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Tytuł:
The 80th anniversary of the life of Alfred Bączkowicz. Personality and musical achievements
Autorzy:
Koenig, Franciszek
Powiązania:
https://bibliotekanauki.pl/articles/570383.pdf
Data publikacji:
2019
Wydawca:
Uniwersytet Opolski. Diecezjalny Instytut Muzyki Kościelnej. Katedra Muzykologii Uniwersytetu Opolskiego
Tematy:
Alfred Bączkowicz
composer
organist
Opis:
The encounter with a musical personality almost immediately raises the question about “the roots” i.e. where he comes from, whom he studied with, who was his master and what educational tradition or “school” he belongs to, and above all, in what environment of musical inspiration he grew up and what group of artists he represents. Providing answers to these questions makes it easier to identify ourselves with the person and experience an emotional connection with the creativity presented, i.e. with the achievements and even with the way of evaluating different kinds of musical creativity. Alfred Bączkowicz is an extraordinary personality in the Opole music community. Celebrating his 80th birthday in December 2019, he was a long-time organist at the Opole Cathedral who has influenced the environment of church musicians in Upper Silesia, a pedagogue, a distinguished teacher of harmony and theoretic subjects, and a teacher of several generations of musicians, graduates of the State Primary and Secondary Music Schools in Opole and the Diocesan Institute of Church Music in Opole (formerly the School of Church Music). In each of these fields, his professional work encompasses more than 40 years of solid and dedicated work. The effectiveness of his pedagogical activity is highlighted by the title of “professor” frequently used by students and graduates. In his case, it is not only a polite phrase customarily derived from secondary schools, but it indicates his achievements and the way of his actual influence and a fact of being a mentor predominantly in the field of harmony. In addition, Alfred Bączkowicz has been a composer of many liturgical hymns and melodies, an author of respected harmonic arrangements and co-editor of chorales which are important for the Silesian tradition of church music, i.e. harmonic arrangements of church hymns for organists. These activities demonstrate his personality, and above all his human sensitivity, kindness and readiness to sacrifice himself. For these reasons the name “Bączkowicz” says a lot among the musicians of Upper Silesia and in other parts of Poland as well (K. Grytz-Jurkowska 2017: 36-37). Therefore, it is academically justified to ask about his roots, the beginnings of his musical path, the people who he met on the path of his life and who had an impact on the formation of his attitudes and passions that place him in a certain perspective almost for his entire life. This text is an attempt to find answers for the aforementioned questions that arise from meeting and getting to know the person and musical achievements of Alfred Bączkowicz. The complete text consists of several points covering his biography, organist’s service, pedagogue’s work, involvement in diocesan commissions, participation in the work of editorial teams and his compositional work, with a particular emphasis on the Mass in F major.
Źródło:
Folia Organologica. International yearbook of organ and organ music; 2019, 2; 139-152
2657-6082
2719-3284
Pojawia się w:
Folia Organologica. International yearbook of organ and organ music
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Tomasz Szadek – kompozytor, śpiewak, ksiądz
Tomasz Szadek – composer, singer, priest
Autorzy:
Marszał, Tadeusz
Powiązania:
https://bibliotekanauki.pl/articles/510434.pdf
Data publikacji:
2007
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Tomasz Szadek
composer
singer
priest
Źródło:
Biuletyn Szadkowski; 2007, 7; 7-25
1643-0700
Pojawia się w:
Biuletyn Szadkowski
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Wybrane fakty z biografii i działalności Seweryna Kortowicza w świetle źródeł z Archiwum Archidiecezjalnego w Gnieźnie i Archiwum Archidiecezjalnego w Poznaniu
Selected Facts from the Biography and Activity of Seweryn Kortowicz in the Light of the Sources from the Archdiocesan Archives in Gniezno and the Archdiocesan Archives in Poznań
Autorzy:
Dziduch, Karolina
Powiązania:
https://bibliotekanauki.pl/articles/513902.pdf
Data publikacji:
2019
Wydawca:
Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
Tematy:
composer
musician
manuscript
Seweryn Kortowicz
Gniezno
Opis:
Seweryn Kortowicz was a musician and composer active in the region of Greater Poland, an important centre of Polish music culture, in the 19th century. The composer’s work was preserved mainly in Gniezno, but also in Poznań. He was a local composer, serving as a music director in the Gniezno cathedral for over 50 years. The article presents the current state of research on the life and work of this composer.
Źródło:
Kwartalnik Młodych Muzykologów UJ; 2019, 4(43); 61-76
2956-4107
2353-7094
Pojawia się w:
Kwartalnik Młodych Muzykologów UJ
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Ludwik Wawrzynowicz jako organizator życia kulturalnego w regionie częstochowskim
Ludwik Wawrzynowicz as an active organizer of cultural life in the Częstochowa region
Autorzy:
Pietroń, Katarzyna
Powiązania:
https://bibliotekanauki.pl/articles/2176268.pdf
Data publikacji:
2021
Wydawca:
Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
Tematy:
Ludwik Wawrzynowicz
composer
music journalist
Częstochowa
Opis:
Ludwik Wawrzynowicz was a graduate of the Music Conservatory in Warsaw. He started his professional career in Warsaw as a singer of the Warsaw Opera. In 1902 he came to Częstochowa, where he took the position of artistic director of the "Lutnia" Singing Society and choir conductor. In 1904 he founded the L. Wawrzynowicz Music School in Częstochowa. He ran the facility and was an active teacher for 42 years, until 1946. The school contributed significantly to the flourishing of Częstochowa's musical environment and the city's cultural life. Wawrzynowicz was an animator of musical culture and an organizer of numerous concerts. He has performed as a conductor, pianist, organist and speaker. He was also a journalist and regular music rapporteur for "Goniec Częstochowski" in the years 1906–1939. He also published articles in other periodicals. He was a versatile activist, an active popularizer of musical culture. He exerted a significant influence on the development of the musical life of Częstochowa.
Źródło:
Kwartalnik Młodych Muzykologów UJ; 2021, 1(48); 31-46
2956-4107
2353-7094
Pojawia się w:
Kwartalnik Młodych Muzykologów UJ
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Edward Mąkosza. The Composer’s Life and Work
Autorzy:
Urban, Paweł
Powiązania:
https://bibliotekanauki.pl/articles/2154765.pdf
Data publikacji:
2020
Wydawca:
Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
Tematy:
Edward Mąkosza
composer
ethnomusicologist
Częstochowa
Jasna Góra
Opis:
Edward Mąkosza (born on 13 November 1886 in Lisków, died on 25 April 1973 in Częstochowa) was a Polish composer, pedagogue, conductor, organist, and ethnomusicologist. He was the main organiser of musical life in Częstochowa. He wrote approximately a thousand compositions. He received numerous accolades and was hailed as a hero of the Jasna Góra Monastery. The paper presents Edward Mąkosza’s biography and is meant to serve as an introduction to a comprehensive study of his work. The successive periods of his life (childhood, youth, professional work until and after World War Two have been discussed. Subsequently I focus on the composer’s broadly understood professional activity: his teaching, artistic and community work. I thus attempt to present the professor’s entire biography.
Źródło:
Kwartalnik Młodych Muzykologów UJ; 2020, 1(44) ENG; 5-32
2956-4107
2353-7094
Pojawia się w:
Kwartalnik Młodych Muzykologów UJ
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Креативность как личностное качество и фактор профессиональной компетентности композитора
Creativity as a personal quality and a composer’s professional competence factor
Autorzy:
Сергиенко, Полина
Powiązania:
https://bibliotekanauki.pl/articles/443092.pdf
Data publikacji:
2011
Wydawca:
ADVSEO
Tematy:
CREATIVITY
CREATION (CREATIVE WORK)
COMPETENCE
COMPOSER ACTIVITY
Opis:
The article considers the categories of «creativity», «creation» (creative work), creative abilities and «competence» in the context of professional activity of a composer. The role of creativity in a composer’s work is analyzed. Competence-based approach in education is connected in the paper with the process of teaching creativity to future composers. Some technological highlights of teaching composers creativity on the basis of competence -based approach are viewed.
Źródło:
General and Professional Education; 2011, 3; 40-44
2084-1469
Pojawia się w:
General and Professional Education
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Danuta Gwizdalanka: „Der Verführer. Karol Szymanowski und seine Musik”, przekł. Peter Oliver Loew, Wiesbaden 2017 Harrasowitz Verlag, ss. 292. ISBN 9783447108881
Autorzy:
Dziadek, Magdalena
Powiązania:
https://bibliotekanauki.pl/articles/28411995.pdf
Data publikacji:
2018
Wydawca:
Polska Akademia Nauk. Instytut Sztuki PAN
Tematy:
muzyka polska
kompozytor polski
Polish music
Polish composer
Źródło:
Muzyka; 2018, 63, 4; 139-143
0027-5344
2720-7021
Pojawia się w:
Muzyka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Henryk Wars - kilka uwag do biografii kompozytora
Henryk Wars - Several Remarks on the Composer
Autorzy:
Kiper, Daniel
Powiązania:
https://bibliotekanauki.pl/articles/1962905.pdf
Data publikacji:
2019-07-27
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
Henryk Wars
kompozytor
artysta
muzyka
composer
artist
music
Opis:
Artykuł stanowi krótki przyczynek do biografii Henryka Warsa; kompozytora, jazzmana, pianisty. Twórcy najbardziej rozpoznawalnych motywów muzycznych do filmów przedwojennych, takich jak „Umówiłem się z nią na dziewiątą”, „Sex appeal”. Wars kontynuował swoją twórczość muzyczną po wojnie w Hollywood, gdzie zmarł w 1977 r. Obok wątków biograficznych poruszone zostały mniej znane aspekty jego barwnego życiorysu. Do takich niewątpliwie zaliczyć należy twórczość kompozytora w zakresie tworzenia klasycznych form muzycznych, a także luźne uwagi dotyczące pośmiertnej identyfikacji kompozytora jako osoby zakorzenionej w kulturze żydowskiej. Mogą one posłużyć badaczom do szerszego spojrzenia na problem tożsamości polskich artystów żydowskiego pochodzenia w ich powojennych losach.
This paper is a brief contribution to the biography of Henryk Wars; a composer, jazzman, and pianist. He composed music to very well-known musical motives to pre-war films, such as I have a date with her at nine, Sex appeal. Wars continued his musical composition after the war in Hollywood, where he died in 1977. Aside to biographic elements the paper addresses the less known facts from his colourful lifetime. Undoubtedly, such is his composition in the area of classical music forms, and some casual remarks on the posthumous identification of the composer as a person rooted in Jewish culture. They may serve scholars to acquire a broader perception on the problem of identity of the Polish artists of Jewish descent in their post-war lives.
Źródło:
Studia Polonijne; 2010, 31; 225-232
0137-5210
Pojawia się w:
Studia Polonijne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Muzyka organowa Ruth Zechlin (1926–2007)
Organ music composed by Ruth Zechlin (1926–2007)
Autorzy:
Kazana-Burczyk, Stefania
Powiązania:
https://bibliotekanauki.pl/articles/2170579.pdf
Data publikacji:
2022-12-20
Wydawca:
Uniwersytet Opolski. Diecezjalny Instytut Muzyki Kościelnej. Katedra Muzykologii Uniwersytetu Opolskiego
Tematy:
Ruth Zechlin
composer
organist
organ music
modern music
Opis:
The title of this work is Ruth Zechlin’s organ music. The aim of this paper is to present the biography of the German composer and her achievements in the field of organ composition. Ruth Zechlin was born in 1926, she studied composition with J. N. David, K. Straube and G. Ramin at the Music Academy in Leipzig. Then she worked as a music teacher and gave many concerts as harpsichordist and organist. She created music that has attributes of modern, but is inspired by the music of J. S. Bach. Among over 300 sacred and secular pieces, 26 are written for organ. The intention of the author was to give a rise to begin scientific research on life and works of Ruth Zechlin.
Źródło:
Folia Organologica. International yearbook of organ and organ music; 2022, 5; 108-126
2657-6082
2719-3284
Pojawia się w:
Folia Organologica. International yearbook of organ and organ music
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Charlie Chaplin - osobowość kina
Charlie Chaplin – personality of the cinema
Autorzy:
Moskwa, Maja
Powiązania:
https://bibliotekanauki.pl/articles/956371.pdf
Data publikacji:
2019
Wydawca:
Uniwersytet Rzeszowski. Wydawnictwo Uniwersytetu Rzeszowskiego
Tematy:
chalie chaplin
director
screenwriter
composer
icon of the cinema
Opis:
The article presents one of the most influential people in history of cinema Charles Chaplin. Born and raised in extreme poverty of London alleys, after years of hard work, he became the most popular and the richest person of the artistic world at the beginning of the 20th century. Chaplin was the man of genius, who created the character of a Little Fellow recognized all over the world until today. His attributes a short moustache, an old bowler hat, a bamboo stick, a tight jacket, loose pants and too big shoes together with not very smart, but cunning and kind childlike personality provided him an international success. Chaplin himself was very talented, apart from his acting abilities, he was a great director, screenwriter, producer and composer. His career originated in British music halls and after a long time of self development evolved to make Charlie the icon of the cinema. The article describes subsequent stages of that process
Źródło:
Dydaktyka Polonistyczna; 2019, 5 (14); 101-119
2451-0939
Pojawia się w:
Dydaktyka Polonistyczna
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Jazzowość filmu - filmowość jazzu. O muzyce Krzysztofa Komedy w filmach krótkometrażowych Romana Polańskiego
The Jazziness of a Film – the Filmicness of Jazz. About the Music of Krzysztof Komeda in the Short Films of Roman Polański
Autorzy:
Pomostowski, Piotr
Powiązania:
https://bibliotekanauki.pl/articles/920007.pdf
Data publikacji:
2012-01-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
film music
jazz music
composer of the film soundtrack
jazz composer
film director
short films
shaping of the style
element of improvisation
Opis:
The relationship between a film director and the composer of the film soundtrack is an exceptionally interesting research subject. Even more so in the context of Krzysztof Komeda’s music in Roman Polański’s film etudes. It is a rare case for the influence of music on a film and for the influence of the film on the music to be so significant in the shaping of the styles of two artists on the threshold of their careers, one of whom is a composer, the other one being a film director.In the article, the author attempts to prove that creating a film using directing solutions that refer to jazz music elements is just as possible as the transformation of a jazz composer (in the context of a film) into an author of music which also becomes a film soundtrack. What is more, the mutual inspirations translate into the artistic development of both artists which is noticeable in their subsequent joined works. Those are: Two Men and a Wardrobe (1958), The Fat and the Lean (1961) and Mammals (1961).The author performs a film study-musicological analysis of the films mentioned above on the basis of the works of Marek Hendrykowski, Alicja Helman, Zofia Lissa, and Emilia Batura; he also uses the opinions of the authors themselves on their shared films which are the subject of the analysis mentioned. Examining the role of Krzysztof Komeda’s music in Roman Polański’s short films proved that apart from functionalizing the basic element of a music piece (melodics, agogic, rhytmics, and meter), the element of improvisation – characteristic of jazz – can also occur in a film, present both in its visual as well as in the sound layer. Thus, the use (on both levels) of elements of two kinds of art different from each other (in an ontological sense) has a significant influence on the shaping of the unique style of both artists.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2012, 10, 19; 95-103
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Ignacy Jan Paderewski - apostoł polskiej niepodległości, uosobienie niepospolitej inteligencji, mistrz z Riond-Bosson
Ignacy Jan Paderewski - an apostle of polish independence, personification of uncommon intelligence, legendary piano virtuoso from Riond-Bosson
Autorzy:
Ogorzałek, Joanna
Powiązania:
https://bibliotekanauki.pl/articles/32929808.pdf
Data publikacji:
2022
Wydawca:
Polski Uniwersytet na Obczyźnie w Londynie
Tematy:
Ignacy Jan Paderewski
composer
virtuoso
outstanding musician
Switzerland
Riond-Bosson
Opis:
Ignacy Jan Paderewski – „King of tones” and son of great Polish culture, was an excellent composer and pianist, who, as an interpreter of Chopin’s music and his own works, delivered speeches during numerous journeys before public performances at concerts, lobbying for Poland. Out of the need of a patriotic heart, this esteemed diplomat and outstanding politician who demanded independence for Poland, actively supported various initiatives, including large sums for charity and public purposes. Despite the fame and honour of the whole world, he had a great dream to use the money he earned to buy a manor and agricultural property. In this article, the author presents the Swiss headquarters in Riond-Bosson, which has become not only an important centre of a thriving Polish political emigration, but a forge of Polish living art and outstanding individuality. In the suburbs of Morges, in the Paderewski villa, master classes for Polish pianists preparing to participate in the Chopin Competitions in Warsaw were held, as well as meetings during which Polish political and cultural history was shaped for a long time.
Źródło:
Zeszyty Naukowe PUNO; 2022, 1; 13-28
2052-319X
Pojawia się w:
Zeszyty Naukowe PUNO
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Petr Eben a jeho skladby pro varhany. Poznámky k tradici jejich provádění, k interpretaci a jejím parametrům
Petr Eben and His Works for Organ. Comments on the tradition of their performance and interpretation
Autorzy:
Tůma, Jaroslav
Powiązania:
https://bibliotekanauki.pl/articles/570401.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Opolski. Diecezjalny Instytut Muzyki Kościelnej. Katedra Muzykologii Uniwersytetu Opolskiego
Tematy:
Petr Eben – skladatel
interpretace
varhany
Petr Eben – composer
interpretation
organ
Opis:
The music of the important Czech composer, who would have turned ninety on 22 January 2019 when we commemorated the anniversary of his birth, constitutes one of the most important enhancements of the Czech artistic environment in the world of culture of the latter half of the twentieth century. Petr Eben earned recognition, and his organ music has even been compared with the legacy of Olivier Messiaen. The composer understood the organ as the instrument to which his fate was bound. By the age of ten, he already held the position of organist at Saint Vitus’s Church in Český Krumlov. He would seat himself at the big threemanual instrument in the early evening, locked inside the church, leaving time and the world behind during his lengthy improvisations. “I think it was then and there that my whole personality took shape.” Perhaps every organist was playing Eben’s works in my student days. After the composer’s death in 2007, however, interest in his music declined somewhat, but I still keep returning to his compositions with growing frequency, especially to certain of his works. At the same time, I am aware of how in my thinking, and I definitely am not alone in having this experience, as time goes by there is a maturing not only of my image of the works themselves but also of the possible, desirable, and in a sense perhaps even modern manner of their interpretation, especially with respect to the choice of ideal instruments. Musicians often base the success of their performances on the depth and intensity of experience, and especially on spontaneous, momentary inspiration on stage. Only a few are so grounded in reason that they always think through how they will perform a work down to the last detail in advance and never deviate from that line in the least when playing. In the long run, however, a combination of these two approaches tends to be most successful, so that besides spontaneity, there is a constant consideration of relationships between formal and tectonic structures and harmonic and thematic contexts, leading to a clarification of details and a continually improving and more precise rendition of the whole, and this then begins to be reflected in the formation of a kind of tradition of the performing of the works. That tradition ultimately does not tend to be the result of the activity of a single performer, but instead it arises from a long series of performances of the works in question by various interpreters. A performer should master all of the basic parameters of a work and its interpretation. A melody must always remain a melody, and a phrase must always be a phrase. The relationships between individual sections must be clear and comprehensible to an audience member sitting and listening far away from the organ in the nave of the church or in the last row of the concert hall. The ear must be capable of perceiving every single note of each moving sequence of fast tones. The vertical structure must be equally comprehensible, so every chord needs to be played so that it can be deciphered even from a great distance. At the same time, however, Eben’s music must retain its overall character. As the composer said: “In my music, there is far more drama than meditation.” Today, learning and performing any of Petr Eben’s greatest works is a real challenge for organists. In some cases, I encounter interpretations that appear to have come into being without continuity and that do not proceed along the lines that have been tried and proven, but at the same time, it seems to me that they go to the heart of the matter and that they respect the composer’s deepest intentions and motivations. From my perspective, this may be the thing that shows most clearly that Petr Eben’s organ music definitely will not disappear into the ash heap of history.
Źródło:
Folia Organologica. International yearbook of organ and organ music; 2018, 1; 75-81
2657-6082
2719-3284
Pojawia się w:
Folia Organologica. International yearbook of organ and organ music
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
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.
The Phenomenon of Oleksandr Kositz as Presented by a Warsaw Scholar of Ukrainian Studies: Ołeksandr Koszyc i jego dziennik „Z pieśnią przez świat”, edited by Walentyna Sobol, Wydawnictwa Uniwersytetu Warszawskiego, Warszawa 2018, 394 pp.
Autorzy:
Wołodźko-Butkiewicz, Alicja
Powiązania:
https://bibliotekanauki.pl/articles/2154618.pdf
Data publikacji:
2019-12-10
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
Oleksandr Kositz
conductor
composer
ethnologist
diary
national musical culture
creativity
Opis:
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.
Źródło:
Studia Polsko-Ukraińskie; 2019, 6; 193-203
2353-5644
2451-2958
Pojawia się w:
Studia Polsko-Ukraińskie
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Muzyka bez granic? Działalność Henryka Warsa po wybuchu wojny
Music Without Borders? Henryk Wars’ Music Activity During the War and After
Autorzy:
Sowińska, Iwona
Powiązania:
https://bibliotekanauki.pl/articles/31341993.pdf
Data publikacji:
2016
Wydawca:
Polska Akademia Nauk. Instytut Sztuki PAN
Tematy:
Henryk Wars
muzyka filmowa
kompozytor filmowy
film music
film composer
Opis:
Do podstawowych predyspozycji kompozytora filmowego należy umiejętność dostosowywania się do zmiennych wymagań. Różnorodność wyzwań, jakim w swej długiej i transnarodowej karierze musiał stawiać czoło Henryk Wars, była jednak wyjątkowa. Przed wojną Wars był jedną z czołowych postaci polskiego show-biznesu i tytanem rodzimej muzyki filmowej. Po wybuchu wojny skomponował muzykę do dwóch radzieckich filmów fabularnych, w tym antypolskiego Marzenia Michaiła Romma. Następnie wraz z armią generała Andersa trafił przez Bliski Wschód do Włoch, gdzie współpracował m.in. przy filmie patriotycznym Wielka droga Michała Waszyńskiego. Wreszcie wyjechał do Stanów Zjednoczonych, by po kilku latach doczekać się pierwszych poważniejszych zleceń, a z czasem osiągnąć pewien sukces jako twórca muzyki do westernów, kryminałów, filmów familijnych i seriali telewizyjnych. Na przykładach z radzieckiego i amerykańskiego okresu twórczości Warsa autorka rozważa wpływ wywierany na komponowanie dla filmu przez konteksty wobec muzyki zewnętrzne – politykę i ideologię, formuły gatunkowe i dominującą w danym czasie oraz miejscu praktykę filmową.
A film music composer must be able to adapt to changing conditions and requirements. However, the variety of challenges faced in his long, transnational career by Henryk Wars was exceptional. Before the war Wars was one of the leading figures of Polish show business and a major film music composer. Following the outbreak of the war he composed music for two Soviet feature films, including the anti-Polish Dream by Mikhail Romm. Then together with the army of General Anders he travelled through the Middle East to Italy, where he worked on the patriotic Great Road (La Grande Strada by Michał Wyszyński). Finally he moved to the United States, where, after a number of years, he began to receive first serious commissions, and with time achieved a level of success as a film music composer for westerns, crime and family movies and TV series. Using the examples from the Soviet and American period of Wars’ work, the author considers how surrounding external context and factors of politics, ideology, genre formulas and dominating film practice influence the process of composing film music.
Źródło:
Kwartalnik Filmowy; 2016, 95; 6-18
0452-9502
2719-2725
Pojawia się w:
Kwartalnik Filmowy
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Stan badań nad życiem i działalnością Wojciecha Łukaszewskiego (1936-1978)
The state of research on the life and works of Wojciech Łukaszewski (1936–1978)
Autorzy:
Łukaszewski, Marcin Tadeusz
Powiązania:
https://bibliotekanauki.pl/articles/495701.pdf
Data publikacji:
2013
Wydawca:
Towarzystwo Naukowe Franciszka Salezego
Tematy:
Article
Composer
Czestochowa
Encyclopedia
Music journalism
Master’s thesis
Wojciech Lukaszewski
Opis:
The literature about composer Wojciech Łukaszewski includes two books, nine scholarly articles, five theses, over 80 newspaper articles and web pages. The book by M. Łukaszewski (ed. WSP, Częstochowa 1997) contains a description of the life history and memories of W. Łukaszewski as well as a thematic catalogue of Łukaszewski’s works. The book Musical Interludes is the first, complete edition of the collected journalistic work of Łukaszewski, which covers 126 reviews and 7 interviews. So far, nine scientific articles about Łukaszewski have appeared in scholarly journals in Częstochowa, Katowice, Bydgoszcz and Warsaw. Bibliographic entries about Łukaszewski are inscribed in: Musical Encyclopedia of PWM, the dictionary Polish Composers between 1918-2000, Lexicon of Polish Music Teachers, International Who’s Who in Music and Musicians and others. A list of literature about the composer can be found at a webpage dedicated to him: www.lukaszewski.waw.pl
Źródło:
Seminare. Poszukiwania naukowe; 2013, 34; 351-365
1232-8766
Pojawia się w:
Seminare. Poszukiwania naukowe
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Konwersja narodowa Henryka Hubertusa Jaboskiego – wybór, czy życiowa konieczność?
National Convertion of Henryk Hubertus Jaboski – Choice or Vital Necessity?
Autorzy:
Schiller-Rydzewska, Joanna
Powiązania:
https://bibliotekanauki.pl/articles/453978.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet Humanistyczno-Przyrodniczy im. Jana Długosza w Częstochowie. Wydawnictwo Uczelniane
Tematy:
konwersja narodowa,
kompozytor gdański,
Henryk Hubertus Jabłoński.
national conversion,
Gdańsk composer,
Opis:
Henryk Hubertus Jabłoński (1915–1989) to jedna z najważniejszych postaci gdańskiego życia muzycznego powojennej doby. Kompozytor, który działał na rzecz środowiska twórców zarówno w wymiarze artystycznym, edukacyjnym, jak i organizacyjnym. Twórczość Jabłońskiego jest polem szeroko rozpoznanym w badaniach teoretycznych i muzykologicznych. Wiele pytań natomiast nasuwa biografia kompozytora, szczególnie w okresie przedwojennym i tuż po zakończeniu działań wojennych. Podstawowym problemem badawczym niniejszego tekstu było więc rozstrzygnięcie, w jakich okolicznościach i na podstawie jakich przesłanek kompozytor podjął decyzję o narodowej konwersji i zmianie personaliów z Helmut Degler na Henryk Jabłoński. W tym celu prześledzono materiały źródłowe o charakterze biograficznym, wpisując je w szeroki kontekst życia społeczno-politycznego Gdańska pomiędzy rokiem 1939 a 1948. W wyniku przeprowadzonych analiz decyzja kompozytora nabiera głębokiego, wielowymiarowego sensu i wpisuje się w losy gdańszczan w okresie powojennym.
Henryk Hubertus Jablonski (1915–1989) is one of the most important figures of Gdansk’s post- war musical life. The composer worked for the artists’ community in artistic and educational as well as organizational terms. Jablonski’s music is extensively examined by the theoretical and musicological research. But many questions are raised by the composer’s biography, especially during the pre-war period and immediately after the war. The basic research problem on which this text focuses is to determine under what circumstances and on what grounds the composer decided to undergo a national conversion and to change his name from Helmut Degler to Henryk Jablonski. For this purpose, the source materials of biographical character were analysed within a broader context of socio-political life of Gdansk between 1939 and 1948. As a result of the analysis, the composer’s decision is gaining a deep multidimensional meaning and is becoming a part of Gdansk citizens’ fate in the post-war period.
Źródło:
Edukacja Muzyczna; 2017, 12; 147-167
2545-3068
Pojawia się w:
Edukacja Muzyczna
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Kategoria „nowości” w polskich dyskusjach awangardowych przełomu lat 60. i 70. XX wieku publikowanych na łamach „Ruchu Muzycznego”
The Category of “Novelty” in Polish Avant-garde Discussions Published in “Ruch Muzyczny” in the late 1960s and early 1970s
Autorzy:
Mika, Bogumiła
Powiązania:
https://bibliotekanauki.pl/articles/521924.pdf
Data publikacji:
2011
Wydawca:
Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
Tematy:
avant-garde
novelty
experiment
composer
listener
serial music
aleatoric music
happening
Opis:
The reception of the second avant-garde in Poland was initiated, as is commonly agreed, in 1956 with the fi rst “Warsaw Autumn” festival, and consisted of two phases. The fi rst phase, lasting ten years until around 1966, was the most important, as during this phase Polish listeners became acquainted with avant-garde innovations, music from the Darmstadt and New York schools, and electronic music from the studios in Paris and Cologne. The second phase of the avantgarde reception in Poland began in the symbolic year of 1965 with St. Luke Passion by Penderecki. In this work, the composer recalled the heritage and values of traditional music together with innovations from a synthesis of avant-garde experiments and values. In my paper, I concentrate on articles published in Polish musical press from the late 1960s and early 1970s, where readers could deduce signs of turning away from affi rmative reception of the avant-garde. I con sider issues such as the function of avant-garde art, its new relationship with the listener, creative experimentation, all of which constitute the category of “novelty”. These issues were undertaken by outstanding Polish critics: Stefan Kisielewski, Bohdan Pociej, Zygmunt Mycielski, Marian Wallek-Walewski, and Krystyna Tarnawska-Kaczorowska. I select only a few texts as a representation of the body of the published discourse.
Źródło:
Aspekty Muzyki; 2011, 1; 130-149
2082-6044
Pojawia się w:
Aspekty Muzyki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Tożsamość kompozytorska Krzysztofa Olczaka wobec kategorii elementarnych i dystynktywnych
Krzysztof Olczak’s composer’s identity in the elementary and distinctive categories
Autorzy:
Schiller-Rydzewska, Joanna
Powiązania:
https://bibliotekanauki.pl/articles/521960.pdf
Data publikacji:
2016
Wydawca:
Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
Tematy:
Krzysztof Olczak
composer’s identity
elementary and distinctive categories
Mieczysław Tomaszewski
Opis:
Krzysztof Olczak is currently one of the pillars of Gdańsk musical life. His numerous achievements oblige us to widen our reflection about his music. In this case the key idea is his composer’s identity, which is growing out of three premises: socio-historical, philosophical and musicological. These points of view, ordered systematically, allowed for the clarification of the notion of com-poser’s identity and positioning it in relation to the creative achievements of the composer viewed in a comprehensive biographical, historical and personality-related perspective. It turned out that an adequate tool for a thorough study of Krzysztof Olczak’s works is the concept by Mieczysław Tomaszewski, which says that the reading of the elementary and distinctive categories is an important platform for understanding musical work. From thus specified fields of observation there emerged Olczak’s composer’s profile in the context of its most crucial, identity-defining properties.
Źródło:
Aspekty Muzyki; 2016, 6; 43-68
2082-6044
Pojawia się w:
Aspekty Muzyki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Velké svatohorské varhany ‒ ideální nástroj pro interpretaci hudby J. S. Bacha v českých zemích
The great Svatá Hora organ – the ideal instrument for interpreting the music of J.S. Bach in the Czech Republic
Autorzy:
Tůma, Jaroslav
Powiązania:
https://bibliotekanauki.pl/articles/570457.pdf
Data publikacji:
2019
Wydawca:
Uniwersytet Opolski. Diecezjalny Instytut Muzyki Kościelnej. Katedra Muzykologii Uniwersytetu Opolskiego
Tematy:
Svatá Hora
J.S. Bach skladatel
interpretace
J.S. Bach composer
interpretation
Opis:
Vladimír Šlajch’s organ at Svatá Hora in Příbram draws to a close an important stage of his life. Having had equal success building other organs, the most important and largest of which is in the German town Bruchsal, this instrument represents a unique achievement. These days we usually encounter organs that conform to the wishes of organists and organ experts that every new instrument be built primarily with the convenience of the performer in mind. The organ at the Basilica of Our Lady of Svatá Hora is different. Instead, it embodies a synthesis of original solutions and tried-and-true traditions. Vladimír Šlajch built it as a sort of tribute to the organ builders who once worked in Bohemia. The decorating of the prospect pipes makes reference to Abraham Starck from Loket, Ondřej Kokštejn from Příbram, and the organ builder Bedřich Semrád from the Central Povltaví Region. The tracker action for the manuals and registration is mechanical. Because of this tracker action constructed strictly in accordance with Baroque models, the organ makes an audible clicking sound when played, and in addition, because of differing distances for individual connections, the clicking is not equally loud for each note. The clicking bothers many organists, but the organ builder insists that the design is justified, using centuries of organ building tradition as his argument. In my opinion, playing the great Svatá Hora organ successfully depends upon approaching it with a great deal of humility and upon the ability to adapt oneself to the instrument, along with having a deep understanding of the features specific to the organ. It is true that the level of disruptive clacking noise reveals the organist’s particular style of playing, but it is also true that the attempt to make less noise forces each of us not only to depress, but also to release the keys as carefully as possible, and with this kind of tracker action, moving one’s fingers in this way naturally also influences the sound of legato passages and the smoothness of the phrasing. While the attempt to play without making noise is entirely futile, especially when using quieter registration, it has an absolutely fundamental influence over the quality of the melodic lines within the context of the polyphony, and that influence is clearly for the better. From the layout of the instrument, we clearly see the wealth of sonic possibilities at our disposal. The many colours of the registers can be combined into an almost inexhaustible quantity of shadings. While the organ is intended for playing older music, mainly of the Renaissance, Baroque, and Classical eras, neither Romantic nor contemporary compositions are out of the question. One must simply consider which ones to choose and which ones would be less appropriate, because although the tuning is set at a' = 440 Hz at 18 degrees Celsius, the temperament is slightly unequal, reminiscent of Valotti tuning. The spatial layout of the individual divisions of the Svatá Hora is quite unusual, but it still respects longstanding tradition. The manuals have a chromatic range from C to f'''. The Great division (manual II) takes up the two most spacious parts of the organ case. It is divided into a C and C sharp side. A smaller division called the Positiv, placed in front above the organist’s head, is connected to a third manual. The first manual plays the Unterwerk or Choir division, which is divided into bass and discant. Each register of the Unterwerk is activated separately for the bass and discant on the left and right sides of the console. The organ builder placed the Unterwerk right behind the console in the pedestal of the organ. Like the Great division, the Pedal is divided into a C and C sharp side, and each takes one of the adjacent loft areas on the sides. On the other hand, a three-rank pedal Cornet plays from the Crown Positiv or Kronwerk located at the top just under the vault. Representing a peculiar feature are the two sets of chimes (Zimbelstern), which are located on the pedal cases on opposite sides. A noteworthy property of the organ at Svatá Hora is its sonic versatility, perhaps even universality to a certain extent. If you listen to it, you soon get the impression that you are hearing a Czech or south-German Baroque sound, then it suddenly seems that you have found yourself listening to a Silberman organ in nearby Saxony, until finally you notice a passage that seems to come from the Baltic, with sounds of the ideal organ of Bach’s forerunners of the north-German school. Then the combination of the Principal on the Great manual and the Bifara stop tuned to create vibrato makes us wonder, might we perhaps be in Italy? And at the same time, although the organ is in a Catholic church, the instrument seems to the organist to be in perfect accord with the music of Johann Sebastian Bach. The acoustics and reverberation here are exceedingly suited to the spirit of Bach’s Protestantism. The Svatá Hora organ is indispensable for the successful interpretation of Bach’s music within the context of this region. Notwithstanding all of their beauty, the Baroque organs of Bohemia have a small range of tones, with a lack of the needed keys, pedals, and registers, while the later organs are oriented towards the Romantic musical style, and even newer organs usually suffer from insufficient artistic quality caused mainly by mass production methods. By contrast, the new Svatá Hora organ is of great artistic worth; it even fits the basilica perfectly from a visual perspective. Once the organ was finished, we could hardly imagine that not long beforehand the instrument had not yet been installed. These days, an organ is very rarely so perfectly matched to the place for which it is intended.
Źródło:
Folia Organologica. International yearbook of organ and organ music; 2019, 2; 93-101
2657-6082
2719-3284
Pojawia się w:
Folia Organologica. International yearbook of organ and organ music
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Leszek Wisłocki, Jeleniogórska sonata na cztery lata
A 4-year old sonata of Jelenia Góra. School and adolescent years from the biographical perspective of Professor Leszek Wisłocki
Autorzy:
Szajda, Marek
Wisłocki, Leszek
Powiązania:
https://bibliotekanauki.pl/articles/634840.pdf
Data publikacji:
2015
Wydawca:
Ośrodek Pamięć i Przyszłość
Tematy:
historia mówiona
źródło historyczne
Jelenia Góra
edukacja
kompozytor
oral history
historical source
composer
education
Opis:
Leszek Wisłocki is a famous music theorist and composer. For many years he has been a Professor at the Academy of Music in Wrocław. However, before he started working for the Academy, he spent some time living in Jelenia Góra, where for 4 years he attended the Stefan Żeromski Co-educational Gymnasium and Grammar School. These school years are the subject of Wisłocki’s account. It is a detailed description of Professor’s pre-war life, as well as his and his family’s war experience, and in particular of his father’s military service. Wisłocki clearly explains the reasons for his family coming to Lower Silesia and settling in Jelenia Góra. Equally clearly Wisłocki recalls his teachers, school friends and important events which influenced the school life as well as the life of the local society, such as existence of the underground independence movement in 1949. He tells anecdotes about excursions to the mountains or his first performances as a musician staged at school. Wisłocki underlines the importance of this first, post-war period – not only for him, but also for his friends who later, having graduated from grammar school, went on to become professors or achieved other socially significant posts. Finally, Professors pays a lot of attention to returns and school relations – still vivid and close after more than seven decades. Annual school reunions and extensive correspondence exchanged by the ex-pupils serves as a proof that the short period of education, which lasted only 4 years, had a great impact on the life of this generation.
Źródło:
Wrocławski Rocznik Historii Mówionej; 2015, 5; 199-227
2719-7522
2084-0578
Pojawia się w:
Wrocławski Rocznik Historii Mówionej
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Feliks Nowowiejski (1877–1946) – patron roku 2016. Poznańskie lata – miłość odwzajemniona?
Autorzy:
Karolak, Elżbieta
Powiązania:
https://bibliotekanauki.pl/articles/669079.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet Papieski Jana Pawła II w Krakowie
Tematy:
Nowowiejski
organs
composer
conductor
Poznań
organ symphonies
Wiesława Cichowicz
organy
kompozytor
dyrygent
symfonie organowe
Opis:
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.
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.
Źródło:
Pro Musica Sacra; 2016, 14
2083-4039
Pojawia się w:
Pro Musica Sacra
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Contemporary composer Vladimir Jovanović and his role in the renewal of church Byzantine music in Serbia from the 1990s until today
Autorzy:
Blagojević, Gordana
Powiązania:
https://bibliotekanauki.pl/articles/780111.pdf
Data publikacji:
2019
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
composer Vladimir (Vlada) Jovanović
church Byzantine music
modal music
St. John of Damascus choir
Opis:
This work focuses on the role of the composer Vladimir (Vlada) Jovanović in the renewal of church Byzantine music in Serbia from the 1990s until today. This multi-talented artist worked and created art in his native Belgrade, with creativity that exceeded local frames. This research emphasizes Jovanović’s pedagogical and compositional work in the field of Byzantine music, which mostly took place through his activity in the St. John of Damascus choir in Belgrade. The author analyzes the problems in implementation of modal church Byzantine music, since the first students did not hear it in their surroundings, as well as the responses of the listeners. Special attention is paid to students’ narratives, which help us perceive the broad cultural and social impact of Jovanović’s creative work.
Źródło:
Interdisciplinary Studies in Musicology; 2019, 19; 11-30
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Fast Prototyping for Video Monitoring Systems with the Use of DSP Module
Autorzy:
Chmielewska, A.
Weychan, R.
Marciniak, T.
Dąbrowski, A.
Hartwich, M.
Owczarczak, M.
Powiązania:
https://bibliotekanauki.pl/articles/226392.pdf
Data publikacji:
2013
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
video processing
CCTV system
urban surveillance monitoring
threat detection
Matlab / Simulink
Code Composer Studio
DSP
Opis:
This paper presents techniques for fast prototyping of real-time hardware / software video processing systems for urban surveillance monitoring equipment. During the experimental research the evaluation module with the TMS320DM6437 signal processor programmed with the use of the Code Composer Studio and Matlab / Simulink environments has been used. Analyzed algorithms can support the work of monitoring video operators. In particular, we analyzed efficiency of implementation of the algorithms using two examples: detection of painting theft and signaling of crossing a pedestrian pass at the red light.
Źródło:
International Journal of Electronics and Telecommunications; 2013, 59, 4; 375-381
2300-1933
Pojawia się w:
International Journal of Electronics and Telecommunications
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Monodial stylistics in the liturgical works of Galician composers of the end of the XIX – first half of the XX centuries
Stylistyka monodyczna w utworach liturgicznych kompozytorów galicyjskich końca XIX – pierwszej połowy XX wieku
Autorzy:
Huralna, Svіtlana
Powiązania:
https://bibliotekanauki.pl/articles/30146642.pdf
Data publikacji:
2022
Wydawca:
Uniwersytet Papieski Jana Pawła II w Krakowie
Tematy:
Galicja
kompozytor
tradycje śpiewu kościelnego
liturgia
śpiewy
monodia
Galicia
composer
church-singing traditions
liturgy
chants
monody
Opis:
The article draws attention to the historical and social processes that influenced the peculiarities of the development of Ukrainian culture, in particular, formed the specifics of church-educational life and liturgical-choral practice of Galicia in the late nineteenth and first half of the twentieth centuries. The close cooperation of the spiritual and artistic elite was emphasized, which resulted in the improvement of the level of art education, intensification of the activities of numerous choral societies and composers. Based on the analysis of the liturgical works of P. Bazhansky, V. Matyuk, J. Kishakevych, S. Liudkevych, the prerogatives of the author’s composition in the use of monody style were revealed.
Artykuł zwraca uwagę na procesy historyczno-społeczne, które wpłynęły na osobliwości rozwoju kultury ukraińskiej, w szczególności ukształtowały specyfikę życia kościelno-oświatowego i praktyki liturgiczno-chóralnej Galicji w końcu XIX i pierwszej połowie XX wieku. Podkreślano ścisłą współpracę elit duchowych i artystycznych, co zaowocowało podniesieniem poziomu edukacji artystycznej, intensyfikacją działalności licznych towarzystw chóralnych i kompozytorów. Na podstawie analizy utworów liturgicznych P. Bazhansky’ego, W. Matyuka, J. Kishakevycha, S. Liudkevycha ujawniono prerogatywy kompozycji autorskiej w wykorzystaniu stylu monodii.
Źródło:
Pro Musica Sacra; 2022, 20; 49-67
2083-4039
Pojawia się w:
Pro Musica Sacra
Dostawca treści:
Biblioteka Nauki
Artykuł

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