Roczniki Humanistyczne <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> Towarzystwo Naukowe KUL & Katolicki Uniwersytet Lubelski Jana Pawła II – Wydział Nauk Humanistycznych en-US Roczniki Humanistyczne 0035-7707 From the Editorial Committee Piotr Wiśniewski Copyright (c) 2019 Roczniki Humanistyczne 2020-01-27 2020-01-27 67 12 5 5 10.18290/rh.2019.67.12-1 Melodies of the Prefaces Outside Mass in the 12th-Century Pontificale Plocense <p>The paper discusses the prefaces outside Mass supplied with melodies that can be found in the 12th-century Pontificale Plocense (Seminary Library in Płock, Poland). Firstly, a short characterization of the manuscript is presented, the beginnings of the singing of prefaces as well attempts to note down the melodies is discussed. Next, the prefaces outside Mass are analysed with emphasis placed on the musical cadences with cheironomic notation. In addition, a comparison is undertaken between the discussed Pontifical and the Pontificals of Kraków (11th/12th c.) and of Wrocław (12th c.). It is possible that the recitative of the prefaces was subject to various degrees of melodisation, which was connected with the varying influence of compound neumes. The melodic versions of the cadences represent the varieties in tono solemnis and in tono solemniori. Numerous patterns of cadences in tono solemniori point to attempts to create new melodic patterns.</p> Piotr Wiśniewski Copyright (c) 2019 Roczniki Humanistyczne 2020-01-27 2020-01-27 67 12 9 25 10.18290/rh.2019.67.12-2 Church Singing Activities in Basilian Monasteries <p>The author of the article emphasizes the role of Basilian monasteries in the development of church singing and instrumental music. In the 17th century, in the territories of Ukraine and Belarus, they supported not only traditional liturgical singing, but also new solutions (which was confirmed, among others, by Josaphat Kuncevich OSBM). Not without the influence of Western culture, these monasteries became an important centre for the development of late Byzantine church singing culture, spreading the style of kalophonic chant also in Russian (mainly Moscow), Bulgarian and Moldavian areas. Apart from monodic melismatic chant, the partesny and choral singing was practiced (Zhyrovichy Monastery). Moreover, numerous singers and composers were active there (e.g. in (Kyiv Pechersk Monastery), and during holidays even instrumental music was introduced (as it was the case in Univ Monastery, where Athanasius Szeptycki stayed at that time). Both Ukrainians and Belarusians introduced their creative achievements and professional engagement to the Moscovia monastery.</p> Yurij Yasynovskyi Copyright (c) 2019 Roczniki Humanistyczne 2020-01-27 2020-01-27 67 12 27 37 10.18290/rh.2019.67.12-3 The Development of the Melodic Formulas in Old Ruthenian Orthodox Church Monody on the Example of Dogmaticon of the Second Tone Based on Selected 16th-18th Century West Ruthenian Irmologions <p>In the work in question, the author has analysed the melodic formulas used in the dogmaticon of the second tone. For this purpose, the author has used selected Irmologions, both the oldest, which originate from the territories of today’s Belarus and Ukraine, and song books originating from the southern Podlachia Uniate Orthodox churches, in particular of Rokitno and Witoroże. The author points to the important role of the Orthodox monasteries and, after the signing of the Union of Brest (1596), also to that of the parish, in the development of the Old Ruthenian Orthodox church singing. In the course of the research, the author has proven a close connection between the dogmaticon of the second tone melodics and the text. Moreover, the conducted research has shown that, despite the passage of time, there has been no change in the structure of the dogmaticon of the second tone and in the selection of the melodic formulas.</p> <p>Key words: liturgical singing of the Orthodox Church; Orthodox church music; znamenny chant</p> Daniel Sawicki Copyright (c) 2019 Roczniki Humanistyczne 2020-01-27 2020-01-27 67 12 39 55 10.18290/rh.2019.67.12-4 Liturgical Music in the Corpus Christi Church in Cracow in the 2nd Half of the 17th Century in Light of Expenses of the Sacristy (1616-1668) <p>In the archives of the Corpus Christi Church in Cracow there is a ledger (Expensa pecuniae) that was maintained by the sacristans during the years 1616-1668. The author of this paper analyzed the entries which reflect music-related expenses. The monks paid the singers or instrumentalists for enhancing the liturgy. The paper refers to the period after the Swedish invasion in the 2nd half of the 17th century, till 1668. The document proves a high-level musical culture cultivated in the monastery in Cracow.</p> Czesław Grajewski Copyright (c) 2019 Roczniki Humanistyczne 2020-01-27 2020-01-27 67 12 57 65 10.18290/rh.2019.67.12-5 From the History of St. Nicholas’ Church in Nowy Waliszów in Kłodzko County <p>The beginnings of musical culture in Nowy Waliszów are connected with the local St. Nicholas’ church. As early as 1699 it was equipped with a seven-piped positive organ. The present organ was built in 1912 by the company Schlag &amp; Söhne from Świdnica. The instrument is a multiplex organ with pneumatic register and key action, with 15 stops including nine real stops. The small parish had a vocal and instrumental ensemble which not only enriched the liturgy, but also organized concerts. In 1930 it counted 31 choristers and 16 instrumentalists. The ensemble was conducted by the local teachers, who at the same time worked as organists at the local church. The 1939 musical inventory provides valuable information about the choir’s repertoire, which includes, among others, 69 masses, 28 collections of graduals, 21 collections of offertories, 15 collections of hymns, 14 litanies as well as a considerable number of church songs. Judging by this inventory it can be established that with regard to the choice of works as well as to the performance of that repertoire, it not only equals, but frequently exceeds the level of musical practice cultivated in other village churches in Kłodzko County.</p> Andrzej Prasał Copyright (c) 2019 Roczniki Humanistyczne 2020-01-27 2020-01-27 67 12 67 77 10.18290/rh.2019.67.12-6 The Musical Activity of Leon Kubica on Opolian Silesia <p>The article focuses on the life and musical activity of Leon Kubica, famous church musician of Opolian Silesia. Kubica was a pupil of Tomasz Cieplik, later he continued his musical education at the School Of Church Music at Regensburg. In this very time he became a very recognizable and valued composer. His works were performed by many polish choirs from Opolian Silesia. Kubica himself involved in the works of polish community in German Reich and became a conductor of a few ensembles. Such involvement resulted in imprisonment in death camp in Buchenwald, and later sending him on the eastern front, where he died.</p> <p>Recent studies based on press, composer’s legacy saved in his family’s possession, and in national archives allowed to complement his biography, mentions about musical activity in polish society of Opolian Silesia and list of his works performances up to 1939. In the last part of this article the brief analysis of his Msza polska, his most famous composition.</p> Andrzej Edward Godek Copyright (c) 2019 Roczniki Humanistyczne 2020-01-27 2020-01-27 67 12 79 95 10.18290/rh.2019.67.12-7 Franciscanism in the Music of Charles Tournemire – Sei Fioretti Pages D’orgue op. 60 <p>On the basis of source research author analyzes the Franciscan topos in Sei fioretti op. 60 of Charles Tournemire. The Composer is one of the most important and still little known musician of&nbsp;French modernism, great predecessor of Olivier Messiaen. The structural and semiotic analysis allow to capture the deep dependencies between the inspiration of the life and charisms of Saint Francis and the technical-compositional sphere of the work. In the light of Tournemire’s symbolic method of integrating literary texts with music, with their simultaneous free paraphrasing and source dispersion, the interpretation carried out in the article gives the opportunity to fully understand the work for the first time. Furthermore, it offers the key to solving the mystery of interpretation of his other works and to deeper understanding of the relationship between Tournemire and Messiaen.</p> Bogusław Raba Copyright (c) 2019 Roczniki Humanistyczne 2020-01-27 2020-01-27 67 12 97 113 10.18290/rh.2019.67.12-8 Organs in the Churches of Zawichost Deanery of the Sandomierz Diocese Instruments Not Preserved in the Light of Archival Sources <p>This article continues the author’s series of texts on the organs and organists of the Sandomierz diocese. This cycle is a part of the 200th anniversary of the creation of the diocese, which took place in 2018. The article concerns non-preserved organs in the churches of the Zawichost deanery. It was created based on eighteenth, nineteenth and twentieth-century sources kept in the archives in Kraków, Sandomierz and Radom.</p> <p>Analysis of the obtained data has led to the following conclusions. In the Zawichost deanery, six churches were found to have 15 unsaved instruments. They were small organs, from 5 to 13 voices, in the vast majority with one hand keyboard. Only two organs from the end of the 19th century were equipped with a pedal. They were all located in the music choir, above the huge church door. The instruments were painted and decorated with woodcarving, many of them were in poor condition. Only one piece of information was gained about the builder, it was Antoni Adolf Homan, the author of the organs in the Czyżów parish. In the studied area a Rococo prospectus of the now non-existent positive in Trójca has been preserved. To create a full monograph of Polish organ construction, many more contributions are needed and this is the nature of this article.</p> Maria Szymanowicz Copyright (c) 2020-01-27 2020-01-27 67 12 10.18290/rh.2019.67.12-9 A Supradenominational Model of Activity of Silesian Organ Builders in the 19th and Early 20th Centuries on the Example of the Activities of Moritz Robert Müller, Carl Volkmann and Ernst Kurzer <p>Since the Reformation in the 16th century, Silesia became and remained a place of coexistence of many Christian denominations. In the past, differences between particular denominations generated all sorts of tensions and even conflicts. However, in many dimensions of social, economic and cultural life, there was “practical ecumenism.” Its essence was the fact of supradenominational actions being the moment of cooperation regardless of one’s faith. That, among others, happened in the field of organ construction which contributes to an extraordinary cultural richness of the tradition of Lower and Upper Silesia.</p> <p>This article presents examples of this mode of operation from the 19th and the beginning of the 20th centuries. For example, a Wrocław’s builder Moritz Robert Müller was chosen from among Lower Silesian organ makers, and from the group of Upper Silesian organ makers, two cooperating builders from Gliwice served as examples: Carl Volkmann and Ernst Kurzer. They all built organs in both Catholic and Evangelical churches. The work model they used shows that in the then environment, very sensitive to music, it was not the organ builder’s religion that mattered, but only his competence.</p> Franciszek Koenig Copyright (c) 2019 Roczniki Humanistyczne 2020-01-27 2020-01-27 67 12 131 139 10.18290/rh.2019.67.12-10 Folk Reception of the Evangelical Parable about the Good Shepherd in the Recordings of the Religious Song Chrześcijanie katolicy proszę posłuchajcie (Christian Catholics Please Listen) <p>The article aims to show the folk reception of the New Testament parable about the Good Shepherd in the religious song Chrześcijanie katolicy proszę posłuchajcie (Christian Catholics please listen). It belongs to the genre of beggar’s songs and is represented in the collected empirical material by 55 recordings from 13 Polish regions. The research proved an exceptionally high degree of variability of the musical layer and variants of the lyrics of this song. Undoubtedly, it is determined by its genetically folk origin. Thanks to this, the song functions in 11 different melodic versions as well as numerous melodic, rhythmic, formal, agogic and interstrophic variants which also show regional, subregional or local determinants.</p> Kinga Strycharz-Bogacz Copyright (c) 2020-01-27 2020-01-27 67 12 10.18290/rh.2019.67.12-11 Elements of Constructivism in the Works of Iannis Xenakis (1922-2001) <p>Iannis Xenakis (1922-2001) was an extraordinary composer. Instead of studying at the music conservatory, he chose the National&nbsp;Technical University of Athens. Rather than rewriting J.S. Bach’s fugues, he drew innovative architectural sketches on the plotting paper. Milan Kundera called him a&nbsp;prophet of insensitivity, while Arthur Honegger claimed that his works could not be described as music. In the second avant-garde, however, Xenakis gained an unquestionable, leading position due to his innovative compositional techniques, based both on mathematical principles (probabilistic, set theory etc.) and the information technology that was being developed at that time. The presented article describes the artist’s work in relation to the foundations of Russian constructivism – a&nbsp;trend that developed in a different environment, but nevertheless proved to be surprisingly convergent with the ideas of Xenakis, showing some universal tendencies in the 20th-century avant-garde art.</p> Kinga Krzymowska-Szacoń Copyright (c) 2019 Roczniki Humanistyczne 2020-01-27 2020-01-27 67 12 155 167 10.18290/rh.2019.67.12-12 Bronisława Wójcik-Keuprulian in the Light of the Study by Małgorzata Sieradz <p>The aim of the article is to present the assumptions and discuss the edition of Bronisława Wójcik-Keuprulian’s correspondence published in 2018 by Małgorzata Sieradz. Bronisława Wójcik-Keuprulian, who specialized mainly in chopinology, belonged to the group of outstanding Polish musicologists of the interwar period. Among other things, she was the originator of the “Fryderyk Chopin Complete Works” edition prepared by Ignacy Jan Paderewski.</p> <p>Małgorzata Sieradz meticulously and with competent critical skills presents the correspondence, which Wójcik-Keuprulian conducted with two influential figures of the Polish musical life of her time: Henryk Opieński and Ludwik Bronarski. The study proves to be a valuable source for research on the beginnings of musicology as an academic discipline in Poland.</p> Maciej Gołąb Copyright (c) 2019 Roczniki Humanistyczne 2020-01-27 2020-01-27 67 12 169 176 10.18290/rh.2019.67.12-13 Annales Lublinenses pro Musica Sacra. Rocznik Instytutu Muzykologii Katolickiego Uniwersytetu Lubelskiego Jana Pawła II 10(2019), ISSN 2083-0416, pp. 220 Piotr Wiśniewski Copyright (c) 2019 Roczniki Humanistyczne 2020-01-27 2020-01-27 67 12 177 180 10.18290/rh.2019.67.12-14