Suplikacje "Święty Boże" i ich muzyczny rezonans

The article deals with the issue of relations of the Polish religious tradition with works written by the 20th century significant composers. The author of the article focused on one of the most important imploring songs performed by the people, i.e. Święty Boże supplication. She presents the place of supplications in the Polish religious tradition, and confronts them with the acclamation currently present in almost all western and eastern Christian rituals, known as Trishagion (in Greek: three times holy). The repertoire of the Polish 20th century music making use of Święty Boże supplication motive in the form of the quotation was described. Instrumental as well as vocal-instrumental compositions by Karol Szymanowski, Mieczysław Surzyński, Jan Adam Maklakiewicz, Andrzej Panufnik and Krzysztof Penderecki were discussed. In closing, multiple roles the quotations from Święty Boże supplication play when presenting the music of the former century were covered

Krystyna Turek : badacz folkloru i pedagog : przyczynek jubileuszowy

The present article is devoted to a well-known researcher of folklore and a teacher – Krystyna Turek. She is one of the people who enrich the musical culture of Górny Śląsk and Śląsk Cieszyński with their life and their scholarly activity. Her research interests are focused on the problems of the musical culture of the Silesian region – they were initiated during her studies in the Katowice-based Academy of Music. In 1973, working under the supervision of prof. dr hab. Adolf Dygacz, Turek began her proper scholarly activity devoted to Silesian folklore studies. In the course of years Turek’s circle of research interests expanded and as a result it covered such areas as: folk vocal and dance-based works of various professions and communities, an analytical overview of the sources of folklore, religious themes in songbased works, the problems of modern thanatology, especially the traditional and the modern customs of the time of death, the cultural heritage of Śląsk, the output of distinguished folklorists and the researchers of folk culture, their life paths and scholarly achievements. Turek is the author of 170 publications, including ten books and over 130 articles

Społeczne determinanty odbioru muzyki

Music, being a sphere of symbolic culture, undergoes a whole complex system of social and psychosocial conditions, and needs to be placed within its social frame. Music reception, as any other art reception, is thus a multidimensional process covering both the sensual reception, as well as correct “interpretation of the work”, its interpretation, and acquisition. What is more, music, in a sense, constituting, a component of society and social activity, can be conditioned by the latter as well. The complexity of the subject-matter places it within the sphere of music sociologists’, psychologists’ and aesthetics’ interests. All of them, and each from his/her own perspective, distinguish specific determinants of music reception, modifying this process focal to our interest, and differentiating it from an adequate reception (typical of professionals) to the naïve one. The knowledge of such determinants seems to be necessary in the case of students working as music teachers in the future because it is their role to educate a candidate well-prepared to receive the “art of sounds”, face the very social conditions, and take an effort to positively influence what has already been shaped in the young generation

"Orkiestra bez dyrygenta" i "Symfonia Syren" czyli muzyczne eksperymenty w Porewolucyjnej Rosji

The 1920s are one of the most unique times in the history o f Russian music. In that time, Anatoly Lunacharsky served as the People’s Commissar for Enlight­enment. His general education and personal musical interests led to his friendship with various composers, as well as to writing and publishing texts about music, and he also strived to animate artistic life in his country. In Lunacharsky’s time, many important composers from Western Europe visited the USSR, e.g. Alfredo Casella, Paul Hindemith, Darius Milhaud, or Alban Berg. For Western composers, these visits were also unforgettable events. Milhaud, for example, described his impressions from “Red Russia” in the journal “The Musical Times”. Lunacharsky also encouraged Russian musicians to play an active part in the building of the new socialist system, as well as to carry out various artistic experiments. Among the latter, the establishment of “conductorless orchestra” in Moscow in 1921 can be included, as well as Symphony o f Sirens by Arseny Avraamov, which was performed in various Soviet cities, including the most fa­mous concert in Baku in 1922. Sonic experiments of the 1920s USSR are a testimony to dynamicism and originality of Russian musical life of that time. They also demonstrate that politi­cal revolution in Russia was accompanied by an original artistic revolution in the area o f music. Nowadays, these experiments are discovered and analyzed with great interest by the musical world

„Interpretacja rozumiejąca” wedle propozycji semiotyków muzyki

Contemporary world is treated as communication world. Music is understood there as a kind of “message” for which the four stages like conception, realization, perception and reception of a work are extremely important. The very stages are tightly connected with social roles played by the author, performer, listener and critic. Such a traditional model of communication through music tends to undergo various specifications and modifications, depending on preferences an interpreter, musicologist or culture theoretician has. It also constitutes a specific area of interest in the case of music semioticians. The very text concentrates on “an understanding interpretation” within the semiotics of music. It begins from presenting a peculiar “topography of music” pictured by Guerino Mazzola, and recalling the model of a narrative composition by Eero Tarasti to pay the biggest attention to his theses of “music comprehension”. Fourteen theses were discussed in Trasti’s book Signs of Music and the fact that they were taken into account constitutes a starting point for any truly valuable music interpretation

‘Looking out fo r the Horizon The music of Gustav Mahler in the light of the theory of the aesthetic of reception by Hans Robert Jauss

The theory of the aesthetic of reception proposed by Jauss in the field of literature can be applied to research into the reception of the music of Gustav Mahler. In creating his symphonies ‘with every means of accessible technique’, the composer achieved what might be described as a reinterpretation of the conception of selected genres. In this way he disturbed the traditional ‘horizon of expectations’ of the potential audience, and significantly distanced himself from it. The most important consequence of this was the lack of understanding of his music by a section of his contemporary audience. Mahler justified the rightness of his own creative intuition with the famous sentence ‘my time will come’. In her article the author presents the fundamental theses of Jauss’s aesthetic of reception relating to his understanding of the ‘horizon of expectations’. She also indicates the manner in which Mahler distanced himself from that ‘horizon’, and how in individual symphonies he contributed to the expansion and reinterpretation of conceptions of genres which had previously been based on knowledge shared by the composer and the listener

Więziotwórczy wymiar pieśni religijnej na Śląsku : od tradycji po współczesność

The author tries to prove that the religious song, which has been of great importance in Silesia, also consolidated and strengthened the bonds between people. She begins with sociological definitions of a social bond to show the way in which the feeling of belonging to a community has been consolidated with common choral performance. A choir was not only the artistic feature of Silesia; it has also been a place of growing up, making friends, and joining marriages. The common act of singing expressed itself in new forms - from home performance though concert, contest, to musical festivals. The Silesian tradition of singing, which mainly concentrated on performance of religious songs, contributed to maintenance of faith and Polishness. Today, it often serves the cementation of national identity, and is a remedy for the typical for postmodernism social disintegration

"W kontekście muzycznych skandali" : horyzont oczekiwań słuchaczy wobec wartości w muzyce

The text brings an attempt to interpret the phenomenon of artistic scandals in the history of classical music in the light of Robert Jauss’ aesthetics of reception worked out on the basis of the theory of literature. The author starts from a description of a few best known artistic scandals in the first half of the 20th century connected with the presentation of music by Igor Strawiński, Arnold Schönberg and Alban Berg. Next, she presents a theoretical perspective on Jauss’ aesthetics of reception concerning the so called horizon of receivers’ expectations. In the light of the very phenomenon, B. Mika is trying to explain artistic scandals understood as the evidence of the nonfulfillment of receivers’ expectations specifically and usually traditionally shaped. Music going beyond traditionally accepted patterns breaks the horizon of such receivers’ expectations and thus tends to be rejected. “Conservative frames” of the concert hall rarely accelerate the novelty in the art of sounds. Pressure which appears between a traditional horizon of expectations and novelty in art constitutes a serious call for pondering over values in music

"Klasyczność" jako kategoria porządkująca udział tradycji w wychowaniu muzycznym

Prowadzone od kilkudziesięciu lat badania nad publicznością muzyki poważnej niezmienne dowodzą, że w kręgu zainteresowania odbiorcy „sztuki dźwięków” znajduje się przede wszystkim muzyka klasyczno-romantyczna. Doświadczenie potoczne pokazuje także, iż muzyka skomponowana w wiekach XVIII i XIX ma swoich najliczniejszych wielbicieli w osobach kolekcjonerów nagrań i bywalców sal koncertowych, w których rozbrzmiewa taki właśnie repertuar. Dlaczego wartości łagodne, nie-ostre, wyrażone w klarownej melodii, tonalnych współbrzmieniach i schematach formalnych znajdują taką aprobatę słuchaczy muzyki, „dźwiękowa prawda” zaś powołująca do życia utwory bądź to muzyki dawnej (nawet barokowej), bądź to współczesnej nie stanowi przedmiotu preferencji większej rzeszy odbiorców muzyki