„Res Facta Nova” to pismo naukowe poświęcone muzyce współczesnej. Od początku istnienia (od roku 1967), niezależnie od meandrów polskiej kultury i polityki kulturalnej, pismo stanowi istotny element pejzażu refleksji muzykologicznej, krytyczno-muzycznej i okołomuzycznej w Polsce. Do grona jego założycieli należeli Michał Bristiger, Stefan Jarociński, Józef Patkowski i Mieczysław Tomaszewski. POLITYKA FUNKCJONOWANIA CZASOPISMA AKTUALNY NUMER ARCHIWUM INDEKSOWANE W: DOAJ, ERIH Plus, Index-Copernicus (ICI Journals Master List), POL-index, CEEOL, Google Scholar, Bibliografia Geografii Polskiej, Arianta, WorldCat, MOST Wiedzy, CROSSREF, <span style="color: #646464; font-family: arial; font-size: medium; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;">ROAD, THE KEEPERS, ZDB, OPENALEX, EZB WSKAŹNIKI OCENY CZASOPISMA: Punktacja Ministerstwa Edukacji i Nauki (2023): 40 ICV 2024: 92.28 DOI: 10.14746/rfn ISSN: 1897-824X ISSN (Online): 2544-9303 PRACE PUBLIKOWANE W CZASOPIŚMIE DOSTĘPNE SĄ NA LICENCJI CREATIVE COMMONS: Uznanie autorstwa - Użycie niekomercyjne - Bez utworów zależnych 4.0 Międzynarodowe. Publisher: Adam Mickiewicz University in Poznań Res Facta Nova są zgodne ze standardami I40C dotyczącymi otwartych cytowań.citations. ROZWÓJ CZASOPISM NAUKOWYCH Czasopismo "Res Facta Nova" DOFINANSOWANIE 30 000 zł CAŁKOWITA WARTOŚĆ 30 000 zł Opis zadania: Realizacja koncepcji rozwoju praktyk wydawniczych i edytorskich oraz ich wpływu na utrzymanie się czasopisma w obiegu międzynarodowym zgodnie z umową Nr RCN/SP/0654/2021/1
Tresowanie pamięci, karanie zapomnienia. O przemocy fizycznej w nauczaniu muzyki w kontekście średniowiecznej tradycji mnemotechnicznej
“The government of souls is the art of arts” [Ars est artium regimen animarum] and, without doubt, according to Gregory the Great, ars musica was one of the arts which served this purpose. The role of music was to facilitate the assimilation of the Christian doctrine and to unite believers in joint singing. In Vita s. Gregorii Magni of Paul the Deacon (IX c.) – the text crucial for establishing the legend of the pope as a creator and teacher of plainchant, Gregory’s important attribute was a whip with which he threatened the boys during singing lessons. In the first part of the article, I introduce the ars musica as a system of control and the whip as a tool of discipline, assuming that the rules of art were established to control the performance of chant and limit variations which appear in oral transmission. In the second section of the text, I analyse the “rule of the rod” in medieval classrooms in the context of rhetoric and the mnemonic importance of the teacher’s behaviour. I devote the third part to mnemonic images and the metaphor of memory as writing known from treatises on the art of memory. In music, an example of “mental writing” on the human body is the “Guidonian hand” – a mnemonic tool which could have aroused a virtual pain in the minds of medieval students.
Prawa autorskie (c) 2025 Ryszard Lubieniecki https://creativecommons.org/licenses/by-nc-nd/4.0
Repertuar muzyczny zapominany i przypominany w ewangelickim Wrocławiu
If collective memory defines the identity of a community, then each of its transformations brings about the forgetting of certain elements of heritage, which in the new system of values turn out to be unwanted. However, even a very radical change in culture allows for the perpetuation of that part inherited from tradition which is sanctioned by means of a new system of meanings given to it. The most important turning point in the history of modern Breslau is rightly considered to be the time of the introduction of the Reformation in this city, which brought significant transformations of many forms of culture. These changes also concerned the musical repertoire, which was to serve the changing liturgical orders in the reformed churches of the Oder metropolis from 1524. The preserved sources inform us about how this process looked, documenting both the phenomenon of conscious abandonment of a certain resource of the repertoire (liturgical and vernacular), as well as the process of its recapitulation, carried out on the basis of well-thought-out culture-forming strategies. The documentation sources of both processes are analysed in light of the methodological pattern of oblivion figures proposed by Marc Augé.
Prawa autorskie (c) 2025 Tomasz Jeż https://creativecommons.org/licenses/by-nc-nd/4.0
Mechanizmy pamięci i zapomnienia w kulturze muzycznej Śląska: Caspar Neumann (1648–1715) i recepcja pieśni "Liebster Gott, wenn werd ich sterben"?
This article explores the Silesian hymnal compiled by Caspar Neumann (1648–1715) in relation to the circulation of the hymn Liebster Gott, wenn werd ich sterben? in the seventeenth and eighteenth centuries. Drawing on manuscripts and prints from Lutheran, Reformed, and Catholic contexts, it analyses textual stability alongside melodic variation, visualised through a map of geographical dispersion. The study highlights Neumann’s editorial strategy of reducing and systematising the repertoire, which may be understood as a mechanism of memory management, balancing processes of selection, remembering, and forgetting. Particular attention is given to the hymn’s eschatological profile – its associations with memento mori, ars moriendi, and funeral preaching – showing how it functioned in both communal worship and domestic devotion. The results position Silesia as a mediator of Central European hymn traditions and demonstrate how a single hymn could sustain diverse local adaptations while retaining its theological and emotional core. By linking musical variants with cultural memory and strategies of repertoire curation, his article offers a new perspective on the dynamics of early modern religious song.
Prawa autorskie (c) 2025 Grzegorz Joachimiak https://creativecommons.org/licenses/by-nc-nd/4.0
„Stary człowiek zostaje zapomniany”. O procesie przebudowy pamięci zbiorowej w repertuarze Pieśni Ziemi Izraela
In this article, I discuss issues related to the manipulation of memory and deliberate forgetting, which were elements of the process of creating an invented tradition in the Zionist Jewish community of the first half of the 20th century. The titular Songs of the Land of Israel [Hebrew: Shirei Eretz Israel] is a vocal repertoire accompanying the first aliyahs to Palestine, building a new identity for its future inhabitants and preparing the ideological ground for the construction of a Jewish National Home (and later also the State of Israel). Conceived as “new folk songs”, their primary task was to integrate the culturally extremely diverse Jewish community, and, no less importantly, to attest to the right of Jews to live in the Land of Israel. By their creators and ideologists, the newly created songs in Hebrew were understood as a tool for shaping identity, and the memory of the nation’s history, which was to be expressed in them, was treated instrumentally, both in the textual layer and in the music. It is interesting to trace the suppression of certain threads present in diasporic Jewish cultures, replacing them with new ones in order to rebuild not only social practices but also the collective memory of certain events. The image of the “new Jew” has undergone a particular transformation, resulting from the complete denial and erasure of a large part of the cultural heritage of the diaspora.
Prawa autorskie (c) 2025 Agnieszka Jeż https://creativecommons.org/licenses/by-nc-nd/4.0
„Uwertura dźwięku, który zabija”. O jednym wątku Wakacji nad Adriatykiem Zofii Posmysz
The aim of this paper is to examine the impact of extreme auditory perception experiences on the narrator of Zofia Posmysz’s novel Wakacje nad Adriatykiem [Vacations on the Adriatic], which might be read as a study of a forced hyperactivity of the subject of auditory perception, who reconstructs a story about her past based on unexpected sound stimuli heard again, but in completely different circumstances. Hence, the subject matter of the paper is the analysis of the relationship between listening, emotions, memory, and trauma of the novel’s narrator, who in her youth became an “ear witness” of a concentration camp reality. Her story is a testimony to the extent to which the compulsion to decipher all kinds of acoustic phenomena can affect human functioning in the world. Giving priority to the sense of hearing at the expense of the other senses is here associated with hyperacusis and other disorders of the post-traumatic stress. These experiences, which Posmysz described in her artistic language, are currently explored, for example, by Carolyn Birdsall in her studies on sound memories of the Nazi period, by Steve Goodman who analyzes them in the context of the relationship between sound and emotions, especially fear, or by James Martin Daughtry who examines them as a process of decoding sounds as tactical signs, serving, during a war, as a source of information that can save lives.
Prawa autorskie (c) 2025 Anna Tenczyńska https://creativecommons.org/licenses/by-nc-nd/4.0
Memory and oblivion as socio-cultural phenomena are directly connected to the construction of musical modernism. Modernism can be understood as a post-traditional position that rejects the obligatory character of tradition but not necessarily the tradition itself. The possibility of celebrating the memory of non-obligatory now tradition and the possibility of the oblivion of tradition seem to shape two different and potentially conflicting strategies of musical modernism. These strategies are not limited to aesthetic sphere but have distinct socio-cultural connections.
Prawa autorskie (c) 2025 Krzysztof Moraczewski https://creativecommons.org/licenses/by-nc-nd/4.0
Od wymazania do zapomnienia (i co dalej?) – casus Palestra
The case of Roman Palester shows how, in the 20th century, the figure of a promising composer could in practice be erased for political reasons. Born in Śniatyn (Galicia) in 1907 and educated during the Second Polish Republic, Palester was one of the most interestingly developing Polish composers of his time. Also very prolific during the Second World War, Palester was actively involved in rebuilding musical life in the first post-war years. However, when his stay in Paris turned into emigration, Palester was expelled from the ZKP and subsequently erased from the annals of Polish music history. His association with Polish émigré centres: the radio station Radio Free Europe and ‘Kultura Paryska’ ultimately closed the composer’s path to return to the stage in Poland (with the exception of a brief episode of the thaw of 1957–1959). The article describes this case with particular attention to the difficulties involved in changing this situation after the change of the political system and the composer’s death. Although new editions and recordings of his works have appeared since the composer’s death, as well as a comprehensive monograph by Zofia Helman, knowledge of Palester remains limited to this day. The author examines the prospects for bringing back to concert stages the work of this, one of the most interesting figures in the world of 20th century Polish music.
Prawa autorskie (c) 2025 Lech Dzierżanowski https://creativecommons.org/licenses/by-nc-nd/4.0
Od zapomnienia do przypomnienia: casus Andrzeja Panufnika
In July 1954, Andrzej Panufnik left Warsaw to make recordings for Swiss Radio and, instead of returning to his homeland, made his way to London, where he requested political asylum. In a statement to the British press, he wrote: ‘[In Poland] I was so exploited politically that I had neither time or the peace of mind necessary to my creative work. In consequence for the last four years, for the first time in my life I have found myself completely unable to compose’. As a consequence of his decision to emigrate, the propaganda machine of the Polish People’s Republic decided to erase the composer from the country’s musical life and from the consciousness of music lovers in Poland. How were the political mechanisms used during the communist era applied to officially “forgetting” an inconvenient artist’s work? How did the memory of him survive (albeit in a distorted form) and how was it subsequently restored? And also, what dangers are associated not only with the deliberate blurring of the memory of the composer, but also with the deliberate restoration of him to the national cultural canon? The author considers these questions, drawing on Paul Connerton’s typology of seven types of forgetting and Aleida Assmann’s research on memory, recalling also the decolonisation perspective and using her own long-standing research on the music and work of Andrzej Panufnik.
Prawa autorskie (c) 2025 Beata Bolesławska-Lewandowska https://creativecommons.org/licenses/by-nc-nd/4.0
The aim of this article is to present the main reasons why Belarusian musical heritage is absent from the awareness of Western audiences. This problem is closely related to the history of Belarus and its current social and geopolitical situation. The article does not aspire to presenting a synthetic picture of the history of the music of Belarus, but points to the main aspects that determine its shape: Belarusian mentality, lost heritage, the „unending” influence of the Soviet doctrine of socialist realism, the „Belarusian” music tradition fabricated by Russian composers and the aestheticisation of oblivion, which are probably the most important features of contemporary Belarusian music.
Prawa autorskie (c) 2025 Szymon Borys https://creativecommons.org/licenses/by-nc-nd/4.0
Sikorski/Eastman: procesy zapominania i przypominania
The article is a double portrait of Julius Eastman and Tomasz Sikorski in the context of the processes of forgetting and remembering that take place in collective memory and the shaping of the repertoire and canon of music history. The first chapter lists seven analogies between the biographies and styles of two composers from the second half of the 20th century. As it turns out, the American and the Pole have much in common in terms of spectacular success and subsequent slow decline, as well as the formulation of an individual minimalist aesthetic. In the second chapter, based on recordings, studies, and publications, I analyse the gradual disappearance of their music from the discourse, which began during their lifetimes and intensified after their deaths. Based on the collected material and the previously outlined biographies, I put forward theses about the possible reasons for such oblivion: the loosening of notation, the lack of archiving and promotion, the environmental mismatch of the difficult character and loneliness of the creators. Finally, in the third chapter, I trace the return of Eastman and Sikorski to the repertoire of labels, festivals, and publishers, which began several years after their deaths. I identify the canonizers who contributed most to this process, as well as their motivations and achievements. Here, too, I try to find reasons for reviving their music: musicological investigations, the emancipatory expansion of the canon, the “cult status” and uniqueness, and the popularity of minimal music in its various forms.
Prawa autorskie (c) 2025 Jan Topolski https://creativecommons.org/licenses/by-nc-nd/4.0
„Any resemblance of my speech, with perhaps the exception of rhythm, is destroyed” – pamięć w twórczości Alvina Luciera
The essay analyses various types of memory within artistic practice of Alvin Lucier. From recollections to recordings, and from commemoration to various echoes and resonances – Lucier’s works deal with all kinds and meanings of memory. The essay tackles a vast ar ray of Lucier’s compositions – from his pioneering brainwave Music for Solo Performer to I Remember honouring Morton Feldman, and from seminal I Am Sitting in a Room to (Hartford) Memory Space. Lucier’s compositions are analysed within the context of the works of fellow neoavantgarde composers (especially Feldman and John Cage) as well as fine arts of the 60s and 70s. Contemporary memory studies, especially the thought of Paul Connerton, serve as a crucial reference point for the narrative, in addition to the reflection on time in the arts of the 60s (Pamela M. Lee).
Prawa autorskie (c) 2025 Antoni Michnik https://creativecommons.org/licenses/by-nc-nd/4.0
The article presents the critical theory of topophony through the historical understanding of the term to modern definitions, based on analysis of academic literature, critical and journalistic articles, textbooks, quotations from authors, critics and composers. Around the second half of the 20th century, interest in space in music increased. By this time the first terminological distinctions concerning the concepts of topophony and spatial music began to appear in the texts of Polish authors such as Monika Gorczycka, Bohdan Pociej and Krzysztof Szwajgier, among others. The reflections and theses of Bogusław Schaeffer and Józef Michał Chomiński, who can be considered in turn as the creator and greatest propagator of the term topophonia, were crucial to the contemporary understanding of both notions. In the presented article, the term describes intentional exploration of sound location – i.e. spatial arrangement of performers, different from the traditional set-up – in musical compositions in which the sound plays a fundamental role (performative, theatrical and multimedia works have been excluded). In such compositions, spatiality – understood as the 8th element of the musical work – is indelible, because it determines how musical material is organized and shaped.
Prawa autorskie (c) 2025 Karolina Dąbek https://creativecommons.org/licenses/by-nc-nd/4.0
On A History of Emotion in Western Music: A Thousand Years from Chant to Pop by Michael Spitzer
In the book under review Michael Spitzer argues that Western music is capable of expressing the specific emotions of everyday life. In the first part he presents his appraisal theory, involving concepts such as first and second appraisal, musical persona, musical emotional style, and describes basic emotions (happiness, anger, sadness, love, fear) and compound emotions (wonder and the sublime, nostalgia and hope, pride and shame, jealousy and envy, disgust and boredom). The second part is devoted to the history of emotions in Western music. The author divides it into three periods, of which the most important one is the middle one, “affective realism”, stretching from 1640 to 1910, since it is then that the model of music-emotional behaviour of a persona navigating a musical landscape was created and established. The two other periods are: before emotion and after emotion. Within each period the author discusses the then influential theory of emotion and all the emotions dominant in the compositions. The narrative in both parts is enriched by music examples, numbering more than one hundred. The review notes that previously nobody had shown as clearly as Michael Spitzer that the emotions of everyday life have their analogies in the structural features of music, and no one had included such extensive musical material in their research. The book engages the reader not only by its essentially simple appraisal theory, but also by its very thorough analysis of relations between perceived emotion and specific musical cues. One admires all the interpretations, which may have enormous didactic significance. With reference to the historical part, the reviewer suggests that the works of neoclassicists and those of the generation of “digital natives” should be tested for musical emotions. Finally, the review encourages readers to get acquainted with the book, since it may help resolve doubts and bring answers to some troubling questions.
Prawa autorskie (c) 2025 Violetta Kostka https://creativecommons.org/licenses/by-nc-nd/4.0