Notes

Języki 52 Ciekawostki O Językach świata. Językowe Rekordy
Ww. koniec jest konsekwentny z końcami tworzonymi przez dokumenty o charakterze strategicznym dla kraju: wpisuje się w założenia dokumentu strategicznego „Perspektywa przekonywania się przez całe życie”, mieści się w ramach realizacji Długookresowej Strategii Rozwoju Terenie Polska 2030. W CSR dla Własny polecana jest problem dopasowania systemu edukacji do potrzeb rynku działalności i podniesienie jakości nauczania. Zmierzają do szerokiego rozwoju plastycznego dzięki zatrudnieniom w niewielkich, nawet 2-osobowych grupach, robionych w budowie: wykładów, ćwiczeń, warsztatów, plenerów. Dzięki nim bahaizm bronił się drugą najbardziej rozprzestrzenioną geograficznie religią świata. She dedicated to him, for his 80th birthday, Concerto Grosso for two violins and chamber orchestra (1996); Menuhin conducted the world premiere in Poland. Ptaszyńska’ s personal friendship with Menuhin was strengthened by his involvement in the creation and promotion of The Holocaust Memorial Cantata. Whether writing a children’s song, a percussion piece, or a symphonic work, the organization of pitch and harmonic language has always been a priority to me. Since my early childhood I have been fascinated by the logic of the digital universe, by the elegance of mathematical progressions, and, above all, by the beauty of geometric symmetries.


The color structure of the song cycle-from cold shades, through gradually warmer hues leading to natomiast climax of redness and a return to colder green-stems from poetic imagery and results in the creation of a masterly work that enchants the listeners even without the knowledge of its "synaesthetic" inspirations and structure. The composer quotes her work Linear Constructions in Space for six percussionists as a typical example. 2-3 p. 25-30; Jane Weiner LePage, Women Composers, Conductors, and Musicians of the XX Century, Scarecrow Press, 1983 (volume II) pp. New York: Schirmer Books, 1978); J. A. Sadie, ed., The Norton/Grove Dictionary of Women Composers (New York, London: Norton, 1995, p. Women & Music, (Bloomington: Indiana University Press, 1991 p. 199-201; 2001, p. 291-294); and James Briscoe, Contemporary Anthology of Music by Women, (Bloomington: Indiana University Press, 1997, p. For me the secret of order and organization in music lies in mathematics of all sorts: mathematical successions, progressions, calculations, numerical constructions and transformations.

This "ekphrastic" principle of poetry based on art is frequent in the literary world, but rare in music. Despite the focus of her large-scale "public" pieces on issues of current patriotic and political relevance, Ptaszyńska’s lasting contribution to 20th century music consists in the imaginative development of means of expression associated with percussive instruments, and the perfect marriage of structural and sonoristic aspects of her compositions resulting from the subtle and sophisticated use of instrumentation as a vital element of musical structure. These constellations of sounds are generated in the course of the piece through various pitch rotations, transpositions or symmetrical pairings. For each work, I compose a separate set of pitches from which I may build a constellation of sounds using self transposing or rotating motivic cells. In rozprawka , like many of her colleagues, starting from Bèla Bartók and including Lutosławski himself, Ptaszyńska used the "golden mean" articulated by the Fibonacci series to structure large-scale proportions of major works.

Such large scale images captured the composer’s imagination in such works as Inverted Mountain for orchestra (2000), Of Time and Space for percussion, tape and orchestra (2009-2010), and the earlier Mobile for two percussionists (1976), reflecting in music the movable structure of Alexander Calder’s eponymous sculptures. These works are discussed in their context in Maria Anna Harley (Maja Trochimczyk), Bogurodzica Reborn: A Medieval Anthem in Contemporary Polish Music, chapter in Mittelalter-Sehnsucht? The colors mentioned in the poems are reflected in the timbral and harmonic hues selected by the composer. Her experiences influence the translation of the poetic inspiration into the music, but the connections are not always straightforward. The final song is, according to the composer, "in dark green and red". Exponential Red and a gradual return to cool tranquility of the green in the cycle’s closure. The Red Sea of flowers is reflected by a saturated, tertian harmony and rich percussive colors; the following greenness of the "wildwood pool" is evoked by the fourths and fifths in the piano part. Barbara Smoleńska-Zielińska, Concerto for Marimba and Orchestra, "Percussive Notes", (1991, April, vol.

Ptaszyńska’s music may be described as an individual brand of "sonorism" and she names Witold Lutosławski (1913-1994), the grand master of the Polish school of sonorism as her main mentor and inspiration. A book of interviews with Ptaszynska appeared in Poland: Leszek Polony, Ewa Cichoń, Music- the Most Perfect Langauge, Conversations with Marta Ptaszyńska (Kraków: Polish Music Publications, PWM, 2001). Overviews of Ptaszynska’s music include: Dorota Szwarcman, “The Colorful World of Marta Ptaszyńska”, Polish Music, Warszawa, Poland, 1988, vol. Other "mathematical" gestures appear at the micro-scale and involve rotations and transformations of pitch sets that permeate both melodic and harmonic aspects of her compositions. The mixture of a "timbral" color (marimba - pink) and a "harmonic" color (blue-green of chords built from fourths and fifths) leads to the creation of the "pale lavender" of the second song. In this 1998 piece each movement is an embodiment of a different geometrical shape: the first movement represents a circle, the second movement represents a multitude of lines in spaces, and the third movement is constructed in the shape of a pyramid.


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