https://ojs.tnkul.pl/index.php/rh/issue/feed Roczniki Humanistyczne 2020-12-29T15:59:36+00:00 Monika Sidor monyd@interia.pl Open Journal Systems <p><strong><em>Roczniki Humanistyczne </em></strong><strong>(Annals of Arts)<em>&nbsp;</em></strong>is an academic journal of the humanities published by the Learned Society of the John Paul II Catholic University of Lublin and the Faculty of Humanities of the John Paul II Catholic University of Lublin. It has appeared without interruption since 1949.<br><em>Roczniki Humanistyczne </em>is a platform of exchange of ideas in four areas of the humanities – literary studies, linguistics, history, and art history – as well as across these disciplines.<br><em>Roczniki Humanistyczne </em>publishes research articles, review articles, reviews, and short communications. Contributions are accepted in Polish, English, German, Dutch, French, Spanish, Portuguese, Italian, Russian, and&nbsp;Ukrainian. The language of contribution may vary depending on fascicle.</p> https://ojs.tnkul.pl/index.php/rh/article/view/14542 The Hymn Rex sanctorum angelorum in Notated Missal ms. 387 and its Partial Meaning in the Search of the Provenance of the Manuscript 2020-12-29T15:59:36+00:00 Janka Bednáriková janka.bednarikova@ku.sk <p>Amongst the 18 notated manuscripts (today located in Slovak depositories as part of our precious cultural heritage), we can find Notated Missal ms. 387 from the former Evangelical College Library in Bratislava. It is preserved in the Central Library of the Slovak Academy of Sciences in Bratislava. Currently it is the subject of deeper research. Its most disputable aspect is its provenance. According to many scholars, it dates back to the 13th century, because it does not include the Feast of Corpus Christi. On the basis of a later note in the calendar (f. 5) we may also assume that the manuscript was written (or, at least, utilised) in the city of Lund, Sweden. For confirmation or refutation of such a hypothesis, the author will take into account the considerations regarding the hymn <em>Rex sanctorum angelorum</em>, that may represent one of the clues in order to get closer to the truth.</p> 2020-12-23T10:33:20+00:00 Copyright (c) 2020 Roczniki Humanistyczne https://ojs.tnkul.pl/index.php/rh/article/view/14543 A Previously Unknown Repertoire of Alleluia Chants from the 1518 Graduale Cassoviense (Clmae 172a, 172b) 2020-12-29T15:59:34+00:00 Rastislav Adamko rastislav.adamko@ku.sk <p>The <em>Graduale Cassoviense&nbsp; </em>is a late medieval musical-liturgical manuscript. Apart from the standard Gregorian repertoire, it also contains original local chants. Moreover, it also includes several alleluia chants that—so far—have not been found in any other sources or reported in the existing databases. A mutual comparison of these chants (as well as their comparison with other repertoires) provides a chance to show their genetic connections and conditionality. The repertoire shows a late medieval explosion of local musical and poetic production in the territory of Central and Eastern Europe. Nevertheless, this production shows different aesthetical bases and rules than the typical Gregorian ones. For such reasons, we can define it as a&nbsp;post-Gregorian work.</p> 2020-12-23T10:33:43+00:00 Copyright (c) 2020 Roczniki Humanistyczne https://ojs.tnkul.pl/index.php/rh/article/view/14544 The Monastery of the Canons Regular of the Lateran in Kraków as a Patron of Musical Culture (1668-1676) 2020-12-29T15:59:31+00:00 Czesław Grajewski cz.grajewski@uksw.edu.pl <p>In the archives of the Corpus Christi Church in Kraków there is a ledger (<em>Expensa pecuniae</em>) which was maintained by its sacristans during the years 1616-1676. This article, which complements previous works, concerns the entries for the year 1668 because it was in that year that the sacristans recorded the first use of the positive organ in liturgical ceremonies. The author has analysed these notes concerning music-related expenses. The monks paid singers and instrumentalists to enhance the music of the liturgy, but the notes about the instrumental music themselves are deserving of special attention. The use of the positive organ during the procession to the local parish fair, in the opinion of the author, confirms the fact that modern music was being performed in the concertante style, confirming the reception of Western compositional achievements in Poland. The entire document is proof of the high-level of musical culture which was cultivated in this Kraków monastery.</p> 2020-12-23T10:34:04+00:00 Copyright (c) 2020 Roczniki Humanistyczne https://ojs.tnkul.pl/index.php/rh/article/view/14545 The Musical Culture in the Monastery of the Brothers Hospitallers of St. John of God in Seventeenth- and Eighteenth-Century Kraków in Light of the Sources 2020-12-29T15:59:30+00:00 Marek Bebak marek.bebak@gmail.com <p>Polish musicologists have been interested in the musical culture of religious institutions in Kraków during the 17th and 18th centuries since at least the beginning of the 20th century, but up to now the musical life of the monastery belonging to the Brothers Hospitallers of St John of God was of no interest to them. The main aim of this article, based on archival sources, is to show when and what kind of music was performed in this monastery, who the musicians were and what instruments were in the church. It has been established that the Brothers Hospitallers did not have their own musical ensemble, but rather that they invited musicians from the city, including from a Jesuit ensemble, who added splendour to the most important celebrations of the liturgical year by playing masses, litanies, passions and requiems. The research has also discovered that there was a positive organ in the Brothers Hospitallers’ church, and a harpsichord in their Hospital, the sounds of which made the patients’ time there more pleasant.</p> 2020-12-23T10:34:34+00:00 Copyright (c) 2020 Roczniki Humanistyczne https://ojs.tnkul.pl/index.php/rh/article/view/14546 A Nineteenth-Century Processional from the Archive of the Bonifratres in Cracow (Kraków). A Contribution to Research into Latin Monody 2020-12-29T15:59:28+00:00 Piotr Wiśniewski wisniewskipiotr@op.pl <p>The Archive of the Bonifratres’ Monastery in Cracow holds a handwritten processional from 1811. The present author has conducted source criticism and compared its contents to Andrzej Piotrkowczyk’s <em>Processionale</em> from 1621—which furnished a basis for the performance of processional chants in Poland for around 200 years—and selected nineteenth-century cancionals. The Cracow item, probably one of the last books of this type in this period, is proof of the high musical culture that was cultivated in the <em>milieu</em> for which it was destined, and a testimony of the cherished, living tradition of organizing processions. In this respect, it confirms the clear advantage of Polish books over Roman ones, with an increasing participation of the people chanting in Polish. The reprint of a greater part of the processional in subsequently published cancionals confirms, as a&nbsp;matter of evidence, the value and utility of this book.</p> 2020-12-23T10:35:07+00:00 Copyright (c) 2020 Roczniki Humanistyczne https://ojs.tnkul.pl/index.php/rh/article/view/14547 On the Border between Liturgy and Ceremony. In Search of the Specifics of Musical Arrangement of the Hymn Te Deum in the Works of Józef Elsner 2020-12-29T15:59:26+00:00 Remigiusz Pośpiech remigiusz.pospiech@uwr.edu.pl <p>Published in 1815 and dedicated to Tsar Alexander I, <em>Te Deum</em> by Józef Elsner illustrates the trend of religious texts, the function of which can be considered in the context of liturgical celebrations as well as secular ceremonies. On the one hand, this composition is part of the rich traditions of Silesian church music, which the composer was associated with by birth and education. On the other hand, it reflects the state of the development of the 19<sup>th</sup> century musical culture in Poland, which the greater part of his life was associated with. The compositions mentioned in the article, intended for solo voices, mixed choir and orchestra, consist of five contrasted parts, and are stylistically maintained in the trend of the religious creativity characteristic of Central Europe at the turn of the eighteenth and nineteenth centuries, which can also be seen in a number of other works by Elsner.</p> 2020-12-23T10:35:32+00:00 Copyright (c) 2020 Roczniki Humanistyczne https://ojs.tnkul.pl/index.php/rh/article/view/14548 Text Transformations in Advent Songs and Christmas Carols Published in Śpiewnik kościelny by M.M. Mioduszewski (1938) and Śpiewnik kościelny by J. Siedlecki (2015) 2020-12-29T15:59:24+00:00 Beata Bodzioch beata.bodzioch@kul.lublin.pl <p>The comparative research undertaken concerns the repertoire of Advent songs and Christmas carols contained in two selected songbooks. Over the course of almost 200 years many textual changes have been made to the songs. These include changing the order, exchanging many words for others, replacing whole phrases and verses with new wording, and corrections in the number of stanzas. The tendency to modernise old texts and to reduce stanza is particularly noticeable. These processes are not the result of the natural evolution of language, but the result of the intervention of individuals. It is difficult to agree with many of the consequences of these interventions. The scale of transformation of the selected song group and the conclusions can only be more fully determined after a comparative study of the melody and rhythm of the songs.</p> 2020-12-23T10:35:53+00:00 Copyright (c) 2020 Roczniki Humanistyczne https://ojs.tnkul.pl/index.php/rh/article/view/14549 Pavol Krška (1949) – A Slovak Composer of Sacred Music 2020-12-29T15:59:22+00:00 Miriam Matejová miriam.matejova@ku.sk <p>This article deals with selected sacred compositions of the Slovak composer Pavol Krška (1949), who is one of the most important representatives of sacred music in Slovakia in recent decades. His vocal and instrumental pieces <em>Requiem</em>, <em>Stabat Mater</em> and <em>Te Deum</em> are frequently performed and thus brought to the attention of both the lay and professional music community. We believe that, as the composer’s work is so well-known in Slovakia, it&nbsp;will gradually find its place abroad.&nbsp;</p> 2020-12-23T10:36:19+00:00 Copyright (c) 2020 Roczniki Humanistyczne https://ojs.tnkul.pl/index.php/rh/article/view/14550 The Performance Practice of Organ-Playing in 17th Century France According to the Anonymous Manuscript Manière de toucher l’orgue (c.1670-1685) 2020-12-29T15:59:21+00:00 Miłosz Aleksandrowicz milosz.aleksandrowicz@kul.pl <p>This article concerns the performance practice of organ-playing in 17<sup>th</sup> century France. The starting point is the anonymous manuscript <em>Manière de toucher l’orgue dans toute la propreté et la délicatesse qui est en usage aujourd’hui à Paris</em> (<em>Organ performance manners regarding the style and its nuances currently practised in Paris</em>), written probably between 1670 and 1685. The greatest value of this manuscript is that it provides important information about the new trends in liturgical organ-playing introduced during the late 17<sup>th</sup> century in Paris. This article is a development of the ideas sketched by William Pruitt (1986). His analysis, however, was limited to factual aspects and an overall description of the source. This article, using the hermeneutic research method, takes a broader look at the practical issues that may be useful for music historians and for organists who want to deepen their historical knowledge about early French organ music.</p> 2020-12-23T10:36:37+00:00 Copyright (c) 2020 Roczniki Humanistyczne https://ojs.tnkul.pl/index.php/rh/article/view/14551 Constructivism and Intuition. An Analysis of Béla Bartók’s Piano Piece Subject and Reflection from Mikrokosmos vol. VI 2020-12-29T15:59:19+00:00 Richard Beyer richard-beyer@t-online.de <p>The subject of research is the piano composition <em>Subject and Reflection</em> from <em>Mikrokosmos</em> (vol. VI) by Béla Bartók. Via a detailed analysis of this work, the author proves that the structuralism of polyphony proposed by the Hungarian composer, as well as its tonal background, has a&nbsp;deep aesthetic and philosophical background. Bartók followed his own creative path, which was significantly influenced by his interest in folklore. His original musical language was based on such factors as original harmonics, a conciseness of musical expression (typical of folk melodies and rhythms, and foreign to the expressive poetics created by the 19th century artists) and the courage to use dissonant chords.</p> 2020-12-23T10:37:08+00:00 Copyright (c) 2020 Roczniki Humanistyczne https://ojs.tnkul.pl/index.php/rh/article/view/14552 John Cage, Fluxus and the Musicality of Nam June Paik 2020-12-29T15:59:16+00:00 Olga Ballengee olgaballengee@gmail.com <p>In this paper, I offer an analysis of the performance art of Nam June Paik that suggests his works, especially those from the 1960s, are essentially “musical” when viewed through the influence of John Cage’s notion of music-as-action. In Paik’s work aural, visual, and theatrical elements are integrated such that performance becomes a unifying and meaning-generating force. I conclude by suggesting that Cage’s influence set the tone for Paik’s expansion into the experiments with television and video that would occupy him for the remainder of his career.</p> 2020-12-23T10:37:52+00:00 Copyright (c) 2020 Roczniki Humanistyczne https://ojs.tnkul.pl/index.php/rh/article/view/14553 Film Music and the Crystal-Image in Krzysztof Zanussi’s The Structure of Crystal 2020-12-29T15:59:15+00:00 Ewelina Boczkowska eboczkowska@ysu.edu <p>Krzysztof Zanussi’s 1969 debut feature film, <em>The Structure of Crystal</em> (<em>Struktura kryształu</em>), revolves around two scientists with opposing worldviews—one rooted in ethical integrity and the other driven by conformism. These polarities are reflected in Gilles Deleuze’s notion of the crystal-image, which I apply to Wojciech Kilar’s music for the film. I argue that Kilar’s underscoring continuously reshapes the grounds of understanding between the antagonistic worldviews at the film’s core, ultimately to deliver a powerful critique of the social reality of post-1968 Poland.</p> 2020-12-23T10:38:19+00:00 Copyright (c) 2020 Roczniki Humanistyczne https://ojs.tnkul.pl/index.php/rh/article/view/14554 The Choir Festival as an Opportunity to Develop the Music Skills of Secondary School Students 2020-12-29T15:59:12+00:00 Zuzana Zahradníková zuzana.zahradnikova@ku.sk <p>Active participation in a choir exerts a great influence on young people. It is connected not only with their musical, artistic and aesthetic development but also with the formation of their personality and character. The question is are the young people of today interested in this kind of activity, especially when it comes to presenting sacred music? Is it attractive to them in a time that is more focused on materialism, technical achievements, consumerism and individual presentations? These questions are answered by this paper, which deals with the results of a survey conducted during the second year of the festival of high school choirs called <em>Cantare Choraliter</em>. Based on this questionnaire, we investigated the relationship to music, specifically to choral singing of the members of choirs working at secondary church schools in Slovakia.</p> 2020-12-23T10:38:48+00:00 Copyright (c) 2020 Roczniki Humanistyczne https://ojs.tnkul.pl/index.php/rh/article/view/14555 Commentaries on Moniuszko Research 2020-12-29T15:59:11+00:00 Stanisław Dąbek dabeks@wp.pl <p>This article consists of three commentaries. The first concerns the recognition of Stanisław Moniuszko’s <em>Litanies of Ostra Brama </em>as “votive music”. These <em>Litanies </em>meet the criteria of having, amongst other things, a title to the piece, the intentions of the composer, a liturgical function and a&nbsp;symbolical votive attribute, namely the introduction of a new invocation titled <em>Sancta Mater,</em> which undoubtedly refers to the Mother of Mercy of Ostra Brama, to the text of the <em>Litany of the Blessed Virgin Mary</em>. Another commentary draws attention to the parody contained in the narrative poem <em>Beniowski </em>by Juliusz Słowacki, taken from the text of the poem <em>Do Ciebie, Panie/To You, Lord </em>by Jozef Bohdan Zaleski. The author discusses Moniuszko’s religious solo song, which was specially composed for this text. The article ends with a short commentary related to current research on Moniuszko and the basis for further research.</p> 2020-12-23T10:39:20+00:00 Copyright (c) 2020 Roczniki Humanistyczne