Temat: Witold Rudziński - Katalog OPAC zbiorów

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Tytuł:: „MUZYKA JEST DLA WSZYSTKICH…”.WITOLD RUDZIŃSKI I JEGO NAUKA SŁUCHANIA MUZYKI
“MUSIC IS FOR EVERYONE...”. WITOLD RUDZIŃSKI AND HIS LEARNING OF MUSIC LISTENING
Autorzy:: Waszak, Małgorzata
Powiązania:: https://bibliotekanauki.pl/articles/566546.pdf
Data publikacji:: 2017
Wydawca:: Akademia Pomorska w Słupsku
Tematy:: Witold Rudziński
pedagogika
nauka słuchania muzyki
upowszechnianie muzyki
pedagogy
how to listen to music
popularising music
Opis:: Witold Rudziński (1913-2004) – composer, theorist, music historian, pedagogue, music critic. He is also known for having promoted the idea of listening to music and various methods of teaching it. He would often stress the significance of that area of his didactic work himself. Whilst creating his method, Rudziński focuses upon two aspects – the importance of developing the music imagination of the listener and a conscious choice of the widest possible repertoire. The author presents the entire piece in a concise manner, without breaking it up into separate elements. The act of getting to know music becomes an ongoing game between the analytical and the synthetical thinking processes. An active, versatile listener, who perceives music intensely is, according to Rudziński, a co-creator of the musical work. The biggest importance is attached to the right choice of repertoire of different periods and styles, ideally also varied in terms of orchestration. All this provides an extra challenge for perception and therefore becomes a great way of training the listener’s brain. Various methods of notation (such as music examples, diagrams and illustrations) enhance the process of perception by letting the listener see whatever might be impossible to hear in the direct contact with the work. The author’s concept of listening to music was a result of his deep belief that music plays a unique role and has a significant impact upon everybody’s overall cultural awareness. Rudziński promoted his ideas in various forms, including radio broadcasts, lessons and open lectures. He also wrote a number of successful publications, which provide a valuable output of his life-long passion for popularising music. These include: Music for Everyone (1st ed. Cracow 1948, 2nd ed. Cracow 1966), About Music in the Company of a Loud- Speaker (Cracow 1975) as well as Music of Our Century (Warsaw 1995)
Źródło:: Ars inter Culturas; 2017, 6; 27-36
2083-1226
Pojawia się w:: Ars inter Culturas
Dostawca treści:: Biblioteka Nauki

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Tytuł:: Działalność kompozytorska, naukowa i pedagogiczna Alicji Gronau w świetle biografii kompozytorki
The compositional, academic and pedagogical activities of Alicja Gronau in the light of her biography
Autorzy:: Łukaszewski, Marcin Tadeusz
Powiązania:: https://bibliotekanauki.pl/articles/496658.pdf
Data publikacji:: 2012
Wydawca:: Towarzystwo Naukowe Franciszka Salezego
Tematy:: Marian Borkowski
Szabolcs Esztényi
Alicja Gronau
Witold Rudziński
Improvisation
Polish women composers
Eurhythmics
compositional technique
music theory
Opis:: ‘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.
Źródło:: Seminare. Poszukiwania naukowe; 2012, 32; 253-266
1232-8766
Pojawia się w:: Seminare. Poszukiwania naukowe
Dostawca treści:: Biblioteka Nauki

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Tytuł:: Charakterystyka twórczości i założenia techniki kompozytorskiej Alicji Gronau
A characteristic of Alicja Gronau’s worksand the key features of her compositional technique
Autorzy:: Łukaszewski, Marcin T.
Powiązania:: https://bibliotekanauki.pl/articles/495364.pdf
Data publikacji:: 2014-08-31
Wydawca:: Towarzystwo Naukowe Franciszka Salezego
Tematy:: aleatoryzm
Alicja Gronau
forma otwarta
improwizacja
kompozycja
Marian Borkowski
rytmika
sonoryzm
teatr instrumentalny
composition
eurhythmics
improvisation
open form
Witold Rudziński
Opis:: This article presents the work of Alicja Gronau (b. 1957), composer, musical theorist, and teacher at the Fryderyk Chopin University of Music in Warsaw. Since 1981, her oeuvre comprises 65 songs for solo instruments, chamber ensembles (strings, saxophones, flutes, various instruments), orchestra, a cappella choir, vocal-instrumental and multi-media compositions, as well as one cham-ber opera. The article analyses these genres on the basis of selected works. Gronau uses a wide range of compositional techniques, including elements of twelve-tone technique, aleatory, sonorism, open form and improvisation. She also employs major-minor tonality.
Źródło:: Seminare. Poszukiwania naukowe; 2014, 35, 3; 173-189
1232-8766
Pojawia się w:: Seminare. Poszukiwania naukowe
Dostawca treści:: Biblioteka Nauki