Cover -- Contents -- Table des matières -- Inhaltsverzeichnis -- 1. Introduction -- 1.1. Defining the subject -- 1.2. Objectives, premises and methods -- 1.3. The sources and current state of research -- 1.3.1. The manuscripts -- 1.3.2. Publishers of Szałowski's music and his phonography -- 1.3.3. Correspondence and other documents -- 1.3.4. Synthetic-analytic studies and memoirs -- 2. The anthropological dimension of artistic development -- 2.1. The socio-cultural context -- 2.2. Features of the artist's personal subjectivity -- 2.2.1. Creative development -- 2.2.2. Keeping faith with ideals -- 2.2.3. The impractical artist -- 2.3. Help from others and Szałowski's formation as a composer -- 2.3.1. Nadia Boulanger -- 2.3.2. The publishers -- 2.3.3. The critics -- 2.3.4. Conductors, composers, soloists and friends -- 2.3.5. Teresa Szałowska -- 3. The essence of creativity -- 3.1. Towards Neoclassicism -- 3.1.1. Compositions from the period of studies in Warsaw (1919-1930) -- 3.1.2. Compositions from the period of studies in Paris (1931-1936) -- 3.1.3. Overture as the crowning achievement of the early creative period -- 3.2. Mature Neoclassicism -- 3.2.1. Technical issues -- 3.2.1.1. Tonal-harmonic properties -- 3.2.1.1.1. Scalar material -- 3.2.1.1.2. Intervalics in the linear process -- 3.2.1.1.3. Consonances and chords -- 3.2.1.1.4. Types of chordal combinations -- 3.2.1.1.5. Centralisation -- 3.2.1.2. Orchestral technique -- 3.2.1.2.1. Instrumentation -- 3.2.1.2.2. Disposition of the orchestral ensemble -- 3.2.1.2.3. Solo instruments -- 3.2.1.2.4. Positioning of performance groups in relation to tutti -- 3.2.1.2.5. Types of sound structures -- 3.2.1.2.6. Types of registers -- 3.2.1.2.7. Articulation -- 3.2.1.2.8. Dynamics -- 3.2.1.3. Metro-rhythmics -- 3.2.1.3.1. The concept of temporality in music -- 3.2.1.3.2. Motoric costructions.

3.2.1.3.3. Breaking rhythmic regularity -- 3.2.1.3.4. Polymetry -- 3.2.1.3.5. Dance rhythms -- 3.2.1.4. Constructing the form -- 3.2.1.4.1. Genres and forms -- 3.2.1.4.1.1. Sonatinas -- 3.2.1.4.1.2. Concertos -- 3.2.1.4.1.3. Cyclical works for symphonic and chamber orchestras -- 3.2.1.4.1.4. Music for chamber ensembles -- 3.2.1.4.1.5. Songs -- 3.2.1.4.1.6. Suites -- 3.2.1.4.1.7. Toccatas -- 3.2.1.4.1.8. Single-movement compositions -- 3.2.1.4.2. The sonata form -- 3.2.1.4.2.1. The coefficients of form -- 3.2.1.4.2.2. Shaping the form -- 3.2.1.4.2.3. The integrity of the cycle -- 3.2.1.4.2.4. The sonata form in concertos -- 3.2.1.4.2.4.1. Violin Concerto -- 3.2.1.4.2.4.2. Concerto for oboe, clarinet, bassoon and orchestra -- 3.2.1.4.2.5. Reinterpretation of the model of the sonata form -- 3.2.2. Aesthetics and technique -- 3.2.2.1. Sérénité -- 3.2.2.2. Musical humour -- 3.2.2.2.1. "Light" music -- 3.2.2.2.2. Humour and sérénité -- 3.2.2.3. A work of art in heteronomous perspective -- 3.2.2.3.1. The ballet The Enchanted Inn (L'Auberge ensorcelée) -- 3.2.2.3.1.1. The symbolic media -- 3.2.2.3.1.1.1. Non-musical media -- CHARACTERS IN THE BALLET -- SYMBOLS OF THE WORLD OF INANIMATE MATTER -- 3.2.2.3.1.1.2. Musical media -- SYMBOLS ESTABLISHED BY TRADITION -- SYMBOLS OF PURE MOTION OF SOUND -- THE SYMBOLISM OF SOUND COLOUR -- 3.2.2.3.1.2. Illustration of motion events -- THE PREMIÈRE OF THE BALLET -- 3.2.2.3.2. The symphonic picture The Raising of Lazarus -- 3.2.2.3.2.1. Homage to Giotto -- 3.2.2.3.2.2. Characteristics of Giotto's art -- 3.2.2.3.2.3. Musical attributes of programmaticality - the semantic function of instruments -- 3.2.2.3.2.4. Musical symbols -- 3.2.2.3.2.5. Tonal relationships -- 3.2.2.3.2.6. A musical composition and a painterly composition -- 3.2.2.3.3. Cantata for female voices and string orchestra.

3.2.2.3.3.1. The themes of the poems -- 3.2.2.3.3.2. The structure of the composition -- 3.2.2.3.3.3. Types of archaisation -- 3.2.2.3.3.4. Musical devices as symbols of concepts -- 3.2.2.3.3.5. Musical-rhetorical figures -- 3.2.2.3.3.5.1. Illustrative figures -- 3.2.2.3.3.5.2. Expressive figures -- 3.2.2.3.3.5.3. The symbolism of numbers -- 4. Antoni Szałowski and the school of Nadia Boulanger -- 4.1. The Neoclassicism of the Polish School -- 4.1.1. Michał Spisak -- 4.1.2. Grażyna Bacewicz -- 4.1.3. Stefan Kisielewski -- 4.2. The Neoclassicism of the American school -- 4.2.1. Aaron Copland -- 4.2.2. Roy Harris -- 4.2.3. Walter Piston -- 4.3. The norm of Nadia Boulanger's compositional school and the works of Antoni Szałowski -- 4.3.1. Nadia Boulanger's talent as a teacher -- 4.3.2. The compositional school of Nadia Boulanger and Neoclassicism -- 4.3.3. Antoni Szałowski and the school of Nadia Boulanger -- 5. Conclusion -- 5.1. The artist and his work -- 5.2. A musical composition and tradition -- 5.3. Keeping faith with the ideals of Neoclassicism -- Bibliography -- Antoni Szałowski - Bibliography -- Correspondence, programmes - manuscripts, prints (selection) -- Encyclopaedic entries (selection) -- Antoni Szałowski - Interviews and Reminiscences -- Articles -- Press reviews, notes, programmes -- Supplementary literature -- Catalogue of works by Antoni Szałowski -- Chronological list -- Drafts (a selection) -- Systematic list (spelling standardised) -- I. Instrumental music -- 1. For symphony orchestra -- 2. For instrument or instruments with orchestra -- 3. For chamber orchestra -- 4. For chamber ensembles -- 5. For solo instrument or solo instrument and piano -- II. Vocal-instrumental music -- 1. For voice accompanied by orchestra -- 2. For voice accompanied by piano or organ -- III. Music for the stage -- IV. Music for radio programmes.

Appendix -- Harmonic analysis of Antoni Szałowski's String quartet No. 3 using the method of Paul Hindemith -- List of orchestral works by Antoni Szałowski -- List of orchestral works by Antoni Szałowski -- List of music examples* -- List of illustrations* -- Abbreviations -- Résumé -- Zusammenfassung -- Index of persons and compositions.