The main aim of the analysis is to determine to what extent preference for specific musical genres is related to social position. The study was based on data from a survey conducted in 2019 on a random sample of Poles. The explained phenomena are six genres representing broad spectrum of musical tastes: classical music, jazz, rock, rap, pop, and disco polo. The results of the analysis indicate that the diversity of musical tastes does not come down to one dimension. Family socialization, educational level, and, in part, class position exert the highest impact not only on preferences of classical music but also on liking jazz, rock and disco polo. The class effect appears almost negligent in preference for pop and rap which lead us to general conclusion that cultural stratification does not cover all forms of activity having a selective effect. Musical preferences turn out to be extremely strongly connected with parent’s cultural capital and respondents’ level of education.

What is patriotism as opposed to nationalism? And which of these is what sometimes surfaces in contemporary rock music?

The paper presents the key-finding algorithm based on the music signature concept. The proposed music signature is a set of 2-D vectors which can be treated as a compressed form of representation of a musical content in the 2-D space. Each vector represents different pitch class. Its direction is determined by the position of the corresponding major key in the circle of fifths. The length of each vector reflects the multiplicity (i.e. number of occurrences) of the pitch class in a musical piece or its fragment. The paper presents the theoretical background, examples explaining the essence of the idea and the results of the conducted tests which confirm the effectiveness of the proposed algorithm for finding the key based on the analysis of the music signature. The developed method was compared with the key-finding algorithms using Krumhansl-Kessler, Temperley and Albrecht-Shanahan profiles. The experiments were performed on the set of Bach preludes, Bach fugues and Chopin preludes.

In this article some key events concerning founding Polish Section of the Audio Engineering Society were presented. In addition, the history covering International Symposia on Sound Engineering and Mastering was outlined. Also, papers contained in this issue were shortly reviewed.

We talk to Assoc. Prof. Paweł Gancarczyk from the PAS Institute of Art about how early music was perceived at the time when it was being composed, what modern musicologists regard as new discoveries and how our identities are shaped by sound.

We are exploring the relationship between accents and expression in piano performance. Accents are local events that attract a listener's attention and are either evident from the score (immanent) or added by the performer (performed). Immanent accents are associated with grouping (phrasing), metre, melody and harmony. In piano music, performed accents involve changes in timing, dynamics, articulation, and pedalling; they vary in amplitude, form, and duration. We analyzed the first eight bars of Chopin Prelude op. 28 n. 6. In a separate study, music theorists had marked grouping, melodic and harmonic accents on the score and estimated the importance (salience) of each. Here, we mathematically modeled timing and dynamics in the prelude in two ways using Director Musices (DM) - a software package for automatic rendering of expressive performance. The first rendering focused on phrasing following existing and tested procedures in DM. The second focused on accents - timing and dynamics in the vicinity of the accents identified by the theorists. In an informal listening test, 10 out of 12 participants (5 of 6 musicians and 5 of 6 non-musicians) preferred the accent-based formulation, and several stated that it had more variation of timing and dynamics from one phrase to the next.

In slowly flaring horns the wave fronts can be considered approximately plane and the input impedance can be calculated with the transmission line method (short cones in series). In a rapidly flaring horn the kinetic energy of transverse flow adds to the local inertance, resulting in an effective increase in length when it is located in a pressure node. For low frequencies corrections are available. These fail at higher frequencies when cross-dimensions become comparable to the wavelength, causing resonances in the cross-direction. To investigate this, the pipe radiating in outer space is modelled with a finite difference method. The outer boundaries must be fully absorbing as the walls of an anechoic chamber. To achieve this, Berenger's perfectly matched layer technique is applied. Results are presented for conical horns, they are compared with earlier published investigations on flanges. The input impedance changes when the largest cross-dimension (outer diameter of flange or diameter of the horn end) becomes comparable to half a wavelength. This effect shifts the position of higher modes in the pipe, influencing the conditions for mode locking, important for ease of playing, dynamic range and sound quality.

The main goal of this research study is focused on creating a method for loudness scaling based on categorical perception. Its main features, such as: way of testing, calibration procedure for securing reliable results, employing natural test stimuli, etc., are described in the paper and assessed against a procedure that uses 1/2-octave bands of noise (LGOB) for the loudness growth estimation. The Mann-Whitney U-test is employed to check whether the proposed method is statistically equivalent to LGOB. It is shown that loudness functions obtained in both methods are similar in the statistical context. Moreover, the band-filtered musical instrument signals are experienced as more pleasant than the narrow-band noise stimuli and the proposed test is performed in a shorter time. The method proposed may be incorporated into fitting hearing strategies or used for checking individual loudness growth functions and adapting them to the comfort level settings while listening to music.

An unpublished Musical by Pirandello: a polysemic and multicultural kaleidoscope – The fact that Pirandello conceived the idea of writing a Musical was well know, but the recent discovery of the actual text and the musical score, in the archive of Guido Torre Gherson, agent of the writer while he lived in Paris, has shed some light on his final years and writings. The findings are discussed in the context of his late theatrical and fictional works, such as I giganti della montagna.

The aim of this paper is to describe the process of choosing the best surround microphone technique for recording of choir with an instrumental ensemble. First, examples of multichannel microphone techniques including those used in the recording are described. Then, the assumptions and details of music recording in Radio Gdansk Studio are provided as well as the process of mixing of the multichannel recording. The extensive subjective tests were performed employing a group of sound engineers and students in order to find the most preferable recording techniques. Because the final recording is based on the mix of "direct/ambient" and "direct-sound all-around" approaches, a subjective quality evaluation was conducted and on this basis the best rated multichannel techniques were chosen. The results show that listeners might consider different factors when choosing the best rated multichannel techniques in separate tasks, as different systems were chosen in the two tests.

The airflow in the mouth of an open and closed flue organ pipe of corresponding geometrical proportions is studied. The phase locked particle image velocimetry with subsequent analysis by the biorthogonal decomposition is employed in order to compare the flow mechanisms and related features. The most significant differences lie in the mean velocity distribution and rapidity of the jet lateral motion. Remarks on the pressure estimation from PIV data and its importance for the aeroacoustic source terms are made and a specific example is discussed.

The use of canticles in liturgical monody goes back to the early Middle Ages when the practice of canonical hours began to be used extensively. The canticles of the Gospel (Benedictus, Magnificat and Nunc dimittis) were successively incorpora- ted into the structure of the canonical hours and became in time the most important chants of the Liturgy of the Hours (Laudes, Vesperae, Completorium).

Some shorter canticles of the Old Testament books were also included in the Divine Office but it was only after the Second Vatican Council that shorter canticles of the New Testament books came into Vespers. They replaced the final (i.e. the third) psalm.

The designation „song" which was used to describe „canticle" in the Polish translation of the revised Liturgy of the Hours appeared to be highly controversial and inadequate. Thus, it was necessery to explain such definitions as: canticle, psalm, hymn, song. Based on the studies it is possible to definitely determine that a return to the original designation (canticle) is necessary and inevitable, in order to avoid confusion in terminology. Benedictus and Magnificat have received the primary thrust of poetic translations of canticles into Polish. In the latter case there are as many as five different Magnificat translations in Polish church song-books; only two versions of the Benedictus have been found. These canticles have a wide liturgical application; their use is not limited to the Divine Office alone.

They have been introduced into the Roman Catholic Order of Mass as the chants after Communion, or as the responsorial psalms, or as the verses sung before Gospel. Some of them have become independent processional chants for Mass, especially the ones intended for Lent. As far as the number of musical settings is concerned, it can be said that the Magnificat canticle seems to be highly favored. Nevertheless the melodies connected to other canticles, including the ones with the texts from „non-Gospel" biblical books, deserve attention as well. The melodies originated either in the Gregorian chant, or in the ecclesiastical songs, or in foreign sources, or, finally, in indigenous pieces of original compositions.

Thus, the repertoire of the New Testament canticles exhibits itself as a rich resource of new chants which have been included in the official liturgy in Poland since the Second Vatican Council. Clearly, further research is required in the aera.

The current of minor literatures – developed by Gilles Deleuze and Felix Guattari on the basis of an analysis of Franz Kafka's works – is a kind of breakthrough in the modern and post-modern interpretation of literary texts. Its basic aspect is the minority, expressed in various ways, determined by the social exclusion of the artist, set within the framework of a dominant foreign culture, the emanation of which is primarily language. This immanent feature affects all levels of a literary work, leading to the creation of a specific apparatus. One of the most interesting representatives of this current is Sigizmund Krzhizhanovsky – a Russian writer from a Polish noble family. The writer's work – focused mainly on criticism of the central category of logos – is based on a set of philosophical concepts that transfer reflections to a paradigm different from the modernist or socialist realist tradition. One of the key objects of analysis in such an approach is the question of sound and the reception of music itself. The author of the article presents the concept of sound philosophy present in Krzhizhanovsky’s works, which at the same time characterizes the whole current of minor literatures and – similarly to other sign systems – introduces a distinction between minor and dominant elements.