https://repozytorium.ukw.edu.pl///handle/item/1387 Sun, 12 Apr 2026 03:27:52 GMT 2026-04-12T03:27:52Z https://repozytorium.ukw.edu.pl:443/bitstream/id/e7c799a9-8fb3-4721-a964-beb96121ef59/ https://repozytorium.ukw.edu.pl///handle/item/1387 https://repozytorium.ukw.edu.pl///handle/item/1456 Kontradykcyjne wektory oddziaływania impresjonizmu rezonującego w muzyce francuskiej połowy XX wieku – postimpresjonistyczna „estetyka labiryntu”. Portrety kompozytorskie Charles’a Koechlina i Florenta Schmidta Szulakowska-Kulawik, Jolanta Herein article has been entirely based on the French documentation and written as result of the author’s many years of research study in the field of French culture and music. The studies have brought to revealing more and more cards, which has occurred in terms of these two not particularly widely known composers in Poland: Charles Koechlin and Florent Schmitt. These two artists complemented and developed the Claude Debussy’ output. At times they redirected his composer’s interest into other spheres, thus getting influenced by other trends, producing slightly magic creations, fascinating with their sound and aesthetic conveyance. The core of this presentation is to precisely define the genesis of the two contrary creative worlds characteristic for the French postimpressionism of those two not widely known characters. The author also strives to sketch the opposition of these two creative standpoints, a line drawn in the form of expressionistic impressionism, coloured with the touch of German influence, and a line of classicist, typically Gallic, modally determined and paradoxically, contrapuntally; the common element for these two aesthetic spheres is their sensitivity to oriental infiltrations. The author derives her conclusions from a deep analysis of the works composed by Koechlin and Schmitt. Both composers, despite their metamorphoses, at the same time likewise and differently fit well into the picture of romantic isolation: Charles Koechlin, devoted to „shadows of the past”, and Florent Schmitt – absorbed in the dramatic narration, while „social interaction” only partially determined their art. Axioms of tradition did not loose their meaning with those artists, but got evolved, revalued, even in their most contractive dimensions, even in the canon of the French everlasting classicism. In the final part, the author proposes to recognise Gerard Denizeau with the epithet „aesthetician of labyrinth”, which was used by the author to name the art of the second half of the twentieth century; this Gallic labyrinth of the postimpressionist art, built on contradictory assumptions, does not have a single, proper way out, and its multiple pathways remind of the courtly French style gardens with their principle of „game” and illusion. When looking at these processes in a universal way we can notice that the music is a part of the nature, that each power has its reversal, and reversals of both power are opposite. The above drawn picture also arguments that each direction has two reversals, that each action resonates in reaction, usually binary-oriented. Thu, 01 Jan 2015 00:00:00 GMT https://repozytorium.ukw.edu.pl///handle/item/1456 2015-01-01T00:00:00Z https://repozytorium.ukw.edu.pl///handle/item/1455 Chór Nauczycieli Słowackich - reprezentant kultury chóralnej na Słowacji Milan Pazurik Prof. Milan Pazurik presents in his article the history and artistic activity of the Choir of Slovak teacher which is representative for Slovak culture. This Choir was established in December 1920. Gabor Valocky was one of its founders and its first conductor was Ferdinant Yacha (1860-1932). The Choir performed for the first time on August 22nd, 1922 in Trenczyn. Further, in his article the author describes the trial performance organization, the repertoire of the choir, methods of acquiring the new members and among others the performance of the choir during concerts. Just like each non-professional choir, it has been subject to financial problems, changes of the conductors and changes of the choir performers. However, these difficulties did not affect the level of performance or the frequency of appearances on the stage. The author describes also the activity of the choir at the background of political changes which occurred in Czech Republic and Slovakia. The repertoire of the choir contains the pieces of Slovakian and Czech conductors as well as many pieces of foreign artists. Throughout many years of its performance carrier, the Choir participated at many domestic and foreign music festivals. The Choir won the prizes at festivals held in Athens, Gorizia, Llangollen, Neuchatel and tolosa. The Choir of Slovak teachers has been promoting choral singing since 1920 giving a lot of satisfaction to its listeners and choir performers themselves. Thu, 01 Jan 2015 00:00:00 GMT https://repozytorium.ukw.edu.pl///handle/item/1455 2015-01-01T00:00:00Z https://repozytorium.ukw.edu.pl///handle/item/1454 Capriccioso na fortepian Vojtecha Didiego Kološtová, Marianna The paper reflects the artistic personality of the music composer, lecturer and conductor vojtech Didi, with a special focus on the analysis of its chamber work – piano composition Capriccioso per pianoforte. The technique of Didi’s compositional work is based on music trends of the 20th century, taking into account sound possibilities of the interpretation. Sheet music of Capriccioso per pianoforte is part of the paper. Thu, 01 Jan 2015 00:00:00 GMT https://repozytorium.ukw.edu.pl///handle/item/1454 2015-01-01T00:00:00Z https://repozytorium.ukw.edu.pl///handle/item/1453 Folklor inspiracją kompozycji jazzowych Zbigniewa Namysłowskiego Rubin, Grzegorz Zbigniew Namyslowski is one of the most distinguished Polish jazz musicians. He debuted in the late 50-ties, playing violoncello in Krzysztof Sadowski’s Modern Combo band. Violoncello was not commonly seen in jazz music. He changed violoncello to trombone and played in the Warsaw traditional jazz band New orleans Stompers. It is the band for which he created his first arrangements inspired by the Polish folk. The following works should be mentioned here: Motywy goralskie (Highlander motives) and Starzyk (Pipe Smoker). However, as the time passed, the Dixieland style and the trombone stopped satisfying him. He then replaced the trombone with the alt saxophone and switched from Dixieland to modern jazz. Namyslowski is regarded as one of the greatest post-Coleman and post-Coltrane saxophonists in Poland. Once his adventure with Dixieland was over, his area of interested moved to bop, modern jazz trends, including free jazz. He was one of the first Polish jazz musicians to introduce odd metre to his compositions. This article concerns those works in particular. the author presents here the analysis of Namyslowski’s first compositions in the meter 5/4 and 7/4, such as Piątawka (in 4/5 time) and Siodmawka (Dance in Seven). In 1973 Namyslowski composed another work with folk reference, entitled Kuyaviak Goes Funky. The composition is based on the 15/8 meter and consists of three parts, in which the melodies references to the Kuyavian idiom, supported by ostinato rhythm figures. The newest stage of his folk discoveries is the establishment of cooperation with the highlander band of Jan Karpiela “Bulecki” and their joint performances. Joint concerts and the records produced inspired the critics to call Namyslowski the “jazz and folk” musician. Thu, 01 Jan 2015 00:00:00 GMT https://repozytorium.ukw.edu.pl///handle/item/1453 2015-01-01T00:00:00Z