In this paper, the author attempts to reconstruct the aesthetic views of Paweł Mykietyn, a leading Polish composer of the middle generation. Since Mykietyn has never presented his views comprehensively, the author reconstructs his opinions on the basis of published interviews with the composer, focusing on his ideas regarding musical and nonmusical inspirations, the significance of mathematical procedures in the compositional process, traditional musical forms, the role of quotations and self-quotations, experimentation with microtones and musical time, as well as the concept of music as autobiography.
. Recorded on a CD attached to: Warszawska Jesień w tekstach Andrzeja Chłopeckiego , Warsaw 2013
Lech Dzierżanowski: Jak to się zaczęło? Ruch Muzyczny Nos. 18/19, 16 th September 2007
Ludwik Erhardt: Z notatnika recenzenta koncertowego, Express Wieczorny, 20 th October 1956
Małgorzata Gąsiorowska: Rozmowy z Włodzimierzem Kotońskim , Warsaw Autumn 2010
Maciej Gołąb: Musical Modernism in the Twentieth Century: Between Continuation, Innovation and Change of Phonosystem , Wrocław 2011
Nicolaus Harnoncourt: Musik als Klangrede (English
Gliński, M. (Ed.), (1932). Szopen: monografia zbiorowa . Warszawa: Drukarnia Współczesna.
Golianek, R. D. (2010). Włoch? Francuz? Anglik? Polak? Społeczne, polityczne i narodowe konteksty działalności artystycznejJózefa Poniatowskiego (1816–1873). Polski Rocznik Muzykologiczny , Vol. 8, pp. 79–90.
Golianek, R. D. & Urbański, P. (Eds.), (2010). Händel, Haydn i idea uniwersalizmu muzyki . Poznań: Rhytmos.
Hebert, D. & Rykowski, M. (Eds.), (2018). Music Glocalization: Heritage and Innovation in a Digital Age , Newcastle upon Tyne: Cambridge Scholars
The numerous plastic approaches of form in the 20th century are characterized by creativity and innovation. Form, as expression of an artistic language, is the cause and effect for the cultural evolution of a particular spatial-temporal area. The invention of forms depending on the factors which will impose them in a particular socio-cultural context and location environment is not everything. The challenges of the act of creation are far more complex. For the art of the 20th century, the role of the type of expression in visual or gestural language proved much more convincing and meaningful as to the data or phenomena occurring in immediate reality. The personality of the artist, his cultural character, his media coverage and exterior influences of his inner world, his preceding experiences and receiver’s contacts in a specific area are the factors that influence the relation between the work of art and the audience against a particular spatial-temporal background. The psychological and sensory processes in works of plastic art are spatially configured in structures, which leads to self-confession. The artist filters the information and the elements of exterior reality through the vision of his imagination and power of expression specific to his inner self, and turns them into values through the involvement of his state of mind. Constantin Brâncuşi is the sculptor whose role was considered exponential as he revolutionized modern artistic vision by integrating and creating space-form relations through symbol. Throughout his complex work - the Group of Monumental Sculptures of Tg. Jiu, the artist renewed the language of the sculpture-specific means of expression, though archaic forms, by restoring traditional art. Archetypes often make reference to the initial and ideal form and they represent the primitive and native models composing it. Form attracts, polarizes and integrates the energy of the matter outside the human body, and art acquires a unifying function for the senses of our spirit. We identify the forms developed by the junction between fantastic forms, the figments of the imagination of artists who communicate deep human meanings. They invite us in a world of constructive forms and mysteries, truly innovative and elaborate creations, by underlying different directions in the compositional space with symbolic value.
Zygmunt M. Szweykowski (born in 1929 in Kraków), an eminent scholar and doyen of Polish musicology, shares his memories of his postwar studies and first years of university work in Poznan and a long period of teaching and scholarly activity at the Jagiel lonian University in Kraków. He remembers the personages of older musicologists (e.g. Tadeusz Strumiłło), and his masters (inter alia Adolf Chybiński), presents the picture of numerous determinants during the People’s Poland period and during the subsequent political- system transformations, describes the development of the Jagiellonian University’s Institute of Musicology over several decades, discusses in detail the teaching innovations he has introduced, and finally recalls various episodes of university life, occasionally embellished with anecdotes. Professor Z. M. Szweykowski’s autobiographical story is an interesting contribution to the history of Polish musicology in the second half of the twentieth century.
In the 21st century, music culture has become one of the basic fields of the functionality of digital media, while the latter have become its important element. By thoroughly transforming music culture in technical and psychosocial, or in quantitative and qualitative terms, at the levels of music production, distribution, and consumption, the digital media have at the same time re-shaped the relations between this culture and its recipients, and established news patterns of participation in it.
Seeking to answer the questions about the character of participation in music culture in the age of the digital media, the author examines, first, the impact of these media on participation in culture and on music culture itself. Second, in order to obtain as full a picture as possible of participation in music culture in the digital media age, he refers to the empirical data collected, analyzed and presented in two research reports devoted to participation in culture (including music culture) in the digital media age.
The conducted analyses show a fairly complex picture of participation in music culture because, shaped by technological innovations and affordances, the new type of activity of participants in music culture is not uniform. However, the author notices two distinct tendencies in it: a tendency to prefer old, institutionalized forms of participation albeit with the use of the digital media; and a tendency to favor new, de-institutionalized forms developed in the digital environment. They allow the researcher to outline a fundamental dichotomy (because it essentially reflects deeper cultural-technological discrepancies) between participation in music culture and the music culture of participation. The author culminates his discussion with the conclusion, in which he briefly considers the potential consequences of the emergence of digitally mediated participation in music culture.
After December 1989 in visual art from Iasi were produced numerous changes which have contributed to a new approach of the artistic phenomenon. That was the moment when a new generation of artists appeared and who, unshackle by the rigors of the communist regime, they have created artworks by experimenting the most varied ways of visual expression. An important aspect of this transition period is the place which visual art has it in the culture from Iasi and the aesthetic trends learned by the new generation alongside older artistic directions define the value of the contemporary cultural heritage from Iasi. Also, an important role in the presentation of the visual art from Iasi is the artistic education, which it‟s in a constant development with the advent of new specializations within the Faculty of Visual Arts and Design, highlighting the artistic and scientific potential of the professors and the students of „George Enescu“ Național University of Arts from Iasi.
In the diverse space of contemporary music, the fascinating and controversial personality of the Welsh composer Karl Jenkins, which is surprising from several perspectives, stands out. Open to assimilating and processing music from various sources (academic, liturgical, folk, entertainment, oriental, exotic), the all-round musician Karl Jenkins impresses the public with unexpected artistic choices, giving up the hypostasis of instrumentalist of the jazz-rock band Nucleus and of the group Softmachine in favour of the postmodern creator he has become today, synthetizing trends from musical compositions of the last decades of the 20th century. Once with the return to the functional system, either through minimalism or through neo-romanticism, the artist has successfully covered a potential sonority path of modern opposites, also evoking references to creative models of the past. We are referring to the musical valorizing of the sacred in a synthetic vision between tradition and innovation, in the works included in the Adiemus cycle, in the opus choir Missa for Peace and, more particularly, in the Requiem (2005), a significant score in the contemporaneity. The manner in which the composer, while resorting to a musical genre originating from the Roman Catholic cult and drawing on the liturgical text of the Mass for the dead, inserted Japanese poetry, written following the structure of haiku, belonging to representative authors - Gozan Koshigaya, Issho Kosughi, Hokusai Katsushika, Kaga-no-Chiyo, is highly surprising. This study aims to highlight the interweaving imagined by Karl Jenkins between the two cultures as well as to conduct a semantic analysis of an opus in which the relationships between music and words entail a highly emotional response.