Baranowski, Tomasz, doctor, musicologist and pianist, lecturer in the School of Music Theory and Aesthetics of the Institute of Musicology of the University of Warsaw. He is the author of Estetyka ekspresjonizmu w muzyce XX wieku [The aesthetic of expressionism in twentieth-century music] (Białystok, 2006), which in 2007 was nominated for the Jan Długosz Prize, and editor of two volumes of studies devoted to the life and work of Stanisław Moniuszko: W kręgu muzyki Stanisława Moniuszki: szkice i materiały [In the sphere of the music o f Stanisław Moniuszko] (Białystok, 2004) and Książę muzyki naszej. Twórczość Stanisława Moniuszki jako dziedzictwo kultury polskiej i europejskiej [The prince of our music. The work o f Stanisław Moniuszko as a legacy of Polish and European culture] (Warszawa, 2008). In addition, he has published over thirty scholarly articles devoted, among other things, to the music aesthetics, teaching and oeuvre of Chopin, Moniuszko, Karłowicz, Szymanowski, Liszt, Mahler, Scriabin and Messiaen.
Bielawski, Ludwik, professor emeritus in the Institute of Art of the Polish Academy of Sciences in Warsaw. In 1965 he gained his Ph.D. for the work Rytmika polskich pieśni ludowych [Rhythm in traditional polish folk songs] (Kraków, 1970). In 1974 he earned his habilitation for the work Strefowa teoria czasu i je j znaczenie dla antropologii muzycznej [Zonal theory of time and its significance for musical anthropology] (Kraków, 1976). His research encompasses Polish and European music traditions, music theory and research methodology, and the problems of time and space in music and culture. He is the author of numerous books and articles on those subjects and editor of the series Polska pieśń i muzyka ludowa. Źródła i materiały [Polish folk song and music. Sources and materials]. He is also involved in the preparation of source editions and collective works.
Bielawski, Ludwik, professor, head of the Department of Music History at the Institute of Art of the Polish Academy of Sciences in Warsaw. In 1965 he gained his PhD for the work Rytmika polskich pieśni ludowych [Rhythm in traditional Polish folk songs] (Kraków, 1970). In 1974 he earned his habilitation for the work Strefowa teoria czasu i jej znaczenie dla antropologii muzycznej [A zonal theory of time and its significance for music anthropology] (Kraków, 1976). His research encompasses Polish and European music traditions, music theory and research methodology, and the problems of time and space in music and culture. He is the author of numerous books and articles on those subjects and editor of the series Polska pieśń i muzyka ludowa - źródła i materiały [Polish folk song and music. Sources and materials]. He is also involved in the preparation of source editions and collective works.
Bieńkowska, Irena, PhD graduated from the Institute of Musicology of Warsaw University (1994), where she received her master’s degree based on a thesis on musical culture at the court of Michał Kazimierz (‘Rybeńko’) Radziwiłł (1702-1762) in Nesvizh, written under the supervision of Professor Mirosław Perz. She broadened her musicological studies on the Department of Music at Royal Holloway, University of London (1994-1995), and at the Lithuanian Conservatory in Vilnius (1995). Between 1995 and 1997, she worked with Polish Radio 2 and presented the original programmes ‘The Medici of Polish Music’, ‘The Music of Warsaw’, ‘Music at the Time of the Vasas’ and ‘Musical Wandering’. Between 1994 and 1998, she pursued doctoral studies at Warsaw University’s Institute of Musicology (IMUW), and in 1999 she was awarded her PhD (diss. on the music of Giovanni Battista Cocciola). Since 2000, she has been a lecturer with the IMUW’s Polish Music History Unit, of which she was deputy director from 2002 to 2007. Her scholarly interests encompass Renaissance music, Polish music of the sixteenth-eighteenth centuries and musical patronage in the eastern borderlands of the Polish-Lithuanian Commonwealth during the seventeenth and eighteenth centuries. At present, Irena Bieńkowska is working on a reconstruction of musical life at the court of one of the most powerful eighteenth-century Lithuanian magnates, Hieronim Florian Radziwiłł (1715-1760), at his residences in Slutsk and Biała (Podlaska).
Bogdan, Izabela, studied musicology at Adam Mickiewicz University in Poznań and English philology, with major in cognitive linguistics, at Nicolaus Copernicus University in Toruń. Her dissertation concerned nuptial music and wedding ceremonies in early modern Königsberg. She has been working as an assistant professor in the Musicology Department at the Adam Mickiewicz University in Poznan. Her research interests focus on the music of Royal and Ducal Prussia in the 16th and 17th centuries as well as on music education in German-speaking areas in the period of the Protestant Reformation.
Bruhn, Siglind, bom in Hamburg, Germany and with a Ph.D. from the University of Vienna, Austria, is a musicologist, concert pianist, and interdisciplinary scholar. A fulltime researcher, she has been affiliated with the University of Michigan’s Institute for the Humanities since 1993 while also collaborating with research units in Strasbourg, Copenhagen, and Helsinki. She is the author of more than twenty book-length monographs, primarily in the field of 20th-century music and its relationship to literature, art, and religion. Her most recent publications in English include a book trilogy on Olivier Messiaen’s musico-symbolic language and a study of the Swiss composer Frank Martin’s musical reflection on Death. In 2001 she was elected to the European Academy of Arts and Sciences; in 2008 she was awarded an honorary doctorate from Linnaeus University, Sweden.
Budzińska-Bennett, Agnieszka, musicologist and early music performer. Graduated from the Musicology Department of the Adam Mickiewicz University in Poznań where she obtained her Ph.D. in 2010 with the thesis “Subtilitas in the ars antiqua Motet. Text - Context - Intertext.” Postgraduate studies at Schola Cantorum Basiliensis in Switzerland (Abschluss in Early Voice at the Medieval/Renaissance Department 2001, MAS in Advanced Vocal Ensemble Studies 2011) and the University of Basle (Musicology and Norse Philology), where she was employed as an Assistant at the Microfilm Archive of the Musicological Institute (2001-2004). She currently lives in Basel and works as a Junior Researcher at the Schola Cantorum Basiliensis in the SNF project “The Reconstruction of Performing Conventions in Aquitanian Repertories of the 11th-13th Centuries” (in collaboration with Corpus monodicum edition - University of Wurzburg). She’s co-founder and director of ensemble Peregrina, specialising in historically informed performance of vocal music of the 10th-14th centuries. The ensemble has recorded six internationally recognized CDs with rare medieval repertoires and performs and teaches early music throughout Europe.
Burszta, Wojciech Józef, professor of socio-cultural anthropology at Warsaw School of Social Psychology and Head of the Centre for the Study of Nationalities at the Polish Academy of Sciences’ Institute of Slavic Studies. He specializes in and teaches the theory of culture, reflective anthropology, ethnic and multicultural studies and popular culture. He has been a visiting professor at Oxford University, Yale University, École Pratique des Hautes Études and University of Illinois at Chicago; editor of the semiannual Sprawy Narodowościowe; author and editor of numerous anthropological books and articles.
Chmurzyńska, Małgorzata, assistant professor and editor at The Interdepartmental Chair of Psychology of Music at the Fryderyk Chopin University of Music in Warsaw. She completed her Master’s degrees in Musicology at Warsaw University and Music Education (as well as a Postgraduate Course in Psychology of Music) at the Fryderyk Chopin Academy of Music. Here she received her Ph.D. in music psychology. Her research interests focus on the artistic and professional conditions of musicians’ development, especially on self-efficacy. She has been teaching for over 20 years in music schools. She has taught piano playing, history and theory o f music.
Chłopicka, Regina, professor at the Academy of Music in Kraków. Her publications span four research fields: Polish contemporary music (e.g. Krzysztof Penderecki: Musica sacra - Musica profana. Warsaw, 2003), topos of death in music, 20th century musical theatre, methods of musical analysis and the problems of musical gesture. She participated in numerous international conferences and has been co-editor of Studies in Penderecki research series (Princeton). Lecturer running seminars e.g. ENS Paris, Université Francois Rabelais Tours, International Bach Academy Eugene, Seul National University, Festival Amadeus Genève, Caracas. She is a member of e.g. Polish Composers’ Union, S.F.A.M (France), Société Internationale d’Histoire Comparée du Théâtre, de l’Opéra et du Ballet.
Czaja, Dariusz, habilitated doctor, lecturer in the Institute of Ethnology and Cultural Anthropology of the Jagiellonian University of Cracow, member of the editorial board of the bi-monthly Konteksty, published by the Polish Academy of Sciences (PAN) Institute of Art in Warsaw, essayist and music reviewer. The author of five books: Mitologie popularne: szkice z antropologii współczesności [Popular mythologies: sketches of contemporary anthropology] (Kraków, 1994), Sygnatura i fragment. Narracje antropologiczne [The signature and the fragment. Anthropological narratives] (Kraków, 2004), Anatomia duszy. Figury wyobraźni i gry językowe [The anatomy of the soul. Figures of imagination and language games] (Kraków, 2006), Lekcje ciemności [Lessons in darkness] (Wołowiec, 2009) - awarded a prize by the TVP Kultura foundation (“Gwarancja Kultury”) - and a collection of sketches from Apulia entitled Gdzieś dalej, gdzie indziej [Somewhere beyond, elsewhere] (Wołowiec, 2010), which won the Warsaw Literary Premiere for January 2011.
Czekanowska, Anna, ethnomusicologist and cultural anthropologist, professor. She has lectured at Warsaw University (1953-2003), the Catholic University of Lublin (1999-2004), Collegium Civitas in Warsaw (since 2003), the Johann Gutenberg University in Mainz (1983-1984), the University of Belfast, UK (1984) and Durham University, UK (1995), as well as the US universities of Seattle (1963, 1981) and Pittsburgh (1980-1981). She has been a member of many societies and organisations, including the International Council for Traditional Music (UNESCO, 1976-1990, member of the board), the European Seminar in Ethnomusicology (coordinating committee), the Polish Section of the Société Internationale de Musique Contemporaine, and the Polish Composers’ Union. She is the author of many studies and books, including Etnografia Muzyczna - Metodologia, Metodyka [Music ethnography. Methodology and methodics] (Warsaw, 1971) (Rus. trans. Moscow, 1983), Kultury Muzyczne Azji [Musical cultures of Asia] (Kraków, 1981), Polish Folk Music (Cambridge, 1990), Studien zum National Stil der polnischen Musik (Regensburg, 1990) and Kultury Tradycyjne wobec Transformacji - Muzyka Poezja-Taniec [Traditional cultures and transformation. Music, poetry and dance] (Warsaw, 2008).
Dahlig, Piotr, ethnomusicologist, professor of the University of Warsaw, works at the Institute of Musicology and at the Institute of Art of the Polish Academy of Sciences (phonographic archives). Book publications: Muzyka ludowa we współczesnym społeczeństwie [Folk music in contemporary society] (Warsaw, 1987); Ludowa praktyka muzyczna w komentarzach i opiniach wykonawców w Polsce [Folk music practice in the comments and opinions of performers in Poland] (Warsaw, 1993); Tradycje muzyczne a ich przemiany. Między kulturą ludową, popularną i elitarną Polski międzywojennej [Musical traditions and their transformations. Between the folk, popular and elite culture of interwar Poland] (Warsaw, 1998); Muzyka Adwentu. Tradycja gry na ligawkach [Music of Advent. The tradition of playing on the wooden horn ligawka] (Warsaw, 2003). He has published over 100 articles, mainly about traditional ethnic music and folk instruments.
Dahlig-Turek, Ewa, associate professor, habilitated doctor, ethnomusicologist, vicedirector of the PAN Institute of Art in Warsaw (since 2003), professor of Adam Mickiewicz University in Poznań (since 2009); her academic interests initially centred on musical instruments, but are now focused on the analysis of rhythm, chiefly in relations to so-called “Polish rhythms” in the music of traditional folk culture and “high” culture. She is author of three monographs: Ludowa gra skrzypcowa w Kieleckiem [Traditional violin playing in the Kielce region] (Kraków, 1990), Ludowa gra skrzypcowa w Polsce [Traditional violin playing in Poland] (Warszawa, 2001) and „Rytmy polskie” w muzyce XVI-XIX wieku. Studium morfologiczne [“Polish rhythms” in music of the sixteenthnineteenth centuries. Morphological studies] (Warszawa, 2006), and co-author (together with Bj0rn Aksdal, Dan Lindberg and Rebecca Sager) of the monograph Glossing over rhythmic style and musical identity (Stockholm, 2005).
Dankowska, Jagna, Ph.D., postdoctoral degree in philosophy at the Warsaw University, sound engineer at the Fryderyk Chopin Academy of Music — AMFC and Professor at the Fryderyk Chopin University of Music. From 1991 to 2005 she was the head of the Unit of Humanities and Foreign Languages (now the Chair of Humanities). She was also the deputy vice-dean from 2002 to 2005 and dean from 2005 to 2008 of the Department of Composition, Conducting and Theory of Music. In 2008 she was elected pro-rector for Students' and Foreign Affairs for term 2008-2012. She specializes in the philosophy of music, particularly nineteenth-century German philosophy of music as well as Polish philosophy and aesthetics of music. She is the author of the books The Foundańons o f Philosophy o f Music and German lgth Century Philosophy and Music Aesthetics (Warsaw 2001) as well as many articles on the philosophy and aesthetics of music.
Dankowska, Jagna, professor and Dean of the Department of Composition, Conducting and Music Theory at the Fryderyk Chopin Academy of Music in Warsaw. She specializes in the philosophy of music, particularly in the area of 19th-century German philosophy, as well as Polish music aesthetics and philosophy. She is the author of U podstaw filozofii muzyki. Niemiecka filozofia XIX wieku a muzyka [The fundamentals of the philosophy of music. German philosophy of the 19th century and music] (Warsaw, 2001), as well as a number of articles on the philosophy and aesthetics of music.
Davis, Andrew, conducts research on late-19th and early-20th century opera and on interpretive issues in the Romantic sonata. Recent publications include “Mixed Genres and Narrativity in Chopin’s B-minor Sonata,” in Music: Function and Value (Krakow: Akademia Muzyczna); “Old Age and Late Works? The Case of Puccini,” in Le grand âge et ses oeuvres ultimes (Rennes: University of Rennes); II Trittico, Turandot, and Puccini’s Late Style (Bloomington: Indiana University Press, 2010); and, with coauthor Howard Pollack, “Rotational Form in the Opening Scene of Gershwin’s Porgy and Bess,” Journal of the American Musicological Society 60, no. 2 (2007): 373-414. He is at work on a book, Musical Meaning in the Romantic Piano Sonata. He is Associate Professor of Music Theory and Director of Graduate Studies at the Moores School of Music, University of Houston, in Houston, Texas, USA.
Dougherty, William P., is Ellis and Nelle Levitt Professor of Music at Drake University in Des Moines, Iowa (USA), where he teaches courses in music theory and composition. He has published several articles on musical semiotics and on music and text relationships in the art song. He is currently completing a book titled Mignon in Music: The Art Song as Semeiotic. Also active as a composer, his compositions have been performed in numerous venues across the nation.
Draus, Agnieszka, (PhD) is a lecturer at the Faculty of Musical Composition, Performance, Analysis and Education of the Academy of Music in Krakow, a member of the Division of Musicologists of the Polish Composers’ Union as well as a nominated teacher of the general musical subjects in the Władysław Żeleński Secondary State Music School in Krakow. In her research activities she has focused on one hand on the issues of sacred music with particular stress on sacred musical theatre especially in the works of Krakow’s greatest modern composer - Krzysztof Penderecki (M.A. thesis Krzysztof Penderecki - “Paradise Lost”. The Musical Interpretation o f Milton’s Poem which received the Award of the City of Krakow and a number of publications) as well as a German composer - Karlheinz Stockhausen (PhD thesis Opera Cycle “Licht” by Karlheinz Stockhausen. The Musical Theatre o f the World which received the Award of the Division of Musicologists of the Polish Composers’ Union and a number of publications). On the other hand her research focuses on the vocal and instrumental work of Witold Lutosławski, Marek Stachowski and Paweł Mykietyn. She conducts classes with students and school pupils on history of music, music literature, music analysis, ethnomusicology, methodology of teaching and aural training. She participates actively in organising projects in the institutions she is involved with as well as popularising music in other educational institutions.
Draus, Agnieszka, Ph.D., a tutor at the Faculty of Musical Composition, Performance, Analysis and Education of the Academy o f Music in Kraków. In her research activities she has focused on one hand on the issues o f sacred music with particular stress on sacred musical theatre especially in the works of Krzysztof Penderecki as well as Karlheinz Stockhausen (Ph.D. thesis Cykl sceniczny „Licht” Karlheinza Stockhausena. Muzyczny teatr świata [Opera cycle “Licht” by Karlheinz Stockhausen. The Musical Theatre o f the World], which received the Award of the Division of Musicologists of the Polish Composers’ Union). On the other hand her research focuses on the vocal and instrumental work of Witold Lutosławski and Marek Stachowski.
Drożdżewska, Agnieszka, Ph.D. (2010), wrote a thesis: The musical life at the University of Wroclaw (1815-1944.) Music education, scientific research, concerts; works as a tutor in the Institute of Musicology, University of Wroclaw; research about musical life in Wroclaw and Silesia in 18th up to 1st half of 20th century, mainly concerning music education and musicology, as well as local theatrical life and opera contexts.
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