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Dekada współpracy artystycznej Witolda Lutosławskiego z Teatrem Polskim w Warszawie

Author(s): Wioleta Muras / Language(s): Polish Issue: 1/2016

This article discusses the situation of the Polish Theatre during the first years after the Second World War and how politics influenced theatrical work at that time. Also, the author provides a description of the music that Witold Lutosławski composed to seven plays staged at the Polish Theatre during that period. The diversity of composition techniques employed by Lutosławski was determined by the subject matter of the plays (e.g. stylisation of early music, a modern musical idiom). In accordance with the prevalent theatrical conventions of the period, music had a secondary role in relation to other elements of a production. Nevertheless, this music betrays the composer’s unique artistic voice. His artistic explorations are most evident in his last score, ‘The Madwoman of Chaillot’. For Lutosławski, the temporary involvement in writing music for the stage became an opportunity to polish his composition technique and also a source of income.

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Emil Młynarski w operze w Warszawie (1898–1902)

Author(s): Elżbieta Szczepańska-Lange / Language(s): Polish Issue: 1/2016

In 1898, Emil Młynarski – a violinist taught by Leopold Auer – left Russia and arrived in Warsaw with his student Paweł Kochański. Młynarski’s objective was to fulfil the ambition of his youth to become a conductor, particularly since the political climate was favourable to the cultural ambitions of Poles. He decided to take advantage of his acquaintance with the newly appointed (in 1897) deputy viceroy of the Kingdom of Poland, Aleksander Oboleński. In 1898, Młynarski started giving symphonic concerts with the orchestra of the opera house. In the autumn of 1899, Młynarski transformed the operatic orchestra into a large modern symphony orchestra, with a string section of fifty instruments. New musicians were recruited by competition. In 1900, Młynarski allocated a large sum of his own money to concerts of Polish music during the Exposition Universelle in Paris and was involved in efforts to organise them. When the initiative came to no avail, for reasons beyond his influence, the money was used to finance editions of Moniuszko’s operas.Some commentators continue to suggest that Młynarski's approach to the Russians was too conciliatory, but that is difficult to prove today.From the perspective of music history, his significance lies in how he used his position in opera to help to revive Polish operas, especially those of Moniuszko, raising the artistic level of performances (in the years 1898–1901), and in his numerous initiatives taken solely with Polish culture in mind.

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Małgorzata Sieradz: „Kwartalnik Muzyczny” (1928–1950) a początki muzykologii polskiej. Warszawa 2015

Author(s): Małgorzata Woźna-Stankiewicz / Language(s): Polish Issue: 1/2016

Book-review of „Kwartalnik Muzyczny” (1928–1950) a początki muzykologii polskiej by Małgorzata Sieradz

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The Book of Requiems, 1450–1550. From the Earliest Ages to the Present Period, red. David J. Burn, Leuven 2022

Author(s): Riccardo Pintus / Language(s): English Issue: 4/2023

The review of a collection of essays devoted to the most important examples of the Renaissance Requiem edited by David J. Burn. The Book of Requiems, 1450-1550: From the Earliest Ages to the Present Period is the first volume of the 'Book of Requiems' series, which treats the Requiem as a specific genre, with its distinctive features and conventions and historical significance.

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Uta Goebl-Streicher, Friederike Müller: Listy z Paryża 1839–1845. Nauczanie i otoczenie Fryderyka Chopina, przekł. Barbara Świderska, Warszawa 2012

Author(s): Małgorzata Sieradz / Language(s): Polish Issue: 4/2023

The review of an edition of Friederike Müller's letters, prepared for publication by Uta Goebl-Streicher, in Polish translation by Barbara Świderska. The letters of Frederic Chopin's pupil are an invaluable source of information on the great composer's teaching technique and his pianistic art, as well as a chronicle of the events of musical life in Paris in the mid-nineteenth century.

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Katalog Rękopisów Biblioteki Narodowej, vol. 24, Archiwum Zygmunta Mycielskiego, t. 1–2, red. Michał Klubiński, Warszawa 2017, 2022

Author(s): Beata Bolesławska-Lewandowska / Language(s): Polish Issue: 4/2023

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.

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Granice muzyki – granice wolności. Wokół konferencji kompozytorów i krytyków muzycznych w Łagowie Lubuskim w 1949 roku, red. Krzysztof Brzechczyn, Rafał Ciesielski, Poznań–Warszawa 2021

Author(s): Sławomir Wieczorek / Language(s): Polish Issue: 4/2023

The review of the conference proceedings of the 48th Musicological Conference of the Polish Composers' Union, 'The Limits of Freedom', Łagów 2019. The publication under review consists of eighteen texts and a transcript of the panel discussion that took place during the conference.

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Laisvės formos sąjūdžio priešaušryje: „Jaunos muzikos“ fenomenas

Author(s): Indrė Žakevičienė / Language(s): Lithuanian Issue: 80/2023

The aim of the article is to look closer at the series of four editions under the title “Jauna muzika” (Young Music) (1987–1990), issued as a particular manifesto of young Lithuanian composers (born in late fifties and early sixties) on the eve of Sąjūdis (Reform Movement) (1988–1990). The series accompanied the annual music festival “Jaunimo kamerinės muzikos dienos” (The Days of Chamber Music by Young Composers), which was held in 1985 for the first time and in 2000 was renamed to “Druskomanija”. The content of the editions reflects the need of Lithuanian composers, philosophers, musicologists and poets to encode the resistance against the authorities and to demonstrate their spiritual alliance with Western culture. Almost the same aspirations were characteristic of the contributors of Lithuanian magazine “Keturi vėjai” (Four Winds), issued in 1924–1928. “Jauna muzika” could be considered as particular form of freedom, stipulated by the specific principle of habitus, defined by Pierre Bourdieu. The analysis of poetical texts by the composers reveales the feelings of despair and emptiness and the expectations to regain the ability to be sincere. The power of habitus proved out: the contributors of “Jauna muzika” opened new perspective to the restricted thought.

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Słowem po mapie (umysłu i czasu). Wybrane przestrzenie w tekstach Pablopavo

Author(s): Kamila Czaja / Language(s): Polish Issue: 2/2023

Starting with Warsaw themes in the works of Pablopavo (Paweł Sołtys) - which have dominated previous research papers - the article signalizes their role in describing not only the rapidly changing city itself, but also its inhabitant’s sense of inadequacy. Most of all, the analysis of the songs from different albums, from Telehon (2009) to Mozaika (2022), and from different musical projects (Pablopavo solo, the band Pablopavo i Ludziki, Pablopavo recording with Naprawdę Duży Zespół, with Praczas or with Praczas and Anna Iwanek) deals with motifs not discussed before, e.g. the vision of home, that can be a shield against the evil world, but can have the dark side or be used as a way to show the duality of the human mind. Th e metaphors created by Pablopavo are also interpreted in the article: the conceptual metaphors, as the versions of the structural metaphor LIFE IS A JOURNEY (a turn, an elevator, a railway station, a map), the orientational metaphors (mixing the dimensions) and the metaphors that blend space and time. The reflections profiled this way reveal the potential of these topics and figures in straightening out the mind and the memories, as well as in identifying the human position in space - the space understood more in terms of existence as space.

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Interview with Carla Shapreau

Author(s): Carla Shapreau,Alicja Jagielska-Burduk / Language(s): English Issue: 1/2023

Alicja Jagielska-Burduk talks with Carla Shapreau, a Senior Fellow in the Institute of European Studies, University of California, Berkeley

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DILEMA DEZVOLTĂRII INDUSTRIEI MUZICALE: FACTORI EXTERNI ȘI TENDINȚE INTERNE

Author(s): Iurie Badicu / Language(s): Romanian Issue: 3/2022

This research is motivated by the development of the music industry, in order to obtain new results, through extensive and revolutionary actions to move from the current quality to a new one. The specific hypothesis of the study of the music industry is based on the consideration of the dilemma: although the leaps and interruptions of evolution favor the growth and considerably expand the musical activity, they do not result in a totally new state of quality accompanied by highlighting musical values. Thus, the interpretable cultural result obtained, of the current music industry, is due to a series of external challenges, both solitary distinguished and numerous associated. The study sums up all the challenges, coming from outside the structure of the music industry, to shape the external influence; whose action is reflected in the generation of new internal trends. In this sense, the external influence is the expression, and the internal tendencies are the reflection of this expression. The research used various methods, principles, techniques and scientific procedures combined, and based on the principle of integrity, the author developed his own culturological procedures. At the same time, in the presentation of the material, preference was given to the descriptive method with the application of the elements of comparison, analysis and deduction, as well and the search engine Scopus. The research finds, through the prism of different civilizational paradigms, that the music industry is in the dilemma of its development. In the circumstances of 2022 and for the next period, the author concludes with two directions of development of the music industry that require special research.

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Odkryty księgozbiór nutowy Friedricha Wilhelma Jünckego (1842–1897) jako początek badań nad odtworzeniem dawnego inwentarza muzycznego

Author(s): Marta Walkusz / Language(s): Polish Issue: 3/2023

This article is an attempt to determine the function of discovered a small collection of 19 pieces of music, owned by Friedrich Wilhelm Jüncke (1842–1897) stored in the Library of the Stanisław Moniuszko Academy of Music in Gdańsk. In view of the little knowledge about the life of this merchant from Gdańsk, and then from Sopot, the discovery that, apart from numismatic items and so-called Gdansk door, he also collected musical items was a big surprise for the employees of the current Art Inkubator, an institution that, since 2019, has been taking care of e.g. Jüncke’s villa and cherishes the memory of the former owner of the building. The musical and bibliological characteristics of the music prints showed that Jüncke collected them rather for collecting purposes than for utilitarian purposes. Provenance entries, which were found in two prints proving that Jüncke was not the first owner. In addition, the entries found in the next five prints may prove that after Jüncke’s death some items were in the possession of the Gdańsk NSDAP, and after the war they ended up in the Academy of Music Library. Undoubtedly, finding this small book collection contributes to supplementing the information about Jüncke, and – indirectly – to expanding knowledge about the musical culture of Gdańsk in the period 1939–1945.

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Discovered music collection of Friedrich Wilhelm Jüncke (1842–1897) as the beginning of research into the reconstruction of the old musical inventory

Author(s): Marta Walkusz / Language(s): English Issue: 3/2023

This article attempts to determine the function of the discovered small collection of 19 pieces of music, owned by Friedrich Wilhelm Jüncke (1842–1897) stored in the Library of the Stanisław Moniuszko Academy of Music in Gdańsk. In the face of limited knowledge about the life of this merchant from Gdańsk, and then from Sopot, the discovery that, apart from numismatic items and so-called Gdansk door, he also collected musical items was a big surprise for the employees of the Art Inkubator, an institution that, since 2019, has been taking care of, e.g. Jüncke’s villa and cherishes the memory of the former owner of the building. The musical and bibliological characteristics of the music prints showed that Jüncke gathered them for collecting rather than for utilitarian purposes. The provenance entries found in two prints prove that Jüncke was not their first owner. In addition, the entries found in the next five prints may prove that after Jüncke’s death some items were in the possession of the Gdańsk NSDAP, and after the war they ended up in the aMuz Library. Undoubtedly, finding this small book collection contributes to supplementing the information about Jüncke and – indirectly – to expanding knowledge about the musical culture of Gdańsk in the period 1939–1945.

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Kulturne predstave o novom talasu u Jugoslaviji 40 godina kasnije

Author(s): Marija Ajduk / Language(s): Serbian Issue: 4/2023

This study is dedicated to the analysis of cultural perceptions of the New Wave (musical movement) within the Yugoslav context in the past decade (up to the 2020s). The observance of a particular anniversary brings forth a multitude of meanings ascribed to the event through recollections and nostalgic narratives. Inspired by Bennett and Rogers' theoretical insights in "Popular Music Scenes and Culture of Memory" (2016) regarding "memory bursts" in creating and consuming popular music, the primary objective was to explore how the narrative of the New Wave is currently constructed. Through an analysis of various events organized in the former Yugoslavia over the past decade, revolving around the New Wave, this study aims to identify cultural perceptions of this phenomenon as well as to highlight its recurring and repetitive key elements. Each analyzed event received media coverage, thus making online sources a fertile resource base for this research.

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(Post)Yugoslavian Music Press in Transition

Author(s): Marija Ajduk,Ljubica Milosavljević,Ana Banić Grubišić / Language(s): English Issue: 4/2023

The development of the Internet and digital technologies has influenced the ever- greater migrations of printed content to the digital sphere (blogs, online media, Internet portals, social networks), which has also brought with itself changes in readers’ habits and in the concept and format of texts as wells. Music press is no exception in that respect. In the context of South European states, these processes coincide with the period of political, social, cultural and economic transition, giving rise to the development of numerous regional and local specific forms of popular culture. The existence of the SFRY as a shared state enabled the creation of an authentic cultural space, which continued to develop even after its disintegration. This paper endeavors to shed light on one segment of that local authenticity through an analysis of music press. The aim the authors of this paper aspire to achieve is the presentation of the development path of the printed media in the first place in the Socialist Federal Republic of Yugoslavia, then in Serbia, as well as the reconstructions of the modality of the transformation of this media in the transition period from an anthropological perspective. The wish is to identify the perception and significance of music as a local cultural phenomenon through the qualitative analysis of the archival material and the available Internet sources as well, then to trace the cultural changes that have been going on over time as a result of global and local social and cultural turmoil. We do not refer to press only as the medium which has an informative role, but rather as the medium that reflects the local community’s attitudes, simultaneously constructing narratives on popular culture that are incorporated in our everyday life.

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POJAWIENIE SIĘ BLUESA W POLSCE. PRZYPADEK INWERSJI W EWOLUCJI GATUNKU MUZYCZNEGO

Author(s): Wojciech Kwieciński / Language(s): Polish Issue: 3/2023

The emergence of blues from the aesthetics of the so-called “big-beat” in Polish popular music is a process that largely coincides with a parallel phenomenon observed in other European countries. With the expansion of rock and roll in the UK during the 1960s, many beat performers (e.g. The Rolling Stones, The Animals) turned towards blues aesthetics, attempting to imitate black American performers. It should be emphasised that this was done in isolation from the cultural context and “root” performance tradition and was a kind of experiment that, despite some cases of apparent stylistic deviation from the blues genre, brought many positive results, such as the emergence of the blues-rock subgenre or the penetration of blues elements into hard rock and pro- gressive rock. The article’s title uses the term “inversion”, reflecting the reversed order of genre evolution. In Europe, blues did not imply the development of jazz or rock and roll, but through these genres, musicians and listeners became interested in the blues form and used its elements to transform the beat style into rock, eventually developing traditional blues performance. This article attempts to reconstruct the process of adapting blues in Poland and transforming the beat into a blues-rock style. The analysed phenomena’ chronological framework reaches back to jazz’s beginnings in the interwar period, while the clear boundary marking the emergence of blues-rock and its emancipation is the release of Breakout’s Blues album in February 1971.

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NIE TYLKO fOLKOWA OSOBNOŚĆ BERTA JANSCHA

Author(s): Andrzej Dorobek / Language(s): Polish Issue: 3/2023

In this text, we attempt, probably for the first time in Poland, at the synthetic presentation of the artistic achievements and not only creative personality of Bert Jansch, sometimes referred to as “British Dylan” and highly appreciated by fellow folk musicians as well as by genuine rock stars, such as Jimmy Page or Neil Young. Jansch’s career as a truly unique folk singer/guitar player/ composer/lyric writer shall be dicussed here in a wider analytical perspective, with vital referenc- es to the history of the British and American folk movement as well as, first of all, to the career of his transatlantic “counterpart”. Jansch’s inability to comfortably fit into any folk or folk-rock stereotypes with respect to music, lyrics or media personality shall also be stressed, in the same comparative context.

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THE RESURRECTIONIST DUETU PET SHOP BOYS: TRANSGRESJE I QUEEROWE SPOJRZENIE W PRZESZŁOŚĆ

Author(s): Aleksandra Mochocka / Language(s): Polish Issue: 3/2023

The article is concerned with the transgressive dimension of the Pet Shop Boys’ works. As follows, the artists are situated in the cultural context that helps to understand their approach to popular music, with a focus on potentially transgressive aspects such as hybridisation, authenticity, maturity/adulthood, irony, androgyny, masculinity, and gayness. The case study to be presented here is The Resurrectionist, a song inspired by historical facts. Two possible readings of the song are suggested here; both tackle upon existing social norms, revealing their true nature and provok- ing the audience to question their validity.

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UWOLNIĆ „SOUL”, WRACAJĄC DO MEMPHIS

Author(s): Rafał Szczerbakiewicz / Language(s): Polish Issue: 3/2023

The transgressive potential of Elvis Presley’s music and stage persona remains an in- adequately explored topic. He was an affective medium which catalysed a moral, racial and social revolution. He was the first beneficiary of emancipatory transformations of sexuality. The narrations and mythologies of rock culture did not problematise Elvis’s art and image transitions – the reasons for his escapes from media stereotypes. The most salient of the medially disjointed images is Elvis’s tenuous identification with the gender role of a male role model imposed upon him. Indeed, rock heroes are to embody the “macho” role. Meanwhile, the most interesting part of Elvis’s musical identity is precisely the ambiguous status of his masculinity in the 1950s and the “non-normativity” of his persona and music in 1960s–70s.

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Geopolitics in the ESC: Comparing Russia’s and Ukraine’s use of cultural diplomacy in the Eurovision Song Contest

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Geopolitics in the ESC: Comparing Russia’s and Ukraine’s use of cultural diplomacy in the Eurovision Song Contest

Author(s): Lea M. Welslau,Torsten J. Selck / Language(s): English Issue: 1/2024

The Eurovision Song Contest has long served as a platform for cultural diplomacy among its participants. This paper examines how Russia and Ukraine have approached cultural diplomacy in and around the Eurovision Song Contest in the wake of the Russo-Ukrainian war. Following an outline of pertinent events from 2014 to 2022, including the Song Contest and the respective countries’ selected entries as well as the public discourse surrounding them, two distinct types of cultural diplomacy—culturalist versus neo-propagandist—are employed in a congruence analysis. The findings show that Russia employed a largely neo-propagandist approach to cultural diplomacy characterized by their projected image of peacefulness, innocence, and strength to alter their situational image. Ukraine has employed a mostly culturalist approach mainly focused on mutual recognition and the representation of national culture. The conscious instrumentalization of the platform to counter misconstrued perceptions of Ukraine shaped by the Kremlin’s rhetoric also adds neo-propagandist elements.

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