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Numer 46 (3/2020)

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2020 Następne

Data publikacji: 30.10.2020

Opis

Publikacja finansowana przez Radę Kół Naukowych UJ.

Licencja: CC BY-NC-ND ikona licencji

Redakcja

Redaktor naczelny Sławomir Torbus

Sekretarz redakcji Bernadeta Klepacz

Zawartość numeru

Marta Urbanowicz

Kwartalnik Młodych Muzykologów UJ, Numer 46 (3/2020), 2020, s. 5 - 21

https://doi.org/10.4467/23537094KMMUJ.20.009.12851
A Collage-Like Work of Music: Aspects of Variation in Maria Szymanowska’s Nocturne in B-flat Major
 
The article aims to examine the way in which selected variation techniques are used in Maria Szymanowska’s Nocturne in B-flat Major, with the focus on both conventional thematic modifications and collage-like transformation of shorter motifs. By comparing the work to selected pieces by John Field and placing it within appropriate historical contexts, the author seeks to illustrate how such an approach to variation not only enriches the conventional form of the nocturne as a genre, but also highlights the possibility of programmatic intent being present.
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Klaudia Popielska

Kwartalnik Młodych Muzykologów UJ, Numer 46 (3/2020), 2020, s. 23 - 39

https://doi.org/10.4467/23537094KMMUJ.20.010.12852

The Artistic Profile of Aleksander Zarzycki: A Forgotten Composer of the Romantic Era 

The second half of the 19th century in the history of Polish music is a neglected period, both in the aspect of performance and the aspect of research on this music. Unfortunately, works of many composers from this period have been forgotten. One of such composers is undoubtedly Aleksander Zarzycki (1834–1895), a composer, teacher, virtuoso pianist; the author of over 40 opuses and the composer of many solo songs with piano accompaniment, which were often compared to the songs of Stanisław Moniuszko. Similarly to the most famous Polish composer of songs, Zarzycki created two songbooks that are part of the trend of egalitarian songs. He was also renowned for his short piano pieces, written in a salon style with virtuoso elements. One of his most famous works was the Mazurka in G major, which was popularised by the Spanish virtuoso violinist Pablo Sarasate. Also noteworthy is his Piano Concerto in A flat major Op. 17, referring to the Piano Concerto in A minor by Fryderyk Chopin and the Concerto in G minor by Józef Wieniawski. Zarzycki’s works are characteristic of his era, including references to folklore, national style, virtuosity and the socalled "Romantic mood".
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Agnieszka Nowok-Zych

Kwartalnik Młodych Muzykologów UJ, Numer 46 (3/2020), 2020, s. 41 - 53

https://doi.org/10.4467/23537094KMMUJ.20.011.12853

Mieczysław Wajnberg and the Category of Borderland

Polish musicologist and author Danuta Gwizdalanka, titled her publication Mieczysław Wajnberg: Composer from Three Worlds (Poznań, 2013). Wajnberg (1919–1996) was a Polish composer with Jewish roots who spent most of his life in USSR. Without any doubt, Wajnberg can be named “the composer from the borderland” due to his “hybrid identity”, which was one of the most important reasons preventing appreciation of Wajnberg’s creative activity both during life and after death. The main ideas of the paper are focused on the “category of borderland” and its representation in Wajnberg’s biography and output. According to the typology proposed by Krzysztof Zajas, Wajnberg’s live and works can be considered in the frame of following types of borderland: interdisciplinary, spatial, psychological, existential, sociological and mythological. Through the prism of “borderland’s category”, Wajnberg’s creative activity shows itself as a very individual and invaluable testimony of his times (far away from eclectic and epigonic in relation to music of Dmitri Shostakovich), unique on the scale of world music literature.
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Katarzyna Lidia Babulewicz

Kwartalnik Młodych Muzykologów UJ, Numer 46 (3/2020), 2020, s. 55 - 70

https://doi.org/10.4467/23537094KMMUJ.20.012.12854
Musical Representations of the Past in Animations for Children Produced in Central and Eastern Europe in Times of Communism
 
The subject of the article is the composition strategies of presenting the bygone time in animated films produced in the integrated cultural space that was, during the communist era, Central and Eastern Europe. Productions made in two countries – in the Soviet Union and in Poland – are considered. The discussion of film examples is conducted in an approximate chronological order, according to the time of production of individual pictures. The presentation of specific productions is not intended to exhaustively analyse these audiovisual works, but to review thematic threads related to the past and in their context compositional ideas and tendencies.
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Agata Krajewska

Kwartalnik Młodych Muzykologów UJ, Numer 46 (3/2020), 2020, s. 71 - 89

https://doi.org/10.4467/23537094KMMUJ.20.013.12855

Digitisation of Folk Archives: A Crisis of Tradition or the New Life on the Internet? An Example of Adolf Dygacz’s Collection

The process of digitising archives, widespread in the previous decade, has not omitted musical resources, and offers their users new functionalities. These measures can improve researchers’ work, as digital material is easy to localise and access. However, a question still remains of the subject of oral history, which acts like audiovisual documents, of its value and durability, the present results and the consequences of the common access to the materials. It is also a question of the effectiveness of multidimensional grassroot initiatives, such as creating common virtual collections of materials. What possibilities have we got for the folklore musical archives currently being discovered? Will their digitisation make them suddenly valuable in the society? In this text, the author attempts to diagnose the problem of digitisation of musical archives as exemplified by the ethnomusicological collection of Adolf Dygacz. The author highlights the importance of local history that is typical for human studies, which has always been part of folklore studies, but has not been considered in the light of memory studies until recently.
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Weronika Sucharska

Kwartalnik Młodych Muzykologów UJ, Numer 46 (3/2020), 2020, s. 91 - 113

https://doi.org/10.4467/23537094KMMUJ.20.014.12856

Henryk Mikołaj Gorecki's Chamber Works in the Context of the Changes of the Composer's Style: Selected Examples

The aim of this paper is to study stylistic changes in Henryk Mikołaj Górecki’s works based on four predefined instances of chamber music: Quartettino, Op. 5, Concerto for Five Instruments and String Quartet, Op. 11, Muzyczka IV, Op. 28 and Aria scena operowa, Op. 59. The use of structural, auditory and style-critics analyses has made is possible to follow the variety of the composition techniques present in chamber compositions. Additionally, it has allowed to exhibit idiomatic features of Górecki’s style and enabled to study the way in which Górecki used chamber music.
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Iga Batog

Kwartalnik Młodych Muzykologów UJ, Numer 46 (3/2020), 2020, s. 115 - 133

https://doi.org/10.4467/23537094KMMUJ.20.015.12857
Black Box Music by Simon Steen-Andersen: a Visual Layer as a Sound-Determining Factor. An Exploration of Possibilities for Development
 
The article attempts to summarise the work of Simon Steen-Andersen in order to date and describe his work titled Black Box Music in the context of fusing visual and musical experiences. It has been examined how modern technology influences the composer’s creative process. His achievements and understanding of audiovisuality and musical object with the assumptions of Pierre Schaeffer’s concept of acusmatic listening have also been compared.
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