Musicology Today 2012 100 Years of Polish Musicology
Musicology Today 2012 100 Years of Polish Musicology Musicology Today 2012 100 Years of Polish Musicology
114 Bożena Muszkalska Like his Berlin teacher Carl Stumpf, regarded as the father of “comparative musicology”, Kamieński proposed to extend the “official” (traditional) musicology so as to include such disciplines as instrument studies. In his view, musicology ought to comprise all research into “musical phenomena and phenomena related to music from the material, physical and physiological spheres,” conducted by means of the instruments of natural science and mathematics (Ibidem). For Kamieński the history of music was only one section of musicology, though he admitted it was to that section that comparative musicology owed its position at universities. Musicological studies at his Chair originally focused on the historical perspective, which he also represented in his early publications. His research into historical sources, 33 however, was — as he himself confirmed — “ethnic-comparative” in character, and aimed at the reconstruction of the history of Polish church song, the development of folk and national music. 34 In his research, the centre of gravity shifted to musical folklore, which was related to Kamieński’s conviction that in order to understand the “deeper, impersonal level of music”, its “general human norms” and “ethnic models”, one must go beyond European artistic music, which was the main point of interest for traditional musicology (Kamieński 1936: 129). In the context of this discussion of the directions Kamieński mapped out for “new musicology”, it should be stressed that he used the term “ethnomusicology”, traditionally ascribed to Jaap Kunst and dated to 1950, 35 already in the early 1930s during his lectures at Poznań University. 36 A typescript of Kamieński’s unfinished paper dated to 1934 discusses a precious collection of musical instruments held in Warsaw’s Ethnographic Museum, documented by students from Poznań, as well as the central phonographic archive recently opened in that museum, whose collection, Kamieński claimed, could 33 Kamieński discovered, among others, Old Polish dances in Swedish tablatures of 1720 and polonaises in 18 th century manuscripts unearthed in Berlin. 34 Examples can be found in Kamieński’s articles ‘On the Old Polish Polonaise’ of 1928 and ‘Who Composed Our National Hymn’ of 1934; reprinted in Kamieński 2011. 35 In the subheading of the book Musicologica: A Study of the Nature of Ethno-musicology, its Problems, Methods and Reperesentative Personalities, published in 1950 in Amsterdam. Cf. Krader 1980: 275. 36 Based on the oral testimony of Jadwiga Pietruszyńska (-Sobieska), Kamieński’s student and later assistant lecturer, quoted by Jan Stęszewski (Stęszewski 2009: 123).
Łucjan Kamieński as an Ethnomusicologist and Man 115 be used in research and to illustrate the “ethno-musicological” lectures delivered throughout Poland. The date we find on the typescript is 13 th Dec. 1934, and a handwritten note made by Jadwiga Sobieska informs that the paper was to be published in the Bulletin de Musée d’Ethnographie á Varsovie (Stęszewski 2009: 123). In 1935 Kamieński defined “ethnomusicology” at a course for folklore students active in the north and west of Poland, held in Inowrocław (see Dahlig 2002: 211). The first published definition of “ethnomusicology” (spelt without the previously applied hyphen), quoted by Walerian Batko, presumably after Kamieński, appeared in February 1939: “Ethnomusicology is a young discipline aiming to classify the collected folk songs by means of scientific methods” (Batko 1939: 62 ff.). 37 The new discipline, as Kamieński understood it, was not only to compare phenomena in order to explain their diversity (which had been the objective of comparative musicology, introduced as a separate discipline by Adler), but also — to collect folk song and music, which brought it within the spheres of ethnography and ethnology. Kamieński’s ambition was to bring Polish musicology to the highest European level. He eagerly studied the work of his Berlin colleagues, took part in international conferences, made use of libraries abroad and of up-to-date equipment for music recording and analysis. At the same time he believed that the aspiration to high European standards had to be accompanied by thoroughgoing research into Poland’s own musical culture (Kamieński 1936: 131). Having “founded a satisfying basis for historical studies” , Kamieński began to carry out his vision of the new discipline, introducing classes of musical folklore into the programme of studies and continuing his efforts to establish at the Chair of Musicology an archive collecting Polish folk music. In his article ‘We Build the Study of Polish Folk Song’ he described his project as follows: “To build a science means to build observatories and institutions aiming to [...] trace back the evolution of folk singing and collect its manifestations in the future” (Kamieński 1934: 206). The view that musi- 37 Batko attended Kamieński’s lectures in Krzemieniec (1935) and in Warsaw (1937–1939), where — as Dahlig (1998: 520) claims — he may have heard this definition.
- Page 64 and 65: 64 Michał Piekarski Winowicz Kryst
- Page 66 and 67: 66 Piotr Dahlig Julian Pulikowski (
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- Page 82 and 83: 82 Bożena Muszkalska Maria Klement
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Łucjan Kamieński as an Ethnomusicologist and Man 115<br />
be used in research and to illustrate the “ethno-musicological” lectures delivered<br />
throughout Poland. The date we find on the typescript is 13 th Dec.<br />
1934, and a handwritten note made by Jadwiga Sobieska informs that the<br />
paper was to be published in the Bulletin de Musée d’Ethnographie á Varsovie<br />
(Stęszewski 2009: 123). In 1935 Kamieński defined “ethnomusicology” at<br />
a course for folklore students active in the north and west <strong>of</strong> Poland, held<br />
in Inowrocław (see Dahlig 2002: 211). The first published definition <strong>of</strong> “ethnomusicology”<br />
(spelt without the previously applied hyphen), quoted by<br />
Walerian Batko, presumably after Kamieński, appeared in February 1939:<br />
“Ethnomusicology is a young discipline aiming to classify the collected folk<br />
songs by means <strong>of</strong> scientific methods” (Batko 1939: 62 ff.). 37 The new discipline,<br />
as Kamieński understood it, was not only to compare phenomena in<br />
order to explain their diversity (which had been the objective <strong>of</strong> comparative<br />
musicology, introduced as a separate discipline by Adler), but also — to collect<br />
folk song and music, which brought it within the spheres <strong>of</strong> ethnography<br />
and ethnology.<br />
Kamieński’s ambition was to bring <strong>Polish</strong> musicology to the highest European<br />
level. He eagerly studied the work <strong>of</strong> his Berlin colleagues, took part<br />
in international conferences, made use <strong>of</strong> libraries abroad and <strong>of</strong> up-to-date<br />
equipment for music recording and analysis. At the same time he believed<br />
that the aspiration to high European standards had to be accompanied by<br />
thoroughgoing research into Poland’s own musical culture (Kamieński 1936:<br />
131).<br />
Having “founded a satisfying basis for historical studies” , Kamieński began<br />
to carry out his vision <strong>of</strong> the new discipline, introducing classes <strong>of</strong> musical<br />
folklore into the programme <strong>of</strong> studies and continuing his efforts to<br />
establish at the Chair <strong>of</strong> <strong>Musicology</strong> an archive collecting <strong>Polish</strong> folk music.<br />
In his article ‘We Build the Study <strong>of</strong> <strong>Polish</strong> Folk Song’ he described his<br />
project as follows: “To build a science means to build observatories and institutions<br />
aiming to [...] trace back the evolution <strong>of</strong> folk singing and collect<br />
its manifestations in the future” (Kamieński 1934: 206). The view that musi-<br />
37 Batko attended Kamieński’s lectures in Krzemieniec (1935) and in Warsaw (1937–1939), where — as<br />
Dahlig (1998: 520) claims — he may have heard this definition.
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