2차 세계대전 후에 나타난 폴란드 음악의 사회적 상황들과 작곡가들의 활동에 관한 소고

Abstract

Several generations of Polish composers were active in Poland during the first post-war years.Whilst these interests generally correspond to the particular generations, the latter may be symbolically broken down into ten-year period. The brief characterization of the particular generations presented intended solely as a guide to the reader, and discusses only the most outstanding and most familiar representatives of the five generations of composers. In addition, new generations of composers entered the musical arena. In the years leading up to the congress at Łagów, i.e. prior to 1949 a discussion took place on the subject of formalism in music. On the basis of statements made by composers, musicologists and politicians, to fine definitions of realistic and formalistic music. The first signs of crisis in the normative aesthetic, visible mainly in the weakening of the pressure exerted on composers by the administrative powers, appeared prior to 1956. The most crucial of the consequences which followed the political upheaval of October 1956 was the change in the conception of musical culture: instead of the conception of a unified culture, a conception was accepted of a multi-layered culture, differentiated in respect to style, content and social function. Polish composers assimilated virtually all the developments of the Western European avant-garde, in order to rediscover its place in European music. The effect was to produce an extremely rapid advancement of Polish music in the international arena. A substantial role in this process was played by changes in Polish musical life