Bacheors Thesis Talicja Wozniak
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©2017 Renata J. Pasternak-Mazur ALL RIGHTS RESERVED
©2017 Renata J. Pasternak-Mazur ALL RIGHTS RESERVED SILENCING POLO: CONTROVERSIAL MUSIC IN POST-SOCIALIST POLAND By RENATA JANINA PASTERNAK-MAZUR A dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Music Written under the direction of Andrew Kirkman And approved by _____________________________________ _____________________________________ _____________________________________ _____________________________________ New Brunswick, New Jersey January 2017 ABSTRACT OF THE DISSERTATION Silencing Polo: Controversial Music in Post-Socialist Poland by RENATA JANINA PASTERNAK-MAZUR Dissertation Director: Andrew Kirkman Although, with the turn in the discipline since the 1980s, musicologists no longer assume their role to be that of arbiters of “good music”, the instruction of Boethius – “Look to the highest of the heights of heaven” – has continued to motivate musicological inquiry. By contrast, music which is popular but perceived as “bad” has generated surprisingly little interest. This dissertation looks at Polish post-socialist music through the lenses of musical phenomena that came to prominence after socialism collapsed but which are perceived as controversial, undesired, shameful, and even dangerous. They run the gamut from the perceived nadir of popular music to some works of the most renowned contemporary classical composers that are associated with the suffix -polo, an expression -
Zagrożenia Jednostki We Współczesnym Społeczeństwie Ohroźeni Jedince V Soucasne Spolećnosti Threat to the Individual in the Contemporary Society
Wydawnictwo Naukowe Akademii WSB Zagrożenia jednostki we współczesnym społeczeństwie Ohroźeni jedince v soucasne spolećnosti Threat to the individual in the contemporary society Redakcja naukowa: Marek Walancik Stanislava Hoferkova Dąbrowa Górnicza 2019 Punk subculture in Poland - from rebellion to stylization Mikołaj Brenk Abstract: Contemporary punk in Poland can be characterized as a heterogenous phenom enon, undergoing changes, which occur on several levels. This text has briefly characterized the five levels on which the possible activity of people who understand and identify with the punk subculture in a different way can be considered. First of all: contemporary Polish punk takes part in concerts, often organized In the form of large music events, where through the outfit he expresses his passion for the subculture. The second possibility Is to refer to the splendour of the Polish punk through sentimentaljourneysin timeintheform of events, books, films, interviews with musicians playing on the punk stages in the 80s or the participants of these events. The third option is the social activity, undertaken in the spirit of anarchism and freedom, opposition to capitalist rules, where the outfit and the punk-styled external look sometimes move to the background. The fourth option of activity of contemporary punks are informal groups, which spend their free time through their nihilist and anarchist lifestyle and the use of stimulants. Finally, the fifth element of expressingthe punk subculture Is pulling it into the fashion trends in chain stores with clothing, thanks to which it becomes one of the products to choose from and at the same time is devoid of an ideological layer. -
Kismif Volunteers
1 2 All the content presented in texts are solely the responsibility of the authors. The ideas presented do not necessarily represent the opinion of the editors. Attribution CC BY 4.0. International This book is Licensed under a Creative Commons Attribution 4.0. International License (CC BY 4.0). It is allowed to share, redistribute, adapt, remix, transform and build upon the content of this book. The appropriate credit must be given to the authors and editors. More information: https://creativecommons.org/licenses/by/4.0 3 Keep It Simple, Make It Fast! DIY Cultures and Global Challenges Book of Abstracts Paula Guerra and Andy Bennett (Eds.) Design by Marcelo Baptista Cover design by Dobra Studio Interior photos by Ondina Pires First Published July 2021 by Universidade do Porto. Faculdade de Letras [University of Porto. Faculty of Arts and Humanities] Porto, Portugal ISBN 978-989-8969-39-2 4 www.kismifconference.com [email protected] www.facebook.com/kismif.international.conference 5 KISMIF CONVENORS Andy Bennett Paula Guerra KISMIF → José Machado Pais → Júlio Dolbeth SCIENTIFIC → Lucy Robinson COMMITTEE → Manuel Loff → Alastair Gordon → Mark Percival → Amélia Polónia → Matthew Worley → Andy Bennett → Mike Dines → Anthony Fung → Nick Crossley → Augusto Santos Silva → Paula Abreu → Carles Feixa → Paula Guerra → Catherine Strong → Paula Cristina Pereira → Dick Hebdige → Pauwke Berkers → Fátima Vieira → Pedro Costa → George McKay → Ross Haenfler → Gina Arnold → Samantha Bennett → Guilherme Blanc → Sara Cohen → Heitor Alvelos → Simone -
Chapter 10 the Present and the Future of Polish Coastal Music
Chapter 10 The Present and the Future of Polish Coastal Music Festivals Ewa Mazierska In this chapter I present the history of three Polish popular music festivals, Open’er in Gdynia, Audioriver in Płock and Jazz na Molo (Jazz on the Pier) in Sopot, all taking place near the sea or a river. I also examine how they cater for their audiences and sustain themselves and speculate about their future, taking into account factors which are conducive for their survival and expansion and those which might negatively affect their sustainability and development. In my research I draw on the history of music festivals in Poland and the current situation of music and other festivals in this country, captured by the term ‘festivalisation’. I draw on academic work on festivals, conducted in Poland and elsewhere, as well as information about festivals distributed by the media, including their websites. I also use interviews with their organisers and participants, as well as my own experience of attending two of them. Popular music festivals in Poland of state socialism After the Second World War Eastern European countries and Poland especially experienced the decimation of music venues, and nationalisation of the remaining ones, as well as subjecting them to centralised planning, governed by ideological principles rather than income generation. However, the more years that passed since WWII and Stalinism, the more spaces (literal and figurative) were created for the consumption of popular music. The watershed was the 1960s, when several popular music festivals were set up in Poland, which proved important cultural events, beginning with the International Music Festival in Sopot, in 1960 (in the years 1977-1980 the Intervision Music Festival), the Festival of Polish Songs in Opole, existing officially from 1963, the Festival of Soviet Songs in Zielona Góra, from 1965 and the Festival of Army Songs, first in Połczyn-Zdrój and then Kołobrzeg, from 1967. -
Música Discurso Poder
COLECÇÃO HESPÉRIDES LITERATURA MÚSICA 26 DISCURSO PODER Maria do Rosário Gir ão Santos Elisa Maria Lessa COORDENAÇÃO K_hesperides26_MúsicaDiscursoPoderv1.indd 1 12/07/26 10:58 MÚSICA DISCURSO PODER Musica Discurso Poder.indb 1 17-07-2012 09:03:27 Musica Discurso Poder.indb 2 17-07-2012 09:03:29 MÚSICA DISCURSO PODER COORDENAÇÃO Maria do Rosário Girão Santos Elisa Maria Lessa Musica Discurso Poder.indb 3 17-07-2012 09:03:29 Comissão Científi ca Ana Gabriela Vilela Pereira de Macedo Elisa Maria Maia da Silva Lessa Eunice Maria Silva Ribeiro Maria do Rosário Girão Ribeiro dos Santos Maria Eduarda Bicudo Azeredo Keating Mário Vieira de Carvalho Paula Alexandra Varanda Ribeiro Guimarães Comissão Organizadora Diogo André Barbosa Martins Elisa Maria Maia da Silva Lessa Maria do Rosário Girão Ribeiro dos Santos Marta Nunes da Costa Paula Alexandra Varanda Ribeiro Guimarães Sílvia Lima Gonçalves Araújo Musica Discurso Poder.indb 4 17-07-2012 09:03:30 ÍNDICE 9 Prefácio 15 Música e política: o “caso” de Fernando Lopes -Graça (1906 -1994) Mário Vieira de Carvalho 43 Música: poder e discursos como produtores de subalternidade António Pinho Vargas 57 Música e expressão ideológica: a obra Buchenwald para piano solo de Eurico Tomás de Lima (1908 -1989) Elisa Maria Maia da Silva Lessa 67 Entre a apologia do poder real e as aspirações da burguesia: manifestações musicais em torno do nascimento de D. Maria Teresa, Princesa da Beira (1793) Cristina Fernandes 83 Musica est scientia divina: escolástica, retórica e apologética nos tratados de teoria musical -
Screamed Poetry: Rock in Poland's Last Decade of Communism
Screamed Poetry: Rock in Poland’s Last Decade of Communism by Raymond A. Patton A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History) in the University of Michigan 2011 Doctoral Committee: Associate Professor Brian A. Porter-Szucs, Chair Professor Geoffrey H. Eley Professor Ronald G. Suny Associate Professor Genevieve Zubrzycki © Raymond A. Patton 2011 Acknowledgements I have accumulated a number of debts as I have worked on this project over the past several years. First, I would like to thank Piotr Westwalewicz for introducing me to communist era Polish punk rock – a genre I never imagined could exist until Piotr played his recordings of Maanam, Lady Pank, and Republika. I also thank Brian Porter-Szűcs, my dissertation committee chair, for his support and enthusiasm for my work on what might seem an eccentric topic to a less inquisitive and open mind. His exceptionally insightful and timely feedback has allowed me to improve the quality of my work here many fold. I would also like to extend my gratitude to my entire committee – Geoff Eley, Ron Suny, and Genevieve Zubrzycki – for their roles in developing this project and broadening my analytical scope. I hope each can see the ways in which s/he has profoundly influenced my work. In Poland, I extend thanks to all the people at the Archiwum Akt Nowych, the Archiwum Panstwowe w Kaliszu, the Biblioteka Narodowa, and Polskie Radio, who never ceased to amaze me with the Polish practice of appearing cool and stone-faced at first meeting but growing increasingly warm, personable, and supportive with each encounter over the subsequent weeks and months.