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Tytuł:
Migrant female Musicians and their Fight for Social Rights
Autorzy:
Gammaitoni, Milena
Powiązania:
https://bibliotekanauki.pl/articles/579528.pdf
Data publikacji:
2020
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
WOMEN COMPOSERS
SOCIOLOGY
RIGHTS
MIGRATION
Opis:
The aim of this essay is to examine the social action of women composers, often obliged to migrate, for long or short periods, in search of greater freedom and affirmation of their musical talent. The history of yesterday and today features numerous women musicians, composers and performers, active in the production of music, in social and political life, who often had and have to travel and migrate to assert themselves. Going on tour has always been part of the life of the artist – but for women it was not easy to travel freely and at will, on their own besides. Until the nineteenth century, such a thing was almost always strictly forbidden. Sometimes women composers and performers left the countries in which they resided for personal reasons, driven not only by the “compulsion” to change country because in their own it was impossible to choose the pathway they wished to follow.
Źródło:
Studia Migracyjne - Przegląd Polonijny; 2020, 46, 3 (177); 85-99
2081-4488
2544-4972
Pojawia się w:
Studia Migracyjne - Przegląd Polonijny
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The symphonic music of the national schools in 20th century Europe in the repertoire of the Philharmonic of Cluj (1955-1989). Creative perspectives of C. Silvestri’s Chants Nostalgiques op. 27 no. 1
Autorzy:
Spiridon, Simona
Powiązania:
https://bibliotekanauki.pl/articles/628592.pdf
Data publikacji:
2015
Wydawca:
Fundacja Pro Scientia Publica
Tematy:
music, cultures, national schools, composers, conductors, artists
Opis:
The present work focuses on the national cultures of the early 20th century in several European countries, such as Czechoslovakia, Poland, Hungary, Spain, Russia and Romania. Since my PhD thesis analyses the evolution of the Philharmonic “Transilvania”of Cluj between 1955-1989, there will be a thorough statistic of the concerts which were held during that period in which the orchestra performed musical pieces of the composers mentioned in this essay. For some concerts, there will also be stated the date when the concert took place, as well as the conductor who was invited to Cluj. There will also be an analysis of a piano work of the Romanian composer Constantin Silvestri (Chants Nostalgiques op. 27 no. 1) which I personally played a few years ago. The study will contain a musical bibliography, as well as several footnotes stating the documents found in the archives of the Philharmonic of Cluj.
Źródło:
Journal of Education Culture and Society; 2015, 6, 1; 143-152
2081-1640
Pojawia się w:
Journal of Education Culture and Society
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Organ +
Autorzy:
Smilianić-Radić, Maja
Powiązania:
https://bibliotekanauki.pl/articles/570357.pdf
Data publikacji:
2020
Wydawca:
Uniwersytet Opolski. Diecezjalny Instytut Muzyki Kościelnej. Katedra Muzykologii Uniwersytetu Opolskiego
Tematy:
The Organ
Recital
Modern music
International Review of Composers
Opis:
On October the 5th of 2019 I was honored with an organ recital, named THE ORGAN +, at the International Review of Composers festival. Each piece I played was chosen by Jury from a selection of eighty works made by international authors. Of course, all five pieces I`ve played, were premiered. For me, it was a truly exciting journey exploring the whole meaning of contemporary music and interpretation. Performing two compositions with nonstandard chamber ensembles was a particular challenge - the main problem was how to harmonize the sounds of different instruments to support and create musical thoughts. In addition, modern musical language requires unusual playing tools to produce specific sound effects: the most unusual type of clusters, the effect of pushing back relevant stops, switching off the whole instrument, the effect of crescendo and decrescendo, impressive "harmonic chords" (held in the pressed position by small pegs), effects of whistling, ringing and much more... Professionally, I dared to embark on that artistic adventure that challenged me to explore and learn more about my instrument, the endless possibilities of performing organ music. With a great pleasure. This review presents you with five pieces I performed at my recital in Belgrade with a discreet intention, but a warm recommendation to indulge in the world of modern sound.
Źródło:
Folia Organologica. International yearbook of organ and organ music; 2020, 3; 31-41
2657-6082
2719-3284
Pojawia się w:
Folia Organologica. International yearbook of organ and organ music
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Kompozytorzy polscy 1918-2000 – kontynuacja
Polish composers 1918-2000 – continuation
Autorzy:
Podhajski, Marek
Powiązania:
https://bibliotekanauki.pl/articles/496099.pdf
Data publikacji:
2011
Wydawca:
Towarzystwo Naukowe Franciszka Salezego
Tematy:
XX century
Polish history
Polish Culture
Polish Music
Polish Composers
Opis:
The author discusses his inspirations and premises behind Polish Composers 1918-2000, which appeared in print in 2005, jointly published by the Warsaw and Gdańsk Academies of Music. It consists of two volumes – Essays and Biographical Entries. The former presents a wide panorama of social, political and cultural phenomena, which influenced the development of Polish music in the 20th century. The second volume consists of around 1300 biographical entries. This paper contains remarks about the contents planned for the English version of the book. Two complementary sources of inspiration determined the book’s coming into being. The first, a belief that the accomplishments of Polish composers of the 20th century are just as outstanding as they are little-known. The second inspiration comes from an observation that the list of the finest musical compositions of the 20th century (289 items), compiled in 1992 by Leo Gerhartz from the European Radio Union, ranks Polish music as no. 12. It is represented by 10 compositions by 4 composers: Witold Lutosławski (5 compositions), Karol Szymanowski (2 compositions), Krzysztof Penderecki (2 compositions), and Ignacy Jan Paderewski (1 composition). At the outset of the research, two seemingly simple but essential questions had to be answered. The first one being who do we call a composer, and the other, who do we consider to be a Polish composer. In the author’s view, a composer is a person who has composed at least one musical composition, a piece which became known as an artistic fact. Here, “become known” means primarily a public performance of a piece. The author’s attention focused on the lives and works of the so-called classical composers. While searching for an answer to the question as to who can be considered a Polish composer, the author analyses statements made by outstanding Polish researchers. He shares their view that ‘Polishness’ should not be determined by nationality or language, but by participation in Polish culture, and an affiliation to it. The last part of the paper concerns the structure and contents of the English version of the book. It will be published jointly by the John Paul II Catholic University of Lublin and Stanisław Moniuszko Academy of Music in Gdańsk. The book will not be a simple and direct translation of the Polish version. The contents of the Essays volume will be different, and the Biographical Entries volume will include, first of all, the following entries: winners of Polish and international composition competitions, composers who have rendered great services to Polish musical culture, priests-composers or other persons, whose creative activities are closely linked to the music of the Catholic Church, and representatives of the younger generation of composers, who have become known after the year 2000. The goal of the planned book is an attempt at proving the thesis that the contribution of Polish composers to the European cultural achievements, their outstanding accomplishments in the area of culture, are of the highest value.
Źródło:
Seminare. Poszukiwania naukowe; 2011, 30; 283-293
1232-8766
Pojawia się w:
Seminare. Poszukiwania naukowe
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Panorama romantycznej sonaty organowej
The overview of the Romantic organ sonata
Autorzy:
Kucharski, Lech
Powiązania:
https://bibliotekanauki.pl/articles/521869.pdf
Data publikacji:
2017
Wydawca:
Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
Tematy:
sonata
organs
Romanticism
composers
sonata cycle
forms in cycle parts
Opis:
The subject matter of the Romantic organ sonata is viewed in the article from a general, wide perspective, therefore providing additional background concerning its status. In particular, the issues discussed include the following aspects: lists of sonatas with nationalities of their composers, time limits of the Romantic organ sonata, kinds of sonata cycle structure, specific characteristics of forms applied in the particular parts of the cycle and their location within its different variants, as well as the final conclusions. The text is completed with the annexes and tables which illustrate the issues discussed. During the research 246 sonatas had been identified, of which nearly 70% were analyzed. The note transcription of the remaining works proved unavailable. The key role in the emergence and development of the Romantic organ sonata was played by German composers. Their sonatas make over a half of all the identified pieces. The predecessors were: Felix Mendelssohn-Bartholdy and August Ritter. Their suggested cycle structure and the features of their organ sonatas defined the direction of the genre’s development, which was confirmed by the works of other German composers, as well as those of other nationalities. The significant group of composers writing organ sonatas is made by British authors (41 sonatas, 26 composers), whereas the list of French creators is rather short. In other countries there were few composers who wrote a small number of sonatas. There are also countries in which not a single organ sonata was found. This article is the first attempt to present the overview of the Romantic organ sonata in Polish professional literature.
Źródło:
Aspekty Muzyki; 2017, 7; 195-223
2082-6044
Pojawia się w:
Aspekty Muzyki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Kinga Kiwała, Pokolenie Stalowej Woli. Eugeniusz Knapik, Andrzej Krzanowski, Aleksander Lasoń. Studia estetyczne, Kraków 2019 Akademia Muzyczna w Krakowie, ss. 449. ISBN 978-83-62743-87-2
Autorzy:
Bolesławska-Lewandowska, Beata
Powiązania:
https://bibliotekanauki.pl/articles/28408597.pdf
Data publikacji:
2019
Wydawca:
Polska Akademia Nauk. Instytut Sztuki PAN
Tematy:
Stalowa Wola
muzyka polska
kompozytorzy polscy
Polish music
Polish composers
Źródło:
Muzyka; 2019, 64, 4; 170-173
0027-5344
2720-7021
Pojawia się w:
Muzyka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Fazy twórczości Henryka Hubertusa Jabłońskiego — propozycja klasyfikacji
Creative Phases of Henryk Hubertus Jabłoński — classifi cation proposal
Autorzy:
Szemiel, Marek
Powiązania:
https://bibliotekanauki.pl/articles/521875.pdf
Data publikacji:
2012
Wydawca:
Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
Tematy:
20th century
Polish composers
Henryk Hubertus Jabłoński
periodization works
stylistics
Opis:
The article is an attempt to divide Jabłoński’s output into phases according to Mieczysław Tomaszewski’s concept. In line with the assumptions of this concept, in the composer’s biography there are turning points and a return that defi ne his creative path. General characteristics of Jabłoński’s creative path can be divided into three phases. Stylistic caesurae of the phases become essential in pointing out the pivotal moments that defi ne the course of evolution of Jabłoński’s oeuvre. The path leads from the infl uence of neoclassical aesthetics in his early works, through the experience of aleatoric and sonoristic techniques of controlling the musical material, up to simplifi ed textures and stylistic features revolving around the sérénité climate. In the phases of the evolution of Jabłoński’s output presented here, specifi c features of his musical language are pointed out. These are connected with his individualistic approach to the issue of tonality. The composer developed and enriched his musical language, but only with such elements of new techniques that did not disturb the creative path he had taken earlier. His attempts to merge traditional forms with 20th-century compositional techniques only served the purpose of fi nding new timbres and sound qualities. The author of the article emphasises the importance of the melodic element in Jabłoński’s works, where expressivity and emotion are anchored in the expression of the romantic spirit of beauty.
Źródło:
Aspekty Muzyki; 2012, 2; 173-183
2082-6044
Pojawia się w:
Aspekty Muzyki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Gdańscy muzycy w darze królowi Janowi II Kazimierzowi
A gift from musicians of Gdańsk to King Jan II Kazimierz
Autorzy:
Szlagowska, Danuta
Powiązania:
https://bibliotekanauki.pl/articles/521883.pdf
Data publikacji:
2012
Wydawca:
Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
Tematy:
King Jan II Kazimierz [John II Casimir]
occasional music
Gdańsk composers
Opis:
The rich port city of Gdańsk, a signifi cant centre of science and culture in the 17th century, was in many respects important to the Polish-Lithuanian Commonwealth. It was often visited by the kings of Poland, in the 17th century indeed by all the monarchs with the exception of Michał Korybut Wiśniowecki. The citizens of Gdańsk, legally the subjects of the Polish rulers, highly valued good relations with the Crown. Each royal visit was celebrated with great pomp, as were other stately events, such as royal elections, coronations, military victories and funerals. King Jan II Kazimierz visited the city on the Motława (Mottlau) three times. In 1651 he was there for a dozen or so days, whereas his later visits lasted several months: during the ‘Swedish Deluge’ he stayed from November 1656 to February 1657, and during peace negotiations with the Swedes from December 1659 to May 1660. Surviving sources confi rm active participation of Gdańsk musicians in celebrations associated with the monarch. However, these are mainly literary texts without music, information from chronicles and archival sources. The surviving musical relics are limited to 15 compositions by Paul Siefert from the second volume of Psalmorum Davidicorum…, dedicated to the king in 1651, as well as works by Johann Balthasar Erben written for the offi cial abdication of Jan Kazimierz in 1668: the alto aria Denk- und Dank-Altar ... Johannes Casimirus König zu Polen ‘Halt auff! grosses Himmels Liecht!’ (to a text by Ludwik Knaust, a Gdańsk writer), followed by instrumental Passacaglia.
Źródło:
Aspekty Muzyki; 2012, 2; 81-98
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:
Twórczość kompozytorska w kwartalniku „Muzyka w Liturgii” w latach 1998–2019
Compositional work in the Music in Liturgy quarterly in 1998–2019
Autorzy:
Orkiszewski, Tomasz
Powiązania:
https://bibliotekanauki.pl/articles/1201965.pdf
Data publikacji:
2021-06-24
Wydawca:
Stowarzyszenie Polskich Muzyków Kościelnych
Tematy:
furmanik
zoła
nikodemowicz
kwiatkowski
„muzyka w liturgii”
kompozytorzy
opracowania
composers
studies
Opis:
W niniejszym artykule przedstawiona została skrótowo historia powstania czasopisma i ogólny zarys twórczości kompozytorskiej publikowany w kwartalniku „Muzyka w Liturgii” w latach 1998–2019. Opis obejmuje numery od 6 do 94, w których zaprezentowano łącznie 954 utwory i opracowania 169 twórców. Na łamach pisma bogactwo muzyki liturgicznej bardzo często przedstawiane jest w ujęciu syntetycznym zarówno według kryteriów historycznych, jak też indywidualnych i monograficznych. Artykuł zawiera dokładniejsze biogramy czterech kompozytorów, którzy w ciągu tego okresu bezpośrednio współpracowali z „Muzyką w Liturgii” lub których utworów opublikowano najwięcej. Są to: Józef Furmanik, Antoni Zoła, Andrzej Nikodemowicz i Stanisław Kwiatkowski.
This article presents a short history of the journal's origins and a general outline of the composer's work published in the „Muzyka w Liturgii” quarterly journal in the years 1998–2019. The description includes numbers 6–94, in which 169 names of composers and authors can be distinguished, as well as 954 works and arrangements. The richness of liturgical music is very often presented in a synthetic approach, both according to historical as well as individual and monographic criteria. The article contains a more detailed description of the four composers who have directly collaborated with the MwL quarterly journal over the years, or whose works are the most numerous. They are: Józef Furmanik, Antoni Zoła, Andrzej Nikodemowicz and Stanisław Kwiatkowski.
Źródło:
Musica Ecclesiastica; 2021, 16; 47-60
2353-6985
Pojawia się w:
Musica Ecclesiastica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
STYLISTIC TENDENCIES IN THE WORKS FOR ACCORDION BY UKRAINIAN COMPOSERS IN THE LATE 20TH – EARLY 21ST CENTURIES
Autorzy:
Spodarenko, Victor
Powiązania:
https://bibliotekanauki.pl/articles/566582.pdf
Data publikacji:
2014
Wydawca:
Akademia Pomorska w Słupsku
Tematy:
neo-folklorism
neo-romanticism
neo-classicism
music works for accordion
Ukrainian composers
Opis:
The stylistic panorama of the 20th century music is notable for an aesthetic variety of works by different composers and compositional schools. This fact is corroborated by the ambiguity and plurality of musical cultures, made manifest by certain artistic trends and tendencies transpiring during the late 19th and early 20th centuries. As the century progressed, certain artistic tendencies underwent a transformation and evolved into other stylistic novelties. The works for the accordion by Ukrainian composers display folk-like influences and project an array of aesthetic approaches to the idea of musical personification. This is most clearly expressed in the way the composer: (1) borrows the material from folklore; (2) appeals to lyrical, psychological, expressive and figurative characteristics of work of art with the expression of the process-emotional nature of person’s “inner world”; (3) experiments with associative references such as, intonation, intonemas, and grief; (4) employs programmatic narrative; (5) uses epigraph and musical quotes; and (6) makes clear references to the genres and techniques of baroque and, occasionally, early classical music
Źródło:
Ars inter Culturas; 2014, 3; 69-77
2083-1226
Pojawia się w:
Ars inter Culturas
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Roman Palester i Polskie Wydawnictwo Muzyczne: korespondencja w trzech odsłonach
Roman Palester and PWM Edition: Correspondence in Three Stages
Autorzy:
Bolesławska-Lewandowska, Beata
Powiązania:
https://bibliotekanauki.pl/articles/28328343.pdf
Data publikacji:
2020
Wydawca:
Polska Akademia Nauk. Instytut Sztuki PAN
Tematy:
Roman Palester
Polskie Wydawnictwo Muzyczne
korespondencja kompozytorów polskich
PWM Edition
Polish composers’ correspondence
Opis:
Kontakty Romana Palestra z Polskim Wydawnictwem Muzycznym możliwe są do odtworzenia dzięki korespondencji zachowanej w spuściźnie kompozytora, zdeponowanej w Archiwum Kompozytorów Polskich Biblioteki Uniwersyteckiej w Warszawie. Są to przede wszystkim listy od przedstawicieli wydawnictwa do kompozytora, a w niektórych przypadkach także zachowane przez twórcę kopie lub brudnopisy listów własnych. Korespondencja ta dzieli się na trzy części, obrazujące losy kontaktów twórcy z jego polskim wydawcą w kontekście zmieniających się warunków politycznych: 1) do ogłoszenia informacji o emigracji kompozytora, 2) w okresie tzw. odwilży popaździernikowej; oraz 3) w ostatnich latach życia twórcy – po zniesieniu zapisu cenzury na jego nazwisko. Artykuł przybliża zarówno obraz zachowanej korespondencji, jak i najważniejsze wątki relacji między Romanem Palestrem a Polskim Wydawnictwem Muzycznym w okresie od 1947 do śmierci kompozytora, z uwzględnieniem sytuacji politycznej w kraju.
Roman Palester’s contacts with PWM Edition can be reconstructed based on correspondence which has survived as part of the composer’s legacy deposited at the Archives of Polish Composers, kept at the University of Warsaw Library. These are mostly letters from representatives of the publisher to the composer, and in some cases also copies or rough drafts of the composer’s own letters, which he preserved. This correspondence can be divided into three stages, which reflect the artist’s contacts with the Polish publisher in the context of changing political circumstances: 1) before his emigration was announced; 2) during the so-called political thaw following the Polish October (of 1956), and 3) in the last years of his life, when censorship of his name and works had been lifted. My paper discusses both the surviving correspondence and the main aspects of relations between Roman Palester and PWM Edition between 1947 and the composer’s death, in the context of the political situation in Poland.
Źródło:
Muzyka; 2020, 65, 4; 128-138
0027-5344
2720-7021
Pojawia się w:
Muzyka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Kompozycje na akordeon solo w twórczoci Edwarda Bogusławskiego
Accordion Solo Compositions in the Works of Edward Bogusławski
Autorzy:
STACHURA-BOGUSŁAWSKA, Anna
Powiązania:
https://bibliotekanauki.pl/articles/454104.pdf
Data publikacji:
2013
Wydawca:
Uniwersytet Humanistyczno-Przyrodniczy im. Jana Długosza w Częstochowie. Wydawnictwo Uczelniane
Tematy:
Silesian composers
contemporary Polish accordion music
Bogusławski Edward
kompozytor śląski
współczesna polska muzyka akordeonowa
Opis:
The purpose of this article is presentation of accordion solo works by Edward Bogusawski, a contemporary Polish composer, who died in 2003. The list of all the accordion works by the composer contains over a dozen compositions. They are works that significantly contributed to Polish accordion literature, and they were all written after 1980. They include solo, chamber, vocal-instrumental works, as well as a concert for accordion and an orchestra. In the article, the works for accordion solo are thoroughly analysed: Three postludia (1980– 81), Capriccioso per accordeono (1985), and Continuo II per accordeono solo (1988). These works have not been thoroughly discussed in the musicological literature so far – they were just mentioned. When discussing the selected works, the authoress concentrates particularly on the sound material, the formal shape and general emotional expression. She outlines Bogusawski’s artistic career and his shaping up his own sound language. She points out the composer’s fascination with the tone of the accordion. The most characteristic traits sound language are discussed, also in his other works composed in the 80s of the 20th century.
Źródło:
Edukacja Muzyczna; 2013, 8; 11-25
2545-3068
Pojawia się w:
Edukacja Muzyczna
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
ZJAWISKO MIĘDZYKULTUROWYCH INSPIRACJI W TWÓRCZOŚCI WSPÓŁCZESNYCH KOMPOZYTORÓW ŚRODOWISKA GDAŃSKIEGO
THE PHENOMENON OF MULTICULTURAL INSPIRATIONS IN WORKS OF MODERN GDAŃSK COMPOSERS
Autorzy:
Schiller-Rydzewska, Joanna
Powiązania:
https://bibliotekanauki.pl/articles/566602.pdf
Data publikacji:
2015
Wydawca:
Akademia Pomorska w Słupsku
Tematy:
Gdańsk
kompozytorzy współcześni międzykulturowe inspiracje
muzyka gdańska
środowisko kompozytorów gdańskich
muzyka Trójmiasta i regionu Pomorza
modern composers
multicultural inspirations
music in Gdańsk
Gdańsk’s composers milieu
artistic milieu
music in Tricity and Pomerania
Region
Opis:
Multicultural inspirations in the works of modern composers from Gdańsk are phenomena that became a part of tradition, social structure, geographical situation, and the history of Gdańsk. In the diversified musical environment of the post-war Gdańsk, the three groups of composers active in the city are recognized. The first group includes the native- born composers; the second group consists of composers who came from different parts of Poland and settled in Gdańsk; the third group (the most difficult to compartmen talize) includes composers temporarily living in the city. The examination of artistic achievements of Gdańsk composers after the Second War World reveals three distinct domains of multicultural inspirations. The first involves cultural fascination with remote places of Europe and the world. The second draws on inspiration from the native folk culture, including the Kashubian folklore. The third domain borrows from the mass culture that aspires to the rank of sophisticated art.
Źródło:
Ars inter Culturas; 2015, 4; 121-140
2083-1226
Pojawia się w:
Ars inter Culturas
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Katalog Rękopisów Biblioteki Narodowej, t. 24, Archiwum Zygmunta Mycielskiego, cz. 1–2, opr. Michał Klubiński, Warszawa 2017, 2022
Autorzy:
Bolesławska-Lewandowska, Beata
Powiązania:
https://bibliotekanauki.pl/articles/24298375.pdf
Data publikacji:
2023
Wydawca:
Polska Akademia Nauk. Instytut Sztuki PAN
Tematy:
Zygmunt Mycielski
Archiwum Zygmunta Mycielskiego
archiwa kompozytorów polskich
Zygmunt Mycielski’s archive
archives of Polish composers
Opis:
Recenzja dwóch tomów katalogu Archiwum Zygmunta Mycielskiego, opublikowanych jako 24 tom „Katalogu rękopisów Biblioteki Narodowej”, cz. 1 i 2. Oba tomy opracował Michał Klubiński. Część 1 obejmuje zbiór archiwaliów przekazanych Bibliotece Narodowej przez Barbarę i Jana Stęszewskich, depozytariuszy spuścizny kompozytora. Część 2 opisuje materiały odnalezione niespodziewanie w dawnym mieszkaniu Zygmunta Mycielskiego jesienią 2019 roku i przekazane do Biblioteki Narodowej przez bratanicę kompozytora Zofię Mycielską-Golik. Katalog jest bezcennym narzędziem do badań nad obszerną kompozytorską i piśmienniczą spuścizną Zygmunta Mycielskiego. 
The review of two volumes of the catalogue of Zygmunt Mycielski's archive, published as vol. 24 of the 'Catalogue of manuscripts of the National Library', parts 1 and 2. Both volumes were edited by Michał Klubiński. Part 1 covers a collection of archival material donated to the National Library by Barbara and Jan Stęszewski, depositaries of the composer's legacy. Part 2 describes materials found unexpectedly in Zygmunt Mycielski's former flat in autumn 2019 and donated to the National Library by the composer's niece Zofia Mycielska-Golik. The catalogue is an invaluable tool for researching the extensive compositional and writing legacy of Zygmunt Mycielski.  
Źródło:
Muzyka; 2023, 68, 4; 139-145
0027-5344
2720-7021
Pojawia się w:
Muzyka
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 53

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