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Music projects

My music partners.

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Magda Piskorczyk

Magda

Artist with outstanding voice, charisma and stage personality who is especially fond of music of Afro-American and African origin. We have played together for 6 years now and toured extensively in Poland and abroad. I have taken part in the recording of 4 Magda’s albums, and let myself hope it is only for starters :)

[ website ]

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Panoda

Zima

Producer, DJ, instrumentalist. He moves between different music fields - from jazz and soul to contemporary genres like trip-hop or drum'n'bass. Panoda uses live and virtual instruments as well as techniques like sampling. At the moment he is working on solo CD entitled 'Easy Groovin' and on remixing my guitar pieces.

I take part in his recordings as a guest guitarist. First pieces will be introduced in 2012.

[ strona www ]

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Kamil 'Bulbuloid' Pawlak

Bulbuloid

A man with a laptop, who cares to name his music ‘ambient techno.’ To me, it sounds like psychedelic electronic music, composed by robots or other extraterrestials. Kamil has taken part in Laptop Orchestra WEF. I am pleased to record guitar tracks for him.

[ website ]

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Biały Jeleń

Biały Jeleń

Paweł Maciak's music project. It was created to ask some top Polish alternative bands what they really do.

I took part in recording one of Pawel's pieces. For me his music is much more experimental than music made by most of the bands which define themselves this way.

[ website ]

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Piotr 'JazzCat' Pacyna

Piotr Pacyna

Composer of music and sound effects for games and adverts. Recently, also a producer. I record guitar tracks at his request.

[ website ]

 

 

 

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Publications - evolution of the African-American music styles

My love for music made me devote my MA thesis in Sociology to the evolution, significance and use of sound in African and Afro-American music. Extensive excerpts were published by Muzyka [‘Music’] quarterly journal of the Institute of Art of the Polish Academy of Sciences and in Twój Blues [‘Your Blues’] music magazine. You can read the abstract below. The full text is only available in Polish.

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On Sources of the Idiom of African Music Culture

Muzyka, R. LII, 2007, No. 1 (204)

In traditional African communities, music accompanies almost every social activity, performing a function which in other societies is given to other types of institutions. It supports group identity processes, transmits fundamental values, and socializes. It is not merely a form destined to be adored and observed, but a phenomenon allowing the communities to function properly. Music is interaction. How does this aspect manifest itself in musical structure and performance?

The paper was first published in 'Muzyka' [‘Music’] quarterly journal.

The full text is only available in Polish.

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Mississippi and Its Environs. On why most blues compositions sound the same

Muzyka, R. L, 2005, No. 4 (199)

For listeners who are not familiar with the blues, the majority of the songs in this convention sounds very much the same. The following paper is an attempt at explaining the reasons for this impression.

The paper was first published in 'Muzyka' ['Music'] quarterly journal.

The full text is only available in Polish.

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On the Origins of the Blues. Part 1 & 2

Twoj Blues, No. 18 & 19 (2004)

If we take a look at the history of pop music, two essential facts will surface: that the majority of the genres originated in the United States and that its pioneers were almost always Afro-American performers. It will suffice to mention such styles as: blues, ragtime, gospel, jazz, soul, reggae, funk, or hip-hop. They all share similar values or, in other words, aesthetic tendencies, despite that they have different location on the timeline, and emerged in different contexts.

Blues holds a particular place in the development of Negro-American and pop music, being, beside of jazz, the most influential, imitated and processed musical style of the 20th century. In the paper, we will take a look on how the blues emerged, focusing on what had preceded it, from the historical, cultural, and aesthetic point of view.

The full text is only available in Polish.

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