Spis treści
Articles
| From the Editors | |
| Danuta Jasińska, Piotr Podlipniak | 13-14 |
| Music as a Medium of Communication. Two Visions of Musicology | |
| Maciej Jabłoński, Piotr Podlipniak | 15-34 |
| Music and Art - Levels of Communication | |
| Ludwik Bielawski | 35-42 |
| Absolute Pitch and Its Significance in the System of Musical Communication | |
| Sylwia Makomaska, Andrzej Rakowski | 43-50 |
| Hearing and Obedience in Traditional Cultures as a Condition for Transcendent Communication | |
| Piotr Dahlig | 51-60 |
| Reception of Music as a Cultural Process | |
| Bogumiła Mika | 61-68 |
| At the Foundations of Musical Metaphor: Models of Nature or Abstractly Presented Symbols | |
| Anna Czekanowska | 69-78 |
| On Analytical Listening in the Context of Metaphoric Imagination | |
| Ewa Schreiber | 79-86 |
| How Music Combines with Words? | |
| Krzysztof Guczalski | 87-96 |
| To Converse in Song with the Infinite | |
| Bożena Muszkalska | 97-104 |
| On Three Paradigms of Emotional Communication in Music | |
| Jarosław Mianowski | 105-118 |
| Communication versus Value. On Two Places of the Interpretation of Music | |
| Anna Koszewska | 119-126 |
| French Requiems from the Years 1877-1963 as Thanatological Communication | |
| Jakub Kasperski | 141-160 |
| Arnold Bôcklin’s ‘Im Spiel der Wellen’ as Interpreted in Music by Composers Ludomir Różycki and Max Reger. A Contribution to the Theory and History of Musical Ekphrasis | |
| Marcin Gmys | 161-170 |
| Claude Debussy. A Grammar of Imagination | |
| Marcin Trzęsiok | 171-184 |
| Mental Representations of Tonal Images in Twentieth-Century Sonoristic Compositions | |
| Justyna Humięcka-Jakubowska | 185-210 |
| Jerzy Grotowski s Idea of an Actor's or Performer’s Inner Action | |
| Adriana Gałdyńska-Mazan | 211-221 |
