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Education seems to be a determining element of culture which by its own support and by using talent expects and refers to the interpretation of pedagogical experience of also music education teachers in changing school conditions and educational connections and at the same time to the adjustment of their professional behaviour to reflected and accepted reality of the educational environment.
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The book presents the history of the Chopin Competition told from the perspective of anthropological and cultural studies, and based on extensive source material. Thanks to this, the authors were able to describe the so far little-known aspects of the history of the most important Polish music competition and one of the most important ones in the world.
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The book presents the history of the Chopin Competition told from the perspective of anthropological and cultural studies, and based on extensive source material. Thanks to this, the authors were able to describe the so far little-known aspects of the history of the most important Polish music competition and one of the most important ones in the world.
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The book presents the history of the Chopin Competition told from the perspective of anthropological and cultural studies, and based on extensive source material. Thanks to this, the authors were able to describe the so far little-known aspects of the history of the most important Polish music competition and one of the most important ones in the world.
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The book presents the history of the Chopin Competition told from the perspective of anthropological and cultural studies, and based on extensive source material. Thanks to this, the authors were able to describe the so far little-known aspects of the history of the most important Polish music competition and one of the most important ones in the world.
More...
The book presents the history of the Chopin Competition told from the perspective of anthropological and cultural studies, and based on extensive source material. Thanks to this, the authors were able to describe the so far little-known aspects of the history of the most important Polish music competition and one of the most important ones in the world.
More...
The book presents the history of the Chopin Competition told from the perspective of anthropological and cultural studies, and based on extensive source material. Thanks to this, the authors were able to describe the so far little-known aspects of the history of the most important Polish music competition and one of the most important ones in the world.
More...
The book presents the history of the Chopin Competition told from the perspective of anthropological and cultural studies, and based on extensive source material. Thanks to this, the authors were able to describe the so far little-known aspects of the history of the most important Polish music competition and one of the most important ones in the world.
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For centuries Cieszyn prized itself on the development of various crafts, including artistic ones. In early times, craftsmen were organised in guilds to which people who exercised the same or a related profession belonged. There was a relatively lower number of instrument makers in Cieszyn, and information about them actually dates back to as late as the 18th century. Today one instrument maker’s workshop operates in this city – it is the Artistic Luthier’s Workshop of Fryderyk Firla, a luthier, a builder of classical instruments and copies of historical instruments. Various kinds of guitars, ranging from classical, historical and national, ethnic ones, are built in the workshop. Firla makes instruments by himself from scratch. His guitars are held in high estimation for their brilliant, warm and robust sound. Apart from building guitars, he repairs stringed instruments, zithers, dulcimers, lutes as well as other instruments.
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Vocal-instrumental religious works of early Classical composers remained in the shadowof secular music for a long time in musicological studies. Despite the fact that our state ofknowledge has undergone a gradual improvement, still many interesting authors of that timeremain unknown. One of the representatives of a temporary period between the Baroqueand Classicism is father Amandus Ivanschiz (1727—1758), a Pauline monk and composerwho stayed in an Austrian Wiener Neustadt and Mariatrost near Graz, and, as the latest researchclaims, was also seen in Rome. In the context of father Amand’s early death, we haveto pay a special attention to a large number of found works (over 100 compositions) andtheir stylistics, clearly introducing Classicism in music. It is expressed in a definite divergencefrom a polyphonic texture and linearism in favour of clear and early Classical “lightness”.The very feature can be observed both in the secular and religious music.Vocal-instrumental compositions by Ivanschiz, the most popular of which are known forits few or even several copies, were maintained in over 260 manuscripts stored in about 70archives in the territory of 8 countries in Central Europe. These are above all masses, litanies,settings of Marian antiphons and other religious works of a cantata structure. One ofthe most serious challenges connected with the research of the repertoire in question is theissue of establishing and confirming the authorship of the composition (the autographsdevoid of doubts have not been found so far), as well as the issue of the variant nature of themessage. It takes on every possible form in father Amand’s music, from small differences insound pitch or transposition (of a whole composition or a part of it) to voice changes or additionof subsequent instrumental parts and a deep recomposition or a change of longerfragments of works. A substantial majority of known copies of his works was created between1760 and 1800, so after his death whereas some of them were copied even in the 19thcentury. It shows how long father Amand’s works functioned, but also calls for a far-reachingcarefulness when making an attempt to locate little-known composers in time on the basis ofthe dates of their work copies
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In her article, the author discusses Tadeusz Kassern’s Sonatina kolędowa for piano andTryptyk żałobny for voice and piano from the period of “an intensified pressure”, that is, thefirst months after the end of the World War II. She formulates a hypothesis that both works,the second of which was devoted to the memory of Roman Padlewski, apart from performingan aesthetic function, were to unite people around the past tragedy, replace the words ofprayers, as well as decrease pain and suffering. Following the methodology of LeonardB. Meyer’s music style, the author defines the style of Kassern’s selected compositions asneoclassicist of an archivising-romanticising type. She reads that the compositions werebased on the rules of neomodality, strategies of exposing basic human feelings and replicapatterns, among whom are among others modal motives, polyphonising texture, dissonanceco-sounds, simple rhythms, irregular and asymmetric phrases as well as deep expression.Having presented both interopus styles in a detail, the author discusses the reception ofworks, underlining two facts. The first one is that right after composing Sonatina kolędowa, itwas played in Poland and the United States of America, the second that Tryptyk żałobny hasappeared on the stage again recently.
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What is crucial for the issues dealt with in question is a differentation between the no-tions of the Orient and orientalism (as understood by E.W. Said and in a non-Saidian under-standing), Indianism, exoticness, and exoticism. Our native (national) variation oforientalism needs to be considered from the point of view of a borderline location of Polandat the meeting of two cultures: eastern and western, as well as Asian and European one, anda reference to a “passion for the Orient wonders” grounded in the Polish tradition.The Indian Orient became the source of inspiration for Polish composers of the first halfof the 20th century in a peculiar way, determined by the very location and tradition, as wellas a delay of the Orient renaissance in our country as compared to the countries of WesternEurope. As a result, an exceptional mingling of reception sources and values was observed.The Indian orientalism in music at that time constitutes above all a reception of a literary(Young-Polish) topos of nirvana as a result of the polonization of Indian elements. The se-cond main source of inspiration is connected with a reception of Rabindranath Tagore’sworks. The wave of this inspiration developed song works to the texts of an Indian poet. Be-sides, what is worth mentioning is an attempt, though rare, to look for the sources of the re-novation of the scale material of the Polish music in the Indian one.“Otherness” and “dissimilarity” as an advantage of the Orient in a dichotomic system.The East and West, in relation to the Indian Orient in a Polish form in the first half of the20th century did not have raison d’être because of Polish conditions and ideological intrica-cies Indianness was then understood, also by composers, as “native”, not foreign.
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Karlheinz Stockhausen’s Licht is his seven-volume, and almost a thirty hour intertextual,intersemiotic, intermedia, interterritory, and, finally, intertextual stage work opus vitae.Acy-cle absorbing him for over one third of his active artistic life is a synthesis of both the topicsinteresting him for a longer period of time, and music solutions. It constitutes an interpreta-tion of not only the music language or an interopus style, but Stockhausen’s individual composing idiom. Important issues, volume of work, combination of links in the cycle —a heptalogy, as well as his contribution to many phases of the realization of the stage workincluding an interpretation of the composing style and personal worldview, inspired manyresearchers to look for often false analogies to the idea of Richard Wagner’s total work.Stockenhausen himself was asked many times about the type of references to the dramaticideas of the author of Tristan and Isolde. In his answers, he always paid attention to the sur-face nature of the analogies in question. He treats his heptalogy as an example of the realcontemporary opera Die zeitgenössische Oper. The paper makes an attempt to answer thequestion on what Licht is from the perspective of the text and music, but also a general mes-sage of the work.
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The aim of the text is on the one hand to show the composer’s attitude toward the issuesraised in the compositions, and his inspirations and references to different cultural traditionson the other. The interpretation of Pieśni chińskie is an attempt to read composer’sattitudes toward nature, inspired by a different cultural tradition of the Far East. Kadisz, onthe other hand, gives rise to noticing composer’s attitude to the tragic character of historicalevents. It is reflected in Krzysztof Penderecki’s special reference to two traditions: a Christianand Jewish one, maintaining their otherness. The first and third part of Kadisz, though beingdifferent in nature, derive from the tradition of European music. The first part Szła śmierć ismournful in character and refers to the European genre of the hymn with an orchestra andconstitutes a form of continuation of the music language and an existential nature of theEighth Symphony. The third part Prosimy Cię, abyś nas na wieki nie wydawał... raises the issueof an idiom of the sacred music for choir a cappella again, deriving from the Renaissance-Baroque tradition. The second and fourth part are inspired by a religious Jewish tradition.The former „Leży na ziemi...” due to a recitation and sublime performance of theBiblical text bring the visions of dangerous reprimands and calls voiced by the prophets ofthe Old Testament. The final part Kadisz Jatom, performing the role of a culmination ofa dramatic and expressive whole of the text, refers directly to expressive and ritual Jewishsongs connected with the danger of a historical event.
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The article presents the history of the Czech minority living in Zelów in Central Poland(Sieradz district) and constituting an Evangelical-Reformed parish there. A historical backgroundof this ethnic-religious group is connected with religious persecution and forced emigrationof Czech brothers, mainly from Silesia, starting from the 18th century. Zelów, boughtby the community in 1803, became a multicultural, as well as a Czech-Polish-German-Jewishtown in the 19th century and remained so until the World War II. The Czech specialty wasweaving (a weaving shuttle is seen in the present-day emblem of Zelów) from the beginningof the 19th century. After 1945 only 10% of the interwar Czech population remained inZelów. Today, about five hundred Czechs constitutes 7% of Zelów inhabitants altogether.The culture of religious singing is the most important symbol of Czech identity. Liturgicalsinging was directed by a cantor cocreating (?) a religious-social-national communityfrom the beginning of the 19th century to 1945. Choirs (?), also the four-voice ones, wereformed in the second half of the 19th century. Religious song books, including Baptist ones,used until recently, come from the end of the 19th century. A church choir, presently rare,cultivates singing in Czech. Choir members know a sacred repertoire as well, however, itplays a secondary role as daily life is also shaped by clustered religious attitudes derivingfrom the practices of an extremely minority confession. Apart from a vocal culture, a teamviolin, mandolin and guitar playing was practised in the interwar period. Recently, children’smusicality has been reflected in the activity of an orchestra of (one-handed) bells (Zelowbells), it being the only one in Poland.
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The phenomenon of singing morning and evening prayers is inscribed into theProtestant tradition. The section of songs assigned to day-time appeared for the first time ina German-speaking song book of Czech brothers published in 1531 by Michael Weisse.From that time he was given a special place in subsequent cantionals and Protestant songbooks. The oldest morning and evening songs, likewise the ones connected with the calendarand church festivals, were maintained in a hymn style, but gained a more sophisticatedform with time. Despite the fact that they were played during church services, their mainpurpose was a private prayer at home. Performing a function of a private prayer, the verysongs became more sensitive to the influence of a folk performing style and diverged fromcanonic versions adjusting to the records in song books and chorale books. Thus, theyshould be perceived as a repertoire shaped and modified by an oral tradition to a greater extentthan for example songs connected with a church calendar. Meanwhile, the 19th and20th century chronicles, memoires, and works published in Cieszyn Silesia contain little informationon a daily singing at home. The lack of the research material on the performingpractice of the Evangelic song, strongly evident especially in the light of dynamically developingstudies in Scandinavian and Baltic countries, gave rise to the need of conducting terrainobservations, the aim of which was just a registration of traditional, old songs, includingmorning and evening ones.In the course of research as many as 130 songs, morning and evening prayers, out of500 registered altogether, were recorded. The biggest collection of texts involving 68 items,created for the purposes of performing them during morning prayers (37 songs) and eveningprayers (31 songs) contains a cantional by Jerzy Heczko. A comparison allows for makinga statement that Heczko took many of these texts from the subsequent editions of theCzech cantional by Jerzy Trzanowski.
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The author makes a characteristic and comparative analysis of the musical culture of twoparishes belonging to the Bielsko-Żywiec diocese, an emphasis being put on the differencesin the repertoire and performance of liturgical songs. A big advantage of the article is numerouskey examples written in a manuscript. Besides, the circumstances of the formation ofthe parish dedicated to the Blessed Virgin Mary in Porąbka and the one dedicated to theLord Jesus Christ in Chybie, as well as the history and specificity of pipe organs arepresented.
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The aim of the article is to present the cultural activity of Dei Patris mixed choir in thecourse of fifteen years of its artistic work in Katowice. The very work includes the formationhistory of the mixed choir, its repertoire, artistic achievements and values. The role of thechoir in question was to serve in liturgical rituals, church ceremonies, but also serve thehomeland — in various ceremonies organized at a town, region and country level. The choirrepertoire covered carols, passion, sacred and patriotic hymns, as well as music compositionsduring various church and outside-church services. The choir received many rewards, diplomasand written thanks. The choir singers experienced the evidence of gratitude for the repertoireand performance of songs.Dei Patris popularised a singing culture of Silesia all over the country and the Polishsong in many places of Europe. The name of “Dei Patris” is read as “to a God, Father”, butalso as “to a God and Homeland”. This is the way the choir was perceived, invited and received.The text presents a rich documentary material gathered in the choir archive in a nutshell.
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