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Polscy wydawcy prasowi wobec kryzysu dzienników drukowanych. Opis strategii przetrwania

100%
Dziekan-Łanucha A.
Media – Kultura – Komunikacja Społeczna
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2014
|
issue 10/4
9-24
EN
The paper dailies sector in Poland has been in a severe crisis for the past few years. Month by month, lower rates of readership and, at the same time, lower revenue from advertisements, have been reported by the press. This is caused by changes in the area of social communication resulting from the development of new media. The aim of the analyses, that resulted in this article, was to answer the question how publishing companies respond to the crisis of paper dailies. This helped to reach the conclusion that their actions concentrate on creating new distribution channels of contents that have been made for printed newspapers until now. As a result of this, news websites, the press available on smartphones, tablets and e-readers are being developed. Publishing companies also try to make money on newspaper contents in the Piano System. The article depicts the first attempt to create a tablet newspaper in Poland, too.
2
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History of a cultural conquest: The Piano in Japan

99%
Gaspar V.
Acta Asiatica Varsoviensia
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2014
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issue 27
83-99
EN
Any short review of the penetration of European music into Japan and its enthusiastic appropriation calls for a different approach to the controversial question of acculturation. The rapid growth in the pianos popularity in Japan, together with the implicit musical revolution, could also occasion a parallel with the similar process of acculturation which occurred in Eastern Europe (for instance the Romanian Principalities). Musical Westernization (including the institutional and educational reform) might, in contradicting the traditional local musical concepts, mirror a different perspective on intercultural communication and contemporary cultural education.
3
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Wprowadzenie w problematykę techniki gry i środków techniki kompozytorskiej w etiudach fortepianowych kompozytorów polskich w latach 1916-2006

85%
Łukaszewski M. T.
Seminare. Poszukiwania naukowe
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2010
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vol. 27
233-247
EN
The article covers the years 1916 to 2006, i.e. from Karol Szymanowski’s Twelve Etudes Op. 33 (1916) to Krzysztof Baculewski’s Twelve Etudes (2006). During the period under examination piano etudes were written by many Polish composers. Those by Szymanowski, Witold Lutosławski, Andrzej Panufnik, Grażyna Bacewicz and Bolesław Woytowicz are considered to be most representative. In the twentieth century and at the beginning of the twenty first century, the etude has not been an anachronic genre, as evidenced by the constant flow of new works penned by composers. These include both works in which the organization of the musical material draws on tradition and those which explore the techniques of twentieth century-music. The neo-classical trend exerted a far-reaching influence on the character and stylistic features of Polish piano etudes of the first half of the twentieth century. Works by Lutosławski, Bacewicz, Woytowicz, Szeligowski, and to some extent by Panufnik can serve as examples. The etudes by Lutosławski and Bacewicz are beyond doubt of the most outstanding artistic merit. They are part of the concert repertoire and are among the most frequently performed Polish 20th-century etudes. The etudes of Norbert Mateusz Kuźnik, Andrzej Hundziak and Franciszek Woźniak employ the techniques typical of new music, such as a new type of notation, and therefore belong to the avantgarde and post-avantgarde group. Post-modernist Two Etudes by Paweł Szymański also belongs to this group. The work is a good example of ‘sur-conventionality’, a style that is characteristic of Szymański’s music. The etudes by Polish composers, particularly contemporary ones, are used all too rarely as instruction pieces in Polish music schools. They are also rarely included in recital programmes. The reasons should be looked for in the lack of adequate preparation of both the students and teachers, as well as in an insufficient knowledge and understanding of 20th-century music. All this results in a reluctance to explore this part of the Polish musical heritage.
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Joseph Woelfl1 – życie i działalność artystyczna

71%
Bogula E.
Kwartalnik Młodych Muzykologów UJ
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2018
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issue 2(37)
27-61
EN
The present article constitutes an introduction to the artistic profile of Austrian composer and piano virtuoso Joseph Woelfl. This forgotten creative personality left an artistic legacy of instrumental music, stage works, numerous orchestral compositions, piano concertos, a concerto for piano and violin, and a chamber concerto. Beyond this, he wrote numerous other chamber works scored for various ensembles; but above all, he created an array of works for solo piano or two pianos, as well as piano pieces of pedagogical character. The artist was born on 24 December 1773 in Salzburg, where he began his musical education. In 1790, he left his hometown of Salzburg and, probably following in Wolfgang Amadeus Mozart’s footsteps, set out for Vienna. He did not remain there long, however, because in 1791, he was accepted for service to Prince Michał Kleofas Ogiński in Warsaw. The pianist-composer returned to Vienna probably ca 1795. He set out on his next conquest of European cities in 1799. This period of tours lasted until 1801. At this time he visited, among other cities, Prague, Leipzig, Berlin, Hamburg and Dresden. In 1801, he arrived in Paris, where he spent the next four years of his life. In 1805, he left the French capital and set out for London, where he remained until his death. He passed away on 21 May 1812. In his intensive artistic career, Joseph Woelfl devoted himself mainly to piano performance and composition; beyond this, he also engaged in ped¬agogical activity. His abundant artistic output is nearly forgotten today, so it is worthwhile to remind a broader audience of this distinguished figure.
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