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Spór i dialektyka wyznań religijnych w Responsorium et Hymnus Felixa Mendelssohna

Author(s): Kwen-Yin Li / Language(s): Polish Issue: 02 (37)/2018

This essay aims at discussing the problem of Felix Mendelssohn’s attitude towards different religions shown in his choral piece Responsorium et Hymnus Op. 121 for male choir with cello and double bass. Considering the arguments concerning composer’s self-identity provided by Jeffrey Sposato, we could interpret the Lutheran chorale appearing at the end of this Catholic liturgical work as means by which Mendelssohn tried to manifest his Lutheran faith and therefore to criticize Catholicism.However, if we examine more carefully the very end of this composition, we would find that the musical material, characteristic for each faith, form a dialectical and dynamic relation. It seems that – instead of criticizing Catholicism – Felix showed the possibility and the necessity of different faiths to coexist, which, according to the idea of religious pluralism andtolerance proposed by composer’s grandfather, Moses Mendelssohn, is the only way to discover religious truth. At the end of this paper, I would like to propose that the reception history of Felix Mendelssohn’s work and life from the post-Wagnerian and anti-semitic criticism to so-called Mendelssohn Renaissance in the second half of 20th century also went through a dialectic course. We cannot fully understand and interpret them without taking a multi-aspect view.

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Zastosowanie technologii cyfrowych w materialnej przestrzeni budynków sakralnych

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Zastosowanie technologii cyfrowych w materialnej przestrzeni budynków sakralnych

Author(s): Adam Rosiński / Language(s): English,Polish Issue: 51/2018

The presence of digital devices at every aspect of life surely affects the contemporary culture, what may have a big impact on functioning of churches in Poland. The article’s author, aware of the disadvantages and advantages of digitization, focuses exactly on select elements of digital technology usage in churches, such as digital modelling of acoustics of sacral buildings, including the use of microphones and loudspeakers for church’s sound system, digital multicolour LED lighting, screens displaying texts of the religious songs for the church attendees.

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Od šizofonije do šizmogeneze: “world music” i “world beat” kao diskursi i prakse komodifikacije

Author(s): Steven Feld / Language(s): Serbian Issue: 65.11/2002

U ovom tekstu bavićemo se “sukobima oko toga šta se može smatrati muzički prihvatljivim” u procesu “proizvodnje diskursa” o pojmovima “world music” i “world beat”. U prvom delu eseja pokušaću da ispitam složene i slojevite reprezentacije i uloge glasova koji se različito pozicioniraju kao glasovi pripadnika akademije, novinara, poklonika, muzičara, domorodačkih naroda, kritičara, insajdera u muzičkoj industriji i potrošača. […]

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“Dragulji doneti iz ropstva”: crna muzika i politika autentičnosti

Author(s): Paul Gilroy / Language(s): Serbian Issue: 62.8/2001

U savremenim debatama o modernosti i njenom mogućem pomračenju, kojima smo se bavili u prethodnom poglavlju, muzika uglavnom biva ostavljena po strani. To je neobično budući da je moderna diferencijacija istinitog, dobrog i lepog direktno izvedena u transformaciji javne upotrebe kulture uopšte i sve većem javnom značaju svih vrsta muzike. Izneo sam stav da su kritike modernosti koje je artikulisao sled generacija crnih intelektualaca zasnivale svoje rizomorfne sisteme propagacije u stalnoj blizini neizrecivih užasa iskustva ropstva. Izneo sam i mišljenje da je ova kritika animirana dubokim osećanjem postojanja saučesničkog odnosa između rasnog terora i razuma. [...]

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Dzieje organów w Diecezjalnym Sanktuarium Matki Bożej Bolesnej w Skrzatuszu (cz. I)

Author(s): Wiktor Z. Łyjak / Language(s): Polish Issue: 6/2018

The text presents the history of organ in Skrzatusz, starting from the cost estimate in 1866 at Wilhelm Sauer in Frankfurt (Oder). The instrument with 19 voices was created in 1874, and its construction was carried out by the said Sauer factory. The time of building the work is confirmed by both hand-written files and until now unknown company's catalog from 1882, printed on the occasion of its 25-year jubilee. In 2004, the building underwent a major renovation and this time is the final date of development. The article contains copies and abstracts of German-language messages about the preservation of the old music choir together with a dummy built-in – a positive, a remnant of a former instrument. This study is the first in a series of organ history in Skrzatusz.

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Ontologie hudebního díla: platonismus vs. „platonismus“

Author(s): Jiří Raclavský / Language(s): Czech Issue: 2/2007

Text Šedík (2007) Michala Šedíka vyhodnocuje moji stať Raclavský (2004) jako chybnou interpretaci Popperovy teorie tří světů, dále předkládá aplikaci Popperovy teorie na problém ontologie hudebního díla. Co se týče prvého, obhajobu mého přístupu jsem nakonec vypustil;1 jen shrnu, že a) z mnoha indicií mého textu je zjevné, že mi vůbec nešlo o skutečnou interpretaci Popperovy teorie tří světů a proto je neadekvátní ji jako interpretaci číst, b) že je třeba rozlišit intepretaci1, tj. nanejvýše adekvátní interpretaci Popperovy litery, dále interpretaci2, tj. reinterpretaci Popperovy teorie do určitého pojmového rámce (třeba do pojmosloví současné analytické filosofie v čs. kontextu), a dále, vzhledem k vágním Popperovým formulacím, které si někdy protiřečí,2 či dokonce vzhledem k tomu, že do světa 3 klade lidské nástroje (jak vysvětlit vliv kladiva, objektu ze světa 3, na hlavu či psychiku nějakého člověka jde pak jistě bez jakýchkoli obtíží), neboli, že vzhledem k nešťastnému způsobu, jak Popper svět 3 zadefinoval, je potřeba (pokud Popperova teorie má být vůbec diskutována) vybrat si to lepší, to neproblematické – nu a Popper jako návod pro takovou interpretaci3 opakovaně nabízel srovnání s Fregeho teorií tří říší, kterémužto výkladu odpovídají mnohé a mnohé Popperovy příklady obyvatel světa 3; právě nad touto interpretací jsem se tehdy, jak je patrné z mého textu, zamýšlel.

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Guglajte kako biste progooglali!

Author(s): Jelena Ilić / Language(s): Bosnian Issue: 3/2006

U radu se razmatra problematika upotrebe stranih riječi u bosanskom jeziku, posebice stranih riječi engleskoga porijekla i to na polju jednog od novijih medija, Internetu, odnosno na forumu Tuzlarije. Utvrđuje se da je upotreba stranih riječi suviše česta, ako ne i pretjerana, kao što pokazuje analizirana jezična građa, iako se adaptacija nekih engleskih riječi izvršila i prije tri desetljeća. Također, novi problem nastaje zbog enormnog “uvoza” novih riječi u bosanski jezik, pretežno zbog znanstveno-tehnološkoga bujanja, kao i procesa globalizacije. Takve se riječi trenutačno pišu u svom izvornom, engleskom obliku, i kao takve mnogi (najčešće odrasli) ih smatraju doista stranim, te bi ovaj rad bio mali poticaj da se ozbiljno radi na njihovoj adaptaciji ili pak da se nađe bosanski naziv za njih.

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Muškarac kao glazbenik: konstrukcija i samoinsceniranje u tradicionalnim glazbenim kulturama

Author(s): Gabriela Petrović / Language(s): Croatian Issue: 3/2006

O tradicionalnim glazbenim kulturama u BiH teško je govoriti globalno jer, sa svojim višekulturnim i višereligijskim identitetom, ona se razlikuje od većine zemalja Europe. Nakon propasti i povlačenja velikih imperija (otomanske i habzburške) koje su ostavile utjecaj na slavenski supstrat, na ovome se području isprepleću (inkulturiraju) dva kulturna civilizacijska kruga: kršćanski (koji se može promatrati kao katolički i pravoslavni, odnosno hrvatski i srpski) i muslimanski (bošnjački). Ove razdvojene glazbene kulture ujedinjene su tankom niti (južno)slavenske civilizacije koja se kroz povijesne (ne)prilike postupno, nekada grubo, a nekada manje grubo, prekidala, kalemila ili potpunoma zatirala. Zato je, za razliku od većine europskih zemalja, u BiH etnokulturni i nacionalni identitet važna osnova i kriterij pri donošenju bilo kakvih ozbiljnijih sudova. Iz toga razloga, uloga muškarca kao muzičara nije ista u cijeloj Bosni i Hercegovini, nego se ona nameće u nekim glazbenim oblicima i kulturama kao dominantna, a u drugima se muškarac ili uopće ne pojavljuje ili vrlo rijetko. Npr. nema muškaraca koji pjevaju uspavanke (djetetu) ili tužbalice (za pokojnikom!).

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“GIVE AND TAKE”: REPRESENTATIONS OF THE POST-SOCIALIST “NEW BOURGEOISIE” IN MUSIC VIDEOS

Author(s): Ondřej Daniel / Language(s): English Issue: 1/2018

This article explores the critical question of how music videos portrayed the “new bourgeoisie” in early post-socialist music videos. Additionally, it tackles two side issues: the depiction of criminal groups and foreign countries. Unlike the “new class”, post-socialist new bourgeoisie emerged as a class that was entirely economically defined by its own material interests. Several values attributable to post-socialist “new bourgeoisie” can be discerned from the music videos: an interplay of ambitions and hedonism, cosmopolitanism as well as of patriotic narratives, and the aspiration of the new bourgeoisie to assert its culturedness vis-à-vis the “intelligentsia”.

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Percepcja emocji i interpretacja dzieł malarskich poprzez tłumaczenie audiowizualne – rola audiodeskrypcji w nauce niewidomych uczniów

Author(s): Damian Wątrobiński / Language(s): Polish Issue: 8/2018

Cel badań. Przeprowadzone badania oscylują wokół zabarwienia emocjonalnego deskrypcji do reprodukcji malarskich. Punkt wyjścia dla rozważań nad audiodeskrypcją jest podział dokonany przez Romana Jakobsona, wedle którego audiodeskrypcja daje się sklasyfikować jako intersemiotyczny typ tłumaczenia audiowizualnego. W artykule zostaje podany zarys audiodeskrypcji w Polsce oraz jej ogólne ujęcie w dyskursie naukowym. Zwraca się uwagę również na dwa podejścia do tworzenia opisów audiowizualnych – niemieckie (zadaniowe i techniczne) oraz polskie (artystyczne i nastawione na wzbudzenie emocji u niewidomego odbiorcy). Celem badań jest ukazanie połączenia dydaktyki i przekazu emocji w audiodeskrypcji i określenie ich funkcji. Metodologia. Przedmiotem badań jest publikacja Beaty Jerzakowskiej Posłuchać obrazów, w skład której wchodzą deskrypcje do obrazów z Podstawy programowej dla uczniów gimnazjum i liceum. W ramach artykułu dokonana zostaje analiza jakościowa dwóch deskrypcji pod kątem językowym, para-tekstualnym oraz z uwzględnieniem elementów dydaktycznych. Wyniki. Audiodeskrypcja jest komunikatem emocji, która pomaga uczniom rozwijać swoją wrażliwość i poznawać nowe konteksty kulturowe. Wnioski. Deskrypcje spełniają funkcję artystyczną, ponieważ zastępują warstwę wizualną wyjściowego dzieła. Poza tym badane audiodeskrypcje niosą ze sobą funkcję edukacyjną, ponieważ stanowią uzupełnienie kształcenia literackiego i językowego uczniów. Kolejną funkcją audiodeskrypcji jest ich pragmatyzm – autorka książki świadomie łamie przyjęte standardy tworzenia audiodeskrypcji, dodając do opisów m. in. pytania retoryczne, metafory i synestezje. Ponadto dydaktyzm i próba przekazu emocji uwidaczniają się również w warstwie brzmieniowej tekstu oraz w muzyce wkomponowanej w każdą z AD.

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« LE NÈGRE DEBOUT » : L’ESPRIT DU JAZZ ET DU BLUES CHEZ LES POÈTES DE LA HARLEM RENAISSANCE AMÉRICAINE ET DE LA NÉGRITUDE FRANCO-CARIBÉENNE

Author(s): Józef Kwaterko / Language(s): French Issue: 2/2017

This paper is devoted to the ideological and aesthetic affinities between the Afro-American poetry of Harlem Renaissance (1920–1960), called also the “New-Negro”, and the poetry of Negritude, a literary movement born in Paris in the 1930s’ among the poets coming from French Antilles and Madagascar, and particularly popular in the French Caribbean, Guyana and Haiti in the 1940s’–1960s’. I will start with the analysis of the historical context and I will focus on the personal contacts between the poets of the two literary movements as well as on the impact of the black American poetry on the French literary journals involved with Négritude (Légitime Défense, La Dépêche africaine, La revue du monde noir et Présence africaine). Subsequently I will analyze poems by Claude MacKay and Langston Hughes on the one hand, and Aimé Césaire (Martinique), Léon-Gontran Damas (Guyane), Jean Fernand Brière (Haiti) on the other. I will attempt to highlight the affinities between the two sets of poems, both on the thematic and ethical level (exile, identity issues, antiracist and anti-bourgeois claims), as well as on the level of poetics (interest in orality, similarities between the lexical fields and rhetoric, similarities in rhythmic structures and the musicality of the verse inspired by jazz and blues ).

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LEO TOLSTOY’S AND JOSEPH CONRAD’S RELATION TO MUSIC

Author(s): Brygida Pudełko / Language(s): English Issue: XII/2017

It is important to stress that Tolstoy’s and Conrad’s texts are to be understood to include not only literary, and thus verbal, texts but also elements of other media, such as music, theatre and visual arts. It should be noted that for Conrad music was also one of the arts that he greatly appreciated. Though Conrad’s main concern was to make us “see,” he was also concerned with making us “hear.” The use of music to accompany sexual desire, frustration and violence is a technique often used by the writer. Likewise, music had an enormous infl uence on Tolstoy. He was fascinated with its power, just as with the power of sexuality, beauty and war. His favourite composer was Chopin, but he also appreciated Mozart, Haydn, Weber, and Beethoven. In The Kreutzer Sonata and Other Stories Tolstoy expresses his complex and controversial views on marriage and sexuality, focussing on his protagonist Pozdnyshev and his wife, who performs Beethoven’s Kreutzer Sonata with a spirited violinist Trukhachevskii. The obsessive nature of Pozdnyshev’s jealousy is nowhere more obvious than in the sexual power he ascribes to music, and particularly to the initial part of the presto of Beethoven’s sonata.

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A Post-Doctorate in Musicology: Bronisława Wójcik-Keuprulian and Her Path to a Scientific Career

Author(s): Michał Piekarski / Language(s): English Issue: 117/2018

The musical milieu of Lwów in the first half of the twentieth century was characterised by dynamic activities of women, particularly as music school students, which was the reverse of the situation prevailing in the other schools – particularly, tertiary schools. This fostered the female students’ keen interest in musicology, especially that Musicology was launched as a new major at the local university in 1912. Bronisława Wójcik-Keuprulian was its first graduate ever (in 1917). In 1934, she was the first woman in the history of Polish science to receive a post-doctoral degree (so-called habilitation) in Musicology at a Polish university. This was accompanied by multiple complications, including those caused by the Head of the Chair of Musicology. Yet, the applicant’s resolve brought about a successful end.

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L’Opéra au service de la Nation. La relecture rhétorique de la Guerre de l’Opéra de Jacques Cazotte

Author(s): Sebastian Zacharow / Language(s): French Issue: 1/2018

The premiere of Serva Padrona by Pergolese at the Paris Opera divided deeply the French society of the Age of Enlightenment. The famous Querelle des Bouff ons has become the nucleus of a lively debate, from which, what is to be emphasized, none of the sides was triumphant. In his treatise Guerre de l’Opéra, Jacques Cazotte, emphasizing his impartiality, stands in defense of French music. By proving the superiority of Mondonville’s works, Cazotte is aware that only strong arguments can convince the philosophers. Accused by many of being “scientific” and in consequence, being incapable of expressing all the nuances of human passions, the French music, thanks to the ability to perform rhetorical functions, reserved, as it may seemingly appear, for forewords and literature, can not only conform to the rules, but also can please and touch. The French Opera, as Cazotte poves, fills perfectly the rhetorical target of persuasio with an intelligent and effective rhetoric and expresses the spirit and sensitivity of France. The purpose of this article is to refl ect on how Cazotte defends French music from the fashion for Italian music, which had a strong infl uence on the French aesthetics of the Age of Enlightenment, as well as from the philosophers of the epoch who would discredit at all costs the work of French composers in the eyes of the audience.

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Azbest Punk

Author(s): Agnieszka Karpowicz / Language(s): Polish Issue: 03/2017

The article analyses the lyrics of Polish punk rock songs showing their relationship with urban culture. By considering punk culture as an urban culture it interprets an impact of architecture and its materiality on the character of music and texts.

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A jeśli nie "wrocławska piosenka", to co?

Author(s): Jacek Grębowiec / Language(s): Polish Issue: 03/2017

The topic of the article is music that is strongly connected to the history of post-war, Polish again, Wroclaw — the city and its cultural, social and political landscape. This includes not only songs composed by artists from Wroclaw, but also songs dedicated to this city. In the article, songs from different timespans are analysed: the ones composed in the 1950s, in the pioneering period of restoration, as well as countercultural songs from the 1980s. The paper is complemented by an analysis of the newest songs that pretend to be hits or anthems of Wroclaw, although they have never gained the same fame as classical songs written by Maria Koterbska or new-wave band Klaus Mitffoch.

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Nuta po nucie. Lokalność muzyki popularnej a miejska tożsamość

Author(s): Maciej Smółka / Language(s): Polish Issue: 03/2017

Popular music is an indispensable part of peoples’ lives, shaping not only their aesthetic sensitivity and providing entertainment, but it also has the potential to construct their identities. Often having a strictly local character, it tells stories about regional specificity, creating its image and influencing its perception, while constructing the identity of its listeners. In this context, musical pieces directly related to the uniqueness of cities, some of which are often perceived as culturally distinctive from their surroundings, seems particularly interesting. The purpose of this paper is to analyse the topic of locality in music and its influence on the construction of urban identity. By studying cultural studies’ texts with particular emphasis on the concept of world cities, the research concentrates on the examples of urban centres, where their musical heritage suggests its strong influence on the construction of local identity. Moreover, the issue is extended to the role of locally-oriented artistic works and the ways in which they can build urban identity. The paper also poses the question about the role of music in shaping local identity and the degree of its participation in the process.

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Miasto jako ideologiczne zakotwiczenie. Miejskie motywy w tekstach zespołów rockowych i hiphopowych w województwie kujawsko-pomorskim

Author(s): Marcin Lisiecki / Language(s): Polish Issue: 03/2017

The aim of the paper is threefold. Firstly, urban motives are closely related to problem of identification with town (street or district). Secondly, this kind of identification is very often connected with sport (in this cases with football and speedway). Thirdly, in rock band text, sometimes, urban motives are related toexistential concepts and reflections.

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Od subkultury do kultury DIY. Miejskie ewolucje kultury punk

Author(s): Michał Rauszer / Language(s): Polish Issue: 03/2017

The aim of this article is to show evolution of punk subculture in the context of a city. The author presents his ethnographical research on punk subculture. Punk is depicted as a two-figure movement. First figure works as a historical reconstruction of early punk contestation character. Second, based on late political engagement, creates a figure of alternative culture in a city. The author describes forms of engagement in movement and reconstructs the line of punk city network.

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74 Grupa Biednych z Ustki. Semantyka i sposoby wytwarzania

Author(s): Xawery Stańczyk / Language(s): Polish Issue: 03/2017

The aim of this article is to analyse the semantics of the urban legend about 74 GrupaBiednych music group. The legendary band was formed in the late 1960s in a small town Ustka on the coast of the Baltic Sea. The amateur musicians created one of the most original groups of the music underground, combining psychedelic rock, free jazz, improvisation, oriental rhythmicity and happening art. However, the group did not achieve success and nowadays is barely recalled in memories and anecdotes as a mysterious hippie band from geographical and symbolic peripheries of the country.

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