Сучасна краківська музикологічна школа та її представники

Abstract

У статті розглянуто історію виникнення семінаріуму музикології Ягеллонського університету та його подальшу наукову діяльність. Охарактеризовано життєвий і творчий шлях відомих польських музикологів – професорів Богуслава Шеффера й Альції Яжембської – учнів основоположника Інституту музикології Здіслава Яхімецького. Висвітлено, як традиції Інституту музикології розвивають сучасниі краківські музикознавці, та окреслено їхній науковий доробок.

В статье рассмотрена история возникновения семинариуму музыкологии Ягеллонского университета и его дальнейшая научная деятельность. Охарактеризованы жизненный и творческий путь известных польских музыкологов – профессоров Богуслава Шеффера и Альции Яжембской – учеников основателя Института музыкологии Здислава Яхимецького. Освещены развитие традиций Института музыкологии современными краковскими музыковедами и обозначен их научный потенциал.

Seminary of Musicology of the Jagiellonian University was founded in 1911. It was headed by outstanding musicologist, doctor of musicology, professor Zdislaw Yahymetsky. The well known scientific works about V. A. Mozart, H. Wolf, J. Haydn, R. Wagner, S. Moniuszko, F. Chopin, K. Szymanowski, T. Boy-Zhelenski, as well as a manual on the history of Polish music had became the result of the activity of Zdislaw Yahymetsky as a scholar. Zdislaw Yahymetsky, as a scholar and a teacher, left his students as a significant heritage in the Polish musical culture. They had a wide range of the scientific interests in the field of musicology as well as their scientific supervisor had. Krakow musicologists still practice the methodological principles of their “patron” – professor Zdislaw Yahymetsky, develop them in new circumstances as well as the musicological discourse founded by Z. Yahymetsky is building up actively by them now. The “Strength” of Krakow’s School of Musicology is in the continuous tradition of ideas which were laid down by its founder and extended by several generations of its scientific “children” and “grandchildren”. Zdzislaw Yahymetsky as a scientist and educator had left a significant legacy in the Polish musical culture in the face his students. They (like their scientific supervisor) had a wide range of scientific interests in the field of musicology. W. Poźniak, M. Drobner, S. Golachowski, A. Frączkiewicz, T. Strumiłło, B. Schaeffer, T. Kaczyński were among the immediate students of Zdzisław Yahymetsky whom proved themselves more then others. Such monographs of W. Poźniak (“Zdzisław Jachimecki jako krytyk muzyczny i teatralny”), M. Drobner (“Akustyka muzyczna”), S. Golachowski (“Karol Szymanowski”), A. Frączkiewicz (“Zasady modulacji: podręcznik pomocniczy do nauki harmonii”), T. Strumiłło (“Źródła i początki romantyzmu w muzyce polskiej: studia i materiały”), B. Schaeffer (“Almanach polskich kompozytorów współczesnych: oraz rzut oka na ich twórczość”, “Nowa muzyka: problemy współczesnej techniki kompozytorskiej”) should be mentioned among their main research works. Elzbieta Dziębowska, Sigmund Švejkowski, Malgorzata Perkowska-Waszek as well as other personalities became the following generation of successors of Zdzislaw Yahymetsky. Their publications are also marked by a wide thematic variety. They turned to the study of polyphonic music of the Middle Ages, liturgical music, Eastern European church monody, drama of the Middle Ages, the bandore (lute) music, the Old Polish song, operettas and the musical as well. Such versatility shows the outstanding vitality and relevance of the Krakow School of Musicology, which developed musicology science at the European level actively and led to the revival of the Polish musicology in postwar years. The adornment of the modern Krakow School of Musicology had become the works of such authors: E. Dziebowska – “Chopin – romantyk, klasyk, modernista. Szkice o kulturze muzycznej XIX wieku”, “Muzykologia krakowska 1911–1986”; M. Perkowska-Waszek – “Paderewski i jego twórczość: dzieje utworów i rys osobowości kompozytora”; A. Jarzębska – “Strawiński: myśli i muzyka”; M. Woźna-Stankiewicz– “Recepcja muzyki francuskiej w Polsce w II połowie XIX wieku w kontekście idei estetycznych epoki”, “Lwowskie geny osobowości twórczej: rozmowy z Krystyną Moszumańską-Nazar” etc. So, in the Polish musical culture, Zdzislaw Yahymetsky, as a scholar and teacher, left a significant legacy – his disciples. Among them, the most active were Boguslav Schaeffer and Alcy Jazhembska. Bogusław Schaefer and Alcy Jazhembska belong to the outstanding figures of Polish musical culture in the first half of the 21st century. Their figures are distinguished among other cultural and public figures by their tireless work, and constant artistic activity contributed to the development and enhancement of Polish musical culture.