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Tytuł:
On collective forms of the Chopin cult in Poland during the nineteenth century
Autorzy:
Dziadek, Magdalena
Powiązania:
https://bibliotekanauki.pl/articles/780119.pdf
Data publikacji:
2010
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Fryderyk Chopin cult
Chopin literature
Chopin anniversaries
Opis:
This article is devoted to specific forms of the Chopin cult that developed in Poland during the nineteenth century. Due to the socio-political situation in the country during the period of the Partitions and the influence of tradition, this cult was manifest first and foremost in the joint experiencing of anniversaries connected with the composer on the part of members of local communities or the entire nation. The basic medium of that experience was the press, in which biographic articles, sketches on his music and also poetical works devoted to the composer were an obligatory part of the anniversaries of Chopin’s birth and death. In this way, the Chopin cult in Poland became primarily a literary phenomenon. Also linked to the traditional culture of the letter that was Polish culture of the nineteenth century is the characteristic form of the Chopin cult known as the obchod. The communal character of the obchod was reflected in its specific form and content. One of the prime concerns was the need to forcibly communicate the fact that Chopin’s music was a national good. Thus at the centre of the theatrically-managed obchod stood an orator or actor declaiming against the background of Chopin’s music. For the purposes of these declamations, a huge amount of literature was produced, examples of which are discussed in the article. Another characteristic “anniversary” product were re-workings of Chopin compositions for large orchestral and choral forces, treated as “ceremonial”. One example of a Chopin celebration displaying the features discussed were the Lviv Chopin celebrations in 1910, which the author describes in more detail.
Źródło:
Interdisciplinary Studies in Musicology; 2010, 9; 151-164
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Chopin on the cinema screen. Aesthetic and cultural determinants
Autorzy:
Kornacki, Krzysztof
Powiązania:
https://bibliotekanauki.pl/articles/780343.pdf
Data publikacji:
2010
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Fryderyk Chopin
cinema
biography
music
Opis:
As with most film subjects, the way Chopin has been presented in the cinema has been the result of a particular poetic (depending on the genre) and cultural context. The author classifies cinematographic Chopinalia on the basis of the former determinant, although without neglecting entirely, in some sections of the text, to treat film as a text of culture. The clear majority of documentary and educational films about Chopin have been made in Poland (as a form of promotion for the country, which does not boast too many icons of world culture). For both aesthetic and cultural reasons, the boundary between documentary and educational film has become blurred. Historical documentaries have used the same iconographic material, film shots and utterances, and also - for the purposes of musical illustration - the same Chopinworks as educational films. Cultural considerations have affected the thematic restrictions in respect to silver screen discourse about Chopin: in both genres, it reflects a rather stereotypical approach to the composer’s life story, with no room for the “Chopin mysteries” (e.g. his fascination with Tytus Woyciechowski) that have long been addressed in the literature. In experimental and animated film, the accent has been shifted - in keeping with the essence of those genres - from Chopin’s biography to his music. Nevertheless, here too the pressure of cultural (national) context has determined the choice of film material accompanying particular works. At the same time, experimental films have become anti-war or political films (as in the case of Eugeniusz C^kalski’s Utwory Chopina w kolorze [Chopin’s works in colour], from 1944 or Andrzej Panufnik’s Bailada f moll [Ballade in F minor], from 1945), whilst the presentation of Chopin’s music in animated films has been full of iconographic clichés and pleonasms (a Mazovian landscape with cleft willows, carriages speeding along in the background, dancing ballerinas, falling leaves and so on), creating a schematic visual code that is automatically associated with the compositions of the brilliant Pole. By way of contrast, it is worth emphasising that a few foreign experimental films (Max Ophiils’s La Valse Brillante de Chopin, Germaine Dulac’s Dysk 927) have illustrated Chopin’s music with images of “universal” objects (piano, gramophone, rain) associated more with music than with feelings, and not with Poland. The dozen or so feature films about Chopin have mainly belonged to popular cinema. For that reason, in the overwhelming majority of cases, the film-makers have turned to biographical facts which possess a suitable dramatic potential. Feature films about Chopin have treated history as a background - a costume in which to dress a tale about universal cultural myths: the myth of love (the relationship with George Sand, which has dominated Chopin films), the pseudo-Romantic myth of the great artist and the patriot myth (prime examples being Charles Vidor’s A Song to Remember and Jerzy Antczak’s Chopin. Pragnienie miłości [Chopin. Desire for love]). Some films - albeit few in number - have adopted a different strategy. One such picture attempted to exploit Chopin’s life story to exemplify Marxist historiosophy and a socialist- realist poetic (Aleksander Ford’s Młodość Chopina [Chopin’s youth]); another- Andrzej Żulawski’s Błękitna nuta [La note bleue] - is a truly original picture about the composer and, like almost every original film, tells us as much about the director as about Chopin himself.
Źródło:
Interdisciplinary Studies in Musicology; 2010, 9; 317-342
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
LEOPOLD BINENTAL I LOSY JEGO KOLEKCJI
LEOPOLD BINENTAL AND THE HISTORY OF HIS COLLECTION
Autorzy:
Krzysztof, Dubiński,
Katarzyna, Świetlicka, Ewa
Powiązania:
https://bibliotekanauki.pl/articles/432895.pdf
Data publikacji:
2017
Wydawca:
Krajowy Ośrodek Badań i Dokumentacji Zabytków
Tematy:
Leopold Binental
Fryderyk Chopin
Insytut Fryderyka Chopina
majolika
rękopisy Chopina
Frederic Chopin
Fryderyk Chopin National Institute
maiolica
Chopin’s manuscripts
Opis:
Leopold Jan Binental (1886–1944) was a musicologist and journalist, and an indefatigable promoter of Frederic Chopin’s compositions and researcher into his life story in the inter-war period. He wrote and published a great deal in professional periodicals as well as in the national and foreign popular press, mainly in France and Germany. Until 1939, he was a regular music critic for "Kurier Warszawski". He was thought to be a competent and respected Chopinologist, and his reputation in Europe was confirmed by the monograph Chopin published in Warsaw (1930 and 1937) and in Paris (1934) and the album Chopin. On the 120th anniversary of his birth. Documents and mementoes (Warsaw 1930 and Leipzig 1932) presenting Chopin’s mementoes, prints, drawings, handwritten musical notes and letters. He initiated and co-organised famous exhibitions about Chopin in the National Museum in Warsaw (1932) and the Polish Library in Paris (1932 and 1937). He was Executive Secretary on the Management Board of the Fryderyk Chopin National Institute created in 1934. Binental amassed a private collection of Chopin’s manuscripts and mementoes which is highly regarded in musicological circles. He also collected works of art; his collection comprised ancient, Middle Eastern and modern European ceramics, medieval sculpture and tapestries, goldsmithery and Judaica. After the outbreak of war in autumn 1939, Binental took certain steps to secure his collections. Three chests with ceramics and works of art were deposited in the National Museum in Warsaw. However, it is not known what happened to the collection of Chopin’s objects. At the beginning of 1940, Binental and his wife managed to leave Poland and reach France, where his daughter lived. In 1944 he was arrested by Gestapo and sent to Auschwitz from which he did not return. After the war, at the request of his daughter Krystyna, some of the works of art deposited in the collections of the National Museum were found. With her approval, they are currently to be found in public collections in Poland, although the fate of his Chopin collection remains unknown. Every now and then, some proof appears on the world antiquarian market that the collection has not been damaged, despite remaining missing.
Leopold Jan Binental (1886–1944), muzykolog i publicysta, był w okresie międzywojennym niestrudzonym propagatorem twórczości Fryderyka Chopina i badaczem jego biografii. Wiele pisał i publikował w periodykach fachowych oraz w prasie popularnej krajowej i zagranicznej, głównie francuskiej i niemieckiej. Nieprzerwanie do 1939 r. był krytykiem muzycznym „Kuriera Warszawskiego”. Zyskał opinię kompetentnego i cenionego chopinologa, a jego europejską pozycję ugruntowała monografia Chopin wydana w Warszawie (1930 i 1937) i w Paryżu (1934) oraz album Chopin. W 120-tą rocznicę urodzin. Dokumenty i Pamiątki (Warszawa 1930 i Lipsk 1932) prezentujący chopinowskie pamiątki, druki, rysunki, rękopisy nutowe i listy. Był inicjatorem oraz współorganizatorem głośnych wystaw chopinowskich w Muzeum Narodowym w Warszawie (1932) i Bibliotece Polskiej w Paryżu (1932 i 1937). W zarządzie utworzonego w 1934 r. Instytutu Fryderyka Chopina piastował stanowisko sekretarza wykonawczego. L. Binental zgromadził prywatną kolekcję autografów i pamiątek po Chopinie, którą w środowisku muzykologów uznaje się za niezwykle cenną. Był również kolekcjonerem dzieł sztuki. Jego zbiór obejmował ceramikę starożytną, bliskowschodnią i nowożytną europejską, rzeźbę średniowieczną oraz tkaniny, złotnictwo i judaica. Po wybuchu wojny, jesienią 1939 r. Binental podjął kroki w celu zabezpieczenia swoich zbiorów. Trzy skrzynie z ceramiką i dziełami sztuki zdeponował w Muzeum Narodowym w Warszawie. Nie wiadomo natomiast jak postąpił z kolekcją chopinianów. Na początku 1940 r. Binentalowi wraz żoną udało się opuścić Polskę i przedostać do Francji, gdzie mieszkała jego córka. W 1944 r. aresztowany przez gestapo i wysłany do Auschwitz już stamtąd nie wrócił. Po wojnie, na prośbę jego córki Krystyny, w zbiorach Muzeum Narodowego odnaleziono część zdeponowanych dzieł sztuki. Za jej aprobatą znajdują się one obecnie w polskich zbiorach publicznych. Natomiast losy kolekcji chopinowskiej pozostają nieznane. Co pewien czas na światowym rynku antykwarskim pojawiają się jednak sygnały świadczące, że kolekcja nie uległa zniszczeniu choć pozostaje zaginiona.
Źródło:
Muzealnictwo; 2017, 58; 109-122
0464-1086
Pojawia się w:
Muzealnictwo
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Życzenie
A wish
Autorzy:
Stawicka, Ewa
Powiązania:
https://bibliotekanauki.pl/articles/498931.pdf
Data publikacji:
2020
Wydawca:
Fundacja im. Aliny i Leszka Allerhandów
Tematy:
Fryderyk Chopin
protection of Chopin’s heritage
Chopin Competition
Opis:
Another column by attorney Ewa Stawicka. This time it is devoted to the situation related to musical culture, the Chopin Competition canceled due to COVID-19, and to Chopin and the protection of his heritage. The column features graphics created by Judge Arkadiusz Krupa.
Źródło:
Głos Prawa. Przegląd Prawniczy Allerhanda; 2020, 3, 1(5); 232-235
2657-7984
2657-800X
Pojawia się w:
Głos Prawa. Przegląd Prawniczy Allerhanda
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Chopin and Polish FOLK
Autorzy:
Dahlig-Turek, Ewa
Powiązania:
https://bibliotekanauki.pl/articles/780339.pdf
Data publikacji:
2010
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Fryderyk Chopin
mazurkas
traditional music
folk music
Opis:
Although Chopin’s music is continually analysed within the context of its affinities with traditional folk music, no one has any doubt that these are two separate musical worlds, functioning in different contexts and with different participants, although similarly alien to the aesthetic of mass culture. For a present-day listener, used to the global beat, music from beyond popular circulation must be “translated” into a language he/she can understand; this applies to both authentic folk music and the music of the great composer. In the early nineties, when folk music was flourishing in Poland (I extend the term “folk” to all contemporary phenomena of popular music that refer to traditional music), one could hardly have predicted that it would help to revive seemingly doomed authentic traditional music, and especially that it would also turn to Chopin. It is mainly the mazurkas that are arranged. Their performance in a manner stylised on traditional performance practice is intended to prove their essentially “folk” character. The primary factor facilitating their relatively unproblematic transformation is their descendental triple-time rhythms. The celebrations of the bicentenary of the birth of Fryderyk Chopin, with its scholarly and cultural events of various weight geared towards the whole of society, gave rise to further attempts at transferring the great composer’s music from the domain of elite culture to popular culture, which brings one to reflect on the role that folk music might play in the transmission and assimilation of artistic and traditional genres.
Źródło:
Interdisciplinary Studies in Musicology; 2010, 9; 343-356
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Chopin and jazz. The case of Andrzej Jagodziński’s arrangement ofthe Prelude in E minor
Autorzy:
Madeła, Patrycja
Powiązania:
https://bibliotekanauki.pl/articles/780377.pdf
Data publikacji:
2010
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Fryderyk Chopin
jazz
jazz arrangements
Andrzej Jagodziński
Opis:
The current of jazz interpretations of Chopin’s music appeared in Polish jazz in the early 1990s. On the one hand, it is the most original and native stylistic trend of all trends influencing jazz in Poland. On the other, it is an exceptional phenomenon internationally, since no works of classical music have received so many jazz arrangements worldwide. The achievements of Polish jazz pianists in this regard have become most representative, since piano texture and the process of improvisation on a given theme show the most obvious references - not only musically, but also emotionally- to the musical language of Chopin. The recording of the award-winning album Chopin by the Andrzej Jagodziński Trio in December 1993 triggered a host of artistic arrangements of Chopin works by Polish jazz pianists, each of which constitutes an individual approach to the Chopin material, reflected in basic factors such as the criteria for the selection of compositions or themes and the process of the original’s transformation. Most jazz arrangements of Chopin’s music involve the piano miniatures that dominate the composer’s oeuvre. This is due to the clarity of the melodic lines, which inspire artists to turn them into themes for jazz standards. The Prelude in E minor, Op. 28 No. 4 has become the most frequently arranged piece of Chopin’s music in the field of jazz. The numerous arrangements are also stylistically diverse. Jagodziński’s arrangement is an example of this pattern being adapted for use in a jazz context. For him, the themes and mood of Chopin’s music have become a pretext for the creation of his own jazz compositions largely inspired by Chopin’s melodies and harmonies, but also by symmetrical form. Arrangements of Chopin’s music have been continually criticised by purists, who regard such procedures as a sort of profanation (any patriotic content in Chopin’s original compositions seems to vanish in the chaos of jazz improvisation, which disturbs the integral form of the originals). The basic problem here seems to be ignorance of the fact that Chopin’s music is essentially only a pretext, a kind of external emblem, for the creation of entirely new compositions, carrying different content, characterised by the author’s individuality.
Źródło:
Interdisciplinary Studies in Musicology; 2010, 9; 371-382
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Jak Norwid projektował swój powrót zza grobu
Autorzy:
Andrzej, Fabianowski,
Powiązania:
https://bibliotekanauki.pl/articles/897242.pdf
Data publikacji:
2018-05-25
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
Norwid
Adam Krafft
Adam Mickiewicz
Fryderyk Chopin
Opis:
In the Romantic period, death and resurrection belonged to the most important categories of artistic reflection. Norwid also explored the thanatic and resurrection topics, however he was more interested in the aesthetic dimension than the theological aspect of returning from beyond the grave, namely how the values of truth, goodness and beauty initially become the cause of the artist’s suffering to become later a guarantee of his immortality. From the first emigration poem titled “Adam Krafft” till late works, the poet presented the fate of artists and the works they created as the operative substance for testing the destruction and rebirth principle. Norwid believed that his work, which transcended the rigid confines and obsessions of its own era, would resurrect in the future.
Źródło:
Przegląd Humanistyczny; 2017, 61(4 (459)); 19-28
0033-2194
Pojawia się w:
Przegląd Humanistyczny
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
W poszukiwaniu sensu
In Search of Meaning
Autorzy:
Helman, Alicja
Powiązania:
https://bibliotekanauki.pl/articles/28639184.pdf
Data publikacji:
2014
Wydawca:
Polska Akademia Nauk. Instytut Sztuki PAN
Tematy:
Iwona Sowińska
Fryderyk Chopin
muzyka filmowa
Frédéric Chopin
film music
Opis:
Recenzja książki Iwony Sowińskiej Chopin idzie do kina (2013). Recenzentka ocenia, że w kontekście piśmiennictwa poświęconego Chopinowi jest to książka uderzająco odmienna i nowa, a zarazem pionierska nie tylko w skali polskiej, ale i światowej. Helman przedstawia konstrukcję książki, analizuje metody zmierzenia się przez Sowińską z gigantycznym materiałem badawczym i wskazuje najciekawsze rozpoznania autorki dotyczące filmowych biografii Chopina oraz sposobów funkcjonowania jego muzyki w filmach. W konkluzji recenzentka notuje, że książka ta jest w pełni oryginalną, odkrywczą i pasjonującą monografią naukową.
A book review of Iwona Sowińska’s Chopin idzie do kina [Chopin Goes to the Cinema] (2013). The reviewer considers the book to be exceptionally original and new in the context of Polish and foreign publications on Chopin. Helman presents the structure of the book, analyses the research methods Sowińska adopts in order to deal with the vast research material available, and points to the most interesting discoveries of the author regarding film biographies of Chopin, and the way his music functions in film. In conclusion the reviewer notes that the book is a fully original, insightful and fascinating scientific monograph.
Źródło:
Kwartalnik Filmowy; 2014, 87-88; 307-313
0452-9502
2719-2725
Pojawia się w:
Kwartalnik Filmowy
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Chopin in the music culture of Russia in the second half of the nineteenth century. From Glinka to Scriabin
Autorzy:
Baranowski, Tomasz
Powiązania:
https://bibliotekanauki.pl/articles/780121.pdf
Data publikacji:
2010
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Russia
Fryderyk Chopin
reception
Chopin style
national style
Mighty Handful
Opis:
This article deals with the reception of Chopin’s music in Russia during the second half of the nineteenth century, as broadly understood. The Chopin cult that developed in Russia was not only genuine, it was exceptional in Europe, giving rise to numerous artistic achievements in many complementary areas, above all composition, pianism and music publishing. The author discusses the issue from an historical perspective, presenting profiles of six outstanding Russian composers in whose life and work the influence of Chopin was at its greatest. The first is Mikhail Glinka, a pioneer of the national orientation in Russian music, who drew abundantly on Chopinian models. The next generation is represented by Anton Rubinstein, the most famous Russian pianist of his times, and two of the Mighty Handful, Mily Balakirev and Nikolay Rimsky-Korsakov. Among the last heirs to Chopin in Russia, pursuing their artistic careers around the turn of the twentieth century, are two composers who masterfully assimilated the stylistic idiom of the composer of the Polonaise-Fantasy, namely Anatoly Lyadov, known as the “Russian Chopin”, and Alexander Scriabin.
Źródło:
Interdisciplinary Studies in Musicology; 2010, 9; 139-150
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Role of Jane Wilhelmina Stirling in Fryderyk Chopin’s Life and in Preserving Memory and Legacy of the Composer
Autorzy:
Pieńkowska, Paulina
Powiązania:
https://bibliotekanauki.pl/articles/513928.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
Tematy:
Jane Wilhelmina Stirling
Fryderyk Chopin
Romantic music
Chopin’s heritage
Opis:
The role of Jane Wilhelmina Stirling in Fryderyk Chopin’s life as well as in preserving his legacy is nowadays underestimated. Jane Stirling was not only Chopin’s pupil, but also his patron. She organized a concert tour to England and Scotland for him and tried to support the composer financially. Moreover, she defrayed the costs of the composer’s funeral and erecting his gravestone. After his death, she focused on what Chopin had left passing away. It is thought that she purchased most of the items from his last flat; she acquired also the last piano the composer had played. She tried to protect the autograph manuscripts he had left, and attempted to arrange the publication of compositions that had been retained only in a sketch form.
Źródło:
Kwartalnik Młodych Muzykologów UJ; 2017, 1(32) Eng; 5-27
2956-4107
2353-7094
Pojawia się w:
Kwartalnik Młodych Muzykologów UJ
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Rola Jane Wilhelminy Stirling w życiu Fryderyka Chopina oraz w kultywowaniu dziedzictwa i pamięci o kompozytorze
The role of Jane Wilhelmina Stirling in Fryderyk Chopin’s life and in preserving memory and legacy of the composer
Autorzy:
Pieńkowska, Paulina
Powiązania:
https://bibliotekanauki.pl/articles/514150.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
Tematy:
Jane Wilhelmina Stirling,
Fryderyk Chopin,
Romantic music,
Chopin’s legacy
Opis:
The role of Jane Wilhelmina Stirling in Fryderyk Chopin’s life as well as in preserving his legacy is nowadays underestimated. Jane Stirling was not only Chopin’s pupil, but also his patron. She organized a concert tour to England and Scotland for him and tried to support the com¬poser financially. Moreover, she defrayed the costs of the composer’s funeral and erecting his gravestone. After his death, she focused on what Chopin had left passing away. It is thought that she purchased most of the items from his last apartment; she acquired also the last piano the composer had played. She tried to protect the autograph manuscripts he had left, and attempted to arrange the publication of compositions that had been retained only in a sketch form.
Źródło:
Kwartalnik Młodych Muzykologów UJ; 2017, 1(32); 5-29
2956-4107
2353-7094
Pojawia się w:
Kwartalnik Młodych Muzykologów UJ
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Fryderyk Chopin heritage legacy in the perspective of the local community and tourists
Dziedzictwo Fryderyka Chopina z perspektywy społeczności lokalnej i turystów
Autorzy:
Ostrowska-Tryzno, Anna
Pawlikowska-Piechotka, Anna
Powiązania:
https://bibliotekanauki.pl/articles/461269.pdf
Data publikacji:
2020
Wydawca:
Mazowieckie Biuro Planowania Regionalnego w Warszawie
Tematy:
The Fryderyk Chopin heritage
cultural events
local community and tourists
Warsaw
Fryderyk Chopin
wydarzenia kulturalne
społeczność lokalna, turyści
Warszawa
Opis:
Although cultural tourism has been known since the very beginning of the European civilisation (the Ancient Greeks and Romans peregrines’), nowadays cultural events are a great attraction not only for a local community, but they are also a strong motivation for tourists to travel. It seems that one of the special research value is to consider how deeply cultural events, connected with ‘high art’ (museums, classical music, art events of superior quality), motivate a local community and tourists. Therefore, the main aim of our survey was to recognize the role and contribution of top cultural events (on the example of ‘the Chopin Year 2010’) in marketing a city’s image and to evaluate its significance as a tourist attraction and its meaning to the local community. To examine the cultural tourism from visitors and the local community perspective and to obtain primary data, we undertook the explanatory and evaluative research. We also used (as secondary data) an academic literature review results, statistic information and materials obtained from the Chopin Museum in Warsaw, the Fryderyk Chopin Association and the Fryderyk Chopin Institute. This paper describes the main outcomes of the survey conducted in 2011–2015. In the past, cultural activities were rarely regarded as part of the tourism industry in Warsaw. The International Fryderyk Chopin Festivals and the International Fryderyk Chopin Piano Competitions were considered as different. From the beginning, they were aimed to be widely recognised international events, rather than attractions organised to meet the needs of the residents and domestic tourists. However, ‘the Chopin Year 2010’ celebrations remained highly exceptional as many different events took place, including ‘street music.’ They were aimed broader than to satisfy only a rather narrow niche of professional musicians. In 2010 both the International Fryderyk Chopin Festival and the 16th International Fryderyk Chopin Piano Competition were events not only shaped for special groups of music lovers, but also for the local community who was able to actively participate in these two big festivals.
Tradycje podróży są bez wątpienia motywacją dla doznań kulturowych, znaną od początków rozwoju turystyki, obecnie coraz częściej stanowiącą podstawowy cel. Zatem ważne wydaje się zbadanie, jakie walory kulturowe i jakie wydarzenia są silnymi magnesami dla wyboru danej destynacji. Innym zagadnieniem jest poszukiwanie odpowiedzi na pytania: czy są to atrakcje interesujące jednakowo dla turystów i dla społeczności lokalnej? W jakim stopniu mają udział w popularyzacji kultury, edukacji, promocji miejsca, kreowaniu jego pozytywnego wizerunku? Kolejną kwestią, którą jak się wydaje warto rozważyć, jest udział nie tylko kultury popularnej (koncerty gwiazd muzyki popularnej), ale i znaczenie ‘kultury wysokiej’ (wystaw, festiwali muzyki klasycznej, wydarzeń artystycznych o ponadlokalnym znaczeniu) w motywacjach podejmowanych podróży. Celem naszych badań, podjętych w ramach projektu statutowego ds.-144 AWF, było poznanie wpływu Roku Jubileuszowego Fryderyka Chopina 2010 w Warszawie na rozwój turystyki kulturowej.
Źródło:
MAZOWSZE Studia Regionalne; 2020, 33; 55-73
1689-4774
Pojawia się w:
MAZOWSZE Studia Regionalne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Chopin on Barricades: About the 100th Anniversary of Chopin’s Birth (1949) and Socialist Realism Doctrine in Poland1
Autorzy:
Bruliński, Michał
Powiązania:
https://bibliotekanauki.pl/articles/514010.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
Tematy:
socialist realism
socrealism
Fryderyk Chopin
Polish People’s Republic
1949
Opis:
The main aim of this paper is to examine the discourse on Frédéric Chopin that took place in Poland in 1949, when the 100th anniversary of his birth coincided with the culmination of the socialist realist propaganda in the field of Polish culture. The discourse, initiated and moderated under effective surveillance of the Polish People’s Republic’s government, was filled with communist ideology. The authorities aimed at creating a sense of communion in the Polish nation, therefore they undertook numerous actions in the area of cultivating memory of Chopin and reception of his works. The composer was used as a banner under which the culture of socialist realism was to be consolidated. Chopin was presented by the narrators in the socialist realist context in various dimensions. “Deep humanism”, “truth”, “optimism”, “sincerity” and “democratic features” of Chopin’s music were the crucial notions used by them. Chopin was depicted, among others, as a revolutionist and a prophet of triumph of communism. The oeuvre of Chopin was said to bring together “fraternal countries and nations”, Polish People’s Republic and Soviet Union, while being simultaneously a crucial element of class conflict. The authorities had a tendency to overemphasize folk roots of his compositions, thus among musical genres composed by Chopin the importance of Mazurka was exaggerated. Other genres without such strong folk connotations, as sonatas, ballades and scherzos, were marginalized in the discourse.
Źródło:
Kwartalnik Młodych Muzykologów UJ; 2018, 1(36) Eng; 77-114
2956-4107
2353-7094
Pojawia się w:
Kwartalnik Młodych Muzykologów UJ
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Chopin na barykadach, czyli o socrealistycznych narracjach w 1949 roku1
Chopin on Barricades: About the 100th Anniversary of Chopin’s Birth (1949) and Socialist Realism Doctrine in Poland
Autorzy:
Bruliński, Michał
Powiązania:
https://bibliotekanauki.pl/articles/514063.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
Tematy:
socialist realism
socrealism
Fryderyk Chopin
Polish People’s Republic
1949
Opis:
The main aim of this paper is to examine the discourse on Frédéric Chopin that took place in Poland in 1949, when the 100th anniversary of his birth coincided with the culmination of the socialist realist propaganda in the field of Polish culture. The discourse, initiated and moderated under effective surveillance of the Polish People’s Republic’s government, was filled with communist ideology. The authorities aimed at creating a sense of communion in the Polish nation, therefore they undertook numerous actions in the area of cultivating memory of Chopin and reception of his works. The composer was used as a banner under which culture of socialist realism was to be consolidated. Chopin was presented by the narrators in the socialist realist context in various dimensions. “Deep humanism”, “truth”, “optimism”, “sincerity” and “democratic features” of Chopin’s music were the crucial notions used by them. Chopin was depicted, among others, as a revolutionist and a prophet of triumph of communism. The oeuvre of Chopin was said to bring together “fraternal countries and nations”, Polish People’s Republic and Soviet Union, while being simultaneously a crucial element of class conflict. The authorities had a tendency to overemphasize folk roots of his compositions, thus among musical genres composed by Chopin the importance of Mazurka was exaggerated. Other genres without such strong folk connotations, as sonatas, ballades and scherzos, were marginalized in the discourse.
Źródło:
Kwartalnik Młodych Muzykologów UJ; 2018, 1(36); 75-109
2956-4107
2353-7094
Pojawia się w:
Kwartalnik Młodych Muzykologów UJ
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 55

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