Results found: 2

Search results

Sort By:

Limit search:

Kategoria „nowości” w polskich dyskusjach awangardowych przełomu lat 60. i 70. XX wieku publikowanych na łamach „Ruchu Muzycznego”

100%

Mika B.

Aspekty Muzyki

2011

vol. 1

130-149

The reception of the second avant-garde in Poland was initiated, as is commonly agreed, in 1956 with the fi rst “Warsaw Autumn” festival, and consisted of two phases. The fi rst phase, lasting ten years until around 1966, was the most important, as during this phase Polish listeners became acquainted with avant-garde innovations, music from the Darmstadt and New York schools, and electronic music from the studios in Paris and Cologne. The second phase of the avantgarde reception in Poland began in the symbolic year of 1965 with St. Luke Passion by Penderecki. In this work, the composer recalled the heritage and values of traditional music together with innovations from a synthesis of avant-garde experiments and values. In my paper, I concentrate on articles published in Polish musical press from the late 1960s and early 1970s, where readers could deduce signs of turning away from affi rmative reception of the avant-garde. I con sider issues such as the function of avant-garde art, its new relationship with the listener, creative experimentation, all of which constitute the category of “novelty”. These issues were undertaken by outstanding Polish critics: Stefan Kisielewski, Bohdan Pociej, Zygmunt Mycielski, Marian Wallek-Walewski, and Krystyna Tarnawska-Kaczorowska. I select only a few texts as a representation of the body of the published discourse.

„Orkiestra bez dyrygenta” i Symfonia syren, czyli muzyczne eksperymenty w porewolucyjnej Rosji

100%

Mika B.

Aspekty Muzyki

2012

vol. 2

53-66

The 1920s are one of the most unique times in the history of Russian music. In that time, Anatoly Lunacharsky served as the People’s Commissar for Enlightenment. His general education and personal musical interests led to his friendship with various composers, as well as to writing and publishing texts about music, and he also strived to animate artistic life in his country. In Lunacharsky’s time, many important composers from Western Europe visited the USSR, e.g. Alfredo Casella, Paul Hindemith, Darius Milhaud, or Alban Berg. For Western composers, these visits were also unforgettable events. Milhaud, for example, described his impressions from “Red Russia” in the journal “The Musical Times”. Lunacharsky also encouraged Russian musicians to play an active part in the building of the new socialist system, as well as to carry out various artistic experiments. Among the latter, the establishment of “conductorless orchestra” in Moscow in 1921 can be included, as well as Symphony of Sirens by Arseny Avraamov, which was performed in various Soviet cities, including the most famous concert in Baku in 1922. Sonic experiments of the 1920s USSR are a testimony to dynamicism and originality of Russian musical life of that time. They also demonstrate that political revolution in Russia was accompanied by an original artistic revolution in the area of music. Nowadays, these experiments are discovered and analyzed with great interest by the musical world.

Refine search results

2 Aspekty Muzyki

2 Mika B.

1 2012

1 2011

Search results

Kategoria „nowości” w polskich dyskusjach awangardowych przełomu lat 60. i 70. XX wieku publikowanych na łamach „Ruchu Muzycznego”

„Orkiestra bez dyrygenta” i Symfonia syren, czyli muzyczne eksperymenty w porewolucyjnej Rosji