Tadeusz Baird. The Composer, His Work, and Its Reception
Series:
Barbara Literska
This book is the first monographic study of Tadeusz Baird – one of the greatest Polish composers of the second half of the 20th century, a connoisseur of music tradition and a prophet of the future of music (postmodernity), a composer of worldwide renown, an erudite. Baird was deeply engaged in art, aware of the threats and problems of contemporary world, and endowed with a sense of a mission. His personality was shaped by traumatic experiences during World War II and during the late 1940s and early 1950s. He was very demanding of himself and others. As signaled in the title, the book is an extensive, monographic representation of the composer's work and concepts in their stylistic, cultural, and esthetic contexts.
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- 978-3-631-80712-5
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- Berlin, Bern, Bruxelles, New York, Oxford, Warszawa, Wien, 2020. 538 pp., 43 fig. b/w, 67 tables.
- Cover
- Title Page
- Copyright Page
- Dedication
- About the author
- About the book
- Citability of the eBook
- Contents
- Introduction
- 1. Methodological Issues
- 1.1. The subject, aim and scope of research
- 1.2. Types of research method
- 1.3. The sources for research
- 1.4. The state of research
- 2. Composer
- 2.1. Family and friends
- 2.2. Life and creative work – calendar
- 2.2.1. Childhood – before the war (1928–1939)
- 2.2.2. Youth – the Second World War (1940–1945)
- 2.2.3. Adulthood – after the Second World War
- 2.3. Tadeusz Baird’s artistic worldview
- 2.3.1. Attitude to the past and to the artistic ideas of his times
- 2.3.2. The role of the composer in twentieth-century culture
- 2.3.3. The social role of music
- 2.3.4. Artistic attitude
- 2.3.5. The process of composing
- 2.3.6. Teaching composition
- 2.3.7. The relationship between words and music
- 2.4. Tadeusz Baird’s creative personality
- 3. Work
- 3.1. Changes in compositional style
- 3.2. The neoclassical strand (1949–1955)
- 3.2.1. In old style: Colas Breugnon
- 3.2.2. In cheerful mood with folk accent: the Piano Concerto
- 3.2.3. With panegyric elements: Ballada o żołnierskim kubku [Ballad of the soldier’s cup]
- 3.2.4. Of ‘Romantic’ expression: the Sinfonietta
- 3.3. The art of twelve notes (1956–1967): Four Essays
- 3.4. Expressionist drama (1966): Jutro [Tomorrow]
- 3.5. Sonoristic tendencies (1968–1978) – Sinfonia breve
- 3.6. Towards postmodernism (1980–1981): Głosy z oddali [Voices from afar]
- 3.7. Summary
- 4. Reception
- 4.1. Methodological strategy
- 4.2. The first period of reception (1949–1981)
- 4.2.1. The purely receptive form of reception
- 4.2.2. The analytical-creative form of reception
- 4.2.3. The creative form of reception
- 4.2.4. The analytical form of reception
- 4.2.5. The diffusive form of reception
- 4.2.6. Summary of reception in the years 1949–1981
- 4.3. The second period of reception – posthumous (1982–2010)
- 4.3.1. The analytical-creative form of reception
- 4.3.2. The creative form of reception
- 4.3.3. The analytical form of reception
- 4.3.4. Summary of reception in the years 1982–2010
- Summary
- The oeuvre of Tadeusz Baird – an attempted appraisal
- Chronological Catalogue of Musical Output
- List of Abbreviations
- Appendix
- List of Tables
- Bibliography
- Index of Names
Index of Names
Chapter
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Extract
(The index does not include the Bibliography, Catalogue of Musical Output and Appendix)
A
Adamczewski Jerzy Sergiusz 206, 417
Adamski Marian 486
Adamski Zdzisław 384
Adorno Theodor Wiesengrund 89
Antokoletz Elliott 88, 400, 401, 514
Artysz Jerzy 30, 54, 131, 209, 210, 212, 272, 294, 312, 335, 356, 363, 368, 372, 276, 287, 422, 423, 433, 437, 438, 442, 443, 445, 454
Aubry Pierre 432, 433, 514
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Or login to access all content.- Cover
- Title Page
- Copyright Page
- Dedication
- About the author
- About the book
- Citability of the eBook
- Contents
- Introduction
- 1. Methodological Issues
- 1.1. The subject, aim and scope of research
- 1.2. Types of research method
- 1.3. The sources for research
- 1.4. The state of research
- 2. Composer
- 2.1. Family and friends
- 2.2. Life and creative work – calendar
- 2.2.1. Childhood – before the war (1928–1939)
- 2.2.2. Youth – the Second World War (1940–1945)
- 2.2.3. Adulthood – after the Second World War
- 2.3. Tadeusz Baird’s artistic worldview
- 2.3.1. Attitude to the past and to the artistic ideas of his times
- 2.3.2. The role of the composer in twentieth-century culture
- 2.3.3. The social role of music
- 2.3.4. Artistic attitude
- 2.3.5. The process of composing
- 2.3.6. Teaching composition
- 2.3.7. The relationship between words and music
- 2.4. Tadeusz Baird’s creative personality
- 3. Work
- 3.1. Changes in compositional style
- 3.2. The neoclassical strand (1949–1955)
- 3.2.1. In old style: Colas Breugnon
- 3.2.2. In cheerful mood with folk accent: the Piano Concerto
- 3.2.3. With panegyric elements: Ballada o żołnierskim kubku [Ballad of the soldier’s cup]
- 3.2.4. Of ‘Romantic’ expression: the Sinfonietta
- 3.3. The art of twelve notes (1956–1967): Four Essays
- 3.4. Expressionist drama (1966): Jutro [Tomorrow]
- 3.5. Sonoristic tendencies (1968–1978) – Sinfonia breve
- 3.6. Towards postmodernism (1980–1981): Głosy z oddali [Voices from afar]
- 3.7. Summary
- 4. Reception
- 4.1. Methodological strategy
- 4.2. The first period of reception (1949–1981)
- 4.2.1. The purely receptive form of reception
- 4.2.2. The analytical-creative form of reception
- 4.2.3. The creative form of reception
- 4.2.4. The analytical form of reception
- 4.2.5. The diffusive form of reception
- 4.2.6. Summary of reception in the years 1949–1981
- 4.3. The second period of reception – posthumous (1982–2010)
- 4.3.1. The analytical-creative form of reception
- 4.3.2. The creative form of reception
- 4.3.3. The analytical form of reception
- 4.3.4. Summary of reception in the years 1982–2010
- Summary
- The oeuvre of Tadeusz Baird – an attempted appraisal
- Chronological Catalogue of Musical Output
- List of Abbreviations
- Appendix
- List of Tables
- Bibliography
- Index of Names