВИЗАЦИЈЕ У НАСТАВИ МУЗИКЕ

Author(s): Bogdan R. Pindović / Language(s): Serbian Issue: 82/2023

In this paper, we used the method of theoretical analysis of previous research on musical abilities as an essential condition for practicing music. Due to its significant role in education, different methodical and didactic solutions are ap- plied in teaching practice that would encourage the development of musical abilities, knowledge, and skills in the most effective way. Improvisation plays an essential role in this process and, when applied in class, positively affects creative thinking and musical development. In the paper, the essential elements of musical abilities are presented, and the activities that can contribute to their development are listed, along with the views of relevant authors on creativity as an aspect of musical gifted- ness. The aim of the work is to show the place and role of improvisation in general education and music schools as an activity that introduces children to the world of culture and art but also significantly impacts the development of musical abilities, skills, and knowledge.

THE PEDAGOCIAL POTENTIAL OF POPULAR MUSIC LYRICS IN TEACHING GRAMMAR IN FOREIGN LANGUAGE CLASSROOMS: SENTENCE STRUCTURES IN ENGLISH

Author(s): Maja M. Žarković Mccray / Language(s): English Issue: 82/2023

Popular music is an integral part of the cultural landscape of the modern world, and its influence on language and communication cannot be overstated. This paper examines the advantages of integrating popular music lyrics into foreign language classrooms, with a particular focus on sentence structures. Using a corpus of 802 songs with more than 200 million views on YouTube, the research aims to explore the accuracy of popular music lyrics with respect to different sentence structures and subject-verb agreement. The initial hypothesis suggested that popular music lyrics would predominantly contain grammatical errors, which our analysis revealed showing that 396 songs were grammatically correct (49.37%), while 406 songs contained errors (50.62%), resulting in a total of 1506 syntactic errors, 794 of them being related to sentence structure errors and 417 to the incorrect subject-verb agreement. The remaining errors (295) were related to double negatives, which we did not analyze in this paper. The most frequent sentence structure errors included the omission of auxiliary verbs (470 instances), auxiliary verbs that were used as main verbs (110), incorrect verb order (76), bare infinitives that were used as auxiliary verbs (77), and incorrect use of objective pronouns (61). The study utilized a combination of manual and descriptive analysis to investigate the potential benefits of incor- porating popular music lyrics into foreign language classrooms. The findings indicate that such integration can help students develop meta-language awareness and expose them to various language registers. Overall, the research demonstrates the pedagogical potential of popular music lyrics as a resource for foreign language instruction, particularly for teaching grammar and syntax. By using popular music lyrics in foreign language classrooms, educators can cre- ate an engaging and diverse learning environment that helps students comprehend and utilize language in various contexts, ultimately leading to more effective language learning outcomes