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clasice în media românească de după 1989 [Musicology and journalism. The presence of classical music in the Romanian media after 1989]. Iași: Artes.

[Some Remarks on the Relation Between Jazz and Big-Beat in Poland]. In: R. Ciesielski (Ed.), Jazz w kulturze polskiej [ Jazz in Polish Culture ] vol. 2 (pp. 163–172). Zielona Góra: University of Zielona Góra Publications. Gradowski, M. (2016). Muzyka w mockumentach muzycznych [Music in Musical Mockumentaries]. In: M. Jabłoński, M. Gamrat (Eds.), Nowa muzykologia [ The New Musicology ] (pp. 147–170). Poznań: Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk. Gradowski, M., Konert-Panek, M. (2012). O Queen II na dwa głosy. Słowno-muzyczne wokalizacje grupy Queen

[Polish] Musicology Today Sławomira ŻerańSka-kominek University of Warsaw Email: s.kominek@uw.edu.pl This publication has been co-financed from the funds of the Vice-Chancellor of the University of Warsaw. This publication has been co-financed from the funds of the Ministry of Science and Higher Education. [Polish] Musicology Today 2 This year’s issue of “Musicology Today” is dedicated to the most important musicological research projects launched, continued or completed in the last five years. Naturally, the projects discussed in this volume do not

Polyphonic Music in Fragments: PAWEŁ GANCARCZYK Polish Academy of Sciences Institute of Art A New Perspective for Polish Musicology? Musicology Today • Vol. 10 • 2013 DOI: 10.2478/muso-2014-0002 Polyphonic Music in Fragments: A New Perspective for Polish Musicology? 13 Seventy five sources of polyphonic music written prior to c.1500 are preserved in Polish libraries1. This sounds like an impressive number, bearing in mind the enormous losses suffered by Poland throughout its history. It should also be remembered that composing polyphony required

bleue. Mélanges offerts au Professeur Jean-Jacques Eigeldinger (pp. 35–44). Berne-Berlin-Bruxelles-Frankfurt am Main-New York, Oxford-Wien: Peter Lang (extended version of the paper of 2003). Helman, Z., Wróblewska-Straus, H. (2007). The Date of Chopin’s Arrival in Paris, Musicology Today . Vol. 4, pp. 95–103. Helman, Z., Wróblewska-Straus, H. (2010). Briefe Chopins im Historischen Archiv der Stadt Köln. In: E. Szczurko, T. Guz (Eds.), Fryderyk Chopin – Sein und Werk / Being and Work (pp. 113–132). Berne-Berlin-Bruxelles-Frankfurt am Main-New York, Oxford

Analysis , 1 (2), 169-187. Beard, D. and Gloag, K. (2005). “Authenticity”. In Musicology: The Key Concepts (pp. 17-20). London and New York: Routledge. Benjamin, W. (2002). “The Work of Art in the Age of Mechanical Reproduction”. In Illuminations [ Illuminationen © Suhrkamp Verlag, Frankfurt am Main, 1955] (pp. 217-251). Translated by Harry Zohn, edited and with an Introduction by Hannah Arendt, Preface by Leon Wieseltier. New York: Schocken Books. Bentoiu, P. (1973). Imagine și sens: Eseu asupra fenomenului muzical [Image and Meaning: An Essay About the Musical

Musicology Today
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Abstract

The journal Biserica Ortodoxă Română [The Romanian Orthodox Church] was founded on November 17, 1873, at the initiative of Romania’s Primate Metropolitan Nifon Rusailă (1789-1875). The aim of the publication – whose first issue was launched on October 1, 1874 – was to inform the clergy and believers about the activity of the Holy Synod of the Romanian Orthodox Church. In the 146 years since the publication of its first issue, the journal’s contributors have included outstanding personalities of the Romanian Orthodoxy, such as Priest-Professors Dumitru Stăniloae, Ioan G. Coman, Ene Branişte, Liviu Stan, Mircea Păcurariu, Ion Bria a.o. Church music was present in the journal’s pages both through articles, studies and reviews, and through scores of choral or psaltic works written by Church servants among whom Bishop Melchisedec Ștefănescu of Roman at the end of the 19th century, or Deacon Grigore Panțiru, Professor Nicolae Lungu, Priest-Professor Gheorghe Șoima, Archd. Sebastian Barbu-Bucur, Ph.D., Priest-Professors Constantin Drăgușin, Nicu Moldoveanu, Alexie Buzera a.o. in the 20th century. This paper summarizes these contributions and shows how the change of political regime in mid-20th-century Romania influenced the topics of the articles and the religious musical works published in the journal of the Romanian Patriarchate.

Abstract

The article is an attempt to present important categories of composer Paweł Szymański’s musical language, based on his self-analytical statements, which were in major part answers to musicologists’ questions. Luciano Berio pointed out why the situation of a composer who would like to address questions about his or her music is difficult - a lack of necessary detachment would be one of the reasons. A musicologist, on the other hand, is tempted to construct their own supposedly objective analytical view of a composer’s musical language. The dialogistic approach proposed by anthropological musicology may be a solution to these dilemmas. Other main topics mentioned in the article are related to the role of meta-concepts in Szymański’s musical language.

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Editorial SŁAWOMIRA ŻERAŃSKA-KOMINEK University of Warsaw Email: s.kominek@uw.edu.pl The Polish Composers’ Union 70th Anniversary events are co-organised by the Institute of Music and Dance and co-financed by the Ministry of Culture and National Heritage Editorial 2 The texts collected in this issue of “Musicology Today” are the outcome of a conference entitled The Musical Languages of Contemporary Polish Composers: Self- Reflections, organised on 25th–26th September 2015 in Warsaw by the Polish Composers’ Union (ZKP), The Polish Society for Musical