It is no use looking for the educated musicians who were given a chance to come into longer contact with composition as a school subject being part of their formal education. Meanwhile, fascination with an act of creation and willingness to get familiar with music “from the inside” accompany school-age people. It is then that first, bashful compositional attempts are made. Over time, pupils search for new sounds on their instruments, improvise, experiment, get familiar with music literature. Such attempts should not go unnoticed – an observant pedagogue will easily notice creative predispositions in their pupils. In this article, the author shares his pedagogical experiences gained while giving composition classes at the K. Szymanowski Comprehensive Primary and Secondary Music Schools in Wrocław. The idea of promoting the art of composition was fully implemented in the form of the School Composers’ Club, founded in the school year of 2016/2017, the activity of which is based on the author’s original school curriculum, a system of individualized education and various forms of young composers’ presentations. The Club’s activity assumes, on the one hand, preparing pupils to take up compositional studies and, on the other one, fostering their general musical development enriched with creative competences.
Performing a forgotten piece or work by a not-well-known composer is always a great challenge for an artist. The fact that there are no recordings, no performance traditions or at least an arranged and published score is not conductive to a decision to include such a piece in one’s repertoire. Which elements should a performer pay attention to while working on unknown contemporary pieces? Aside from the emotions and intuition, which influence the shape of a composition in a natural way, he or she should also refer to the intellectual side of interpretation. The issue to reflect on is the way how the knowledge and awareness of the form of a work, its texture, harmony, rhythm and other elements of a music piece may influence the final shape of its interpretation. Ryszard Bukowski – a composer, music theoretician, journalist and organiser of musical life became a permanent part of the musical cityscape of Wrocław of the afterwar period. His numerous compositions include works for diversified line-ups, from solo pieces to vocal-and-instrumental ones. As a skilful pianist, Bukowski eagerly wrote music featuring the piano, and the works he composed the most frequently were solo sonatas. Writing as many as ten piano sonatas took him only a little more than a decade. Was the title of a piece what made the composer refer to this very traditional form thanks to its genre significance? Or was it just the opposite, i.e., with the title being merely a provocation? Perhaps Bukowski’s characteristic creative feature was combining tradition with modernity and on the basis of traditional formal patterns he proposed original solutions in reference to harmony, rhythm or texture? The article analyses Bukowski’s Piano Sonatas no. 2, 5, 9 and 10 in terms of their performance.
Częściowa resekcja pęcherzyka żółciowego (SC) to metoda leczenia stosowana w przypadku tzw. trudnej cholecystektomii. Pozwala minimalizować ryzyko uszkodzenia dróg żółciowych, w przypadku gdy z powodu dużego nacieku zapalnego niemożliwe jest bezpieczne wypreparowanie struktur w obrębie trójkąta Calota. SC jest jednak metodą obarczoną większym ryzykiem przecieku żółci, pozostawienia kamienia w kikucie pęcherzyka lub przesunięcia złogów do światła przewodu żółciowego wspólnego (PŻW) w porównaniu do całkowitej cholecystektomii. W pracy zaprezentowano przypadek 53-letniego mężczyzny, u którego wykonano SC z powodu znacznego nacieku zapalnego w okolicy kieszonki Hartmanna w przebiegu ostrego zapalenia pęcherzyka żółciowego. W przebiegu pooperacyjnym – z uwagi na przeciek żółci – wykonano ECPW z protezowaniem dróg żółciowych, a następnie pacjenta reoperowano, wycinając zapalnie zmieniony kikut pęcherzyka z zalegającym złogiem. Z powodu infekcji w ranie pooperacyjnej, z górnego i dolnego bieguna rany usunięto szwy i pozostawiono do gojenia przez ziarninowanie. Dzięki pozostawieniu szwów w centralnej części rany uzyskany efekt kosmetyczny gojenia jest zadowalający.
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