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Musicology Today
The Journal of University of Warsaw
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“It is my world, to which you are invited…”. Composers’ self-reflection in the programme books of the Warsaw Autumn (1999–2016)

). Intuicja czy scjentyzm: Stockhausen – Ligeti – Nono – Berio – Xenakis – Grisey . [ Intuition or scientism : Stockhausen – Ligeti – Nono – Berio – Xenakis – Grisey ] Poznań: Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk. Mendyk, M., Topolski, J. (2006). Wywiad z Tadeuszem Wieleckim. Glissando No. 8, pp. 118-121. Pace, I. (2009). Verbal Discourse as Aesthetic Arbitrator in Contemporary Music. In: Björn Heile (ed.), The Modernist Legacy: Essays on New Music (pp. 81-99). Farnham: Ashgate. Palombini, C. (1998). Technology and Pierre Schaeffer

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Witold Szalonek Seen Through His Own Views

-226). Vol. 10, Kraków: PWM Edition. Moll, L.M (2007). Entry: Witold Szalonek. In: L. Finscher (ed.), Die Musik in Geschichte und Gegenwart, Vol. 16 (pp. 376-378). Kassel-Stuttgart: Bärenreiter-Verlags-J.-B.-Metzler-Verlags. Niemojewski, L. (1948). Siedem cudów świata: w cieniu wielkości, sztuka i technika, banalność doskonała, wieczność i chwila, względność wielkości, trochę teorii [Seven Wonders of the World: In the Shadow of Greatness, Art And Technology, Perfect Banality, Eternity And The Moment, Relativity of Greatness, Some Theory

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Music in Nazi-Occupied Poland between 1939 and 1945

Kompozytorów Polskich. Birdsall, C. (2012). Nazi Soundscapes. Sound, Technology and Urban Space in Germany, 1933–1945 . Amsterdam: Amsterdam University Press. Błaszczyk, L.T. (2014) Żydzi w kulturze muzycznej ziem polskich w XIX i XX wieku . [ Jews in the Music Culture of Polish territories in the 19 th -20 th Centuries ]. Warsaw: Stowarzyszenie Żydowski Instytut Historyczny w Polsce. Brauer, J. (2009). Musik im Konzentrationslager Sachsenhausen . Berlin: Schriftenreihe der Stiftung Brandenburgische Gedenkstätten, Vol. 25. Czocher, A. (2005

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Praktyczne i teoretyczne wymiary muzycznego technokratyzmu Glenna Goulda / Practical and Theoretical Dimensions of Glenn Gould’s Music Technocratism

Summary

Although Glenn Gould remains known to a large number of music lovers mainly as an eccentric performer, as frequently worshipped with idolatrous admiration as denied any talent and reason for his uncommon, original interpretations, the academic circles also see him as a brilliant thinker who left behind impressive albeit kaleidoscopic achievements. One of the most controversial issues over which discussions on Gould are still going on among the academics even today is his music technocratism. Throughout almost all his life Gould manifested his apologetic attitude to the recording technology: on the one hand, he tried bold experiments with recorded music, while on the other, he promoted radical if not iconoclastic ideas concerning the all-round and beneficial influence of the recording medium on musical culture.

In the part Praktyka [Practice] the author discusses the techniques which Gould developed in the recording studio: techniques of musical montage, sound correction, or “acoustic choreography”; he also refers to Gould’s experiments with the quadraphonic sound system, work on “counterpoint radio documentaries”, his endeavors in film, or attempts to enrich music with visual elements. In the part Teoria [Theory], the author presents Gould’s technocratic ideas closely corresponding to his accomplishments in the studio. He shows what Gould valued most highly in the recording medium, how he diagnosed the effect of recorded music on performers, composers, and the audience; he also examines where Gould saw the moral dimension of technology, and what role he ascribed to technology in music education.

Finding exceptional correspondence between practices used by Gould in the recording studio and their extensive theoretical basis, the author perceives Gould as a great musical visionary-futurist, who outlined a prophetic vision of re-creation of the musical world.

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Drzwi Do Nowej Percepcji – Londyński Festiwal Kinetica Art Fair 2013 / Doors To A New Perception – The London Festival Kinetica Art Fair 2013

Abstract

From 28 February to 3 March 2013 the festival of contemporary kinetic art Kinetica Art Fair 2013 was held in London. It was its fifth edition, the motto being Doors of Perception: The Thin Veil. It was attended by representatives of the United Kingdom, Brazil, Russia, Poland, USA, France, the Netherlands, Belgium, Spain, Germany, Turkey, Indonesia, and Israel. Those invited to take part were artists and computer scientists exploring transdisciplinary areas verging on kinetic and electronic art, design, visual illusion, cybernetics, cyberneurology, construction of virtual machinery, and archeology of the media. Many attendees to the festival presented works and ideas which - while participating in the development of present-day culture, science and technology - are far ahead of the surrounding everyday realities and carry ambitions to participate in global civilization transformations associated with present-day revolutionary processes. Most of the exhibited works at the Kinetica Art Fair 2013, although characterized by aspirations to create solutions geared towards the future, are strongly anchored in the tradition of the visual media. The Kinetica Art Fair plays a significant part in creating a new type of sensitivity characteristic of the new generation of artists and audiences. This is sensitivity susceptible to electric vibrations, subliminal stimuli, and states close to entoptic visions combining illusion with reality, stimulating our perception mechanism to go beyond its limitations, and opening the doors to a new perception.

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Interakcja W Sztuce / Interaction In Art

Abstract

Technological progress in the last three decades has considerably changed the creative process in many fields of art. Computer technologies of the 1980s became available to large numbers of users owing to the appearance of personal computers on the market. These computers enabled artists to manipulate the sound and picture to a far greater extent. Through interaction they also made it possible for the spectator to interfere in a work of art, thereby introducing a multitude of interpretations and direct influence on works of art. The idea of the spectator’s participation in jointly creating a work of art was utilized long before a personal computer was constructed. Such artists as Marcel Duchamp, John Cage, Allan Kaprow, or Nam June Paik, to name only a few, were pioneers of interaction and the audience’s involvement in the creative process. The article discusses the term “interaction in art” and, which is the main subject of discourse, selected theoretical and practical aspects of the concepts utilizing the interaction phenomenon that are represented by Roy Ascott, Ryszard Kluszczyński, Ron Burnett, Filipp Tommas Marinetti, Marcel Duchamp, John Cage, Allan Kaprow, and Nam Jun Paik.

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The Pedagogy of Representatives of the Ukrainian Piano School: Intergenerational Dialogue

Pedagogika przedstawicieli ukraińskiej szkoły pianistycznej: dialog międzypokoleniowy

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A Map as A Work of Art and Iconographic Source

Mapa jako dzieło sztuki i źródło ikonograficzne

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University Training Centers for Visual Arts Education Teachers in 1945-1989

Uniwersyteckie ośrodki kształcenia nauczycieli wychowania plastycznego w latach 1945-1989

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