<abstract xmlns="http://www.w3.org/1999/xhtml">

The aim of the paper is to situate the most important open-air venues where music was performed on the map of interwar Warsaw. This includes venues in city parks, restaurant tea gardens, streets and squares where mass celebrations and demonstrations took place, as well as the courtyards of tenement houses frequented by street players and singers. In addition to live music, that coming from the radio, gramophone records, as well as megaphones installed in parks and streets has been taken into account. On the basis of press reports, taken mainly from the <italic>Kurier Warszawski</italic> (Warsaw's largest daily newspaper), as well as works of fiction and diaries, the repertoire of works performed in the open air has been reconstructed. The organisers and performers of concerts, open-air shows, and street marches during which music was performed have also been listed. The material is divided into contexts connected with the everyday life of Warsaw's bourgeoisie and working class (during which music, functioning independently or as part of theatrical, cabaret and film performances, functioned as entertainment) and those belonging to the official-public or ceremonial sphere (celebrations of religious and national holidays, military parades, spontaneous demonstrations of supporters of various political groups). Special emphasis has been placed on recreating the social and political context of the latter type of events, which highlight the role of interwar Warsaw as the capital of the state.
</abstract>

<italic>Open-Air Music in Warsaw</italic>

The Urban Music Scene

<abstract xmlns="http://www.w3.org/1999/xhtml">

The paper focuses on a comprehensive dance collection compiled by two Wrocław/Breslau town musicians (<italic>Stadtpfeifer</italic>), the brothers Bartholomäus and Paul Hess. The anthology, partly preserved at Wrocław University Library, was published in 1555 at the Wrocław printing house of Crispin Scharffenberg and documents the transition of dance repertoire from the courtly realm to the private and public spheres, which was typical of the mid-sixteenth century. The Wrocław collection, scored for wind ensemble, contains 477 four- and five-part dances of German, Polish, French, and Italian provenance. The paper offers some new views on the repertoire from the collection. Particular attention has been given to the so-called Polish dances.
</abstract>

‘Besolte Instrumentisten der Königlichen Stadt Breslaw’: The Hess Brothers’ Anthology (1555) and Its European Context<xref ref-type="fn" rid="j_muso-2023-0002_fn_001a">*</xref>

<abstract xmlns="http://www.w3.org/1999/xhtml">

The paper discusses Georg Philipp Telemann’s presence in Sorau (now Żary in Poland) in 1704–1708, inspirations from Polish folk music in Telemann’s works, as well as projects undertaken by and in the present-day city of Żary with a view to incorporating and commemorating Telemann’s figure and oeuvre in the city’s contemporary culture.
</abstract>

<italic>Żary – The City</italic>

<abstract xmlns="http://www.w3.org/1999/xhtml">

Eminent Polish composer Karol Rathaus (1895–1954) left behind an essay dedicated to his uncle Chune Wolfsthal (1851–1924). In this text, Rathaus recalls his childhood and adolescent years in (Austria-Hungary’s crown land of ) Galicia. His memories of Wolfsthal, a famous klezmer and operetta composer active in the late nineteenth and early twentieth centuries, provide an opportunity to recollect the now non-existent world of Jewish amateur musicians working in Tarnopol and Lwów before World War II. Those musicians performed in synagogues, at family events and social functions, in cafés and tea gardens. Some of them, including Chune, became involved in the activity of the then emerging Jewish theatre, which was a part-vulgar, part-artistic phenomenon.
</abstract>

Jewish Popular Music in Galicia: Karol Rathaus’ Recollections of Chune Wolfsthal

<abstract xmlns="http://www.w3.org/1999/xhtml">

The paper characterises music-involving cultural practices in Cracow’s urban parks, squares, streets, and ice rinks in the period of the so-called Galician Autonomy (1866–1918). Typologies of the spaces where music was performed and of open-air events involving music have been proposed. Music repertoires and performers have been discussed. The main sources for this text are press materials, memoirs, regulations, sheet music, and iconography.
</abstract>

Everyday Outdoor Music Life in Galician Cracow

AHEAD OF PRINT

Volume 19 (2022): Issue 1 (December 2022)

Volume 18 (2021): Issue 1 (December 2021) Pasticcio. Ways of arranging attractive operas

Volume 17 (2020): Issue 1 (December 2020)

Volume 16 (2019): Issue 1 (December 2019) Women-Composers in Poland

Volume 15 (2018): Issue 1 (December 2018) Deconstructing the Myth of Polishness in Music

Volume 14 (2017): Issue 1 (December 2017) ‘Warsaw Autumn’ International Festival of Contemporary Music

Volume 13 (2016): Issue 1 (December 2016) [Polish] Musicology Today

Volume 12 (2015): Issue 1 (December 2015) The Musical Languages of Contemporary Polish Composers: Self-Reflections

Volume 11 (2014): Issue 1 (December 2014) Oskar Kolberg

Volume 10 (2013): Issue 1 (December 2013) Musical Historiography in Poland. New Sources – New Methodologies

Musicology Today

 ISSN - 1734-1663eISSN - 2353-5733  Musicology Today is a double-blind peer reviewed journal published since 2004 by the Institute of Musicology, University of Warsaw and the Union of Polish Composers, Poland.  The main objective of Musicology Today is to provide an intellectual platform for international scholars and to promote interdisciplinary studies in musicology. We publish articles in the fields of historical musicology, ethnomusicology, music theory, and other sub-disciplines of musicology. The journal is a forum for research in all areas of music scholarship, seeking to reflect the breadth and diversity of approaches and topics. Musicology Today distinctly promotes studies on Central and Eastern European music and aims to become a leading musicological journal in this part of the world. Special issues devoted to important topics within Central and Eastern European musicology are occasionally published.  Why read Musicology Today?   Musicology Today is a valuable source of information from different branches of musicology providing a wide array of high-quality original articles;  The journal is a platform for exchanging ideas among international scholars with a particular focus on musical culture in Central and Eastern Europe;  The articles cover a wide spectrum of scholarly activity, including works of young scholars;  The articles are published after a double-blind peer review provided by international experts on the subject and the Scientific Committee;  Musicology Today strives for high-resolution publishing quality.   Why submit your research to Musicology Today?   Musicology Today invites scholars to submit articles in all branches of musicology, including historical musicology, ethnomusicology, and music theory. We especially encourage submissions from scholars of Central and Eastern Europe;  The articles are published after double-blind peer review provided by subject experts;  The articles of both Polish and foreign authors are always up-to-date, original, have never been printed before in other academic publications, and reflect high academic standards;  Online indexing guarantees the worldwide distribution and promotion of the authors’ academic achievements;  Free language assistance is provided for authors from non-English speaking countries;  The editors provide a fast route through the publication process and full access to DeGruyter e-technology.   Polish Government Financial SupportCo-financed by the Minister of Culture and National Heritage from the Culture Promotion Fund – a special purpose state fund.  Archiving  Sciendo archives the contents of this journal in Portico - digital long-term preservation service of scholarly books, journals and collections.  Plagiarism Policy  The editorial board is participating in a growing community of Similarity Check System's users in order to ensure that the content published is original and trustworthy. Similarity Check is a medium that allows for comprehensive manuscripts screening, aimed to eliminate plagiarism and provide a high standard and quality peer-review process.   PREVIOUS ISSUESmusicologytoday.hist.plwww.imuz.uw.edu.pl/index.php/pl/2013-03-09-17-43-16/musicology-today

Musicology Today

AHEAD OF PRINT

Open-Air Music in Warsaw

The Urban Music Scene

‘Besolte Instrumentisten der Königlichen Stadt Breslaw’: The Hess Brothers’ Anthology (1555) and Its European Context^*

Żary – The City

Jewish Popular Music in Galicia: Karol Rathaus’ Recollections of Chune Wolfsthal

Everyday Outdoor Music Life in Galician Cracow

Suche

Alle Bände und Hefte dieser Zeitschrift

Musicology Today

AHEAD OF PRINT

Open-Air Music in Warsaw

The Urban Music Scene

‘Besolte Instrumentisten der Königlichen Stadt Breslaw’: The Hess Brothers’ Anthology (1555) and Its European Context*

Żary – The City

Jewish Popular Music in Galicia: Karol Rathaus’ Recollections of Chune Wolfsthal

Everyday Outdoor Music Life in Galician Cracow

Suche

Alle Bände und Hefte dieser Zeitschrift

‘Besolte Instrumentisten der Königlichen Stadt Breslaw’: The Hess Brothers’ Anthology (1555) and Its European Context^*