Akademia Muzyczna im. Ignacego Jana Paderewskiego w Poznaniu

Background/Objectives: To assess quantitatively the correlation between the lung ultrasound severity scores (LUSSs) and chest CT severity scores (CTSSs) derived from low-dose computed tomography (LDCT) for evaluating pulmonary inflammation in COVID-19 patients. Methods: In this prospective observational study, from an initial cohort of 1000 patients, 555 adults (≥18 years) with confirmed COVID-19 were enrolled based on inclusion criteria. All underwent LDCT imaging, scored by the CTSS (0-25 points), quantifying involvement across five lung lobes. Lung ultrasound examinations using standardized semi-quantitative scales for the B-line (LUSS B) and consolidation (LUSS C) were performed in a subgroup of 170 patients; 110 had follow-up imaging after one week. Correlation analyses included Spearman's and Pearson's coefficients. Results: Significant positive correlations were found between the CTSS and both the LUSS B (r = 0.32; p < 0.001) and LUSS C (r = 0.24; p = 0.006), with the LUSS B showing a slightly stronger relationship. Each incremental increase in the LUSS B corresponded to an average increase of 0.18 CTSS points, whereas a one-point increase in the LUSS C corresponded to a 0.27-point CTSS increase. The mean influence of the LUSS on CTSS was 8.0%. Neither ultrasound score significantly predicted ICU admission or mortality (p > 0.05). Conclusion: Standardized lung ultrasound severity scores show a significant correlation with low-dose CT in assessing pulmonary involvement in COVID-19, particularly for the B-line artifacts. Lung ultrasound represents a valuable bedside tool, complementing-but not substituting-CT in predicting clinical severity. Integrating both imaging modalities may enable the acquisition of complementary bedside information and facilitate dynamic monitoring of disease progression.

The well-known practice of transcribing the most famous works by outstanding composers, especially for the piano, was one of the most widely used methods of popularising music in the 19th century. We can say that it had a similar function to literary translation just as different language versions and adaptations prove the popularity of literary masterpieces, the fact that transcriptions (for piano, other instrument, or a different ensemble) were created was evidence of the particular interest of the audience. Apart from the composer himself, transcriptions and paraphrases of vocal works by Moniuszko were made by Henryk Melcer-Szczawiski, Wadysaw Krogulski, Zygmunt Noskowski, Ignaz Friedman, Maurice Dietrich, and others.Nowadays, the role the piano used to perform in a house has largely been replaced by the recording industry and modern media and access to music is unlimited in most countries. This situation significantly reduces the demand for creating usable versions of works by famous composers. So is there room for new arrangements of Moniuszkos works on the modern music market? Jazz productions by Bogdan Halicki and the latest proposal from Wodek Pawlik prove that the problem of promoting music by this Polish composer remains valid and as time goes by, there is a growing need to adjust these compositions to the tastes of modern audiences. The aim of this article is to characterise transcriptions and arrangements of vocal works by Stanisaw Moniuszko and to show different transformations of the original pieces depending on their functions and potential listeners by analogy with literary translation.

Artyku analizuje specyfik stylu jednego ze wspczesnych estoskich kompozytorw chralnych, Prta Uusberga, na podstawie miniatur chralnych "htu ilu" ("Pikno wieczoru") i "Sicut cervus" ("Jak jele.. .").Reprezentuj one dwa kierunki twrczoci kompozytora: neofolkloryzm i tzw wity minimalizm

ABSTRACT Female ballet composers. A Reconnaissance While Polish theoretical and musicological reflection seems to treat ballet music as a poor relation, ballet works composed by women appear as a complete tabula rasa. The present author decided to contribute to filling it by analysing works of Polish female composers of the 20th and 21st centuries. Statistical calculations based on three databases including Polish Music Information Centre (POLMIC), polishstage. pl (e-teatr) and taniecpolska.pl portals as well as own research have revealed 35 Polish female composers of the 20thand 21st centuries have written at least one or more works whose subtitles contain the words “ballet” or “ballet music” or have been composed particularly for a dance theatre, pantomime or dance performance. Out of 122 compositions, twenty ballets have not been staged. The works composed for other types of “dance shows” were written in collaboration with specific choreographers, therefore they have all been staged, except for three compositions. The first Polish female composer to write ballet music was Anna Maria Klechniowska. Her two earliest ballets, Bilitis and Juria were composed in the interwar period, and the third one titled Fantasma in 1964. The most successful female composer was Jadwiga Szajna-Lewandowska who composed ballets for children. Her most popular work was ballet Pinokio [Pinocchio]. Another question refers to stage productions of ballets composed by women. Eighteen of the ballets staged were choreographed by men, and fourteen by women. In the case of music composed strictly for “dance shows” (dance theatre, pantomime or dance performance) female choreographers prevail (47): only twelve male choreographers decided to collaborate with a female composer. Two performances were the result of collaborative work. The findings to date constitute a point of departure for further research into music composed “for dance” (ballet, pantomime, dance theatre and dance performances).

Official documents referring to laws and principles of music in the liturgy of the Roman Catholic Church in Roman Rite remind that the Church acknowledges primacy of Gregorian chant but also allows other forms of singing, especially polyphony. It is, however, recommended that people’s participation in the singing of Ordinarium Missae should not be completely excluded. It can be slightly problematic to put those guidelines into practice. Certain suggestions of how to engage both people and a polyphonic choir may be found in selected compositions by Wolfram Menschick, Rev. Zdzisław Bernat and Katarzyna Danel.

Introduction. The relevance of the socio-cultural field is growing now. There is a necessity of highlighting the innovative forms of future socio-cultural activity managers’ education, connected with manager activity content, dealing with keeping and sharing of cultural values management. Purpose and methods. The purpose of the article is theoretical analysis, systematization, and generalization of the scientific research concerning the justification of trainings usage peculiarities in future socio-cultural activity managers’ education. In the course of the research, such general scientific methods as analysis, synthesis, systematization, and generalization of theoretical issues have been used, as well as specific scientific methods of terminological, retrospective, systematic-structural, and structural-functional analysis. Results. Key moments in the history of trainings emergence and development have been highlighted. Kinds of trainings have been analysed: personal-oriented, skills-building, marketing, managerial, staff training, and organizational ones. The structure of trainings preparation in the professional education of future socio-cultural managers has been systematized, which is specified under the following indicators: stages, sections, aim, examples of implementation. Trainings content has been analysed and its illustrative subject matter has been presented. Teacher-trainer personal qualities have been distinguished, and his professional excellence elements have been detected. Conclusions. The scientific novelty of obtained results is in the concretization of the concept “training”, systematization of training preparation structure, and providing illustrative subject matter of trainings for future socio-cultural activity managers’ education; practical value is in the possibility of obtained results usage in the universities’ education process.

Report from the 2nd Music Forum for Young Scientists and Artists in Łódź

33 sceny z życia to film autobiograficzny Małgorzaty Szumowskiej (2008), inspirowany prawdziwymi wydarzeniami z jej życia – niemal jednoczesną śmiercią matki (pisarki Doroty Terakowskiej) i ojca (dokumentalisty Macieja Szumowskiego). Poprzedził go film dokumentalny A czego tu się bać? (2006), który ukazał stosunek społeczności wiejskiej do problemu śmierci i zmarłych. W filmie 33 sceny z życia przedstawiono inny rodzaj doświadczania śmierci i żałoby. Była to wersja miejska i ateistyczna, kpina z rytuałów związanych ze śmiercią (namaszczenia chorych i pogrzebu). Ich rozbieżność określa nie tylko ateistyczny charakter religijnych rytuałów, ale także, co najważniejsze, język. W 33 scenach posługiwano się idiolektami przedstawicieli krakowskiej inteligencji, z licznymi wulgaryzmami, podczas gdy w filmie dokumentalnym A czego tu się bać? – dialektem wiejskim z odniesieniami do języka religijnego. Celem prezentowanego artykułu jest analiza języka filmu i języka w filmie.