Nacjonalizm, szowinizm, rasizm a europejska refleksja o muzyce i twórczość kompozytorska okresu międzywojennego
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| Format: | Buch |
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Wrocław
Wydawnictwo Uniwersytetu Wrocławskiego
2015
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| Schriftenreihe: | Musicologica Wratislaviensia
11 Acta Universitatis Wratislaviensis no 3669 |
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| 490 | 1 | |a Musicologica Wratislaviensia |v 11 | |
| 490 | 1 | |a Acta Universitatis Wratislaviensis |v no 3669 | |
| 505 | 8 | |a Bibliogr. s. 175-181. Indeks | |
| 546 | |a Zusammenfassung in englischer Sprache unter dem Titel: Nationalism, chauvinism, racism in the context of the European reflection on music and compositional activity during the interwar period | ||
| 648 | 7 | |a Geschichte 1918-1939 |2 gnd |9 rswk-swf | |
| 650 | 7 | |a Nacjonalizm i muzyka |2 jhpk | |
| 650 | 7 | |a Muzyka i państwo |2 jhpk | |
| 650 | 7 | |a Muzyka / filozofia i estetyka / 1900-1945 |2 jhpk | |
| 650 | 7 | |a Rasizm / 1900-1945 |2 jhpk | |
| 650 | 7 | |a Nazizm i muzyka |2 jhpk | |
| 650 | 7 | |a Estetyka nazistowska |2 jhpk | |
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Datensatz im Suchindex
| _version_ | 1804176080768073728 |
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| adam_text | Spis tresci
Wstqp.............................................................................. 7
Rozdziat I • Narodowy a uniwersalny wymiar muzyki w swietle refleksji este-
tycznej Ralpha Vaughana Williamsa a Karola Szymanowskiego.................. 17
Rozdziat II • Rasistowskie podstawy narodowosocjalistycznej refleksji o mu-
zyce.............................................................................. 42
1. „Was ist Deutsch in Deutsche Musik? . Woköt germahskich i nordyckich cech rasowych
w muzyce niemieckiej.............................................................. 50
2. „Judentum in Musik . Woköt muzycznych dziatah „antyrasy ....................... 56
2.1. Organiczna jednosc harmoniczno-tonalna..................................... 62
2.2. Organiczna jednosc uksztattowah formalnych................................. 63
2.3. Organiczna jednosc estetyczno-spoteczna.................................... 65
Rozdziat III • Das Volk, das Volksgemeinschaft, der Volkskomponist: pojqcie
„wspölnoty krwi a debata woköt narodowosocjalistycznej normatywnej es-
tetyki muzycznej............................................................ 69
Rozdziat IV • Miqdzy refleksjq a czynem: rasistowskie doktryny rasowe i kon-
sekwencje wcielania ich w zycie w swietle reakcji muzycznych srodowisk Eu-
ropy lat 30................................................................. 84
1. Publicystyka i srodowisko muzyczne II RP: „zalecana jak najwi^ksza ostroznosc . 85
2. Na strazy elitaryzmu: Szymanowski, polskie tradycje „wielkopahskie a „kwestia zydow-
ska .............................................................................. 92
3. Polska „Rassenkunde , czyli Jözef Reiss i badania nad specyfikq „duszy zydostwa w muzyce 95
4. Reakcje krytyki brytyjskiej, appeasement i anglo-niemiecka polityka muzycznej wspötpracy
„bratnich krajöw germahskich .................................................... 101
5. Kontrofensywa ideologiczna brytyjskich artystöw pokolenia „wielkiej wojny — pacyfizm
przeciw rasizmowi i szowinizmowi................................................. 105
6. Krytyczny rok 1938: zaangazowana twörczosc Benjamina Brittena i Michaela Tippetta
wobec wydarzeh w III Rzeszy...................................................... 107
Rozdziat V • Wtoskie „przebudzenie narodowe a nacjonalizm historyczno-
-imperialny — sztuka w krqgu faszystowskiego mitu romanitä....................... 117
1. Sztuka nowoczesna czy zdegenerowana? Modernizm i jego narodowe uwarunkowania
w ocenie ideologü faszystowskiej i nazistowskiej................................. 120
6
SPIS TRESCI
2. Muzyczne apologie Rzymu w siuzbie faszystowskíego nacjonalizmu imperialno-hístorycznego 126
2.1. „Salve Roma divina! : Hymn rzymski Giacoma Pucciniego................... 128
2.2. „Tutto che al mondo é civile, grande, augusto, egli é Romano ancora! : Trylogia rzym-
ska Ottorina Respighiego a nacjonalistyczna estetyka muzyczna ery faszyzmu..... 131
2.3. Od Rimskiego-Korsakowa do Gianotta Bastianellego: przemiany estetyki twórczej Re-
spighiego na drodze do „odrodzenia narodowego ............................... 135
2.4. Aspekty profetyczne: Trylogia rzymska w kontekscie narodowym i mi^dzynarodowym. 139
Rozdziat VI • Od mitu romanitá do faszystowskíego rasizmu: wtoska refleksja
o muzyce w obliczu poiityczno-ideologicznych przemian schytku lat 30. . . 144
Rozdziat Vil • „Nowy Rzym w starciu z „Trzeciq Cywilizacjq Greckq — upa-
dek mitu romanitá ............................................................... 157
Rozdziat VIII • Post scriptum: zmierzch rasizmu i szowinizmu, „kryptonacjo-
nalizm i demitologizacja nacjonalistycznie pojmowanych tradycji w swiecie
powojennym................................................................. 161
1. „Kryptonacjonalizm a „muzykologie narodowe .................................. 164
2. Od nacjonalizmu do wymiaru uniwersalnego...................................... 166
Zakoñczenie...................................................................... 172
Bibliografía..................................................................... 175
Summary ......................................................................... 182
Indeks nazwisk................................................................... 186
Bibliografía
I. Z rod to
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Chamberlain Houston Stewart, Die Grundlagen des XIX Jahrhunderts, München 1900.
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Nationalism, chauvinism, racism
in the context of the European reflection
on music and compositional activity during
the interwar period
Summary
There is no doubt that it was during two decades of the inter-war period that an unprecedented
growth of all kinds of nationalism, chauvinism and racism in Europe occurred. Newly born or recre-
ated states did their best to show off their national cultural heritage in order to justify their political
existence, the ‘old’ traditional powers also witnessed a wave of nationalist upsurge which — as in the
case of Germany — accompanied a brutal political struggle or — as in the United Kingdom — was
to prevent the disintegration of the Empire. All this was aggravated by the great economic recession,
problems with ethnic minorities, widespread belief in efficiency of national state and an unprecedented
progress of science and technology. The first offered a mirage of future prosperity through scientific
research on human races and policy of eugenics which contributed to the illusion that once govern-
ments pursue a deliberate race-policy people will be physically stronger, more intelligent and more
healthy. The second — due to widespread possibilities of film and radio — offered unprecedented
means of propaganda soon implemented by first European totalitarian regimes which — by means of
censorship — efficiently eliminated from public space these ideas and attitudes that could compete
with officially accepted nationalist or racial doctrines.
The present book is dedicated to the multifarious aspects of penetration of the aforementioned
ideologies into a broadly understood reflection on music in the inter-war period as well as to various
kinds of reactions to these ideologies from the most outstanding creative musical individualities of
this time. The concept of “nationalism” is understood in this book in the broadest sense, therefore
it encompasses a vast spectrum of its meanings — both in terms of positive and negative impact on
international relations. Therefore, it encompasses these 20th-century compositional schools which
emerged on the wave of patriotic enthusiasm for the “national revival”, the aesthetic reflection on
national versus universal values in music, as well as historiosophical concepts which tried to justify
superiority of one culture over others on the base of racist doctrines or theories coined by chauvinistic
propaganda in totalitarian countries.
As the possibility of functioning of aforementioned ideologies in public space depended on the
degree of civil liberties in a given country (therefore on a given socio/political system), the title is-
sue has been discussed using the example of four countries, each of them being a typical study case
of the issue as well as representation of a given type of socio/political system: Nazi Germany as an
“absolute” totalitarian state with a high degree of repressiveness, fascist Italy as an example of “rela-
tive” totalitarianism — rather of a “farcical” character, Poland after 1926 as an authoritarian country,
SUMMARY 183
however with a high degree of civil liberties, and Great Britain as an example of full democracy, liber-
alism and respect for plurality of opinions. Moreover, the chosen countries represent all dominating
ethnic/cultural elements in Europe (Germanic, Latin, Anglo-Saxon and Slavonic) and all of them in
the inter-war period yielded outstanding composers of international rank who were somehow involved
in discussed ideologies: Karol Szymanowski, Ralph Vaughan Williams, Ottorino Respighi, Carl Orff.
All basic terminological and methodological issues have been presented and clarified in the spacious
introduction to this book.
In Chapter 1: The national versus universal dimension of music in the light of aesthetic reflec-
tion of Ralph Vaughan Williams and Karol Szymanowski the author discusses interesting and para-
doxical parallels (paradoxical if we consider that in the 18th century England turned into the greatest
empire in the world, whereas once mighty Polish Kingdom ceased to exist) as far as Polish and British
music history is concerned, with both countries scoring their “Golden Age” in the 16th century, their
musical slow-down in the 18th-19th centuries and both experiencing their musical “renaissance” in the
20th century. Moreover, the aforementioned main founders of both countries’ national 20th-century
schools “converted” to nationalism at the same stage of life (around 40) and in both cases it was an
“open” (to use the classification of Hans Kohn), positive kind of nationalism, friendly towards other
cultures although marked with a sort of anxiety of a possible return of cultural domination of then
powerful German musical tradition. Both eminent composers — on their way to “national music” —
displayed the same tendency to “make up arrears” by learning from German and French masters, both
in their mature years professed similar values they saw in cultural “rootedness” and in the significant
role of national musical tradition, both regarded the genuine national imprint as a valuable contribu-
tion to the European heritage. And it is a curious coincidence that their most outstanding successors
in respective countries (Witold Lutoslawski in Poland and Benjamin Britten in the UK) were exact
contemporaries as born in the same year, 1913.
Chapter 2: Racist foundations of the National-Socialist reflection on music, focuses on the
presentation of the main trends and research stands characteristic of music theory and musical histo-
riography in the Third Reich, dominated by the racist doctrine. The author discusses the specificity
of the social and cultural functioning of the concept of “race” in the 1930s, examines the origin of
racist theoretical-musical conceptions and the political determinants of the priority enjoyed by sci-
entific studies on racial issues in Nazi Germany. The most essential part of this chapter is devoted to
an extensive discussion on the conception of Nazi musicography, which the author divides into two
foremost currents reflecting the polar nature of Nazi racial hierarchy:
— Was ist deutsch in deutsche Musik? Musicological works in this current are concentrated on
the specification of Germanic or Nordic racial features in music. Characteristic of this trend are histor-
ical studies inspired by theories of Gobineau and Chamberlain (Matzke), works referring to the most
recent anthropological investigations (Eichenauer) and analytical-musical studies (Passenlehner). This
group of publications discloses a certain impact of theoretical-methodological consciousness.
— Judentum in Musik: studies classified in this subdivision cover wide-ranging problems con-
cerning the opposite pole of the Nazi racial hierarchy — i.e. the activity of the so-called anti-race,
i.e. German and European Jews. This type of musicography is dedicated to a broad scope of musi-
cal creativity, performance, the theory of music, musical pedagogy, and the economic foundations
of German musical life with a focus on the endeavours pursued by persons of Jewish origin. These
endeavours are rated solely in negative terms, in accordance with the dogma of “Jewish conspiracy”
against the “Aryan” race. Works of this group (e.g. Blessinger) are dominated by radical anti-Semitism
and reveal distinct political subservience.
Chapter 3: Das Volk, das Volksgemeinscbaft, der Volkskomponist: the concept of “the community
of blood” and the debate on National-Socialist normative music aesthetics opens with a discus-
sion on the recent research which led many scholars (Painter, Steinweis, Kater) to posing questions
whether we can speak of normative aesthetics in Nazi Germany if there is little evidence of imposed
184 SUMMARY
state regulations in this respect, whereas German musical milieu, dominated by the Nazi ideology or
simply expecting a better future after the great economic slump, used to aesthetically censor itself.
However, there were some official suggestions on what National-Socialist music should (and should
not) be from competing Nazi authorities as Rosenberg, Stege and Goebbels. The author points out the
significance of the policy of total national integration around 1934, the growing cult of Hitler with an
inevitable rise of personal tastes of the dictator into a specific “aesthetic/political correctness” norm
and the evolution of the semantic meaning of the “Volk” concept in the Nazi era as fundamental to
the issue of Nazi aesthetics. Against the background of the debate on National-Socialist music the
growth of a brilliant career of Carl Orff has been described — the composer whose role in the Nazi
times remains a mystery
Chapter 4: Between reflection and action: Nazi racist doctrines and the consequences of their
implementation in the light of reaction from the European music circles in the 1930s brings in
an analysis of the reaction of musicians, musicologists and music critics in Poland and Great Britain
towards Nazi cultural policy and racist purges. This issue has been discussed in six subchapters. First
of them is devoted to the reaction of Polish musical milieu which was generally dominated by a ten-
dency to “be as wary” in this respect as possible. The author presents the social/political factors which
could determine this kind of reserved attitude in Poland in the 1930s. The next subchapter presents
Karol Szymanowski s unpublished reflections on the so-called “Jewish Problem” which demonstrates
his internal contradictions and mixed feelings between anti-Semitism (possibly influenced by Antoni
Marylski) and his evident admiration for Mahler s music. The author suggests that Szymanowski s
nonchalant, aristocratic attitude was quite widespread — not only in Poland — among gentry and
aristocracy of that time. This subchapter is followed by the presentation of Jozef Reiss s study on the
specificity of “Soul of the Jewry” in music: an interesting case of Polish Rassenkunde of the 1920s —
a text which was influenced by writings of Heinrich Berl and which represented a paradigm (typical
of that time) to interpret what was then commonly attributed to composers and performers of Jewish
origin in terms of a “voice of race”. The author points out that Reiss’s essay can be seen as an example
of his Philo- rather than anti-Semitism. Other subchapters are dedicated to the British reaction to racist
purges in Germany — reaction generally much more diversified than in Poland. The subsequent section
of Chapter 4 is devoted to the ideological/artistic “counter offensive” by British creative artists against
violence caused by chauvinism and racism in the totalitarian countries. The author discusses a group of
literary and musical works highly characteristic of this “protest movement” by the artists of the “Great
War Generation” (as described by Samuel Hynes). The chapter is finalised by a hermeneutic analysis
of Britten’s Advance Democracy and Tippett s A Child of Our Time — the latter composition inspired
by the 1938 shooting of a German diplomat in Paris by a Polish Jew — Herszei Grynszpan. This event
provoked the first massive Nazi persecution of Jews known as Kristallnacht.
The extensive Chapter 5: Italian “national revival” and the historical-imperial nationalism —
art in the circle of the fascist myth of “Romanity” is opened by a demonstration of historical paral-
lels and traditionally good relations between Poland and Italy, which is followed by a discussion on
the socio-political and cultural implications of the fascist myth of “Romanity” and its impact on the
Italian artistic life during the fascist era. In the subchapter Modern or degenerated art? Modernism
and its nationalist implications from the point of view of the Nazi and fascist ideologies the author
emphasises the essential difference between the fascist support of modernism in the arts (which was
seen by Mussolini as emanation of modernized nationalism) and the conservative attitude of the Nazis
for whom — mainly on a racist ground — modernism was tantamount to “degeneration”. The second
subchapter is dedicated to Musical apologies of Rome in the service of fascist nationalism and is
concentrated on a hermeneutic analysis and the history of reception of two, then very popular and
officially supported works: Giacomo Puccini s Inno a Roma and Ottorino Respighi s Roman Triptych.
In Chapter 6: From the myth of Romanity to fascist racism: Italian reflection on music in view
of the political/ideological transformation of the late 1930s, the author examines the socio-political
SUMMARY 185
background for the ideological evolution which brought racism into Italian public life in 1938. The
author depicts the struggle between believers in “Nordicism” and supporters of “Mediterranism”
within the Fascist Party and presents the most characteristic example of Italian writing on music
from the point of view of the racist doctrine: Gulio Cogni’s text on “race and music”. This extensive
article introduces a concept of polarity and complementarity between “the genius of the North” (i.e.
Great German composers) and that of the South (great Italian composers). Chapter 7: “New Rome”
in struggle with the “Third Greek Civilisation” — the fall of the myth of “Romanity” brings in a
description of Greek “national revival”, discussion on the outlines of the cultural policy in this country
under dictatorship of Iannis Metaxas and presentation of opinions on European musical life from the
leading Greek national composer of that time — Manolis Kalomiris. The author reminds that it was
the Italian aggression against Greece which brought about the defeat and humiliation of Mussolini
and — as a consequence — the definite end of the fascist dreams of the modern Roman Empire. The
book’s last chapter, Chapter 8: Post Scriptum: The decline of racism and crypto-nationalisms in the
post-war world is dedicated to the remnants and consequences of the discussed ideologies in the era of
progressing international integration. The author discusses the phenomenon of the post-war process
of demythologisation of the traditions which were previously coined by nationalism (e.g. The Great
German Music Tradition as seen by Richard Taruskin), the so-called national musicologies as well
as the process of universalisation of those compositional techniques and theoretical concepts which
many decades ago — in the pre-war world — were affected by nationalist ideologies (e.g. Schenker
and Schônberg).
Indeks nazwisk
Acerbo Giacomo 154
Adams Byron 26, 30
Addinsell Richard 141
Alaimo Vincenzo 145
Alfano Franco 133, 136
Arendt Hannah 14, 69, 161
Arunelus Rusticus 87
Assmannjan 126
Astriab Jan 58
Atterberg Kurt 73, 74
Auden Wystan Hugh 106, 108, 109
Bach Johann Sebastian 23, 28, 35, 52, 54, 55, 63,
76, 79, 113, 151, 152, 168, 169
Balicki Zygmunt 7, 8, 10, 162, 173
Baranczak Stanislaw 163
Bartók Bela 35, 40, 74, 125
Bartold Robert 117
Bastianelli Gianotto 135—138
Bastias Costas 159
Bax Arnold 21
Beck Jozef 118
Beethoven Ludwig van 23, 27, 55, 67, 75, 77, 79,
97, 166, 168, 169
Bell Michael 102
Bellini Vincenzo 67
Bent Ian 63
Berard Carol 73
Berg Alban 125, 170
Berl Heinrich 56-58, 62, 96, 100
Berlioz Hector 169
Berry David C. 171
Bimberg Siegmund 163
Bizet Georges 97, 98
Blessinger Karl 48, 49, 59-68, 78
Bliss Arthur 21, 103
Bossi Renzo 136
Bottai Giuseppe 150
Bourdieu Pierre 77, 168
Brahms Johannes 23, 24, 55, 75, 79, 169
Brecht Bertolt 163
Bresgen Cesar 80
Britten Benjamin 15,20, 40,41,106-111,129,172
Brod Max 99
Broszat Martin 42, 69
Brown Julie 149
Bruch Max 23, 136
Bruckner Anton 77, 79
Brückner Hans 58
Brzezinski Zbigniew 69
Brzçkowski Jan 123
Buchner Antoni 48
Budden Julian 129, 130
Busoni Feruccio 140
Bychowski Gustaw 170
Calmettes Joël 115
Camrose William Berry 43
Capell Richard 125
Carlyle Thomas 17, 49
Carpenter Humphrey 111
Casella Alfredo 135, 136, 156
Cassina Wolff Elizabeth 149
Castelnuovo-Tedesco Mario 155
Chamberlain Houston Stewart 45, 46, 49, 59,
104, 146, 147, 154
Chamberlain Neville 43, 101, 107, 111
Cherubini Luigi 118
Chominski Jozef Michal 89
Chopin Fryderyk 10,12, 18, 19, 21, 28, 34, 35, 63,
68, 97, 100, 168, 174
Chybihski Adolf 89
Chylinska Teresa 21
Ciano Galeazzo 118, 119, 149
Ciesielski Rafal 86
Cieszkowski August 174
INDEKS NAZWISK 187
Clauss Ludwig Ferdinand 53
Cobbe Hugh 23, 39, 103
Cogni Giulio 149-154
Coibert Elizabeth 165
Cooke Arnold 125
Czajkowski Piotr 101, 165, 169
Czartoryski Adam Jerzy 174
Czekalski Tadeusz 157
Czekanowska Anna 35
Czekanowski Jan 85, 101
Dahlhaus Carl 48, 82, 164-166
Dallapiccola Luigi 124, 155, 156, 160
Danek Danuta 170
Darwin Charles 30
Davies Norman 69
Debussy Claude 136, 166
Dehnel Tadeusz Jan 43
Delius Frederick 139, 140
Dent Edward J. 125
Depero Fortunato 122
Dickens Charles 108
Diederichs Eugen 45
Dmowski Roman 8-10, 18, 87, 88, 91, 117, 162
Dohnanyi Ernst von 81
Donadoni Omodeo Miriam 137
Donizetti Gaetano 118
Dümling Albrecht 70
Dziadek Magdalena 34, 86, 89
Dziçbowska Elzbieta 50
Earle Ben 124, 125, 132, 137, 156
Eichenauer Richard 51-54, 85, 151-154
Einstein Albert 13, 161
Einstein Alfred 101
Eisler Hans 163
Elgar Edward 103, 129, 169
Eliot Thomas Stearns 113
Eisner Józef 168
Emmanuel Maurice 75
Enescu George 136
Engels Fryderyk 163
Erdlen Hermann 80
Evans Joan 81
Evert Tadeusz 44
Fauré Gabriel 136
Fellini Federico 139
Finck Heinrich 55
Fitelberg Grzegorz 92
FitzGibbon Katharine 80
Flamm Christoph 133, 137, 138, 141
Fleetwood Nancy 101
Forte Allen 171
Franco Bahamonde Francisco 14
Freud Sigmund 101, 170
Friedman Ignacy 68
Friedrich Carl Joachim 69
Froberger Johann 55
Frogley Alain 22, 23
Fromm Erich 47, 56
Fryderyk Wilhelm II, krol pruski 61
Fubini Enrico 146
Funk Walther 73, 74, 77
Furtwängler Wilhelm 73
Gabrieli Antonio 96
Galilei Vincenzo 145
Garberding Petra 74
Garibaldi Giuseppe 118
Gasco Alberto 133
Gellner Ernest 10, 39, 170
Gentile Giovanni 120
Gerigk Herbert 58, 61, 62, 82
Gerlach Kurt 53
Germino Dante L. 148
Gershwin George 40, 141
Giardina Andrea 119, 147, 148, 156
Gilette Aaron 146, 148
Gioberti Vincenzo 147
Girth Peter 70
Gluck Christoph Willibald 52
Gniadek Stanislaw 120
Gniesin Michail 100
Gobineau Joseph Arthur de 45, 46, 146
Goebbels Joseph 66, 70-72, 77, 81-83, 113, 115,
116, 124, 159
Goethe Johann Wolfgang 168
Goldbeck Fred 75
Gol^b Maciej 14, 64, 89, 162, 168, 173
Goring Hermann 110
Gorki Maksim 163
Grabowski Zygmunt 85, 86
Grajewski Wincenty 12
Granat-Janki Anna 164
Grazia Victoria de 127
Grazzi Emanuele 159
Grigson Geoffrey 108
Grobler Adam 12
Gross Walter 49
188 INDEKS NAZWISK
Gmnberger Richard 48
Giynberg Karol 102
Grynszpan Herszel 112, 113, 115, 116
Günther Hans 48, 52, 53,149
Haendel Georg Friedrich 19, 113
Halb wachs Maurice 126
Halczak Bohdan 43
Hall John A. 11, 14
Hanau Ewa 58
Hänel Wolfgang 42
Hanslick Edward 52, 60, 62, 103
Haydn Joseph 76, 169
Hegel Georg Wilhelm Friedrich 10, 23, 28, 168
Heine Heinrich 98
Helgason Hallgrimur 81
Helman Socrate 47, 48, 58
Helman Zofia 27, 32, 34, 86
Henderson Neville 43
Hensel Jürgen 42
Herder Johann Gottfried 23, 28, 146
Herennius Senecio 87
Herold Ferdinand 67
Hertz Daniel 169
Herz Henri 60
Hilberg Frank 71
Himmler Heinrich 48, 115, 150
Hindemith Paul 73, 125
Hitler Adolf 42-44, 46, 47, 69, 71, 76, 78, 91, 9
101, 102, 107, 111, 121, 123, 157
Hlond August 90, 91, 93, 94
Hobsbawm Eric J. 18, 19, 22
Hoffmann Ernst Theodor Amadeus 48
Holst Gustav 24, 26
Holowka Teresa 10
Homer 27, 29
Horacy 128
HorthyMiklos 14
Howes Frank 39, 102
Hünten Franz 60
Husserl Edmund 56, 57
Hynes Samuel 106, 107
Illiano Roberto 69, 76, 133, 149, 150
Interlandi Telesio 149-151
Isherwood Christopher 106
Jachimecki Zdzislaw 32
Jadassohn Salomon 136
Jan Pawel II, papiez, sw. 162
Janacek Leos 80
Jonca Karol 110, 112
Juliusz Cezar, wodz rzymski 124
Jung Carl Gustav 109, 113, 115
Kalinows ki Witold 48
Kalomiris Anolis 158-160
Kapelahski Maksymilian 140
Karlowicz Mieczyslaw 10, 39, 40, 135, 136
Karol Wielki, cesarz rzymsko-niemiecki 28
Kater Michael H. 71, 82, 83
Keller Hans 40
Kennedy Michael 24, 25, 37
Kerman Joseph 168
Kienzl Wilhelm 73
Klemperer Otto 104
Ko chans ki Pawel 92
Köhler Joachim 46
Kohn Hans 8, 9, 11, 22, 105, 120,173
Korolec Jan 87
Korys Piotr 8
Kowalska-Zaj^c Ewa 167
Kowalski Mieczyslaw 47
Krol Marcin 126
Kupisz Slawomir 92
Lagarde Paul de 45
Lammers Hans 71
, Landra Guido 148, 150, 151
Langbehn Julius 45, 61
Leifs Jon 80
Lenin Wlodzimierz 163
Levi Erik 76, 77, 101, 104, 125, 170
Lévi-Strauss Claude 12, 43
Libelt Karol 10, 19, 174
Lipiner Siegfried 99
Lipski Józef 92
Liszt Ferenc 28, 35, 97
Lizzatto Sergio 127
Lorenz Konrad 54
Lualdi Adriano 73
Ludwig Emil 84
Luter Marcin 146
Lutoslawski Witold 20, 76, 172
Maciejewicz Dorota 168
Maffina Gianfranco 145
Mahler Gustav 45, 58, 61, 62, 64, 92-94, 97-99,
101, 138, 169
Mahlerowie, rodzina 99
INDEKS NAZWISK 189
Malano Laura 119
Malipiero Gian Francesco 124, 127, 133, 135,
136
Mann Heinrich 48, 49, 98
Mann Thomas 48, 87
Marchand Louis 29
Marinetti Filippo Tommaso 122, 123
Marks Karol 163
Marschner Heinrich 28
Marx Adolf B. 62
Marylski Antoni 93-95
Mascagni Pietro 127, 145
Mass aka Iwona 78
Massarani Renzo 155
Matzke Hermann 49-54, 60, 62, 152, 153
Mazzini Giuseppe 174
McClatchie Stephen 71
Melchiorre Nicola 133, 134
Mendelssohn-Bartholdy Felix 61, 63, 67, 82,
96-98, 169
Metaksas Joanis 157-160
Meyer Krzysztof 162
Meyerbeer Giacomo 61, 63, 67, 97, 98
Miaskowski Nikolaj 76
Micewski Andrzej 88
Michalowski Kornel 19, 44
Mickiewicz Adam 18, 118, 174
Mierczyhski Stanislaw 89
Milton John 28
Mitchell Donald 109
Mochnacki Maurycy 10, 18, 163
Mommsen Theodor 146
Moniuszko Stanislaw 39
Monteverdi Claudio 137
Moore George Edward 30
Moseley Ray 117
Mosley Leonard 43, 92, 112, 113
Mosley Oswald 43
Mosse George L. 44-46, 56, 61, 122
Mozart Wolfgang Amadeus 52, 55, 67, 75, 76,
166, 168, 169
Müller Gottfried 80
Müller Rolf-Dieter 92
Müller-Blattau Josef 55, 67
Murray Gilbert 27
Musorgski Modest 28, 39, 97
Naegeli Hans Georg 166
Navickaite Lina 168
Neusiedler Hans 96
Nice Richard 168
Nicolai Michela 131
Nicolodi Fiamma 125, 142, 160
Nietzsche Friedrich 49, 58
Noskowski Zygmunt 34
Nott Josiah Clark 12
Nowaczynski Adolf 118, 119
Oboussier Robert 74
Offenbach Jacques 64, 97, 98
Oktawian August, cesarz rzymski 124
Orff Carl 76, 81-83
Orwell George 106
Osmond-Smith David 122, 123
Owen Wilfred 106, 113
Paderewski Ignacy Jan 10, 91
Painter Karen 54, 69, 70, 78
Paladino Franco 121
Palester Roman 172
Palestrina Giovanni Pierluigi 54
Parry Hubert 23, 28
Passenlehner Robert 48, 49, 51, 54, 55
Paumann Conrad 55
Penderecki Krzysztof 77, 162
Pfitzner Hans 55, 58, 73, 79, 82
Piccardi Carlo 155
Pilati Mario 151
Pilsudski Jozef 87-89, 91
Piotrowska Maria 169
Pirandello Luigi 121
Pisacane Carlo 147
Pizzetti Ildebrando 133, 136
Plantinga Leon 22
Podwysocka Magdalena 78
Poggesi Marta 151
Polinski Aleksander 34
Polony Leszek 35
Ponchielli Amilcare 118
Pople Anthony 171
Porfino Ennio 127
Prampolini Enrico 122, 123
Prokofiew Siergiej 40, 76
Prosnak Karol Mieczyslaw 86
Pruszynski Mieczyslaw 88
Przybyszewski Stanislaw 10, 136
Puccini Antonio 159
Mussolini Benito 14, 69, 76, 77, 84, 105, 117, 118,
120-125, 127, 130-132, 138, 141-143, 147-
150, 154-160
Mussolini Romano 121
190 INDEKS NAZWISK
Puccini Giacomo 126-131, 136, 139,139
Puccini, rodzina 159
Purcell Henry 28
Raabe Peter 49, 82
Rachmaninow Siergiej 100, 164
Rath Ernst vom 112, 113, 116
Rauschning Hermann 42, 46
Rauter Ferdynand 38, 40
Ravel Maurice 25, 26, 40, 75, 132, 136
Read Donald 18
Regamey Konstanty 27
Reger Max 79, 153, 169
Reiss Jozef 11,93, 95-101
Renan Ernst de 18
Rensis Raffaello de 121
Respighi Elsa 141
Respighi Ottorino 15, 74, 127, 131-143, 155, 173
Reti Rudolf 167, 171
Reusch Fritz 47, 49, 52, 60, 66
Ribbentrop Joachim von 92, 102, 104
Riethmuller Albrecht 48, 71
Rieti Vittorio 155
Rimski-Korsakow Nikolaj 97, 100, 135, 136
Rock Christa 58
Rogowski Ludomir Michal 35
Romanou Katy 157, 159
Rosenberg Alfred 47, 60, 70, 81, 83
Rossi Nino 133
Rossini Gioacchino 118
Rothgebjohn 171
Rothstein William 170
Rozycki Ludomir 86
Rubinstein Anton 97, 98
Rubinstein Artur 92, 164
Russell Bertrand 23, 30, 31
Russolo Luigi 144, 145
Sachs Harvey 132
Sachs Julius 68
Sala Massimiliano 66, 150, 160
Salaris Claudia 123
Salvatori Fausto 128
Samson Jim 170
Sandelewski Wiaroslaw 126
Saryusz-Wolska Magdalena 126
Scarlatti Domenico 168
Scheding Florian 170
Schemann Ludwig 53
Schenker Heinrich 63, 167-171
Schering Arnold 55
Schlegel Friedrich 146
Schleiermacher Friedrich 30
Schönberg Arnold 40, 58, 60, 61, 81, 83, 99, 123—
125, 167, 169-171, 173
Schopenhauer Arthur 136
Schroeder Christa 78
Schubert Franz 24, 75, 166
Schulze-Naumburg Paul 53
Schumann Otto 73
Schumann Robert 24, 55, 67, 98, 169
Schutz Heinrich 79
Scuccimarra Luca 127
Sergi Giuseppe 145, 150, 154
Shaw George Bernard 19, 20
Shirer William L. 78
Sibelius Jean 104
Siegel Hedi 170
Siegmund-Schultze Walther 163
Simon John 43
Sitt Hans 136
Skowron Zbigniew 17, 146
Skriabin Aleksandr 100, 137
Slowacki Julius z 18
Smith Anthony D. 7, 18, 19
Snarrenberg Robert 171
Sokorski Wlodzimierz 162
Sousy John Philip 129
Speer Albert 78
Spohr Ludwig 67
Sponheuer Bernd 77
Stalin Jozef 109, 121, 161
Staniewska Anna 37
Stege Fritz 71, 74-82
Stein Leonard 81
Steinweis Alan E. 70
Stengel Theo 58
St^szewski Jan 58
Stone Maria Susan 131
Strauss Richard 58, 71, 73, 82, 97, 102, 132, 137,
138, 153, 169
Strawinski Igor 35, 40, 81-83, 101, 132, 134, 137
Strzelecki Pawel 163
Stuckenschmidt Hans Heinz 71, 125
Studdert Will 66
Sullivan Arthur 28
Swingler Randall 109, 111
Szklar Efraim 100
INDEKS NAZW1SK 191
Szkudlihski Jan 78
Szoka Marta 167
Szolochow Michail 163
Szostakowicz Dmitrij 76, 101, 110
Szymanowski Karol 10, 15, 17, 19-21, 23-26, 30-
41,44, 56, 74, 86,92-95,125,127,136,138,172
Taine Hippolyte 34
Tallis Thomas 28
Tansman Aleksander 27
Tarasti Eero 167, 168
Taruskin Richard 132, 169
Taylor A J.E 107
Taylor Ronald 46
Tempesti Fernando 121
Ternon Yves 47, 48, 58
Thayaht Ernesto 122, 123
Thompson Dorothy 115
Tieck Ludwig 30, 48
Tippett Michael 15, 107-109, 112, 115
Toni Alcesto 136
Torrefranca Fausto 126, 136, 137
Toscanini Arturo 155
Towiahski Andrzej 18
Trochimczyk Maria 164
Trocki Lew 109
Trzçsiok Marcin 167
Tuchowski Andrzej 164
Tudorowie, dynastia 19, 28
Turczyn Ryszard 42
Ulewiczowa Teresa 37
Upward Edward 106
Vaughan Williams Ralph 15, 17, 19—21, 23-41, 74,
100, 103, 104, 140, 172, 173
Vaughan Williams Ursula 25, 29, 103
Verdi Giuseppe 118
Vivaldi Antonio 54, 135, 138
Wackenroder Wilhelm Heinrich 48
Wagen er Otto 42
Wagner Cosima 46
Wagner Richard 23, 24, 28, 29, 46, 49, 52, 54-56,
58, 62, 65, 67, 77, 79, 95, 96, 136, 138, 147,
153, 158, 159
Walicki Andrzej 8
Walker Alan 171
Walter Bruno 104
Walton William 40, 103, 104
Wapihski Roman 87, 88, 117
Waterhouse John C.G. 137
Waugh Evelyn 107
Weber Carl Maria 24, 28, 67
Webern Anton von 170, 173
Wedgwood Ralph 23, 24
Wedle George A. 171
Weill Kurt 102
Weiss-Wendt Anton 149
Wergiliusz 121, 124
Whistler James 27
Whitman Walt 26, 33
Wiatr Jerzy J. 12
Wieczorek Slawomir 163
Wieniewski Ignacy 87
Wightman Alistair 37
Willaert Adrian 54
Williamsowie, rodzina 30
Wladyslaw II Jagiello, krol polski 11
Wladyslaw IV Waza, krol polski 11
Woltmann Ludwig 147
Woytowicz Boleslaw 141
Wojcik-Kepreulian Barbara 85, 95
Wojtowicz Ewa 35
Wulf Josef 79
Wydmuch Marek 49
Yeomans Roy 149
Young Percy M. 23
Zielinski Tadeusz A. 169
Ziemilska Olga 47
Ziemilski Andrzej 47
Zumsteeg Johann Rudolf 67
Zweig Stephan 71
Zychowicz Piotr 91
|
| any_adam_object | 1 |
| author | Tuchowski, Andrzej 1954- |
| author_GND | (DE-588)1054567506 |
| author_facet | Tuchowski, Andrzej 1954- |
| author_role | aut |
| author_sort | Tuchowski, Andrzej 1954- |
| author_variant | a t at |
| building | Verbundindex |
| bvnumber | BV043465405 |
| classification_rvk | LR 56800 |
| contents | Bibliogr. s. 175-181. Indeks |
| ctrlnum | (OCoLC)951527782 (DE-599)BVBBV043465405 |
| discipline | Musikwissenschaft |
| era | Geschichte 1918-1939 gnd |
| era_facet | Geschichte 1918-1939 |
| format | Book |
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| id | DE-604.BV043465405 |
| illustrated | Not Illustrated |
| indexdate | 2024-07-10T07:26:30Z |
| institution | BVB |
| isbn | 9788322934937 |
| language | Polish |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-028882559 |
| oclc_num | 951527782 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 191, [1] s. 24 cm |
| publishDate | 2015 |
| publishDateSearch | 2015 |
| publishDateSort | 2015 |
| publisher | Wydawnictwo Uniwersytetu Wrocławskiego |
| record_format | marc |
| series | Musicologica Wratislaviensia Acta Universitatis Wratislaviensis |
| series2 | Musicologica Wratislaviensia Acta Universitatis Wratislaviensis |
| spelling | Tuchowski, Andrzej 1954- Verfasser (DE-588)1054567506 aut Nacjonalizm, szowinizm, rasizm a europejska refleksja o muzyce i twórczość kompozytorska okresu międzywojennego Andrzej Tuchowski Wrocław Wydawnictwo Uniwersytetu Wrocławskiego 2015 191, [1] s. 24 cm txt rdacontent n rdamedia nc rdacarrier Musicologica Wratislaviensia 11 Acta Universitatis Wratislaviensis no 3669 Bibliogr. s. 175-181. Indeks Zusammenfassung in englischer Sprache unter dem Titel: Nationalism, chauvinism, racism in the context of the European reflection on music and compositional activity during the interwar period Geschichte 1918-1939 gnd rswk-swf Nacjonalizm i muzyka jhpk Muzyka i państwo jhpk Muzyka / filozofia i estetyka / 1900-1945 jhpk Rasizm / 1900-1945 jhpk Nazizm i muzyka jhpk Estetyka nazistowska jhpk Nationalismus (DE-588)4041300-7 gnd rswk-swf Rassismus (DE-588)4076527-1 gnd rswk-swf Musik (DE-588)4040802-4 gnd rswk-swf Musik (DE-588)4040802-4 s Nationalismus (DE-588)4041300-7 s Rassismus (DE-588)4076527-1 s Geschichte 1918-1939 z DE-604 Musicologica Wratislaviensia 11 (DE-604)BV021678264 11 Acta Universitatis Wratislaviensis no 3669 (DE-604)BV004668106 3669 Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028882559&sequence=000005&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028882559&sequence=000006&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Literaturverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028882559&sequence=000007&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA Abstract Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028882559&sequence=000008&line_number=0004&func_code=DB_RECORDS&service_type=MEDIA Register // Personenregister |
| spellingShingle | Tuchowski, Andrzej 1954- Nacjonalizm, szowinizm, rasizm a europejska refleksja o muzyce i twórczość kompozytorska okresu międzywojennego Musicologica Wratislaviensia Acta Universitatis Wratislaviensis Bibliogr. s. 175-181. Indeks Nacjonalizm i muzyka jhpk Muzyka i państwo jhpk Muzyka / filozofia i estetyka / 1900-1945 jhpk Rasizm / 1900-1945 jhpk Nazizm i muzyka jhpk Estetyka nazistowska jhpk Nationalismus (DE-588)4041300-7 gnd Rassismus (DE-588)4076527-1 gnd Musik (DE-588)4040802-4 gnd |
| subject_GND | (DE-588)4041300-7 (DE-588)4076527-1 (DE-588)4040802-4 |
| title | Nacjonalizm, szowinizm, rasizm a europejska refleksja o muzyce i twórczość kompozytorska okresu międzywojennego |
| title_auth | Nacjonalizm, szowinizm, rasizm a europejska refleksja o muzyce i twórczość kompozytorska okresu międzywojennego |
| title_exact_search | Nacjonalizm, szowinizm, rasizm a europejska refleksja o muzyce i twórczość kompozytorska okresu międzywojennego |
| title_full | Nacjonalizm, szowinizm, rasizm a europejska refleksja o muzyce i twórczość kompozytorska okresu międzywojennego Andrzej Tuchowski |
| title_fullStr | Nacjonalizm, szowinizm, rasizm a europejska refleksja o muzyce i twórczość kompozytorska okresu międzywojennego Andrzej Tuchowski |
| title_full_unstemmed | Nacjonalizm, szowinizm, rasizm a europejska refleksja o muzyce i twórczość kompozytorska okresu międzywojennego Andrzej Tuchowski |
| title_short | Nacjonalizm, szowinizm, rasizm a europejska refleksja o muzyce i twórczość kompozytorska okresu międzywojennego |
| title_sort | nacjonalizm szowinizm rasizm a europejska refleksja o muzyce i tworczosc kompozytorska okresu miedzywojennego |
| topic | Nacjonalizm i muzyka jhpk Muzyka i państwo jhpk Muzyka / filozofia i estetyka / 1900-1945 jhpk Rasizm / 1900-1945 jhpk Nazizm i muzyka jhpk Estetyka nazistowska jhpk Nationalismus (DE-588)4041300-7 gnd Rassismus (DE-588)4076527-1 gnd Musik (DE-588)4040802-4 gnd |
| topic_facet | Nacjonalizm i muzyka Muzyka i państwo Muzyka / filozofia i estetyka / 1900-1945 Rasizm / 1900-1945 Nazizm i muzyka Estetyka nazistowska Nationalismus Rassismus Musik |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028882559&sequence=000005&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028882559&sequence=000006&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028882559&sequence=000007&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028882559&sequence=000008&line_number=0004&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV021678264 (DE-604)BV004668106 |
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