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EN
Introduction. During jazz studies, a student develops not only the skill to play the chosen instrument or the vocal technique, but also participates at sessions of playing music in groups. To successfully incorporate in this creative process, theory-wise, practical and psychological readiness is needed, as well as cooperation skills.Aim of the Study. To find possibilities to develop cooperation skills during acquisition process of jazz singing.Materials and Methods. Analysis of pedagogical and psychological theory, pedagogical observation, analysis of artistic experience, questionnaires.Results. Results of questionnaires have been summarised, possibilities to develop cooperation skills during acquisition process of jazz singing have been found.Conclusions. It is necessary to develop contents of studies, drawing more attention to sessions of playing music in groups, purposefully preparing students for work in groups, taking into account individual readiness and gradualness.
EN
The relationship between a film director and the composer of the film soundtrack is an exceptionally interesting research subject. Even more so in the context of Krzysztof Komeda’s music in Roman Polański’s film etudes. It is a rare case for the influence of music on a film and for the influence of the film on the music to be so significant in the shaping of the styles of two artists on the threshold of their careers, one of whom is a composer, the other one being a film director.In the article, the author attempts to prove that creating a film using directing solutions that refer to jazz music elements is just as possible as the transformation of a jazz composer (in the context of a film) into an author of music which also becomes a film soundtrack. What is more, the mutual inspirations translate into the artistic development of both artists which is noticeable in their subsequent joined works. Those are: Two Men and a Wardrobe (1958), The Fat and the Lean (1961) and Mammals (1961).The author performs a film study-musicological analysis of the films mentioned above on the basis of the works of Marek Hendrykowski, Alicja Helman, Zofia Lissa, and Emilia Batura; he also uses the opinions of the authors themselves on their shared films which are the subject of the analysis mentioned. Examining the role of Krzysztof Komeda’s music in Roman Polański’s short films proved that apart from functionalizing the basic element of a music piece (melodics, agogic, rhytmics, and meter), the element of improvisation – characteristic of jazz – can also occur in a film, present both in its visual as well as in the sound layer. Thus, the use (on both levels) of elements of two kinds of art different from each other (in an ontological sense) has a significant influence on the shaping of the unique style of both artists.
PL
The Jazziness of a Film – the Filmicness of Jazz. About the Music of Krzysztof Komeda in the Short Films of Roman Polański The relationship between a film director and the composer of the film soundtrack is an exceptionally interesting research subject. Even more so in the context of Krzysztof Komeda’s music in Roman Polański’s film etudes. It is a rare case for the influence of music on a film and for the influence of the film on the music to be so significant in the shaping of the styles of two artists on the threshold of their careers, one of whom is a composer, the other one being a film director.In the article, the author attempts to prove that creating a film using directing solutions that refer to jazz music elements is just as possible as the transformation of a jazz composer (in the context of a film) into an author of music which also becomes a film soundtrack. What is more, the mutual inspirations translate into the artistic development of both artists which is noticeable in their subsequent joined works. Those are: Two Men and a Wardrobe (1958), The Fat and the Lean (1961) and Mammals (1961).The author performs a film study-musicological analysis of the films mentioned above on the basis of the works of Marek Hendrykowski, Alicja Helman, Zofia Lissa, and Emilia Batura; he also uses the opinions of the authors themselves on their shared films which are the subject of the analysis mentioned. Examining the role of Krzysztof Komeda’s music in Roman Polański’s short films proved that apart from functionalizing the basic element of a music piece (melodics, agogic, rhytmics, and meter), the element of improvisation – characteristic of jazz – can also occur in a film, present both in its visual as well as in the sound layer. Thus, the use (on both levels) of elements of two kinds of art different from each other (in an ontological sense) has a significant influence on the shaping of the unique style of both artists.
3
Content available Wariacje jazzowe w kinie "młodych gniewnych"
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EN
Jazz music and the vision of the world depicted by the “angry young men” are connected by a mysterious bond, its basis being not a simple citation of musical pieces, but functioning based on the identicalness of conveyed feelings and thoughts. Rarely can one find an example of correspondence of arts characterised by such extraordinary cohesion of thought and outlook on life. The objective of the present text is not to show the way jazz music functions in the “angry young men’s” films, but to take a closer look at this tangent point, this place where two worlds meet – worlds which are completely different, and yet, in consequence, alike. It transpires, after all, that there is only one way to self-cognition (whether in jazz or “angry young men’s” cinema) – the one leading through daring steps, rebellion and improvisation.
PL
Jazz variations in “angry young men” cinema Jazz music and the vision of the world depicted by the “angry young men” are connected by a mysterious bond, its basis being not a simple citation of musical pieces, but functioning based on the identicalness of conveyed feelings and thoughts. Rarely can one find an example of correspondence of arts characterised by such extraordinary cohesion of thought and outlook on life. The objective of the present text is not to show the way jazz music functions in the “angry young men’s” films, but to take a closer look at this tangent point, this place where two worlds meet – worlds which are completely different, and yet, in consequence, alike. It transpires, after all, that there is only one way to self-cognition (whether in jazz or “angry young men’s” cinema) – the one leading through daring steps, rebellion and improvisation.
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