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Published online by Cambridge University Press: 04 February 2010
In polish music since 1945 we can certainly see the political, linguistic, literary and religious interests of most Polish composers as part of a larger picture—a re-emergence which has generated many new techniques that are of world-wide significance. One of the main players on this stage was Kazmierz Serocki (1922–1981) who left a large body of work which commands our respect and admiration. Serocki's work as a composer, like that of Lutoslawski and Baird, underwent many subtle and interesting changes that reflect the course of musical composition in Poland since 1945, marked by a movement we could describe as ‘toward spatial sonoristics’.
1 This is the term used by Chominski, Józef in his valuable study, ‘The Essence of Sonoristics in Music’, Polish Muskological Studies I, , P. W. M., , Kraków, 1977Google Scholar. Chominsky uses the term to describe compositions that have substantial elements of ‘sonorous’ effects, e.g. lassez vibrer.
2 Stucky, Stephen, Lutoslawski, C.U.P., 1981Google Scholar.
3 B. Schäffer in The New Grove.
4 See also the reference to Serocki in Gardner Read's Contemporary Instrumental Techniques, Schirmer Books, New York, 1976Google Scholar.
5 The present writer has been unable to detect any electronic music as such in his research on the composer undertaken in Poland.
