Search results

1

Ludwik Wawrzynowicz jako organizator życia kulturalnego w regionie częstochowskim

100%

Pietroń K.

Kwartalnik Młodych Muzykologów UJ

|

2021

|

issue 1(48)

31-46

EN

Ludwik Wawrzynowicz was a graduate of the Music Conservatory in Warsaw. He started his professional career in Warsaw as a singer of the Warsaw Opera. In 1902 he came to Częstochowa, where he took the position of artistic director of the "Lutnia" Singing Society and choir conductor. In 1904 he founded the L. Wawrzynowicz Music School in Częstochowa. He ran the facility and was an active teacher for 42 years, until 1946. The school contributed significantly to the flourishing of Częstochowa's musical environment and the city's cultural life. Wawrzynowicz was an animator of musical culture and an organizer of numerous concerts. He has performed as a conductor, pianist, organist and speaker. He was also a journalist and regular music rapporteur for "Goniec Częstochowski" in the years 1906–1939. He also published articles in other periodicals. He was a versatile activist, an active popularizer of musical culture. He exerted a significant influence on the development of the musical life of Częstochowa.

2

The 80th anniversary of the life of Alfred Bączkowicz. Personality and musical achievements

100%

Koenig F.

Folia Organologica. International yearbook of organ and organ music

|

2019

|

issue 2

139-152

EN

The encounter with a musical personality almost immediately raises the question about “the roots” i.e. where he comes from, whom he studied with, who was his master and what educational tradition or “school” he belongs to, and above all, in what environment of musical inspiration he grew up and what group of artists he represents. Providing answers to these questions makes it easier to identify ourselves with the person and experience an emotional connection with the creativity presented, i.e. with the achievements and even with the way of evaluating different kinds of musical creativity. Alfred Bączkowicz is an extraordinary personality in the Opole music community. Celebrating his 80th birthday in December 2019, he was a long-time organist at the Opole Cathedral who has influenced the environment of church musicians in Upper Silesia, a pedagogue, a distinguished teacher of harmony and theoretic subjects, and a teacher of several generations of musicians, graduates of the State Primary and Secondary Music Schools in Opole and the Diocesan Institute of Church Music in Opole (formerly the School of Church Music). In each of these fields, his professional work encompasses more than 40 years of solid and dedicated work. The effectiveness of his pedagogical activity is highlighted by the title of “professor” frequently used by students and graduates. In his case, it is not only a polite phrase customarily derived from secondary schools, but it indicates his achievements and the way of his actual influence and a fact of being a mentor predominantly in the field of harmony. In addition, Alfred Bączkowicz has been a composer of many liturgical hymns and melodies, an author of respected harmonic arrangements and co-editor of chorales which are important for the Silesian tradition of church music, i.e. harmonic arrangements of church hymns for organists. These activities demonstrate his personality, and above all his human sensitivity, kindness and readiness to sacrifice himself. For these reasons the name “Bączkowicz” says a lot among the musicians of Upper Silesia and in other parts of Poland as well (K. Grytz-Jurkowska 2017: 36-37). Therefore, it is academically justified to ask about his roots, the beginnings of his musical path, the people who he met on the path of his life and who had an impact on the formation of his attitudes and passions that place him in a certain perspective almost for his entire life. This text is an attempt to find answers for the aforementioned questions that arise from meeting and getting to know the person and musical achievements of Alfred Bączkowicz. The complete text consists of several points covering his biography, organist’s service, pedagogue’s work, involvement in diocesan commissions, participation in the work of editorial teams and his compositional work, with a particular emphasis on the Mass in F major.

3

Tomasz Szadek – kompozytor, śpiewak, ksiądz

100%

Marszał T.

Biuletyn Szadkowski

|

2007

|

issue 07

7-25

4

Symbioza muzyki i dramatu – czyli kompozytor w teatrze

88%

Salaber P.

Estetyka i Krytyka

|

2008

|

issue 13-14

127-139

EN

Th e author continues what was started in the previous volume’s deliberation regarding the complex process of creating a theatrical spectacle. Because of his particular interest in the coexistence of music and drama in the theater, you will f ind e.g. peculiar aspects of cooperation between the composer and actors, as well as descriptions of the problems appearing between groups of performers. Th ese interactions result in a wide variety of time needed for rehearsals and other ways of communication. Also, the particular understanding of instrumentation and musical direction is underlined by the author. Some psychological aspects in the process of achieving a f inal result have been described; paying close attention to plays geared at children. Th e purpose of the author is to analyze and establish the certain stages that take place while creating musical layers in drama. Th ese stages lead to a f inal, compact piece of art – a fully realized drama.

5

Uhe pilliloo kolm versiooni

88%

Jussufi G.

Mäetagused

|

2013

|

vol. 54

139-168

EN

Kandle-Juss, a simple, almost illiterate folk musician, was important for his own generation. With the disappearance of these people, Juss with his music also disappeared from the scene. Eduard Tubin is a worldwide known composer. His Kandle polka (zither polka) stands on its own when compared to his widely acknowledged piano works. Leida Idla has not considered herself as a composer, nor has anyone else. Her short pieces have purposeful characteristics and are only known by a small circle of enthusiasts of Ernst Idla’s methods. When comparing the three versions of polka tune, it can be seen that all of them – Eduard Tubin’s Kandle polka, Leida Idla’s Ringliikumine (circle move), and Kandle-Juss’s Vana polka Saaremaalt (old polka from Saaremaa) – are each a shining example of their genre. It might be questionable if we should compare a folk musician with a skilful improviser, and even more so with a famous composer. Kandle-Juss was not skilled enough to do much else than create a harmonic accompaniment to a melody. On the other hand, we have to admit that both Leida Idla and Eduard Tubin did exactly the same with that very same piece. They all had a specific purpose: one used the kannel (zither), the others – the piano, to enrich the melody. Kandle-Juss’s natural talent is in no way inferior as compared to that of professionals.

6

SIR ANDRZEJ PANUFNIK – DOKTOR HONORIS CAUSA POLSKIEGO UNIWERSYTETU NA OBCZYŹNIE W LONDYNIE I UNIWERSYTETU MUZYCZNEGO FRYDERYKA CHOPINA W WARSZAWIE – ŻYCIE I TWÓRCZOŚĆ

88%

Kawalla S.

Zeszyty Naukowe PUNO

|

2018

|

issue 6

207-211

EN

The article present the life and career of a Polish composer Andrzej Panufnik, one of the most distinguished European musical artists of the second half of the XX century. Starting with his childhood, through musical education, activity during the Second World War, immigration to the UK and post-war career, the authors owers a comprehensive biography of Andrzej Panufnik. Moreover, the article describes the composer’s musical inspirations, his activity within the regime of People’s Republic of Poland and his career in a newly-adopted country – England. e author discusses the composer’s patriotic activity by analysing his musical oeuvre. Finally, Panufnik’s major achievements and awards are itemised to show what an accomplished and honoured composer he was.

7

Muzyczny eklektyzm w trzech etiudach Romana Polańskiego. Rozbijemy zabawę, Lampa i Gdy spadają anioły

88%

Pomostowski P.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

|

2017

|

vol. 20

|

issue 29

301-311

EN

Author of the article, juxtaposing together three studies school of Roman Polanski, discusses the functions of music used in each of them. Due to the fact that the entire work the author of the Pianist’s is characterized by musical eclecticism – which is the main thesis of the article – it is proposed to look at the film music of early Polanski films, and to try to find a specific lineage of this eclecticism. Break Up the Dance, Lamp and When Angels Fall titles, which in the light filmic and musicological investigations differ from each other. Do not change the fact that each of these works “signs” that the director – the creator of not only the visual layer, but also (not forgetting the work of the composer) sound. In his early work Roman Polanski begins to create a kind of “range of methods” in relation to functions of music in the work of the film. The article is an attempt to systematize them and to find the film and the music key.

PL

Musical eclecticism in three etudes by Roman Polanski. Break Up the Dance, Lamp and When Angels Fall Author of the article, juxtaposing together three studies school of Roman Polanski, discusses the functions of music used in each of them. Due to the fact that the entire work the author of the Pianist’s is characterized by musical eclecticism – which is the main thesis of the article – it is proposed to look at the film music of early Polanski films, and to try to find a specific lineage of this eclecticism. Break Up the Dance, Lamp and When Angels Fall titles, which in the light filmic and musicological investigations differ from each other. Do not change the fact that each of these works “signs” that the director – the creator of not only the visual layer, but also (not forgetting the work of the composer) sound. In his early work Roman Polanski begins to create a kind of “range of methods” in relation to functions of music in the work of the film. The article is an attempt to systematize them and to find the film and the music key.

8

Wybrane fakty z biografii i działalności Seweryna Kortowicza w świetle źródeł z Archiwum Archidiecezjalnego w Gnieźnie i Archiwum Archidiecezjalnego w Poznaniu

88%

Dziduch K.

Kwartalnik Młodych Muzykologów UJ

|

2019

|

issue 4(43)

61–76

EN

Seweryn Kortowicz was a musician and composer active in the region of Greater Poland, an important centre of Polish music culture, in the 19th century. The composer’s work was preserved mainly in Gniezno, but also in Poznań. He was a local composer, serving as a music director in the Gniezno cathedral for over 50 years. The article presents the current state of research on the life and work of this composer.

9

Edward Mąkosza. The Composer’s Life and Work

88%

Urban P.

Kwartalnik Młodych Muzykologów UJ

|

2020

|

issue 1(44) ENG

5-32

EN

Edward Mąkosza (born on 13 November 1886 in Lisków, died on 25 April 1973 in Częstochowa) was a Polish composer, pedagogue, conductor, organist, and ethnomusicologist. He was the main organiser of musical life in Częstochowa. He wrote approximately a thousand compositions. He received numerous accolades and was hailed as a hero of the Jasna Góra Monastery. The paper presents Edward Mąkosza’s biography and is meant to serve as an introduction to a comprehensive study of his work. The successive periods of his life (childhood, youth, professional work until and after World War Two have been discussed. Subsequently I focus on the composer’s broadly understood professional activity: his teaching, artistic and community work. I thus attempt to present the professor’s entire biography.

10

Edward Mąkosza. Biografia i działalność kompozytora

88%

Urban P.

Kwartalnik Młodych Muzykologów UJ

|

2020

|

issue 1(44)

5-34

EN

Edward Mąkosza (born on 13th November 1886 in Lisków, died on 25th April 1973 in Częstochowa) was a Polish composer, pedagogue, conductor, organist and ethnomusicologist. He was the main organiser of the musical life in Częstochowa. He is an author of circa 1000 compositions. He received numerous commendations and was a hero of the Jasna Góra Monastery. The article, presenting Edward Mąkosz’s biography, is to serve as an introduction to the comprehensive study of his work. The subsequent periods of his life (childhood, youth, professional work until World War II, professional work after World War II) are discussed. Then, we focus on the composer’s broadly understood activity: social, pedagogical and artistic undertakings. The article aims to show the professor’s entire life.

11

Muzyka organowa Ruth Zechlin (1926–2007)

88%

Kazana-Burczyk S.

Folia Organologica. International yearbook of organ and organ music

|

2022

|

issue 5

108-126

EN

The title of this work is Ruth Zechlin’s organ music. The aim of this paper is to present the biography of the German composer and her achievements in the field of organ composition. Ruth Zechlin was born in 1926, she studied composition with J. N. David, K. Straube and G. Ramin at the Music Academy in Leipzig. Then she worked as a music teacher and gave many concerts as harpsichordist and organist. She created music that has attributes of modern, but is inspired by the music of J. S. Bach. Among over 300 sacred and secular pieces, 26 are written for organ. The intention of the author was to give a rise to begin scientific research on life and works of Ruth Zechlin.

12

Charlie Chaplin - osobowość kina

88%

Moskwa M.

Dydaktyka Polonistyczna

|

2019

|

issue 5 (14)

101-119

EN

The article presents one of the most influential people in history of cinema Charles Chaplin. Born and raised in extreme poverty of London alleys, after years of hard work, he became the most popular and the richest person of the artistic world at the beginning of the 20th century. Chaplin was the man of genius, who created the character of a Little Fellow recognized all over the world until today. His attributes a short moustache, an old bowler hat, a bamboo stick, a tight jacket, loose pants and too big shoes together with not very smart, but cunning and kind childlike personality provided him an international success. Chaplin himself was very talented, apart from his acting abilities, he was a great director, screenwriter, producer and composer. His career originated in British music halls and after a long time of self development evolved to make Charlie the icon of the cinema. The article describes subsequent stages of that process

13

Witkiewicz’s Theory of Pure Form and the Music of Morton Feldman

75%

Barlow J. D.

Estetyka i Krytyka

|

2013

|

issue 4(31)

109-120

EN

In this paper I discuss how “pure form” applies to the music of composer Morton Feldman. Starting from Witkiewicz’s idea that music is the purest form of art, I discuss his speculations on the “heightened metaphysical feeling” that results from aesthetic experience. I also look at Witkiewicz’s rejection of sentimental music. I then take up the conditions of music in our time, where music is used as light entertainment. This exemplifies Witkiewicz’s fears about the use of art as a distraction to keep people happy. I then examine the music of Feldman as an antidote to these trends. His music conveys a sense of a flat surface upon which the attention of listeners drifts contemplatively with the music, experiencing it as an end in itself. I try to show how his music affects listeners at the core of their being and gives them a sense of unity in the midst of the multiplicity of everyday life.

14

Animals Hidden in Notes and Instruments

75%

Michalak B.

Dialogue and Universalism

|

2014

|

issue 1

131-140

EN

Music and animals have been in a close relationship in the history of music: starting from musical instruments made of birds’ bones, through animal voices illustrated in medieval songs and presented in later instrumental music up to chirping and trilling written by Olivier Messian in his birdlike pieces and animal sounds recorded and matched with ideas of the 21st century composers. The purpose of this article is to show the change of the context in which animals were introduced in music from the ancient to contemporary period.

15

Fenomen Ołeksandra Koszyca w ujęciu warszawskiej ukrainistki: Ołeksandr Koszyc i jego dziennik „Z pieśnią przez świat”, red. Walentyna Sobol, Wydawnictwa Uniwersytetu Warszawskiego, Warszawa 2018, 394 ss.

75%

Wołodźko-Butkiewicz A.

Studia Polsko-Ukraińskie

|

2019

|

vol. 6

193-203

PL

In the review article, the author writes about Walentyna Sobol’s book Oleksandr Kositz and his diary “With a song around the world”. Prof. Sobol prepared a Polish edition of Oleksandr Kositz’s diary, published for the first time in Canada in the 1950s and then in the 1970s after the death of this composer, writer, and ethnographer, providing it with an introduction, comprehensive footnotes, an extensive bibliography, and an unknown iconographic material – she has, therefore, carried out work far exceeding the scope of the duties of a scientific editor, which is the role she is performing here. This pioneering, in our country, publication, which will surely interest researchers in culture studies, musicologists, literary scholars, as well as ordinary readers who like to listen to Ukrainian songs, was preceded by a research stay in the archives of Oleksandr and Tetiana Kositz at the Ukrainian Cultural and Educational Centere in Winnipeg (Canada), where Oleksandr Kositz (1875–1944) spent the last years of his life and Professor Sobol – in 2015 – several months of her scientific internship.

16

Problem autorstwa melodii polskiego Te Deum milenijnego. Spojrzenie retrospektywne i aktualne wyniki badań

71%

Drewniak J.

Ruch Biblijny i Liturgiczny

|

2010

|

vol. 63

|

issue 4

EN

The millennium hymn Te Deum has been known and sung in Poland for over forty years. The author of this dissertation presents the complicated circumstances revolving around the creation of this hymn. The inspiration were incorrect notes about the composer of the hymn, which had been published in song-books. In past years it lead people to believe that Te Deum was composed by the priest Antoni Chlondowski. The author, who based his research on that of Maria Wacholc, opposed the idea that the priest Chlondowski had composed the hymn. This article presents analysis of the composing style and the biography of the priest Chlondowski, which contradict his authorship. Next, in the following part of this article the author presented some facts which helped him to find the authentic composers. According to the author of this dissertation the authentic composers of Te Deum were Józef Furmanik and Franciszek Wesołowski. The aim of this article is to emphasize the necessity of the correction of the mistaken information about the composer in the song-books which will be published in the future. This article has the following structure: Te Deum in the history of the Catholic Church; Polish language version of Te Deum used in the liturgy in the XXth century; Polish millennium Te Deum; The controversy around the authorship of the priest Antoni Chlondowski; The controversy around the authorship of Franciszek Wesołowski; The authentic composers – Józef Furmanik and Franciszek Wesołowski.

17

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

63%

Mika B.

Aspekty Muzyki

|

2011

|

vol. 1

130-149

EN

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.

18

Conscious Inclusion of Women Musicians

63%

Cartwright J.

Gender Studies

|

2012

|

vol. 11

|

issue Supplement

235-242

EN

This paper discusses the vast divide between performance opportunities and income earned by male and female musicians. Although female singers are quite visible on the world’s stages, few female instrumentalists are employed on a regular basis and even fewer women composers have their music commissioned for programs or films funded by private and public monies. Several proficient female jazz musicians are identified, and how and why women are omitted from performance is discussed. The need for everyone-producers, promoters, funders, and bandleaders-to consciously choose to include women musicians in programming, especially where public funding is involved, is emphasized.

19

Władysław Cyrbes – zapomniany kompozytor z Zaborowa

63%

Dyka L.

Musica Ecclesiastica

|

2019

|

issue 14

11-17

PL

Niniejszy artykuł prezentuje, na miarę możliwości, postać i dorobek Władysława Cyrbesa, nieco zapomnianego kompozytora. Okruchy informacji rozsianych w różnych encyklopediach i słownikach oraz w czasopiśmiennictwie pozwalają na częściową przynajmniej rekonstrukcję interesujących nas wiadomości. Najbardziej cennym materiałem są zachowane dokumenty parafialne. Skrótowo artykuł ujmuje życiorys Cyrbesa, począwszy od jego narodzin poprzez edukację aż po działalność artystyczno-pedagogiczną. Zawiera także możliwie najobszerniejszy spis utworów muzycznych omawianego twórcy.

EN

This article presents the figure and achievements of Władysław Cyrbes, a somewhat forgotten composer. Pieces of information scattered in various encyclopedias, dictionaries as well as magazines enable at least partially to reconstruct the news we are interested in. The most valuable material was preserved in parish documents. Briefly, the article gives the outline of Cyrbes’s memoir strarting from his birth through education to artistic and pedagogical activity. It also contains the most comprehensive list of musical works of the author.

20

Inspiracje w kompozycji sakralnego dzieła muzycznego

63%

Szymański S.

Pro Musica Sacra

|

2020

|

vol. 18

EN

Article is aimed at showing the meaning of inspirations seen in the inner and outer dimensions for composer’s sacred piece of music. Taking into consideration such qualities of inspiration as evocation, transcendence, and motifs of creator’s attitude fosters deeper understanding the creative process in relation with states of his/her individual creative path, what can be observed in analysis of Wojciech Kilar’s creative experience. It is worth noticing that inspirations appearing spontaneously demands realizing in the concrete piece of work, also in sacral piece of music, as well. The process of its creation is specific for composer who characterizes with an appropriate maturity on concrete stage of life.

PL

Celem artykułu jest ukazanie znaczenia inspiracji w wymiarze wewnętrznym i zewnętrznym dla kompozycji sakralnego dzieła muzycznego. Wzięcie pod uwagę takich cech inspiracji, jak ewokacja, transcendencja oraz motywacja postawy kompozytora, sprzyja głębszemu rozumieniu procesu twórczego w powiązaniu z etapami jego indywidualnej, artystycznej drogi, co wyraźnie można dostrzec w analizie twórczego doświadczenia Wojciecha Kilara. Warto zauważyć, iż inspiracje pojawiające się spontanicznie domagają się realizacji w postaci konkretnego wytworu, a zatem i sakralnego dzieła muzycznego. Proces jego tworzenia jest specyficzny dla kompozytora, który cechuje się określoną dojrzałością na danym etapie życia.

Refine search results

Ludwik Wawrzynowicz jako organizator życia kulturalnego w regionie częstochowskim

The 80th anniversary of the life of Alfred Bączkowicz. Personality and musical achievements

Tomasz Szadek – kompozytor, śpiewak, ksiądz

Symbioza muzyki i dramatu – czyli kompozytor w teatrze

Uhe pilliloo kolm versiooni

SIR ANDRZEJ PANUFNIK – DOKTOR HONORIS CAUSA POLSKIEGO UNIWERSYTETU NA OBCZYŹNIE W LONDYNIE I UNIWERSYTETU MUZYCZNEGO FRYDERYKA CHOPINA W WARSZAWIE – ŻYCIE I TWÓRCZOŚĆ

Muzyczny eklektyzm w trzech etiudach Romana Polańskiego. Rozbijemy zabawę, Lampa i Gdy spadają anioły

Wybrane fakty z biografii i działalności Seweryna Kortowicza w świetle źródeł z Archiwum Archidiecezjalnego w Gnieźnie i Archiwum Archidiecezjalnego w Poznaniu

Edward Mąkosza. The Composer’s Life and Work

Edward Mąkosza. Biografia i działalność kompozytora

Muzyka organowa Ruth Zechlin (1926–2007)

Charlie Chaplin - osobowość kina

Witkiewicz’s Theory of Pure Form and the Music of Morton Feldman

Animals Hidden in Notes and Instruments

Fenomen Ołeksandra Koszyca w ujęciu warszawskiej ukrainistki: Ołeksandr Koszyc i jego dziennik „Z pieśnią przez świat”, red. Walentyna Sobol, Wydawnictwa Uniwersytetu Warszawskiego, Warszawa 2018, 394 ss.

Problem autorstwa melodii polskiego Te Deum milenijnego. Spojrzenie retrospektywne i aktualne wyniki badań

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

Conscious Inclusion of Women Musicians

Władysław Cyrbes – zapomniany kompozytor z Zaborowa

Inspiracje w kompozycji sakralnego dzieła muzycznego

Problem autorstwa melodii polskiego Te Deum milenijnego. Spojrzenie retrospektywne i aktualne wyniki badań