Studia Pastoralne
Rocznik Wydziału Teologicznego UŚ

Liturgical music in view of documents of the Church
Summary
The Second Vatican Council initiated the process of the renewal of the liturgical music. It explained its task in the service for God and presented the principles of its renewal. This renewal was prepared by pioneers and promoters of the liturgical movement which existed from the second half of the 19th century. Sacrosanctum Concilium, the Constitution on the Sacred Liturgy, pointed that there is an inseparable connection between music and liturgy. Music was presented as an integral part of the solemn liturgy. Singing in liturgy is a form of active participation in liturgical celebrations. It is a form of the confession of faith and an element of deeper entering to the celebration of the mystery of salvation.
The principles of the Constitution define the stage of Church consciousness which inspired and started the era of the renewal of liturgy and church music. Among positive effects of the Council renewal of church music, apart from new liturgical books, there is the fact of existing choirs in Church, cantors and psalterists as well as the extension of music repertoire.
Music education of the clergy and the faithful is still an important task. Above all organists should be taught to organize the singing not to replace the participants of liturgical celebrations in singing.

Language of music as an important element of the celebration of the Holy Mass (overview of the problem)
Summary
The paper presents the issue of the language of music which is a very important element of liturgical celebration. First section of the article is focused on music as one of the most important components of culture and a subtle way of communication. Music has been present in human life from the beginning, during work, play and free time. Surly it was combined from the beginning with dance and words. Originally it served for practical purposes – it helped with group work as a form of communication. Later it became also element of common identity, and with time it was part of the arts.
Next part of the article is concentrated on the role of music in liturgy of the Church. Since the Apostolic Age it has been treated as a gift of the Holy Spirit, like preaching kerygma. Religious music is an art which takes its inspiration from God’s subject, His revelation in the world or different forms of religious life of the community of faith. Today, according to the teachings of II Vatican Council, the liturgy not only should be open for music from its nature, but it should demand it. Liturgical music is not only an ornament of the celebration, but it should be integrated with holy rites.
In the final part of the article, some pastoral proposition are presented which should contribute to rising up of the purpose of liturgical music: God’s glory, sanctifying of faithful and building of the community of the Church.

Music and musicians in documents of the Canons Regular of the Lateran (1781–1861)
Summary
The author of the article has analysed protocols (files) of the general chapters as well as protocols from visitations to monasteries of the Canons Regular of the Lateran (CRL) in the Kraków Province between 1781 and 1861. The protocols are currently in the archives of the Pauline Fathers in Częstochowa (ms. 253 and ms. 254), where they were placed after the dissolution of monasteries ordered by the Russian authorities following the January Uprising. This article centres on topics related to music which are present in the documents mentioned above. The author identified the following two topics: A) performance of liturgical music; B) people involved in the music culture: Gregorian chant teachers, organists as well as anonymous figures. Several dozen notes in both manuscripts demonstrate concern of the Canons Regular for the quality of music in their monasteries.

The role and meaning of ecclesial songs in making musical culture in parish community more widespread
Summary
Musical tradition of a whole church is invaluable, dominating over other artistic forms, mainly because church singing is connected withwords (lyrics) and is an integral part of a solemn liturgy. Sacral music has evaluated together with the whole Roman Catholic Church for over two thousand years. To enhance the effectiveness of prayers and liturgic activitives an emotional state of its faithful is essential and a perfect goal to achieve it is to choose a suitable music. Polish dictionary defines culture as a whole achievement of humanity created in historic development or in one particular epoch. In modern ethnology and anthropology as a main factor making a culture is human activity in a general context. Ecclesial song appeared in Poland onlywhen chorale stopped being considered as an elite phenomenon. It was then that the lower classes started to participate actively in a church mess and ecclesial music gained a huge popularity. Singing in Polish slowly and with difficulty made its way to a liturgy. Parishes, running different forms of cultural education, should provide for their believers’ needs, by professional preparations for liturgy where music and singing is an integral and inseparable part.

Renowned Professors and Graduates of Royal Catholic Teacher Seminars in Pilchowice and Pyskowice
Summary
Royal Catholic Teacher Seminars, which first appeared at the beginning of the 19th century as a result of Prussian educational reform, took on an important mission of training future organists. Therefore in many Silesian parishes of the 19th and the first half of the 20th centuries it was a common practice for teachers to be organists at the same time. As it is shown by the experiences of Upper Silesia, teacher seminars were the source of highly qualified church musicians. This resulted from the commitment of very good and skilful music teachers who produced remarkable graduates that later became important figures in Silesian tradition of church music.
Among teacher seminars of Upper Silesia that played the most important role in the field of church music particularly noteworthy are the seminars in Pilchowice and Pyskowice. The seminar in Pilchowice existed from 1867 to 1921. Music teachers there were Theophil Halama, Richard Kügele, Wilhelm Osburg, Viktor Kotalla and Franz Werner. The most famous graduates of this seminar in the field of music were Ryszard Gillar, Karol Hoppe and Karl Bauch.
The seminar in Pyskowice functioned from 1849 to 1922. Its most prominent music teachers were Józef Nachbar, Paul Gaide, Erdmann Emanuel Wittor, Paul Woehl, Hans Cisner and Vinzenz Laska. Among many graduates of this seminar were Max Borowka, Paul Kraus, Wilhelm Masse, Ernst Gratza, Franz Leischner, Erich Lokay and already mentioned Erdmann Emanuel Wittor.

DER EINFLUSS DES PONTIFIKATS VON JOHANNES PAUL II AUF DIE ENTWICKLUNG DES GESELLSCHAFTLICHEN MUSIKBEWEGUNG IN OBERSCHLESIEN AUS DER GESCHICHTE DER GESANGSVEREINIGUNG IN OBERSCHLESIEN
Die oberschlesische geselschaftliche Musikbewegung kann man auch in den Aspekten der Orientierung der Religionskultur und der Patriotischideen betracht werden. In der be-rühmten Tradition, besonders in der sogenannten "goldener Zeit", sich ausgezeichnet die Tätigkeit der polnischen Chöre und Blasorchester. Im Anfang der fünfziger Jahre XX. Jh. kann man in dieser Wirksamkeit eine Krise bemerken. Die Wechsel in der Staatsform, in der Politik und die Wirkungsart des Pontifikates polnischen Papstes haben einen neuen Impuls für die Belebung dieser Handlung gegeben. Besonders im letzten Jahren, die frucht-bare Tätigkeit der Chöre und Orchester in PZChiO und der schlesischen Kirchenchöre, unter dem Einfluß des Johannes Paulus II stehend, dokumentieren geworden ist.

THE TEXT AND MUSICAL OVERTONE OF PENITENTIAL PSALM NO. 51 IN POLISH RELIGIOUS SONGS
In the reservoir of prayers and church songs, Psalm 51, briefly titled The Miserere Psalm or "Prayer of Repentance", has the role of being the most important and popular penitential psalm. Among the many translations of this psalm special meaning was given by the poetic paraphrase of Franciszek Karpiński, which begins with the verse: Bądź mi litościw, Boże nieskończony ("Have mercy on me, O God"). In the last two centuries many melodies were composed for this translation. The melody, published for the first time in 1878 in Krakow in the Śpiewniczek of Rev. Jan Siedlecki, gained a prominent place in songbooks and in oral tradition. Since then, this melody has, with minor changes, been consistently reprinted several times up to the present. The free translation of The Miserere Psalm was also used for a few other songs of penitential character. Among them are psalm songs which in structure and melodic pattern are based on Gregorian psalm tones. The main theological value of the teaching contained in Psalm 51 consists not only in its penitential character. This Psalm also expresses a trustful prayer for forgiveness and beseeches God's help in conversion.

DIE THEOLOGISCHEN LEITGEDANKEN IN DEN LIEDERN ZU EHREN DER HEILIGEN FAMILIE.
Zusammenfassung
Die Verehrung der Heiligen Familie hat sich besonders nach der Einführung des Festes in die Liturgie der gesamten Kirche im Jahre 1921 ausgebreitet. Für das Fest der Heiligen Familie wurde der Sonntag in der Weihnachtsoktav gewählt. Mit ihm wollte man dem von Kriegen und Unterdrückung vielfach erschütterten Familienleben das Beispiel der Heiligen Familie von Nazareth anbieten. Das Fest sollte zur Erneuerung der Familie beitragen. In den Gesängen zu Ehren der Heiligen Familie kommt das Bitten und Flehen um deren Schutz und um Mut zur Nachahmung von Jesus, Maria und Josef deutlich zum Ausdruck.
Die Analyse von entsprechenden Kirchenliedern aus dem Gesangbuch der Erzdiözese Katowice zeigt ihre weitgehende inhaltliche Übereinstimmung mit den offiziellen liturgischen Texten des Gottesdienstes und des Stundengebets zu Ehren der Hl. Familie. Die Gesänge haben einen lyrischen Charakter und führen die Gläubigen in das Häuschen von Nazareth, um ihnen das Leben in Liebe und Frieden zu zeigen. Die theologischen Leitgedanken, die in den Liedern stark betont wurden, stehen allgemein im Dienst der Familie von damals und von heute als Lehre und Weisung. Die Heilige Familie von Nazareth wird nicht als ein unerreichbares Vorbild dargestellt, sondern als eine nachahmenswerte Herausforderung hervorgehoben.

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.