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Dahlig, Piotr, ethnomusicologist, professor in the Institute of Musicology at the University of Warsaw and in the Institute of Art of the Polish Academy of Sciences. He has published four books: 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 cultures of interwar Poland] (Warsaw, 1998), Muzyka Adwentu. Tradycja gry na ligawkach [Music of Advent. The tradition of playing on ligawka wooden horns] (Warsaw, 2003), and over 100 articles, mainly on traditional music and folk instruments, mostly the result of his field research in Poland since 1975.
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.
Dziadek, Magdalena, habilitated doctor, graduate in music theory from the Karol Szymanowski Academy o f Music in Katowice. Awarded her PhD (1991) and habilitation (2002) by the PAN Institute of Art in Warsaw. Currently on the staff of the Department of Musicology of Adam Mickiewicz University in Poznań. Interested in various aspects of Polish musical culture around the turn of the twentieth century, in particular writings on music from that period. She has published several books, including Polska krytyka muzyczna 1890-1914. Koncepcje i zagadnienia [Polish music criticism 1890-1914. Concepts and issues] (Katowice, 2002), Polska krytyka muzyczna 18901914. Czasopisma i autorzy [Polish music criticism 1890-1914. Periodicals and authors] (Cieszyn, 2002), Moda na „Wiosnę”. Festiwal Poznańska Wiosna Muzyczna 1961-2002 [The fashion for “Spring”. The Poznań Musical Spring festival 1961-2002] (Poznań, 2002) and Opera poznańska w latach 1919-2005. Dzieje sceny i myśli [The Poznań Opera 1919-2005. A history of the theatre and its ideas] (Poznań, 2007).
Dziadek, Magdalena, professor at the Fryderyk Chopin Academy of Music in Warsaw. She studied theory of music at the Karol Szymanowski Academy of Music in Katowice and in 1991 received her Ph.D. from the Institute of Arts of the Polish Academy of Sciences in Warsaw for a monograph on Warsaw music criticism in the years 1810-1890. In 2004 she received her habilitation on the basis of the book Polska krytyka muzyczna w latach 1890 - 1914 [Polish music criticism in the years 1890-1914] (Katowice, 2002). Since 1992 she has pursued independent scholarly work, researching the history of Polish musical culture during the 19th and 20th centuries, in particular the history of Polish music criticism.

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