dc.contributor.author | Pawlak, Ireneusz | |
dc.date.accessioned | 2023-07-24T09:27:02Z | |
dc.date.available | 2023-07-24T09:27:02Z | |
dc.date.issued | 2001 | |
dc.identifier.citation | Roczniki Teologiczne, 2001, T. 48, z. 6, s. 69-89. | pl_PL |
dc.identifier.issn | 1233-1457 | |
dc.identifier.uri | http://repozytorium.theo-logos.pl/xmlui/handle/123456789/9458 | |
dc.description | Autor tłumaczenia streszczenia: Jan Kłos. | pl_PL |
dc.description.abstract | Using various disciplines of knowledge, religious instruction should also take advantage of the science which is called musical education. This term is used in two meanings: as a science about musical formation and as performing practice. Musical education as a branch of knowledge embraces theological and axiological problems (aims, values), strictly theoretical (regularities, principles), technological (contents and methods, means and organization), and pedeutological issues (teachers). The great conceptions of Emile Jacques-Dalcroze, Zoltân Kodâl and Carl Orff are especially important for the development of musical education. These conceptions have made it that musical education has been transformed into a branch of art or performing practice. An artistic conception has emerged from the method of Dalccroze, from the method of Kodâl an educational conception, and from the method of Orff a conception which develops musical skills and imagination through the composition of music. Now the catechist who wants to teach music, and he should be one that teaches it, should learn how to play any instrument, how to read notes, to read music, he should know the methods of teaching music. Finally, he should be well conversant with the selection of appropriate repertoire. Even the best recording will not substitute direct teaching. Teaching music at a catechesis should include music designed for the liturgy, and nonliturgical music as well. In liturgical music the first place is occupied by chants (acclamations, dialogues, hymns, songs etc.), and then follow purely instrumental compositions. In the latter case Orff's method can hardly be overestimated. Now non-liturgical music should serve to memorize the acquired truths of faith, or illustrate them, Hence, there is a need to leach also the so called religious songs. All in all, music at a catechesis should have an auxiliary character. Performing redundant music at a catechesis, or else only one that is popular, deviates from the aim of instruction and is detrimental both to pupils and the Church. | pl_PL |
dc.language.iso | pl | pl_PL |
dc.publisher | Wydawnictwo Towarzystwa Naukowego Katolickiego Uniwersytetu Lubelskiego | pl_PL |
dc.rights | Attribution-NonCommercial-NoDerivs 3.0 Poland | * |
dc.rights.uri | http://creativecommons.org/licenses/by-nc-nd/3.0/pl/ | * |
dc.subject | katecheza | pl_PL |
dc.subject | wychowanie | pl_PL |
dc.subject | muzyka | pl_PL |
dc.subject | katechetyka | pl_PL |
dc.subject | muzykologia | pl_PL |
dc.subject | pedagogika | pl_PL |
dc.subject | pedagogika muzyczna | pl_PL |
dc.subject | Émile Jaques Dalcroze | pl_PL |
dc.subject | Zoltan Kodaly | pl_PL |
dc.subject | folklor | pl_PL |
dc.subject | edukacja muzyczna | pl_PL |
dc.subject | muzyka liturgiczna | pl_PL |
dc.subject | śpiewy liturgiczne | pl_PL |
dc.subject | liturgia | pl_PL |
dc.subject | instrumenty muzyczne | pl_PL |
dc.subject | muzyka pozaliturgiczna | pl_PL |
dc.subject | catechesis | pl_PL |
dc.subject | upbringing | pl_PL |
dc.subject | music | pl_PL |
dc.subject | catechetics | pl_PL |
dc.subject | musicology | pl_PL |
dc.subject | pedagogy | pl_PL |
dc.subject | musical pedagogy | pl_PL |
dc.subject | folklore | pl_PL |
dc.subject | musical education | pl_PL |
dc.subject | liturgical music | pl_PL |
dc.subject | liturgical chants | pl_PL |
dc.subject | liturgy | pl_PL |
dc.subject | musical instruments | pl_PL |
dc.subject | non-liturgical music | pl_PL |
dc.title | Jaka muzyka w katechezie? | pl_PL |
dc.title.alternative | What Kind of Music Should be Taught at a Catechesis? | pl_PL |
dc.type | Article | pl_PL |
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