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“Idzie o to, żeby szło. Miało wzięcie. Działało. Żyło”. Improwizowanie filomatów

100%
Żaglewska A.
pl.it / rassegna italiana di argomenti polacchi
|
2022
|
issue 13
132-151
EN
The article discusses improvisational performances of the Philomaths in the context of the advent of a so-called modernity which correlated with a rapid change in people’s lifestyles. My starting point in examining the most characteristic phenomena of the literary life in Vilnius is the newly emerged economic environment: the enormous popularity of improvised poems (performed or written impromptu) and the development of the printed press. The analysis of the Philomaths’ performances, letters and poems focuses on various aspects of improvising, and not only on poetry presentations but also on a spontaneous way of living and the process of literary production. I argue that the improvisational activity of the Philomaths can be considered as an act of experimenting with and adapting various (traditional as well as innovative) literary patterns, and therefore as a poetic laboratory of the new romantic era.
2
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Działalność kompozytorska, naukowa i pedagogiczna Alicji Gronau w świetle biografii kompozytorki

84%
Łukaszewski M. T.
Seminare. Poszukiwania naukowe
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2012
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vol. 32
253-266
EN
‘High-calibre artists who are women’ – was the motto of an exhibition ‘Polish women composers 1816-1939’, which was held in Katowice in 2003. In the nineteenth century, professional composers were almost all men. Only a handful of women earned a reputation for accomplishments that went beyond amateur music-making. In the twentieth century, women made their presence felt in various forms of artistic activity, including music. Grażyna Bacewicz (1909-1969) is regarded as the patron of Polish women composers of the last century. She achieved worldwide reputation and ranks among the most outstanding 20th-century Polish composers, alongside Karol Szymanowski, Witold Lutosławski and Krzysztof Penderecki. Alicja Gronau, born in 1957, belongs to the most interesting Polish women composers. She began her musical education in 1971 in one of Warsaw’s secondary music schools, attending eurhythmics classes with Barbara Turska and studying piano improvisation with Szabolcs Esztényi, a Hungarian pianist and composer domiciled in Poland. It was thanks to Esztényi that improvisation charted the development of her career. Having graduated from secondary school, Gronau enrolled at the Fryderyk Chopin Music Academy in Warsaw, where she gained two diplomas: in music theory (the class of Witold Rudziński) and subsequently in composition (under the guidance of Marian Borkowski). During her studies, she worked closely at the Experimental Eurhythmics Workshop at her Alma Mater. She participated in the Workshop’s study visit to Hungary, the 14th Congress of the International Society for Music Education in Warsaw and in the eurhythmics courses organized by the E. Jaques-Dalcroze Institute in Geneva and Zakopane (Poland). Gronau stresses that eurhythmics and improvisation played a highly important role in the development of her compositional workshop. Gronau’s first composition, written during her studies with Marian Borkowski, was Przenikanie (Penetration) for solo clarinet (1981). It was followed by Mironczarnie I for a cappella vocal septet (1982), Gioco per voci e batteria (1982), Open for clarinet, viola and horn (1983), Flowing for orchestra (1984), String Quartet No. 1 (1984) and Versioni for 24 performers (1984). In these works, she employed a wide range of techniques. She developed her skills at numerous master courses, including those in Kazimierz Dolny-on-the-Vistula. She is a prizewinner of many composers’ competitions, as well as grants and state distinctions (see – the final fragment of the Polish version of the article). Her creative interests proceeded from a freely-elaborated dodecaphony to controlled aleatory and a search for her own, individual musical idiom. One of her latest major compositions is Poemat – Requiem for orchestra. Her entire output includes several dozen compositions for various performance forces and of diverse stylistic and expressive features. (see the list of compositions at the end of the Polish version of the article). Gronau has also developed a teaching career. She joined the faculty of the Fryderyk Chopin Music Academy (now the Fryderyk Chopin Music University) in 1983. She gained a doctor’s degree in 1997 and became an assistant professor in music composition in 2007. She also worked closely with the Universities in Warsaw and Zielona Góra, as well as with universities in Romania and Chile. At her Alma Mater, she is Head of postgraduate studies in music theory and composition, and of doctoral studies. She also organizes academic sessions and concerts in the ‘composer portrait’ series. In her research, she concentrates on her own compositional method (see the list of publications in the Polish version of the article), the problems of eurhythmics and the theory of rhythm, musical graphics and the analysis of works by other composers (e.g. Marian Borkowski, Jani Christou, Piotr Perkowski, Witold Rudziński, Kazimierz Sikorski). She has several books and numerous articles in Polish and foreign periodicals to her credit.
3
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Impact of Learning Resources Improvisation on Biology Instruction in Senior Secondary Schools in Ondo South Senatorial District in Nigeria

84%
Oluwafemi A. M.
Labor et Educatio
|
2021
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issue 9
169-184
PL
W niniejszym artykule zbadano wpływ improwizacji zasobów edukacyjnych na nauczanie biologii w szkołach średnich pierwszego stopnia w południowym okręgu senatorskim Ondo w stanie Ondo w Nigerii. Próba badawcza liczyła 350 osób i składała się z uczniów wybranych losowo z 10 szkół średnich. Samodzielnie opracowany kwestionariusz został zaprojektowany i zatwierdzony przez testy pilotażowe, a następnie zastosowany w celu zebrania danych. Zostały one zestawione w tabelach i poddane analizie. Wyniki przedstawiono przy użyciu procentów, średniej, odchylenia standardowego i analizy t-testu. Badania pokazały przede wszystkim, że: do nauczania przedmiotów ścisłych dostępne są urządzenia edukacyjne, jak – waga, taśma audio, podręczniki, wykresy, diagramy i mapy; istnieje pozytywny wpływ improwizacji zasobów edukacyjnych na nauczanie biologii w szkołach średnich pierwszego stopnia i nie ma znaczącej różnicy między uczniami płci męskiej i żeńskiej w zakresie wpływu improwizacji zasobów edukacyjnych na nauczanie biologii. Na podstawie wyników tego badania sformułowano główne zalecenia.
EN
This study examined the impact of improvisation of learning resources on biology instruction in senior secondary schools from Ondo South Senatorial District. The study sample was 350; and consisted of students randomly selected from 10 senior secondary schools in Ondo South Senatorial District of Ondo State in Nigeria. A self-developed inventory was designed and validated through pilot testing and administered to the sample for the data collection. The researcher personally visited the schools in Ondo South Senatorial District, thus 100% data were collected. The collected data were tabulated and analysed by using percentages, mean, standard deviation and t-test analysis. The major conclusions of this study were that the types of learning facilities that are available for teaching science are weighing balance, audio tape, textbooks, graphs, charts and maps; there is positive impact of improvisation of learning resources on the biology instruction in the senior secondary schools and there is no significant difference between male and female students in the impact of improvisation of learning resources on biology instruction. Based on the finding of this study, major recommendations were made.
4
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Percepcja wrażeń akustycznych w wierszu Mochnacki Jana Lechonia

67%
Radion E.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2019
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vol. 52
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issue 1
69-85
EN
This research on the perception of phonic reality presented in Jan Lechoń’s poem Mochnacki is based on interdisciplinary sound studies, specifically the findings made by musicologists, music critics, music psychologists, psychoacoustcians and literature spcialists. The author perceives the speaking persona as the Schaferean “ear witness” verbalizing his experience in metrical language. In her research on lyrical description of perception, the author takes into account both the response to individual sounds and internal images, which become active when one is listening to music. The perception of phonic reality presentend in the poem reveals the poet’s attitude to not only the art of sound, but also non-literary reality and, above all, to the Romantic tradition.
PL
Kontekstem prowadzonych badań nad percepcją rzeczywistości fonicznej prezentowanej w wierszu Mochnacki Jana Lechonia są interdyscyplinarne badania nad dźwiękiem (sound studies). Korzystam z ustaleń muzykologów, krytyków muzycznych, psychologów muzyki, psychoakustyków oraz literaturoznawców. Postrzegam osobę mówiącą w kategorii Schaferowskiego „nausznego świadka”, werbalizującego swoje przeżycia w mowie wiązanej. Analizując liryczny opis percepcji, biorę pod uwagę zarówno reakcje na pojedyncze dźwięki, jak i wewnętrzne obrazy, aktywizujące się podczas słuchania muzyki. Percepcja rzeczywistości akustycznej prezentowana w omawianym wierszu ujawnia nie tylko stosunek poety do sztuki dźwięku, ale również do rzeczywistości pozaliterackiej, a nade wszystko do tradycji romantycznej.
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