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-Literatura-Sztuka . No. 21, pp. 261–274. Chaniecki, Z. (1972). Nieznane kapele polskie z XVII i XVIII wieku [Unknown Polish 17 th - and 18 th -century Music Ensembles], Muzyka . No. 17/4, pp. 84–96. Chodkowski, A. (1964). Klasyczna forma sonatowa w twórczości kameralnej Ludwiga van Beethovena [ The Classical Sonata Form in the Chamber Music Output of Ludwig van Beethoven ], Ph.D. dissertation supervisor: Z. Lissa. Warsaw: Institute of Musicology / University of Warsaw. Chodkowski, A. (1973). Repertuar muzyczny teatru saskiego w Warszawie [The Music Repertoire of the Saxon Theatre

Abstract

The article discusses the activities of selected women-composers who worked in Poland in the 19th century. They have been presented in a broad social-political context. Specific historical conditions have been taken into account, which have contributed to the perception of women’s creativity as a mission. The model of women’s activity discussed in the categories of social and political mission influenced the shape and forms of Polish women’s creativity in the first half of the century. In the second half of the century, women’s access to education increased and finally a milieu of professional women-composers emerged. Among them, we should distinguish the group of women born into musical families, due to the fact that some among them took up the profession of composer.

Abstract

As the managing and artistic director of Warsaw Philharmonic in 1955-58, Bohdan Wodiczko introduced an innovative programming policy which re-oriented the Philharmonic’s repertoire toward 20th-century classics and focused on the links between new music and that of other historical periods. The aim was to create a vast sonosphere of a “musical inter-age” (S. Kisielewski after M. Wańkowicz) encompassing radically different styles and genres and significantly transforming the axiology of the musical art. Wodiczko’s novel programming, though largely concentrating on the already waning neo-Classicism, laid the foundations for the phenomenon of the Warsaw Autumn and was a harbinger of the political-cultural thaw that would come after October 1956. This paper examines Wodiczko’s programming revolution in its political context, as well as the critical reception of Warsaw Philharmonic concerts, with particular emphasis on the aesthetic disputes arising around those composers whose works provoked the greatest controversies: Igor Stravinsky and Carl Orff.

Abstract

The paper presents in a synthetic way the phenomena characteristic of Marta Ptaszyńska’s music, and the key qualities of her output. I focus on those topics that have not been sufficiently explored in existing studies, and those that call for a polemical discussion. These include the ideas that underlie Ptaszyńska’s music, the inspirations of her creative process, problems of composition technique, sound language, her style and aesthetic, with particular reference to her supposed links to sonorism. Finally I present an attempt to define the place and significance of Marta Ptaszyńska’s oeuvre in 20th- and 21st-century music.

, în: Flo Menezes, Théories de la composition musicale au XXe siècle (pp.1095-1120) vol. 2, sous la direction de Nicolas Donin et Laurent Feneyrou. Lyon: Symétrie 7. Metzer, D. (2003). Quotation and Cultural Meaning in: Twentieth-Century Music Cambridge: Cambridge University Press Morris, M. (1996). A Guide to Twentieth Century Composers , Hardcover: Methuen Publishing Ltd 8. Nicolodi, F.(1990) Pensiero e giuoco nel teatro di Luciano Berio, in: Fiamma Nicolodi, Orizzonti musicali italo-europei 1860–1980 (pp.299-316). Rome: Bulzoni 9. Placanica, F. (2014

the research project coordinated by the University of Warsaw and financed by the Minister of Science and Higher Education. The main aim of this project is the documentation of the Jesuit music repertory produced and disseminated in the territory of the Polish-Lithuanian Commonwealth. Szymon Paczkowski in his Research on 18th-Century Music in Poland. An Introduction presents studies on 18th-century music that has been one of the key areas of interest for musicologists ever since the beginnings of musicological studies in Poland. In the last three decades

References 1. Arias Enrique Alberto (1999), Reflections from a Cracked Mirror, 137 in Arias Enrique Alberto, Filler Susan M., Porter William V. (1999), A Compendium of American Musicology. Essays in Honor of John F. Ohl, Northwestern University Press, Evanston. 2. Arias Enrique Alberto, Filler Susan M., Porter William V. (1999), A Compendium of American Musicology. Essays in Honor of John F. Ohl, Northwestern University Press, Evanston. 3. Baird Julianne (1997), “Solo Singing 2,” in A Performer’s Guide to Seventeenth-Century Music, ed. Stewart, Carter, Schirmer

. Raszewski, Z. (1991). Teatr w świecie widowisk: Dziewięćdziesiqt jeden listów o naturze teatru /Theatre in the World of Stage Performances: Ninety-One Letters About the Nature of Theatre/. Warszawa: PWN. Schaffer, B. (1975). Mały informator muzyki XX wieku /A Small Companion to the 20th Century Music/. Kraków: PWM. Schaffer, B. (1979). Historia muzyki: style i twórcy /The History of Music: Styles and Composers/. Poznań: Młodzieżowy Ruch Miłośników Muzyki Pro Sinfonika. Schaffer, B. (1985). Dzieje muzyki /The History of Music/. Warszawa: WSiP. Suits, B. (1995a). The

General Government. In: P. Fairclough (Ed.), Twentieth-Century Music and Politics (pp. 191–210). Farnham: Ashgate. Naliwajek-Mazurek, K. (2014). Nazi Censorship in Music. Warsaw 1941. In: E. Levi (Ed.), The Impact of Nazism on Twentieth Century Music (pp. 151–173). Wien: Böhlau Verlag. Naliwajek-Mazurek, K. (2014). Dom otwarty: muzyczne wątki w kontaktach artystycznych Kazimiery i Nikodema Pajzderskich [An Open House: Musical Motives in Kazimiera and Nikodem Pajzderski’s Artistic Contacts]. In: E. Siejkowska-Askutja (Ed.), Nikodem Pajzderski 15 IX 1882 – 6 I 1940

]. Retrieved from http://www.restoraturk.com/index.php/musiki/440-mehter-marsi-mehterin-tarihi Meyer, E. R. (1974). Turquerie and Eighteenth-Century Music. In Eighteenth-Century Studies , Vol. 7 , No. 4 , 474-488. Maryland: The Jonhs Hopkins University Press. *** Musique classique turque. Formes [Turkish classical music. Types]. Retrieved from http://www.turkishmusicportal.org/fr/types-de-la-musique-turque/musiqueclassique-turque-formes Nicolle, D., Hook, C. (1995). The Janissaries. London: Osprey Publishing. OʼConnell, J. M. (2017). Commemorating Gallipoli