Publication date: 01.12.2017
Licence:
CC BY-NC-ND
Editorial team
Editor-in-Chief Sławomir Torbus
The Jagiellonian University Young Musicologists Quarterly, Numer 32 (1/2017), 2017, pp. 5 - 27
https://doi.org/10.4467/23537094KMMUJ.17.001.7830The Jagiellonian University Young Musicologists Quarterly, Numer 32 (1/2017), 2017, pp. 29 - 56
https://doi.org/10.4467/23537094KMMUJ.17.002.7831The Jagiellonian University Young Musicologists Quarterly, Numer 32 (1/2017), 2017, pp. 57 - 75
https://doi.org/10.4467/23537094KMMUJ.17.003.7832The Jagiellonian University Young Musicologists Quarterly, Numer 32 (1/2017), 2017, pp. 77 - 88
https://doi.org/10.4467/23537094KMMUJ.17.004.7833The Jagiellonian University Young Musicologists Quarterly, Numer 32 (1/2017), 2017, pp. 89 - 107
https://doi.org/10.4467/23537094KMMUJ.17.005.7834The Jagiellonian University Young Musicologists Quarterly, Numer 32 (1/2017), 2017, pp. 109 - 123
https://doi.org/10.4467/23537094KMMUJ.17.006.7835The Jagiellonian University Young Musicologists Quarterly, Numer 32 (1/2017), 2017, pp. 125 - 173
https://doi.org/10.4467/23537094KMMUJ.17.007.7836Słowa kluczowe: Jane Wilhelmina Stirling, Fryderyk Chopin, Romantic music, Chopin’s legacy, ars nova, mass, Nicolaus de Radom, Johannes Ciconia, Antonio Zacara de Teramo, Leone Leoni, small-scale concerto, madrigal, early Baroque, Zbigniew Turski, II Sinfonia Olimpica, socialist realism, polystylism, intertextuality, John Corigliano, Circus Maximus, contemporary American music, Julio Estrada, discontinuum-continuum, macro-timbre, contemporary Mexican music, KL Auschwitz-Birkenau, musical sources, Holocaust Music, Music and Politics, Auschwitz-Birkenau State Museum