Studia Pastoralne
Rocznik Wydziału Teologicznego UŚ

“A House without music is like a body without a soul”. A role and value of music in the educational system of St. John Bosco

The Singing and Religion Songs in the Catechetical celebration

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.

Polish translations of St. Thomas Aquinas hymn “Adoro te devote” in Catholic Songbooks
Summary
The origin of the Eucharistic hymns, including Adoro te devote of Saint Thomas Aquinas was the fruit of the Eucharistic devotion developed in the Middle Ages, which was manifested by the desire to see the Host and the establishment of the Feast of Corpus Christi. Research on the original anthem in Latin has collected three of its versions: Adoro te deuote, latens ueritas; Adoro te devote, latens Deitas; Adoro these supplex latens Deitas. It seems, however, that most of translations have Adoro te devote, latens Deitas as a model. Author of the study found 7 versions of the translations of this hymn. They are preserved in collections of varying provenance, both temporal and territorial. Translations generally differ in the size of the verses. Are used texts included 11-, 12- and 13-syllable. The stanzas are 4-line, with female rhymes, perfect and contiguous: aabb. The number of versions of the hymn Adoro te devote in Polish translation testifies to the great popularity of this hymn among the faithful.

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.

DIE TEILNAHME DER MUSIKER VON PIEKARY IN DER PAPSTANDACHT IN KATOWICE WÄHREND DER II PILGERFAHRT VON JOHANNES PAUL II NACH POLEN
Der Einsatz des musikalischen Umfelds des Marienheiligtums in den Piekary Śląskie in er Vorbereitung und bei der Durchführung der Treffen mit Johannes Paul II in Katowice am 20. Juni 1983 ergab sich durch zwei Gründe. Zum Ersten hatte die Andacht auf dem Flug-hafen in Muchowiec den Charakter einer Fortsetzung der Ständewallfahrten, in denen der Papst noch als Metropolit von Krakau teilnahm. Sie hatte also eine ähnliche Abfolge und musikalische Gestaltung. Die einfache Konsequenz dieser Tatsache war die Teilnahme in der päpstlichen Andacht der Sänger von Piekary. Die Erfahrung und musikalischen Bega-bungen von Paul Kaplanka, des Organisten der Basilika von Piekary, brachten es mit sich, dass er die ehrenvolle Rolle des Dirigenten des mächtigen Gesang- und Instrumentalorches-ters (zusammen ca. 1200 Musiker) bei der Animation der päpstlichen Andacht übernahm.

The Songs of Praise to the Holy Trinity in The Book of Songs of Archdiocese Katowice
Summary
The Book of Songs of Katowice Archdiocese, published in 2000 by Rev. Professor Antoni Reginek, contains 9 songs of praise to the Holy Trinity in the collection in which they are numbered from 197 to 205. Compared with other collections of church songs, it is placed as the second in row as far as the quantity of such works is concerned. The biggest collection of songs of praise to the Holy Trinity is the Evangelical Book of Songs (Bielsko-Biała 2002) with a number of eleven songs. Following The Book of Songs of Katowice Archdiocese is the book The Way to Heaven (Droga do nieba, Opole 2006) with six songs and The Hymn Book by Rev. Jan Siedlecki (Kraków 2017) with five songs of praise to the Holy Trinity. The texts of the analysed songs can be divided into three formal genres: antiphonies, hymns, and stanza songs. Their content is bound up by descriptions of the nature of the Holy Trinity (Divinity and Unity), internal relations (creation, origin, and inspiration) and the external action (creation, salvation and devotion). The language of the songs is rich with metaphors and poetics that approximates the mystery of God. Musically, the songs are characterized by the noble simplicity. The melody in majority of them is held in key major and in two cases one can find references to church modes. Four are held in 4/4 meter, and two in duple meter, which reinforces the musical illustration of the Holy Trinity mystery. The ambitus of the songs accommodates to the average human voice capacity and varies from the largest one containing the eleventh (203) to the smallest one in the interval of the sixth (199, 202). The examples of particularly vital songs can be: the Silesian Hymn Te Deum Laudamus or We praise you God (199) and the song The Undivided and Holy Trinity (202). This hymn is known and sung in all parishes of the archdiocese (paradoxically in all churches it is sung in the meter different from 3/4). The second song, apart from the melodic variation placed in the collection (counter-facture to the morning song When the morning stars are awake [549] and the evening hymn All our daily matters [553]) has its original version which functions in the living musical tradition in the Silesian Chełm parish.

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.