Studia Pastoralne
Rocznik Wydziału Teologicznego UŚ

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.

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.

ADAPTATIONS POLONAISES DE L’HYMNE AU SAINT ESPRIT.
Résumé
L’invocation au Saint Esprit – Seigneur et Donneur de Vie est présente de manière particulière depuis le Moyen Âge dans l’hymne liturgique Veni Creator. Dans des recueils de prières et de chants polonais mais aussi dans des discours poétiques on retrouve de nombreuses paraphrases de cet hymne, soit les paraphrases du texte soit celles de la musique. Au début c’étaient des adaptations assez fideles de nouveaux textes adaptés a la mélodie grégorienne, bien répandue dans la tradition des chants d’église en Pologne. Ensuite on cherchait progressivement a traiter avec un peu plus de liberté le texte latin et la mélodie du chant grégorien. Les oeuvres méritant notre attention particuliere sont les élaborations mélodiques du Chant du Saint Esprit de Franciszek Karpiński appartenant a son recueil Chants Pieux de 1792 mais aussi l’introduction d’une nouvelle traduction de l’hymne avec l’incipit: Viens Esprit Créateur. Dans la nouvelle Liturgie des Heures post-conciliaire on retrouve une traduction assez fidele de l’hymne: O, Esprit Créateur, viens! Ce texte adapté a la mélodie grégorienne est devenu une partie intégrale des recueils de chants, de rites et d’autres livres liturgiques. En Silésie il existe une tradition du chant hymnique Viens Esprit Créateur interprété lors des occasions et cérémonies différentes.
Mots clés: chant d’église, compréhension du chant, l’hymne Veni Creator

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.

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.

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.