https://repozytorium.ukw.edu.pl///handle/item/1384 2026-04-20T18:52:14Z 2026-04-20T18:52:14Z Schiller-Rydzewska, Joanna https://repozytorium.ukw.edu.pl///handle/item/1418 2015-02-24T01:02:07Z 2014-01-01T00:00:00Z

Kazimierz Serocki – przemiany twórcze i ich konteksty Schiller-Rydzewska, Joanna Kazimierz Serocki is one of the leading figures of Polish music in the 20th century. An outstanding and interesting artist, an activist and organizer of music life. Thirty years after his death his accomplishments are clearly seen in historical context. This historical recognition should be seen in two contexts: personal and general, covering social, political, historical and cultural transformations. First, the article presents the ups and downs of composer’s life -school and later university years, scholarship in Paris, and the very rich and diverse activities of Serocki when he returned to the country – among others a Group of 49 and his active role in organizing the Warsaw Autumn Festival. Historical events create context for Serocki’s works which evolve accordingly to changes in polish music in second half of XX century. We can observe movements such as: folk, dodekafonic, serialism of material, aleatorism and open form experiments, even with electronic music. The style of Serocki’s music is versatile, rich and diverse.

2014-01-01T00:00:00Z Kienik, Tomasz Marcin https://repozytorium.ukw.edu.pl///handle/item/1417 2015-01-28T01:02:39Z 2012-01-01T00:00:00Z

Świat sonorystyki Kazimierza Serockiego Kienik, Tomasz Marcin The paper is a review of some basic issues concerning the mature musical output of this composer. Points to the still underestimated role in Polish history of twentieth century music, shows the sonorism (“sonoristics”) as a leading technique in his work as a composer. This paper shows Serocki in light of the avant-garde and innovation. In addition, it is a brief introduction to the results of the doctoral thesis of the author, who proved that the pitch parameter of Serocki’s works remained a part of primary importance.

2012-01-01T00:00:00Z Winnicka, Marlena https://repozytorium.ukw.edu.pl///handle/item/1416 2015-01-31T01:02:18Z 2012-01-01T00:00:00Z

Technika koncertująca w sonorystycznych utworach Kazimierza Serockiego Winnicka, Marlena The composing interests of Kazimierz Serocki are very broad and diversified. In different periods of his life he referred to the folklore, neo-classicism, dodecaphony or aleatorism. his artistic output is characterized with diversity of the sound language and style. Serocki became interested in sonorism in the 60’s. In the artistic pieces of that time the accent was moved from the melodic-harmonic composition to the tone and his own discoveries in the scope of the timbre, shape and motion. The first sonoristic piece was Continuum for 6 groups of percussion. In this piece, percussion is not only the source of new sounding but the means for constructing the expression in the scope of drama and in the scope of various methods of extracting the sound. The subject of contemplation in this article are the compositions with the emphasized solo cast in the title, for example: two pianos, piano and electronic apparatus, flutes. Putting in the titles the names of the solo instruments in the single cast and the method of their treatment in the pieces is the fact that these are the typical solo performances. The author analyzes in the above pieces the influence of the cast on the sounding of the pieces, sources of the sounds, methods of extracting the sounds.

2012-01-01T00:00:00Z Rubin, Grzegorz https://repozytorium.ukw.edu.pl///handle/item/1415 2015-01-30T01:02:34Z 2012-01-01T00:00:00Z

Twórczość chóralna Kazimierza Serockiego Rubin, Grzegorz The figure of Kazimierz Serocki is connected with Pomorze and Kujawy. He was borne in Torun in 1922. It was there that he gained the basis for of the music education. Despite the fact that he completed his music studies in Lodz: composing in the class of Kazimierz Sikorski and piano in the class of Stanislaw Szpinalski, he choose Bydgoszcz as the place for his artistic debut. It was in Bydgoszcz where he performed as composer and pianist, where on 13th March 1947 with the accompaniment of Pomorska Symphony Orchestra with Arnold Rezler as director performed his Concertino for piano and orchestra. The beginnings of his composing path fell on very unattractive period in terms of politics. In order to adjust to the requirements of the official political line of the nation and also without losing his individual artistic aspect Serocki searched for the inspiration in the folk music. He also referred to Polish folklore in the choral music. The choral music was not the main stream in the output of Serocki. his artistic choral output encompasses only 5 pieces. These are both single pieces and cyclical compositions. All these pieces were created in the 50’s and all refer to folklore. In his choral compositions, Serocki showed great creative invention creating folk melodies ccording to his own composing rules, and he composed his own melodies to the folk texts - referring to the folk original pieces. These pieces despite the construction simplicity, traditional approach to the choral voices are characterized by the interesting harmonics, versatile vocal part and diversified dynamics.

2012-01-01T00:00:00Z