{"title":"Reflecting upon freedom in two electroacoustic works by Elżbieta Sikora","authors":"Dominika Micał","doi":"10.5937/newso2157111m","DOIUrl":null,"url":null,"abstract":"The text's aim is to interpret the political and social aspect of Elżbieta Sikora's (born 1943) two electronic works: Rapsodia na śmierć republiki (Rhapsody for the Death of the Republic, 1979) and Janek Wiśniewski, grudzień, Polska (Janek Wiśniewski, December, Poland, 1981-1982). In my paper, I show the two pieces as examples of the 'engaged music' (as Sikora herself called them). I consider the role of their titles, narration, the use of pre-recorded sounds and musical quotation, as well as the circumstances of their creation.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"301 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"New Sound","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5937/newso2157111m","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
The text's aim is to interpret the political and social aspect of Elżbieta Sikora's (born 1943) two electronic works: Rapsodia na śmierć republiki (Rhapsody for the Death of the Republic, 1979) and Janek Wiśniewski, grudzień, Polska (Janek Wiśniewski, December, Poland, 1981-1982). In my paper, I show the two pieces as examples of the 'engaged music' (as Sikora herself called them). I consider the role of their titles, narration, the use of pre-recorded sounds and musical quotation, as well as the circumstances of their creation.
本文旨在解读Elżbieta Sikora(生于1943年)的两部电子作品:《Rapsodia na śmierć republiki》(《共和国之死狂想曲》，1979)和《Janek Wiśniewski, grudzieze, Polska》(Janek Wiśniewski, December，波兰，1981-1982)的政治和社会层面。在我的论文中，我将这两首曲子作为“投入音乐”的例子(Sikora自己也这么称呼它们)。我考虑他们的标题，叙述，使用预先录制的声音和音乐引用的角色，以及他们的创作环境。
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