-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 -centuryMusic 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
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.
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.
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-CenturyMusic 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
Szymon Paczkowski in his Research on 18th-CenturyMusic in Poland. An Introduction presents studies
on 18th-centurymusic 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
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