https://pressto.amu.edu.pl/index.php/rfn/issue/feedRes Facta Nova. Teksty o muzyce współczesnej2022-11-15T11:21:51+01:00Ewa Schreiberewa_s@amu.edu.plOpen Journal Systems<p>„Res Facta Nova” to pismo naukowe poświęcone muzyce współczesnej. Od początku istnienia (od roku 1967), niezależnie od meandrów polskiej kultury i polityki kulturalnej, pismo stanowi istotny element pejzażu refleksji muzykologicznej, krytyczno-muzycznej i okołomuzycznej w Polsce. Do grona jego założycieli należeli Michał Bristiger, Stefan Jarociński, Józef Patkowski i Mieczysław Tomaszewski.</p> <ul class="oczasopismie"> <li class="show"><a href="https://pressto.amu.edu.pl/index.php/rfn/about">POLITYKA FUNKCJONOWANIA CZASOPISMA</a></li> <li class="show"><a href="https://pressto.amu.edu.pl/index.php/rfn/issue/current">AKTUALNY NUMER</a></li> <li class="show"><a href="https://pressto.amu.edu.pl/index.php/rfn/issue/archive">ARCHIWUM</a></li> </ul> <p><strong>INDEKSOWANE W: </strong><a href="https://doaj.org/toc/2544-9303?source=%7B%22query%22%3A%7B%22bool%22%3A%7B%22must%22%3A%5B%7B%22terms%22%3A%7B%22index.issn.exact%22%3A%5B%221897-824X%22%2C%222544-9303%22%5D%7D%7D%5D%7D%7D%2C%22size%22%3A100%2C%22sort%22%3A%5B%7B%22created_date%22%3A%7B%22order%22%3A%22desc%22%7D%7D%5D%2C%22_source%22%3A%7B%7D%2C%22track_total_hits%22%3Atrue%7D">DOAJ</a><strong>, </strong><a style="background-color: #ffffff; font-size: 0.875rem;" href="https://dbh.nsd.uib.no/publiseringskanaler/erihplus/periodical/info?id=485408">ERIH Plus</a><span style="font-size: 0.875rem;">, <a href="https://journals.indexcopernicus.com/search/details?id=2527">Index-Copernicus (ICI Journals Master List)</a>, POL-index, <a href="https://www.ceeol.com/search/journal-detail?id=2861">CEEOL</a>, Google Scholar, Bibliografia Geografii Polskiej, Arianta, WorldCat,</span><a style="background-color: #ffffff; font-size: 0.875rem;" href="https://mostwiedzy.pl/pl/magazine/catalog" target="_blank" rel="noopener"> MOST Wiedzy</a></p> <p><strong>WSKAŹNIKI OCENY CZASOPISMA:</strong><br />Punktacja Ministerstwa Edukacji i Nauki (2023): <strong>40</strong></p> <p>ICV 2021: <strong>78.61</strong></p> <p><strong>D</strong><strong>OI: </strong>10.14746/rfn</p> <p><strong>ISSN: </strong>1897-824X <strong>ISSN (Online): </strong>2544-9303</p> <p><strong>PRACE PUBLIKOWANE W CZASOPIŚMIE DOSTĘPNE SĄ NA LICENCJI CREATIVE COMMONS:</strong><br /> <a href="https://creativecommons.org/licenses/by-nc-nd/4.0/" rel="license"> Uznanie autorstwa - Użycie niekomercyjne - Bez utworów zależnych 4.0 Międzynarodowe</a>.</p> <p><a href="https://creativecommons.org/licenses/by-nc-nd/4.0/"><img style="border-width: 0;" src="https://i.creativecommons.org/l/by-nc-nd/4.0/88x31.png" alt="Licencja Creative Commons" /></a></p> <p><strong>Publisher:</strong><br />Adam Mickiewicz University in Poznań</p> <p><strong>Res Facta Nova są zgodne ze standardami</strong><strong><a href="https://i4oc.org/#publishers"> I40C</a></strong><strong> dotyczącymi otwartych cytowań.citations.</strong></p>https://pressto.amu.edu.pl/index.php/rfn/article/view/35951Zygmunt Mycielski – Michał Bristiger. Dialogi z Andrzejem Panufnikiem i socrealizmem w tle2022-11-15T11:21:51+01:00Michał Klubińskiredakcja@resfactanova.pl<p><span dir="ltr" style="left: 70.8662px; top: 275.354px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.00238);" role="presentation">The paper is focused on analysing three texts: a letter from Zygmunt </span><span dir="ltr" style="left: 70.8662px; top: 296.38px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.975352);" role="presentation">Mycielski to Michal Bristiger dated 15/16 March 1954, the latter’s an</span><span dir="ltr" style="left: 70.8662px; top: 317.407px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.990752);" role="presentation">swer from the beginning of April 1954, and Michal Bristiger’s article </span><span dir="ltr" style="left: 70.8662px; top: 338.434px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.04823);" role="presentation">in</span> <span dir="ltr" style="left: 86.0795px; top: 338.434px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.981464);" role="presentation">Przegląd Kulturalny</span> <span dir="ltr" style="left: 196.186px; top: 338.434px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.01663);" role="presentation">titled</span> <span dir="ltr" style="left: 228.373px; top: 338.434px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.00115);" role="presentation">Andrzej Panufnik. Rozważania bez ha</span><span dir="ltr" style="left: 70.8662px; top: 359.46px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.931638);" role="presentation">giografii</span> <span dir="ltr" style="left: 116.573px; top: 359.46px; font-size: 13.3333px; font-family: serif;" role="presentation">[</span><span dir="ltr" style="left: 121.173px; top: 359.46px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.958419);" role="presentation">Andrzej Panufnik. Reflections without hagiography</span><span dir="ltr" style="left: 385.505px; top: 359.46px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.979582);" role="presentation">] which is </span><span dir="ltr" style="left: 70.8662px; top: 380.487px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.00515);" role="presentation">the subject of the correspondence. The main topic of this dialogue is </span><span dir="ltr" style="left: 70.8662px; top: 401.514px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.00222);" role="presentation">the question whether Panufnik’s oeuvre is grounded in socialist real</span><span dir="ltr" style="left: 70.8662px; top: 422.54px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.00717);" role="presentation">ist doctrine and whether the composer and his work were victimised </span><span dir="ltr" style="left: 70.8662px; top: 443.567px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.02818);" role="presentation">by the communist system. In the paper the author also analyses the </span><span dir="ltr" style="left: 70.8662px; top: 464.594px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.03662);" role="presentation">neoclassical views of the composers, Panufnik and Mycielski, and </span><span dir="ltr" style="left: 70.8662px; top: 485.62px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.0106);" role="presentation">examines one of their strategies – relating to the great European tra</span><span dir="ltr" style="left: 70.8662px; top: 506.647px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.04907);" role="presentation">ditions and re-defining the aims of socialist realism by promoting </span><span dir="ltr" style="left: 70.8662px; top: 527.674px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.969315);" role="presentation">folklore.</span></p>2021-12-15T00:00:00+01:00Prawa autorskie (c) 2021 Michał Klubińskihttps://pressto.amu.edu.pl/index.php/rfn/article/view/35952Chopin w tłumaczeniu Michała Bristigera w „De Musica” na podstawie książki Luciena Bourguèsa i Alexandre’a Denéréaza2022-11-15T11:21:49+01:00Irena Poniatowskaredakcja@resfactanova.pl<p>Michał Bristiger took a fragment from the book <em>La musique et la vie </em><em>interieure</em> by L. Bourguès and A. Denéréaz published in 1921, translated it under the title Chopin, and published it in “De musica” vol. I–III in 2006. The authors, who represented energo-psychological research approach, a theory that was being promoted at that time (H. Mersman, <em>Angewandte Musikaesthetik</em>, 1926 and E. Kurth, <em>Musikpsychologie</em>), provided a psychological and musical interpretation of Chopin’s melodics (linked to harmony and texture), and their significance in the integration of form. They distinguish such categories as c o n t i n u i t y and p e n d u l u m m o t i o n, or undulating, wave-like movements that expand and lead to a culmination, the outflow from which takes the form of, for example, a gliding flight, “plané”. They describe Chopin’s imagination as ballistic. Previous research had focused exclusively on the microstructures of melody, on characteristic intervals, typical phrases, expressive gestures, and not on the flow, on the impulses in the creation of contrast, on the rising and falling of the melodic line, and for this reason the <em>Chopin</em> chapter in this book remains a source of inspiration to this day.</p>2021-12-15T00:00:00+01:00Prawa autorskie (c) 2021 Irena Poniatowskahttps://pressto.amu.edu.pl/index.php/rfn/article/view/35954„Mistrz musi potwierdzić ucznia, uczeń potwierdza mistrza w jego roli i pozycji”. O relacjach Karola Szymanowskiego i Zygmunta Mycielskiego2022-11-15T11:21:47+01:00Barbara Mielcarek-Krzyżanowskaredakcja@resfactanova.pl<p><span dir="ltr" style="left: 507.874px; top: 885.039px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.00315);" role="presentation">The special relationship that developed during the second half of the </span><span dir="ltr" style="left: 507.874px; top: 906.065px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.988998);" role="presentation">1920s between Karol Szymanowski and Zygmunt Mycielski, compo</span><span dir="ltr" style="left: 507.874px; top: 927.092px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.984916);" role="presentation">sers from two different generations, lasted until Szymanowski’s death </span><span dir="ltr" style="left: 507.874px; top: 948.119px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.01969);" role="presentation">in 1937. In this relationship there was a combination of experience, </span><span dir="ltr" style="left: 507.874px; top: 969.145px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.0372);" role="presentation">wisdom and knowledge, identified with the position of the master, </span><span dir="ltr" style="left: 507.874px; top: 990.172px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.01965);" role="presentation">and supported by his having overcome the reluctance to share them </span><span dir="ltr" style="left: 507.874px; top: 1011.2px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.00418);" role="presentation">with a young novice in composition, just entering the field of music.</span><br role="presentation"><span dir="ltr" style="left: 507.874px; top: 1032.23px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.0013);" role="presentation">The attitude of the pupil often lacked the usual boundless trust in the<span dir="ltr" style="left: 70.8662px; top: 86.1412px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.995517);" role="presentation">master, compensated for by Mycielski through enormous respect and </span><span dir="ltr" style="left: 70.8662px; top: 107.168px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.983023);" role="presentation">fascination with Szymanowski’s stance.</span><br role="presentation"><span dir="ltr" style="left: 94.4928px; top: 128.195px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.08227);" role="presentation">The two composers were linked by background, respect for </span><span dir="ltr" style="left: 70.8662px; top: 149.221px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.081);" role="presentation">tradition, and by dramatic events which at different moments in</span><br role="presentation"><span dir="ltr" style="left: 70.8662px; top: 170.248px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.03064);" role="presentation">history deprived them of contact with the material heritage of their </span><span dir="ltr" style="left: 70.8662px; top: 191.275px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.05337);" role="presentation">ancestors. The bond they built between them turned not only into </span><span dir="ltr" style="left: 70.8662px; top: 212.301px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.03581);" role="presentation">deep friendship but also a special kind of spiritual closeness. They </span><span dir="ltr" style="left: 70.8662px; top: 233.328px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.03763);" role="presentation">affirmed each other in their roles, giving this bond an almost sym</span><span dir="ltr" style="left: 70.8662px; top: 254.355px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.01008);" role="presentation">bolic dimension</span>.</span></p>2021-12-15T00:00:00+01:00Prawa autorskie (c) 2021 Barbara Mielcarek-Krzyżanowskahttps://pressto.amu.edu.pl/index.php/rfn/article/view/35955„Ja” na pięć głosów rozpisane? Wielogłosowość madrygału od 1950 roku2022-11-15T11:21:44+01:00Dominika Micałredakcja@resfactanova.pl<p><span dir="ltr" style="left: 507.874px; top: 527.637px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.971092);" role="presentation">Surprisingly, since 1950, at least 500 works connected to the madrigal, </span><span dir="ltr" style="left: 507.874px; top: 548.664px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.973842);" role="presentation">and among them at least 454 madrigals, have been written. Unfortuna</span><span dir="ltr" style="left: 507.874px; top: 569.691px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.964777);" role="presentation">tely, a comprehensive musicological or theoretical-musical approach to </span><span dir="ltr" style="left: 507.874px; top: 590.717px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.980493);" role="presentation">that issue has been lacking so far. Using the genre studies perspective, </span><span dir="ltr" style="left: 507.874px; top: 611.744px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.00003);" role="presentation">the article aims to show how some composers working in the second </span><span dir="ltr" style="left: 507.874px; top: 632.771px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.00495);" role="presentation">half of the 20</span><span dir="ltr" style="left: 579.647px; top: 632.485px; font-size: 7.77333px; font-family: serif; transform: scaleX(1.0887);" role="presentation">th</span><span dir="ltr" style="left: 586.215px; top: 632.755px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.03388);" role="presentation">–century and in the 21</span><span dir="ltr" style="left: 709.437px; top: 632.485px; font-size: 7.77333px; font-family: serif; transform: scaleX(1.00351);" role="presentation">st</span><span dir="ltr" style="left: 714.622px; top: 632.755px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.02548);" role="presentation">–century respond to the early </span><span dir="ltr" style="left: 507.875px; top: 653.782px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.03936);" role="presentation">madrigal in terms of one of the most important madrigal characte</span><span dir="ltr" style="left: 507.875px; top: 674.809px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.99928);" role="presentation">ristics – its polyphonic scoring and texture. That aspect, criticised by </span><span dir="ltr" style="left: 507.875px; top: 695.835px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.02222);" role="presentation">theorists at the end of the 17</span> <span dir="ltr" style="left: 662.248px; top: 695.556px; font-size: 7.77333px; font-family: serif; transform: scaleX(1.0887);" role="presentation">th</span> <span dir="ltr" style="left: 672.43px; top: 695.826px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.00566);" role="presentation">century, became the source of diverse </span><span dir="ltr" style="left: 507.87px; top: 716.853px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.0373);" role="presentation">musical reinterpretation in contemporary pieces by, among others: </span><span dir="ltr" style="left: 507.87px; top: 737.88px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.05654);" role="presentation">Luciano Berio, Christophe Bertrand, Harrison Birtwistle, George </span><span dir="ltr" style="left: 507.87px; top: 758.906px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.01897);" role="presentation">Crumb, Beat Furrer, Roman Haubenstock-Ramati, Paul Hindemith, </span><span dir="ltr" style="left: 507.87px; top: 779.933px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.977333);" role="presentation">Mauricio Kagel, György Ligeti, Luigi Nono, Henri Pousseur, Grażyna </span><span dir="ltr" style="left: 507.87px; top: 800.96px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.02097);" role="presentation">Pstrokońska-Nawratil, John Rutter, Johannes Schöllhorn, Salvatore </span><span dir="ltr" style="left: 507.87px; top: 821.986px; font-size: 13.3333px; font-family: serif; transform: scaleX(1);" role="presentation">Sciarrino, Marek Stachowski, Alfred Schnittke, Pēteris Vasks, Agata </span><span dir="ltr" style="left: 507.87px; top: 843.013px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.05566);" role="presentation">Zubel. A number of aspects of polyphony are taken into conside</span><span dir="ltr" style="left: 507.87px; top: 864.04px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.02089);" role="presentation">ration: type of polyphonic means (canons, fugue, passacaglia, etc.), </span><span dir="ltr" style="left: 507.87px; top: 885.066px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.02324);" role="presentation">their function (structural, semantic, emotional, etc.), and their mea</span><span dir="ltr" style="left: 507.87px; top: 906.093px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.03483);" role="presentation">ning (c.f. their role in the process of constructing the subject of gi</span><span dir="ltr" style="left: 507.87px; top: 927.12px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.993644);" role="presentation">ven works).</span></p>2021-12-15T00:00:00+01:00Prawa autorskie (c) 2021 Dominika Micałhttps://pressto.amu.edu.pl/index.php/rfn/article/view/35956"Nonsense Madrigals" by György Ligeti: The Musical Sense of Nonsense between Chaos and Order2022-11-15T11:21:42+01:00Monika Prusakredakcja@resfactanova.pl<p><span dir="ltr" style="left: 151.181px; top: 594.645px; font-size: 17.0667px; font-family: serif; transform: scaleX(0.998822);" role="presentation">The study</span> <span dir="ltr" style="left: 224.175px; top: 594.645px; font-size: 17.0667px; font-family: serif; transform: scaleX(0.991523);" role="presentation">examines Ligeti’s “stylistic revolution” as well as the non</span><span dir="ltr" style="left: 151.181px; top: 621.559px; font-size: 17.0667px; font-family: serif; transform: scaleX(1.0102);" role="presentation">sense aspects of the composition and introduces an original analysis </span><span dir="ltr" style="left: 151.181px; top: 648.473px; font-size: 17.0667px; font-family: serif; transform: scaleX(1.00288);" role="presentation">of Ligeti’s musical nonsense inspired by the literary analysis of non</span><span dir="ltr" style="left: 151.181px; top: 675.387px; font-size: 17.0667px; font-family: serif; transform: scaleX(0.988722);" role="presentation">sense by Susan Stewart.</span><br role="presentation" /><span dir="ltr" style="left: 181.423px; top: 702.301px; font-size: 17.0667px; font-family: serif; transform: scaleX(0.959076);" role="presentation">The</span> <em><span dir="ltr" style="left: 211.802px; top: 702.301px; font-size: 17.0667px; font-family: serif; transform: scaleX(0.966868);" role="presentation">Nonsense Madrigals</span></em> <span dir="ltr" style="left: 351.917px; top: 702.301px; font-size: 17.0667px; font-family: serif; transform: scaleX(1.0143);" role="presentation">by György Ligeti take part in a kind of </span><span dir="ltr" style="left: 151.181px; top: 729.216px; font-size: 17.0667px; font-family: serif; transform: scaleX(0.952053);" role="presentation">“stylistic revolution” in Ligeti’s style and are the result of his passionate </span><span dir="ltr" style="left: 151.181px; top: 756.13px; font-size: 17.0667px; font-family: serif; transform: scaleX(1.03446);" role="presentation">research on African polyrhythms and its contribution to his music. </span><span dir="ltr" style="left: 151.181px; top: 783.044px; font-size: 17.0667px; font-family: serif; transform: scaleX(0.983144);" role="presentation">What Ligeti intended to create in those periods was a superimposition </span><span dir="ltr" style="left: 151.181px; top: 809.958px; font-size: 17.0667px; font-family: serif; transform: scaleX(1.04044);" role="presentation">of different rhythmic and melodic patterns in such a way that they </span><span dir="ltr" style="left: 151.181px; top: 836.872px; font-size: 17.0667px; font-family: serif; transform: scaleX(1.04367);" role="presentation">could fuse together in an illusory chaos. However, there is also an </span><span dir="ltr" style="left: 151.181px; top: 863.786px; font-size: 17.0667px; font-family: serif; transform: scaleX(0.991779);" role="presentation">ancient order that governs this new approach: the old masters such as </span><span dir="ltr" style="left: 151.181px; top: 890.7px; font-size: 17.0667px; font-family: serif; transform: scaleX(1.00958);" role="presentation">Philippe de Vitry, Johannes Okeghem or Johannes Ciconia and their </span><span dir="ltr" style="left: 151.181px; top: 917.615px; font-size: 17.0667px; font-family: serif; transform: scaleX(0.997722);" role="presentation">compositional techniques became the base of mixing the old western </span><span dir="ltr" style="left: 151.181px; top: 944.529px; font-size: 17.0667px; font-family: serif; transform: scaleX(0.977965);" role="presentation">styles with the traditional music of Central Africa, so that the new and </span><span dir="ltr" style="left: 151.181px; top: 971.443px; font-size: 17.0667px; font-family: serif; transform: scaleX(0.991928);" role="presentation">authentic compositional idea could blossom. The copious sketches of </span><span dir="ltr" style="left: 151.181px; top: 998.357px; font-size: 17.0667px; font-family: serif; transform: scaleX(1.03628);" role="presentation">the</span> <em><span dir="ltr" style="left: 178.232px; top: 998.357px; font-size: 17.0667px; font-family: serif; transform: scaleX(0.970652);" role="presentation">Nonsense Madrigals</span></em><span dir="ltr" style="left: 313.961px; top: 998.357px; font-size: 17.0667px; font-family: serif; transform: scaleX(1.01779);" role="presentation">, stored at the Paul Sacher Stiftung in Basel, </span><span dir="ltr" style="left: 151.181px; top: 1025.27px; font-size: 17.0667px; font-family: serif; transform: scaleX(1.02575);" role="presentation">reveal that the preparatory brainstorming involved also many other </span><span dir="ltr" style="left: 151.181px; top: 1052.19px; font-size: 17.0667px; font-family: serif; transform: scaleX(1.05432);" role="presentation">inspirations such as Balkan and oriental music, jazz, and some of </span><span dir="ltr" style="left: 151.181px; top: 1079.1px; font-size: 17.0667px; font-family: serif; transform: scaleX(1.01426);" role="presentation">Ligeti’s own compositions. The combination of the old and the new </span><span dir="ltr" style="left: 151.181px; top: 1106.01px; font-size: 17.0667px; font-family: serif; transform: scaleX(1.04764);" role="presentation">without using concrete models but just drawing inspiration marks </span><span dir="ltr" style="left: 151.181px; top: 1132.93px; font-size: 17.0667px; font-family: serif; transform: scaleX(0.998603);" role="presentation">a new approach among Ligeti’s contemporaries.</span></p>2021-12-15T00:00:00+01:00Prawa autorskie (c) 2021 Monika Prusakhttps://pressto.amu.edu.pl/index.php/rfn/article/view/35957Pieśni bólu i rozpaczy. O "Pieśniach północnych" (1973) Andrzeja Krzanowskiego2022-11-15T11:21:37+01:00Magdalena Stochniolredakcja@resfactanova.pl<p><span dir="ltr" style="left: 507.874px; top: 254.33px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.99705);" role="presentation">Andrzej Krzanowski’s compositions, particularly those written at the </span><span dir="ltr" style="left: 507.874px; top: 275.357px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.975033);" role="presentation">beginning of his creative journey, are still sidelined by researchers and </span><span dir="ltr" style="left: 507.874px; top: 296.383px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.986397);" role="presentation">performers. The article describes his</span> <em><span dir="ltr" style="left: 702.271px; top: 296.383px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.953647);" role="presentation">Pieśni północne</span></em> <span dir="ltr" style="left: 785.925px; top: 296.383px; font-size: 13.3333px; font-family: serif;" role="presentation">[</span><em><span dir="ltr" style="left: 790.525px; top: 296.383px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.964596);" role="presentation">Northern songs</span></em><span dir="ltr" style="left: 869.421px; top: 296.383px; font-size: 13.3333px; font-family: serif;" role="presentation">] </span><span dir="ltr" style="left: 507.874px; top: 317.41px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.992625);" role="presentation">(1973) for eight-voice mixed choir</span> <span dir="ltr" style="left: 694.901px; top: 317.41px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.97198);" role="presentation"><em>a cappella</em>,</span> <span dir="ltr" style="left: 753.661px; top: 317.41px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.988422);" role="presentation">to words by Kazimierz </span><span dir="ltr" style="left: 507.874px; top: 338.437px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.01665);" role="presentation">Ratoń, composed while he was a student in the class of Henryk Mi</span><span dir="ltr" style="left: 507.874px; top: 359.463px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.0103);" role="presentation">kołaj Górecki. The axis of interpretation is provided by two strands: </span><span dir="ltr" style="left: 507.874px; top: 380.49px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.02707);" role="presentation">the meaning of the text and its relationship with the musical means </span><span dir="ltr" style="left: 507.874px; top: 401.517px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.982411);" role="presentation">of expression, as well as selected musical aspects such as scales, form </span><span dir="ltr" style="left: 507.874px; top: 422.543px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.01695);" role="presentation">and references to other compositions.</span></p>2021-12-15T00:00:00+01:00Prawa autorskie (c) 2021 Magdalena Stochniolhttps://pressto.amu.edu.pl/index.php/rfn/article/view/35958Ginący świat – "Lasy deszczowe" z cyklu "Ekomuzyka" Grażyny Pstrokońskiej-Nawratil2022-11-15T11:21:34+01:00Katarzyna Bartosredakcja@resfactanova.pl<p><em><span dir="ltr" style="left: 118.11px; top: 779.921px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.909063);" role="presentation">Lasy deszczowe</span> <span dir="ltr" style="left: 199.444px; top: 779.921px; font-size: 13.3333px; font-family: serif;" role="presentation">[</span><span dir="ltr" style="left: 204.03px; top: 779.921px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.939638);" role="presentation">Rainforests</span></em><span dir="ltr" style="left: 261.057px; top: 779.921px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.958267);" role="presentation"><em>]</em> is, as Grażyna Pstroko</span><span class="markedContent"><span dir="ltr" style="left: 382.537px; top: 779.921px; font-size: 13.3333px; font-family: serif;" role="presentation">ń</span></span><span dir="ltr" style="left: 389.71px; top: 779.921px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.974837);" role="presentation">ska-Nawratil said, </span><span dir="ltr" style="left: 118.097px; top: 800.947px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.02439);" role="presentation">“an attempt to capture the endangered beauty, stop the increasingly </span><span dir="ltr" style="left: 118.097px; top: 821.974px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.971574);" role="presentation">rushing time, it is a symbolic and personal work”. The piece came into </span><span dir="ltr" style="left: 118.097px; top: 843.001px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.02926);" role="presentation">being in 2013. The inspiration for the structure of this composition </span><span dir="ltr" style="left: 118.097px; top: 864.027px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.952731);" role="presentation">was ancient tragedy. In the case of</span> <em><span dir="ltr" style="left: 294.716px; top: 864.027px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.904878);" role="presentation">Lasy deszczowe</span></em><span dir="ltr" style="left: 373.385px; top: 864.027px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.975974);" role="presentation">, the main characters, </span><span dir="ltr" style="left: 118.097px; top: 885.054px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.992152);" role="presentation">whose fate was sealed, are elements of nature – trees, humming birds </span><span dir="ltr" style="left: 118.097px; top: 906.081px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.995158);" role="presentation">and river. The composer wanted to depict one day from a rainforest’s </span><span dir="ltr" style="left: 118.097px; top: 927.107px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.988364);" role="presentation">life – from the time before daybreak till twilight. This article will dis</span><span dir="ltr" style="left: 118.097px; top: 948.134px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.01763);" role="presentation">cuss the genesis of the composition, musical and nonmusical media </span><span dir="ltr" style="left: 118.097px; top: 969.161px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.01533);" role="presentation">of programmacity, as well as narration in this concerto.</span></p>2021-12-15T00:00:00+01:00Prawa autorskie (c) 2021 Katarzyna Bartoshttps://pressto.amu.edu.pl/index.php/rfn/article/view/36047Redukcjonizm w twórczości fletowej Henryka Mikołaja Góreckiego z lat 1986–19962022-11-15T11:21:32+01:00Weronika Kassnerwersuc@amu.edu.pl<p><span dir="ltr" style="left: 507.874px; top: 233.307px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.997073);" role="presentation">The aim of this discussion is to demonstrate manifestations of reduc</span><span dir="ltr" style="left: 507.874px; top: 254.333px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.00128);" role="presentation">tionism in the works of Henryk Mikołaj Górecki. In order to achieve </span><span dir="ltr" style="left: 507.874px; top: 275.36px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.975568);" role="presentation">this the article compares conclusions based on analyses of three works </span><span dir="ltr" style="left: 507.874px; top: 296.387px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.994209);" role="presentation">for the flute by Górecki composed during the same decade –</span> <em><span dir="ltr" style="left: 831.066px; top: 296.387px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.949318);" role="presentation">For you, </span></em><em><span dir="ltr" style="left: 507.874px; top: 317.413px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.933164);" role="presentation">Anne-Lill</span></em> <span dir="ltr" style="left: 560.221px; top: 317.413px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.989851);" role="presentation">op. 58 for flute and piano (1986),</span> <em><span dir="ltr" style="left: 739.394px; top: 317.413px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.952611);" role="presentation">Good Night</span></em> <span dir="ltr" style="left: 803.061px; top: 317.413px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.9877);" role="presentation">op. 63 for so</span><span dir="ltr" style="left: 507.874px; top: 338.44px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.980163);" role="presentation">prano, alto flute, piano and three tam-tams (1990) as well as</span> <em><span dir="ltr" style="left: 824.739px; top: 338.44px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.979894);" role="presentation">Valentine </span></em><em><span dir="ltr" style="left: 507.874px; top: 359.467px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.918707);" role="presentation">Piece</span></em> <span dir="ltr" style="left: 537.754px; top: 359.467px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.988462);" role="presentation">op. 70 for flute and bell (1996). The part of the flute is analysed </span><span dir="ltr" style="left: 507.874px; top: 380.493px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.03605);" role="presentation">in particular detail – the way it is shaped, its type of narration, and </span><span dir="ltr" style="left: 507.874px; top: 401.52px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.02503);" role="presentation">its relation to other instruments. The article is in two parts: the first </span><span dir="ltr" style="left: 507.874px; top: 422.547px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.983231);" role="presentation">outlines the tendencies in flute compositions in 20</span> <span dir="ltr" style="left: 771.03px; top: 422.249px; font-size: 7.77333px; font-family: serif; transform: scaleX(1.0887);" role="presentation">th</span> <span dir="ltr" style="left: 780.105px; top: 422.519px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.998653);" role="presentation">century in Poland </span><span dir="ltr" style="left: 507.878px; top: 443.546px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.00736);" role="presentation">and in the world, while the second part presents analyses of selected </span><span dir="ltr" style="left: 507.878px; top: 464.572px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.999151);" role="presentation">flute compositions by Górecki. The conclusions point to Górecki ha</span><span dir="ltr" style="left: 507.878px; top: 485.599px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.04005);" role="presentation">ving an individual approach to using the flute as a solo instrument </span><span dir="ltr" style="left: 507.878px; top: 506.626px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.05564);" role="presentation">or as part of a group of instruments in a chamber composition, as </span><span dir="ltr" style="left: 507.878px; top: 527.652px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.981449);" role="presentation">well as to cohesiveness of the development of flute compositions aga</span><span dir="ltr" style="left: 507.878px; top: 548.679px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.00289);" role="presentation">inst the background of the composer’s stylistic evolution as a whole.</span></p>2021-12-15T00:00:00+01:00Prawa autorskie (c) 2021 Weronika Kassnerhttps://pressto.amu.edu.pl/index.php/rfn/article/view/36048„Jaka, sądzisz, jest biblia cygańska?” – charakterystyka op. 57 Mieczysława Wajnberga śladem Dymitra Szostakowicza2022-11-15T11:21:30+01:00Agnieszka Nowok-Zychredakcja@resfactanova.pl<p><span dir="ltr" style="left: 70.8662px; top: 842.992px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.04049);" role="presentation">Opus 57 by Mieczysław Weinberg is undoubtedly one of the most </span><span dir="ltr" style="left: 70.8662px; top: 864.018px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.01122);" role="presentation">beautiful and interesting vocal cycles in the composer’s oeuvre.</span> <em><span dir="ltr" style="left: 418.034px; top: 864.018px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.917042);" role="presentation">The </span></em><em><span dir="ltr" style="left: 70.8662px; top: 885.045px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.911765);" role="presentation">Gypsy Bible</span></em> <span dir="ltr" style="left: 135.573px; top: 885.045px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.998825);" role="presentation">is closely linked to two figures Weinberg regarded as his </span><span dir="ltr" style="left: 70.8662px; top: 906.072px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.03486);" role="presentation">masters: Julian Tuwim in the field of words, and Dmitri Shostako</span><span dir="ltr" style="left: 70.8662px; top: 927.098px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.98932);" role="presentation">vich in the field of musical strategies. Verena Mogl in her publication </span><em><span dir="ltr" style="left: 70.8662px; top: 948.125px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.956177);" role="presentation">“Juden die ins Lied sich retten” – der Komponist Mieczysław Weinberg </span></em><em><span dir="ltr" style="left: 70.8662px; top: 969.152px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.965836);" role="presentation">(1919–1996) in der Sowjetunion</span></em> <span dir="ltr" style="left: 241.504px; top: 969.152px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.00608);" role="presentation">draws attention to the mostly hidden </span><span dir="ltr" style="left: 70.8662px; top: 990.178px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.947423);" role="presentation">or veiled references to the life and works of Shostakovich. They become </span><span dir="ltr" style="left: 70.8662px; top: 1011.2px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.983473);" role="presentation">the key to interpreting the cycle both in the context of the relationship </span><span dir="ltr" style="left: 70.8662px; top: 1032.23px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.00432);" role="presentation">between the authors and the political situation prevalent at that time. </span><span dir="ltr" style="left: 70.8662px; top: 1053.26px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.02518);" role="presentation">The article presents the most important threads concerning the bio<span dir="ltr" style="left: 460.626px; top: 86.1782px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.00411);" role="presentation">graphical and artistic kinship between Weinberg and Tuwim, as well </span><span dir="ltr" style="left: 460.626px; top: 107.205px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.00409);" role="presentation">as the issues indicated by Verena Mogl, probably unknown to Polish </span><span dir="ltr" style="left: 460.626px; top: 128.232px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.00352);" role="presentation">readers. The appendix attached to the article contains all of Tuwim’s </span><span dir="ltr" style="left: 460.626px; top: 149.258px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.01694);" role="presentation">poems used in</span> <em><span dir="ltr" style="left: 541.425px; top: 149.258px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.911672);" role="presentation">The Gypsy Bible</span> </em><span dir="ltr" style="left: 627.718px; top: 149.258px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.00536);" role="presentation">along with the formal structure given </span><span dir="ltr" style="left: 460.626px; top: 170.285px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.03139);" role="presentation">to them by the composer. This is a new contribution to research on </span><span dir="ltr" style="left: 460.626px; top: 191.312px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.00033);" role="presentation">the creative output of Mieczysław Weinberg.</span></span></p>2021-12-15T00:00:00+01:00Prawa autorskie (c) 2021 Agnieszka Nowok-Zychhttps://pressto.amu.edu.pl/index.php/rfn/article/view/36049Trajektoria tonalno-harmoniczna jako wyraz archetypu narracyjnego unii mistycznej w twórczości Charles’a Tournemire’a i Aleksandra Skriabina2022-11-15T11:21:24+01:00Bogusław Rababoguslaw.raba@uwr.edu.pl<p><span dir="ltr" style="left: 70.8662px; top: 864.015px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.01656);" role="presentation">The subject of the article is a comparison of the process of transfor</span><span dir="ltr" style="left: 70.8662px; top: 885.042px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.03576);" role="presentation">mations of the tonal-harmonic structure in the works of Alexander </span><span dir="ltr" style="left: 70.8662px; top: 906.068px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.980738);" role="presentation">Scriabin and Charles Tournemire in relation to the narrative archetype </span><span dir="ltr" style="left: 70.8662px; top: 927.095px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.01978);" role="presentation">of the mystical union. The justification for comparing these aspects </span><span dir="ltr" style="left: 70.8662px; top: 948.122px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.999352);" role="presentation">of the work of these two composers is their development of a similar </span><span dir="ltr" style="left: 70.8662px; top: 969.148px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.976428);" role="presentation">harmonic idiom, which they used to symbolically justify diametrically </span><span dir="ltr" style="left: 70.8662px; top: 990.175px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.972541);" role="presentation">opposed worldviews. Scriabin’s work is considered a breakthrough for </span><span dir="ltr" style="left: 70.8662px; top: 1011.2px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.959734);" role="presentation">European music culture, whereas Tournemire’s is still little known. Just </span><span dir="ltr" style="left: 70.8662px; top: 1032.23px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.03724);" role="presentation">as the former assumed the role of composer-philosopher, the latter </span><span dir="ltr" style="left: 70.8662px; top: 1053.26px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.01065);" role="presentation">became a musical theologian. Tournemire, organist of the St. Clotil</span><span dir="ltr" style="left: 460.626px; top: 86.175px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.03483);" role="presentation">de basilica in Paris, initiated the tradition of musical homiletics, in </span><span dir="ltr" style="left: 460.626px; top: 107.202px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.01466);" role="presentation">which the central persuasive element, similar to the Gospel parable, </span><span dir="ltr" style="left: 460.626px; top: 128.228px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.968336);" role="presentation">was the musical narrative trajectory. Its climax was the mystical chord. </span><span dir="ltr" style="left: 460.626px; top: 149.255px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.00049);" role="presentation">However, a comparative analysis of harmonic structures, topics, nar</span><span dir="ltr" style="left: 460.626px; top: 170.282px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.977265);" role="presentation">rative trajectories, shows the limits of semantization that differentiates </span><span dir="ltr" style="left: 460.626px; top: 191.308px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.00533);" role="presentation">aesthetic postulates and analogous narrative constructions, the nodal </span><span dir="ltr" style="left: 460.626px; top: 212.335px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.01462);" role="presentation">moment of which are created by the union of polarization elements.</span></p>2021-12-15T00:00:00+01:00Prawa autorskie (c) 2021 Bogusław Rabahttps://pressto.amu.edu.pl/index.php/rfn/article/view/36050Między "Cyrulikiem sewilskim" a "Pierścieniem Nibelunga". Przyczynek do muzycznej refleksji o pieniądzu i ekonomii twórczości2022-11-15T11:21:21+01:00Paweł Siechowiczredakcja@resfactanova.pl<p><span dir="ltr" style="left: 507.874px; top: 527.637px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.01877);" role="presentation">The article is an invitation to reflect on the theme of money and the </span><span dir="ltr" style="left: 507.874px; top: 548.664px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.956551);" role="presentation">role of economic incentives in the creative act. Pointing to the abundant </span><span dir="ltr" style="left: 507.874px; top: 569.691px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.98606);" role="presentation">presence of the theme of money in opera plots, the author proposes to </span><span dir="ltr" style="left: 507.874px; top: 590.717px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.976634);" role="presentation">study the economics of creativity of particular composers taking acco</span><span dir="ltr" style="left: 507.874px; top: 611.744px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.999214);" role="presentation">unt of the various valuations of money expressed in their works. The </span><span dir="ltr" style="left: 507.874px; top: 632.771px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.973746);" role="presentation">ground for such reflection is set forth by the comparison of two operas </span><span dir="ltr" style="left: 507.874px; top: 653.797px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.01036);" role="presentation">that express two extreme views on money and its role for creativity: </span><span dir="ltr" style="left: 507.874px; top: 674.824px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.960458);" role="presentation">Gioacchino Rossini’s</span> <em><span dir="ltr" style="left: 621.299px; top: 674.824px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.943715);" role="presentation">The Barber of Seville</span></em> <span dir="ltr" style="left: 734.23px; top: 674.824px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.983212);" role="presentation">and Richard Wagner’s</span> <em><span dir="ltr" style="left: 855.109px; top: 674.824px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.910611);" role="presentation">The </span></em><em><span dir="ltr" style="left: 507.874px; top: 695.851px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.950649);" role="presentation">Ring of the Nibelung</span></em><span dir="ltr" style="left: 615.114px; top: 695.851px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.00855);" role="presentation">. Comparing different ways in which Figaro and </span><span dir="ltr" style="left: 507.874px; top: 716.877px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.01469);" role="presentation">Alberich approach money provides a starting point for the compari</span><span dir="ltr" style="left: 507.874px; top: 737.904px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.00426);" role="presentation">son of two creative acts that can be found in the two works: Figaro’s </span><span dir="ltr" style="left: 507.874px; top: 758.931px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.00404);" role="presentation">invention of a creative solution for Almaviva’s problem (affirmation </span><span dir="ltr" style="left: 507.874px; top: 779.957px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.976191);" role="presentation">of money) and Siegfried’s forging of a sword accompanied by Mime’s </span><span dir="ltr" style="left: 507.874px; top: 800.984px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.974266);" role="presentation">efforts to make a sleeping potion (rejection of money). The analysis of </span><span dir="ltr" style="left: 507.874px; top: 822.011px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.990549);" role="presentation">the musical form of the two scenes, however, shows the indebtedness </span><span dir="ltr" style="left: 507.874px; top: 843.037px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.02809);" role="presentation">of Wagner to Rossini. Although Wagner openly rejects the musical </span><span dir="ltr" style="left: 507.874px; top: 864.064px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.02542);" role="presentation">principles of his Italian predecessor, the dramaturgy of his music is </span><span dir="ltr" style="left: 507.874px; top: 885.091px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.991815);" role="presentation">based on the dramaturgical formulas developed in Italian operas. The </span><span dir="ltr" style="left: 507.874px; top: 906.117px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.00921);" role="presentation">two approaches towards money can be linked to the opposing views </span><span dir="ltr" style="left: 507.874px; top: 927.144px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.981258);" role="presentation">of Adam Smith and Karl Marx regarded as fathers of the classical and </span><span dir="ltr" style="left: 507.874px; top: 948.171px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.954121);" role="presentation">Marxian schools of political economy. Thus, the two operas can be seen </span><span dir="ltr" style="left: 507.874px; top: 969.197px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.983183);" role="presentation">as border posts of the territory in which music and economy intersect.</span></p>2021-12-15T00:00:00+01:00Prawa autorskie (c) 2021 Paweł Siechowiczhttps://pressto.amu.edu.pl/index.php/rfn/article/view/36052Etnomuzykologia Solidarności. Wokół "Musical Solidarities: Political Action and Music in Late Twentieth-Century Poland" Andrei F. Bohlman2022-11-15T11:21:18+01:00Joanna Kwapieńredakcja@resfactanova.pl<p><span dir="ltr" style="left: 663.307px; top: 396.509px; font-size: 19.2px; font-family: serif; transform: scaleX(0.986483);" role="presentation">The article discusses the book</span> <em><span dir="ltr" style="left: 894.798px; top: 396.509px; font-size: 19.2px; font-family: serif; transform: scaleX(0.954235);" role="presentation">Musical Solidarities</span> </em><span dir="ltr" style="left: 1046.19px; top: 396.509px; font-size: 19.2px; font-family: serif; transform: scaleX(0.976978);" role="presentation">by Andrea F. Bohl</span><span dir="ltr" style="left: 663.307px; top: 426.788px; font-size: 19.2px; font-family: serif; transform: scaleX(0.977607);" role="presentation">man. In her monograph she describes the history of Solidarity, placing </span><span dir="ltr" style="left: 663.307px; top: 457.066px; font-size: 19.2px; font-family: serif; transform: scaleX(0.98514);" role="presentation">sound at the centre of her analysis. The methods she uses allow her to </span><span dir="ltr" style="left: 663.307px; top: 487.344px; font-size: 19.2px; font-family: serif; transform: scaleX(0.984227);" role="presentation">examine historical facts holistically: she reaches for fieldwork as well </span><span dir="ltr" style="left: 663.307px; top: 517.623px; font-size: 19.2px; font-family: serif; transform: scaleX(1.01738);" role="presentation">as voice analysis, specific music motifs, and the influence of Polish </span><span dir="ltr" style="left: 663.307px; top: 547.901px; font-size: 19.2px; font-family: serif; transform: scaleX(0.992443);" role="presentation">musicians and composers on social attittudes in the 1980s. She offers </span><span dir="ltr" style="left: 663.307px; top: 578.18px; font-size: 19.2px; font-family: serif; transform: scaleX(1.00503);" role="presentation">an interesting analysis of the songs that acompanied the protests and </span><span dir="ltr" style="left: 663.307px; top: 608.458px; font-size: 19.2px; font-family: serif; transform: scaleX(0.976187);" role="presentation">the phenomenon of Stefan Bratkowski’s “Gazeta Dźwiękowa” [Sound </span><span dir="ltr" style="left: 663.307px; top: 638.736px; font-size: 19.2px; font-family: serif; transform: scaleX(1.00111);" role="presentation">Gazette] and its influence on the listeners. She draws attention to the </span><span dir="ltr" style="left: 663.307px; top: 669.015px; font-size: 19.2px; font-family: serif; transform: scaleX(0.9939);" role="presentation">icons of the Solidarity period such as Father Jerzy Popiełuszko, Lech </span><span dir="ltr" style="left: 663.307px; top: 699.293px; font-size: 19.2px; font-family: serif; transform: scaleX(0.950334);" role="presentation">Wałęsa, Krzysztof Penderecki and their voices, understood both literally </span><span dir="ltr" style="left: 663.307px; top: 729.572px; font-size: 19.2px; font-family: serif; transform: scaleX(0.990447);" role="presentation">and metaphorically. She also analyses contemporary reinterpretations </span><span dir="ltr" style="left: 663.307px; top: 759.85px; font-size: 19.2px; font-family: serif; transform: scaleX(0.96858);" role="presentation">of songs from that period, using Jacek Kaczmarski’s</span> <span dir="ltr" style="left: 1056.54px; top: 759.85px; font-size: 19.2px; font-family: serif; transform: scaleX(0.9882);" role="presentation">Mury</span> <span dir="ltr" style="left: 1102.55px; top: 759.85px; font-size: 19.2px; font-family: serif; transform: scaleX(0.993912);" role="presentation">[Walls] and </span><em><span dir="ltr" style="left: 663.307px; top: 790.129px; font-size: 19.2px; font-family: serif; transform: scaleX(0.958602);" role="presentation">Janek Wiśniewski padł</span></em> <span dir="ltr" style="left: 836.914px; top: 790.129px; font-size: 19.2px; font-family: serif; transform: scaleX(0.987972);" role="presentation">[Janek Wiśniewski fell]. The author rejects the </span><span dir="ltr" style="left: 663.307px; top: 820.407px; font-size: 19.2px; font-family: serif; transform: scaleX(1.03239);" role="presentation">chronological approach to research, analysing the historical period </span><span dir="ltr" style="left: 663.307px; top: 850.685px; font-size: 19.2px; font-family: serif; transform: scaleX(1.00759);" role="presentation">through problematization of selected issues.</span></p>2021-12-15T00:00:00+01:00Prawa autorskie (c) 2021 Joanna Kwapieńhttps://pressto.amu.edu.pl/index.php/rfn/article/view/36053Siglind Bruhn i pieśniowe symfonie o przemijaniu2022-11-15T11:21:10+01:00Marcin Trzęsiokredakcja@resfactanova.pl<p><span dir="ltr" style="left: 90.7087px; top: 298.632px; font-size: 17.0667px; font-family: serif; transform: scaleX(0.960237);" role="presentation">This article discusses Siglin Bruhn’s book</span> <em><span dir="ltr" style="left: 369.387px; top: 298.632px; font-size: 17.0667px; font-family: serif; transform: scaleX(0.925866);" role="presentation">“Dunkel ist das Leben”. Lied</span></em><em><span dir="ltr" style="left: 90.7087px; top: 325.546px; font-size: 17.0667px; font-family: serif; transform: scaleX(0.939466);" role="presentation">sinfonien zur Vergänglichkeit von Mahler bis Penderecki</span></em> <span dir="ltr" style="left: 459.347px; top: 325.546px; font-size: 17.0667px; font-family: serif; transform: scaleX(0.972228);" role="presentation">(2020). It sum</span><span dir="ltr" style="left: 90.7087px; top: 352.461px; font-size: 17.0667px; font-family: serif; transform: scaleX(1.01932);" role="presentation">marises the main theses of the book, i.e., the content of the selected </span><span dir="ltr" style="left: 90.7087px; top: 379.375px; font-size: 17.0667px; font-family: serif; transform: scaleX(0.983584);" role="presentation">symphonies about transience (Mahler, Zemlinsky, Shostakovich, Pen</span><span dir="ltr" style="left: 90.7087px; top: 406.289px; font-size: 17.0667px; font-family: serif; transform: scaleX(1.01113);" role="presentation">derecki) and the methodological decision to base analyses primarily </span><span dir="ltr" style="left: 90.7087px; top: 433.203px; font-size: 17.0667px; font-family: serif; transform: scaleX(1.00499);" role="presentation">on the vocal line shown in a particular typographic arrangement that </span><span dir="ltr" style="left: 90.7087px; top: 460.117px; font-size: 17.0667px; font-family: serif; transform: scaleX(0.979613);" role="presentation">reflects the formal structure of poetry. The review focuses specifically </span><span dir="ltr" style="left: 90.7087px; top: 487.031px; font-size: 17.0667px; font-family: serif; transform: scaleX(0.973202);" role="presentation">on the analyses of two late vocal symphonies by Krzysztof Penderecki </span><span dir="ltr" style="left: 90.7087px; top: 513.945px; font-size: 17.0667px; font-family: serif;" role="presentation">(</span><span dir="ltr" style="left: 96.6138px; top: 513.945px; font-size: 17.0667px; font-family: serif; transform: scaleX(0.939167);" role="presentation"><em>Sixths</em></span> <span dir="ltr" style="left: 141.363px; top: 513.945px; font-size: 17.0667px; font-family: serif; transform: scaleX(1.03923);" role="presentation">and</span><em> <span dir="ltr" style="left: 171.622px; top: 513.945px; font-size: 17.0667px; font-family: serif; transform: scaleX(0.946731);" role="presentation">Eighth</span></em><span dir="ltr" style="left: 214.698px; top: 513.945px; font-size: 17.0667px; font-family: serif; transform: scaleX(0.9949);" role="presentation">), which Siglind Bruhn’s book subjects for the first </span><span dir="ltr" style="left: 90.7087px; top: 540.86px; font-size: 17.0667px; font-family: serif; transform: scaleX(1.01398);" role="presentation">time to such complex scholarly interpretation.</span></p>2021-12-15T00:00:00+01:00Prawa autorskie (c) 2021 Marcin Trzęsiokhttps://pressto.amu.edu.pl/index.php/rfn/article/view/36054Podróż do źródeł muzyki? Afrykańsko-niemieckie związki muzyczne w I poł. XX wieku2022-11-15T11:21:07+01:00Wojciech Odojredakcja@resfactanova.pl<p><span dir="ltr" style="left: 460.63px; top: 843.019px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.0073);" role="presentation"><span dir="ltr" style="left: 460.63px; top: 653.779px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.975071);" role="presentation">The article is a review of Anna Maria Busse Berger’s book</span> <em><span dir="ltr" style="left: 770.202px; top: 653.779px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.937459);" role="presentation">The Search </span></em><em><span dir="ltr" style="left: 460.63px; top: 674.806px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.963375);" role="presentation">for Medieval Music in Africa and Germany, 1891–1961: Scholars, Sin</span></em><em><span dir="ltr" style="left: 460.63px; top: 695.832px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.938866);" role="presentation">gers, Missionaries</span></em><span dir="ltr" style="left: 551.669px; top: 695.832px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.971464);" role="presentation">. This volume discusses the role of youth movements </span><span dir="ltr" style="left: 460.63px; top: 716.859px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.985093);" role="presentation">(Jugendbewegung, Wandervogel, Singbewegung) responsible for cre</span><span dir="ltr" style="left: 460.63px; top: 737.886px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.987658);" role="presentation">ating the cultural life of Germany, and the interdependencies between </span><span dir="ltr" style="left: 460.63px; top: 758.912px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.960959);" role="presentation">musicologist-medievalists, ethnomusicologists and missionaries. It also </span><span dir="ltr" style="left: 460.63px; top: 779.939px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.971171);" role="presentation">deals with the fascinating, difficult beginnings of comparative musico</span><span dir="ltr" style="left: 460.63px; top: 800.966px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.00646);" role="presentation">logy, including the story of musicology as a scholarly discipline that </span><span dir="ltr" style="left: 460.63px; top: 821.992px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.03263);" role="presentation">was slowly finding its place among other branches of learning that </span>had already been long established at universities.</span></p>2021-12-15T00:00:00+01:00Prawa autorskie (c) 2021 Wojciech Odojhttps://pressto.amu.edu.pl/index.php/rfn/article/view/36055List Michała Bristigera do Zygmunta Mycielskiego z kwietnia 1954 (zbiory Biblioteki Narodowej w Warszawie)2022-11-12T00:06:30+01:00Michał Bristigerredakcja@resfactanova.pl<p>List Michała Bristigera do Zygmunta Mycielskiego z kwietnia 1954 (zbiory Biblioteki Narodowej w Warszawie)</p>2022-11-15T00:00:00+01:00Prawa autorskie (c) 2021 Michał Bristiger