Muzyka w Kontekście Pedagogicznym, Społecznym i Kulturowym 5 / 2025

URI dla tej Kolekcjihttps://repozytorium.ur.edu.pl/handle/item/12174

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Interkulturowe nauczanie języków obcych za pomocą muzyki młodzieżowej na przykładzie języka niemieckiego
(Wydawnictwo Uniwersytetu Rzeszowskiego, 2025-12) Stopyra, Artur
The article is primarily aimed at teachers of various languages, who use modern songs in their lessons as phonetic and lexical material supporting the learning of a foreign language (or native language), culture experts, linguists, as well as musicologists and music students, who usually also learn foreign languages and usually like to sing. I would like to draw attention to several aspects concerning teaching languages with the support of broadly understood youth music. One of them is the linguistic competence of teachers themselves, who often do not understand the hidden meaning of the rich phraseology of modern slang, various idioms and language abbreviations that appear in the lyrics of rock and hip-hop songs, as well as cultural phenomena characteristic of a given country, and various social preferences imposed by the environments creating a given style of music. I would like to touch upon, among others, the important issue of vulgarisms, often found in songs (especially in rock and hip-hop lyrics), and propose a method – perhaps somewhat controversial for some, but in my opinion correct – of translating them into the native language, especially when using musical pieces in school lessons. I would also like to convince teachers and students to use dialectal music (Mundartmusik) and draw attention to the practical possibilities offered by contact with musical pieces performed also in other countries where the language being taught is used by its inhabitants as a native language, not just in one. Finally, I would like to present typical methodological errors made by some teachers who use youth music in teaching a foreign language.
Swoimi ścieżkami. Ukazanie procesu powstawania autorskiej muzyki i piosenek do spektakli Teatru RAZY DWA – studium przypadku
(Wydawnictwo Uniwersytetu Rzeszowskiego, 2025-12) Kajdanowicz, Paulina
The purpose of the article will be to show two author’s performances entitled. „Women, wine and laughter” and „Upside down – a thing about motherhood” by the RAZY DWA Theater in Bystrzyca Klodzka. These plays will be shown from the perspective of the role of music and songs created for these performances by Dominika Giernatowska (alias Inka) as a young composer of music and songwriter. This perspective will relate to pedagogical aspects and show how composing music and songs for theatrical performances can influence young music creators who follow their paths. The paper will use a qualitative, semi-structured interview and a case study method to portray Dominika Giernatowska’s character as a young music composer, songwriter and music producer who intuitively creates original music and songs for theatrical performances at the participatory RAZY DWA Theater.
Dzieło muzyczne jako droga do doświadczeń transcendentnych lub mistycznych. Perspektywa filozoficzna
(Wydawnictwo Uniwersytetu Rzeszowskiego, 2025-12) Trzciński, Tomasz
This article aims to investigate the relationship between musical works and transcendental or mystical experiences among listeners. The analysis was conducted within the context of philosophical research. The first part of the text focuses on exploring concepts such as mystical and transcendental experiences. Subsequently, historical conceptions describing the relationships between music and these experiences are presented. In this context, the views of prominent philosophers such as Plato, Hegel, Schopenhauer, Nietzsche, Langer, Gadamer, and Jankélévitch are discussed. The article also includes a discussion on philosophical concepts that highlight specific aspects of music capable of inducing transcendental or mystical experiences, including artistic expression, the aesthetics of the work, and its ethical implications.
„Odys płaczący” Tadeusza Szeligowskiego w kontekście wielkiej literatury i sztuki: Homer, Hayez, Brandstaetter
(Wydawnictwo Uniwersytetu Rzeszowskiego, 2025-12) Siedlaczek, Iwona A.
Homer’s epics constitutes the beginning of European literature. Iliad and Odyssey have had a great influence onEuropean art. In this article the author focused on a few Works of art, which show the figure of Odysseus weeping from book VIII of Odyssey. On a Hayez painting the figure of Odysseus weeping is created by classical Greek Singer (aoidos) Demodocus (a Homer alter ego). Demodocus performs three narrative songs, two about Odysseus. Those songs make Odysseus immortal. This Painting is a perfect illustration of philosophy of immortality in the culture. Both Szeligowski and Brandstaetter in drama and music created quite different figures of Odysseus. A hero from Troy became figure of Vagrant. That Vagrant as „nobody” is trying to perform penance for barbaric atrocities of Trojan war. Szeligowski in music to drama „Odysseus weeping” is surprising another view on this theme. Hero of his music becomed Telemachus, exactly his flute and music. Theme of Telemachus flute it‘s a vision of power of art. Szeligowski says: the art (music) has a big power to overcome a human barbaric and a barbaric of our world.
Postsekularne dzieło muzyczne: definicja i charakterystyka na podstawie kompozycji pasyjnych po 1985 roku
(Wydawnictwo Uniwersytetu Rzeszowskiego, 2025-12) Kondraciuk, Daria
In this paper, the author attempts to define and characterize the postsecular musical work. Inspired by previous research in the field of literary studies, where the relationship between postsecularity and the literary work has already been extensively developed, the author proposes to transpose the concepts developed by literary scholars to the field of musicology. Based on a description of selected passion compositions from the 20th and 21st centuries, among which are Paweł Mykietyn’s Passion According to St. Mark, Kaija Saariaho’s La Passion de Simone, Tan Dun’s Water Passion After St. Matthew, Mauricio Kagel’s Sankt-Bach-Passion, the author identifies the key features of a postsecular musical work. The author provides a definition of a post-secular musical work, presents the necessary condition for a musical work to be described as post-secular, and distinguishes six characteristics of such a musical work.
„Huit brefs Préludes sur des thèmes grégoriens” op. 45 Marcela Dupré jako przykład inspiracji chorałowej we francuskiej muzyce organowej pierwszej połowy XX wieku
(Wydawnictwo Uniwersytetu Rzeszowskiego, 2025-12) Janas, Jacek
Marcel Dupré (1886-1971), an outstanding virtuoso organist-improviser and pedagogue, was, as a composer, one of the leading representatives of French modernism in organ music of the “pre-Messiaen” era. Although he was, in a way, a heir to the late-Romantic so-called symphonic school of organ music, his compositional style, like that of many composers of his contemporaries, varied depending on the source of musical inspiration. A sizable group of compositions is occupied by works of a neoclassical character, distinguished by a clear form alluding to music of pre-Romantic periods. This type of composition certainly includes the lesser-known Huit brefs Préludes sur des thèmes grégoriens op. 45, composed in 1948. The basic sound material used in these compositions is Gregorian chant, which provides the inspiration for shaping every element of the musical work.
„Via crucis, via doloris”. U źródeł pasyjnego misterium
(Wydawnictwo Uniwersytetu Rzeszowskiego, 2025-12) Bernatowicz, Zofia
Regardless of the form that the story of the Passion of Our Lord has taken over the centuries, regardless of the means and style used, their artistic expression was and continues to be the result of the desire to intensify the mystical experiences that the correlation of music and words has always provided. The second half of the last millennium has seen the emanation of the Age of Reason, the influence of Sturm und Drang, the drama of revolutions and wars, the expansion of nihilism and postmodernism. These phenomena and events have had a significant impact on all aspects of human understanding of the world. Despite these turmoils and cataclysms influencing the formation of human spirituality, despite the temptations and conveniences that beset us today, the longing for the profound experiences that accompany prayer and the experience of community is experiencing a kind of renaissance. On the stages of theatres, the „History of the Glorious Resurrection of the Lord” by Mikołaj of Wilkowiecko is performed, and in numerous sanctuaries, the Lenten reflection on the Paschal Mystery gathers the faithful during Passion mysteries, the source of which is the medieval via crucis, via doloris.
Sonaty skrzypcowe Raula Koczalskiego
(Wydawnictwo Uniwersytetu Rzeszowskiego, 2025-12) Renat, Maryla
The paper examines the characteristics of four violin sonatas of Polish composer Raul Koczalski, an excellent pianist and chopinist who was active during the first half of the 20th century. This paper begins by remarking on the current state of research on Koczalski’s work, which mostly focuses on his intensive career as a pianist. Conversely, the discussion around his diverse compositions has been mostly focused on his piano pieces and songs. Koczalski was a neoromantic composer. The violin sonatas examined chronologically in the second part of this paper have been published in the years between 1915 and 1928. The main goal of this analysis was presenting the idiomatic characteristics of these works, such as the paramount importance of melodics and the various types of lyrical expression. Koczalski used two types of cantilenas: epic and recitative. The first two sonatas are neoromantic, while the third and fourth show neoclassic influences.

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