Musicology Today 2012 100 Years of Polish Musicology

12 Małgorzata Woźna-Stankiewicz
These three main directions of development of the musicological curriculum
at the Jagiellonian University, and initially two, then three ways of teaching
– continued in the subsequent years. Some of the topics returned after
several years (19 th -Century Music — 1916–1917, R. Wagner and the History
of the Opera — 1919–1920, J. S. Bach — 1919–1920). Lectures in music history
continued to explore three types of topics: those synthetically discussing
phenomena of musical culture and composition or a selected genre in a given
period, and those dedicated to individual composers and their oeuvre. By
the academic year 1922–1923, Jachimecki added the following topics to his
list of lecture cycles:
• Polish music (a historical overview), 18 th -and19 th -century Viennese classics,
monuments of 15 th –17 th -century Polish music, factors in the evolution
of music in the 19 th -20 th centuries;
• 15 th -and16 th -century musical forms and composition techniques with
references to theoretical treatises, the opera in 1600–1750, the key phenomena
in dramatic music after Wagner, 19 th -century song, history of music
theory and aesthetics, contemporary techniques of instrumentation, history
of the instrumentation of symphonies and operas from Mozart to
Wagner;
• Stanisław Moniuszko, Ludwig van Beethoven, Rossini — Bellini — Donizetti
— Verdi, F. Chopin, Mozart’s operas, K. M. Weber’s and H. Marschner’s
operas, operas by Meyerbeer, Gounod and Bizet.
Lectures in music theory concerned: harmony, musical forms, fundamentals
of musical logic and structure. Classes and seminars were dedicated to:
analysis of musical forms, analysis of selected contemporary instrumental
works, musical paleography, a survey of music history, analysis of harmony,
counterpoint and musical syntax, analysis of counterpoint in polyphonic
works, and a regular course of music history. Seminars preparing students
for writing specialised musicological theses were introduced by Jachimecki
in the academic year 1920–1921, most likely — in response to the needs of
specific students willing to accept this challenge. These were seminars entitled:
classes in musical paleography and the methodology of historical-musical