Search results
— How colourful kitsch overtook eastern Poland post-1989. The reality used to be dull and grey. Now the soulless, identical tower blocks are just a reminder of a turbulent past, a national monument present all around the country.
Nov 15, 2022 · About this book. This volume provides a transnational study of the impact of musical cultures in the Eastern Baltics—Lithuania, Latvia, Poland, and Russia—at the end of the Cold War and in the early post-Communist period.
Dec 18, 1997 · The most recent chapter in the history of Polish music was written in the socialist period between 1945 and 1989. The years 1949-1956 may be best described as the heights of Stalinist terror; at that time, the official ideology of the state constrained the arts by stylistic requirements of socialist realism.
- Introduction
- General Organizational Scenario
- Political Problems I: Germany
- Political Problems II: Soviet Union
- Political Problems III: Poland
- Transformations After 1989
- Conclusions
- Notes
Of the Eastern European countries that were under the domination of the Soviet Union from shortly after World War II until the beginning of the 1990s, Poland has been the most prominent in the area of contemporary musical composition. Beginning in the mid-1950s and continuing throughout more than three decades of Soviet domination, Poland’s governm...
In order to understand the specific problems of a political nature that faced the Festivals’ planners, a review of the organizational framework for the Festival is helpful. This framework was approved by Poland’s Ministry of Culture and Art, the event’s principal patron.(2) The basic features of this system remained the same from the Festival’s beg...
Although the organizational framework of the Festival called for the Program Committee to choose all performers and repertoire, subject to the approval of the Festival Committee and the Department of Music, governmental agencies in the Soviet Union and Eastern Europe ultimately controlled which performers from their nations would appear at the Fest...
The organizers affirmed the need to invite performers from different countries each year, while maintaining a balanced number of ensembles and soloists from East and West. Such a system has been employed to some extent throughout the Festival’s history; one notable exception has been the annual presence of performers and compositions from the Sovie...
In contrast to these endeavors, the leadership in Poland rarely exercised its political leverage in artistic decisions concerning the Festival. Except for its possible complicity in the Hamburg Opera fiasco in 1958, the government’s only other act of interference during the five years in question at this point was to prohibit the performance of wor...
The two Festivals held immediately after the collapse of Poland’s Communist government, those presented in 1989 and 1990, stand apart from all earlier ones. In each, the Program Committee demonstrated its astute capacity to be at the forefront of the changing political scene in Europe. Among its most immediate moves was to program compositions by e...
The Polish organizers of the Festival consistently were affected by the realities of holding an international event in post-World War II Eastern Europe. The mixture of music and politics with regard to this annual gala was unsuccessful in many of its manifestations: deliberate delays in correspondence were added to an already circuitous system of c...
(1) An earlier version of this paper was presented at the 1990 AMS-Midwest Conference. (2) “Projekt. Regulamin Miedzynarodowego Festiwalu Muzyki Wspolczesnej,” Collection of Correspondence and Minutes, International Festival of Contemporary Music, 1958, Polish Composers Union, Warsaw; Zarzadzenie Nr 39 Ministra Kultury i Sztuki z dnia 24 lutego 195...
This volume provides a transnational study of the impact ofmusical cultures in the Eastern Baltics-Lithuania, Latvia, Poland,and Russia-at the end of the Cold W...
Does the history written in “Walls” match up with the Polish context? What music did protesters hear, sing, and perform in the Lenin Shipyards? How did music fit into the broader sonic environment and artistic atmosphere of the strikes?
People also ask
How did Polish music develop?
How old is Polish music?
When did Polish music start chanting the mother of God?
When did contemporary music start in Warsaw?
Mar 7, 2020 · This book studies the relationship between music making and social movements using the Solidarity movement in 1980s Poland as a case study. Its central argument is that while music offered a means of performing and commemorating the Solidarity movement as unified, the media of the opposition to state socialism also revealed—and continue to ...
