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Muzyka w serialu animowanym Krecik

100%
Babulewicz K.
Aspekty Muzyki
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2016
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vol. 6
85-110
EN
The Mole (Krtek) was produced in the years 1957–2002 by Czech studio Bratři v triku. All episodes were directed by Zdeněk Miler (1921–2011), creator of the title character. The series achieved a global success (it was presented in eighty-five countries), and the title character found its permanent place not only in the children’s culture, but also in pop culture in general. This article presents the observations about the music in Krtek which were gathered by the analysis of The Mole episodes produced before 1991 (Perestroika) — the essay is a part of a wider research on music in children’s animated films produced in the Central and Eastern Europe in the era of the USSR. The musical analysis is carried out using the descriptive method. The author describes the selected, representative parts of the film including the accompanying soundtrack, to present the most interesting solutions applied in the films developed by the four composers: Jaroslav Křička (1882–1969), William Bukový (1932–1968), Miloš Vacek (1928–2012) and Vadim Petrov (1932–). They have created the soundtracks rich in grasping musical ideas, at the same time referring more than once to a variety of styles and genres. However, the most common is the neoclassical aesthetics, and manifested in its two variants popular in the communist Europe — i.e. the archaic and folklore-like. The music of each composer varies in respect of the dependence on the movie itself — it is often marked by a desire to give music its autonomy (while still taking the film narration into account).
2
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„Geniusz kompozytorów przeszłości nie był jednorazowym przebłyskiem”. O kadencjach Wandy Landowskiej

100%
Babulewicz K.
Aspekty Muzyki
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2015
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vol. 5
95-123
EN
Wanda Landowska was not only an outstanding interpreter of early music, educator and writer, but also a composer (in her youth she wanted to become a composer rather than performer). She wrote piano pieces and songs, chamber music and cadenzas for concertos that she herself performed. Among her cadenzas there are compositions for keyboard concertos of three composers: G.F. Haendel, J. Haydn and W.A. Mozart. In total, for nine concertos, plus a cadenza for Mozart’s Piano Sonata in B Flat Major KV 333. On the basis of indirect information (correspondence and write-ups) it can be estimated that the cadenzas were created between 1907 and the end of the 1920s. They are not examples of virtuoso interludes, but rather belong to the kind of cadenza referred to in the German literature as hinzukomponiert. Each of them is a sort of Landowska’s erudite commentary on the style of the original work. What distinguishes them is the presence of solutions which are rare in this genre (for instance piano dynamics, slowdown and non-obvious choices of the material from the concerto). At the same time, however, they are substantially in line with the compositions for which they were created (often archaic techniques, especially counterpoint, and modern ones are combined). They show the author’s profound knowledge about the history of music and her recognition in the compositional techniques of different periods. In some cases, composing a cadenza was accompanied with the research of sources (as in the case of the cadenzas for Mozart’s Piano concerto in d minor or Haydn’s Keyboard Concerto in B-flat Major). The cadenzas vary for example in the way the composer approaches the material from the concerto: there are examples of a simple quotation, a combination of a quotation and pastiche, and there are those which exceed the allocated place and role and have an impact on the very shape of the original piece. This article presents typical compositional strategies and the most interesting examples from Landowska cadenzas.
3
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Jakie dźwięki powinny towarzyszyć wizycie psa w muzeum? Wokół muzyki w serialu animowanym Reksio oraz jej twórcy

100%
Babulewicz K.
Kwartalnik Młodych Muzykologów UJ
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2014
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issue 4(23)
21-45
EN
The article concerns the issue of music in the cult, Polish Reksio series that was produced in the years 1967–1990 by Studio Filmow Rysunkowych in Bielsko-Biala. It is a brief summary of the thesis on which the article was based (Katarzyna Babulewicz, Zenon Kowalowski’s Film Scores for the Selected Parts of the seria ‘Reksio’, Cracow 2013). The main area of interest is the form of music and its diverse features and functions. Because this issue has not been a subject of any scientific publication so far, the author began her studies from the very beginning, from the interview with the composer Zenon Kowalowski and a visit to the Studio Filmow Rysunkowych in Bielsko-Biala. Detailed analysis of the music are based on videos and on scores (which have been kindly shared by SFR). This article is divided into four parts. The first part contains a brief biography of the composer’s art. The second part is a collection of different types of information (working method for film music, its features and the composer’s memories and anecdotes associated with the production of the series), which were collected during the interview. The third part is a detailed author’s analysis of the one movie from the series (the details of solutions specified by the composer have been indicated). The fourth part is an attempt to determine the common characteristics of music throughout the series. Contained proposals also include two other movies, where detailed analysis is in that thesis. During the study of the music the author has found features that had been specified by the composer himself and the set of other regularities, especially the original meaning assigned to specific instruments, articulation, form, and texture, as well as the most common ways of expressing certain emotions and moods.
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Piotr Hertel as a Composer of Cartoons Soundtracks

100%
Babulewicz K.
Kwartalnik Młodych Muzykologów UJ
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2018
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issue 1(36) Eng
115-133
EN
Piotr Hertel (1936–2010)—a composer of film, theatrical and stage music (among others the hit Parasolka to words of Janusz Słowikowski). He is the author of music for numerous cartoons made in the animation studio Se-Ma-For in Łódź, including soundtracks for legendary TV series Miś Uszatek and Plastusiowy pamiętnik. The aim of the article is to characterize music composed by Hertel for the above-mentioned as well as several other movies in the context of his views on the role of music in cartoons and his compositional technique. The broader knowledge on this topic was gained thanks to the interview made with the members of Hertel’s family: his wife Jadwiga and son Michał.
5
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Muzyka w Cudzoziemce Marii Kuncewiczowej

100%
Babulewicz K.
Kwartalnik Młodych Muzykologów UJ
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2014
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issue 2(21)
98-117
EN
Cudzoziemka (The Stranger) is the most famous novel of Maria Kuncewiczowa (1895–1989) and one of the most outstanding examples of Polish interwar prose. It tells the story of Róża Żabczyńska – an unhappy wife, mother and above all – abandoned once loved and a would-be violinist. The main part of the book is a presentation of the last day in the Róża’s life, when the character recalls the most important events and memories, especially from her early youth. The narrative is not linear. Individual episodes are compiled on the basis of associations, not in the chronological order. Cudzoziemka is usually interpreted as a psychological novel. In the foreground there is a story of a great, unrequited love from the school days, which can not be forgotten during for a lifetime. However there is also another element which is omnipresent on the pages of the novel. It is the music. It is present at all levels of the piece – from layers of language (use of terms related to the execution of music and onomatopeic words, especially to present specific moods, and moreover: overall sensitivity to sound and recalling diverse titles of music pieces), through the narrative: the selection of the key events and making the main character violinist; probably up to the more general conclusions about the nature of music. The structure of the novel suggests some analogies with musical form. What is more, there are many interesting examples of intertextual narrative as a consequence of invoking vocal pieces with a corresponding subject (the most important seems to be Schumann’s Dichterliebe). Music is everywhere, appears not only as a natural (yet attractive) backdrop for stories of wounded feelings of the vengeful violinist. Repeatedly, it is used to convey different types of information to the reader. It becomes often an expression of belief. It also reveals the true face of the main character. Finally, the attitude to music has a major impact on the relationships of other characters with Róża.
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