Muzyka https://czasopisma.ispan.pl/index.php/m <p>The quarterly “Muzyka” has been published continuously since 1956 and remains the leading musicology journal in Poland. It publishes texts dealing with music history from the Middle Ages to contemporary times, as well as ethnomusicology and systematic musicology. The main focus of the issues addressed is the Polish musical tradition, as most broadly understood, as well as the culture of the countries of Central Europe. The articles are published in Polish or English and are double-blind peer reviewed.</p> <p>The original version of the journal appears in print. There is no fee to publish and all texts are available in open access under the <a href="https://creativecommons.org/licenses/by/4.0/deed.en">Creative Commons BY 4.0</a> license. (Issues from 2018/1 to 2022/3 are available on <a href="https://creativecommons.org/licenses/by-nc-nd/4.0/deed.en" target="_blank" rel="noopener">CC BY-NC-ND 4.0 license.)</a><br /><br /></p> pl-PL <p>The author grants the publisher a royalty-free nonexclusive licence (<a href="https://creativecommons.org/licenses/by/4.0/deed.en">CC BY 4.0</a>) to use the article in <em>Muzyka</em>, retains full copyright, and agrees to identify the work as first having been published in "Muzyka" should it be published or used again (<a href="https://czasopisma.ispan.pl/pliki/m/licence.pdf"><strong>download licence agreement</strong></a>). By submitting an article the author agrees to make it available under <a href="https://creativecommons.org/licenses/by/4.0/deed.en">CC BY 4.0</a> license.</p> <p>Articles from 2018/1 to 2022/3 were published under a Creative Commons license <a href="https://creativecommons.org/licenses/by-nc-nd/4.0/deed.en">CC BY-NC-ND 4.0</a>. During this period the authors granted the publisher a royalty-free nonexclusive license (<a href="https://creativecommons.org/licenses/by-nd/4.0/deed.en">CC BY-ND 4.0)</a> to use their article in "Muzyka", retained full copyright, and agreed to identify the work as first having been published in our journal should it be published or used again.</p> muzyka.kwartalnik@ispan.pl (dr Małgorzata Sieradz) help@libcom.pl (Libcom) Tue, 07 Oct 2025 14:55:31 +0200 OJS 3.3.0.10 http://blogs.law.harvard.edu/tech/rss 60 Hidden Content in Fryderyk Chopin’s ‘Sonata in B Flat Minor’, Op. 35: Existing Hypotheses and New Research Questions https://czasopisma.ispan.pl/index.php/m/article/view/4577 <p>As my point of departure, I present an overview of selected Chopin studies that discuss hidden meanings in Fryderyk Chopin’s <em>Sonata in B flat</em> <em>minor</em>, Op. 35. I have devoted special attention to the findings of Jeffrey Kallberg, who proposed a new look at the <em>March</em> (the Sonata’s third movement). I have attempted to expand on Kallberg’s study by pointing to musical allusions in the <em>Sonata</em>, Op. 35 previously unnoticed by scholars; namely, references to the 1816 ‘Anthem’ of the Kingdom of Poland (music by Jan Nepomucen Kaszewski, words by Alojzy Feliński), also known as the <em>National song to the king’s prosperity</em> or <em>Prayer</em>, and to Napoleonic marches popular during the period in question.</p> Grzegorz Zieziula Copyright (c) 2025 Grzegorz Zieziula https://creativecommons.org/licenses/by/4.0 https://czasopisma.ispan.pl/index.php/m/article/view/4577 Tue, 07 Oct 2025 00:00:00 +0200 Vilnius Between the 1830–31 and 1863 Uprisings as Viewed From the Perspective of the Piano’s Social Biography: Centre or Periphery? https://czasopisma.ispan.pl/index.php/m/article/view/4578 <p>This article represents an attempt to fill the gap in research into the phenomenon of the piano in Vilnius between 1831 and 1863, and to place that city on the piano map of Polish territories in the context of the centre vs peripheries dichotomy. The author has conducted press research (<em>Kurier Litewski, Kurier Wileński</em>) in order to study the processes linked to the piano’s commodification on the Vilnius market, focusing on the manufacturing of instruments, their distribution and their functions in local culture. The Vilnius piano networks are also researched on the basis of Stanisław Moniuszko’s correspondence.</p> Michał Bruliński Copyright (c) 2025 Michał Bruliński https://creativecommons.org/licenses/by/4.0 https://czasopisma.ispan.pl/index.php/m/article/view/4578 Tue, 07 Oct 2025 00:00:00 +0200 Vernacular Contrafacta in the Leuven Chansonnier? Caron’s ‘Helas’ and the Anonymous ‘Aime qui vouldra’ https://czasopisma.ispan.pl/index.php/m/article/view/4579 <p>Chanson scholarship often distrusts fifteenth-century Italian or Central European sources that transmit contrafacta, whereas manuscripts from France or the Low Countries enjoy higher status because their texts are presumed authentic. I counter this imbalance by applying the critical scrutiny usually reserved for peripheral sources to a central source, the Leuven Chansonnier. Despite all its chanson texts initially appearing to be authentic, I argue that two are probably contrafacta: Firminus Caron’s <em>Helas que pourra devenir</em> and the anonymous <em>Aime qui vouldra</em>.</p> Ryan O'Sullivan Copyright (c) 2025 Ryan O'Sullivan https://creativecommons.org/licenses/by/4.0 https://czasopisma.ispan.pl/index.php/m/article/view/4579 Tue, 07 Oct 2025 00:00:00 +0200 An Unknown Letter of Paul Siefert and his Activities until 1611 https://czasopisma.ispan.pl/index.php/m/article/view/4580 <p>The article presents a hitherto unknown letter of Paul Siefert, written in Amsterdam in December 1608. Based on its contents and other source documentation, a timeline of Siefert’s activities up to 1611 has been detailed, including the events surrounding the competition for the post of organist of St. Mary’s Church in Gdańsk. The study concludes with hypotheses concerning the composer’s education before 1607.</p> Marcin Szelest Copyright (c) 2025 Marcin Szelest https://creativecommons.org/licenses/by/4.0 https://czasopisma.ispan.pl/index.php/m/article/view/4580 Tue, 07 Oct 2025 00:00:00 +0200 A Family’s Musical Traditions: On the Sons of Wacław Raszek https://czasopisma.ispan.pl/index.php/m/article/view/4582 <p>This article presents fragmentarily preserved information concerning two sons of the musician and composer Wacław Raszek (1764–1837). His elder son, Ludwik Wacław (1816–44), probably received his musical education in Warsaw. In the 1830s he worked as a chorister and a pianist and wrote several dances, one of which survives in print. His budding career was ended by illness, which led to his death at the age of just twenty-eight. Concerning the musical links of the younger son, Adam (1824–43), we know only that he advertised his services as a piano tuner. This fragmentary knowledge makes it possible to outline the career history of the younger generation of the Raszek family.</p> Jolanta Bujas-Poniatowska Copyright (c) 2025 Jolanta Bujas-Poniatowska https://creativecommons.org/licenses/by/4.0 https://czasopisma.ispan.pl/index.php/m/article/view/4582 Tue, 07 Oct 2025 00:00:00 +0200 A Different Take on the Neapolitan School in Guido Olivieri’s Monograph ‘String Virtuosi in Eighteenth-Century Naples’ https://czasopisma.ispan.pl/index.php/m/article/view/4583 <p>This article reviews monograph book published by Cambridge University Press (2024), dedicated to a hitherto neglected area of research, namely the instrumental works of the so-called Neapolitan School. Guido Olivieri’s publication is the result of 30 years of his pioneering work, based on sources overlooked and inaccessible to researchers outside the Neapolitan milieu. The author brings to light an unjustly forgotten repertoire and figures who enjoyed fame in their homeland and influenced European music of the 18th century. He reveals the impact of political events on Naples’ musical output and the careers of its instrumentalists.</p> Piotr Wilk Copyright (c) 2025 Piotr Wilk https://creativecommons.org/licenses/by/4.0 https://czasopisma.ispan.pl/index.php/m/article/view/4583 Tue, 07 Oct 2025 00:00:00 +0200 The Warsaw Operatic Stage in the Enlightenment Europe. On the Anna Parkitna’s ‘Opera in Warsaw’ https://czasopisma.ispan.pl/index.php/m/article/view/4584 <p>The operatic life of Enlightenment-era Warsaw has long been one of the classic fields of research in both Polish theatre history and musicology. Anna Parkitna’s book is the first attempt to present the history of foreign and Polish operatic enterprises in Stanislavian Warsaw to an English-language readership. The innovative aspects of the author’s narrative lie in her reframing of well-known facts by focusing on Warsaw as part of a transnational opera network, as well as in her efforts to define the socio-political significance of foreign opera performances in late 18th-century Warsaw.</p> Jakub Chachulski Copyright (c) 2025 Jakub Chachulski https://creativecommons.org/licenses/by/4.0 https://czasopisma.ispan.pl/index.php/m/article/view/4584 Tue, 07 Oct 2025 00:00:00 +0200 Sigismund III’s Musicians at the Time of Zebrzydowski Rebellion https://czasopisma.ispan.pl/index.php/m/article/view/4581 <p>The handwritten royal court treasury revenue and expenditure ledger of 1606–07, previously not studied in the context of Sigismund III’s music ensemble, mostly contains data concerning the travels undertaken by the king and his retinue during the Zebrzydowski Rebellion. The ledger lists musicians to whom horses and carters were assigned in connection with the royal retinue’s journeys, and also, more rarely, expenditure on salaries and maintenance. The surnames or first names of some of the Polish and Italian instrumentalists and singers are given, as well as probably all the trumpeters and drummers employed by the king in those years.</p> Barbara Przybyszewska-Jarmińska, Leszek Jarmiński Copyright (c) 2025 Barbara Przybyszewska-Jarmińska, Leszek Jarmiński https://creativecommons.org/licenses/by/4.0 https://czasopisma.ispan.pl/index.php/m/article/view/4581 Tue, 07 Oct 2025 00:00:00 +0200