Relevant bibliographies by topics / Music, polish

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Music, polish'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 March 2023

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Journal articles on the topic "Music, polish"

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Thomas, Gavin, Ensemble FA, Dominique My, Tristan Murail, Pierre-Yves Artaud, Jeanne Loriod, Alain Noel, Ensemble L'Itineraire, Orchestre National de France, and Yves Prin. "Flawed Polish." Musical Times 134, no. 1801 (March 1993): 152. http://dx.doi.org/10.2307/1193869.

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Kafka, Laura Grazyna. "Polish Music Since Szymanowski (review)." Notes 62, no. 3 (2006): 706–8. http://dx.doi.org/10.1353/not.2006.0023.

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Krader, Barbara, and Anna Czekanowska. "Polish Folk Music: Slavonic Heritage, Polish Tradition, Contemporary Trends." Notes 49, no. 3 (March 1993): 1060. http://dx.doi.org/10.2307/898977.

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Noll, William, and Anna Czekanowska. "Polish Folk Music: Slavonic Heritage, Polish Tradition, Contemporary Trends." Ethnomusicology 38, no. 2 (1994): 367. http://dx.doi.org/10.2307/851753.

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Golianek, Ryszard Daniel. "The Concept of Polish Music: In Search of Adequate Criteria." Musicology Today 15, no. 1 (December 1, 2018): 5–16. http://dx.doi.org/10.2478/muso-2018-0003.

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Abstract The article discusses the notion of Polish music, the possibilities of defining that notion, establishing its scope and listing specific problems related to it. For about 150 years, writers on Polish music have expressed the conviction that it has its own distinctive stylistic and expressive character. Studies concerning the specific qualities of Polish national style after WWII have naturally linked up to Polish music history, mainly that of the 19th century. The new political and cultural situation in Poland after 1989 calls, however, for a change of perspective. We must take into account the present-day cultural situation, in which boundaries are blurred, while supra-national structures and global thinking are beginning to dominate. The paper attempts to define Polish music as a notion in contemporary discourse on history, to examine the resonance of that category, and to point to artistic phenomena which this notion may be said to describe. I will list and analyse the criteria that have been used to define that notion. Though the problem concerns the history of Polish music at large, the cognitive situation is particularly complex and ambivalent with reference to the 19th century. I will discuss the most common ways of defining the criterion of Polishness in music, namely: the origins and nationality of the composers; their place of activity; references to Polish music traditions, and the expressive qualities of the music itself. In the conclusion, I will present my thesis concerning the possibility of defining Polish music.
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Kominek, Mieczysław. "Karol Szymanowski’s Vision of New Polish Music." Polski Rocznik Muzykologiczny 19, no. 1 (December 1, 2021): 104–17. http://dx.doi.org/10.2478/prm-2021-0004.

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Abstract In 19th-century Poland — under Russian, Prussian and Austrian rule at the time – the main goal of music was to promote revival and to stimulate patriotic feelings. Patriotic Polishness drawing on the country’s glorious past was to be the essence of music; modernity of the composer’s language was of secondary importance. Karol Szymanowski unceremoniously criticised this patriotic music as turned towards the provincial Polish tradition. According to Szymanowski, the criterion of Polish and at the same time “civilised musical art” was met only by Chopin. With the regaining of independence Polish art should free itself from patriotic didacticism and pay attention to aesthetic qualities, which was to eliminate the discrepancy between Polishness and Europeanness, between what was national and what was international, universal and European. The figure of Karol Szymanowski links our musical present, symbolised by the Warsaw Autumn International Festival of Contemporary Music, with the first years of independent Poland, for Warsaw Autumn realized Karol Szymanowski’s vision of modern Polish music. In this vision Polish music was a rightful element of European culture.
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Micherda, Magdalena. "Popularization of music culture through extracurricular activity of Polish schools in Zaolzie in 2019 – from the Zaolzie press research." Konteksty Kształcenia Muzycznego 6, no. 1 (10) (June 30, 2020): 73–84. http://dx.doi.org/10.5604/01.3001.0014.2350.

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Music culture is truly close to the residents of Zaolzie. Upon the displacement of the border and hence pushing a large group of Polish people out of their own state’s territory, it became a significant determinant of their own, Polish national identity. In this culture-favorable conditions, a didactic-educational activity is carried out by 25 primary schools with Polish as the language of instruction, including 10 nine-grade schools and 15 five-grade schools. Additionally, in the Czech Cieszyn there is the only – in the region – four-grade Gimnazjum (equivalent to a Polish high school) with Polish as the Language of Instruction. These schools pursue an intense activity, aimed, among other things, to popularize culture and enable pupils to get involved in culture. The article presents results of the diagnostic research and shows selected aspects of music culture popularization through extracurricular activity of Polish schools in Zaolzie in 2019. These institutions pursued then, like in previous years, an exemplary popularizing activity among their pupils. Thanks to the press from Zaolzie, we can receive the current news on a thriving musical activity undertaken by Polish schools. This activity may be already defined as regular, since it occurs on a regular basis, depending on the circumstances: annually or every other year. In the development of their musical activity, particularly the vocal one, Polish schools are supported by the ‘Ars Musica’ Polish Art Society and the Pedagogical Center for the Polish National Education System.
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March, Richard. "Slovenian- and Polish-American "Polka" Music." Journal of American Folklore 102, no. 403 (January 1989): 81. http://dx.doi.org/10.2307/540086.

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Papierski, Maciej. "Music As Translation. Musical Motifs in Liebert’s Poetry." Tekstualia 1, no. 5 (December 31, 2019): 59–66. http://dx.doi.org/10.5604/01.3001.0014.4100.

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This article is devoted to analyses of musical motifs in poetry by a Polish author Jerzy Liebert (1901–1934). Two main kinds of metaphorically understood music can be distinguished in his work: the earthly, referring to human fi niteness, and the transcendental, which is the divine music of God. In the investigation of this problem, Boethian typology of music (musica mundana, musica instrumentalis, musica humana) is engaged. The results of these analyses contribute to the understanding of how the human condition confronts the perfect nature of the Creator in Liebert’s poetry. The article argues that musical motifs seem to be yet another expression of this problem, ubiquitous in the poet’s work; thus, they are essential to its correct interpretation.
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Guzy-Pasiak, Jolanta. "Polish Music in Zagreb Between the Two World Wars (as exemplified by the Croatian Music Institute)." Muzyka 66, no. 4 (January 12, 2022): 115–30. http://dx.doi.org/10.36744/m.1074.

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Bilateral diplomatic and economic relations between Poland and the Kingdom of Serbs, Croats and Slovenes (from 1929 the Kingdom of Yugoslavia) between the two world wars have been presented quite comprehensively in numerous studies. The same cannot be said, however, about research into cultural relations between the two states. This may be attributable partly to the fact that cultural cooperation is harder to trace, since most of the projects during that period were ‘grassroots’ initiatives undertaken for the benefit of eminent individual artists and academics, and on their responsibility. It was only gradually that institutionalised forms and mechanisms of cooperation familiar from later decades were implemented. There are no synthetic or even fragmentary studies concerning cooperation in the field of music. This report, based on my archive research to date, is intended as a contribution to gradually filling the gaps in our knowledge about the reception of Polish music, starting with Croatia’s main city of Zagreb. I analyse the music presented by the main concert organiser in Zagreb at that time, the Croatian Music Institute, with regard to the presence of Polish works. The appendix contains all the decipherable surnames of Polish composers, with a list of works performed – mainly from the nineteenth century or rather conservative more recent compositions. The music of Karol Szymanowski, Poland’s pre-eminent contemporary composer, was performed throughout this twenty-year period, but neither the composer himself nor the more discerning local music lovers were satisfied with how it was represented in Zagreb. Apart from discussing Polish works presented at the Institute, the author also mentions outstanding Polish musicians who performed in Croatia’s biggest city between 1918 and 1939, promoting Polish repertoire.
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Dissertations / Theses on the topic "Music, polish"

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Boleslawska-Lewandowska, Beata. "Symphony and symphonic thinking in Polish music after 1956." Thesis, Cardiff University, 2010. http://orca.cf.ac.uk/54346/.

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This thesis aims to contribute to the exploration and understanding of the development of the symphony and symphonic thinking in Polish music in the second half of the twentieth century. This was a period when Polish composers, such as Lutoslawski, Grecki and Penderecki, among others, contributed profoundly into the symphonic repertoire, not only in the Polish context but worldwide. To understand the changes and developments of the genre after 1956 in Poland, it is necessary to discuss the evolution of the symphony, as well as its role and functions, both in general and in Polish music. Therefore, Chapter One deals briefly with the history and theory of the genre, from its beginnings in the eighteenth century, through its transformations in the period of Romanticism, marked by the appearance of the concert overture and the symphonic poem until its developments in the twentieth century. Chapter Two examines the symphonic tradition in Poland from its appearance on the Polish musical scene until the middle of the 1950s in the context of trends pointed out in Chapter One. The year 1956, when the first International Festival of Contemporary Music 'Warsaw Autumn' was held, provides a significant caesura, as it was then that Polish music entered its avant-garde period. Chapter Three, which is the most extended, explores the transformation of the symphony and symphonic principles in the years of the musical avant-garde, which was a time of great artistic ferment in Polish music, bringing many interesting reinterpretations of symphonic features. The symphony as a genre was almost entirely neglected, particularly in the first years of musical avant-garde (1956-65), and the elements of symphonic thinking appeared in other orchestral works. Therefore, a considerable amount of space will be devoted to discussing the symphonic music of the period, besides symphonies as such. The avant-garde period is given special attention as the innovations made by Polish composers, both in symphonic form and, even more, in musical language and techniques (particularly sonorism), hugely influenced the later development of symphonic music in Poland. Chapter Four, concluding the thesis, is devoted to the trends which spread over the country from the middle of the 1970s, opening the post-avant-garde era, with its recreation of the large-scale symphony, as well as the symphonic poem, referring back to the late-Romantic traditions on the one hand and aiming to synthesise the experiences of the whole century on the other. The indicated trends and functions of the symphony in this period link back to the categories marked in Chapter One. A short Postscript gives some information on symphonic activity in Poland following the death of Lutoslawski in 1994.
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Chlopicka, Regina. "Links between Penderecki's Music and the Polish National Tradition." Gudrun Schröder, 2004. https://ul.qucosa.de/id/qucosa%3A21346.

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Boczkowska, Ewelina. "Sites of remembrance music and memory in Polish film /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1973844971&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Godula, Olga. "Echoes and memories of Poland music and dance in the Polish community of Toledo, Ohio /." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1213008130.

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Tatar, Jeremy Piotr. "Occupied Memory: Polish Composers and German Music after the Second World War." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/17912.

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The occupation of Poland by Germany and the Soviet Union during the Second World War had profoundly negative impacts on Polish cultural life. Although conflict ostensibly ended in 1945, the ensuing four decades of communist rule proved just as devastating. Until now, much of the discourse on Poland has concentrated on the effects and legacy of Communism, while consideration of the ‘German question’ has largely been neglected. Using the composers Witold Lutosławski (1913–1994) and Henryk Górecki (1933–2010) as case studies, this thesis focuses on the web of musical interactions between Germany and Poland in the decades following WWII, tracing how these composers came to terms with the music of their occupiers. The investigation is driven by questions intersecting with issues of memory, aesthetics, and national identity: what were Lutosławski and Górecki’s attitudes toward pre-war German music? Did they have similar responses to post-war German music? How were they able to face these problems against the backdrop of Soviet hegemony? Above all, the fundamental debate over music’s ineffable, abstract qualities persists: to what extent is music (and art in general) able to transcend messy cultural concerns, and remain untainted by political events? In asking these questions, I probe the complex artistic landscape of mid-century Eastern Europe, along with music’s specific role in this process of negotiation. Both composers responded quite differently to Poland’s cultural landscape after 1945. Lutosławski retreated into abstraction and sought refuge in realms of music deemed absolute, while Górecki, on the other hand, moved in the opposite direction toward a musical style grounded in the here-and-now, and tethered umbilically to concerns of the everyday. Also telling are the similarities between them: a shared love of Bach and Viennese Classicism, a more equivocal relationship with Schoenberg and his followers, and an underlying, deeply wrought humanism.
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Parham, Blake. "The Invisible Man: Roman Palester and his Place in Post-war Polish Music." Thesis, University of Sydney, 2020. https://hdl.handle.net/2123/23000.

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Roman Palester (1907 –1989) was as one of the most promising and well-known composers in Poland during the inter-war period. Yet, following the creation of the Polska Rzeczpospolita Ludowa [Polish People’s Republic] (PRL) between 1945-52, the tightening of political control over art in 1949, and Palester’s defection to the West in 1951 he has all but disappeared from Polish musical life. This study seeks to address Palester’s absence from the musical scene by exploring how Palester, as a composer in exile, negotiated the politics of the Cold War in both Eastern and Western Europe, and what effect this had on his life, career, and music. This will be achieved by tracking Palester’s life from his early years as a student in Warsaw, through the Second World War, the instigation of a communist regime in Poland, his defection to France and later Germany, his work at Radio Free Europe (RFE), and his brief reintroduction to Poland in the 1980s. Palester’s evolving compositional voice will also be examined: exploring his use of neoclassicism, his brief foray into folklorism, the development of his own form of twelve-tone technique, experimentation with ‘limited aleatorism’, expressionist tendencies, and attempts to synthesise these various techniques into a singular compositional voice. This will be achieved by critically discussing a select number of Palester’s pivotal musical works: Psalm V, Requiem, Symphony No. 3, Preludes for Piano, La Mort de Don Juan, and Symphony No. 5. The findings of this study show that the unique political environment of the Cold War and Palester’s exile had a profound impact on his career and reception but suggest that his musical style was shaped primarily by his own artistic principles.
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Nies, Carol. "STRUCTURAL ISSUES IN LUTOSLAWSKI'S SYMPHONY NO. 4." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin991311116.

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Noll, William Henry. "Peasant music ensembles in Poland : a culture history /." Thesis, Connect to this title online; UW restricted, 1986. http://hdl.handle.net/1773/11368.

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Bruce, Amanda P. "Constructed and Manifest Truths in Music for Andrzej Wajda's Man of... Film Trilogy." Youngstown State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ysu15280135787607.

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Godula, Olga Dominika. "Echoes and Memories of Poland: Music and Dance in the Polish Community of Toledo, Ohio." Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1213008130.

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Books on the topic "Music, polish"

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Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku and Katolicki Uniwersytet Lubelski Jana Pawła II, eds. Polish music, Polish composers 1918-2010. Gdańsk: The Stanisław Moniuszko Music Academy in Gdańsk, 2013.

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Malicki, Waldemar. Romantic Polish piano music. [Poland?]: Polskie Nagrania, 1990.

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Mazierska, Ewa. Polish Popular Music on Screen. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42779-5.

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Sewen, Marek. 18th century Polish symphonies. London: Olympia, 1992.

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Czekanowska, Anna. Polish folk music: Slavonic heritage, Polish tradition, contemporary trends. Cambridge: Cambridge University Press, 1990.

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Poland) Polskie Radio. Wielka Orkiestra Symfoniczna (Warsaw. A Polish concert. London: Olympia, 1993.

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Rogala, Jacek. Polish music in the twentieth century. Kraków, Poland: Polskie Wydawnictwo Muzyczne, 2000.

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Maja, Trochimczyk, ed. After Chopin: Essays in Polish music. Los Angeles: Polish Music Center at USC, 2000.

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translator, Thornton Cara Emily, ed. Polish music from Paderewski to Penderecki. Krakow: Musica Iagellonica, 2010.

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Satanowski, Robert. Polish 18th century symphonies. Southwater, West Sussex, England: Olympia, 1988.

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Book chapters on the topic "Music, polish"

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Rymajdo, Kamila. "Polish Music in British Nightclubs." In Made in Poland, 189–200. [1.] | New York : Taylor and Francis, 2020. | Series: Routledge global popular music series: Routledge, 2019. http://dx.doi.org/10.4324/9781351119221-17.

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Mazierska, Ewa. "Yugo-Polish: The Uses of Yugoslav Music by Polish Musicians." In Eastern European Popular Music in a Transnational Context, 137–54. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-17034-9_7.

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Mazierska, Ewa. "Introduction." In Polish Popular Music on Screen, 1–19. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42779-5_1.

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Mazierska, Ewa. "The Power of YouTube: Music Videos After the Fall of the Iron Curtain." In Polish Popular Music on Screen, 287–308. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42779-5_10.

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Mazierska, Ewa. "Music and Dance in the Service of Modern Poland: Interwar Musicals." In Polish Popular Music on Screen, 23–55. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42779-5_2.

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Mazierska, Ewa. "From Popular Songs to Manufactured Entertainment: Musicals of the State Socialist Period." In Polish Popular Music on Screen, 57–111. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42779-5_3.

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Mazierska, Ewa. "Recycling Without Nostalgia: Postcommunist Musicals." In Polish Popular Music on Screen, 113–48. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42779-5_4.

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Mazierska, Ewa. "From Socio to Psycho-Biographies: Biographical Films About Popular Musicians." In Polish Popular Music on Screen, 151–83. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42779-5_5.

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Mazierska, Ewa. "Epic Biopics: Biographies of Polish Music Stars on Television." In Polish Popular Music on Screen, 185–205. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42779-5_6.

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Mazierska, Ewa. "From Reporting to Analysing: Documentaries About Musical Events and Phenomena." In Polish Popular Music on Screen, 209–39. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42779-5_7.

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Conference papers on the topic "Music, polish"

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Szymanska-Stulka, Katarzyna. "VISUAL SPACE IN POLISH RENAISSANCE MUSIC." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocialf2018/2.3/s24.028.

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Konior, Tomasz, and Jakub Świerzawski. "Polish houses of music. Approaching Europe." In PROCEEDINGS OF THE 10TH WORKSHOP ON METALLIZATION AND INTERCONNECTION FOR CRYSTALLINE SILICON SOLAR CELLS. AIP Publishing, 2022. http://dx.doi.org/10.1063/5.0105570.

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Tyszka, Konrad, and Michał Jagosz. "Polish music press in the face of systemic change in 1989 as an example of cultural transformation in post-communist countries." In 6th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2020. http://dx.doi.org/10.32591/coas.e-conf.06.09103t.

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The systemic transformation has significantly increased and diversified the music press market. Liquidation of the monopoly, privatization, censorship abolition and media pluralism are just some of the factors that contributed to shaping new cultural policy in Poland. The research material used for this paper’s analytical purposes consists of Polish music magazines; based on a query covering over 110 journals being published since 1946 to the present, a historical and comparative analysis was made. It allowed to determine what new solutions the publishers started to put into practice to make their magazines more attractive. Moreover, it showed a clear fragmentation of the market. After ’89, popular music magazines began to prevail; there are also many specialist journals devoted to a specific topic. A look at cultural transformation from the perspective of the music press is therefore an innovative idea, combining knowledge from the borderline of musicology, cultural studies, and press studies.
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Tyszka, Konrad, and Michał Jagosz. "Polish music press in the face of systemic change in 1989 as an example of cultural transformation in post-communist countries." In 6th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2020. http://dx.doi.org/10.32591/coas.e-conf.06.09103t.

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The systemic transformation has significantly increased and diversified the music press market. Liquidation of the monopoly, privatization, censorship abolition and media pluralism are just some of the factors that contributed to shaping new cultural policy in Poland. The research material used for this paper’s analytical purposes consists of Polish music magazines; based on a query covering over 110 journals being published since 1946 to the present, a historical and comparative analysis was made. It allowed to determine what new solutions the publishers started to put into practice to make their magazines more attractive. Moreover, it showed a clear fragmentation of the market. After ’89, popular music magazines began to prevail; there are also many specialist journals devoted to a specific topic. A look at cultural transformation from the perspective of the music press is therefore an innovative idea, combining knowledge from the borderline of musicology, cultural studies, and press studies.
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Dulisz, Ilona. "MUSIC BY FELIKS NOWOWIEJSKI. FROM GERMAN ROMANTICISM TO POLISH NATIONAL TRADITION." In 6th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sgemsocial2019v/6.1/s16.040.

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Szymanska-Stulka, Katarzyna. "�MORE THAN GOOD SHAPE�� BAUHAUS� IDEAS IN POLISH AND EUROPEAN MUSIC." In 6th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sgemsocial2019v/6.1/s16.043.

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Broniewicz, Piotr. "Architecture of culture as a way to the revitalisation of cities of today: what can we learn from the Polish and Spanish experience?" In Virtual City and Territory. Barcelona: Centre de Política de Sòl i Valoracions, 2016. http://dx.doi.org/10.5821/ctv.8061.

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Once again the architecture of culture has begun to play a significant role in the structure of cities, redefining their space, creating their character, and shaping their modern face. This trend has become particularly evident in Europe after year 2000. Cultural objects have been en masse constructed both in big metropolitan areas, as well as in small towns. Based on the observation and the analysis of architecture of music realisations, we can extrapolate conclusions which will allow to ascertain when these buildings became a functioning part of the urban structure. We also get the opportunity to learn from the mistakes: despite significant financial expenses, the architecture of culture has failed to meet users’ expectations, becoming a dead space in many cases. The study of the presented examples forces us to discuss directions and purposefulness of investing in the architecture of culture. Introducing clear goals will provide guidance for creating the city of the future.
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Saleh, Edward. "Sistem Polder Untuk Pengendali Tinggi Muka Air Lahan Sawah Rawa Lebak." In Seminar Nasional Semanis Tani Polije 2020. Politeknik Negeri Jember, 2020. http://dx.doi.org/10.25047/agropross.2020.39.

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Rawa lebak merupakan ekologi yang terendam air pada periode waktu musim hujan dan kekeringan pada periode musim kemarau. Pada saat terendam air, tinggi muka air tidak dapat dikendalikan secara gravitasi, sehingga tinggi muka air dilahan sawah rawa lebak tidak dapat memenuhi sesuai kebutuhan tanaman. Sebaliknya pada waktu musim kemarau lahan sawah akan kering, tanaman akan mengalami kekurangan air. Salah satu teknologi yang dikembangkan masyarakat untuk mengendalikan air dilahan rawa lebak dengan polder mini yang luasnya 250 – 1000 ha. Rancangan pengendalian sistem polder ini dilaku dengan membangun saluran penampung air, pompa pembuang (drainase) dan pemasuk (irigasi) air. Hasil penelitian menunjukkan dengan sistem polder telah mampu meningkatkan intensitas tanam dari satu kali pertahun (IP 100) menjadi tiga kali tanam pertahun (IP300), dengan pola tanam padi-padi-palawija.
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Brzozowska, Anna, Iga Kott, Robert Salek, and Anna Wiśniewska-Sałek. "Managing Innovations in Selected Regions and their Influence on Creation the Polish Economy." In MultiScience - XXX. microCAD International Multidisciplinary Scientific Conference. University of Miskolc, 2016. http://dx.doi.org/10.26649/musci.2016.049.

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Shmuelof, Shoshan, and Michal Hefer. "THE LOST ART OF LISTENING." In International Conference on Education and New Developments. inScience Press, 2022. http://dx.doi.org/10.36315/2022v1end029.

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"One of the functions of education is the transmission of culture from generation to generation. (Taba, 1962). Yet it is questionable whether music educators are fulfilling this mission... Listeners at concerts of classical music (whether of Western or other traditions) are dwindling and the crowd that frequents the concert halls is mostly older. It seems that educational policy does not invest enough to preserve the gifts of previous generations. In many schools, teachers prefer to please their students by focusing on music that the students listen to (with great enjoyment and expertise without any need for guidance from their teachers) rather than challenging them to become acquainted with musical worlds that are not closed to them and thus complex, classical music is pushed to the margins. Yes, the ones who composed this music were mostly men, mostly white and are mostly dead. However, these unfortunate facts do not negate the fact that the music they created is a gift. In this paper/presentation we will argue that what prevents teachers from introducing their pupils to this music is not political correctness but rather the absence of teaching methods that make listening to unfamiliar music challenging, engaging and fun. This introduce pedagogies for teaching classical music in primary schools and preschool. The rationale behind the methods will be discussed while looking at the applications in teaching complex music among elementary and preschool children. One of the innovative methods for teaching is the ""Musical Mirror Method"" which was developed by Veronika Cohen (Cohen, 1997). This method is a tool for teaching music listening using simple movements. Based on the principle that movement gestures are the source of musical gestures, the movements project into space, make visible the underlying source of the musical events. The children observe, and join in the movements of the mirror which to evoke an intuitive and spontaneous understanding of the music. As children develop their own musical mirrors, they learn to reflect deeply about their own musical experience, their hearing of the particular piece. Alternatively, graphic representations are presented to the children and later developed by them. Children play, sing compose in these lessons – all develop familiarity with great music and some feel a deep connection which can enrich their lives. They learn how to construct music out of sound."
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Reports on the topic "Music, polish"

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Manhiça, Anésio, Alex Shankland, Kátia Taela, Euclides Gonçalves, Catija Maivasse, and Mariz Tadros. Alternative Expressions of Citizen Voices: The Protest Song and Popular Engagements with the Mozambican State. Institute of Development Studies (IDS), November 2020. http://dx.doi.org/10.19088/ids.2020.001.

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This study examines Mozambican popular music to investigate three questions: Are notions of empowerment and accountability present in popular music in Mozambique? If so, what can these existing notions of empowerment and accountability reveal about relations between citizens and state institutions in general and about citizen-led social and political action in particular? In what ways is popular music used to support citizen mobilisation in Mozambique? The discussion is based on an analysis of 46 protest songs, interviews with musicians, music producers and event promoters as well as field interviews and observations among audiences at selected popular music concerts and public workshops in Maputo city. Secondary data were drawn from radio broadcasts, digital media, and social networks. The songs analysed were widely played in the past two decades (1998–2018), a period in which three different presidents led the country. Our focus is on the protest song, conceived as those musical products that are concerned with public affairs, particularly public policy and how it affects citizens’ social, political and economic life, and the relationship between citizens and the state.
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