Wyniki wyszukiwania - Biblioteka Nauki

1

Odpowiedź na recenzję książki „Polska krytyka jazzowa XX wieku. Zagadnienia i postawy”

100%

Ciesielski R.

Muzyka

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2021

|

tom 66

|

nr 4

168-171

2

Istnienia poszczególne. Emigracja polskich muzyków jazzowych i rozrywkowych

75%

Piotrowski G.

|

nr 1

168-175

EN

Jazz and pop music representatives are a particularly mobile group of musicians. This is mainly due to the fact of pop music market being dependent on financial factors, channels of distributions and technology. The hybridization of popular music faces it with the migrating, creative human element, and the migration itself undergoes numerous changes in the reality of global, digital world. The author focuses on the tendency of Polish jazz and pop musicians to emigrate. The phenomenon is analysed in the changing cultural, social and political contexts. By interpreting the different fates of musicians representing various generations (B. Kaper, H. Wars, Z. Seifert, M. Urbaniak, T. Stańko), the author distinguishes different waves of emigration and individual motivations, as well as more universal reasons for emigration.

3

Chopin and jazz. The case of Andrzej Jagodziński’s arrangement ofthe Prelude in E minor

71%

Madeła P.

Interdisciplinary Studies in Musicology

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2010

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nr 9

371-382

PL

The current of jazz interpretations of Chopin’s music appeared in Polish jazz in the early 1990s. On the one hand, it is the most original and native stylistic trend of all trends influencing jazz in Poland. On the other, it is an exceptional phenomenon internationally, since no works of classical music have received so many jazz arrangements worldwide. The achievements of Polish jazz pianists in this regard have become most representative, since piano texture and the process of improvisation on a given theme show the most obvious references - not only musically, but also emotionally- to the musical language of Chopin. The recording of the award-winning album Chopin by the Andrzej Jagodziński Trio in December 1993 triggered a host of artistic arrangements of Chopin works by Polish jazz pianists, each of which constitutes an individual approach to the Chopin material, reflected in basic factors such as the criteria for the selection of compositions or themes and the process of the original’s transformation. Most jazz arrangements of Chopin’s music involve the piano miniatures that dominate the composer’s oeuvre. This is due to the clarity of the melodic lines, which inspire artists to turn them into themes for jazz standards. The Prelude in E minor, Op. 28 No. 4 has become the most frequently arranged piece of Chopin’s music in the field of jazz. The numerous arrangements are also stylistically diverse. Jagodziński’s arrangement is an example of this pattern being adapted for use in a jazz context. For him, the themes and mood of Chopin’s music have become a pretext for the creation of his own jazz compositions largely inspired by Chopin’s melodies and harmonies, but also by symmetrical form. Arrangements of Chopin’s music have been continually criticised by purists, who regard such procedures as a sort of profanation (any patriotic content in Chopin’s original compositions seems to vanish in the chaos of jazz improvisation, which disturbs the integral form of the originals). The basic problem here seems to be ignorance of the fact that Chopin’s music is essentially only a pretext, a kind of external emblem, for the creation of entirely new compositions, carrying different content, characterised by the author’s individuality.

4

Rafał Ciesielski, Polska krytyka jazzowa XX wieku. Zagadnienia i postawy, Zielona Góra 2017 Uniwersytet Zielonogórski, ss. 502. ISBN 978-83-7842-316-4

63%

Dziadek M.

Muzyka

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2021

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tom 66

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nr 2

177-181

5

Jazzowe infiltracje w literaturze czeskiej w latach 20. XX wieku

62%

Novak R.

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tom 16

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nr 2

54-67

EN

The article is concentrated on jazz inspiration in the Czech culture of the 1920s, espe-cially its infiltration to the Czech poetry. Contemporary manifests, anthologies, essays and critics has been researched so as to detect the influence of this new musical phe-nomenon over the Czech avant-garde art. The inspiration by jazz music then have been discovered in concrete books of poetry by E. F. Burian, V. Nezval, J. Seifert, J. Voskovec and J. Werich. The jazz motives as ‘jazz-band, black, saxophone etc.’ as well as imitation of a blues form were found there. In conclusion, the author points to the fact that the jazz music has become the symbol of the new revolutionary art, identified with the left-wing avant-garde, and it has brought a new view of reality, methods and functions of art.

6

Jazz jako model twórczości literackiej. „Jazzowa teoria literatury” Julio Cortázara (Gra w klasy)

62%

Kafel M.

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nr 29

127-151

EN

The article is an attempt at analysing the role of the references to jazz music in the Argentinian writer’s most famous novel, which chapters 10–18 provide an interesting example of the use of this kind of music as a means of a whole range of extraliterary meanings. In the article Hopscotch is treated both as a Cortázar’s artistic manifesto and as an example of a work which fulfils its assumptions in the most complete manner. Musical elements such as improvisation and swing shape the novel in its various aspects, from narration to structure, reflecting a surrealism-inspired need to create literature that transcends traditional ontological frameworks. Jazz is also an illustration of aspirations to independence in artistic and social fields, as well as a means of conveying philosophical ideas and reaching the subconscious.

7

Rodzima prasa muzyczna jako zwierciadło przemian socjokulturowych w Polsce po 1956 roku na przykładzie magazynu „Jazz”

51%

Dorobek A.

Rocznik Towarzystwa Naukowego Płockiego

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2017

|

tom 9

s. 363-374

PL

Proponowany tekst jest próbą zaprezentowania miesięcznika „Jazz” (później znanego jako „Magazyn Muzyczny Jazz” i jako Magazyn Muzyczny) jako swoistego sejsmogramu przemian w obszarze socjologii odbioru muzyki czy wręcz socjologii kultury (z konkretnymi odniesieniami politycznymi) w Polsce ostatnich około sześćdziesięciu lat. Jak importowany z Zachodu jazz i rock, tak i zajmująca się nimi prasa miała w naszym kraju najpierw posmak owocu trudnodostępnego, poniekąd zakazanego i w efekcie rozchwytywanego w nakładach zgoła nieproporcjonalnych do jej poziomu merytorycznego czy też kondycji finansowej. W czasach „kapitalistycznej” transformacji po 1989 roku oba te gatunki muzyczne, wraz ze swą dziennikarską nadbudową, dość boleśnie odczuły imperatywy i konsekwencje tak zwanego urynkowienia – choć wcześniej były postrzegane jako bez mała komercyjne. Te ewolucyjne zakręty i paradoksy zostaną pokazane na przykładzie kolejnych mutacji wspomnianego periodyku: z odwołaniami do innych czasopism branżowych, od „Non-Stopu” przez efemeryczny tygodnik „Wow!!!” po „JAZZ FORUM”.

EN

In the following text, we attempt to present Jazz, a Polish musical monthly (later known as Magazyn Muzyczny Jazz and Magazyn Muzyczny) as a historical record of changes in the realm of the sociology of music - or even broadly understood culture, with concrete political references - in Poland from 1956 onwards. Along with jazz and rock music, for quite some time considered troublesome imports from the „imperialist” West, in the communist Poland jazz and rock press also enjoyed the status of a suspect, to some extent forobidden commodity, whose commercial appeal was totally disproportionate to its journalistic/ critical credibility, or even financial condition. In the period of „capitalist” transformation after 1989, both aforementioned musical genres, along with their promotional media, became painfully exposed to the imperatives and consequences of „marketability”, even though earlier they had been generally considered as „commercial”. This proces, as well as its paradoxes, shall be exemplified by selected episodes from the convoluted history of the magazine in question, with references to other Polish musical periodicals, such as JAZZ FORUM or the ephemeral weekly named Wow!!!.

8

Wariacje jazzowe w kinie "młodych gniewnych"

45%

Śliwińska A.

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2009

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tom 7

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nr 13-14

205-210

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.

9

The Reception of American Jazz in Japan: An Outline of Issues

45%

Kwaczyńska O.

Kwartalnik Młodych Muzykologów UJ

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2020

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nr 1(44) ENG

33-46

EN

The following article presents the history of Japanese jazz, from the first musical contacts to its contemporary successes and problems of the jazz music market. An important role in the development and evolution of jazz in Japan (even before the post-war US occupation of that country) was played by the presence of American military forces in the Philippines, which, as an American-dependent territory, maintained cultural contacts with the United States, where jazz had been born at the beginning of the 20th century and became one of the most popular forms of music. Apart from contact with Filipino musicians, who were the first source of jazz education for the Japanese, the rise of jazz cafés (jazzu-kissa) was also important for the development of jazz in the Land of the Cherry Blossom. The cafés played a huge role in generating interest in jazz and shaping musical tastes. The article also shows the influence of jazz on the formation of a modern, American-type lifestyle among the Japanese middle-class. In addition, the article discusses the complex issue of the authenticity of Japanese jazz in relation to American jazz and the role of world-famous Japanese musicians, such as Toshiko Akiyoshi, in overcoming stereotypes. The aim of the article is to demonstrate the universality and at the same time the local character of contemporary Japanese jazz as well as the distinguishing features of jazz in Japan.

10

Conscious Inclusion of Women Musicians

45%

Cartwright J.

Gender Studies

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2012

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tom 11

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nr Supplement

235-242

EN

This paper discusses the vast divide between performance opportunities and income earned by male and female musicians. Although female singers are quite visible on the world’s stages, few female instrumentalists are employed on a regular basis and even fewer women composers have their music commissioned for programs or films funded by private and public monies. Several proficient female jazz musicians are identified, and how and why women are omitted from performance is discussed. The need for everyone-producers, promoters, funders, and bandleaders-to consciously choose to include women musicians in programming, especially where public funding is involved, is emphasized.

11

Recepcja amerykańskiego jazzu w Japonii: zarys problematyki

45%

Kwaczyńska O.

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nr 1(44)

35-49

PL

The following article presents the history of Japanese jazz from the first musical contacts to contemporary successes and problems of the jazz music market. For the development and evolution of jazz in Japan, an important role was played by the presence of American military forces in the Philippines (even before the post-war occupation of Japan), which as an American dependent territory had the opportunity to remain in cultural contacts with the United States, where jazz was born at the beginning of the 20th century and became one of the most popular forms of music. Beside the contact with Filipino musicians, who were the first from whom the Japanese learned jazz, the establishment and development of jazz cafes (jazzu-kissa) were also important for the development of jazz in the Land of the Cherry Blossom, which played a huge role in the strengthening the interest in jazz and the shaping of musical tastes. The article also shows the influence of jazz on the formation of a modern, American-based lifestyle of middle-class representatives in Japan. In addition, the article discusses the complex issue of the authenticity of Japanese jazz in relation to American jazz and the influence of world-famous Japanese musicians, such as Toshiko Akiyoshi, on overcoming a given stereotype. The aim of the article is to show the universality and at the same time the locality of contemporary Japanese jazz as well as to show what the specificity of jazz in Japan is.

12

KRZYSZTOF ZAŁĘSKI (1939–2016)

45%

Grochala A.

Muzealnictwo

|

2016

|

tom 57

149-153

EN

Art historian Krzysztof Załęski was professionally linked with the National Museum in Warsaw (MNW) for over 40 years. He was an expert on the Stanisław August period, the history of modern drawing and Polish painting, Freemasonry and jazz. In 1959–1964, he studied history of art at the University of Warsaw, from which he graduated in 1968 with his thesis entitled The White House in the Łazienki Park written under the supervision of Prof. Stanisław Lorentz. In 1964–1965 he worked for the State Studios for the Conservation of Cultural Property (Warsaw branch). In 1968– 2004 he was employed at MNW, from 1974 as Head of Polish Drawing Cabinet in the Collections of Early Modern Polish Art, from 1977 as Curator and from 1995 as Senior Curator. He was a member of the Association of Art Historians. He was awarded the Gold Cross of Merit in 1989 and in 2002 the Knight‘s Cross of the Order of Polonia Restituta for his services to Polish museology. He wrote numerous articles and entries in exhibition catalogues, and prepared many museum collections related to drawing and Polish painting (including works by Franciszek Smuglewicz, Bernardo Bellotto known as Canaletto, Marcello Bacciarelli, Jan Piotr Norblin, Zygmunt Vogl and Stanisław Noakowski). He also curated and co-organised a number of exhibitions at the MNW and other cultural institutions in Poland and abroad (in the Polish Cultural Institute in London and the Polish Museum in Rapperswil among others). He was a noted Polish expert in Freemasonry who was invited to cooperate on analysing Masonic collections and organising exhibitions devoted to them (“Masonry. Pro publico bono” at the MNW 2014 being one of the last). He was devoted to the history of jazz and its links to the visual arts. He was a museum professional with extended knowledge and experience in the issues of property and provenience of works of art. He paid great importance to the history of collecting, especially to shaping the MNW’s collections. This was also seen in the last exhibition he co-prepared in the National Museum, “Bronisław Krystall. Testament” (19 November 2015 – 6 March 2016) devoted to a generous donor.

PL

Krzysztof Załęski, historyk sztuki, przez ponad 40 lat związany zawodowo z Muzeum Narodowym w Warszawie (MNW), był znawcą epoki stanisławowskiej, dziejów nowożytnego rysunku i malarstwa polskiego, wolnomularstwa i jazzu. W latach 1959–1964 studiował historię sztuki na Uniwersytecie Warszawskim, w 1968 r. obronił, napisaną pod kierunkiem prof. Stanisława Lorentza, pracę magisterską zatytułowaną Biały Domek w Łazienkach. W latach 1964–1965 był zatrudniony w PP Pracownie Konserwacji Zabytków (Oddział w Warszawie). W latach 1968–2004 pracował w MNW, od 1974 r. jako kierownik Gabinetu Rysunków Polskich w Zbiorach Sztuki Polskiej Nowożytnej, od 1977 r. na stanowisku kustosza, a od 1995 – starszego kustosza. Był członkiem Stowarzyszenia Historyków Sztuki. Za zasługi dla polskiego muzealnictwa odznaczony został w 1989 r. Złotym Krzyżem Zasługi, a w 2002 – Krzyżem Kawalerskim Orderu Odrodzenia Polski. Był autorem licznych artykułów oraz haseł w katalogach wystaw i zbiorów muzealnych dotyczących rysunku i malarstwa polskiego (m.in. twórczości Franciszka Smuglewicza, Bernarda Bellota zw. Canaletto, Marcella Bacciarellego, Jana Piotra Norblina, Zygmunta Vogla, Stanisława Noakowskiego), a także kuratorem i współorganizatorem wielu ekspozycji w MNW oraz innych instytucjach kultury w Polsce i za granicą (m.in. w Polish Cultural Institute w Londynie, Muzeum Polskim w Rapperswilu). Był uznanym polskim znawcą problematyki masońskiej, zapraszanym do współpracy przy opracowywaniu zbiorów masoników i organizowaniu wystaw im poświęconych (jedna z ostatnich to „Masoneria. Pro publico bono”, MNW 2014). Zajmował się historią jazzu i jego związkami ze sztukami wizualnymi. Był muzealnikiem o szerokiej wiedzy i doświadczeniu w zakresie problemów własnościowych i proweniencyjnych dzieł sztuki, przywiązywałdużą wagę do historii kolekcjonerstwa, w szczególności kształtowania się zbiorów MNW. Wyrazem tego była również ostatnia współtworzona przez niego wystawa w warszawskim Muzeum Narodowym „Bronisław Krystall. Testament” (19.11.2015 – 6.03.2016), poświęcona zasłużonemu darczyńcy.

13

Stalinův černý apoštol: afroamerický zpěvák Paul Robeson v Československu

44%

Schormová F.

Soudobé dějiny (Contemporary History)

|

2021

|

tom 28

|

nr 1

183-213

EN

Paul Robeson (1898–1976), an African American singer, athlete, actor, and Leftist political activist, visited Czechoslovakia in 1929, 1945, 1949, and 1959. He was in contact with official Czechoslovak structures, was writing about Czech music, and learning Czech. This article focuses especially on his 1949 visit and Robeson’s economic and artistic relations to Czechoslovakia. It also explores the broader context of relations between Czechoslovakia and the Afro-American community against the backdrop of the early Cold War, decolonization processes, and the onset of the Civil Rights movement in the United States. In doing so, it also looks at mechanism of cultural exchange within the Radical Leftist internationalist networks, including the dominant role Robeson played as the “introducer” of African American music and culture in Czechoslovakia during the 1950s, and also at views of Czechoslovak cultural intermediaries, such as writer Josef Škvorecký (1924–2012) or musicologist, journalist and music critic Lubomír Dorůžka (1924–2013), on jazz and African American spirituals, which contrasted with those of Robeson. In the Czech context, Robeson is mainly remembered through Škvorecký’s critical comments, labelling Robeson “Stalin’s Black Apostle”. US accounts of Robeson, on the other hand, have often, and until recently, presented a depoliticized version of Robeson, understating the importance of his international activities. A view of Robeson’s career based on Czech and US archival sources, as well as new studies on Robeson and the internationalist networks within which he was operating, cast doubts on both of these narratives and offer a chance to reconsider and re-evaluate this historical figure and the transnational dynamics that brought him to Czechoslovakia.

14

Music with a revolutionary purpose: jazz journalist Emanuel Uggé

38%

Vidomus P.

Hudební věda (Musicology)

|

2022

|

tom 59

|

nr 2-3

246-314

EN

Emanuel Uggé (1900–1970) ranked among the most influential Czech writers on jazz in the first half of the 20th century. This study charts his impact on the reception of jazz in the Czech context, and draws parallels with Western exponents of purist approaches to jazz, including the likes of Hugues Panassié, Rudi Blesh or Charles Edward Smith. The text also challenges the oversimplifying narrative about the strictly repressive character of the communist regime’s attitude towards jazz: himself a diehard Marxist, Uggé loved jazz and publicly defended it not just in the 1930s, but as a member of the Czechoslovak Communist party still after the communist coup of 1948. He was convinced that the new order, and the country’s nationalized recording industry, would finally make possible the definitive triumph over “commercial concoctions”, and “pure jazz” would emerge as an authentically revolutionary force in the service of the proletariat. Uggé’s influence on subsequent generations of jazz writers was essential, and his arguments continued to serve for a long time as a theoretical basis in dealing with music production organizers and censors.

CS

Emanuel Uggé (1900–1970) patřil k nejvlivnějším českým jazzovým publicistům první poloviny 20. století. Tato studie mapuje jeho vliv na recepci jazzu v českém prostředí a identifikuje paralely se západními jazzovými puristy typu Huguese Panassié, Rudiho Bleshe či Charlese Edwarda Smithe. Práce rovněž zpochybňuje příliš zjednodušující narativ o striktně represivní povaze komunistického režimu ve vztahu k jazzu: Uggé jako přesvědčený marxista jazz miloval a veřejně obhajoval nejen ve 30. letech, ale coby člen KSČ i po komunistickém převratu v roce 1948. Byl přesvědčen o tom, že nové uspořádání a znárodněný gramoprůmysl umožní konečně zvítězit nad „komerčními zplodinami“ a „ryzí jazz“ bude vskutku revoluční silou, ve službách proletariátu. Uggého vliv na další generace publicistů byl zásadní a jeho názory dlouhou dobu sloužily jako jistá argumentační báze při vyjednávání s pořadateli a cenzory.

15

Cafe Piano

36%

Wadoviana. Przegląd historyczno-kulturalny

|

1998

|

nr 1

62