Hostname: page-component-77c89778f8-n9wrp Total loading time: 0 Render date: 2024-07-17T13:35:44.198Z Has data issue: false hasContentIssue false
  • English
  • Français

Serocki's ‘Spatial Sonoristics’

Published online by Cambridge University Press:  04 February 2010

Lyn Davies
Get access Rights & Permissions [Opens in a new window]

Extract

In polish music since 1945 we can certainly see the political, linguistic, literary and religious interests of most Polish composers as part of a larger picture—a re-emergence which has generated many new techniques that are of world-wide significance. One of the main players on this stage was Kazmierz Serocki (1922–1981) who left a large body of work which commands our respect and admiration. Serocki's work as a composer, like that of Lutoslawski and Baird, underwent many subtle and interesting changes that reflect the course of musical composition in Poland since 1945, marked by a movement we could describe as ‘toward spatial sonoristics’.

Type
Research Article
Information
Tempo , Issue 145 , June 1983 , pp. 28 - 32
Copyright
Copyright © Cambridge University Press 1983

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Notes

1 This is the term used by Chominski, Józef in his valuable study, ‘The Essence of Sonoristics in Music’, Polish Muskological Studies I, , P. W. M., , Kraków, 1977Google Scholar. Chominsky uses the term to describe compositions that have substantial elements of ‘sonorous’ effects, e.g. lassez vibrer.

2 Stucky, Stephen, Lutoslawski, C.U.P., 1981Google Scholar.

3 B. Schäffer in The New Grove.

4 See also the reference to Serocki in Gardner Read's Contemporary Instrumental Techniques, Schirmer Books, New York, 1976Google Scholar.

5 The present writer has been unable to detect any electronic music as such in his research on the composer undertaken in Poland.