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Perspektywy audiosferyczne Galerii Toy Piano

100%
Romańczuk P.
Audiosfera. Koncepcje – Badania – Praktyki
|
2016
|
issue 1(3)
99-109
EN
Soundscape Perspectives of the Toy Piano Gallery
2
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Old and New Questions on the Soundscape, Musical Heritage and Musical Instruments. The Museo del paesaggio sonoro of Riva presso Chieri

100%
Ghirardini C., Raschieri G., Meandri I., Bevilacqua G.
Audiosfera. Koncepcje – Badania – Praktyki
|
2016
|
issue 1(3)
7-40
EN
Taking into consideration the experience of the Museo del Paesaggio Sonoro in Riva presso Chieri (Turin, Italy), this article deals with the role of sound and music in a cultural environment, considering both the process of changing of traditional music and the issues of folk revival, in order to improve a sustaina- ble and non-nationalistic sense of belonging to a place and to raise awareness of the relevance of sound in human and non-human life. It also deals with the opportunity to join the existing digital networks of museums of musical in- struments, without affecting the museum’s distinctive features and those of the musical instruments it hosts.
3
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Nasłuchując muzeum. Kilka uwag o obecności dźwięku w przestrzeni muzealnej

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Tańczuk R.
Audiosfera. Koncepcje – Badania – Praktyki
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2016
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issue 1(3)
1-6
EN
Listening to Museums. Several Remarks on the Presence of Sound in Exhibition Space
4
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Pomerania non cantat? Ekspozycje muzealne muzyki kaszubsko-pomorskiej

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Sacha M. I.
Audiosfera. Koncepcje – Badania – Praktyki
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2016
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issue 1(3)
41-54
EN
The article is a case study of visually representing the phenomenon of ‘music’ in a museum exhibition. For the purpose of this analysis, the Museum of Writ- ing and Kashubian-Pomeranian Music in Wejherowo (Muzeum Piśmiennictwa i Muzyki Kaszubsko-Pomorskiej w Wejherowie) is identified as the sole muse- um in Poland that includes the word ‘music’ in its official name. The problems described centre around two issues: definitions connected with the ethnic (re- gional) and thematic specificity of a museum collection in the region of Kashu- bia, and technical exhibition strategy in the context of ‘Kashubian-Pomeranian music’. The phenomenon of ‘music’ undergoes a process of reification at the museum exhibit, but it also remains a living phenomenon that integrates the local community owing to the museum’s active engagement in various forms of musical activity.
5
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Dźwiękowa kreacja średniowiecznego Krakowa w przestrzeni muzealnej Podziemi Rynku

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Kutrzeba J.
Audiosfera. Koncepcje – Badania – Praktyki
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2016
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issue 1(3)
77-86
EN
The first part of the article describes the sounds forming an integral part of On the Traces of Cracow’s European Identity in the Underground Tourist Trail in the Main Market Square with the author’s conception for the sonic exhibit. In the second part, these premises are confronted with their reception by the pub- lic. For this purpose, a survey was conducted among 100 Poles and 100 foreig­ ners who visited the exhibition in July. Respondents spoke positively about the exhibit’s audiosphere, which facilitated their feeling of travel back in time. The author writes about the challenges of reconstructing medieval city sounds – not just in terms of sonorous objects, but above all human voices. She concludes that despite difficulties, museums should continue their work on historical exhibit sonification.
6
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Work With Sounds. Muzealne archiwum dźwięków pracy

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Widzicka M.
Audiosfera. Koncepcje – Badania – Praktyki
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2016
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issue 1(3)
87-95
EN
Work With Sounds. Museum Archive of the Sounds of Work The aim of this paper is to present the process of creating a sound archive put together by six European museums as part of the project Work With Sounds. Methodological premises, the licensing policy, and results of the project are dis- cussed. The author reflects on the employment of recordings in building a his- torical narrative and the risk of conflating one’s own listening experience with the actual historical soundscape.
7
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Milczenie dźwięków. Esej o tym, co słychać w muzeum

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Lis B.
Audiosfera. Koncepcje – Badania – Praktyki
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2016
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issue 1(3)
96-98
EN
Tacit Sounds. An Essay on the Auditory in Museums
8
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W „świątyni percepcji”. Ekspozycja polskich ludowych instrumentów muzycznych szydłowieckiego muzeum – doświadczanie tradycji poprzez doświadczenie tradycji muzycznej

100%
Oborny A.
Audiosfera. Koncepcje – Badania – Praktyki
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2016
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issue 1(3)
55-62
EN
A specific kind of museum space, particularly in the context of the audiosphere, are musical instrument exhibits. The audiosphere of the Polish exhibit in the Szydłowiec Museum of Folk Music Instruments has been conceived on various levels in tastefully polyphonic structure that works everyday to form indi­vi­ dual sonic planes. The number of active levels is dependent on visitor pre­fe­ rence. The background music constitutes the first level, softly filtering from the speakers. Further levels are created by: soundtracks and audiovisuals controlled through touch panels, films shown on monitors, a type of visual ‘user’s manual’ on the basic types of musical instruments and their sound possibilities, the con- tents of audio guides, experiments with the sounds of original instruments dis- played in the exhibit chambers as a complement to the exhibition, and finally, musical concerts: a spiritual embodiment of the Museum’s founding purpose: experience of the Polish musical tradition.
9
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Audiosfera muzeum instrumentów muzycznych

88%
Gul J.
Audiosfera. Koncepcje – Badania – Praktyki
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2016
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issue 1(3)
63-76
EN
The Soundscape of Musical Instrument Museums Musical instrument museums differ substantially from institutional collections whose collections are primarily destined for visual appreciation. Adding sound is a desirable practice, but poses certain challenges due to the dissonance be- tween necessary protective measures and the need for the exhibits to be heard, not just seen. The paper examines this conflict and suggests a number of possi- ble solutions, with examples drawn from selected musical instrument museums and collections. It also touches upon the problem of imaginary soundscape: the dissonance experienced by the viewer of silent museum pieces originally designed to produce sound.
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