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Artykuły: soundscape












Soundscape Research Studio University of Wrocław (Poland),
 [w:] Central European Network for Sonic Ecologies Almanac, Brno 2021, s. 70-72.










The voice of Polish Radio in the soundscape of Warsaw in 1945, 
[w:] Sounds of War and Peace. Soundscapes of European Cities in 1945,
eds. Renata Tańczuk, Sławomir Wieczorek, Peter Lang, Berlin – New York, 2018, pp. 93-130.
„Radio na drucie”. Megafonizacja audiosfery Warszawy roku 1945 w świetle ówczesnych źródeł, 
„Audiosfera. Koncepcje – Badania – Praktyki” 2017, nr 2, s. 28-47.

Soundwalk as a multifaceted practice, 
The aesthetics of the city, ed . Maria Popczyk,, „Argument: Binnual Philosophical Journal” 2015, tom 5 , nr 2, s. 439-45.







Biblioteka Miejskiej Audiosfery,
[w:] Miasto - stan zapalny, Katalog 12 Przeglądu Sztuki Survival, Art Transparent Fundacja Sztuki Współczesnej, Wrocław 2014-15, s. 83-85.
https://archiwum.survival.art.pl/en/biblioteka-miejskiej-audiosfery/
https://archiwum.survival.art.pl/edition/survival-12/katalog/





Odra i Bystrzyca. Dwa oblicza obecności rzek w audiosferze Wrocławia, 

[w:] Audiosfera Wrocławia, red. R. Losiak, R. Tańczuk, Wydawnictwo Uniwersytetu Wrocławskiego, 2014, s. 97-110.
http://pracownia.audiosfery.uni.wroc.pl/dzialania/publikacje/ksiazki/audiosfera-wroclawia-ksiazka-pod-red-r-losiaka-i-r-tanczuk/





Sound of culture, culture of sound: mikrorezydencje artystyczno-badawcze Hai Art, Finlandia 2015, [w:] Audiosfera. Koncepcje, badania, praktyki. Nr 2/2015, s. 97-101.


"Słyszę to, co widzę". Muzyczny reportaż Grażyny Pstrokońskiej-Nawratil 
[w:] O znaczeniu zmysłów w kulturze, S. Góra, J. Kulczycka, Wydawnictwo Naukowe Uniwersytetu Ignatianum, Kraków 2014, s. 123-134.
















Abstract: Due to political pressures and material conditions, the post-war effort to increase the radio coverage of Polish cities was to be based mainly on a network of wired radio sta- tions. The aim of this chapter is to describe the practices of sound and listening in 1945 as captured within the context of the activities of Polish Radio in Warsaw, a city rising from the ruins. The presence of the radio’s voice, as a key component of the soundscape of post-war Warsaw, is viewed from the perspective of its role in the public/private space, its material determinants, programming and reception, as well as the changes and direction to the expansion of radio coverage. Based on archive sources, including text documents of Polish Radio, radio broadcasts and written sources, an attempt was made to reconstruct both the process of making radio accessible across Warsaw in 1945 and also the reception and presence of the radio’s voice in the city’s soundscape. Analysis of these sources makes it possible to follow the transformation of the modes of emission of the radio’s voice.



Abstract: The soundwalk was invented as part of the initiatives undertaken by the World Soundscape Project group with an acoustic ecology profile, which emphasised the noise pollution that exists in people’s sonic environment and the need to reacquire our ‘lost skill’ of conscious listening. Initially, the practice of soundwalking was used as a method allowing us to ‘hone our hearing’ (to boost our sonological competence), to show the human condition with respect to modern reality. Soon, the soundwalk became an inspiration for many artistic undertakings that made use of the sonic properties of the environment and employed various listening strategies. This article is designed to present the idea of soundwalking since its theory and practices began to form. By presenting selected works by Hildegard Westerkamp, I intend to show the motivations behind the practice of soundwalking, which encompass the complex issues of perceiving and assessing city sounds. I refer these to Tim Ingold’s proposition to understand sound as a medium of experience. Soundwalking, as a practice of conscious listening by focusing attention on aural sensations, paradoxically seems to reveal the multi-sensory structure of our relationship with the world, and the mediatory function of sound in our experience of being-in-the-world.



Abstract: In the article the author presents a proposal for a soundwalk along two rivers that flow through Wrocław (Poland): the Odra ant the Bystrzyca. A soundwalk focused on listening engages multisensory impressions and enables to discover various  sounds in the city. The proposed walking routes encompass section of the rivers located in the outer districts of Wrocław – a fragment of the suburban section of Bystrzyca River (Lesnica Park – Stabłowicki Forets – Nowa Karczma Forest) ant in the city – the urban section of the Odra River (Opatowice Weir – Stanica Harbour – Sand Island). Listening spots are designed for experience of different water sounds form the riverbanks (e.g. waves, the sound of weirs) and from an intra-river perspective during a canoeing trip (water sounds mixed with the urban sounds), or for sounds that are a sum of the noises of the river co-existing with the forest and meadow ecosystem. The selected sections of the two rivers share similar sonic qualities, including riverbank silence, murmurs of flowing or rippling water, as well as mix of nature and civilization sounds/noises. A richer urban and technical infrastructure of the Odra facilitates more intense generation and reception of sound associated with the medium of water. On the other hand, the landscape assets of the Bystrzyca Valley constitute the dominant feature of its soundscape.


Abstract: Grażyna Pstrokońska-Nawratil’s ouvre contains a very special series of pieces referred to as Musical Reportages. They are to be performed acoustically or with amplification, and were created as a result of inspiration with a landscape, nature, or an emotional/ aura sensation of a certain place. Analysis of selected reportages by Grażyna Pstrokońska-Nawratil (Reportage I The Palm Sunday at Nazareth for sax, organ, and percussion; reportage III ICE-LAND… rainbow bridges over Dettifos… for chamber orchestra) brings up the issue of creative inspiration, for which peculiar mediation of sensations and emotional impressions, their transfiguration in elements of composer’s craft is of much importance. The two reportages share a unique way of form building similar to framing in a film (showing successive shots). The Palm Sunday at Nazareth refers to an event that combines a religious-and-customary aspect with sacrum. ICE-LAND… by using divers sound textures, seems to be an allusion to various forms, sound, and colours of nature. The use of an appropriate instrumental texture, sound structures, manners of performance, ways of building the piece narration, etc., not only allows the soundscape of a given place to be heard, but also refers to other sensory experience (visual, tactile, the sense of time and emotion). The Reportage series by Grażyna Pstrokońska-Nawratil attest to her ability to translate the multitude of sensory experience into language of (music)sounds.

Artykuły: historia sztuki, muzykologia




Oprawa graficzna piosenek popularnych Władysława Szpilmana
 jako świadectwo praktyk artystyczno-wydawniczych i przemian w projektowaniu okładek, 
[w:] Obrazy z nut, red. R. Tańczuk, J. Gul, M. Janowiak-Janik, J. Małczyński, „Prace Kulturoznawcze” 2021, s. 33-65.





Pieśni masowe Władysława Szpilmana w kontekście dorobku piosenkarskiego kompozytora,
„Res Facta Nova” 2020, nr 21, s. 28-47.










Sygnał Polskiej kroniki Filmowej i jego nieznane wersje z roku 1967, „Muzyka” 2019, nr 1, s. 106-133.










MAGNIFICAT MM Grażyny Pstrokońskiej-Nawratil. Wybrane elementy symbolicznego kształtowania formy, 
„Liturgia Sacra” 18 (2012), nr 1, s. 181- 199.
Abstract: This paper discusses the graphic design of sheet music covers for popular songs by Władysław Szpilman, focusing on various decoration patterns and design trends as well as on the evolution of the design of Polish popular sheet music covers. A selection from a large body of Szpilman’s sheet music is investigated, published before World War II by privatively-owned or cooperative publishers such as Nowa Scena, Arct’s Music Publishing House (Wydawnictwo Muzyczne Arcta), E. Kuthan’s Publishing House (Wydawnictwo E. Kuthana), and Ton, which, after 1945, were displaced by state-owned businesses. The author discusses different decoration styles typical for different periods, e.g. the publicity style, the bordure-vignette style, the lettering-typographic style, and the poster style, exploring the complexities of the processes of ideologizing the role of art (e.g. the different ways of illustrating Socialist Realist period songs for individual customers and for musical groups; Czytelnik’s modest and graphically uniform publications). After World War II, Szpilman was among the proponents of the idea of creating a newspaper-type popular music series, which would keep abreast of the times by publishing music sheets for currently popular songs. At the same time, covers for Szpilman’s sheet music were designed by eminent graphic designers working for the Polish Music Publishing House (Polskie Wydawnictwo Muzyczne): W. Skulicz, J. Bruchnalski, A. Darowski, A. Kowalski, K. Wojtanowicz, and J. Kurkiewicz, among others. After examining a wide variety of sheet music covers, the author identified a number of publishing practices (such as creating a series or a sheet music collection), noticing an aesthetic evolution of cover design for particular publishers and over time (e.g. in the way music for children and adolescents was illustrated), and a migration of modern graphic motifs from other musical genres, such as Sonorism.
Abstrakt: The aim of the paper is to analyse songs written by Władysław Szpilman during the socialist realism period in the context of the composer’s songwriting achievements. Szpilman’s first hit songs were published as early as the 1930s, and they were followed by others over a period of nearly half a century. The available archival, phonographic and sheet music sources provide information about more than 300 titles which include popular songs, songs for mass performance, for children, for plays and theatrical broadcasts, films and cabarets. The dominant group is that of popular songs and songs for the stage (on themes of love). The group of songs written during the years 1948–56, regarded as mass songs, has distinctive formal features, different musical conceptions, and alongside the march form it includes mostly dance forms (foxtrots, waltzes, polkas, tangos), with the kind of vitality and musical quality that turned them into popular entertainment pieces often achieving the status of hits. In their textual layer the songs are differentiated as well (themes of rebuilding the country, peace, love, work). Evidence of the reception of mass songs shows that they were regarded positively, often as heartening, described as enslaving in view of the context of the performance of selected songs. Popular songs are also characterised by diversity of form and arrangement, differentiated in terms of performance scoring and style (more than 850 archival records). The variety of musical techniques used in this genre, alongside the songs’ melodiousness, ensure that they have a permanent place in the soundscape of the twentieth century.
Abstract: Polska Kronika Filmowa (The Polish Film Chronicle, PKF) opened in its early years (1945–51) with a bombastic music motif, a form of quotation. From 1952 onward, the title sequence was accompanied by a music piece specially composed by Władysław Szpilman, which was broadcast without any changes until 1994 and became the trademark of this news-reel, as well as a soundmark of the Polish soundscape. One of its distinguishing features were its polonaise rhythms. The ionicus a minore formula, correlated with dynamic progressions (including modulations and remodulations) and a bugle-call-like melody – made this tune highly popular and recognisable. Sources found in the WFDiF (Warsaw Documentary Film Studio) prove, however, that alternative versions of the PKF signature tune were composed in 1967. These unpublished compositions by H.M. Górecki, W. Kilar and J. Maksymiuk were recorded along with Szpilman’s piece in two versions, one opening and the other – closing the newsreel. Each of the new proposed tunes is about 15 seconds long and, in most cases, scored for a symphony orchestra.The recording of 1967 remains anonymous. audio analysis shows that it was made in a large hall, in stereo. We do not know who inspired this project, but most likely it was associated with attempts to change the PKF title sequence (including the graphics) and with political interventions. Eventually, however, the legendary piece by W. Szpilman remained intact as the Chronicle’s signature tune. (translated by Tomasz Zymer)
Abstract: Magnificat MM by Grażyna Pstrokońska-Nawratil is a grand vocal-and-instrumental form written for soprano solo, orchestra and choir. Unlike most exemplifications of the genre (particularly as regards works from the first half of the 17th c., 18th c. and a majority of those composed recently), it does not employ the verse-by-verse setting technique. In fact, Grażyna Pstrokońska-Nawratil only utilises the initial fragment of the canticle (thanksgiving, Luke,1:46-48), combined with other texts, including nearly the entire text of the Stabat Mater sequence, selected lines and verses from Marian antiphones (Ave Regina Caelorum, Regina caeli laetare), and the fragment from the Gospel of John (1:14). This resulted in the creation of a unique form, consisting of “Three moments from the life of the Virgin Mary”, as its subtitle asserts: (1) The Annunciation, (2) The Lamentation, (3) The Ascension, and so it reflects the Virgin Mary's thanksgiving in the context of the most important events of her life.The work derives from highly specific sound material chosen by the composer (two diminished seventh chords with root E and E flat). It is used as a basis for all of its structures, including some of its motifs, which operate as units generating the form of the composition. The main motif (Magnificat) is important, as it contains the so-called imaginatio crucis figure. The motif is transformed in the course of the composition. At the beginning, it is presented in a form containing imaginatio crucis. Following a great instrumental climax in The Lamentation (the second movement), it assumes a descending form. The original motif, including imaginatio crucis, seems to announce the drama of the Crucifixion. Such an uncommon structure, combining contradictory qualities (e.g. the imaginatio crucis form and the word Magnificat) and utilising more texts than only the lyrics of the canticle, is a unique solution as regards the Magnificat form. It seems to have been an entirely conscious choice on the part of the composer, thanks to which the listener's attention is drawn to the sense of the acceptance by the Virgin Mary of the grace of the Annunciation.



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