Teoretyczne podstawy francuskiej polifonii liturgicznej XVII wieku:
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| Format: | Buch |
| Sprache: | Polish |
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Wydawnictwo Archidiecezji Lubelskiej "Gaudium"
[ca. 2017]
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| Schriftenreihe: | Monografie i Opracowania : Renovatio Antiquitas
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| Online-Zugang: | Inhaltsverzeichnis Abstract Literaturverzeichnis |
| Beschreibung: | 675 Seiten Illustrationen, Notenbeispiele 25 cm |
| ISBN: | 9788375482874 |
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| 648 | 7 | |a Geschichte 1600-1700 |2 gnd |9 rswk-swf | |
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| 650 | 7 | |a Utwory polifoniczne religijne / 17 w / historia i krytyka |2 jhpk | |
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| 650 | 4 | |a Liturgia katolicka | |
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| 650 | 4 | |a Muzyka francuska | |
| 650 | 4 | |a Muzyka na organy | |
| 650 | 4 | |a Muzyka polifoniczna | |
| 650 | 4 | |a Muzyka religijna | |
| 650 | 4 | |a Teoria | |
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WPROWADZENIE.......................................................................7
ROZDZIAi. I
LITURGICZNE UWARUNKOWANIA FRANCUSKIEJ POLIFONIIRELIGIJNEJ XVIIWIEKU...............17
1. ODNOWA POTRYDENCKA W XVII-WIECZNEJ FRANCJI.................................18
1.1. Recepcja potrydenckich ksiqg liturgicznych..........................24
1.2. Galiikanizm.........................................................31
1.3. Liturgia w xvu-wiecznej Francji.....................................39
1.3.1. Liturgia mszalna..............................................47
1.3.2. Officium divinum..............................................53
2. MUZYKA LITURGICZNA W XVII-WIECZNEJ FRANCJI.................................64
2.1. Maîtrises...........................................................64
2.2. Polifonía wokalna...................................................72
2.3. înstrumenty muzyczne we francuskiej liturgii XVII wieku.............77
2.4. Teologiczny i pastoralny wymiar muzyki liturgicznej.................95
RO ZD ZI AL II
TEORIA MUZYKI W XVII-WIECZNEJ FRANCJI............................................117
1. TRAKTATY MUZYCZNO-LITURGICZNE IICH AUTORZY................................119
2. TEORIA MUZYKI W KONTEKSCIE MY$LI INTELEKTUALNEJ XVII STULECIA.............133
i.i.Zmierzch tradycji spekulatywnej....................................134
2.2. Musique naturelle..................................................146
3. FUNDAMENTY FRANCUSKIEJ TEORII MUZYKI......................................149
3.1. Teoría wspólbrzmien................................................150
3.2. Modulation.........................................................175
4. TEORIA MUZYKI W PRAKTYCE LITURGICZNEJ.....................................184
4.1. Gamme commune......................................................185
4.2. Nouvelle gamme (gamme du „si”).....................................200
4.3. Koncepcje strojenia organów........................................208
4.4. Temperacja wobec idei stroju naturalnego...........................225
5. NOTACJA MUZYCZN A I RYTMIKA............................................. 263
5.1. Monodia liturgiczna................................................265
5.2. Polifonía wokalna..................................................279
S^.Muzyka organowa......................................................288
6. SYSTEM MUZYCZN Y..........................................................303
6.1. întelektualne dziedzictwo mysli muzycznej..........................305
6.2. System modalny monodii liturgicznej w XVll wieku...................316
6.3.Implikacja modalna muzyki wieloglosowej........................... 323
6.4. Dzwiçki chromatyczne...............................................368
ROZDZIALIII
ZASADY KOMPOZYCJI............................................................377
1. FUNDAMENTY TECHNIK! KOMPOZYTORSKIEJ W XVII-WIECZNEJ FRANCJI............385
2. NADRZÇDNE ZASADY KONTRAPUNKTU.........................................397
2.1. Kontrapunkt prosty (contrepoint simple).........................399
2.2. Kontrapunkt figurowany (contrepoint figuré).....................409
2.2.1. Dysonanse - synkopa i supozycja..........................411
2.2.2. Konsonujqca i dysonujqca kwarta..........................423
2.2.3. Model kontrapunktu scisiego (contrepointpresse)..........431
3. PRAKTYKA KONTRAPUNKTU.................................................443
3.1. Konstrukcja polifoniczna........................................443
3.1.1. Konstrukcja 2-ghsowa.....................................443
3.1.2. Konstrukcja yglosowa.....................................453
3.1.3. Konstrukcja 4-glosowa....................................459
3.1.4. Konstrukcja wiçcej niz 4~glosowa.........................467
3.2. Rozwiqzania fakturaine........................................ 473
3.2.1. Temat (sujet).......................................... 473
3.2.2. Kadencje (cadences)......................................482
3.2.3. Techniki imitacyjne (fugue)............................ 503
3.3. Basse continue..................................................524
ROZDZIAL IV
PRAKTYKA MUZYCZNO-LITURGICZNA W XVII-WTECZNEJ PRANCJI........................541
1. PLAIN- CHANT...........................................................54¿
2. CHANT SUR LE LIVRE.....................................................566
3. FAUXBOURDON............................................................580
4. CHANT EN MUSIQUE FIGURÉE..............................................59*
5. VERSETS D ORGUE.......................................................595
ZAKOÑCZENIE..................................................................645
SUMMARY......................................................................651
BIBLIOGRAFIA............................................................. 655
SUMMARY
The difficulties in research on the French 17th century liturgical polyphony
arise for at least three reasons (1) an insufficient number of sources (prints and poly-
phonic manuscripts), (2) a very limited number of the preserved organs from that time
and (3) a complex subject matter of that repertoire. Most historians notice that was in
France that until 1700 the connection between liturgy and music (organ works, poly-
phonic vocal pieces and liturgical monody) was the most visible compared to other
catholic and protestant countries. The characteristic feature of French 17th century
liturgical music was the fact that it had a substantial element of improvisation. Anoth-
er essential factor to understand that music was the context of post-tridentine influ-
ence in liturgy. In this context the trend of French organists and singers to create poly-
phonic improvisation is more understandable; also, because of their understanding of
the liturgy as a time for specific musical and liturgical creativity. Hence, one of the
most popular genres of organ music of the time was so called organ verse, which was
usually improvised between particular parts of monodic singing (plain-chant). Also,
on the daily basis, the other improvised forms which are associated with the beginning
of polyphony (fauxbourdon, chant sur le livre) were used as a kind of intervals between
the monodic parts. As a result of these factors, the composers of that time were not
interested in writing down and publishing of their works.
In this context, the question arises how to do research on this improvised ma-
terial, spontaneously created and not preserved in the form of music notation, and
whose last sounds died out four centuries ago? The key answer is to choose a suitable
research method. There is no doubt that despite the scarcity of the sources we cannot
give up this intriguing field of music. Taking into account the fact that we probably are
not able to describe in detail music life of particular church centres, yet still there are
chances to reach conclusions regarding the main ideas behind 17th century polypho-
ny. Also, we can define the basic rules which guided contemporary organists and sing-
ers in their improvised music. To reach the above-mentioned objectives we need to
use the hermeneutical method in music. Thanks to it, it is possible to base all the re-
search efforts on the preserved sources (17th century treatises), at the same time trying
to keep distance from the factual layer. As a result, we can understand the character of
that music, its influence on listeners in churches as well as define its basic theoretical
and practical guidelines. It is therefore possible to characterise the main basic founda-
tion on which this polyphony was created; taking, of course into account, the 17th
century an intellectual context (the theory and aesthetics of music), a spiritual context
(post-tridentine theology and liturgy) and a practical one (the rules of musical compo-
sition). Also, it is possible to formulate the conclusions regarding stylistics and other
musical aspects of the liturgical monody (plain-chant) and of the improvised organ
and polyphonic works. According to the 17th century aesthetics, the main construc-
tion basis for a musical piece was polyphony with its counterpoint. These rules were
thoroughly discussed in French treatises of that time. These prints, together with the
theoretical material from 16th and 18th centuries, are the main focus of that mono-
graph. Also, it is important not to forget about contemporary composers’ notes and
comments found in their printed works. Thanks to these two types of sources it is
possible to use the hermeneutical method in music; this method, which starts from the
facts, tries to reach broader levels of hermeneutical understanding. Taking into ac-
count Dilthey’s theory which presumed the existence of the “overall and reasonable”
epoch and the existence of strong structural connections between its spiritual “prod-
652
SUMMARY
ucts”, the author of this monograph aimed to define the intellectual, artistic and spir-
itual basis for the musical output of 17th century French composers, singers and or-
ganists. This monograph concentrates on analysing the basic rules of the liturgical
polyphony, by analysing French treatises and dissertations; also, it is important to no-
tice that it concentrates with the liturgical, not religious polyphony. So, its aim is not to
describe the musical output of famous French composers of the Versailles court but to
examine the basis for the liturgical polyphonic practice of that time and to answer the
question of what rules guided contemporary musicians and what specific knowledge
and skills they had to learn.
This monography consists of four parts. The first one is dedicated liturgical
nuances of the French polyphony; it describes the shape of post-tridentine period spe-
cific to France of Descartes and Nivers (French reception of tridentine reforms, Galli-
canisrriy the order of the Liturgy and officium divinum). Next, the chapter deals with
the French church music schooling system (maîtrises), the features of polyphony of
that time, the role of instruments in liturgy and the description of theological and pas-
toral character of the music in liturgy. Chapter II analyses the theory of French mono-
dy (plain-chant) and polyphony in 17th century. After the subject matter analysis of
liturgical and musical treatises the findings are commented in the context of contem-
porary intellectual background, including overvaluing of some phenomena (the de-
cline of speculative tradition, the idea of musique naturelle). Also, it describes the basis
of the French theory of music (the theory of consonances, modulation), the theory of
music in liturgical practice (the notion of the scale, the organ tuning conceptions, the
problem of the temperament of the keyboard instruments in the context of the idea of
just intonation)y music notation and rhythm of contemporary monody, polyphony
and organ music and the music system undergoing an important evolution. Chapter
III summarises the rules of composition, so it deals with the practical knowledge and
skills of 17th century French composers. Taking into account the information from
the treatises the chapter tries to reconstruct the process of creating a polyphonic piece
in that period. In the next paragraphs the rules of simple counterpoint (contrepoint
simple) and figurative counterpoint (contrepoint figuré) and their use in practice were
discussed. Next, the author discussed the texture aspects and the unwillingly accepted
in France basse continue. Chapter IV (according to the rule of so called the Hermeneu-
tic circle) referred again to the French liturgical music, whose main features were dis-
cussed in chapter I. Now, the analyses was enriched with the conclusions from the two
previous chapters (the theory of 17th century music in France and the rules of compo-
sition). It is worth mentioning that the author did not follow the idea connected with
the term “the music of the French Baroque” but put emphasis on showing different
“kinds” of liturgical polyphony. It is these different “polyphonies” present in liturgy
that were the subject of study. We need to remember that was a completely different
stylistics, shaped by centuries-long tradition, different from that of Lully or Charpen-
tier. In the next paragraphs the practice of polyphonic vocal improvisation accompa-
nying plain-chant was analysed, and two most important improvisational techniques:
singing on the book (chant sur le livre) and fauxbourdon were discussed. The two last
paragraphs are dedicated to figurative music (chant en musique figurée) and to impro-
vised polyphonic organ verses.
As a result of the studies we can claim that the music in French churches at
that time was stylistically unique. Although the basis for it was common all over Eu-
rope liturgical monody (plain-chant)y French musicians did not abandon the tradition
of polyphonic practice. This continuation cannot surprise, however, if we take into
account the opinions of contemporaiy French theologians and liturgists who, follow-
ing the “Gallican” way of thinking, preserved the unique, solemn French rite, viewed
as authentic and ancient. That is why that different style was preserved and promoted
SUMMARY
653
in the liturgical schooling system (maîtrises). That is one of more important reasons
why the French liturgical idiom was not identical with other countries realizing the
post-tridentine renewal. Consequently, there was no division into stile antico and stile
moderno so common in other countries. The French composers created their own
music language, based on the masters of linear polyphony of 16th century. That was the
pattern visible in the works of Eustache du Caurroy (1*1609), Nicolas Formé (+1638),
Antoine Boesset (1*1643), Henri Frémart (1*1651), Jean-Baptiste Geoffroy (+1675), Louis
Chein (11694), Pierre Menault (11694), Jean Mignon (1*1710), and even of Pierre Tabart
(f 1717). This style was described, very often unjustifiably, as the schoolish style (style
maîtrisien), as the opposite to the Versailles style, much more acknowledged and recog-
nized. A new trend in French catholic polyphony is associated with the works of Guil-
laume Bouzignaca (11643) and Étienne Moulinié (11669); although it referred to
Claudio Monteverdi s works yet still this music based on the preserved, untouched
polyphony, with no basse continué. Sébastien de Brossard, the author of Dictionnaire
de musique, published in 1703, explaining term “contemporary music” musica moder-
na) wrote: in contemporary music we can differentiate two stages. The first is ancient-
modern (antiquo-moderna), the time of creating solemn and majestic polyphony, which
originated from Guido of Arezzo and which was cultivated until the beginning of îyth
century. The second stage is so called modern music time (musique véritablement mo-
derne), which appeared 50-60 years ago [so: 1640-1650], and which was changed to
make it more vivid, expressive and suitable to fit the shorter or longer syllables.
The pure vocal polyphony, continuing from earlier periods, was not the only
sign of French uniqueness. We can notice a parallel, unique tradition, which could be
described by some musicologists as “the beginning of polyphony”. Here we have so
called improvised “polyphonic manners” accompanying the traditional monody plain-
chant. Also, we cannot forget about improvised singing on the book (chant sur le livre),
and fauxbourdon singing and improvised organ verses. The latter ones intermingled
with the choir parts standing in presbytery, and performing the monody (alternatim).
Although this trend is not mentioned in the music treatises, its existence is confirmed
by liturgical books, theological prints and in the collection of musical works; what is
more, this phenomenon can be treated as one of the most typical of French liturgical
polyphony of 17th century. Many church musicians with composing talent and im-
provisational skills preferred their own musical output than already composed pieces
(so called res facta). The fact that almost nothing is left from this output suggests that
one of the more important aspects of post-tridentine renewal was spontaneity and
creativity in making this type of music.
One of the most vital study aspects of this monograph referred to French
achievements in musical theory of that time. All researchers dealing with this period
indicate the necessity to gain thorough knowledge of this theory, without which it
would be impossible to understand old masters’ output. In the context of French mu-
sic, the person coming into closer contact with this type of issues will, as Eugène Borrel
says, encounter peculiar solfeggio signs, mysterious ornaments signs, inconsequent and
difficult to decipher notation, vague sings for instrumentation, few or lack of remarks
regarding the performing of the music, no tempo signs and lack of other elements neces-
sary to perform the piece correctly2117. This is the reason why 17th century is considered
by many as the time of uncertainty and confusion in the theory of music, and even
perceived as a mixture of myth, scientific research, rules for composition, and basic mu-
sical training211*. Indeed, this time was full of contrasts, the mixture of different con-
2117 Eugene Borrel UInterpretation de la musique Françoise de Lully à la revolution, Paris 1975, p. v.
2118 Gregory Barnett Tonal organization in seventeenth-century music theory, in: Thomas Christensen
The Cambridge history of western music theory, Cambridge 2002, p. 407.
654
SUMMARY
cepts and definitely a period of change from inherited from 16th century polyphonic
modality to a great achievement of the beginning of 18th century tonality.
Taking into account all these conditions we come into conclusion that it is
impossible to perform or comment on that music without deep studies and knowledge
of the 17th century theoretical nuances. Intellectual concepts, appearing already in
ancient times, Middle Ages and later in the Renaissance - still had a huge impact on
music theory. So when we approach this issue of ideas and paradigms, based on the
mathematical thinking, we notice that they are used in justifying many rules and theo-
ries. However, during our studies we drew a conclusion that it was France that first
walked away from this traditional, based of ancient and medieval theories way of
thinking into solving problems referring to real musical practice.
After Descartes and Mersenne s death the French theory of music stopped be-
ing a part of science, which pursued to find and describe the “musical order” of the
universe; instead, it had a new goal - the art of composing. After comparing the
French theoretical heritage of 17th century with the achievements of other countries,
especially those in Italy, it can be noticed that we cannot define a specific theoretical
original French musical theory. Nearly all major music scholars of these times fol-
lowed the 16th century standards in counterpoint mainly designed by Gioseffo Zarlino.
They continued and followed the two main types of counterpoint: simple and figura-
tive one {contrepoint simple and figurée). Hence, we must realize that the theoretical
foundation for the liturgical music was put earlier in previous periods; the basis for
plain-chant was the order of eight church modes and the basis for polyphony was the
twelve Renaissance scales; both of these were existing independently for centuries. As
a result of our studies, we discovered the transformation that appeared at the end of
the 17th century, when the theoreticians walked away from the old system of scales
classification and turned in to two major types: a minor and major scale.
To summarise: the aim of this dissertation was to review the theoretical and
practical issues connected with the French polyphony of 17th century. The composers
of these works both left their works in the “written form” but also created a number of
works which due to their improvisational character, as the works accompanying the
holy service, could not be written down. The Hermeneutic circle dealt with the three
major areas: the liturgical environment and conditions, the intellectual heritage of
musical theory (musica theorica) and practical rules of composition. The goal of this
monograph was not to find an answer to the question: “How to improvise in the same
way the French musicians did in 17th century” or “How to compose a piece of music
in the manner of French polyphony at that time?”. The authors efforts concentrated
on outlining and catching the hermeneutic “historical moment” and on the presenta-
tion of the results of the collision of the three above-mentioned aspects. The intellectu-
al reconstruction of these interweaving factors seems to the key to non-literal
understanding liturgical music being created at this time.
Translated by Pawel Pasikowski
BIBLIOGRAFIA
L 2RÔDLA MUZYCZNE
XV-XVIWIEK
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3. Blockland Corneille de Instruction de musique, Lyon 1587.
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aux Eglises, suyvant les huict tons usitez en icelles, Caen 1582.
7. Diruta Girolamo II transilvano, dialogo sopra il vero modo di sonar: organi et istromenti
da penna, Venetia 1593.
8. Faber Gregor Musices practicae Erotemata Libri II, Basel 1553.
9. Fogliano LODOVico Musica theorica, Venetia 1529.
10. Gaffurius Franchinus Theorica musice, Milano 1492.
11. Gaffurius Franchinus Practica musice, Milano 1496.
12. Genebrard Gilbert Traicté de la liturgie ou sainte messe selon Vusage et forme des Apostres,
et de leur disciple saint Denys, apostre des François, Lyon 1592.
13. Glareanus Heinrich Dodekachordon, Base! 1547.
14. Guilliaud Maximilian Rudiments de musiquepractique, Second traicte, Paris 1554.
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18. Tyard Pontus DE Solitaire second ou prose de la musique, Lyon 1555.
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20. Zarlino Gioseefo Sopplimenti musicali, Venetia 1388.
XVIIWIEK
1. [-] Nouvelle méthode pour apprendre le plein-chant, où sont contenus les communs et offices
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3. Angelo Michele Bartolotti Table pour apprendre facilement à toucher le théorbe
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6. Bacilly BENIGNE DE LArt de bien chanter de M. de Bacilly, augmenté d un discours qui sert
de réponse à la critique de ce traité et d une plus ample instruction pour ceux qui aspirent
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7. Bacon Francis Novum organum scientiarum, 1620,
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à Monseigneur le dauphin, Paris 1683.
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656
BIBLIOGRAFIA
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| contents | Bibliografie Seite 655-675 |
| ctrlnum | (OCoLC)1086284404 (DE-599)BVBBV044488439 |
| era | Geschichte 1600-1700 gnd |
| era_facet | Geschichte 1600-1700 |
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| geographic | Francja Frankreich (DE-588)4018145-5 gnd |
| geographic_facet | Francja Frankreich |
| id | DE-604.BV044488439 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T07:54:20Z |
| institution | BVB |
| isbn | 9788375482874 |
| language | Polish |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-029888441 |
| oclc_num | 1086284404 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 675 Seiten Illustrationen, Notenbeispiele 25 cm |
| publishDate | 2017 |
| publishDateSearch | 2017 |
| publishDateSort | 2017 |
| publisher | Wydawnictwo Archidiecezji Lubelskiej "Gaudium" |
| record_format | marc |
| series2 | Monografie i Opracowania : Renovatio Antiquitas |
| spelling | Aleksandrowicz, Miłosz 1978- Verfasser (DE-588)1177949482 aut Teoretyczne podstawy francuskiej polifonii liturgicznej XVII wieku Miłosz Aleksandrowicz Lublin Wydawnictwo Archidiecezji Lubelskiej "Gaudium" [ca. 2017] © 2017 675 Seiten Illustrationen, Notenbeispiele 25 cm txt rdacontent n rdamedia nc rdacarrier Monografie i Opracowania : Renovatio Antiquitas Bibliografie Seite 655-675 Zusammenfassung in englischer Sprache Geschichte 1600-1700 gnd rswk-swf Muzyka religijna / Francja / 17 w / historia i krytyka jhpk Utwory polifoniczne religijne / 17 w / historia i krytyka jhpk Teoria muzyki / Francja / 17 w jhpk Kontrapunkt Liturgia katolicka Muzyka chóralna Muzyka francuska Muzyka na organy Muzyka polifoniczna Muzyka religijna Teoria Polyfonie (DE-588)4175288-0 gnd rswk-swf Geistliche Musik (DE-588)4126228-1 gnd rswk-swf Francja Frankreich (DE-588)4018145-5 gnd rswk-swf Frankreich (DE-588)4018145-5 g Geistliche Musik (DE-588)4126228-1 s Polyfonie (DE-588)4175288-0 s Geschichte 1600-1700 z DE-604 Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029888441&sequence=000004&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029888441&sequence=000005&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029888441&sequence=000006&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA Literaturverzeichnis |
| spellingShingle | Aleksandrowicz, Miłosz 1978- Teoretyczne podstawy francuskiej polifonii liturgicznej XVII wieku Bibliografie Seite 655-675 Muzyka religijna / Francja / 17 w / historia i krytyka jhpk Utwory polifoniczne religijne / 17 w / historia i krytyka jhpk Teoria muzyki / Francja / 17 w jhpk Kontrapunkt Liturgia katolicka Muzyka chóralna Muzyka francuska Muzyka na organy Muzyka polifoniczna Muzyka religijna Teoria Polyfonie (DE-588)4175288-0 gnd Geistliche Musik (DE-588)4126228-1 gnd |
| subject_GND | (DE-588)4175288-0 (DE-588)4126228-1 (DE-588)4018145-5 |
| title | Teoretyczne podstawy francuskiej polifonii liturgicznej XVII wieku |
| title_auth | Teoretyczne podstawy francuskiej polifonii liturgicznej XVII wieku |
| title_exact_search | Teoretyczne podstawy francuskiej polifonii liturgicznej XVII wieku |
| title_full | Teoretyczne podstawy francuskiej polifonii liturgicznej XVII wieku Miłosz Aleksandrowicz |
| title_fullStr | Teoretyczne podstawy francuskiej polifonii liturgicznej XVII wieku Miłosz Aleksandrowicz |
| title_full_unstemmed | Teoretyczne podstawy francuskiej polifonii liturgicznej XVII wieku Miłosz Aleksandrowicz |
| title_short | Teoretyczne podstawy francuskiej polifonii liturgicznej XVII wieku |
| title_sort | teoretyczne podstawy francuskiej polifonii liturgicznej xvii wieku |
| topic | Muzyka religijna / Francja / 17 w / historia i krytyka jhpk Utwory polifoniczne religijne / 17 w / historia i krytyka jhpk Teoria muzyki / Francja / 17 w jhpk Kontrapunkt Liturgia katolicka Muzyka chóralna Muzyka francuska Muzyka na organy Muzyka polifoniczna Muzyka religijna Teoria Polyfonie (DE-588)4175288-0 gnd Geistliche Musik (DE-588)4126228-1 gnd |
| topic_facet | Muzyka religijna / Francja / 17 w / historia i krytyka Utwory polifoniczne religijne / 17 w / historia i krytyka Teoria muzyki / Francja / 17 w Kontrapunkt Liturgia katolicka Muzyka chóralna Muzyka francuska Muzyka na organy Muzyka polifoniczna Muzyka religijna Teoria Polyfonie Geistliche Musik Francja Frankreich |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029888441&sequence=000004&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=029888441&sequence=000005&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029888441&sequence=000006&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT aleksandrowiczmiłosz teoretycznepodstawyfrancuskiejpolifoniiliturgicznejxviiwieku |