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EN
„Card” and „blue card” by Adolf Rudnicki is a specific literary form — it is very difficult to say what literary genre it represents. It is not only a miscellany of many literary genres, but also something „more”. It consist fragments of letters, essays, parables, news, novels, notices but it cannot be classified as belonging to any of those genres. „Card” and „blue card” is very similar to silva — it has open form, it has no „clear” structure and has both too many and too little attributes at the same time.
Musicology Today
|
2015
|
vol. 12
|
issue 1
63-73
EN
The article is an attempt to reconstruct the fundamental elements of Kazimierz Serocki’s musical language on the basis of his own statements concerning his music. Those statements come first and foremost from his lectures prepared for the Meisterkurs für Komposition at the Musik-Akademie in Basel (1976), whose manuscripts are now held in the Polish Composers’ Archive of the University of Warsaw Library. The lecture texts (Notations- und Realisationsprobleme, Klangfarben als Kompositionsmaterial, Chance der offenen Form) present a whole set of problems which Serocki considered as the most important for his method of composition. The central place among these problems is occupied by the idea of “composing with sound colour” (“mit Klangfarben komponieren”). Sound colour plays a decisive role in the creative process, as it constitutes self-sufficient material for composition. Sound colour has a form-shaping role in the musical work, since it can build sequences of sound structures in various configurations, which perform various functions in the piece. The idea of composing with sound colour is presented by the composer in the context of an adequate way of notating sound phenomena and the possibility of performing music from such notation. This idea was also related in the lectures to the principles of constructing polyvalent open forms (mehrdeutige Form) out of small- and large-scale components. Pitch organisation, on the other hand, remains of secondary interest in the composer’s commentaries. Serocki’s self-reflection provides us with original and innovative answers to the most important problems that contemporary composers have had to face in their work. It also provides significant and hitherto frequently little-known insights into the components of the unique style of the author of Pianophonie, and these insights can be effectively utilised in the course of future research on Serocki’s work.
EN
The idea of lifelong learning was very strongly emphasized in the so called Delors Report, prepared almost twenty years ago for the UNO. This report contains many hints concerning 21st century education and in particular underlines the importance of lifelong education. According to the authors of the Report education should be understood as a continuous process, open and changeable, adaptable to definite needs arising from man’s development. The purpose of this paper is to combine the idea of lifelong learning with the premises of Open Form, which are the basis of Oskar Hansen’s social philosophy. Extending the view of education – as an institutional and an extra-institutional structure – and of learning to include the premises of Hansen’s Open Form and Closed Form gives us a chance to better understand the meaning of the idea of lifelong learning in the conditions of sustained social change.
PL
Koncepcja lifelong learning została szczególnie silnie zaakcentowana w tzw. Raporcie Delorsa, przygotowanym blisko 20 lat temu na zlecenie ONZ. Raport zawiera wiele wskazówek dotyczących edukacji w XXI wieku, ze szczególnym naciskiem położonym na edukację przez całe życie. Zdaniem autorów Raportu edukacja człowieka powinna być pojmowana jako proces ciągły, otwarty i zmienny, dostosowujący się do określonych potrzeb, wynikających z rozwoju człowieka. Celem artykułu jest powiązanie idei uczenia się przez całe życie z założeniami Formy Otwartej, stanowiącymi podstawę filozofii społecznej Oskara Hansena. Rozszerzenie perspektywy patrzenia na edukację – jako instytucjonalną i pozainstytucjonalną strukturę – oraz na uczenie się człowieka o założeniach Formy Otwartej i Formy Zamkniętej Hansena jest szansą na lepsze zrozumienie znaczenia idei uczenia się przez całe życie w warunkach nieustającej zmiany społecznej.
PL
Jeśli uwzględni się humanistyczny wymiar architektury, zauważalnym problemem staje się deficyt w zainteresowaniu architekturą życiowego otoczenia człowieka. Rola architektury nie powinna się sprowadzać do prezentowania i sprzedaży efektownych obrazków, które mogą maskować faktyczne problemy ludzkiego środowiska. Przeciwnie, architektura powinna reprezentować życie ludzi i ich aspiracje oraz zachęcać do przebywania w przestrzeni publicznej razem z innymi. Artykuł prezentuje niektóre kwestie etyczne związane z architekturą i wynikające z procesów globalizacyjnych, z niedoceniania problemu ludzkiej skali i różnorodności codziennego życia w przestrzeni publicznej miasta. Przedstawiono tu pogląd, że przekonującą przyczyną piękna we współczesnej architekturze powinna być troska o tworzenie nowych, ważnych i dobrych doświadczeń dla codziennych użytkowników architektury.
EN
Bearing in mind the human dimension of architecture, the nowadays experienced deficit in interest in architecture of life environment may be worrying. The role of architecture should not be limited to presentation and sale of spectacular images that may screen real problems of the human environment. On the contrary it should represent people’s life and aspirations and encourage them to dwell in public spaces together with other people. The paper presents some ethical issues in architecture resulting from globalization processes, from neglecting the human scale and importance of the variety of everyday life of public space in the city. It is argued that the convincing reason for beauty in architecture nowadays should be related to creating new, good and important experiences for daily users of architecture.
EN
This article presents the work of Alicja Gronau (b. 1957), composer, musical theorist, and teacher at the Fryderyk Chopin University of Music in Warsaw. Since 1981, her oeuvre comprises 65 songs for solo instruments, chamber ensembles (strings, saxophones, flutes, various instruments), orchestra, a cappella choir, vocal-instrumental and multi-media compositions, as well as one cham-ber opera. The article analyses these genres on the basis of selected works. Gronau uses a wide range of compositional techniques, including elements of twelve-tone technique, aleatory, sonorism, open form and improvisation. She also employs major-minor tonality.
PL
The article concerns a story about the country doctor and begins, it would seem, in the very typical circumstances of everyday life. The doctor is called to the patient who allegedly needs urgent aid. In the final scene, this doctor, when in need, exposed to frost of “unhappy age”, wandering astray “with an earthly vehicle, unearthly horses”, has nobody to rescue him. The author’s aim is to prove that the complexities of the language in this story, contributing to its special, barely penetrable atmosphere, are an artistic device used by Franz Kafka.
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