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1
Content available O ROZUMIENIU MUZYKI INNEGO KRĘGU KULTUROWEGO – MOśLIWOŚCI I OGRANICZENIA HORYZONTÓW WŁASNEGO POZNANIA
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Chaciński J.
Ars inter Culturas
|
2010
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nr 1
93-105
DE
Im vorliegenden Beitrag geht es um eine Analyse des Verstehensprozesses von anderen Musikkulturen im Lichte der zu diesem Thema zugänglichen Fachliteratur. Das Hauptprob- lem, das in dem Kontext formuliert wurde, ist folgende Frage: In welchem Ausmaß ist eine europäisch geprägte Enkulturation und musikalische Bildung, die auf Methoden des Mu- sikhörens und den damit verbundenen Bewertungen beruht, durch das Verstehen der Phä- nomene anderen musikalischer Kulturen erschwert worden?Zur Klärung dieses Problems wird sowohl die Theorie von W. Gruhn über die Ebenen von musikalischen Verstehens herangezogen, als auch die Meinungen anderer Autoren (Z. Lissa, P.W. Schatt, G. Kleinen, M.P. Baumann, K.H. Ehrenforth) über die Schwierig- keiten, die während des Erwerbs von Kompetenzen des Musiklernens aus einem anderen Kulturkreis auftreten können. Man hat auch die sogenannte Bimusikalität beschrieben, also den Mechanismus, dass bei einem Europäer ein Potenzial besteht, europäische und außer- europäische Musik unabhängig wahrnehmen und verstehen zu können. Danach folgt eine Charakteristik der Musik, die man als Sprache interkultureller Kom- munikation interpretiert. Es wird das Dilemma, dass Musik als eine universelle oder als nur für eine bestimmte Kultur spezifische Sprache betrachtet wird, hervorgehoben. Dabei wird versucht, die ethnischen und nationalen Paradigmen der musikalischen Sprache zu definie- ren. Im Rahmen dieses Artikels werden auch einige europäische musikalischen Konventio- nen aus dem XIX. und XX. Jahrhunderts analysiert, in denen Komponisten auf verschiede- ne Art und Weise die Kunst anderer Kulturen in ihre Werke integrierten. Es wird auf die Evolution dieses Prozesses hingewiesen, in dem eine ursprüngliche, naive und mit kulturel- len Vorurteilen überfüllte Form des Zitierens von außereuropäischer Musik zum mehr bewussten und vertieften schöpferischen Prozess umgewandelt wurde. Letzteres ist zu den wichtigen kompositorischen Inspirationen gewachsen. Diese Analyse wird um eine Charak- teristik von einigen musikalischen Beispielen ergänzt (Debussy, Puccini, Mahler, Mesiaen, Cage und Stockhausen). Zum Schluss wird die Bedeutung außereuropäischer Kulturen in zeitgenössischer Musik hervorgehoben, die die europäische kulturelle Erbschaft bereichert und neue Richtungen zum Erlernen und Verstehen von anderen Musikkulturen auf dem Wege des Dialoges inspiriert.
2
Content available Międzynarodowa konferencja Pedagogika muzyczna w kontynuacji i przełomie – historyczne perspektywy i współczesne odniesienia w europejskim kontekście Akademia Pomorska w Słupsku, 16-18 października 2014 roku
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Chaciński J.
Ars inter Culturas
|
2015
|
nr 4
289-292
3
Content available Sztuka jako narzędzie poznawania artystyczno-kulturowej przestrzeni – omówienie prac „Ars inter Culturas”
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Chaciński J.
Ars inter Culturas
|
2020
|
nr 9
5-10
EN
In the current issue of the journal „Ars inter Culturas”, scholarly articles have been gathered and arranged into several thematic groups. Most of the issue is devoted to music, its analysis and to musical education, both conceptual and historical studies, as well as research into its effects. The articles in the first section are arranged chronologically, covering musical space from ancient Egypt to contemporary times. The second section includes historical research on music education, from the perspective of both Eastern European and Polish experiences. The third section maintains a multicultural profile, showing the interpenetration of various musical concepts between countries and their national adaptations.Traditionally, space is set aside in „Ars inter Culturas” for fields that round out the theore-tical area of other aspects of multiculturalism. This time, these were texts offering theological analysis as well as in teaching religious education for young people. The last part of this issue are references to other arts – ballet, design, as well as historical and contemporary interpreta-tion of literature, and sport.
4
Content available Коменда Ольга Іванівна: Універсальна творча особистість в yкраїнській музичній культурі [Twórcza uniwersalna osobowość w ukraińskiej kul-turze muzycznej] (Національна музична академія України імені П.І. Чайковського Kijów 2020)
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Chaciński J.
Ars inter Culturas
|
2020
|
nr 9
393-398
EN
The main theme of the reviewed work is an attempt to define the concept of active universa-lism of the creative personality based on the available literature in the field of many sciences, its characteristics in the confrontation with the achievements mainly in the field of psycho-logy, historically oriented culturology and musicology. The most important issue is to pre-sent the richness of Ukrainian musical culture, ranging from representatives of its national canon (Mykola Lysenko) to contemporary composers, most of whom are attention was paid to Oleksandr Kozarenko.
5
Content available wprowadzenie
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Chaciński J.
Ars inter Culturas
|
2014
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nr 3
5-9
6
Content available Ukrainian students enrolled in music education studies in Poland – education, attitudes, professional expectations, and their relations to their environment – research report
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Chaciński J.
Ars inter Culturas
|
2019
|
tom 8
233-256
EN
The significant growth in the number of Ukrainian s tudents at Polish institutions of higher education has significantly changed the face of academic education in this country. The existing model of higher education mostly based , especially in smaller centres, on studies of a single nation has been evolving over a t least several years in the direction of a bi- or multicultural model. Ukrainians currently constitute the largest group of minority students in Polish institutions of higher education , which affects social attitudes perceptible in the academic environment, arouses interest in th e Other or evokes negative cultural ste- reotypes and prejudice. In the context of these cha nges, key questions arise about the mo- bility of Ukrainian students to Poland, which can b e addressed in the following research questions: What are the motives of Ukrainian studen ts coming to Poland? Will Ukrainian graduates remain in Poland and be assimilated, or w ill the higher professional qualifica- tions earned help many Ukrainians with Polish degre es to build a new social, economic and cultural order? What is the structure of education for a Ukrainian student – one based on the domi- nance of one cultural canon or one that shows cultu ral diversity? Included these visible changes at Polish universiti es were also programmes in “Art Ed- ucation in the Musical Arts”, including those condu cted in the Institute of Music at the Pomeranian Academy in Słupsk. Since 2014, this inst itution and institute have offered “semester exchange” and “double degree” programmes for students from Ukrainian insti- tutions, and many Ukrainians have chosen Słupsk as the place for the full programme of their music and pedagogical studies. The theoretical section of the article is divided i nto three parts: 1. Academic mobility - in which select literature o n the situation of students pursuing their education abroad is discussed. At the foregro und of these discussions are the problems of students’ adaptation to a new, cultural ly foreign environment. Also con- sidered are the perceived difficulties in studying in the chosen field, as well as the question of the declared strength of the desire of Ukrainian students to emigrate to a new country, understood in the perspective of their car eer development in the profession. 2. Students from Ukraine pursuing studies in music and pedagogy form a certain image of their future professional employment, namely as a music teacher at school. There- fore, the focus of this article is the analysis of different models of this profession and their integration with the interests and musical ac tivities they engage in. Jarosław Chaci ń ski 256 3. Another area of the literature analysis, underta ken in order to learn about the changes in the consciousness of Ukrainian students, is the subject of shaping their individual cultural image, based on the dominance of their nat ive cultural canon, which then un- dergoes an inevitable process of acculturation. In this aspect, it is important to esti- mate how much they have learned and their ability t o recognize another cultural tra- dition, as well as to acquire the competence to dea l with the history of Polish culture and its most outstanding works in the musical, visu al, architectural and literary arts. The research variables identified in the theoretica l part of the article were then the main inspiration for the survey research, included in th e second part of the article, in which Ukrainian students, answering the questions in the survey, declared their attitudes toward selected phenomena in which they participate, made a self-assessment of their assimilation of the Polish cultural canon in the context of the previous canon of their native Ukrainian culture, declared their professional preferences, o riented towards performing the future work of a music teacher according to a defined model.
7
Content available PRAKTYCZNE ZASTOSOWANIA TEORII PEDAGOGIKI MIĘDZYKULTUROWEJ W EDUKACJI MUZYCZNEJ
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Chaciński J.
Ars inter Culturas
|
2015
|
nr 4
13-30
EN
The primary goal of this essay is to describe the connections between intercultural pedagogical theory and its practical applications in music education. The author stresses the significance of this particular field of education and its impact on young people. When anchored in a variety of cultures, musical phenomena provide a unique opportunity to initiate students into a world in which the beauty and aesthetic values of the other are experienced and reflected upon. At the same time, they encourage students to engage in a dialogue with the other through non-verbal channels of communication. Intercultural music education usually follows two conceptual models: one centered on activities, such as singing, dance, and playing musical instruments, and the other, focusing on the listening experience to world music. Praktyczne zastosowania teorii pedagogiki... 29 Intercultural music education is typically pursued using folk music as the most primeval form of human activity. Folk music is also used as an inspiration for musical stylization. It must be emphasized that composers often used this source of inspiration to create outstanding musical works. Sacred music provides a unique means to engage with the spiritual sphere inherent in other cultures. This particular form helps to discover aesthetic qualities in music and explore the depths of religious experience in other people, as well as the space of their religion-driven existential pursuits that are exemplified in music.
8
Content available Wielokulturowość jako droga do piękna i humanizmu – rozważania wstępne
100%
Chaciński J.
Ars inter Culturas
|
2017
|
nr 6
9
Content available WPROWADZENIE
100%
Chaciński J.
Ars inter Culturas
|
2013
|
nr 2
5-7
10
Content available WPROWADZENIE
75%
Chaciński J.
Ars inter Culturas
|
2010
|
nr 1
5-7
11
Content available WPROWADZENIE
50%
Chaciński J.
Ars inter Culturas
|
2015
|
nr 4
5-10
12
Content available TEMATYKA PRAC „ARS INTER CULTURAS” – RÓŻNORODNE OBLICZA ARTYSTYCZNEJ WIELOKULTUROWOŚCI
50%
Chaciński J.
Ars inter Culturas
|
2019
|
tom 8
5-12
13
Content available Noty o autorach
38%
Chaciński J.
Ars inter Culturas
|
2019
|
tom 8
347-359
14
Content available Noty o autorach
26%
Chaciński J.
Ars inter Culturas
|
2020
|
nr 9
399-412
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