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Audiosfera w utworach literackich Stanisława Lema i ich (dźwiękowych) adaptacjach)

100%
Brzostek D.
Audiosfera. Koncepcje – Badania – Praktyki
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2016
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issue 2(4)
1-13
EN
Soundscapes in the Literary Works of Stanisław Lem and Science Fiction Film Soundtracks The purpose of this paper is to analyze the complex and heterogeneous soundscapes of Stanisław Lem’s literary works, filled with many sounds and many voices: “the absolute silence of the cosmos”, “the overwhelming hum of the future”, “the unsettling knocking on a space station”, “the furtive whisper of a robot”. These are the sounds of Lem’s worlds, in which he conjures up his futurological speculations, shaping them into sci-fi stories about humans, who - among other things - listen. Lem’s space fantasies have inspired film directors and playwrights (particularly radio dramas), posing a challenge for composers and sound producers facing the problem of translating the shape of things to come, emerging from the futurological stories written by the author who gave us Solaris, into the language of sound and music. A peculiar sonic distinctiveness of electronic sonority rises from this genre-oriented and continuous creative practice in film and radio science-fiction with all its earmarks: spaceships, robots, advanced technologies, laboratories, and extraterrestrial worlds – all sounding “electronic,” and thus exotic and distinct to those enjoying this type of fiction in the 1950s, 60s and 70s.
2
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Słuchanie zawsze na nowo

75%
Brożek D.
Audiosfera. Koncepcje – Badania – Praktyki
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2016
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issue 2(4)
51-59
EN
François Bayle’s theoretical and technological experiments in the perception and nature of sound went hand in hand with incredibly profound and syste- matic work. He composed over 100 works – many of them (such as his renow- ned series entitled L’Expérience Acoustique 1969–1972; Son Vitesse-Lumière, 1980–1983) are oft en mentioned in the same breath as Ferrari’s Presque Rien, Parmegani’s De Natura Sonorum, Xenakis’s Concret PH, and Henry’s Le Voy- age. His work epitomizes the modernist quest for the new in the world of sound, from musique concrète, through electroacoustics, acousmatics and octophony which examine the relation between sound and space, to the theory of the nature and perception of sound, which explores the notion of time in music (light speed sound, images-of-sound).
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Ewa Mazierska, 'Popular Polish Electronic Music, 1970–2020. A Cultural History', London 2020 Routledge, pp. 226. ISBN 9780367191894

75%
Santacesaria L.
Muzyka
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2021
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vol. 66
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issue 4
163-167
4
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Entomologia rock and rolla. Owady i rewolucja elektroniczna w muzyce popularnej

63%
Brzostek D.
Kultura Współczesna. Teoria. Interpretacje. Praktyka
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2021
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vol. 114
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issue 2
120-133
EN
The aim of this article is to analyse the relationship between bioacoustics, electronic sound production, and popular music. The electronic revolution in music production in the mid-1960s, inspired by the invention of electronic musical instruments for sound synthesis (Moog, Buchla, ARP Odyssey), was given a prominent place not only in the academic avant-garde laboratories but also in the popular music market, resulting in the emergence of new musical genres and challenging the classical instruments of rock music (guitar, bass, drums). However, abstract electronic sounds and sound-objects ‘discovered’ by rock and roll artists inevitably required new points of reference transcending beyond the existing canon (blues – classical music). One of them was to imitate (through synthesisers) or employ (through bioacoustic recordings) the sounds of insects as adequate equivalents of the ‘sound masses’ generated by electronic instruments and commonly used sound effects. It resulted in a significant re-evaluation of music production and the relationship between popular culture and avant-garde art.
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