Papers by Maja Trochimczyk
Polish American Studies
Page 1. Polish American Studies Vol. LXIII, No. 1 (Spring 2006) ? Polish American Historical Asso... more Page 1. Polish American Studies Vol. LXIII, No. 1 (Spring 2006) ? Polish American Historical Association The Impact o? Mazowsze and ?l$sk on Polish Folk Dancing in California by Maja Trochimczyk The Soviet Model After ...
Studia Chopinowskie
Tematem niniejszego artykułu jest muzykowanie domowe podczas spotkań w gronie bliskich przyjaciół... more Tematem niniejszego artykułu jest muzykowanie domowe podczas spotkań w gronie bliskich przyjaciół rodziny Marii Szymanowskiej, u pianistki w Petersburgu (1828–1831) oraz w domu jej córki, Heleny Malewskiej (ca 1832–1838). Pracę zainspirowały dokumentyze zbiorów Biblioteki Polskiej w Paryżu, kolekcji Muzeum Adama Mickiewicza, nr. sygn. 956, 957, 958. Są to rękopiśmienne zeszyty z tekstami pieśni i wierszy patriotycznych, krakowiaków i mazurów, zebranych i spisanych przez Helenę Szymanowską-Malewską oraz jej brata bliźniaka Romualda Szymanowskiego. Modelem dla domowego wykonywania patriotycznych piosenek były niewątpliwie Śpiewy historyczne Juliana Ursyna Niemcewicza, do których Szymanowska skomponowała pięć pieśni, z nich zaś trzy wydano drukiem w 1816 r. Wiedzy o okolicznościach praktykowania tej tradycji w jej salonie dostarcza natomiast Dziennik jej córki, Heleny Szymanowskiej-Malewskiej, powstały w latach 1827–1857 – przed i po ślubie z Franciszkiem Malewskim (1800–1870), przyjac...
Polish American studies, Apr 1, 2010
... 16Dante Gabriel Rosetti was a writer, poet, and painter, the initiator of the pre Raphaelite ... more ... 16Dante Gabriel Rosetti was a writer, poet, and painter, the initiator of the pre Raphaelite ... Times, March 11, 1917), is illustrated with portraits of Paderewski, Eugen d'Albert, Vladimir de ... Literary Critics and Scholars, 1850-1880, John W. Rathburn, Monica M. Grecu, eds., (The ...
The Polish Review, Jul 1, 2012
Polish American studies, Oct 1, 2010
... Polish Canadian), John Z. Guzlowski, Oriana Ivy, Leonard Kress, Anna Maria Mickiewicz (Polish... more ... Polish Canadian), John Z. Guzlowski, Oriana Ivy, Leonard Kress, Anna Maria Mickiewicz (Polish English), Elisabeth Murawski, Lusia Slomkowska, Margaret C ... to the Chopin-Sand liaison occur in poems by: Austin Alexis, Sheila Black, Sharon Chmielarz, Jessica Day, Lori ...
Routledge, May 10, 2002
All rights reserved. No part of this publication may be reprinted or reproduced or utilized in an... more All rights reserved. No part of this publication may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publisher.
Polin: Studies in Polish Jewry Volume 19
Tempo, 1994
On 22 April 1944 Béla Bartók wrote to his son, Peter:Spring has now indisputably arrived. A kind ... more On 22 April 1944 Béla Bartók wrote to his son, Peter:Spring has now indisputably arrived. A kind of ‘kutyafa’ (dogwood) is in bloom, like acacias flowering at home. The birds have become completely drunk with the spring and are putting on concerts the like of which I've never heard. They start with puty-puty-puty ./../../. and end up with various new bird sounds (clearly from later arrivals). The keeps on creating more and more variants.
Organised Sound, 1998
Let us imagine a situation: a listener seated in a concert hall witnesses a performance by a trum... more Let us imagine a situation: a listener seated in a concert hall witnesses a performance by a trumpet player (standing on the stage) of a sequence of four quarter-notes, with the pitches of B[flat ]3–A3–C4–B3. The listener chooses to ignore the immediate physical surroundings and hears one of the following: (i) four trumpet sounds equally spaced in time, (ii) a sequence of intervals – minor second, minor third, minor second, (iii) an instance of set 4-1, (iv) a motive referring to the name of BACH. The `web of interpretants' (term from Nattiez 1987/1990) surrounding a simple musical fact is already quite dense, even though we have only considered its aspects relating to pitch, pitch class and pitch notation (representation by letters). What if the performer's gestures, the facial expressions, the direction of the bell of the instrument became important? Might one say, then, that the music has become theatre?
What is «music as text»? Obviously, the answer depends on what is meant by «music» and what is me... more What is «music as text»? Obviously, the answer depends on what is meant by «music» and what is meant by «text». By refering to a verbal /ext in music sung by human voices (text,), one merely talks about music and text. However, when one refers to the notalional text written down by the composer of an instrumental work in the Westem-European classical tradition (lext1), one considers music as text. What is this notational text? For Nelson Goodman, pitch and rhythm are the only significant elements in the musical-notational system. 1 This is 1ext1 •. For others, verbal and graphic elements of musical notation also participate in establishing the identity of the musical work: instrumentation, tempo and expressive markings 2 , verbal text and purely visual aspects of notation. 3 This is texl1h-In both cases, «music as text» has a fixed essence, comprised in the «Urtext»-the one and only, fundamental text ofthe musical work. Here, axiology, not just ontology is involved, for a work of music has tobe worthy ofbecoming such a <sacred> text. However, when the text is primarily semantic (when is it not?) one may envision music-even without verbal texts-as a carrier of meaning (text1). Music, analogous to literature, may then signify, denote and represent (text1a); it may also possess a narrative structure without portraying anything in particular (texf1b)-Finally, as every human artifact, it may simply <make sense>, i.e. be meaningful in a general, vague way (text1c).' These distinctions, especially between the notational and semantic aspects of musical texts, are further confounded by the peculiar nature ofthe musical work, requiring for its existence both the notational schema ofthe score and its realization in perfonnance. 5 The score may be designed as a representation of sound or as an instruction for perfonners; in both cases it needs to be read. One obvious sense of the interpretation of musical texts emerges here: performers read the notational texts and interpret them in sound. Another type of interpretation is more evasive. While the listeners and scholars <read> the notational (and sonorous) texts of music, they reinterpret the music in ever-changing languages and contexts. For Dahlhaus, the work of music is not independent from the henneneutic process through which its meaning may be grasped and revealed. 6 Thus, «understanding» needs tobe included in the work's ontological mode ofbeing. 7 A question arises as to the significance of spatio-temporal considerations (e.g. sound movement) for the notion of music as text. In theory, musical movement is usually equated with motion in time which is present in the relationship of succession and the teleologicaJ orientation between events of a fixed order. According to Eduard Hanslick, «the attribute of motion, of sequential development»' is a basic characteristic of the musical phenomenon. Hanslick and other theorists often speak about «sounding fonn in motion», about melodic and
Sarmatian Review, 2013
This book grew out of Charles S. Kraszewski's comparative project that, besides Czeslaw Milos... more This book grew out of Charles S. Kraszewski's comparative project that, besides Czeslaw Milosz, entailed an investigation of three other modernist poets—Hector de Saint-Denys Garneau, Jan Zahradnicek, and Elisabeth Langgasser. The study owes its present shape to the method chosen by its author who subjects his expertise in "close reading" and "in-depth explications de texte" (1) to the rigors of the chronology of Milosz's life. Hence, the reader obtains a solid monograph on the celebrated Polish Nobel Prize laureate that follows the movement of the poet's Weltanschauung, trying to perceptively identify its most significant moments and swerves. Thus, of Milosz's prewar poetry narrators Kraszewski says that, although facing suffering and despair, "their response to the troubles of life is: pity, mercy, and, in the end, faith, trust" adding quickly in a gesture that suggests the course of his future analysis that "it will not always be thus" (50). In conjunction with the biographical ramifications of the monograph, we move to the immediate postwar verse dominated by the conviction that, independent of political expediencies, "the imperative of moral choice is never suspended" (66), and after that to the stubborn dedication to the topographical and cultural realities of the lost homeland invigorated by his California exile, which ultimately became less a threat and more "a redemption from the jaws of annihilation, a rescue" (96). In the 1970s and 1980s the sense of the crisis of civilization bereft of moral sense intensifies but is countered by the fact that "Milosz cannot (fortunately) get away from the Thomism of his early education, his logical certainty of the existence of an Absolute" (158), which nevertheless does not save the poet from entering, in the final years of his life, areas "he was not intended, or perhaps qualified, to visit" (240), that is, theology, which risky stride results in a highly unorthodox vision of "the poverty of God, his impuissance" and colors Milosz's thought with dualism and "uncomfortable obsession with the 'presence' of evil in the world" (212).
This chapter looks into the devastating impact of the Holocaust in Jewish musical creativity in P... more This chapter looks into the devastating impact of the Holocaust in Jewish musical creativity in Poland. It discusses the inclusion of Jewish composers in the world of Polish music by its post-1945 historians. It also examines the presence of Jewish composers in Poland's musical world before 1939 and the disappearance of these composers as shown by official publications, dictionaries, and music histories up until 1989. The chapter reviews all the composers of Jewish origin who were alive in September 1939, regardless of their attitude and relationship with Judaism. It mentions the most important composers of Jewish descent but not of Jewish faith, such as Józef Koffler, who gave up his official Jewish religious allegiance in May 1939, and Roman Palester, who was baptized Catholic as a baby.
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Papers by Maja Trochimczyk