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Institution

Academy of Music in Kraków

EducationKrakow, Poland
About: Academy of Music in Kraków is a education organization based out in Krakow, Poland. It is known for research contribution in the topics: Symphony & Chamber music. The organization has 13 authors who have published 12 publications receiving 13 citations. The organization is also known as: Academy of Music in Krakow.

Papers
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Journal ArticleDOI
TL;DR: This feature article is devoted to various in materio implementation of neuromimetic processes, including neuronal dynamics, synaptic plasticity, and higher-level signal and information processing, along with more sophisticated implementations, including signal processing, speech recognition and data security.
Abstract: The story of information processing is a story of great success. Todays' microprocessors are devices of unprecedented complexity and MOSFET transistors are considered as the most widely produced artifact in the history of mankind. The current miniaturization of electronic circuits is pushed almost to the physical limit and begins to suffer from various parasitic effects. These facts stimulate intense research on neuromimetic devices. This feature article is devoted to various in materio implementation of neuromimetic processes, including neuronal dynamics, synaptic plasticity, and higher-level signal and information processing, along with more sophisticated implementations, including signal processing, speech recognition and data security. Due to vast number of papers in the field, only a subjective selection of topics is presented in this review.

10 citations

Book ChapterDOI
01 Jan 2017
TL;DR: In this paper, the authors focus on a problem of "New Romanticism" in Polish music based on the example of works of three composers referred to as the "Stalowa Wola Generation" (the name derives from the place of their debut, i.e. the Young Musicians for the Young Town Festival in Staloga Wola in 1976) or "Generation 51" (from the year of birth of the composers).
Abstract: The subject matter of the paper focuses around a problem of “New Romanticism” in Polish music based on the example of works of three composers referred to as the “Stalowa Wola Generation” (the name derives from the place of their debut, i.e. the Young Musicians for the Young Town Festival in Stalowa Wola in 1976) or “Generation 51” (from the year of birth of the composers). They constituted the first generation phenomenon of such significance in Polish music since the debut of “Generation 33” (Penderecki, Gorecki and others). The musical style of these young authors was in tune with the Polish popular phenomenon of 1970s of “New Romanticism”, consisting in returning to certain artistic and aesthetic values lost in modernism and the avant-garde. Relying on the examples of mostly earlier works of Eugeniusz Knapik, Aleksander Lason and Andrzej Krzanowski, an attempt is made to interpret the “syndrome” of this phenomenon—including the return to melodics, neo-modality and tonality, and the humanistic message of the compositions.

4 citations

Journal ArticleDOI
TL;DR: Contrary to common practice, this work proposes to record and utilize sound samples containing not one, but short sequences of pitches, so that natural pitch transitions are preserved and phrases appear to be much smoother, despite using very limited set of performance rules.
Abstract: Sound synthesizers are a natural element of a musician's toolset. In music arrangement, samplers can often produce satisfactory results, but it requires a combination of manual and automatic methods that may be arduous at times. Concatenative Sound Synthesis reproduces many of natural performance- and expression-related nuances- but at a cost of high demand for processing power. Here, another method of musical phrase synthesis aimed at music arrangement is presented that addresses these and other related issues. Contrary to common practice, we propose to record and utilize sound samples containing not one, but short sequences of pitches. In effect, natural pitch transitions are preserved and phrases appear to be much smoother, despite using very limited set of performance rules. The proof-of-concept implementation of the proposed method is discussed in detail along with attempts at optimizing the final sound effects, based on auditory tests. The limitations and future applications of the synthesizer are also discussed.

3 citations

Book ChapterDOI
01 Jan 2017
TL;DR: In this paper, the authors describe the diversity of the string quartet concept in the works of Krakow composers and present a survey of the composers' works in this genre.
Abstract: A string quartet, being a test of skills for a composer’s workshop, is a genre willingly practiced in the circles of Krakow composers. In 1960 Krzysztof Penderecki initiated a new stage in the genre with his Quartetto per archi No. 1 maintained in the poetics of sonorism. Penderecki’s students took up experiments in the scope of articulation and texture, e.g. Marek Stachowski (1936–2004) as well as composers representing an older generation, e.g. Krystyna Moszumanska-Nazar (1924–2009). A string quartet acquired a different image in the works of Zbigniew Bujarski (born 1933), who took up this genre in 1980s making it a carrier for programmatic messages. Still other propositions are brought about by the quartet work of a tireless avant-garde author, Boguslaw Schaeffer (born 1929) and the master of the genre, Krzysztof Meyer (born 1943) who composed over a dozen string quartet pieces. The objective of the paper is to capture the diversity of the string quartet concept in the works of Krakow composers.

1 citations

Book ChapterDOI
01 Jan 2017
TL;DR: Progressive rock has, as a popular music genre from the very beginning, separated itself from pop culture extensively as mentioned in this paper, and it wanted to be the elite, the modern, and the innovative in new forms of art.
Abstract: Progressive rock has, as a popular music genre from the very beginning, separated itself from pop culture extensively. It wanted to be the elite, the modern, and the innovative in new forms of art. Ideas of “art rock” do not expire and with time gave rise to the new, transgressive trends: neo-progressive in the ‘80s, progressive metal and mathcore in the ‘90s, and, recently, djent. At the expense of greater commercial success, many bands still cut off from the rock-metal mainstream and operate independently, incessantly exceeding stylistic and aesthetical boundaries. Moreover, poetics of their music often reveal a tension between elitism and egalitarianism, intellect and corporeality, individuality and convention.

1 citations


Performance
Metrics
No. of papers from the Institution in previous years
YearPapers
20221
20201
20183
20177
20161