<?xml version="1.0" encoding="UTF-8"?>
<feed xmlns="http://www.w3.org/2005/Atom" xmlns:dc="http://purl.org/dc/elements/1.1/">
<title>Muzyka Historia Teoria Edukacja, 2013, Numer 3</title>
<link href="https://repozytorium.ukw.edu.pl///handle/item/1385" rel="alternate"/>
<subtitle/>
<id>https://repozytorium.ukw.edu.pl///handle/item/1385</id>
<updated>2026-04-13T17:46:15Z</updated>
<dc:date>2026-04-13T17:46:15Z</dc:date>
<entry>
<title>Polska muzyka chóralna obrazem przemian dziejowych i artystycznych w kontekście kultury europejskiej</title>
<link href="https://repozytorium.ukw.edu.pl///handle/item/1433" rel="alternate"/>
<author>
<name>Szulakowska-Kulawik, Jolanta</name>
</author>
<id>https://repozytorium.ukw.edu.pl///handle/item/1433</id>
<updated>2015-01-29T01:02:34Z</updated>
<published>2013-01-01T00:00:00Z</published>
<summary type="text">Polska muzyka chóralna obrazem przemian dziejowych i artystycznych w kontekście kultury europejskiej
Szulakowska-Kulawik, Jolanta
My thesis about the European choral music is constructed on several leading ways of thinking: the rule of coincidentio oppositorum, the historical evolution of this music connected with the waves of the classical and romantic style, the relations with other arts and the sketch of Polish choral music mainly in the XXth century. I am keen on seeing this problem as a result of social changes in the European life – this kind of music is intensively attached to ideology, religion and politics. Generally speaking, choral music is treated as a special sort of musical art, we can have just an idea of remains of ancient customs (of knights, soldiers, pilgrims) and at last this music was a mean of religious celebrations. thus it was of the occasional character when this music was used the most. this way of of orientations has begun during the epoch of Enlightenment, after the French Revolution.
</summary>
<dc:date>2013-01-01T00:00:00Z</dc:date>
</entry>
<entry>
<title>Język kompozytorski Andrzeja Koszewskiego jako przykład nowoczesnego traktowania zespołu chóralnego</title>
<link href="https://repozytorium.ukw.edu.pl///handle/item/1432" rel="alternate"/>
<author>
<name>Brożek, Michał</name>
</author>
<id>https://repozytorium.ukw.edu.pl///handle/item/1432</id>
<updated>2015-01-29T01:02:39Z</updated>
<published>2013-01-01T00:00:00Z</published>
<summary type="text">Język kompozytorski Andrzeja Koszewskiego jako przykład nowoczesnego traktowania zespołu chóralnego
Brożek, Michał
Andrzej Koszewski is a compositor strictly oriented towards creating choral pieces, as works written for other performers are quite marginal in his oeuvre. Nevertheless, even in the mainstream portion of his creative activity, he emerges as an author who is constantly blazing new trails. the pieces created throughout the 23 years of his musical output are permeated with numerous experimental vocal and acoustic effects.
</summary>
<dc:date>2013-01-01T00:00:00Z</dc:date>
</entry>
<entry>
<title>Uwagi o niekonwencjonalnych relacjach słowno-muzycznych w muzyce chóralnej Andrzeja Koszewskiego</title>
<link href="https://repozytorium.ukw.edu.pl///handle/item/1431" rel="alternate"/>
<author>
<name>Podhajski, Marek</name>
</author>
<id>https://repozytorium.ukw.edu.pl///handle/item/1431</id>
<updated>2015-02-02T01:02:16Z</updated>
<published>2013-01-01T00:00:00Z</published>
<summary type="text">Uwagi o niekonwencjonalnych relacjach słowno-muzycznych w muzyce chóralnej Andrzeja Koszewskiego
Podhajski, Marek
This article is a new version of a lecture by Marek Podhajski titled: Andrzej Koszewski - master of choral music. The author gave it in 1993 at music school in Reykjavik. He speaks about treating the choir as a musical band, a new approach to the lyrics and dependencies between the both. As the effect of Koszewski’s choral music research, the author discovered three levels of lyrical and musical dependency. He named them: 1) semantic and emotional relation, 2) phonic and interval relation, 3) phonic and sound relation. This kind of  categorization of relations mentioned above is a sign of originality and an insightful exploration of Andrzej Koszewski’s achievements in the choral music field.
</summary>
<dc:date>2013-01-01T00:00:00Z</dc:date>
</entry>
<entry>
<title>O obszarach muzycznej czasoprzestrzeni w twórczości chóralnej a cappella Andrzeja Koszewskiego</title>
<link href="https://repozytorium.ukw.edu.pl///handle/item/1430" rel="alternate"/>
<author>
<name>Okonski, Marta</name>
</author>
<id>https://repozytorium.ukw.edu.pl///handle/item/1430</id>
<updated>2015-02-03T01:02:15Z</updated>
<published>2013-01-01T00:00:00Z</published>
<summary type="text">O obszarach muzycznej czasoprzestrzeni w twórczości chóralnej a cappella Andrzeja Koszewskiego
Okonski, Marta
The article is divided into three parts: Introduction, Space-time Areas and Epilogue. In the first part the author provides the explanation of the term: music space-time taken from the literature. the research of Michaił Bachtin serves here as a support. In the second part the author presents such subjects as: sound zone, ratio zone, spirituality zone and in-between zone which all are related directly to the choral artistic output of Andrzej Koszewski. The author explains the subject of the space-time using the example of choral pieces: Ballata, Muzyka fa-re-mi-do-si, Nicolao Copernico dedicatum. The article ends with the Epilogue in which the author summarizes her research on the space-time in the pieces composed for the a capella choir. This is expressed with the following statement: Time and space in the artistic output of Andrzej Koszewski proclaim the unique shape of music space-time. This zone exists in the space-time of human voice sound world and music sacrum of Koszewski exists in the space-time.
</summary>
<dc:date>2013-01-01T00:00:00Z</dc:date>
</entry>
</feed>
