Feliks Nowowiejski Academy of Music in Bydgoszcz

Recently, the world has been gaining vastly increasing access to more and more advanced artificial intelligence tools. This phenomenon does not bypass the world of sound and visual art, and both of these worlds can benefit in ways yet unexplored, drawing them closer to one another. Recent breakthroughs open possibilities to utilize AI driven tools for creating generative art and using it as a compound of other multimedia. The aim of this paper is to present an original concept of using AI to create a visual compound material to existing audio source. This is a way of broadening accessibility thus appealing to different human senses using source media, expanding its initial form. This research utilizes a novel method of enhancing fundamental material consisting of text audio or text source (script) and sound layer (audio play) by adding an extra layer of multimedia experience – a visual one, generated procedurally. A set of images generated by AI tools, creating a story-telling animation as a new way to immerse into the experience of sound perception and focus on the initial audial material. The main idea of the paper consists of creating a pipeline, form of a blueprint for the process of procedural image generation based on the source context (audial or textual) transformed into text prompts and providing tools to automate it by programming a set of code instructions. This process allows creation of coherent and cohesive (to a certain extent) visual cues accompanying audial experience levering it to multimodal piece of art. Using nowadays technologies, creators can enhance audial forms procedurally, providing them with visual context. The paper refers to current possibilities, use cases, limitations and biases giving presented tools and solutions.

This chapter demonstrates how the implementation of Hoshin Kanri (HK) changes the organizational culture and management system in a typical Polish public university characterized by bureaucracy, a strong hierarchical structure, and deep-rooted traditions. The aim of the chapter is to elaborate on the stages of the HK planning process and the linkages between each step of the process on the one side, and the growing maturity and readiness of university leaders, managers, and staff to embrace change on the other.

The article concerns an unpublished article by Zygmunt Zakrzewski regarding coin finds in Kuyavia, Pałuki and Krajna, written in 1938, whose publication was interrupted by the outbreak of World War II.

The Categories of Time and Musical Form in Paweł Mykietyn’s Concerto No. 2 for Cello and Symphony Orchestra The paper supplements the research on the latest Paweł Mykietyn's work. It broadens the spectrum of problems related to the technique of deconstruction in his works and allows for a better understanding of the structure of the Concerto No. 2 for cello and symphony orchestra. The main research method is descriptive analysis, bringing Paweł Mykietyn's musical language closer to the harmonic material, textural systems, agogic-metric structures, and the concept of form. The analysis is based on the score of the 2nd Concerto for Cello and Symphony Orchestra, published in 2019 by the PWM Edition in Kraków. The structure of the paper includes: introduction, three paragraphs and a summary. The characteristics of Paweł Mykietyn’s work contained in the introduction will allow the reader to become familiar with stylistic tendencies at various stages of the composer's work. The section devoted to the genesis and reception aims to present the history of the creation of the analysed work, as well as its contexts and resonance. The analytical sketch in the context of the issues of time and form will allow to present selected aspects of the compositional technique.

The article focuses on the presentation and analysis of selected excerpts from Frédéric Chopin’s letters from the 1824-1849 period that illustrate their author’s attitude towards physical experiences. In contrast to the “disembodied” reception of the artist that reproduces the “soul of the piano” metaphor, the article describes a broad representation of the composer’s texts on physical appearance, the role of the body in the performance act, living through illness and the oncoming death. The cross-sectional and chronologically ordered study presented in the article shows the evolution of the subject’s attitude towards his own body along the progress of his illness. It is at the same time an illustration of the style and imagery used by the author of the letters while describing specific aspects of physical experience.