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Characterization in the Operas of Penderecki
Published 2015-06-01Subjects: “…penderecki…”
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War and memory: Nono, Penderecki, Britten
Published 2017-05-01“…We will study three pieces of work produced shortly after the event itself, but whose authors space and aesthetics are far removed: Luigi Nono’s Il canto sospeso (1955-56), Krzysztof Penderecki’s Threnody for the Victims of Hiroshima (1959), and Benjamin Britten’s War Requiem (1961-62), which we will approach from the perspective of memory, the relationship between text and music, and its musical parameters.…”
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Biblical and liturgical themes in Krzysztof Penderecki’s activity
Published 2007-06-01“…Krzysztof Penderecki (born 1933) is considered to be one of the most outstanding contemporary composers. …”
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The Sound in Movement Interpretation of the Selected Music Pieces by Debussy, Cage, Penderecki, Szalonek, Dobrowolski, Olczak, and Kaiser
Published 2017-02-01“…Debussy, J. Cage, K. Penderecki, W. Szalonek, A. Dobrowolski, K. Olczak, and T. …”
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Pendereccy wywodzą się z Iranu
Published 2019-12-01Subjects: “…Krzysztof Penderecki…”
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Subject-Position and Béla Bartók’s Music for Strings, Percussion, and Celesta (1936) in Stanley Kubrick’s The Shining (1980)
Published 2022-07-01“…Twentieth-century art music composed by Bartók, Ligeti and Penderecki constitutes a large portion of the soundtrack for Stanley Kubrick’s 1980 film adaptation of Stephen King’s novel, The Shining. …”
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„Krakowska prowokacja”? O „Dziadach” Adama Mickiewicza w reżyserii Bohdana Korzeniewskiego
Published 2019-12-01“…Korzeniewski’s spectacle, named by Maria Czanerle ‘the most shocking thing ever done to Forefathers’ Eve’, with awe- -inspiring stage design by Tadeusz Brzozowski and Krzysztof Penderecki’s avant-garde music, did not earn a lasting place in the history of theatre. …”
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Aspects of melodic and rhythmical textures in György Ligeti’s micro and macro polyphony
Published 2019-12-01“…Although Ligeti’s aesthetic trajectory is differentiated from his contemporaries “pure” sonoristic composers (Penderecki, Lachenmann, Sciarrino and others), his polyphonically constructed textures often create diversiform sonoristic environments, based more on melodic and rhythmic material and less on timbral extension for each particular musical instrument. …”
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Orchestral Texture in Wang Xilin’s Symphonic Works
Published 2024-01-01“…Despite the ban on Western music during the Cultural Revolution, Wang Xilin studied the scores of Charles Ives and Krzysztof Penderecki. This influenced the third period of his work (starting from 1990), marked by a general chromatization of the harmonies and thematicism and the creation of different types of sonorous textures in his music. …”
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