To see the other types of publications on this topic, follow the link: Music, polish.
Journal articles on the topic 'Music, polish'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Music, polish.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full text
2
Kafka, Laura Grazyna. "Polish Music Since Szymanowski (review)." Notes 62, no. 3 (2006): 706–8. http://dx.doi.org/10.1353/not.2006.0023.
Full text
3
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.
Full text
4
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.
Full text
5
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.
Full textAbstract:
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.
6
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.
Full textAbstract:
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.
7
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.
Full textAbstract:
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.
8
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.
Full text
9
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.
Full textAbstract:
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.
10
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.
Full textAbstract:
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.
11
Mika, Bogumila. "'Beneath the shadow of politics': Reception of the music of Edison Denisov in Poland." New Sound, no. 49 (2017): 139–51. http://dx.doi.org/10.5937/newso1749139m.
Full textAbstract:
The music of Russian composer Edison Denisov was frequently presented in the Warsaw Autumn festival. Between 1964 and 2005, Polish audiences heard his pieces 21 times, including three world premieres. This music was widely received, especially in the 1960s and the 1970s, when Polish culture was strongly influenced by politics. The following decades brought changes in the context of politics and style in the arts, but Denisov's compositions continued to be performed in Warsaw. The aim of this paper is to present the opinions formulated by Polish music critics as evidence about the reception of Denisov's music.
12
Samson, Jim. "Szymanowski and Polish Nationalism." Musical Times 131, no. 1765 (March 1990): 135. http://dx.doi.org/10.2307/965997.
Full text
13
Lelek, Jadwiga, and Konrad Sierzputowski. ""Why so much noise?": Polish music comics." Kultura Popularna 60, no. 2 (January 31, 2020): 218–29. http://dx.doi.org/10.5604/01.3001.0013.7345.
Full textAbstract:
This article is the result of research on the condition of Polish musical comics. The basis of considerations are the comics of Marcin Podolec: Smoke and Fugazi Music Club, two works of Krzysztof Owedyk: Blix and Żorżet and You will be frying in hell, as well as the worst comic of the year by Maciej Pałka and Only calmly Bartek Glazy. The text aims to show the relationships between Polish popular music and comics. Draws attention to the ways of presenting musical subcultures and individual portraits in comic culture. It also introduces the role of memory and nostalgia in the construction of illustrated musical stories in which the real order mixes with the imaginary. The article points to the common points of these works and takes into account the most important shortcomings of all six comics. It highlights the marginalization of the role of women, both in the creative process and the discussed cultural texts. Using the theories of Jacques Ranciere and Robin, James raises the question of male dominance in the Polish music comic, while shedding light on the Polish music scene.
14
Paczkowski, Szymon. "Research on 18th Century Music in Poland. An Introduction." Musicology Today 13, no. 1 (December 1, 2016): 41–52. http://dx.doi.org/10.1515/muso-2016-0008.
Full textAbstract:
Abstract Research on 18th-century music has been one of the key areas of interest for musicologists ever since the beginnings of musicological studies in Poland. It initially developed along two distinct lines: general music history (with publications mostly in foreign languages) and local history (mostly in Polish). In the last three decades the dominant tendency among Polish researchers has been, however, to relate problems of 18th-century Polish musical culture to the political history of the Polish-Lithuanian Commonwealth and more generally – to the political history of Central Europe at large. The most important subjects taken up in research on 18th-century music include: the musical cultures of the royal court in 18th-century Warsaw (primarily in the works of Alina Żórawska-Witkowska) as well as Polish aristocratic residences (e.g. studies by Szymon Paczkowski and Irena Bieńkowska), the ecclesiastical and monastic circles (publications by Alina Mądry, Paweł Podejko, Remigiusz Pośpiech and Tomasz Jeż); problems of musical style (texts by Szymon Paczkowski); research on sources containing music by European composers (e.g. by Johann Adolf Hasse); the musical culture of cities (of Gdańsk, first and foremost); studies concerning the transfer of music and music-related materials, the musical centres and peripheries, etc.
15
Switala, Adam. "The Self-Orientalization of Polish Music Education." Nordic Journal of Comparative and International Education (NJCIE) 5, no. 2 (May 31, 2021): 37–50. http://dx.doi.org/10.7577/njcie.4152.
Full textAbstract:
Polish and international scholars have frequently made use of the postcolonial lens as a presumably valid tool to examine conditions in post-soviet Eastern Europe. The mutual Orientalization of the “other” during the Cold War period in both democratic and communist camps appears to have occasioned prevailing after-effects in the field of Polish music education. This article discusses the above thesis in relation to the writings of two highly influential representatives of postcolonial thought who are also personally connected to the world of music: Edward Said and Rabindranath Tagore. Sections one and two explain the use of the concept of Orientalism as an analytical framework for the article and briefly discuss the rationale behind looking at Poland as a postcolonial country. Next, selected articles by Polish scholars are being analyzed with regard to the historical context of music education in Poland and a broader international perspective. The contemporary discourse of Polish educational policymakers is being discussed with regard to the underlying philosophical and ideological approaches. Finally, the article emphasizes some of the main issues preventing the system of general music education in Poland from acquiring a more inclusive and democratic framework and proposes possible future directions for sustainable change.
16
Bieleninik, Łucja, and Claire M. Ghetti. "Music therapy for preterm infants and their parents: A path forward for research in Poland." Roczniki Psychologiczne 22, no. 2 (January 10, 2020): 135–50. http://dx.doi.org/10.18290/rpsych.2019.22.2-3.
Full textAbstract:
Music therapy has been internationally recognized as a health-promoting profession since the end of World War II, and music therapists have been conducting research in neonatal intensive care since the 1990s. Music therapy professional training was established in Poland in 1973 at the Music Academy in Wrocław, and Polish music therapists have recently begun to seek specialization to work within neonatal intensive care. The commencement of the multi-site international randomized controlled trial LongSTEP, Longitudinal Study of music Therapy’s Effectiveness for Premature infants and their caregivers, has provided the impetus for Polish music therapists to begin offering music therapy services in neonatal intensive care. Thus, engagement in research marks the critical first step in the development of music therapy in neonatal care in Poland. This perspective article examines the current state of experimental research on music therapy in neonatal care and explores its implications for future research in Poland by (1) presenting the clinical aspects of prematurity; (2) summarizing experimental research on music therapy in neonatal intensive care; (3) identifying gaps in the related evidence base; (4) discussing recent developments in international music therapy research; (5) contextualizing music therapy in the Polish neonatal health care system; (6) presenting advanced training in neonatal music therapy, and (7) discussing how culturally relevant aspects of neonatal settings in Poland might impact future research. There is preliminary evidence that music therapy plays a beneficial role for preterm infants and their primary caregivers during the neonatal period; however, research examining long-term impacts and longer-term intervention is needed. Researchers in Poland are poised to make a significant contribution to the international evidence base related to music therapy in neonatal care, and further exploration of particular facets of the Polish neonatal health care system that will impact the delivery of music therapy is warranted.
17
Walkusz, Marta. "Funkcja warszawskich druków muzycznych wydanych w latach 1875- 1918, na przykładzie czterech największych kolekcji przechowywanych w Bibliotece Głównej Akademii Muzycznej im. Stanisława Moniuszki w Gdańsku." Z Badań nad Książką i Księgozbiorami Historycznymi 14, no. 1 (March 24, 2020): 41–62. http://dx.doi.org/10.33077/uw.25448730.zbkh.2020.181.
Full textAbstract:
The article presents a fragment of provenance researches conducted on the largest musical legacies stored in the Main Library of the Stanisław Moniuszko Music Academy in Gdańsk, containing music prints published in Warsaw in the years 1875-1918. These legacies belonged primarily to the musicians who, after World War II, moved to the Coast, mainly from Warsaw. The purpose of the discussion is to prove that the music prints they brought were a canon of music literature for promoting Polish culture and music education both in Warsaw in 1875-1918 and in post-war Gdańsk. Due to the weak publishing situation in Tricity, the musicians were forced to use their own collections, which properties prove that these prints were used primarily by artists to promote Polish music, to train new generations of professional musicians, and thus to develop Polish higher music education.
18
Sieradz, Małgorzata. "Polish National Publishing Initiatives after 1918." Polski Rocznik Muzykologiczny 19, no. 1 (December 1, 2021): 33–53. http://dx.doi.org/10.2478/prm-2021-0005.
Full textAbstract:
Abstract The revival of an independent Polish state in 1918 was conducive not only to the emergence of a new national administration or a sense of national community, but also to the establishment of new entities in science and culture, and, consequently, actions focused on Polishness and promotion of national values. Such new initiatives were based on the activities of scholars, artists and intellectuals, who had existed as a milieu before, but who either operated on a local scale or were entangled in international structures, usually remaining on their peripheries. Projects carried out in new conditions – in the now free country – often with the support of government institutions could promote the national heritage in various forms and on a large scale. In addition to research-related objectives, young Polish musicology also sought to popularise and disseminate Poland’s musical heritage in a variety of ways: 1) by publishing, as part as of sheet music series, sources for the study of the history of Polish music; 2) new critical editions of well-known oeuvres; 3) supporting the work of young Polish composers by publishing the scores of their compositions through publishing houses set up especially for the purpose; or 4) creating fora for the exchange of scholarly reflections and for presentation of the results of research conducted by a growing number of scholars educated at Polish universities. All this with the slogans of “national pride” and “national duty” the fulfilment of which was to help with catching up and making up for the losses caused by the absence of Poland as a state for over one hundred years. This led to initiatives by the newly emerging milieu of Polish musicologists seeking to promote the historical legacy of Polish music as well as the achievements of contemporary composers: the series “Early Polish Music”, a project to publish a complete critical edition of Fryderyk Chopin’s works, series of the Polish Music Publishing Society intended for young composers, or periodicals promoting articles on Polish subjects (Kwartalnik Muzyczny, Muzyka, Muzyka Polska, Polski Rocznik Muzykologiczny and others).
19
Dziadek, Magdalena. "Projects to Revive National Music in Warsaw in 1919–1926." Polski Rocznik Muzykologiczny 19, no. 1 (December 1, 2021): 13–32. http://dx.doi.org/10.2478/prm-2021-0007.
Full textAbstract:
Abstract The year 1918 found Polish national music in a state of extreme neglect, to which had “contributed” — as far as Warsaw was concerned — the period of partitions as well as the time of the Prussian occupation (1915–1918). Attempts to catch up in the field of production and popularisation of national music made from late 1918 by Warsaw activists associated with the a disruption in the existing structure of the public following the influx into ruling party (National Democracy) came up against obstacles caused by Warsaw of impoverished Poles from the provinces, including Russia, as well as an intensification of conflicts between the Polish and Jewish populations. Programmes for a revival of the national music tradition focused primarily on practical actions aimed at improving the lot of Polish musicians by providing them with support from the state and educating a new Polish audience. The third aspect of these programmes was the organisation of a government campaign promoting Polish music abroad. The paper presents unknown sources from the daily Warsaw press of the first half of the 1920s illustrating Warsaw’s everyday musical life in these aspects.
20
Nawrocka, Agnieszka, Wladyslaw Mynarski, Aneta Powerska-Didkowska, Malgorzata Grabara, and Wieslaw Garbaciak. "Musculoskeletal Pain Among Polish Music School Students." Medical Problems of Performing Artists 29, no. 2 (June 1, 2014): 64–69. http://dx.doi.org/10.21091/mppa.2014.2015.
Full textAbstract:
OBJECTIVE: To assess the prevalence and intensity of musculoskeletal pain and to estimate probability of developing playing-related musculoskeletal disorders, depending on risk factors, including gender, years of playing the musical instrument, frequency of practice (number of days per week), average daily practice time, and habitual physical activity level, in young instrumentalists. METHODS: A total of 225 instrumentalists aged 10–18 years, including 107 string-players, 64 keyboardists, and 54 wind-players, were investigated. The Nordic Musculoskeletal Questionnaire (NMQ) together with a numerical visual-analogue pain intensity scale (VAS) was used to assess the participants’ musculoskeletal pain. RESULTS: The young instrumentalists most often complained of pain located in the neck (60.4%), wrists (44.4%), and upper (41.7%) and lower back (38.2%) areas. Girls complained of musculoskeletal pain significantly more often than the boys. A probability of the pain symptoms was increased with each consecutive year of practice (OR 1.135; 95%CI 1.021–1.261). CONCLUSIONS: Musculoskeletal pain in various body parts had already commenced at a young age in our sample of music students, and there was a gender difference (girls were more often affected). Results of our study suggest that an early prophylaxis of playing-related musculoskeletal disorders is needed among young musicians playing the various instruments.
21
Milewski, Barbara. "Review: Polish Music in the Twentieth Century." Music and Letters 83, no. 4 (November 1, 2002): 657–60. http://dx.doi.org/10.1093/ml/83.4.657-a.
Full text
22
Guzy-Pasiak, Jolanta. "Polish musical life in Great Britain during the Second World War." Muzyka 64, no. 1 (April 1, 2019): 144–53. http://dx.doi.org/10.36744/m.249.
Full textAbstract:
The present article is the first attempt to provide a comprehensive – as much as the available sources allow – presentation of Polish music in Great Britain during the war, without any claims to completeness. The main institution attracting Poles in London was, practically from the beginning of the war, Polish Hearth, founded by Polish artists, scholars and writers. The Polish Musicians of London association with Tadeusz Jarecki organised classical music concerts and published contemporary works by Polish composers. The organisation was instrumental in the founding of the London Polish String Quartet. The BBC Radio played a huge role in the popularisation of the Polish repertoire and Polish artists, broadcasting complete performances. What became an extremely attractive form of promoting Polish art were the performances of the Anglo-Polish Ballet, founded by Czesław Konarski and Alicja Halama in 1940. The post-war reality meant that most of the scores published at the time were arrangements of soldiers’, historical, folk and popular songs characterised by simple musical means suited to the capabilities of army bands, but conveying the spirit accompanying the soldiers of the Polish Armed Forces during the Second World War. Polish Army Choir established, as the first among such ensembles, on Jerzy Kołaczkowski’s initiative.The author hopes to prompt further studies into the history of migrations of artists and work on monographs on the various composers and performers. Undoubtedly, there is a need to bring this part of our musical culture to light, especially given the fact that interest in Polish music abroad has been growing in recent years.
23
Bielawski, Ludwik. "Benjamin Rajeczky and Polish Musicology." Studia Musicologica Academiae Scientiarum Hungaricae 44, no. 1 (February 1, 2003): 11–18. http://dx.doi.org/10.1556/smus.44.2003.1-2.3.
Full text
24
Kuchenbrandt, Dieta, Rolf van Dick, Miriam Koschate, Johannes Ullrich, and Manfred Bornewasser. "More than music! A longitudinal test of German–Polish music encounters." International Journal of Intercultural Relations 40 (May 2014): 167–74. http://dx.doi.org/10.1016/j.ijintrel.2013.11.008.
Full text
25
Jekiel, Mateusz. "Comparing rhythm in speech and music: The case of English and Polish." Yearbook of the Poznan Linguistic Meeting 1, no. 1 (December 1, 2014): 55–71. http://dx.doi.org/10.1515/yplm-2015-0003.
Full textAbstract:
Abstract The point of departure for the following study is Patel and Daniele (2003), who suggested that the rhythm of a culture’s language is reflected in its instrumental music. The former study used the normalised pairwise variability index (henceforth nPVI), a measure of temporal patterning in speech, to compare the variability of vocalic duration in recorded speech samples with the variability of note duration in music notation on the example of English and French speech and classical music. The aim of this experiment is to test whether the linguistic rhythm conventionalised in the language of a community affects the rhythm in the musical practice of that community, by focusing on English and Polish speech and classical, as well as folk music. The nPVI values were obtained from a set of English and Polish recorded news-like sentences, and from musical notation of English and Polish classical and folk musical themes. The results suggest that reflections of Polish speech rhythm may be more apparent in folk music than in classical music, though more data are needed to test this idea. This initial study suggests that the method used might bring more fruitful results when comparing speech rhythm with less formalized and more traditional musical themes.
26
Markuszewska, Aneta. "Music-Making Women-Aristocrats." Musicology Today 16, no. 1 (December 31, 2019): 3–30. http://dx.doi.org/10.2478/muso-2019-0001.
Full textAbstract:
Abstract The present article reflects on the shortage of studies concerning music-composing women in the 18th-century Polish-Lithuanian Commonwealth, and focuses on one unique figure among those female musicians – Maria Antonia Walpurgis, an aristocrat of Polish descent, who demonstrated versatile talents. Thoroughly educated in her childhood, she was a poet, composer, singer, and director of her own stage works. This paper discusses the aristocratic artist’s most important experiences and achievements in the field of music, as well as analysing her earliest surviving work, the cycle of 6 Arias for Soprano, Strings and Basso Continuo (1747), which Walpurgis may well have performed herself. The arias have been preserved in a manuscript kept at the Sächsische Landesbibliothek in Dresden, shelf mark Mus.3119-F-11. My analysis assesses their style and aesthetic.
27
Joachimiak, Grzegorz. "From the collection of the Polish musicologist Aleksander Poliński: On the provenance of two lute tablature manuscripts held in the Bibliothèque nationale in Paris." Muzyka 64, no. 3 (October 1, 2019): 18–33. http://dx.doi.org/10.36744/m.40.
Full textAbstract:
The presented research results concerning the music collection of Professor Aleksander Poliński (the author of a book Dzieje muzyki polskiej w zarysie [An outline history of Polish music], Lviv 1907), specifically lute tablature manuscripts from the seventeenth and eighteenth centuries (Paris, Bibliothéque Nationale: Rès. Vmc. ms. 61 and Rès. Vma. ms. 1213), provide information that enables us not only to learn of their complicated history but also to indicate another source from this collection. Inscriptions written in Polish confirm that we are dealing with manuscripts which previously belonged to this collection. The materials and information revealing what sources he had at his disposal when preparing, for example, his monography on Polish music are still very valuable.
28
Jeziński, Marek. "Obrazy miasta w utworach polskich grup alternatywnych lat 80. XX wieku." Kultura Popularna 3, no. 53 (February 26, 2018): 81–90. http://dx.doi.org/10.5604/01.3001.0010.8269.
Full textAbstract:
In the paper I analyse the ways in which a city, urbanism, city space and people living in urban environment are portrayed in Polish popular music, especially in the songs of Polish alternative bands of the 80. inthe 20th century. In popular music, the city is pictured in several ways, among which the most important is the use of words as song lyrics that illustrate urban way of life. The city should be treated as an immanent part of the rock music mythology present in the songs and in the names of bands. In the case of Polish alternative rock music of the 80.such elements are found in songs of such artists as Lech Janerka, Variete, Siekiera, Dezerter, Deuter, AyaRL. The visions of urbanism taken from their songs are the exemplifications used in the paper.
29
Jakelski, Lisa. "Góórecki's Scontri and Avant-Garde Music in Cold War Poland." Journal of Musicology 26, no. 2 (2009): 205–39. http://dx.doi.org/10.1525/jm.2009.26.2.205.
Full textAbstract:
Abstract Poland's post-1956 cultural liberalizations sat uneasily in the midst of a Cold War binary that equated avant-gardism with artistic freedom and socialist realism with aesthetic coercion. During 1960––61, Polish composers and critics debated the seeming paradox of official support in Poland for avant-garde aesthetics. Their disputes arose after the premiere of Henryk Mikołłaj Góórecki's Scontri (Collisions) for Orchestra, op. 17, at the 1960 Warsaw Autumn Festival; disrupted the General Assembly of the Polish Composers' Union in December 1960; and persisted in the journal Ruch Muzyczny (Musical Movement) during the early months of 1961. Taken together, the successive stages of debate show how defenses of Polish avant-garde music intersected with competing cultural imperatives of the Cold War. Maneuvers by composers and critics formed a musical corollary to the ““Polish road to socialism”” that Włładysłław Gomułłka had engineered with the Soviet Union, an agreement by which expanded internal freedoms would be tolerated as long as no serious steps were taken to abandon state socialism in Poland. The amenability of music to such critical moves, paired with the growing international prestige of Polish avant-garde composers and the Warsaw Autumn Festival, suggests why music was spared the reimposition of restrictive governmental oversight as Poland's Thaw came to a close.
30
Krymska, Martyna. "Sinfonietta for String Orchestra by Weronika Ratusińska in the Context of the Issue of (Sub)Genre." Kwartalnik Młodych Muzykologów UJ, no. 45 (2) (2020): 59–84. http://dx.doi.org/10.4467/23537094kmmuj.20.030.13903.
Full textAbstract:
The purpose of the article is to focus on certain terminological and historical aspects related to the genre of sinfonietta in the Polish music of the 20th and 21st century. In the introduction, the author presents the definition and general characteristics, listing the sources and the most representative works in the Polish music. Additionally, she presents numerical statistics and classification of the sinfonietta in Polish music and on this basis she analyses one of the most interesting works representing the type of sinfonietta-transcription – Sinfonietta for string orchestra by Weronika Ratusińska from 2009. The author analyses the use and manner of modification of musical motifs, the way in which the sound layer is shaped and the relation between Ratusińska’s work and tradition of the genre.
31
Juszyńska, Krystyna. "Conducting achievements of Witold Rowicki in Poland and abroad." Konteksty Kształcenia Muzycznego 4, no. 1 (October 19, 2017): 37–55. http://dx.doi.org/10.5604/01.3001.0010.5350.
Full textAbstract:
Witold Rowicki (1914–1989) was one of the most renowned Polish conductors of the 2nd half of the 20th century who gave unique renditions of symphonic music, based on a careful selection of dynamics, tempo and sound proportions between particular groups of instruments. The range of his artistic achievements as a conductor is impressive and comprises over 600 concerts in Poland (most of them with the Warsaw Philharmonic and the Polish National Radio Symphony Orchestra in Katowice), more than 500 concerts abroad, huge concert repertoire ranging from classicism to contemporary music, performances given alongside a number of outstanding soloists, more than 100 records, compositional output, numerous arrangements and instrumentations, popularization of music, teaching activity. His biggest organizational achievement was the revival of the Polish National Radio Symphony Orchestra in Katowice (1945) and the Warsaw Philharmonic Symphony Orchestra (1951) after the World War II. Witold Rowicki was a conductor of a particular merit for Polish culture.
32
Gurgul, Wojciech. "Ukrainian Elements in Polish Guitar Music of the 19th Century." Folk art and ethnology, no. 3 (July 30, 2022): 22–36. http://dx.doi.org/10.15407/nte2022.03.022.
Full textAbstract:
The elements of Ukrainian folk music have appeared in Polish guitar music at the early 19th century, both in music The elements of Ukrainian folk music have appeared in Polish guitar music at the early 19th century, both in music for English guitar tuned in G major (sources for this instrument appeared chronologically first) and for 6-string Spanish guitar. Composers have used stylized dances, mainly kozachok, for composing simple technical arrangements intended for domestic parlour music. Apart from four anonymous manuscripts for English guitar there are two anonymous kozachoks in manuscripts from the National Library of Poland in Warsaw and the Princes Czartoryski Library in Krakow and one kozachok in manuscripts from the National Library of Poland in Warsaw and the Princes Czartoryski Library in Krakow and one kozachok by Eduard Salle neuve. Also another form – duma / dumka – is popular among the19th century Polish guitarists; it has appeared both in the solo and in the original version, intended for vocal with accompaniment. The authors of dumki are, among others Jan Rywacki, and anonymous dumas are preserved in the Jasna Góra Monastery (Library of the Pauline Fathers in Częstochowa), the Jagiellonian Library in Krakow and in mentioned Princes Czartoryski Library. Solo improvised dumkas have been performed by the greatest Polish 19th century virtuosos – Stanisław Szczepanowski and Marek Konrad Sokołowski, as evidenced by extensive press coverage. Three composers – Jan Nepomucen Bobrowicz, Felix Horetzky and the less known Cyprian Leonowicz – also used the Ukrainian folk melodies, mainly as a basis for virtuoso sets of variations. Leonowicz’s piece, which is a kind of written improvisation, is based on the famous song Ikhav Kozak za Dunaj. The melody used by Bobrowicz is more difficult to identify, although the title of the piece indicates the Ukrainian element – Air d’Ukraine varié. Horecki arranged two melodies, including the song Ikhav Kozak za Dunaj, in technically simple arrangements. The Ukrainian thread also appears in the biographies of some 19th century Polish guitarists, including Sokołowski,Numa Łepkowski and Karol de Wyhowski. This article shows that Ukrainian folklore was the strongest foreign element in Polish guitar music of the 19th century. Areas requiring further research are also indicated – related to little-known sources(such as guitar manuscripts from Jasna Góra, the Jagiellonian Library or from the collection of Oskar Kolberg), as well as those concerning Ukrainian guitar music from the 19th century, practically unknown outside Ukraine.
33
Milewski, Barbara, and Bret Werb. "Chopin’s Żydek, and Other Apocryphal Tales." Journal of Musicology 39, no. 3 (2022): 342–70. http://dx.doi.org/10.1525/jm.2022.39.3.342.
Full textAbstract:
Music scholars, critics, and popular writers have for generations told and retold the same tale about Fryderyk Chopin: namely, that the teenaged composer encountered Jewish folk musicians during his visits to the Polish countryside, was fascinated by their music, and even occasionally performed it. Our article endeavors to counter this and similar misconceptions about Chopin's connections to Jews and Jewish folk music, drawing on an array of historical, ethnographic, and literary sources previously discounted or overlooked by Chopin scholars, and freshly reexamining the composer's earliest correspondence. Having established an absence of primary documentation corroborating oft-repeated anecdotes about the young Chopin's interactions with Jewish music makers, we argue that the “Jewish tales” tenaciously clinging to the composer's biography reflect narratives rooted in later nineteenth-century nationalist rhetoric, anachronistic misreadings of Polish-Jewish relations, and unchallenged reliance on precedent writing. Finally, we offer a sampling of the folk and popular music Chopin would likely have heard, performed, and described to his family, citing material sourced from the work of the pioneering Polish ethnographer, and Chopin family friend, Oskar Kolberg.
34
Piekarski, Michał. "Ks. Wacław Sierakowski – propagator wiedzy o muzyce i organizator szkolnictwa muzycznego w okresie działalności Komisji Edukacji Narodowej." Biuletyn Historii Wychowania, no. 34 (October 12, 2018): 85–99. http://dx.doi.org/10.14746/bhw.2016.34.7.
Full textAbstract:
In the second half of the 18th century, musical education in Poland was poor. The Commission of National Education (1773–1793) did not take music into account in its projects. The individual willing to change the situation was Father Wacław Sierakowski (1741–1806), provost of the Wawel Cathedral in Krakow. He played a significant role in the musical life of the city as an organiser of public concerts and founder of a private music school. In 1795–1796, he published a three-volume musical textbook, The Art of Music for Young Polish People (Sztuka muzyki dla młodzieży krajowej), one of the first musical textbooks in the Polish language. In Sierakowski’s publication the stress was put on the social and national value of music. The first volume also featured Sierakowski’s petition from 1792, intended for submission before the Sejm (Polish Parliament), in which the author propounded the idea of the state taking over musical education and establishing a major statesponsored music school in Krakow (Alumnatus Vocalistarum). These plans were never carried out as the third partition of Poland ensued in 1795.
35
Pekacz, Jolanta. "On some dilemmas of Polish post-communist rock culture." Popular Music 11, no. 2 (May 1992): 205–8. http://dx.doi.org/10.1017/s0261143000005006.
Full textAbstract:
Until the late 1970s rock music in Poland was hidden behind many different labels, such as ‘music of a young generation’, ‘youth music’ or ‘big beat’, usually meaning something, if not pejorative, at least suspicious. Having the flavour of a forbidden fruit, genuine rock functioned quite successfully, mostly through independent circulation, not only as a specific form of art, but, first of all, as a symbol of protest against an existing political and social order (it does not matter if we call it ‘communistic’ or ‘capitalistic’); it was a symbol of independence and freedom.
36
Gmys, Marcin. "Archives and blank spots: scholarly perspectives for recovering Polish music (1794–1945)." Interdisciplinary Studies in Musicology, no. 19 (December 31, 2019): 95–105. http://dx.doi.org/10.14746/ism.2019.19.6.
Full textAbstract:
In this article, the author tries to present the issue of blank spots in the history of Polishmusic since 1794 (the world premiere of Cud mniemany, czyli Krakowiacy i Górale [The supposedmirtacle, or Cracovians and highlanders] composed by Jan Stefani to the libretto of Wojciech Bogusławski is regarded as a symbolic beginning of national style in Polish music) up to the end of the SecondWorld War. It was a great period in history when Poland twice did not exist as a state (between1795 and 1918 and between 1939 and 1945).At the beginning the attention is drawn to the Polish music in the nineteenth century. Author describes new discoveries such as the Second Piano Quintet in E flat Major (with double bassinstead of second cello) by Józef Nowakowski (Chopin’s friend), and String Quartets op. 1 and monumentaloratorio Passio Domini Nostri Jesu Christi by Józef Elsner who was Chopin’s teacher in the Conservatory of Music in Warsaw (Elsner’s Passio discovered at the end of the twentieth century isregarded now as the most outstanding religious piece in the history of Polish music in the nineteenth century). Among other works author also mentions romantic opera Monbar (1838) by Ignacy Feliks Dobrzyński and first opera of Stanisław Moniuszko Die Schweitzerhütte (about 1839) written to the German libretto during composer’s studies at Singakademie Berlin. Addressing the issue of Polish music of the first half of the twentieth century author draws attention to the composer Eugeniusz Morawski regarded as the leading Polish author of programme music next to Mieczysław Karłowicz (unfortunately Morawski is still forgotten figure in the Polish musical life). Among others the importance of symphonic heritage of Feliks Nowowiejski, an author ofextremely popular in Europe during the second decade of twentieth century oratorio Quo vadis, is mentioned. At the end of article, the author takes up the problem of the enigmatic figure of Adolf Gużewski.The whole musical output of Gużewski, whose opera Dziewica lodowców [The Ice Maiden] was applauded in Warsaw and Russian opera houses in the second decade of the twentieth century, is now considered lost.
37
Russell, Maureen. "The Polish Music Center, Thornton School of Music, University of Southern California." Music Reference Services Quarterly 15, no. 4 (October 2012): 263–74. http://dx.doi.org/10.1080/10588167.2012.729491.
Full text
38
Jeż, Agnieszka. "General Music Education in a Multi-Ethnic Context, on the Example of State-Run Schools in Poland between the World Wars." Musicology Today 19, no. 1 (December 1, 2022): 28–38. http://dx.doi.org/10.2478/muso-2022-0002.
Full textAbstract:
Abstract The paper concerns the presence and ideological identity-building function of Polish folk music in Polish state-run schools between the World Wars, and the experiences of Jewish children and teenagers in this regard. The young Polish state brought together populations from the former three partitioned territories, which included numerous national minorities. The need for bond-forming, powerfully symbolic elements supporting a collectively developed national identity was soon strongly felt. Polish folk music, with particular emphasis on its regional varieties, perfectly fitted into the ideological current of patriotic and civic youth education in both state-run and private schools. Dances and songs which children learned at music and PE lessons familiarised them with the wealth of traditions, imbuing them with pride and the love of national culture. The paper quotes examples of young Jews’ experiences in this context, as they encountered Polish folksongs and dances in state-run schools: their responses to this issue and the impact of such contacts on their identities. The source material comes from pre-WWII press, in which we hear the voices of the children themselves, reporting their experiences.
39
Grellu-Możejko, Piotr. "Fifty Years of Freedom: Polish Music After 1945." Canadian Slavonic Papers 39, no. 1-2 (March 1997): 181–208. http://dx.doi.org/10.1080/00085006.1997.11092150.
Full text
40
Szubertowska, Elżbieta. "Education and the music culture of Polish adolescents." Psychology of Music 33, no. 3 (July 2005): 317–30. http://dx.doi.org/10.1177/0305735605053736.
Full text
41
Kowalczyk, Rafał. "Klasyfikacja semantyczna rosyjskich i polskich nazw muzyki rozrywkowej." Studia Rossica Posnaniensia 40, no. 1 (February 26, 2016): 177–88. http://dx.doi.org/10.14746/strp.2015.40.1.17.
Full textAbstract:
This paper presents a practical application of multifaceted research into the vocabulary of popular music in contemporary Russian and Polish. It contains explanatory notes in the first part and appendixes, i.e. mini Russian-Polish dictionaries, in the second part. Lexical entries are divided into six semantic groups with the following key concepts: jazz, rock, metal, house, techno and trance, which describe the music styles that appeal to popular tastes.
42
Kondracka-Szala, Marta, and Marcin Michalak. "Popular music in the educational space of Polish preschools – the teacher’s perspective." International Journal of Music Education 37, no. 1 (August 7, 2018): 22–42. http://dx.doi.org/10.1177/0255761418789969.
Full textAbstract:
The purpose of this article is to investigate the presence of popular music within the area of preschool education. To this end, an online survey was conducted with a sample of 115 Polish preschool teachers. This allowed for an analysis of teachers’ opinions on using popular music in various didactic activities, and on the educational value of such music. The results reveal that popular music – marginalized or even excluded from curricula for years – is present in preschools and offers, in the opinions of the teachers, educational value. Genres of this kind of music appear in different educational situations, sometimes as the ‘background’ for teaching and educational activities, among which two forms of musical activity are predominant, namely, motor activities with music, and singing. Analysis of the outcomes leads to a reflection on the necessity of expanding and diversifying educational offers in preschools and points to the fact that further studies on the application of popular music in the early stages of education and on the reception of popular music by children are needed.
43
Samson, Jim. "After Chopin: Essays in Polish Music. Ed. Maja Trochimczyk. Polish Music History Series, no. 6. Los Angeles: Polish Music Center, 2000. x, 333 pp. Appendixes. Notes. Index. Photographs. Figures. Tables. $30.00, paper." Slavic Review 61, no. 2 (2002): 379–81. http://dx.doi.org/10.2307/2697137.
Full text
44
Truscott, Harold. "The Achievement of Andrzej Panufnik." Tempo, no. 163 (December 1987): 7–12. http://dx.doi.org/10.1017/s004029820002355x.
Full textAbstract:
NEARLY THIRTY YEARS AGO I wrote an article for this magazine introducing Andrzej Panufnik, as a worthwhile composer then new to me. Since then he has grown tremendously, in range and in stature. He is Polish, and that bulks large in his music, as it does in the work of any Polish composer; but he is more than that—he is a world artist, and it seems propitious now to examine some of the music that has proved this increase in stature.
45
Gajecka-Antosiewicz, Aleksandra. "Polish harpsichord music in the period of 1936–2016." Notes Muzyczny 1, no. 11 (June 28, 2019): 65–85. http://dx.doi.org/10.5604/01.3001.0013.3522.
Full textAbstract:
The article touches on Polish harpsichord pieces written between 1936 and 2016, dividing this time into three periods. The first of them is connected with the renaissance of harpsichord music, the second one focuses on the activity of Elżbieta Chojnacka and avant-garde works expanding the harpsichord playing technique, whereas for the third period the article presents compositions written for modern and historical harpsichord featuring the new media, as well as for other early instruments. An addition to the article are two annexes containing a list of academic publications on the discussed topic discussed, and a catalogue of CDs entirely devoted to harpsichord pieces written by contemporary Polish composers, which were released by Polish recording companies.
46
Mika, Bogumiła. "'Playing with times': Polish sur-conventionalism of the 1980s." New Sound, no. 46 (2015): 45–59. http://dx.doi.org/10.5937/newso1545045m.
Full textAbstract:
When postmodernism reached the height of intensity in the 20th century and was attracting the attention of Euro-American artistic critics, Polish composers proposed an alternative way of writing music. They invented the term "sur-conventionalism" as a way to experiment with different musical conventions from past epochs. The aim of this paper is to describe some examples of Polish sur-conventional music written by such composers as Paweł Szymański, Stanisław Krupowicz and Paweł Mykietyn.
47
Lindstedt, Iwona. "“Why Are Our Women-Composers So Little Known?”." Musicology Today 16, no. 1 (December 31, 2019): 43–64. http://dx.doi.org/10.2478/muso-2019-0004.
Full textAbstract:
Abstract Polish women-composers of the interwar period (1918–1939) have not been the subject of adequate research so far. We only have some contributory publications and general surveys dedicated to their output. This paper presents the initial results of a study that aims at creating a more multi-sided, in-depth picture of women-composers’ work, including their participation in local and international music life as well as their achievements in the field of composition, the styles and genres practised by selected representatives of this milieu. The paper also discusses the reception of these phenomena in the press of the period. My research leads me to the conclusion that, despite functioning in a kind of ‘parallel world’ in relation to the virtually all-male domain of music composition ‘proper’, the Polish women-composers did penetrate into that world, contributing to its dominant trends and tendencies, from Romantic inspirations to musical modernism, as well as popular music. Their contributions need to be taken into account if we wish fully to reconstruct and appreciate the Polish music created in that period.
48
Konik, Marcin. "“Heritage of Polish Music in Open Access”: digitalising and cataloguing Wawel music collection." Pro Musica Sacra 19 (November 30, 2021): 131. http://dx.doi.org/10.15633/pms.4118.
Full text
49
Lindstedt, Iwona. "The Polish School of Composition in 20th-Century Music – A Recapitulation." Musicology Today 15, no. 1 (December 1, 2018): 32–40. http://dx.doi.org/10.2478/muso-2018-0005.
Full textAbstract:
Abstract The present paper concerns the concept of ‘the Polish School of Composition’, well established in writings on music composed in the 2nd half of the 20th century, but still resisting attempts to define it clearly. I sum up the ways authors have talked about the Polish School of Composition to date, both from the internal (Polish) and external (foreign) points of view. I also examine the musical differentia specifica (such as aspects of style, composition technique and expression in works associated with this phenomenon) and the extramusical (mostly social and political) contexts which have determined the evolving approaches to the phenomenon in question. I begin with the origin of the term itself and discuss its subsequent interpretations until the present. From this perspective, the Polish School of Composition appears to be a kind of mythic narrative, a proposed way of ordering and understanding the past realities, transcending the categories of truth and falsehood, and working primarily in the sphere of emotions.
50
Nowak, Marianne. "Józef Patkowski at the Darmstadt International Summer Courses for New Music." Res Facta Nova. Teksty o muzyce współczesnej, no. 20 (29) (December 15, 2019): 17–28. http://dx.doi.org/10.14746/rfn.2019.20.2.
Full textAbstract:
Around 1960, the Darmstadt International Summer Courses for New Music were an important contact point for Polish composers and musicians to the Western avant-garde after years of isolation due to the doctrine of socialist realism imposed in Poland. During this first phase of Polish participation, Józef Patkowski participated twice in the Courses. Mainly based on sources to be found in the archives of the International Music Institute Darmstadt (IMD), this article di-scusses Patkowski’s perception of the Courses as well as his lecture on New Music in Poland which he held in Darmstadt 1962, and gives an insight into the organizational process of artistic contact between Poland and a Western festival.