Musicology in Poland and the International Musicological Society: The Polish Musicological Society (1928-1939)

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Musicology in Poland and the International Musicological Society: The Polish Musicological Society (1928-1939)

Boleslawska Beata PhD., Hab., Assistant Professor, Institute of Art, Polish Academy of Sciences

Abstract

Held during the spring of 1927, the Beethoven Congress in Vienna was marked by the revival of the Internationale Musikgesellschaft, soon renamed Internationale Gesellschaft fur Musikwissenshaft, today typically referred to by its English name, the International Musicological Society (IMS). In 1928 Polish musicologists established the Polish Musicological Society. Its objective was to integrate scholars active in Poland's major musicological centres (such as the universities in Krakow, Poznan and Lviv), independent scholars, and Polish musicologists living abroad. The enterprise was enthusiastically welcomed by the musical community, but there soon emerged difficulties in launching the planned initiative. This article provides a concise analysis of the formation and early activities of the Polish Musicological Society in the inter-war period within the broader context of the development of musicology as an academic discipline in Poland and the founding of the IMS.

Keywords: musicology in Poland, Polish Musicological Society, Polish musicologists. polish musicological society interwar

Музыковедение в Польше и Международное музыковедческое общество (IMS): Польское музыковедческое общество (1928--1939)

БОЛЕСЛАВСКАЯ БЕАТА Доктор искусствоведения, доцент, Институт искусств, Польская академия наук (Варшава, Польша)

Аннотация

Конгресс к 100-летию со дня смерти Бетховена в Вене весной 1927 года ознаменовался возрождением Международного музыковедческого общества (Internationale Musikgesellschaft), вскоре переименованного в Internationale Gesellschaft fur Musikwissenshaft (сегодня его английское название -- International Musicological Society, IMS). В 1928 году польские музыковеды основали Польское музыковедческое общество. Его целью было объединение ученых, работающих в крупнейших музыковедческих центрах страны (в университетах Кракова, Познани и Львова), а также ученых, не связанных ни с одним университетом, и польских музыковедов, проживающих за рубежом. Инициатива была с энтузиазмом воспринята музыкальным сообществом, но вскоре возникли трудности в осуществлении этих планов. В статье дается краткий анализ возникновения и деятельности Польского музыковедческого общества в межвоенный период в контексте развития музыковедения как академической дисциплины в Польше и основания IMS.

Ключевые слова: музыковедение в Польше, Польское музыковедческое общество, польские музыковеды.

The beginnings of musicology as a university discipline in Poland go back to the early 1910s. At that time musicology as a study subject appeared at two Polish universities within a period of just one year: Jagiellonian University in Krakow -- in 1911, and Jan Kazimierz University in Lviv -- in 1912. Both cities were formally still part of the Austro-Hungarian monarchy, but continued to strongly cultivate Polish language and Polish culture. The professors who had become chairs of musicology in Krakow and Lviv -- Zdzislaw Jachimecki (1882--1953) and Adolf Chybinski (1880--1952) respectively -- had studied earlier with Guido Adler (1855--1941) in Vienna. Called «fathers» of Polish musicology, they indeed made a crucial contribution to the development of the discipline in Poland, conducting research and educating successive generations of musicologists. For more on the beginnings of musicology in Poland, in the context of its development as a university discipline as well as initiatives concerning research, organisational matters and pop-ularisation of music, see Malgorzata Sieradz, The Beginnings of Polish Musicology, trans. Lindsay Davidson, Berlin: Peter Lang, 2020 (original Polish version: Kwartalnik Muzyczny (1928--1950) apoczqtki muzykologiipolskiej, Warsaw: Instytut Sztuki PAN, 2015), and Michal Piekarski, Przer- wany kontrapunkt. Adolf Chybinski i poczqtki polskiej muzykologii we Lwowie (1912--1944), War-saw: Instytut Historii Nauki PAN, 2017.

After Poland regained independence in 1918, the third city where musicology found its place within university walls was Poznan, previously within the part of Poland annexed by Prussia. The Department of Musicology was established at the Poznan University in 1922. The man who became its chair was Lucjan Kamienski (1885--1964), who had earlier studied musicology in Berlin under Hermann Kretschmar (1848--1924) and Johannes Wolf (1869--1947). Warsaw, the country's capital, had to wait for its musicological study programme until the mid-1980s, when it was launched not at the local University, but as part of the work of the Warsaw Conservatoire.¹ However, the programme functioned only briefly and its role was marginal -- this changed only after the Second World War and the launch of musicology at the University of Warsaw by Zofia Lissa (1908-- 1980) in 1948. In the pre-war period -- which will be the focus of the present article -- a leading role was played primarily by Lviv and Krakow, where the tone was set by two outstanding professors. Chybinski and Jachimecki. When it comes to the establishment and activity of the Polish Musicological Society -- a topic of particular interest here -- a significant contribution was also made by the head of the Poznan musicology, Kamienski.

As is well known, the Beethoven Congress in Vienna in spring 1927 was marked by the revival of the Internationale Musikgesellschaft, soon renamed Internationale Gesellschaft fur Musikwissenshaft (today referred to by its English name, International Musicological Society, IMS). See Magdalena Dziadek, Od szkoly dramatycznej do uniwersytetu: dzieje wyzszej uczelni muzy- cznej w Warszawie 1810--2010, vol. 1: 1810--1944, Warsaw: Wydawnictwo Uniwersytetu Muzyc- znego Fryderyka Chopina, 2011. ^{Cf. The History of IMS (1927--2017), edited by Dorothea Baumann and Dinko Fabris, Kas-sel: Barenreiter, 2017.} In addition, musicologists from Slavic countries taking part in the congress decided to found the Slavic Musicological Union (Union Musicologique Slave). See Kornel Michalowski, «Polskie Towarzystwo Muzykologiczne w latach 1928--1931», Muzyka 23 (1978) no. 3, pp. 21--22. See also Sieradz, p. 68. The initiative was introduced as an expression of protest against the domination of German and French musicologists, and the marginalisation of representatives of other countries, which was evidenced by, among others, the fact that their speeches were scheduled at the very end of the Congress. The initiative to set up the Slavic Union came from the Czechs, who were joined by representatives of Yugoslavia, Russia and Poland. Poland was represented by two musicologists taking part in the Congress: Lucjan Kamienski and Henryk Opienski (1870--1942), who lived in Switzerland and immediately proposed that he would relinquish his place in favour of Chybinski.

Writing about the situation of Polish musicology at the time, Stefania Lobaczewska (1888--1963) welcomed the initiative with hope, as she saw in it an opportunity to achieve the objectives facing Polish musicologists:

The matter of putting these ideals into practice has been gradually taking shape since the establishment of the Slavic Musicological Society, which emerged from an international musicological organisation revived at the Vienna congress in March this year. Obviously, Polish musicologists should quickly join the new organisation in order to be successful advocates of Polish scholarship. Quoted after Michalowski, p. 21.

However, matters did not turn out as expected. The Slavic Union chose as its President Zdenek Nejedly (1878--1962) from the Charles University in Prague. Nejedly managed to get Slavs one place on the IMS board -- it went to himself. Although a congress of the Slavic Union was planned for 1928 in Poznan, owing to misunderstandings which soon emerged within the board of the Slavic section, the Poles decided to focus on creating their own, independent society which would better represent the interests of Polish musicology worldwide.

As a result, on 4 February 1928 a meeting was held in Warsaw for scholars representing the most important Polish musicology centres. During that meeting the Polish Musicological Society (Polskie Towarzystwo Muzykologiczne, PTM) was established. Point 4 of its statute listed the most important tasks of the new organisation:

4. The objective of the Society is to work on the development and progress in musicology in Poland, to strengthen the position of Polish musicology in international scholarship, and, as much as possible, to increase the impact of musicology on musical practice, education and writing in Poland.¹

The Board of the newly founded PTM comprised Lucjan Kamienski (Poznan) -- President, Zdzislaw Jachimecki (Krakow) and Adolf Chybinski (Lviv) -- vice presidents, Bronislawa Wojcik (1890--1938) (Lviv) -- secretary and Waclaw Piotrowski (Poznan) -- treasurer. For some time a discussion was going on over where the Society should be based -- cities taken into consideration were Lviv, Warsaw and Poznan, with Poznan being chosen in the end. This was also where the PTM was officially registered -- although it was not entered into the register of associations at the local court until 12 June 1929. In the meantime organisational work was in progress, as was recruitment of new members, also those living abroad. The surviving correspondence includes letters exchanged with Opienski and Ludwik Bronarski (1890--1975), an eminent Chopin expert, both of whom lived in Switzerland. Under the statute we find the place and date, Warsaw, 4 February 1928, as well as the names of PTM members present at the meeting and signing the statute: Dr Bronislawa Wojcik, Dr Seweryn Barbag, Dr Maria Szczepanska (all three from Lviv), Dr Melania Grafczynska (Krakow), Dr Waclaw Piotrowski and Lucjan Kamienski (representing Poznan), and Maria Chmielikowska (representing the Youth Club at the University of Poznan). Documents preserved as part of the Adolf Chybinski Archive, Library of the Adam Mickiewicz University, Poznan (AACH-BUAM). I would like to sin-cerely thank Ms Malgorzata Sieradz for making scanned copies of these documents available to me. ^{A great deal of information about both the Polish Musicological Society and musicological initiatives undertaken by other Polish institutions can be found in the recently published correspondence of Bronislawa Wojcik (later Wojcik-Keyprulian) with Opienski and Bronarski. See Bronislawa Wojcik-Keuprulian. Korespondencja do Szwajcarii. Listy do Henryka Opienskiego (1925--37) i Ludwika Bronarskiego (1929--38), edition, introduction and commentary Malgorzata Sieradz, Warsaw: Instytut Sztuki PAN, 2018.}

The PTM statute also provided for the creation of local branches of the Society «in locations where at least three members live» and on condition that they

«be obliged to strictly observe the Society's statute.»¹ Indeed, as early as in March 1928 such a local branch was established in Lviv, where a whole group of musicologists, gathered around Adolf Chybinski, was active. Chybinski became the branch's chair, with Adam Soltys (1890--1968) becoming deputy chair and Maria Szczepanska (1902--1962) the secretary.

The founding of the Polish Musicological Society was enthusiastically received in musical circles with friendly notices appearing in the press. Przeglqd Muzyczny reported:

The Polish Musicological Society is established at last. The newly founded society is the first ever attempt to organise Polish musical scholarship represented by three university departments and a number of serious academics, who, lacking their own association, have been forced until now to split their efforts among various scholarly corporations and popular publications, which has had an obvious negative impact on the development and influence of musicology as such. That such efforts have finally been put together is a momentous fact, not only from the point of view of scholarship, but also the entire musical and cultural life in Poland. Cf. Michalowski, p. 24. ^{[no author], PrzeglqdMuzyczny (1928) no. 2 p. 11, see also Sieradz, p. 69.}

A much more detailed report appeared in the most important Polish journal, Muzyka, whose editor-in-chief, Mateusz Glinski (1892--1976), wrote:

The polemical hubbub of recent weeks has overshadowed a momentous occasion, which otherwise would have certainly attracted the attention of all music lovers in Poland. That occasion was the founding of the Polish Musicological Society. It will certainly be an important date in the development of our musical life, a date to which we will all be coming back in the future.

So far Polish musical scholarship has been represented by three university departments in Krakow, Lviv and Poznan as well as a number of scholars scattered virtually across Poland and unable to coordinate their efforts and to popularise the results of their work in a proper fashion. In the new Society the work of all those active in the field of musicology will finally be able to focus and develop freely to the undoubted benefit of musical scholarship in Poland.

Not only the theory but also the practice of our musical life will certainly feel the significant impact of the new organisation. In its statute the Polish Musicological Society seeks primarily to «increase the impact of musicology on musical practice, education and writing in Poland». Thus already at the very beginning the new organisation guarantees that it will not be confined to narrow theoretical inquiries, but will maintain close contact with the thriving musical life or our era.

We welcome this announcement with particular satisfaction. (mgl) [Mateusz Glinski], «Impresje muzyczne», Muzyka 5 (1928) no. 2, p. 73.

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The PTM's plans were ambitious indeed. They encompassed, for example, an edition of the complete works of Fryderyk Chopin -- to be taken care of by Wojcik

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MUSICOLOGICAL SOCIETY: THE POLISH MUSICOLOGICAL SOCIETY (1928-1939)177

and Bronarski -- as well as the publication of the most important historical works of Polish music, from the Middle Ages until the nineteenth century, in the Monu- menta Musices series. Members thought not only about publishing a PTM bulletin, but also about contributing to the publication of the new musicological journal, Kwartalnik Muzyczny, launched by the Association of the Friends of Early Music, the editor-in-chief of which was Adolf Chybinski, one of the vice presidents of the PTM.¹ In addition, information was collected from musicologists active in Poland and abroad about the topics they were working on and their publications. The musicologists were also asked for suggestions concerning the work of the Society. The surveys sent from Poland and other countries were treated as indications concerning the organisation's further actions. The history of the founding of the journal and its publication is discussed in detail by Ma- Igorzata Sieradz in her book, op. cit. ^{The surviving replies include those from Henryk Opienski and Helena Windakiewicz (1868-- 1956), see Michalowski, p. 26.}

Unfortunately, it soon turned out that all these ambitious plans would not be put into practice. Work was hampered by continuing organisational difficulties -- the fact that the Board members lived in different cities and the distance between the cities did not facilitate communication or decision-making. Nor was it easy to obtain state subsidies for the Society's publishing activities. Chybinski did not agree to entrust the publication of Kwartalnik Muzyczny (and, consequently, the funds earmarked for the purpose) to the PTM, and the edition of Chopin's work was taken over in the end by the Fryderyk Chopin Institute established officially in April 1934. See Sieradz, p. 78. The work started by Wojcik and Bronarski at the time was continued after the Second World War in Polskie Wydawnictwo Muzyczne / PWM Edition, established in Krakow in April 1945.

However, as we follow the history of the Polish Musicological Society, it is hard not to notice that the main reason why it was unable to thrive was not logistical difficulties, but rather the strong animosity between the two vice presidents of the PTM: Jachimecki and Chybinski. That animosity not only had an adverse effect on the university communities they headed -- in Krakow and Lviv respectively -- but, as it turned out, it also effectively paralysed the work of the Society. Having strong personalities, the two men did not refrain from engaging in their disputes in public, and their scathing polemics published in the press became legendary. Jachimecki and Chybinski not only headed the musicology departments they established at the universities in Krakow and Lviv, but were also involved in a number of very important scholarly and publishing initiatives in Poland, with both making fundamental contributions to them. However, they were unable to agree on any joint action within the Polish Musicological Society. Lucjan Kamienski, who represented the third among the most important scholarly centres in Poland and was the organisation's president, tried to defuse the

tension between them, but his efforts were in vain. As Kornel Michalowski analysed the situation years later:

There is no doubt that the increasingly tense relations between Chybinski and Jachimecki (Kamienski joking called them «incorrigible brawlers» in a letter to Wojcik) had a negative and destructive impact on the atmosphere among the Society's board members and, consequently, the organisation's fate.¹

A lack of harmony and joint actions soon discouraged representatives of the younger generation from being actively involved in the PTM -- both the treasurer, Waclaw Piotrowski, and the secretary, Bronislawa Wojcik, decided to resign at the turn of 1930. Although Wojcik motivated her resignation by citing personal reasons -- she had got married in late 1929 and had since used the name Wojcik- Keuprulian -- it was clear that the real reason was the impossibility of getting the work proper off the ground. Michalowski, p. 27. ^{Wojcik-Keuprulian herself was very active as a scholar and organiser. She published numer-ous studies devoted to the oeuvre of Fryderyk Chopin and after marrying Garabed Keuprulian (1884--1938), an Armenian, she become more interested in Polish Armenians and Armenian mu-sic, publishing interesting studies on this subject as well. In 1934 she began working for the Fry-deryk Chopin Institute in Warsaw, preparing, together with Ludwik Bronarski, a complete edition of Chopin's works. This work was interrupted by her untimely death. See Bronislawa Wojcik-Ke-uprulian. Korespondencja do Szwajcarii..., op. cit.; see also Michal Piekarski, «A post-doctorate in musicology: Bronislawa Wojcik-Keuprulian and her path to a scientific career», Acta Poloniae His- torica, (2017) nr 117, s. 159--193,} https://apcz.umk.pl/czasopisma/index.php/APH/article/view/ APH.2018.117.06/15927 (accessed: 29 November 2020). This is also confirmed by Piotrowski, who in his letter to Wojcik of 10 November 1929 complained that «the work with the Mu- sicological Society (or the president) is so difficult that it's impossible to get it off the ground. I've become disillusioned with the whole cause, which is why I've decided to resign as treasurer.» Quoted after Michalowski, p. 27.

In the end, however, after Wojcik-Keuprulian resigned, Piotrowski agreed to remain in office. Kazimierz Zielinski from Poznan was appointed the secretary, a move associated with Kamienski's plans to intensify the organisation's activities in Poznan. He even planned to organise the 1st Congress of Polish Musicologists in Poznan on 28--30 May 1931. In the end the event did not take place and the work of the PTM stalled. No wonder, therefore, that as early as in January 1931 Glinski, editor-in-chief of Muzyka, wrote bitterly in a reference to the condition of Polish musicology, including the constant squabbling between Chybinski and Jachimecki, and the work of the PTM. In late 1930 and early 1931 the conflict between Chybinski and Jachimecki became so intense that the matter was brought before the PTM Peer Tribunal. The proceedings lasted until May 1931

and ended amicably. See Michalowski, pp. 29--31. Cf. also Sieradz, p. 74.

We often observed with pride and joy that constant progress was being made in the field [i. e. musicology -- BBL], but just as often we had to conclude sadly that organisationally this important part of the musical movement in Poland left a lot to be desired. [...] Again and again we witness violent altercations between the most eminent representatives of the musical science, altercations scandalising by their mixing of scholarly issues with matters of personal nature...

Such relations rule out any possibility of calm, systematic work[,] they hinder, or even make impossible, all healthy competition and fruitful exchange of ideas, which is a prerequisite of progress in any field. They paralyse the organisational development of our musicology, they discredit it in the eyes of Polish society and lessen our achievements in this field in the eyes of foreigners. When the Polish Musicological Society was established a few years ago, we welcomed it enthusiastically, hoping its establishment would make it possible to rectify the relations in the sphere of musicology. The reality proved these predictions to have been unfounded: for several years of its existence the Society was unable to convene even a single meeting of its Board because of personal friction between some of its members.¹

Glinski goes on to upbraid the Society for proving unable to sent an official delegation to the 1st Congress of the International Musicological Society (IMS) in Liege in 1930, as a result of which Polish musicology was not represented there. (mgl) [Mateusz Glinski), «Impresje muzyczne», Muzyka 8 (1931) no. 1, pp. 29--30. ^{Ibid., p. 30.}This was not entirely true: although indeed the PTM did not send an official delegation to Liege, Polish musicology was represented, albeit unofficially, by two musicologists: Alicja Simon (1879--1957) from Warsaw At that time musicology did not yet exist as a university study programme in Warsaw. Alic-ja Simon, an assistant professor of musicology, studied in Berlin and in 1928--1939 worked at the Free Polish University in Warsaw and as custodian of the Aleksander Polinski Collection at the Directorate of the State Art Collections. After the Second World War she sought to create a musi-cology department at the University of Lodz, where she worked from 1945 to 1951., who also delivered a paper, and Stefania Lobaczewska from Lviv -- both were members of the IMS. After returning to Poland Lobaczewska reported extensively on the congress in Muzyka, not shying away from critical remarks:

The t h e o r e t i c a l part of the Musicological Congress was -- let us say it openly -- completely fruitless. For can we say anything else about this considerable number of lectures and conferences, which had no overriding idea in common and (with few exceptions) were of almost no interest from a more general point of view? These lectures, in no way connected to the practical part of the Congress either, focused on issues that were so local and petty that they often mixed scholarship with chronicling. These purely historical topics, usually of a minimal significance to European musicology did not convey and could not have conveyed its contemporary picture. Along with increasing specialisation, the basis of synthetic research but not an end in itself, European musicology is exploring new fields of research in ever broader circles, coming into contact with other areas of spiritual life. There areas are primarily ethnology, physiology, psychology and philosophy of music, as well as aesthetics. Every year brings new accomplishments in them and their impact has been felt in musicology in recent years even in the search for new methods, as the older method, purely descriptive, have proved insufficient. These new horizons went unnoticed at the Liege Congress, and Prof. Dent's beautiful initiative to establish contact with practice not so much achieved certain goals but, at best, defined paths for the future. Given this state of affairs we will not cite the titles of all the lectures and conferences and will only say that among the P o l i s h musicologists Dr Alicja S i m o n delivered a lecture entitled «Gretry and the Warsaw theatres».¹

Evidently Polish musicologists established their own contacts and engaged in scholarly activities without waiting for the activities (or rather lack thereof) of the Polish Musicological Society. The Society was not officially disbanded, but after 1930 its work ceased.

An attempt to revive it was made in 1938, again on Kamienski's initiative, this time with contributions from representatives of four Polish musicology centres (in the 1930s musicology was added to the curriculum at the Warsaw Conservatoire Stefania Lobaczewska on the first IMS Congress in Liege in 1930 (combined with the 8th IS- CM Festival), «Leodjum», Muzyka 7 (1930), no. 10, pp. 616--619. ^{This was not a satisfactory solution, because the curriculum was addressed to practitioners and not academics. However, attempts to establish a separate musicology programme at the Uni-versity of Warsaw, for which the musical community had been calling since 1919, failed. Warsaw created a strong musicological centre only after the Second World War, under the guidance of Zo- fia Lissa, a pupil of Chybinski.}). They were: Lucjan Kamienski (Poznan), Zdzislaw Jachimecki (Poznan), Stefania Lobaczewska (Lviv) and Stefan Sledzinski (1897--1986) (Warsaw). Despite an unfavourable atmosphere (rising nationalism and anti-Semitism, looming threat of war) at the beginning of October 1938 a congress of musicologists -- though with a limited turnout -- was held in Poznan. Subsequent meetings of delegates were planned for January 1939 in Warsaw and June 1939 in Krakow. However, these plans were not put into practice, and the outbreak of the Second World War in September 1939 stopped any further activity altogether. It was not until three years after the end of the war, in 1948, that Polish musicologists got together again in the Musicological Section of the Polish Composers' Union, which is still active today. However, this is an entirely different chapter in the history of Polish musicology and its contacts with the International Mu- sicological Society. On the circumstances of the founding of the Musicological Section of the Polish Composers' Union and its activities, see Beata Boleslawska-Lewandowska, «The Musicological Section of the Polish Composers' Union. Historical Background», Polski Rocznik Muzykologiczny 17 (2019), pp. 184--198, http://www.polskirocznikmuzykologiczny.pl/pdfy/PRM_2019_Boleslawska.pdf (ac-cessed: 29 November 2020) and Iwona Lindstedt, «The Activities of the Musicological Section of the Polish Composers' Union over the 70 Years of its Existence», Polski Rocznik Muzykologiczny 17 (2019), pp. 199--219, http://www.polskirocznikmuzykologiczny.pl/pdfy/PRM_2019_Lindstedt.

pdf (accessed: 29 November 2020).

This brief presentation of the idea behind and the activity of the Polish Mu- sicological Society, established in 1928, confirms above all Polish musicologists' profound sense of belonging to the international community of scholars, members of the Internationale Gesellschaft fur Musikwissenshaft. The creation of an independent musicological organisation was a response to the conclusions of the 1927 Beethoven Congress in Vienna and the plans formulated by the organisation's founders testify to their broad horizons. Unfortunately, the initial enthusiasm of the activists was soon thwarted by the personal animosities of the doyens of Polish musicology, animosities that were hard to eradicate. That is why the valuable initiative to establish a Polish Musicological Society with the objective to integrate Polish musicologists working not only at the three main academic centres (Krakow, Lviv and Poznan), but also in Warsaw and outside Poland did not bring satisfying results. As Michalowski sums up this state of affairs, this was «undoubtedly to the detriment of the development of this discipline in Poland in the inter-war period» Michalowski, p. 33.. However, this does not change the fact that scholarly initiatives undertaken by Polish musicologists in the inter-war period laid significant foundations for a major development of this discipline after the Second World War, in entirely different historical and political circumstances.

BIBLIOGRAPHY

1. Beata Boleslawska-Lewandowska, «The Musicological Section of the Polish Composers' Union. Historical Background», Polski Rocznik Muzykologiczny 17 (2019), pp. 184--198, http:// www.polskirocznikmuzykologiczny.pl/pdfy/PRM_2019_Boleslawska.pdf.

2. Bronislawa Wojcik-Keuprulian. Korespondencja do Szwajcarii. Listy do Henryka Opienskiego (1925--37) i Ludwika Bronarskiego (1929--38), edition, introduction and commentary Malgorzata Sieradz, Warsaw: Instytut Sztuki PAN, 2018.

3. Magdalena Dziadek, Od szkoly dramatycznej do uniwersytetu: dzieje wyzszej uczelni muzycznej w Warszawie 1810--2010, vol. 1: 1810--1944, Warsaw: Wydawnictwo Uniwersytetu Muzyc- znego Fryderyka Chopina, 2011.

4. (mgl) [Mateusz Glinski], «Impresje muzyczne», Muzyka 5 (1928) no. 2, pp. 73--74.

5. (mgl) [Mateusz Glinski), «Impresje muzyczne», Muzyka 8 (1931) no. 1, pp. 28--30.

6. Iwona Lindstedt, «The Activities of the Musicological Section of the Polish Composers' Union over the 70 Years of its Existence», Polski Rocznik Muzykologiczny 17 (2019), pp. 199--219, http://www.polskirocznikmuzykologiczny.pl/pdfy/PRM_2019_Lindstedt.pdf

7. Stefania Lobaczewska, «Leodjum», Muzyka 7 (1930), no. 10, pp. 616--619.

8. Kornel Michalowski, «Polskie Towarzystwo Muzykologiczne w latach 1928--1931», Muzyka 23 (1978) no. 3, pp. 21--33.

9. [no author], PrzeglqdMuzyczny (1928) no. 2, p. 11,

10. Michal Piekarski, Przerwany kontrapunkt. Adolf Chybinski i poczqtki polskiej muzykologii we Lwowie (1912--1944), Warsaw: Instytut Historii Nauki PAN, 2017.

11. Michal Piekarski, «A post-doctorate in musicology: Bronislawa Wojcik-Keuprulian and her path to a scientific career», Acta Poloniae Historica, (2017) nr 117, s. 159--193, https://apcz. umk.pl/czasopisma/index.php/APH/article/view/APH.2018.117.06/15927

12. Malgorzata Sieradz, The Beginnings of Polish Musicology, trans. Lindsay Davidson, Berlin: Peter Lang, 2020 (original Polish version: Kwartalnik Muzyczny (1928--1950) a poczqtki muzykologii polskiej, Warsaw: Instytut Sztuki PAN, 2015).

13. The History of IMS (1927--2017), edited by Dorothea Baumann and Dinko Fabris, Kassel: Barenreiter, 2017.

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