Metric Feet as Units Shaping the Course of a Piano Piece

In this paper, I make an attempt to present the analytical possibilities offered by using metric feet as units that shape the course of a (piano) piece. This approach results from cognitive studies that clearly show that the perception of auditory events is based on grouping them into larger units on the basic strong–weak axis. In this approach, the foot is a scheme of one strong sound and one or two weak sounds (in different combinations) that repeats regularly in the course of the work. In this article, I present the most common ways of distinguishing strong sounds: using duration, dynamics, and pitch (features derived analogously from language, distinguishing strong syllables from the speech stream) and characterising the most common feet.

Jan Rakowski (1898–1962): Viola D'amore Spiritus Movens in Poland

The aim of the article is to present the profile of the outstanding Polish musician Jan Rakowski. His artistic activities were related to playing the viola and viola d'amore, which was completely unknown at that time. The author describes the use of viola d'amore in Poland until the end of the 19th century, and outlines its popularity in Western Europe and the United States. In order to reliably present the figure of Jan Rakowski, press excerpts about his achievements concerning playing the viola d’amore are presented. This leads to the assessment of his activity. An important element of the work is a reference to Stefan Bolesław Poradowski’s composition, Concerto for viola d’amore and string orchestra, and drawing attention to the problem with the dating and titling of the work.