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Symbioza muzyki i dramatu – czyli kompozytor w teatrze (cz. III)

100%
Salaber – P.
Estetyka i Krytyka
|
2009
|
issue 15-16
170-180
EN
The article, in essence a corollary to previously published articles on play production, puts particular emphasis on the musical setting and its author. The analysis of play production demonstrates that music, though secondary to speech, has a vital role to play in theater. This, in turn, imposes specific demands on the music director, which are necessary in order to allow for an efficient cooperation with other artists involved in the production: the director, the composer, the stage designer and the choreographer. This is followed by a discussion of issues related to performance and to possible modifications introduced to the play after its premiere, as well as to psychological and artistic phenomena apparent at that stage. The issue of cooperation between distinct groups involved in play production is given particular attention. A closer look at the roles played by the conductor and the music director in a drama theater allows to determine that their work indeed demands a high degree of professional aptitude in the musical, psychological and educational domains, as well as strong interpersonal and adaptive skills. It can, however, also prove to be an extremely rewarding endeavor, providing an outlet for artistic expression and a vehicle for ideas, as well as stimulating personal, intellectual and artistic development. The article discusses the limitations inherent in the process of music production in theater, but primarily emphasizes the benefits, such as, notably, the emergence of a new artistic value, which come from the symbiosis between the two domains of endeavor.
2
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Statio publici portorii in Novae (Niedermoesien) und eine neue Statuenbasis aus dem Stabsgebäude der 1. Italischen Legion

88%
Sarnowski T.
Studia Europaea Gnesnensia
|
2017
|
issue 16
71-90
EN
The present paper is a publication of a new portorium inscription found in one of the late Roman loess pits in the courtyard of the principia (headquarters building) of the legio I Italica and testifying to the existence of the station of the great Illyrian customs district at Novae. The stone bears a dedication to Numen Augusti and Genius portorii and was set up by two servi vilici from the station staff on behalf of G. Iulius Eutyches, the conductor of the Illyrian customs district. The author of the paper dates the stone to AD 169-175 and tries to localise the station near the eastern gate of the legionary fortress. The critical context of the publication includes the findspot of the inscription, topography of the area situated directly to the east of the fortress, location of the Roman landing place and finally also the scene XXXV of the Trajan’s column representing a fortress on the Danube bank which can be identified with Novae.
3
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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.
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РОЗВИТОК МУЗИЧНО-АНАЛІТИЧНИХ УМІНЬ СТУДЕНТІВ У КЛАСІ ДИРИГУВАННЯ

63%
Мирослав Ф.
Педагогічні науки: теорія, історія, інноваційні технології
|
2017
|
issue 3(67)
108-120
EN
The article reveals the relevant issues of the conductor’s skill phenomenon that were applied by many musical teachers, conductors and art critics. The works of scientists were analyzed and the problems of musical-analytical skills development of the students in the conducting learning process are revealed. The purpose of the article is to highlight the important aspects of musical-analytical skills in the conducting class as a preparation part of the creative team leadership. The research methods are observation, analysis and synthesis. It was important to substantiate the term “conductor profession” and to define its basic characteristics for our study. In the light of the topic the works of M. Malko, V. Olkhova and others were used to outline the role and place of the conductor in musical performing groups. As far as conductor art covers many areas of human activities, still it focuses on the highlighting the musical abilities, that play the important role in the conducting learning process, and shows their main characteristics from the position of conductor of the creative team. The list of defined capabilities shows multifaceted and multifunctional conductor activity of the music band, which is able to complete the important artistic and creative tasks. The study emphasizes the necessity of mastering professional disciplines:“Orchestral and conducting practice”, “Methods of working with an orchestra”, “Orchestral class”, “Orchestral scores reading”, “Conducting teaching methods”,“Arrangement”that provides thorough knowledge of the future professionals making a significant impact on the future activities of the creative team head. It reveals the musical memory as one of the complex components of the human mind. Musical memory plays a particularly important role for the future head of an orchestral band, because it affects the success of submission of the art image work: conductor development as an individual, his erudition, the way of thinking will depend on the number of music pieces that are stored in the music memory. In the development of musical-analytical skills students acquire music-theoretical knowledge, learning essential musical terms, musical and semantic features of note text and more. While working on the musical piece students learn to know the logical and artistic elements, structural and compositional features and so on. In order to develop musical-analytical skills of students in the conducting class it is emphasized the importance of writing annotations for music that help future professionals to have performing and theoretical knowledge. Thus, the problem of musical-analytical skills development of students in scientific and musical pedagogical literature is inexhaustible and should be addressed with understanding and analysis.
5
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Michał Klubiński, Bohdan Wodiczko. Dyrygent wobec nowoczesnej kultury muzycznej, Kraków 2017 Wydawnictwo Universitas, ss. 476. ISBN 97883-242-3087-7

63%
Ciesielski R.
Muzyka
|
2021
|
vol. 66
|
issue 2
182-188
6
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Ks. Franciszek Walczyński (1852–1937) – tarnowski działacz muzyczny

51%
Garnczarski S.
Musica Ecclesiastica
|
2021
|
issue 16
21-30
EN
Fr. Francis Walczyński enrolled permanently in the history of the Diocese of Tarnów, as a zealous priest, a conscientious teacher and educator, musician, composer and tireless activist in the field of religious music. He published ascetic and homiletic books and articles, songbooks for young people, organized singing groups and orchestras, and conducted them in the cathedral and other churches in Tarnów on the occasion of religious and patriotic celebrations. He initiated the creation of the Society of St. Wojciech in Tarnów, as part of the Organist Studies and workshops for the improvement of church musicians from the entire diocese. He organized charity concerts, and many charity works. He was president of the Association of St. Philomena and the Home for the Terminally Ill in Tarnów.
PL
Ks. Franciszek Walczyński zapisał się na trwałe w historii diecezji tarnowskiej jako gorliwy kapłan, sumienny nauczyciel i wychowawca, muzyk, kompozytor oraz niezmordowany działacz na polu religijnej muzyki. Wydawał książki i artykuły ascetyczno-homiletyczne, śpiewniki dla młodzieży, organizował zespoły śpiewacze, orkiestry, dyrygował nimi w katedrze i w innych świątyniach Tarnowa z okazji uroczystości religijnych i patriotycznych. Zainicjował powstanie Towarzystwa św. Wojciecha w Tarnowie, w jego ramach Studium organistowskie oraz warsztaty dla doskonalenia muzyków kościelnych z całej diecezji. Organizował koncerty charytatywne, a przy okazji wiele dzieł charytatywnych. Był prezesem Stowarzyszenia św. Filomeny i Domu dla Nieuleczalnie Chorych w Tarnowie.
7
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KS. FRANCISZEK WALCZYŃSKI (1852–1937) – TARNOWSKI DZIAŁACZ MUZYCZNY

51%
Garnczarski S.
Musica Ecclesiastica
|
2021
|
issue 16
21-30
PL
Ks. Franciszek Walczyński zapisał się na trwałe w historii diecezji tarnowskiej jako gorliwy kapłan, sumienny nauczyciel i wychowawca, muzyk, kompozytor oraz niezmordowany działacz na polu religijnej muzyki. Wydawał książki i artykuły ascetyczno-homiletyczne, śpiewniki dla młodzieży, organizował zespoły śpiewacze, orkiestry, dyrygował nimi w katedrze i w innych świątyniach Tarnowa z okazji uroczystości religijnych i patriotycznych. Zainicjował powstanie Towarzystwa św. Wojciecha w Tarnowie, w jego ramach Studium organistowskie oraz warsztaty dla doskonalenia muzyków kościelnych z całej diecezji. Organizował koncerty charytatywne, a przy okazji wiele dzieł charytatywnych. Był prezesem Stowarzyszenia św. Filomeny i Domu dla Nieuleczalnie Chorych w Tarnowie.
EN
Fr. Francis Walczyński enrolled permanently in the history of the Diocese of Tarnów, as a zealous priest, a conscientious teacher and educator, musician, composer and tireless activist in the field of religious music. He published ascetic and homiletic books and articles, songbooks for young people, organized singing groups and orchestras, and conducted them in the cathedral and other churches in Tarnów on the occasion of religious and patriotic celebrations. He initiated the creation of the Society of St. Wojciech in Tarnów, as part of the Organist Studies and workshops for the improvement of church musicians from the entire diocese. He organized charity concerts, and many charity works. He was president of the Association of St. Philomena and the Home for the Terminally Ill in Tarnów.
8
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Feliks Nowowiejski (1877–1946) – patron roku 2016. Poznańskie lata – miłość odwzajemniona?

51%
Karolak E., Karcz B., Tyrała R., Zając A., Delimat W., Janicki J. J., Malik J., Sterczewska L., UPJPII i., Pasek W., Karcz B., Malik J., Sterczewska L., UPJPII i., Pasek W.
Pro Musica Sacra
|
2016
|
vol. 14
EN
Feliks Nowowiejski – composer, conductor, virtuoso organist, initiator of projects with patriotic outcome. After gaining independence by Poland he settled down in Poznań. In his compositional output he already had forms of oratorios, cantatas, masses, songs and minor works for organ. In Poznań he developed activities as a conductor and composer of operas and stage forms and solo organ works with concerto background. He had a great role as an organizer of musical life. Community on one hand was giving him a great appreciation, but on the other treated him with criticism. The article is an attempt to answer the question to what extent he was a dynamic and unusual individuality of the artist and his achievements have left a mark on present musical life of Poznań.
PL
Feliks Nowowiejski – kompozytor, dyrygent, wirtuoz organista, inicjator przedsięwzięć o wydźwięku patriotycznym – po uzyskaniu przez Polskę niepodległości osiedlił się w Poznaniu. W swoim dorobku kompozytorskim miał już formy oratoryjne, kantaty, msze, pieśni i drobne utwory organowe. W Poznaniu rozwinął działalność jako dyrygent i kompozytor utworów operowych i scenicznych oraz solowych utworów organowych o charakterze koncertowym. Położył też duże zasługi jako organizator życia muzycznego. Środowisko odwdzięczało się z jednej strony ogromnym uznaniem, z drugiej – nie szczędziło krytyki. Artykuł jest próbą odpowiedzi na pytanie, w jakim stopniu dynamiczna i nietuzinkowa indywidualność artysty i jego dokonania zostawiły ślad na dzisiejszym życiu muzycznym Poznania.
9
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Płytowe rejestracje kantat kościelnych Johanna Sebastiana Bacha

32%
Delimat W., Karcz B., Tyrała R., Zając A., Delimat W., Janicki J. J., Malik J., Sterczewska L., UPJPII i., Pasek W., Karcz B., Malik J., Sterczewska L., UPJPII i., Pasek W.
Pro Musica Sacra
|
2015
|
vol. 13
EN
Johann Sebastian Bach’s church cantatas hold a special place among composer’s works. Although they were primarily intended for use in the Lutheran church liturgy in order to deepen the understanding of readings from the Bible, they are at the same time masterpieces of highest artistic value. The cantatas, accompanying Bach throughout his artistic career, became a kaleidoscope of all the forms, techniques, motifs and musical means he employed. Forgotten after the composer’s death, the works were rediscovered in the 20th century. The first chapter of this work is devoted to the description of the cantatas and their performance history. The popularization of Bach’s cantatas was connected with both their inclusion in the concert repertoire and the development of recording industry. The first, single recordings of cantatas come from 1950s. Recordings of cantata cycles began soon after. As around two hundred cantatas survive to this day, each project of recording the complete cycle excites interest among music lovers and professional critics. Until today, only a few recordings of the complete cycle of cantatas have been made, some of which deserve particular attention due to their high artistic value and cognitive significance. A detailed discussion of these selected renditions constitutes the second chapter. Apart from recordings of Bach’s complete cycle, there exists a number of recordings containing variously selected cantatas. Many of these have been internationally recognized as most important masterpieces of world phonography. These works are listed and compared in chapters two and three.
PL
Kantaty kościelne Johanna Sebastiana Bacha zajmują szczególne miejsce wśród dzieł kompozytora. Będąc muzyką użytkową, przeznaczoną do wykonania w trakcie liturgii i służącą lepszemu zrozumieniu czytań biblijnych, są jednocześnie przykładem arcydzieł prezentujących najwyższe artystyczne walory. Towarzysząc Bachowi w trakcie całego twórczego życia, stały się kantaty kalejdoskopem wszelkich stosowanych przez niego form i technik, a także wykorzystywanych motywów i środków kompozytorskich. Zapomniane po śmierci kompozytora, dzieła te zostały na nowo odkryte w XX wieku. Charakterystyka i historia wykonawstwa kantat wypełnia I rozdział pracy.Upowszechnienie kantat Bacha związane było z wprowadzeniem ich do repertuaru koncertowego oraz z rozwojem światowej fonografii. Pierwsze pojedyncze nagrania płytowe kantat pochodzą z lat 50. XX wieku. Nieco później rozpoczęto cykliczne nagrywanie tych utworów. W związku z tym, że liczba zachowanych do dnia dzisiejszego kantat wynosi około 200, każdorazowy projekt nagraniowy cyklu wzbudza ogromne zainteresowanie słuchaczy, melomanów i krytyki muzycznej. Do chwili obecnej zarejestrowanych zostało zaledwie kilka kompletów kantat Bacha. Ze względu na wysokie walory artystyczne i poznawcze niektóre z tych nagrań zasługują na szczególną uwagę. Wszystkie one zostały szczegółowo opisane w rozdziale II.Oprócz kompletnych nagrań kantat Bacha istnieje szereg płyt zawierających ich większy lub mniejszy wybór. Wiele z tych nagrań uznane zostało przez muzyczną krytykę za najważniejsze osiągnięcia światowej fonografii. Ich zestawieniem i porównaniem zajmuje się autor w rozdziałach II i III.
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