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Muzyka W Biblii Praca doktorska Robert Rachuta Muzyka w Biblii Napisana pod kierunkiem Prof. dr hab. Kazimierza Ilskiego 1 Pobrano z https://researchportal.amu.edu.pl / Downloaded from Repository of Adam Mickiewicz University 2021-09-30 Chciałbym w tym miejscu serdecznie podzi ę k o w a ć Profesorowi Stefanowi Zawadzkiemu, który swoj ą wiedz ą i do ś wiadczeniem niejednokrotnie uchronił mnie przed popełnieniem bł ę dów. Ogromne podzi ę kowania winien jestem Profesorowi Jerzemu Albrechtowi, jego wiedza dotycz ą ca kultury Izraela, któr ą przekazywał mi podczas tworzenia tej pracy, była bezcenna. Jestem równie ż niezwykle wdzi ę czny Profesorowi Piotrowi Brixowi za jego pomoc w rozwi ą zywaniu problemów dotycz ą cych tekstu Biblii. Składam równie ż podzi ę kowania Panu Doktorowi Witoldowi Tyborowskiemu, który zawsze słu ż ył swoj ą wiedz ą dotycz ą c ą historii i kultury Mezopotamii. 2 Pobrano z https://researchportal.amu.edu.pl / Downloaded from Repository of Adam Mickiewicz University 2021-09-30 Spis tre ści Strona tytułowa s. 1 Podzi ę kowania s. 2 Spis tre ś ci s. 3 Spis ilustracji s. 5 Wst ę p s. 7 I. Dzieje muzyki Izraela s. 17 1. Kształtowanie si ę muzyki Izraela na przestrzeni dziejów s. 17 II. Instrumenty Muzyczne w Biblii s . 36 - 1. Ogólna charakterystyka s. 36 - 2. Róg s. 50 - 3. Tr ą by s. 72 - 4. B ęben s. 91 - 5. Halil s. 102 - 6. Kinnor s. 113 - 7. Nevel s. 130 - 8. Uggav s. 140 - 9. Asey broszim s. 144 - 10. Cymbały (talerze) s. 146 - 11. Sistrum s. 153 - 12. Dzwonki s. 157 - 13. Psalterium s. 161 - 14. Symponya s. 165 3 Pobrano z https://researchportal.amu.edu.pl / Downloaded from Repository of Adam Mickiewicz University 2021-09-30 III. Współczesna teoria muzyki a muzyka w Starym Testamencie s. 169 - 1. Skale i notacja muzyczna s. 16 9 IV. Zjawiska muzyczne wyst ępuj ące w Biblii s. 1 76 - 1. Śpiew s. 176 - ś piew kobiet - ś piew antyfonalny i responsorialny - 2. Psalm s. 203 - 3. Ekstaza i proroctwa s. 215 - 4. Taniec s. 222 Zak o ń czenie s. 230 Bibliografia s. 233-248 4 Pobrano z https://researchportal.amu.edu.pl / Downloaded from Repository of Adam Mickiewicz University 2021-09-30 Spis ilustracji . 1. Wizerunek menora, lulav, mahtta i szofar , s . 5 3. 2: Sygnał szofar, Codex Adler, XIII w. New York, Jewish Theological Seminary No 932, fol. 21b, s. 55. 3. Ró żne rodzaje rogów ( szofarów ) wg The Jewish Encyclopedia, s. 60. 4. Kobiety graj ą ce na b ębenkach (tof). Figurki z terakoty, IX-VIII w. przed Chrystusem, a) Schiqmona, IAA(The Israel Antiquities Authority) 81.246, b) Tel-el-Far`ah, Ecole biblique F-3426, s. 94. 5. III w. p.n.e. halil , Abu Schuscha (Gezer) 1 s. 108. 6. Malowidło nagrobne Beni-Hassan w Egipcie, ok. 1900 w. przed Chrystusem, s. 125. 7. Wizerunki lir na monetach z czasów powstania Bar- Kochby, 132 – 135 r. a) Kinnor , zbiory prywatne, b) Nevel , Heretz Museum K-4647, s. 132. 8. Talerze (mesilttayim), XII-X w. przed Chrystus em, Meggido, IAA 36, 1986, s. 146. 9. Grzechotki gliniane ( mena`an im ), p ó źna epoka br ązu a).Hazor, IAA (The Israel Antiquities Authority) 1967-1160, b) Gezer, IAA (The Israel Antiquities Authority) 19 74-262, s. 154. 10. Dzwonki a. I-III w. znaleziony w Cezarea, IAA (The Israel Antiquities Authority) 51.686. 1Die Musik in Geschichte und Gegenwart. Allgemeine E nzyklopaedie der Musik begründet von Fridrich Blume. Zweite, neubear beitete Ausgabe, herausgegeben von Ludwig Finscher, Sachteil 1, Bd. 1 A-Bog, Bärenreiter, Kasel i in. 1994, s.1514. 5 Pobrano z https://researchportal.amu.edu.pl / Downloaded from Repository of Adam Mickiewicz University 2021-09-30 b. okres rzymski, IAA (The Israel Antiquities Autho rity) 34.3137, s . 15 9. 6 Pobrano z https://researchportal.amu.edu.pl / Downloaded from Repository of Adam Mickiewicz University 2021-09-30 Wst ęp Przedmiotem studiów w niniejszej rozprawie jest muz yk a , o której pami ęć zachowała si ę na kartach Starego Testamentu 2. Podstawowym materiałem ź ródłowym, który pozwala wnioskowa ć o tym istotnym elemencie kultury Izraelitów jest Tanach. W tej sytuacji analiza poszczególnych tekstów nie mo ż e by ć oczywi ś cie wolna od metod stosowanych przez biblistów, jednak Biblia jako tekst, traktowana jest przeze mnie głównie jako źródło historyczne. Aby obserwowa ć proces kształtowania instrumentarium i wyst ę powania zjawisk muzycznych, trzeba było przyj ąć za podstaw ę wyniki bada ń 3 i na ich podstawie uszeregowa ć ksi ę gi i ich fragmenty pod wzgl ę dem chronologii i ich pochodzenia. Zachowany i opublikowany materiał archeologiczny st anowi o d r ęb n ą grup ę źródeł. Niestety, nie jest on do ś ć liczny z obszaru 2 Wszystkie wykorzystane w pracy wydania i przekłady Biblii podane s ą w bibliografii. Najcz ę ś ciej cytuj ę : Biblia Tysi ą clecia, Pozna ń -Warszawa, 1980. J e ś li cytuj ę inne przekłady zawsze to zaznaczam. 3 Pismo Ś w i ę te Starego i Nowego Testamentu, Red. ks. Michał Pet era (Stary Testament), ks. Marian Wolniewicz (Nowy Testament), Pozna ń 1 9 9 1 . Pismo Ś w i ę te. Stary i Nowy Testament. Red. ks. Michał Petera (Stary Testament), ks. Marian Wolniewicz (Nowy Testament). Pozna ń 2 0 0 3 . Pismo Ś w i ę te, Opr. Zespół Biblistów Polskich z inicjatywy Tow . Ś w i ę tego Pawła, rok wydania: 2008 Biblia. Stary Testament we wyj ą tkach, podług tłumaczenia ksi ę dza Jakóba Wujka, przez ksi ę dza Proboszcza Perli ń skiego starannie zestawionych. Pozna ń 1 8 9 1 . K s i ę ga Izajasza, Wst ę p - Przekład z Oryginału i Komentarz opracował ks. Lech Stachowiak, Pozna ń 1 9 9 6 . Ksi ę ga Psalmów, Wst ę p - Przekład z Oryginału i Komentarz opracował ks. Stanisław Łach, Pozna ń 1 9 9 0 . Psalmy, przekład Izaak Cylkow, Kraków 2008. K s i ę ga Pi ę ciu Megilot, przekład Izaak Cylkow, Kraków 2007. K s i ę ga Jeremiasza, przekład Izaak Cylkow, Kraków 2009. K s i ę ga Hioba, przekład Izaak Cylkow, Kraków 2010. K s i ę ga Jeremiasza, Wst ę p - Przekład z Oryginału i Komentarz opracował ks. Lech Stachowiak, Pozna ń 1 9 6 7 . Book of Psalms, przypisy J. Wellhausen, London 1898 . 7 Pobrano z https://researchportal.amu.edu.pl / Downloaded from Repository of Adam Mickiewicz University 2021-09-30 Palestyny i dlatego musi by ć porównywany z innymi artefaktami i uzupełniany na tej drodze. Praca nad materiałem ź ródłowym, bez wystarczaj ą co szerokiej weryfikacji archeologicznej, niesie ze sob ą ryzyko, i ż w wielu punktach omawiane zjawisko nie jest ostatecznie wyja ś nione, a efekt ci ą gle zachowuje posta ć hipotezy. Ustawiczna praca ze ź ródłami pisanymi i archeologicznymi, nie za ś z nutami i ugruntowan ą praktyk ą wykonawcz ą poszczególnych utworów sprawiła, ż e przedkładam moj ą p racę jako dysertacj ę z historii a nie z muzykologii, gdy ż nie nale ż y oczekiwa ć , i ż spełnione zostan ą takie wymogi, jakie si ę stawia przed pracami po świ ę conymi muzyce baroku lub klasycyzmu. Zajmuj ą c si ę wcze śniej muzyk ą Mezopotamii oraz Staro ż ytnego Egiptu 4, miałem mo żl iwo ś ć obserwowa ć , i ż plemiona semickie były bardzo istotnym ł ą cznikiem mi ę dzy tymi cywilizacjami, a ich w ędrówki miały ogromny wpływ na rozprzestrzenianie si ę informacji i zwyczajów oraz powstawanie nowych zjawisk. Semici po ś redniczyli w czasach najdawniejszych w wymianie kulturowej pomi ę dzy Mezopotami ą a Egiptem, Grecj ą a Egiptem, wreszcie, w czasach nowo ż ytnych, pomi ę dzy Azj ą a Europ ą i Ameryk ą . Z tych powodów trudno ustali ć niekiedy oryginalne cechy ich kultury muzycznej. Niedostatki em jest brak przedstawie ń ikonograficznych. Niemo żn o ś ć poparcia analizy tekstowej przedstawieniami malarskimi czy rze źbiarskimi, jak to mało miejsce w innych staro ż ytnych kulturach, jest znacznym utrudnieniem w pracach badawczych nad materiałem bib lij n ym . Zanim zajmiemy si ę analiz ą wła ś ciwych fragmentów Biblii, warto przyj ąć jasn ą definicj ę dzieła lub utworu muzycznego, oraz funkcji społecznych muzyki. Pogl ą d Ingardena jest ci ą gle obowi ąz uj ą cy. Autor ten uwa ż ał, i ż utwór muzyczny nie jest zjawiskiem psychicznym - nie stanowi bowiem cz ęś ci ż ycia psychicznego twórcy, ani prze ż yć słuchaczy. Nie jest on te ż niczym fizycznym - nie mo żna sprowadzi ć go do d ź wi ę ków "produkowanych" w trakcie wykonywania utworu - d ź wi ęki te 4 R. Rachuta, Monochord vol. 10. Strój instrumentów i notacja muzyczna w star o ż ytnym Egipcie, Toru ń 1996, s. 5-14. 8 Pobrano z https://researchportal.amu.edu.pl / Downloaded from Repository of Adam Mickiewicz University 2021-09-30 stanowi ą tylko czysto akustyczne jego podło ż e 5. Natomiast co do zapisu dzieła muzycznego interesuj ącą opini ę wygłasza U. Eco, który twierdzi, że obecna notacja powstała ze staro ż ytnych zapisów gestykulacji i z notacji neumatycznej, która rejest rowała zjawiska zarazem kinezyczne i para lingwistyczne, a w semiologii zagadnienia muzyki porusza si ę , gdy chodzi o sprawdzenie m o żli wo ś ci skodyfikowania tonemów 6. Encyklopedyczne uj ę cie muzyki okre śla jej funkcje, jako zadania, które pełni ona w ż yciu społecze ństw. Zadania te s ą ró ż n e w ró żnych okresach dziejowych. W zale żn o ś ci od swoich zada ń muzyka zmienia ś rodki, za pomoc ą których je realizuje.
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