{"title":"TRAJECTORY OF GREEN BY ANDRZEJ KARALOW AND JERZY PRZEZDZIECKI: TOWARDS THE LANDSCAPE MUSIC","authors":"Katarzyna Szymanska-Stulka","doi":"10.35603/sws.iscah.2022/s08.11","DOIUrl":null,"url":null,"abstract":"Andrzej Karalow (b. 1991) is a pianist, composer and improviser. In his approach to music, an avid interest of the young generation, he breaks free from the traditional form and instrumentation, striving for creative freedom and artistic exploration. The composer combines a variety of trends that are fundamental for several genres of music and determine a contemporary world of sounds. Performing as a pianist and guitar player, Karalow creates artistic projects with Jerzy Przezdziecki, a recognised Polish experimental electronic artist. Trajectory of Green, the subject of this analysis, originates from the album Pedestal�s Complement (2020). In this production, Karalow and Przezdziecki present environmental or landscape music that reflects the patterns of the surrounding world. Their works are mostly improvised and are a perfect example of the use of space as a vital element of the composition. Inspirations with the landscape and its components appearing in our perception determine the general vision of the work as well as its details. The composer draws patterns from the space around him and creatively transforms them into a new artistic construct. This prompts the following question: To what extent does the increasingly popular concept of environmental music apply to the work in question? The article offers an analysis of the compositional devices along with the language of expression/artistic style, both at the level of the work�s microform and macroform, while also considering the influence of ambient music on this type of composition. Given the evident landscape component in the idea, form and structure of the work, Trajectory of Green is analysed as an example of landscape music.","PeriodicalId":187162,"journal":{"name":"SWS International Scientific Conferences on ART and HUMANITIES - ISCAH","volume":"02 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"SWS International Scientific Conferences on ART and HUMANITIES - ISCAH","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.35603/sws.iscah.2022/s08.11","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
Andrzej Karalow (b. 1991) is a pianist, composer and improviser. In his approach to music, an avid interest of the young generation, he breaks free from the traditional form and instrumentation, striving for creative freedom and artistic exploration. The composer combines a variety of trends that are fundamental for several genres of music and determine a contemporary world of sounds. Performing as a pianist and guitar player, Karalow creates artistic projects with Jerzy Przezdziecki, a recognised Polish experimental electronic artist. Trajectory of Green, the subject of this analysis, originates from the album Pedestal�s Complement (2020). In this production, Karalow and Przezdziecki present environmental or landscape music that reflects the patterns of the surrounding world. Their works are mostly improvised and are a perfect example of the use of space as a vital element of the composition. Inspirations with the landscape and its components appearing in our perception determine the general vision of the work as well as its details. The composer draws patterns from the space around him and creatively transforms them into a new artistic construct. This prompts the following question: To what extent does the increasingly popular concept of environmental music apply to the work in question? The article offers an analysis of the compositional devices along with the language of expression/artistic style, both at the level of the work�s microform and macroform, while also considering the influence of ambient music on this type of composition. Given the evident landscape component in the idea, form and structure of the work, Trajectory of Green is analysed as an example of landscape music.