Requiem w twórczości kompozytorów polskich:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Polish |
| Veröffentlicht: |
Warszawa
Uniwersytet Muzyczny Fryderyka Chopina
2008
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache |
| Beschreibung: | 269 s. Ill., Notenbeisp. 24 cm. + CD-ROM (12 cm) |
| ISBN: | 9788361489160 |
Internformat
MARC
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| 100 | 1 | |a Miłkowska, Wioletta |e Verfasser |4 aut | |
| 245 | 1 | 0 | |a Requiem w twórczości kompozytorów polskich |c Wioletta Miłkowska |
| 264 | 1 | |a Warszawa |b Uniwersytet Muzyczny Fryderyka Chopina |c 2008 | |
| 300 | |a 269 s. |b Ill., Notenbeisp. |c 24 cm. + |e CD-ROM (12 cm) | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 500 | |a Zsfassung in engl. Sprache | ||
| 505 | 0 | |a Bibliogr. s. 253-260. Indeks | |
| 648 | 7 | |a Geschichte |2 gnd |9 rswk-swf | |
| 650 | 7 | |a Requiem |2 jhpk | |
| 650 | 7 | |a Requiem / historia i krytyka |2 jhpk | |
| 650 | 7 | |a Msza (muzyka) / Polska / historia i krytyka |2 jhpk | |
| 650 | 7 | |a Muzyka żałobna / historia i krytyka |2 jhpk | |
| 650 | 7 | |a Msza (muzyka) - Polska - historia i krytyka |2 jhpk | |
| 650 | 7 | |a Muzyka żałobna - historia i krytyka |2 jhpk | |
| 650 | 7 | |a Requiem - historia i krytyka |2 jhpk | |
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| 650 | 0 | 7 | |a Requiem-Vertonung |0 (DE-588)1115219804 |2 gnd |9 rswk-swf |
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| 856 | 4 | 2 | |m Digitalisierung BSB Muenchen |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017327414&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |3 Abstract |
| 940 | 1 | |n oe | |
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Datensatz im Suchindex
| _version_ | 1804138837352382464 |
|---|---|
| adam_text | Spis treści
Wprowadzenie
............................................................................................. 9
Część I
Requiem
-
istota zagadnienia
Historia gatunku
............................................................................................ 15
Msza żałobna w polskiej spuściźnie muzycznej
-
zarys problematyki.
26
Część
II
Requiem
w twórczości kompozytorów polskich
Średniowiecze
................................................................................................. 37
Charakterystyka epoki
.......................................................................... 37
Muzyka żałobna w okresie średniowiecza
........................................ 41
Renesans
.......................................................................................................... 43
Charakterystyka epoki
.......................................................................... 43
Msza żałobna w okresie renesansu
..................................................... 48
Barok
............................................................................................................... 50
Charakterystyka epoki
.......................................................................... 50
Msza żałobna w okresie baroku
.......................................................... 59
Klasycyzm
....................................................................................................... 71
Charakterystyka epoki
......................................................................... 71
Msza żałobna w okresie klasycyzmu
.................................................. 76
Romantyzm
..................................................................................................... 84
Charakterystyka epoki
.......................................................................... 84
Msza żałobna w okresie romantyzmu
................................................ 88
WiekXXiXXI
.................................................................................................104
Charakterystyka epoki
..........................................................................104
Msza żałobna w
XX
i początkach
XXI
wieku
....................................112
Część III Forma wybranych mszy żałobnych
W ŚWIETLE TECHNIK WYKONAWCZYCH
Okoliczności powstania wybranych mszy żałobnych
.............................136
Analiza tekstu zawartego w wybranych mszach żałobnych
..................138
Damian Stachowicz
Missa
Requiem.....................................................
138
Stanisław Moniuszko Msza żałobna g-moll
.......................................141
Stanisław Moryto
Missa brevis
pro Defunctis
.....................................144
Aparat wykonawczy
.....................................................................................148
Damian Stachowicz
Missa
Requiem.....................................................
148
Stanisław Moniuszko Msza żałobna g-moll
........................................150
Stanisław Moryto
Missa brevis
pro
Oefunctìs
......................................150
Koncepcja formy cyklu mszalnego
......................................■.......................153
Damian Stachowicz
Missa
Requiem.....................................................
153
Stanisław Moniuszko Msza żałobna
.....................................................155
Stanisław Moryto
Missa brevis
pro
Oefunctìs......................................
156
Analiza warstw wokalnych i instrumentalnych
.......................................158
Damian Stachowicz
Missa
Requiem.....................................................
158
Warstwa wokalna
............................................................................159
Warstwa instrumentalna
................................................................163
Instrumentarium
XVII-wieczne a
współczesne
..........................165
Stanisław Moniuszko Msza żałobna g-moll
........................................168
Warstwa wokalna
............................................................................168
Warstwa instrumentalna
................................................................172
Stanisław Moryto
Missa brevis
pro
Defunctìs
......................................173
Analiza warstwy wokalnej
.............................................................173
Koordynacja poszczególnych głosów
w analizowanych mszach żałobnych
..........................................................176
Damian Stachowicz
Missa
Requiem.....................................................
176
Stanisław Moniuszko Msza żałobna g-moll
........................................178
Stanisław Moryto
Missa brevis
pro Defunctis
......................................179
Rytm i metrum
...............................................................................................189
Damian Stachowicz
Missa
Requiem.....................................................
189
Stanisław Moniuszko Msza żałobna g-moll
........................................194
Stanisław Moryto
Missa brevis
pro Defunctis
......................................195
Melodyka
........................................................................................................198
Damian Stachowicz
Missa
Requiem.....................................................
198
Stanisław Moniuszko Msza żałobna] g-moll
.......................................202
Stanisław Moryto
Missa brevis
pro Defunctis
......................................205
Tonalność i harmonika
..................................................................................209
Damian Stachowicz
Missa
Requiem.....................................................
209
Stanisław Moniuszko Msza żałobna g-moll
........................................215
Stanisław Moryto
Missa brevis
pro Defunctis
......................................216
Tempo i agogika
.............................................................................................221
Damian Stachowicz
Missa
Requiem.....................................................
221
Stanisław Moniuszko Msza żałobna g-moll
........................................223
Stanisław Moryto
Missa brevis
pro Defunctis
......................................225
Dynamika
........................................................................................................228
Damian Stachowicz
Missa
Requiem.....................................................228
Stanisław Moniuszko Msza żałobna g-moll
........................................229
Stanisław Moryto
Missa brevis
pro Defunctis
......................................230
Związek muzyki ze słowem w analizowanych mszach żałobnych
.......232
Zakończenie
.................................................................................................235
Posłowie
.........................................................................................................245
spb ilustracji
................................................................................................247
Spis przykładów nutowych
......................................................................251
Bibliografia
...................................................................................................253
Summary
.........................................................................................................261
Indeks nazwisk
.............................................................................................264
Summary
In the creation of Polish composers there is an aboundance of requiem pieces,
mainly masses.The present dissertation has aimed at presenting the un¬
known funeral mass production which makes a big input into Polish culture
and national heritage.
In the process of creation of mass cycles the essential importance falls to
theological aspect.
In their construction we can trace the influence of Catholic Church
creeds formed by Coundl of Trent, cecylian movement, the document of
Motu
Propio
by Pius X and the
2nd
Vatican Council. In addition to religious in¬
spirations the funeral mass creation resulted from other circumstances. These
compositions derived not only from a spiritual need, but also from the death of
the near and dear, or the necessity of including this particular type of funeral
singing into religious celebrations connected with burials of important autho¬
rities. Frequently the inspiration for the artistic expression has come from
the original text of officium defunctorum .
The evolution of philosophical ideas and historic events had a great impact
on creation of such compositions, too. These two elements influenced conside¬
rably the development of artistic currents which were in turn visible in music.
The artistic analysis of pro defunctis proves the hypothesis about casual
nexus of funeral mass creation and the various functions this music form
complied with for centuries. In the case of requiem pieces by Polish com¬
posers it is not merely lithurgical function. Their compositions frequently
express the image of political, philosophical and religious condition of the
country and the symbolics of its struggle for national independence. This
ideological function stems from the partitions of Poland, the situation of
Poles living on the lands under foreign annexation, the national uprisings,
the World Wars I and II as well as the socio-political events in the second
half of the 20th century. The compositions of this type play the culture deve¬
loping role; requiem in the output of Polish composers makes an essential
part of musical heritage.
According to general analysis it appears that funeral masses by Polish
artists are the cycles covering a complete or incomplete lithurgical text. Not
always a full text of officium defunctorum has been used.The deeper re¬
search proves that there are one-movement requial pieces which usually
261
form a work-out of Requiem Aeternam antiphony, or either a sequence of
Dies Irae or its fragment.
In the requiem compositions we also observe a variety of performance
techniques resulting from the functions of funeral mass. There appeared
vocal and vocal-instrumental requiems whose performing musical set was
very diverse. Especially the second half of the 20th century overflows with
various casting possibilities including even a participation of a narrator-
reciter. This was a reflection of innovative ideas in the creation of requiem.
Apart from the philosophical elements the construction of the funeral mass
form was marked with the changes taking place in other artistic fields. These
changes were reflected in musical performing techniques and the means of
composing.
The subject of the detailed analysis in this dissertation were three pieces
going back to different epochs: baroque/romanticism and modern times.They
are the following:
Missa
Requiem by
Damian
Stachowicz, Funeral Mass
G
Minor by
Stanislaw
Moniuszko
and
Missa Brevis
Pro Defunctis by
Sta¬
nislaw
Moryto. Each of these works has individual features which make it
unique in terms of expression. This uniqueness stems from different con¬
structions of the above funeral masses and their ideas demand entirely diffe¬
rent compositional means closely connected with appropriate performing
techniques.
All these pieces represent the idea of expressive musical speech which,
under the changes taking place in the subsequent historical and musical epochs,
influences the alterations in the construction of the form.These alterations
result from the interaction of particular elements of musical masterpiece.
The three masses form a subsequent link of the evolutionary chain whose
beginning were the medieval monody and modality. In the composition of
D. Stachowicz we can observe an interrelation of modality and the settling
major-minor system. Funeral Mass by St.
Moniuszko
is based on the already
cleared harmonic system.
Missa Brevis
Pro Defunctis by St. Moryto is a com¬
position revealing a longing for moderation, spirituality of sacral music
expressed by references to modal scales and choral melodies based on late-
romantic harmonics. The analysis of these requiems has revealed that despite
the differences in working out the text of officium defunctorum they share the
elements proving the existence of certain continuity in the creation of the genre.
The overall form of a piece is a consequence of its manner of performance,
so each of the analysed forms has its appropriate performing practice covering
the rules of proper sound realization. The means of performance cannot be
applied freely; they are defined by tradition and performing practices of par¬
ticular epoch. In the baroque
Missa
Requiem arranged by means of con-
certato technique, the priority is the word- accenting performance. The 19th
century Funeral Mass exposes the
bel
canto technique, whereas in the
modern
Missa Brevis
Pro Defunctis there is a need for the performing
262
technique
typical for choral singing, and then turn to
bel
canto technique
in the solo part in Tractus.
The funeral music has always suited the spiritual condition of its time,
and the word expressiveness, musically worked up in various ways, strongly
influenced people stimulating them to reflection. In the requiem-like compo¬
sitions death is not invisaged as a catastrophe or misfortune, but as a factor
giving a deeper meaning and significance to human existence.
In the course of time there have been philosophical, artistic and socio¬
political changes, yet praying has stayed the same. It has only become ex¬
pressed in different musical languages related to the means applied. From
the philosophical viewpoint all three mass pieces serve the purpose of
contemplation about God. They make us ponder over the man s place in the
universe and our attitude towards the religion
-
to the religion itself as well
as in terms of our duties to ourselves and other human beings.
tłum.
Barbara Godlewska
263
|
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| author | Miłkowska, Wioletta |
| author_facet | Miłkowska, Wioletta |
| author_role | aut |
| author_sort | Miłkowska, Wioletta |
| author_variant | w m wm |
| building | Verbundindex |
| bvnumber | BV035406859 |
| contents | Bibliogr. s. 253-260. Indeks |
| ctrlnum | (OCoLC)297693984 (DE-599)BVBBV035406859 |
| era | Geschichte gnd |
| era_facet | Geschichte |
| format | Book |
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| id | DE-604.BV035406859 |
| illustrated | Illustrated |
| indexdate | 2024-07-09T21:34:32Z |
| institution | BVB |
| isbn | 9788361489160 |
| language | Polish |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-017327414 |
| oclc_num | 297693984 |
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| physical | 269 s. Ill., Notenbeisp. 24 cm. + CD-ROM (12 cm) |
| publishDate | 2008 |
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| publisher | Uniwersytet Muzyczny Fryderyka Chopina |
| record_format | marc |
| spelling | Miłkowska, Wioletta Verfasser aut Requiem w twórczości kompozytorów polskich Wioletta Miłkowska Warszawa Uniwersytet Muzyczny Fryderyka Chopina 2008 269 s. Ill., Notenbeisp. 24 cm. + CD-ROM (12 cm) txt rdacontent n rdamedia nc rdacarrier Zsfassung in engl. Sprache Bibliogr. s. 253-260. Indeks Geschichte gnd rswk-swf Requiem jhpk Requiem / historia i krytyka jhpk Msza (muzyka) / Polska / historia i krytyka jhpk Muzyka żałobna / historia i krytyka jhpk Msza (muzyka) - Polska - historia i krytyka jhpk Muzyka żałobna - historia i krytyka jhpk Requiem - historia i krytyka jhpk Requiem (DE-588)4128596-7 gnd rswk-swf Requiem-Vertonung (DE-588)1115219804 gnd rswk-swf Komponist (DE-588)4032009-1 gnd rswk-swf Polen (DE-588)4046496-9 gnd rswk-swf Polen (DE-588)4046496-9 g Komponist (DE-588)4032009-1 s Requiem (DE-588)4128596-7 s Geschichte z DE-604 Requiem-Vertonung (DE-588)1115219804 s Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017327414&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017327414&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Miłkowska, Wioletta Requiem w twórczości kompozytorów polskich Bibliogr. s. 253-260. Indeks Requiem jhpk Requiem / historia i krytyka jhpk Msza (muzyka) / Polska / historia i krytyka jhpk Muzyka żałobna / historia i krytyka jhpk Msza (muzyka) - Polska - historia i krytyka jhpk Muzyka żałobna - historia i krytyka jhpk Requiem - historia i krytyka jhpk Requiem (DE-588)4128596-7 gnd Requiem-Vertonung (DE-588)1115219804 gnd Komponist (DE-588)4032009-1 gnd |
| subject_GND | (DE-588)4128596-7 (DE-588)1115219804 (DE-588)4032009-1 (DE-588)4046496-9 |
| title | Requiem w twórczości kompozytorów polskich |
| title_auth | Requiem w twórczości kompozytorów polskich |
| title_exact_search | Requiem w twórczości kompozytorów polskich |
| title_full | Requiem w twórczości kompozytorów polskich Wioletta Miłkowska |
| title_fullStr | Requiem w twórczości kompozytorów polskich Wioletta Miłkowska |
| title_full_unstemmed | Requiem w twórczości kompozytorów polskich Wioletta Miłkowska |
| title_short | Requiem w twórczości kompozytorów polskich |
| title_sort | requiem w tworczosci kompozytorow polskich |
| topic | Requiem jhpk Requiem / historia i krytyka jhpk Msza (muzyka) / Polska / historia i krytyka jhpk Muzyka żałobna / historia i krytyka jhpk Msza (muzyka) - Polska - historia i krytyka jhpk Muzyka żałobna - historia i krytyka jhpk Requiem - historia i krytyka jhpk Requiem (DE-588)4128596-7 gnd Requiem-Vertonung (DE-588)1115219804 gnd Komponist (DE-588)4032009-1 gnd |
| topic_facet | Requiem Requiem / historia i krytyka Msza (muzyka) / Polska / historia i krytyka Muzyka żałobna / historia i krytyka Msza (muzyka) - Polska - historia i krytyka Muzyka żałobna - historia i krytyka Requiem - historia i krytyka Requiem-Vertonung Komponist Polen |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017327414&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017327414&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT miłkowskawioletta requiemwtworczoscikompozytorowpolskich |