Studia Pastoralne
Rocznik Wydziału Teologicznego UŚ

The pastoral and musical activities of Father Robert Gajda in Kłodzko land
Summary
The article deals with the activities of Father Robert Gajda (1890–1952) in Kłodzko land in the years 1917–1924. It is based on heretofore unknown source materials from the priest’s personal file in the record office of the former Grand Deanery of Kłodzko as well as mentions in the local press. Father Gajda started his pastoral activities in the county of Kłodzko in mid-1917, when he became chaplain in Ludwikowice Kłodzkie. There he gained a reputation as a zealous priest loved by his parishioners. In the years 1919–1924 he was chaplain in Stary Wielisław, where he combined his priestly duties with academic studies at the Silesian Conservatory in Wrocław as well as activities as a composer. He created 16 of his first works in Stary Wielisław, the most well-known among them being Missa ”Regina pacis” . Those works were mostly performed in Stary Wielisław, but also in Kłodzko and Lądek-Zdrój. Father Gajda also created an arrangement for choir and orchestra to be performed at the mystery plays of the Lord’s Passion in Gorzanów in 1922. He was also involved in the activities of the Cecilian Society of the County of Kłodzko.

TRADITION OF SINGING BEFORE AND AFTER A SERMON IN COLLECTIONS OF CHURCH HYMNS IN UPPER SILESIA IN THE 19TH AND 20TH CENTURY.
Summary
The songs related to the proclamation of the word of God belong to the oldest ones in the Polish language and form a group of so-called „sermon songs”. They were helpful in the active participation in the liturgy of the Eucharist when it was celebrated in Latin. Especially in the XIX and XX centuries, the tradition of their performance, in and out of the liturgy, was very alive also in Silesia. The old Polish sources of Church songs show an extensive collection of songs intended to be sung before and after a sermon. In the actual repertory of Church songs there are more than a dozen of them. Regarding the theological content of these songs sung before the sermon are the beseeching prayers for the light of the Holy Spirit and God’s wisdom for the preacher and listeners. When they are sung after the sermon, they are a begging for God’s help for the fulfillment of the teaching. Nowadays, the importance of these songs is decreasing and this process is related to the Second Vatican Council’s liturgical reform which underlines the function of the homily and the continuity of the Liturgy of the Word. However, in these circumstances it seems to be still possible to maintain the tradition of singing and imploring the grace of the Holy Spirit.

THE UNIQUE DEVOTION OF THE MORNING PRAYER OF CHRISTMAS
Summary
„The Morning Prayer of the Christmas” – performed usually before the Shepherd’s Mass – is a unique devotion which prepares for the immediate celebration of the Nativity of the Lord. The structure of this devotion is based partially on the Liturgy of the Hours but the texts and melodies represent a folk tradition. The eldest known version of its text is from the first part of the XIX century (handwritten Kancjonał z Ligoty from 1832). The first known music written to the text is from the second part of the XIX century (Chorał do Kancjonału ks. Janusza from 1873). There is a superficial analogy between the Catholic devotion of „The Morning Prayer of the Christmas” and a popular Protestant matins, but they are essentially different. Nevertheless in both cases they express a strong devotional tradition popular, mainly, among the Christian communities of the Cieszyn Silesia.

What and how to sing in the liturgy?
Summary
The state of liturgical music still rises mixed feelings among those who are engaged in the celebration of the holy ceremonies. Half a century has passed since the Second Vatican Council introduced documents concerning the new shape of liturgy, also in the field of music; and a retrospective view of this issue indicates positive phenomena and examples, but at the same time exposes faults, malpractice and negligence. The present teaching of the Church in the field of liturgical music points out three important criteria which decide about the appropriate shaping of songs and chants: (1) melody united to the words, (2) care about the artistic value and (3) appropriate character and style of the work to designed for sacred action. The role of sacredness and the close connection with the liturgical action in church chant has been consistently emphasized. Songs and for liturgy must not be chosen at random; also the way of singing and perfection of performance are important. The appeal, directed to composers of sacred music, for new works pertaining in their texts to a specific topic of the day or a specific liturgical action remains always relevant.

Music of the new evangelisation and spiritual experience. Context, reality, challenges
Summary
Music has a great influence on human’s life, also when it comes to religion. It expresses the professed faith in accordance to the rule lex orandi lex credendi in a way that we can risk a statement lex orandi lex cantandi. It enforces mutual influence between the truths of the faith and music in general.
The vision of music in sacred space, also in the liturgical one, should be reexamined. It is connected with the change in the mentality of contemporary people. It does not mean copying pop music but it implies the ability to properly adapt the approach to music so that the participants of prayer meetings and liturgy are able to gain a deep experience of and to identify with the celebrations.
In any case, an appropriate musical, biblical and spiritual formation is necessary for those animating meetings and liturgy to have a sense of sacrum. It is this care for the experience of sacredness, originating from deep faith, that seems more important than sustaining of existing solutions.
One should take into account the work of evangelization, which aims at a personal meetings with Jesus Christ and at accepting of salvation offered by Him, in everything the Church does. Appropriate music and vocals actively aid the process of preaching the Gospel. A modern man expects spiritual and religious matters to be presented in modern ways. However, this does not mean giving up or denying of the legacy of previous ages. On the contrary, again in the two thousands years’ old history of the Church, there comes a necessity to adapt to the needs of contemporary times. Such methodology fits into the nature of the Gospel.

The chants of Taizé – on the road to hesychasm and ecumenism
Summary
In his study about the liturgical music after the Second Vatican Council Ireneusz Pawlak calls songs from Taizé „poor artistic music” (2001: 42). My article proves that songs of this French ecumenical community are based upon the rich music tradition and mostly of them are based on basso ostinato which was very popular in baroque (passamezzo, folia, chaconne). Texts of these songs use only a few, several times repeated words taken from the Bible and the Fathers of the Church. The melodic and harmonic repetitions have common roots with the practice of the incessant Jesus prayer in the East Church, described amongst others by John Cassian. This prayer generates the prayer of the heart which consequently gives hesychia: spiritual calmness and union with the God leading all believers to true ecumenism.

Music, “the most noble servant” of liturgy. About music as the source preaching matter
Summary
Music can help man in prayers and make him sensitive to the matters of God. Today, in the times of low level of a general culture of the society we can perceive a danger of misunderstanding the need of music in liturgical rites. This state of affairs imposes duty to foster musical culture in our churches, so that music performed at our churches is of the most perfect form possible. If the aim is met,music shall become a tool for transmitting faith. This task is also to be taken on by homilists and preachers. In this paper music is shown as the source and matter of preaching the Word of God. The place of music in particular preaching units has been discussed (homilies, sermons and conferences). Also, the author points at dangers of misuse of music in preaching the Word of God. The paper is concluded with proposals and suggestions.

New Instruction of the Polish Episcopal Conference on Church Music (2017)
Summary
During its meeting on 14 October 2017 in Lublin the Polish Episcopal Conference issued a new instruction on church music which has been being introduced in the Polish dioceses since that day. It is worthwhile to mention that the former and the first Instruction of the Polish Episcopate on Liturgical Music after the 2nd Vatican Council was issued in 1979, b e t he result of the conciliar revival of liturgy and music incorporated in it. This first instruction was approved in the context of post-conciliar reform, and from the time perspective it proved its expediency although in certain points it was certainly not uniformly and fully observed whereas in others somewhat outdated. The new Instruction of the Polish Episcopal Conference on Church Music was preconditioned by the church musicians from all over Poland who are the members of the Association of Church Musicians, and was later perfected by the Sub-Commission of Church Music of the Polish Episcopal Conference. To produce the Instruction in its final form the voices of the bishops responsible for the liturgy and music in the Polish dioceses were carefully considered. Preparation of the new Instruction lasted over 5 years and it is history which will judge whether all the matters were properly dealt with. We can say with absolute certainty that no instruction is able to resolve all the problems which occur in the daily preparation of liturgy and liturgical music. However, the instruction has surely every chance to re-settle certain matters of the entire Polish Church which is what probably the bishops were counting on while approving this document. The new Instruction consists of 12 chapters, introduction and summary. It encompass 66 points with numerous sub-points. The successive chapters are: I. General Rules; II. Musical Functions in Liturgy; III. Music in the Liturgy of the Holy Mass; IV. Music in Liturgical Year; V. Singing the Liturgy of the Hours; VI. Music in the Liturgy of the Holy Sacraments and Sacramentals and during Services; VII. Music in Liturgy Broadcast by Media; VIII. Instrumental Music; IX. Songbooks and Supporting Materials; X. Concerts of Religious Music; XI. Musical Education and Formation; XII. Commissions of Sacred Music and Other Supporting Organizations. All of these issues are thoroughly discussed in the Instruction with a very important note at the end, in which we can read: “[…] the bishops encourage the Polish Association of Church Musicians to prepare a detailed commentary to this Instruction, amongst those the most desirable ones seem to all explanations and focus on all the aspects of the pastoral care of the Church for sacred music” (Instruction of the Polish Episcopal Conference on Church Music, no. 64). The above mentioned note seem particularly important due to the fact that it is impossible to include everything in one document so as to make it substantive and concise. Therefore the Polish Association of Church Musicians, which initiated this new norm in the Polish Church, is about to add the required commentary. It seems a good and proper way of procedure. This article presents the New Instruction in its entirety so as to demonstrate its tremendous role. It also discusses the problems included in the said document. The choice of the subject and its rendition in the jubilee book of Rev. Professor Antoni Reginek PhD Habilitatus stem from the fact that the jubilee celebrator is one of the creators of the Instruction – first as the Chairman of the Polish Association of Church Musicians, then as a Consultant of the Sub-Commission for Church Music – thus it seems perfectly logical that the topic is meaningful and important to him. The author’s wish is to make this article a peculiar kind of tribute paid to the Reverend Professor himself and the token of immense gratitude for Rev. Reginek’s knowledgeability, benevolence and inestimable, friendly and long-lasting cooperation to be hopefully continued in the future.

TO THE THERAPEUTIC DIMENSION OF THE MUSICAL SHAPE IN THE LITURGY
Summary
Therapy is meant to strengthen or extend one’s health or well-being. Liturgical music wishes to maintain and support this well-being between people and an inner harmony with God as a substantial condition of a physical and psychological health.
It is a common knowledge that a human voice belongs to the world of sounds. A person responsible for a musical side of a liturgical celebration in his community must remember which possibilities of a positive combination are allowed in a musical therapy and which can be considered as appropriate for a contact with God. He must also remember that there are many different listeners who respond to what we understand as a liturgical music. While keeping the artistic principles a real therapist must maintain and accept the existing variety of options.

Educational value of music in the teaching of religion (a contribution to the discussion)
Summary
Music occupies an important place in the teaching of religion. It is a the source of content, a carrier of universal values and an effective means of teaching that multilaterally activates children and youth. Apart from the functions of teaching, music performs educational and therapeutic functions. It therefore seems equitable use of music in religious education and to motivate students to direct contact with musical works. This involves supporting the catechized in the experience and understanding of the values that are carried by music. They van be served by various forms of activation of students, such as eg. listening and analyzing pieces of music, making reflection and prayer on the canvas of music, painting a song, singing, creating text and melody, gestures and dance steps to music. Thanks to them there is revealed the educational value of music in the teaching of religion.
With this in mind, it is worth to shape musical culture of religion teachers and their competence in the field of music education. This requires appropriate forms of education during the studies and training in the permanent formation. To achieve pedagogical innovations in the use of music in religion classes it may be helpful to gather the opinions of students and teachers of religion. It seems worth therefore taking empirical research on this topic. This will provide new and interesting ways, activating students multilaterally, to use music in teaching religion.