Harnessing Advanced Dynamic Effects for High Performance Directly Modulated Lasers

This paper reviews the principle of three dynamic effects, inc. photon-photon resonance, detuned loading, and optical injection locking, for high speed directly modulated lasers. Designs and recent progress are discussed to inspire future research

Fotka z Nowej Huty dla Roberta Kubicy

Dziennik Polski. - 2011, nr 137 (14 VI), dod. Kronika Krakowska, s. B

ÜBER DAS VERSTEHEN VON MUSIK AUS EINEM ANDEREN KULTURKREIS – MÖGLICHKEITEN UND EINSCHRÄNKUNGEN DER EIGENEN ERKENNTNIS

Im vorliegenden Beitrag geht es um eine Analyse des Verstehensprozesses von anderen Musikkulturen im Lichte der zu diesem Thema zugänglichen Fachliteratur. Das Hauptprob- lem, das in dem Kontext formuliert wurde, ist folgende Frage: In welchem Ausmaß ist eine europäisch geprägte Enkulturation und musikalische Bildung, die auf Methoden des Mu- sikhörens und den damit verbundenen Bewertungen beruht, durch das Verstehen der Phä- nomene anderen musikalischer Kulturen erschwert worden?Zur Klärung dieses Problems wird sowohl die Theorie von W. Gruhn über die Ebenen von musikalischen Verstehens herangezogen, als auch die Meinungen anderer Autoren (Z. Lissa, P.W. Schatt, G. Kleinen, M.P. Baumann, K.H. Ehrenforth) über die Schwierig- keiten, die während des Erwerbs von Kompetenzen des Musiklernens aus einem anderen Kulturkreis auftreten können. Man hat auch die sogenannte Bimusikalität beschrieben, also den Mechanismus, dass bei einem Europäer ein Potenzial besteht, europäische und außer- europäische Musik unabhängig wahrnehmen und verstehen zu können. Danach folgt eine Charakteristik der Musik, die man als Sprache interkultureller Kom- munikation interpretiert. Es wird das Dilemma, dass Musik als eine universelle oder als nur für eine bestimmte Kultur spezifische Sprache betrachtet wird, hervorgehoben. Dabei wird versucht, die ethnischen und nationalen Paradigmen der musikalischen Sprache zu definie- ren. Im Rahmen dieses Artikels werden auch einige europäische musikalischen Konventio- nen aus dem XIX. und XX. Jahrhunderts analysiert, in denen Komponisten auf verschiede- ne Art und Weise die Kunst anderer Kulturen in ihre Werke integrierten. Es wird auf die Evolution dieses Prozesses hingewiesen, in dem eine ursprüngliche, naive und mit kulturel- len Vorurteilen überfüllte Form des Zitierens von außereuropäischer Musik zum mehr bewussten und vertieften schöpferischen Prozess umgewandelt wurde. Letzteres ist zu den wichtigen kompositorischen Inspirationen gewachsen. Diese Analyse wird um eine Charak- teristik von einigen musikalischen Beispielen ergänzt (Debussy, Puccini, Mahler, Mesiaen, Cage und Stockhausen). Zum Schluss wird die Bedeutung außereuropäischer Kulturen in zeitgenössischer Musik hervorgehoben, die die europäische kulturelle Erbschaft bereichert und neue Richtungen zum Erlernen und Verstehen von anderen Musikkulturen auf dem Wege des Dialoges inspiriert

Коmenda Olga Ivanivna – Universal Creative Personality in Ukrainian Musical Culture – Petro Tchaikovsky National Music Academy of Ukraine, Kyiv 2020

The main theme of the reviewed work is an attempt to define the concept of active universa-lism of the creative personality based on the available literature in the field of many sciences, its characteristics in the confrontation with the achievements mainly in the field of psycho-logy, historically oriented culturology and musicology. The most important issue is to pre-sent the richness of Ukrainian musical culture, ranging from representatives of its national canon (Mykola Lysenko) to contemporary composers, most of whom are attention was paid to Oleksandr Kozarenko

ETHOS AND PLAY IN EBERHARD PRESUSSNER’S “GENERAL MUSIC EDUCATION” ON THE BACKGROUND OF SOME PHILOSOPHICAL AND PEDAGOGICAL TRENDS

Niemiecki pedagog Eberhard Preussner eksponuje pojęcia „etosu“ i „gry” w muzyce, uznając je za jedne z najważniejszych określeń służących do interpretacji cech konstytutywnych dzieła muzycznego i jego wykonywania. Pojęcia te mają także wielkie znaczenie w wyznaczaniu kierunków edukacji muzycznej i jednocześnie integralnego kształtowania osobowości człowieka przez muzykę. Dla Preussnera „etos” odgrywa podstawową rolę w reflektowaniu duchowych wartości muzyki, nadaje im trwałe znaczenie dla rozumienia egzystencji człowieka wyrażonej symbolicznie w znaczących w europejskiej kulturze kanonicznych dziełach artystycznych. Przeciwstawieniem „etosu” jest „gra”, która wyzwala się z potrzeby kontekstowego, poważnego rozumienia muzyki, zaś jej podstawowym zadaniem jest dawać radość muzykowania, tworzyć walory komunikacji wewnątrzgrupowej, aktywizować młodzież w stronę działań zmierzających do spontanicznego tworzenia muzyki i improwizowania. W rozprawie omówiono więc kilka muzyczno-pedagogicznych nurtów odnoszących się do szeroko rozumianego wychowania i kształcenia. Te historyczne już kierunki edukacji muzycznej: kształcenie w duchu naturalizmu J.J. Rousseau, tworzenie muzykujących grup wędrujących jako przykład wychowania przez pieśń i poczucie przynależności grupowej oraz refleksyjna, eksponująca słuchanie muzyki współczesnej metoda kształtowania człowieka wywarły wielki wpływ na aktualne rozumienie tej dziedziny w wielu krajach Europy oraz w USA. Dzisiejsze systemy edukacji muzycznej są swoistym kompromisem zaprezentowanych przyczynków, ponieważ dominuje w nich świadomość, że żadne z nich nie może funkcjonować samodzielnie, a jest zobligowane do łączenia w mniej lub bardziej zintegrowanych konceptach różne, często wykluczające się elementy, ale wnoszące w kształtowanie człowieka w oparciu o sztukę muzyczną ważny wkład.Eberhard Preussner, a German educationalist, emphasizes the “ethos” and “play” concepts in music, regarding them as one of the most important definitions used to interpret constitutive features of a music work and its performance. The definitions are also of great significance in determining the music education trends and, at the same time, integral shaping of a human personality through the music. For Preussner “ethos” plays the basic role in reflecting spiritual values of music, gives them permanent significance in understanding human existence symbolically expressed in canonical artistic works meaningful in the European culture. The opposition of “ethos” is “play” triggering from the need of a contextual, serious understanding of music, while its main role is to give happiness from performing the music, create inter-group communication virtues, stimulate teenagers towards activities meant for spontaneous music creation and improvising. Thus several music and pedagogic trends referring to widely understood education and development have been discussed in the study. These already historical music education trends: education in the atmosphere of J.J. Rousseau’s naturalism, forming music performing travelling groups, as an example of education through song and group affinity, as well as reflective method of human shaping, exposing listening to the contemporary music, have had a great impact on the current perception of this discipline in many European countries and the USA Contemporary music education systems are a peculiar compromise of the presented contributions since the prevailing feeling is the awareness that none of them may function separately, but is obliged to combine, in more or less integrated concepts, elements that are quite often contradicting yet having a great contribution to human shaping based on the art of music

On the Questions Concerning Legal Norm

The subject matter of the paper is the question of legal norm as regards its ontology and correlativeness. The conception of legal norm affects a concrete understanding of the concept of legal relation, subject's law, entitlement etc. In the theory of law there are several conceptions of legal norm: 1. Norm is a form of expression about some objective reality. 2. Norm is equal with a sentence stating the occurrence of some psychic states in the individual's psyche or in social awareness. 3. Norm expresses a psychic phenomenon, but it is not a proposition in the logical sense. It has an emotive meaning. In this view norms have no descriptive meaning and, semantically speaking, are close to exclamations. 4. Norm is an expression combining the descriptive statement of some facts with the expression of definite emotions. 5. Norm is an expression constituting part of the deductive system (J. Wróblewski). The most common thing is to distinguish the linguistic and non-linguistic conception of norm. The linguistic conception assumes that legal norm is a kind of normative expression. In the linguistic conception we distinguish cognitivistic and non-cognitivistic position. Cognitivism means that the normative expression is a proposition in the logical sense, therefore it is true or false. According to non-cognitivism, norms are not true or false propositions, but propositions of a particular kind. They sensations of the will, feelings or emotions that cannot be recognized. The linguistic conception assumes that norm is not a statement. Part of the theorists of law abandon seeking the ontically uniform conception of norm and assume the conception of so-called levels of the study of law. The typology of levels is made here, distinguishing the following levels: logical-linguistic, sociological, psychological, and axiological. The issue of correlativeness refers to the question whether each legal norm creates the legal relation, whose elements are entitlement and duty. It was L. Petrażycki who advocated this position. He calls legal norms obligatory-claims, ordering and attributing, imperative and attributive. Cz. Znamierowski and his disciple Z. Ziembiński criticized this conception. According to the latter author, not every norm creates the legal relation. The present paper discusses the tomistic position (M. A. Krąpiec). Law in this view is not a necessary relation, i.e. constituting human onticity. Law is a categorial relation placed in the human person, in whose action it is realized and concretized. This relation is founded on necessary relations. Norm, according to Krąpiec, is an intentional being. He negates Kant's position, who claims that there is not transition from being to obligation. In the state of things which is to become Krąpiec sees potential and dynamic reality. „This state of things which is to come true under proper conditions is an intellectually perceived value which can be expressed in the normative proposition”. I assume the linguistic and cognitivistic conception of norm. Otherwise, norms would be constructed „within the framework of our volitive-emotional activity” (A. B. Stępień). It is difficult to assume that the act of the will defines what is valuable or obligatory. On the contrary, norm is an act of reason aiming at the realization of the common good. Therefore, it is a purposeful act. Reasonable and teleological is then the legislator's decision as regards what goods condition the psychic and physical integrity of man and his development. Now on the grounds of the tomistic theory of law and its understanding as a relation Iassume the concept of legal relation as universal. I mean someone's obligatory behaviour isacorrelate of someone's duty. The legal relation is to realize the common good, the development of each human person, the realization of his or her potentiality. Important as they are, psychic experiences are something secondary and they cannot constitute an independent foundation for the understanding of the phenomenon of law

Ukrainian students enrolled in music education studies in Poland – education, attitudes, professional expectations, and their relations to their environment – research report

The significant growth in the number of Ukrainian s tudents at Polish institutions of higher education has significantly changed the face of academic education in this country. The existing model of higher education mostly based , especially in smaller centres, on studies of a single nation has been evolving over a t least several years in the direction of a bi- or multicultural model. Ukrainians currently constitute the largest group of minority students in Polish institutions of higher education , which affects social attitudes perceptible in the academic environment, arouses interest in th e Other or evokes negative cultural ste- reotypes and prejudice. In the context of these cha nges, key questions arise about the mo- bility of Ukrainian students to Poland, which can b e addressed in the following research questions: What are the motives of Ukrainian studen ts coming to Poland? Will Ukrainian graduates remain in Poland and be assimilated, or w ill the higher professional qualifica- tions earned help many Ukrainians with Polish degre es to build a new social, economic and cultural order? What is the structure of education for a Ukrainian student – one based on the domi- nance of one cultural canon or one that shows cultu ral diversity? Included these visible changes at Polish universiti es were also programmes in “Art Ed- ucation in the Musical Arts”, including those condu cted in the Institute of Music at the Pomeranian Academy in Słupsk. Since 2014, this inst itution and institute have offered “semester exchange” and “double degree” programmes for students from Ukrainian insti- tutions, and many Ukrainians have chosen Słupsk as the place for the full programme of their music and pedagogical studies. The theoretical section of the article is divided i nto three parts: 1. Academic mobility - in which select literature o n the situation of students pursuing their education abroad is discussed. At the foregro und of these discussions are the problems of students’ adaptation to a new, cultural ly foreign environment. Also con- sidered are the perceived difficulties in studying in the chosen field, as well as the question of the declared strength of the desire of Ukrainian students to emigrate to a new country, understood in the perspective of their car eer development in the profession. 2. Students from Ukraine pursuing studies in music and pedagogy form a certain image of their future professional employment, namely as a music teacher at school. There- fore, the focus of this article is the analysis of different models of this profession and their integration with the interests and musical ac tivities they engage in. Jarosław Chaci ń ski 256 3. Another area of the literature analysis, underta ken in order to learn about the changes in the consciousness of Ukrainian students, is the subject of shaping their individual cultural image, based on the dominance of their nat ive cultural canon, which then un- dergoes an inevitable process of acculturation. In this aspect, it is important to esti- mate how much they have learned and their ability t o recognize another cultural tra- dition, as well as to acquire the competence to dea l with the history of Polish culture and its most outstanding works in the musical, visu al, architectural and literary arts. The research variables identified in the theoretica l part of the article were then the main inspiration for the survey research, included in th e second part of the article, in which Ukrainian students, answering the questions in the survey, declared their attitudes toward selected phenomena in which they participate, made a self-assessment of their assimilation of the Polish cultural canon in the context of the previous canon of their native Ukrainian culture, declared their professional preferences, o riented towards performing the future work of a music teacher according to a defined model