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Since the 1990s research is being carried out on a collection of Silesian manuscripts from the sixteenth and seventeenth centuries (known as the Emil Bohn collection) now held at 'Staatsbibliothek Preussischer Kulturbesitz zu Berlin', and at 'Stadtbibliothek zu Breslau' prior to the Second World War. As a result of this research, Greta Konradt has identified the ‘hand' of Michael Büttner, a cantor...
The article examines the views of Professor Józef M. Chominski, expounded in the first two volumes of his monumental 'Historia harmonii i kontrapunktu' (A History of Harmony and Counterpoint), written over fifty years ago. The purpose of the article is to define the relationship between Chominski's methodological assumptions and views on the development of sound technique (tonality), and the German...
Among musical features most characteristic of Polish music, the most prominent are those associated with three-in-a-measure dance rhythmics, and 'Polish rhythms' are the best known of these elements. This is an informal term, which includes triple time rhythms of descending character, i.e., those where the density of rhythmic impulses decreases during the course of a measure: from the simples iamb,...
The article reports the results of a document search conducted after the death of Krystyna Wilkowska Chominska (the widow of Professor Józef M. Chominski) at their house in Falenica near Warsaw. The search revealed two unknown complete typewritten monographs. The first of them, entitled 'Zagadnienia konstruktywne w piesni solowej Edwarda Griega' (Construction Issues in the Solo Songs of Edward Grieg)...
Zygmunt Noskowski (1846-1909) wrote his first opera, 'Livia Quintilla' (libretto by Ludomil German) during the years 1890-1897. It was performed shortly after in Lvov (15 February 1898), in Kraków (11 May 1898) and in Warsaw (19 April 1902), but today it is usually ignored in studies devoted to the history of Polish music. A comparison of Noskowski's views on the opera expressed as early as 1888 in...
The article discusses the changes in folk culture in Poland in relation to musical folklore. Modifications of traditional music during the last decades of the nineteenth century, and particularly the twentieth century, have been greatly intensified as a result of violent social, economic and cultural changes, of growing ease and frequency of intercultural contacts, and of development and spread of...
The term 'coniuncta', referring to 'irregular' semitones or whole tones used in some Gregorian melodies which do not fit into the framework of the traditional Guidonian gamut, appears in theoretical sources as late as the second half of the fourteenth century, and then only sporadically; it comes to be employed on a wider scale during the next century, particularly during its final decades. Plain...
The article describes the characteristics of sources of polyphonic music up to circa 1500 preserved in Poland. Their number is at present estimated to be 72 manuscripts (some 47 of which may be regarded as closely related to the Polish culture). Predominant among them are entries of polyphonic compositions in liturgical or non-musical codices (60%), and fragments (26%). Research into them thus faces...
The article describes the theory of musical sonology, created by Józef M. Chominski over a period of some 20 years. The key concept of the theory is the category of sonoristics, defined by the author as 'moving to the fore the sound itself as the main means of expression and thereby a factor of construction'. The first part of the article describes the origin and evolution of the theory of sonology,...
The article presents the results of research conducted at the Roman 'Archivio Generale delle Scuole Pie', as well as Polish, Slovak and Hungarian State and Piarist archives. This research has made it possible to establish with relative accuracy the details of the biography of Damian Stachowicz, one of the most prominent Polish composers of the second half of the seventeenth century. At the age of...
In article two examples are discussed, that of the court in Weimar under the rule of Anna Amalia and the influence of Johann Wolfgang von Goethe (end of the eighteenth century) and the court of the Schwarzburger family from Sondershausen (beginning of the eighteenth century), which at that time was of some significance. In the last decade of the eighteenth century, the opera repertory in Weimar was...
The article analyses a composition by Damian Stachowicz, 'Litaniae de BMV'. Stachowicz was one of the most prominent Polish composers of the second half of the seventeenth century, although unfortunately so far little research has been devoted to his legacy. The composition may be regarded as a representative example of Father Damian's technique both in terms of texture, use of instruments, leading...
In the Italian 'dramma per musica' 1600-40, the basic means of producing melodic contour was the recitative. It comprised about eighty percent of the musical course of the composition. From the beginning of the genre's existence, composers had been introducing fragments consisting of a few bars which, being contradictory to the premises of the genre of recitative, disturbed its course. In musicological...
In the last decade the author has launched a new theoretical project to renew the so-called classical semiotic approach and to rethink its epistemological basis. These theoretical and philosophical reflections have started from the hypothesis that semiotics cannot stay forever as Peirce, Saussure, Greimas, Lotman, Sebeok and others have established it. Semiotics is in flux and reflects new epistemic...
During the medieval era, liturgy designated an important role to the chant. Most often accompanying psalms or lectures, the chant served to contribute both an intellectual and emotional commentary to the discourse. Both the forms and the practice of the chant evolved significantly within space and time, and Gaul, amongst other regions, developed a strong liturgical and musical identity, especially...
The article describes the results of research and observation carried out by the authoress among the Ainu people on Hokkaido (Japan). She discusses in detail the construction, notation and functions of the tonkori - the wooden musical instrument, and presents a brief account of the Ainu's history, from prehistoric to present times, with particular reference to the influences which have shaped Ainu...
The operetta 'Apollo Prawodawca, czyli Parnassus Reformowany' (Apollo the Law-Giver, or the Parnassus Reformed) is the only musical drama surviving from among numerous works which used to be performed on the stages of school theatres in the Commonwealth of Poland and Lithuania in the eighteenth century. The article attempts to define the genre of 'Apollo', which combines features of two theatrical...
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