theory of music
Katarzyna Szymańska-Stułka is a music theoretician who graduated from the Fryderyk Chopin Academy of Music in Warsaw, she holds a doctoral degree in the discipline of art studies, and a post-doctoral degree in the discipline of composition and theory of music.
Her academic interests focus around the theoretical music topics connected with philosophical and cultural backgrounds referring to music pieces and works by Polish composers. She is an author of books: Harnasie Karola Szymanowskiego. Poziomy istnienia dzieła [Karol Szymanowski’s Harnasie. The levels of existence of the piece] (1997) and Idiom polski w twórczości Andrzeja Panufnika [The Polish idiom in works by Andrzej Panufnik] (2006), as well as numerous problem-focused articles, such as: Dimensions of Time and Space in Music (2009), Space with reference to the artistic tendencies of Art Nouveau in Gustav Mahler’s Symphonies (2012), Das räumliche Wesen der Monodie in Bezug auf den kulturellen Hintergrund (2012), Splendid isolation – kilka spojrzeń na styl twórczy Karola Szymanowskiego ze zmiennej perspektywy czasu i przestrzeni [Some views on the creative style of Karol Szymanowski from the changeable perspective of time and space] (2013), “Musica ecclesiastica nova” w analizie i interpretacji – “Passio et Mors Domini Nostri Iesu Christi Secundum Ioannem” Dariusza Przybylskiego [The analysis and interpretation of “Musica ecclesiastica nova” – “Passio et Mors Domini Nostri Iesu Christi Secundum Ioannem” by Dariusz Przybylski] (2013), Theatre concept in music (2014), Dynamics and Speed: On the Essence of Beethoven’s Musical Space in the Piano Sonatas (2015), Forms of Musical Architecture in Polish Contemporary Music (2015), Symmetry of symbol, structure and sound in Arbor Cosmica by Andrzej Panufnik (2015).
Her work entitled Idea przestrzeni w muzyce [The idea of space in music], which was published in 2015, and its continuation, Przestrzeń jako źródło strategii kompozytorskich [Space as a source of composition strategies], being currently prepared, are an attempt to touch on the topic of musical space in the light of changes its understanding underwent throughout the ages from a theoretical standpoint. How the world and human space reveals its work in a piece of music, and how the dynamic field of artistic activities creates – these are the questions which determined the main areas of these considerations.