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Na styku epok. Porównanie warsztatu twórczego Josepha Riepla i Marcina Józefa Żebrowskiego na przykładzie utworów pro processione

Author(s): Wojciech Karasiński / Language(s): Polish Issue: 02 (29)/2016

In this paper, the author compares aesthetic and stylistic attitude of two composers who worked in Jasna Góra Monastery at the turn of Baroque and Classical eras. The aim of this article is to capture the differences and similarities between the creative output of both artists by comparison of their pro processione pieces, which are a local variant of a church symphony. Collating complexive analysis, the author points characteristic solutions implemented by the composers, which gives rise to denotation their output as baroque or classical. In this way both composers were located on a stylistic timeline – Riepel as a baroque composer who already has implemented some classical elements into his style, and Żebrowski as a representant of galant style with baroque remainders. Outline of the compositional technique was depicted, what in the future can be a starting point for the further researches.

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Kadry muzyką opatrzone

Author(s): Wioleta Muras / Language(s): Polish Issue: 01 (28)/2016

Creation of film music is only an episode in all of Witold Lutosławski’s way of oeuvre. He composed music to five films – three of which were not preserved (short films from the 1930s), two others that have been preserved were middle-feature films from the 1940s. This article is an attempt to reconstruct the character of the cooperation between Lutosławski and the directors, outlining the historical context and the circumstances of the works’ creation, and in case of the preserved films, to discuss their musical aspect. Uwaga – komunikat filmowy z frontu pracy (Beware! A Film Communiqué from the Front Lines of Work, 1934) and Gore! (Fire!, 1936) were directed by Eugeniusz Cękalski in cooperation with Stanisław Wohl. Zwarcie (Short Circuit, 1935) was created by Franciszka and Stefan Themerson. We know very little about Lutoslawski’s music in these films, but it was always appreciated in press reviews. After the Second World War documentary films became popular, but they contained propaganda features, which aimed to inform about the scale of devastation of Polish territory. One of them was Odrą do Bałtyku (Via the Oder to the Baltic, 1946) directed by Stanisław Urbanowicz. The sound element of the film has largely an illustrative character (in neoclassical style), it is a background for the narrative’s comment. Various arrangements of songs (Zasiali górale [The mountain people have sown], Przybyli ułani pod okienko [The lancers have come to the window]) which are incorporated in the soundtrack, underline the propaganda message of the film. The last film with Lutosławski’s music was Suita warszawska (Warsaw Suite, 1946) directed by Tadeusz Makarczyński. Again we can hear illustrative music, even real music (urban folk – polka and waltz), but sometimes music is more independent and abstract. After that the composer got several proposal to write film music, but he did not undertake this anymore (mainly for financial and time reasons).

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Muzyka polska w repertuarze Leopolda Stokowskiego

Author(s): Oskar Łapeta / Language(s): Polish Issue: 01 (28)/2016

Nowadays, Leopold Stokowski is recognized as one of the most important conductors of the 20th Century. The artist was very proud of his Polish origin and conducted twenty two compositions written by eleven Polish composers, including Chopin, Wieniawski, Fitelberg, Szymanowski, Tansman, Szabelski, Moniuszko, Lutosławski, Panufnik, Jarecki and Paderewski. During his career Stokowski visited Poland four times. The first two visits (1924 and 1958) were private. The conductor’s first Polish concert took place in Warsaw in May 1959 – on this occasion Stokowski conducted Lutosławski’s Symphony No. 1 and Szymanowski’s Stabat Mater. The press praised Stokowski for bringing from the orchestra his own rich sonorities and for his great sensitivity, and at the same time criticized him for lack of formal discipline. Also Lutosławski was dissatisfied with Stokowski’s interpretation. Stokowski conducted in Poland also in May 1960, when he gave a couple of concerts in Zabrze and Bydgoszcz. Both programmes included compositions by Polish composers – Szabelski and Moniuszko. The conductor was also a close friend of Andrzej Panufnik. Stokowski collaborated with Panufnik when conducting his Symphony for peace and later led the world premiere performance of revised version of the work, entitled Sinfonia Elegiaca. He also conducted Sinfonia sacra and two other world premiere performances of Panufnik’s works – Katyń Epitaph and Universal Prayer. Stokowski recorded some of Polish compositions – both in studio and during concerts. Some of these performances are still unpublished (Fitelberg’s Polish rhapsody, Moniuszko’s Fairy tale overture and Szymanowski’s Stabat Mater), while others have been published (Panufnik’s Universal Prayer, Lutosławski’s Symphony No. 1 and Szabelski’s Toccata). Stokowski’s Polish episodes are intriguing and the present study is the first one to bring to light this forgotten episodes from the great conductor’s biography.

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Kilka uwag o Mszy F-dur Józefa Poniatowskiego

Author(s): Karol Rzepecki / Language(s): Polish Issue: 01 (28)/2016

The music of Polish composers of the Romanticism is still quite a forgotten and undiscovered area. One of the examples of that issue are the works of Joseph Poniatowski (1816–1873), a composer who spent a significant part of his life abroad. His work concentrates mainly on the opera music, which was largely dictated by the environment from which he descended and in which he stayed. The purpose of this article is to draw attention to one of the composer’s forgotten works – Mass in F major, and also to presently selected topics related to this work.

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David A. Ensminger. Visual Vitriol: The Street Art and Subcultures of the Punk and Hardcore Generation. Jackson: University Press of Mississippi, 2011

Author(s): A. Kolesnikova / Language(s): Russian Issue: 2/2015

Review of: Aleksandra Kolesnik - David A. Ensminger. Visual Vitriol: The Street Art and Subcultures of the Punk and Hardcore Generation. Jackson: University Press of Mississippi, 2011. 336 pp. ISBN 978-1-6170-3073-4.

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Idea wolności w tekstach piosenek heavymetalowych lat 80. w twórczości TSA, Turbo i KAT

Author(s): Maciej Kopiński / Language(s): Polish Issue: 04 (27)/2015

This article focuses on principal subjects used in works of the following bands: TSA, Turbo and KAT. It characterizes the most important and most frequently used topics in the lyrics of songs. Characterization made in this article answers the question how lyrics fit music in common heavy metal convention. Furthermore, special attention waspaid to the subjects of freedom and mutiny as topics especially important in the context of Polish political system in the 1980s. Analysis of selected examples gives an overview of the specific approach of heavy metal musicians to these subjects, different from the approach of rock and punk rock musicians in that period. The main part of the article is preceded by an introduction presenting the origins of heavy metal music in Poland. The author shows its beginnings and influences of Western heavy metal bands on the form of heavy metal music in Poland. The scope of the work were the 1980s, since that decade was the space for the origin and evolution of heavy metal in Poland, as TSA, Turbo and KAT are the first Polish bands which began playing in this style and contributed to its development.

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Polski epizod w działalności artystycznej pianisty i kompozytora Josepha Woelfla

Author(s): Ewa Bogula-Gniazdowska / Language(s): Polish Issue: 02 (25)/2015

Joseph Woelfl, an Austrian pianist and composer, was born on 24th December 1773 in Salzburg, where he began his musical education. In 1790 he left his hometown for Vienna, most probably following Wolfgang Amadeus Mozart. He can’t have stayed there long as in 1791 he was admitted for service at Prince Michał Kleofas Ogiński’s estate, where he spent about fifteen months. Prince Ogiński is remembered in the history of music mainly as the master of the stylised polonaise. The short cooperation with Woelfl bore fruit in their artistic activities, as Prince Ogiński created his first stylised polonaises during that time. Similarly, Woelfl was inspired by Polish surroundings. During his stay in Warsaw he created „Polonaise”, which became part of his sonata, marked as Fw 7 by Margit Haider-Dechant in the Joseph Woelfl. „Verzeichnis seiner Werke”, which was probably performed during a public concert in the capital of the Polish-Lithuanian Commonwealth in 1792. The Polish dance must have made a great impression on the Austrian composer, as Polonaise in the form of a rondo reappeared in his musical output in the third movement of Piano Concerto No. 1 op. 20, published in Paris nearly ten years later. Neither Joseph Woelfl nor above mentioned Piano Concerto op. 20 are currently popular in Poland. Thus, I would like to have a closer look at the piece, paying particular attention to the third movement „Rondo à la Polonaise” and at the same time referring to the mutual inspirations of the Austrian and Prince Michał Kleofas Ogiński.

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John Zorn. Jak być żydowskim postmodernistą (albo postmodernistycznym Żydem)?

Author(s): Michal Wandzilak,Mariusz Czubaj / Language(s): Polish Issue: 03/2015

Being one of the most prominent figures of the New York avant-garde scene since the early 1980s of the 20th century – John Zorn is almost nonexistent in the Polish musical studies. Moreover, even though his art is densely packed with the dilemmas of the contemporary culture, Zorn’s music seems to be unnoticed neither by the anthropology nor by the cultural studies. Style-wise, due to the theory of the Jonathan Kramer and other notable music theorists, John Zorn’s music should be classified as connected to the postmodern movement. In his early works Zorn explores different musical contexts: the concept of “high” and “low” styles, structural unity, eclecticism, popular culture, etc. But dated from the release of the album, titled Kristallnacht, the next period of Zorn‘s musical activity is deeply involved in search for the Jewish identity in music and therefore rerouted to the new political religious social and traditional context. In short, John Zorn through his music is questioning the fundamental issues of contemporary culture: its identity, existence and tradition.

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Wątki żydowskie w polskim kabarecie na początku XXI wieku

Author(s): Diana Karwowska / Language(s): Polish Issue: 03/2015

The paper deals with the image of Jews in contemporary Polish cabaret. Increasingly, homegrown artists take up the subject of anti-Semitism and intolerance although sometimes they include stereotypical figures, clever Jews. Sometimes you can still find very nostalgic references to the lost past. Generally, this subject does not enjoy the popularity of cabaret performers; their focus on describing the present Polish society rarely takes into account any representatives of other nationalities. The analysis of these representations is supplemented by the reflection on the vitality of prejudices against the Jewish community and the place of their Polish heritage in popular culture.

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Dna jako kod kulturowy

Author(s): Jan Domaradzki / Language(s): Polish Issue: 02/2015

Science has always fascinated artists and many inventions and discoveries have become a source of artistic inspiration. Also, genetics and the deoxyribonucleic acid molecule (€[), represented by the double helix model, inspires visual arts and becomes a leitmotiv for artistic creativity, an object of art and even an artistic technique. Thus, the aim of the present paper is to describe cultural representations of deoxyribonucleic acid in painting, sculpture, architecture, cinema, music and functional art. It expresses the three main forms by which €[ is represented in modern art, such as: an icon, an index and a symbol. Nevertheless, €[ is also used by artists as a unique crafting tool and an artistic technique that can be observed in bioart. Another example of cultural presence of €[ is common speech, where it is one of the most popular metaphors frequently used in marketing, economic consulting, urban planning, sport and advertising. The paper argues that €[ is not only a biological code but a cultural one as well. It is a symbol of modern science and a cultural icon. And it is due to the fact that this ‘molecule of life’ is immensely rich in cultural meanings: it is associated with uniqueness, beauty and casual power. It is the essence of life and the source of immortality. At the same time, €[ enables to propagate new explanations of social ideas on human nature, heredity, destiny, the origins of life, identity, morality and the organization of society.

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ERZURUM YÖRESİNDE İCRA EDİLEN SÖZLÜ ESERLERDE KULLANILAN TÜRK DİN MUSİKİSİ VE GELENEKSEL TÜRK HALK MÜZİĞİ ORTAK MAKAMLARININ İNCELENMESİ

Author(s): Ahmet Mutlu Terzİoğlu / Language(s): Turkish Issue: Special/2016

Erzurum has a quite wide and old culture structure as it has been on the route of Silkroad and has hosted various big civilizations for centuries. This cultural accumulation emerges itself not only in one specific field but also in various fields. Because Erzurum is in a geopolitical location which is open to interaction, it has made great progress in all fields of art and it is a city where religious and nonreligious written, oral and visual art works can be frequently seen. The limitations of this study are Turkish Religious Music and Traditional Turkish Folk Music samples which are performed in Erzurum, and the purpose of this study is to determine the similarities of these modes performed in Erzurum territory, to contribute to the literature with the obtained findings and to prepare the necessary ground for the future generations to continue to perform these modes.

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TELİF HAKLARI KAVRAMI VE HUKUKİ STATÜSÜ ÜZERİNE KISA BİR İNCELEME

Author(s): Şanser Vurgun,Müge Akpinar / Language(s): Turkish Issue: 31/2016

The people who own creations and intellectual products become extremely important issue since the beginning of background and was highly contested. what emerges as the concept of the Copyright law only provide protection in this regard. works set out in particular music and performing arts; accumulation in these areas and the creators are reflected in the works as a combination of sensory predictions and personal characteristics. Therefore, should the legal protection of the works they try to build people up. This concept of copyright in the work, for example, the legal infrastructure in some countries, my general condition of our country and emerging forms of protection of copyright works are discussed.

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OKUL ÇALGILARI I VE OKUL ÇALGILARI II DERSLERİNİN ÖĞRENCİ BEKLENTİLERİ VE BEKLENTİLERİN KARŞILANMA DÜZEYİ AÇISINDAN İNCELENMESİ (ÖMER HALİSDEMİR ÜNİVERSİTESİ ÖRNEĞİ)

Author(s): Aysun Rabia Hamzaoğlu Birer / Language(s): Turkish Issue: 32/2016

The purpose of this research is to determine the students’ expectations from the School Instruments I ve II (Recorder) lessons at Ömer Halisdemir University Faculty of Education Department of Fine Arts Education, Music Department. 38 students who attend this course have been interviewed at their first lesson and their expectations have been recorded. The result of this interview shows that 73,69% of the students’ expectation is “to be best at playing a recorder and teaching it to their future students”. The School Instruments I ve School Instruments II lessons have been studied with the same research students and they have been asked to evaluate the level of their expectations met with five point Likert scale at the last lesson. Results show that 50% of the students’ expectations have been met “totally”, and 44,74% have been met “significantly”.

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BÖLGELERE GÖRE TÜRKÜLERDE KADIN KIYAFETLERİ

Author(s): Serenat Istanbullu,Feyzan Göher Vural / Language(s): Turkish Issue: 23/2014

Folk songs reflect the characteristics of the society which they belong. Turkish Folk Songs (Türkü) include numerous cultural features and historical development which spread over thousands years of Turkish society. There are some investigations on Turkish Folk Songs’ rhythmic and musical structures. But at the same time, Turkish Folk Songs’ lyrics are very important for cultural investigations. This descriptive research which based on literature review, has analyzed that 2000 Turkish Folk Songs which belong Turkey’s seven region. It has been determined that clothes and accessories which belong women and has been compared among seven geographic region.

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ORTA ASYA TÜRK DÜNYASINDA “DAVUL”UN ÖNEMİ ve SİMGESEL ANLAMI

Author(s): Feyzan Göher Vural / Language(s): Turkish Issue: 20/2013

The drum is not only a symbol of existence, independence and sovereignty but also is the main instrument of Turkish military music teams and Shamans. Additionally the drum is the indispensable instrument of entertainments with shawn. It has taken apart in many ceremonies from weddings to funerals. This descriptive study based on literature has been emphasized that mission of drum, the symbolic value of the drum and importance of drum’s military, religious and social aspects in Central Asia Turkish Statements which established before Islam.

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BÜYÜK UYGUR DEVLETİ DÖNEMİNDE “ARP ÇALGISI”

Author(s): Feyzan Göher Vural,Timur Vural / Language(s): Turkish Issue: 17/2013

Great Uighur State was one of the most prominent civilization of scientific and cultural features. Turkish music culture also demonstrated significant improvements in this state age. Numerous instruments emerged and old instruments developed in this state. The harp, which based on Hun State, also developed in Uighur State. However, there is little or no information about the harp’s Turkish origin in national and international literature.The research based on literature review, is provided Uighur Turk’s harps and it is determined that these harps’ features. Based on Uighur miniatures and documents, it is commented that how and where these instruments plays. In addition it has been argued that, Uighur didn’t adopt the harp from Chinese.

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Zachodnia i wschodnia tradycja wykonawcza śpiewu sakralnego: aspekt estetyczny

Author(s): Ievgeniia Lazarevych / Language(s): Polish Issue: 04 (31)/2016

Fundamental differences between Kyiv-Pechersk choral style and Western model of performance of religious chants can be considered in various contexts and at several levels. One should take into account diversity of church rules (canon), mentality, even geographical location and physiological capabilities of voices of the singers coming from a particular area. The performance practice is also connected with such factors as cultural traditions, language, way of life and social issues related to faith. It is therefore understandable that, after a short period of a fragile cultural unity of the Church, different traditions emerged. The author argues that the way of singing is directly dependent on the fundamental philosophical and theological ideas, originating from the Church canon. Then, the differences between chant performance in two main branches of the Christian Church seem to be a consequence of the distinct ways in which the theological doctrine, dogma of the Church, the temporal and spatial principles of worship and art developed in Roman Catholic and Byzantine Orthodox traditions. The two different perceptions of communication with God and its influence on church singing are considered by the author as an exemplary case.

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Dwa Źródła Aretuzy. Semantyka, literackie właściwości i funkcjonowanie aspektów kompozycji Karola Szymanowskiego w sonecie Jarosława Iwaszkiewicza

Author(s): Łukasz Kraj / Language(s): Polish Issue: 04 (31)/2016

The purpose of this article is to define the possible meanings and connotations of musical compositions and their conversion into the lingual substance of poetry. Since the issue is varying internally and always needs particular examples, the undertaken analysis concerns two pieces of art: Fountain of Arethusa by a Polish composer Karol Szymanowski and a sonnet of the same title written by his friend and relative, writer Jarosław Iwaszkiewicz. Firstly, the matter of literary title and its associations is compared in both pieces, which leads to conclusion that while the name of composition generates loose and imprecise connotations, literature requires more specification, nonetheless both the composer and the poet understand mythical subject alike and reception of the work of the latter is based on emotional and semantic qualities similar to those included in the composition. Then, the subject of musical genre is depicted, with emphasis placed on literary connotations and their implications in the process of transcription of music into words. As the poet uses sonnet, which apparently has got poor connections to music, the motives of such choice are enumerated, including significance in European culture and interior dichotomy, both of which one can find in Szymanowski’s work. Further, the article describes relations between music character indications in musical score and particular lexemes in the poem. Musical work can exist in literature in many ways, first of which is being a theme of objective or subjective description. Such illustration of music in the poem is analysed. Then the euphonious and rhythmic features of the text are described in order to prove that music exists in the sonnet in its sound as well as being a scheme which is reinterpreted and imitated by the writer. The analysis shows that although one cannot translate musical matter into words, it is impossible to ignore many intersemiotic correlations between music and literature. Every example of such coexistence – either on the ground of semantics or form – must be studied individually.

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Śmierć i rola trupów w „martwych przestrzeniach”

Author(s): Agnieszka Kłos / Language(s): Polish Issue: 2/2016

The article focuses on the presentation of basic features of the camp world in the memoirs of former prisoners as a space of tangled categories defined as dead and alive. The world of values described by the witnesses illustrates a significant change in the generational awareness: the birth of a new dimension of the narrative. The text stresses the role, meaning and change in distinctive features of the genres related to memoir literature. The traditional typology, based on the universal rules of distinguishing the genres from one another, gives way to a more open formula, striving for “communicational orientating.” In the article, the “consciousness” of the prisoner’s body and its basic strategies are presented. The author provides an overview of gulag stories, revealing the perspective of the body, whose “adventures” in Auschwitz form the central narrative axis of these statements. The camp body transforming into the dead body, returning intermittently to the order of the living, overlays the whole camp space, to finally become its most capacious symbol. In the prisoners’ memoirs, it is a biological organism, a cell within a living organism, and a part of the scenery, both the real one – the horizon, the landscape – and the cultural one, as it builds this place (cemetery). A special role in these narrations is assigned to the corpses, which are proofs of the experienced loneliness, fragments of the camp landscape, reminders of the physical fragility, subjects of jokes, vaudevilles and songs, but also documentaries filmed during the functioning of Auschwitz concentration camp.

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Leone Leoni – zapomniany kompozytor wczesnego baroku

Author(s): Róża Zuzanna Różańska / Language(s): Polish Issue: 01 (32)/2017

The article is a pioneer attempt in Polish literature to develop a syn- thetic resume and the characteristics of the work of the Italian Baroque composer Leone Leoni. Leoni was highly valued in his time; also, he is said to be one of the creators of dramma per musica genre, and his religious compositions served as model examples of counterpoint for many centuries. e rst part of the text presents the state of research concerning the life and work of the artist; then, the second part con- tains his biography. e last part discusses Leoni’s works. Finally, the rank of his output is regarded.

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