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The paper examines the role of art (creativity) in the development of the sense of lifeof inmates. The goal of this study is to show the relationship between creative activity ofprisoners and their understanding of the meaning of life. The study was conducted on theset of natural groups: from the group of 41 men, 19 qualified for the experimental group(active creatively) and 22 qualified for the control group (uncreative activity). The twogroups did not differ in terms of age, marital status, length of sentence, education, criminalrecord, or a sense of loneliness. The results show that men undergoing imprisonment andexhibiting interest in some form of active participation in the arts were characterized bya higher level of search for the meaning of life in comparison with the prisoners having nocreative activity. The results are consistent with the other studies carried out among thesocially disadvantaged.
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This article represent textual part of the book of Franz Babinger "Sheikh Bedreddin, the son of the judge from Simav" (translation by the editor).
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Review: Maciej Jabłoński, Przeciw muzykologii niewrażliwej [Against Insensitive Musicology], Wydawnictwo Nauka i Innowacje, Poznań 2014.
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In Gnawa music, the three-stringed lute called guembri plays a central role. According to Sum (2012, p. 52), “the guembri attracts the mluk (supernatural entities summoned in gnawa ceremonies) by sounding their musical identities, effectively sounding their names (...), (as well as) calling on the adept (...). Upon arrival of the spirit, the guembri, as the adept, becomes possessed.” The guembri is equipped with a detachable idiophone consisting of metal loops or rings fixed around the edges of a metal sheet, inserted into the neck. This device, called the sersera, is mostly audible during solo moments. It has been often noticed, or briefly described (Baldassarre 1999), but never analyzed in detail. However, it seems important for us to include the sersera in the analysis of the status, meaning and roles of the guembri timbre. Taking it into consideration will provide a new approach leading to better understanding of many facets of the instrument, including its cultural value. The sersera was used before and it is still made and carried by musicians, but nowadays it is barely employed either in Morocco or in Belgium. Through confrontation of the acoustical analysis and the information found in literature with the musicians’ experience, this paper tries to find the reasons of this obsolescence.
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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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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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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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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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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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