Abstract The paper presents a survey of the dominant aesthetic and technical qualities of Justyna Kowalska-Lasoń’s output of compositions. The composer’s interests focus on Oriental cultures, depicting nature, correspondences of arts, and on reflecting the sacrum in music. I have discussed her selected works (Sanctus, The Modern Man I Sing; These Phrases… These Songs... These Arias..., IMAGE 1929). On the basis of brief analyses of some of Kowalska-Lasoń’s compositions, I have defined her artistic stance and technique and postmodernist, neo-sonoristic sensualism. The distinguishing features of her music are: an open attitude to musical form, to the canon of narrative continuity, to aleatoricism and strict notation, as well as to the degree of correlation between chromatic and diatonic writing. The artist herself considers the epithet ‘nomadic’ as relevant to the character of her works, which are conceived as having a symbolic function. My composer portrait has been complemented with a list of Kowalska-Lasoń’s selected works, awards, performances, and her students’ achievements.

中文翻译：

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Justyna Kowalska-Lasoń：背景中有大篷车的肖像

摘要 本文对 Justyna Kowalska-Lasoń 的作品输出的主要美学和技术品质进行了调查。作曲家的兴趣集中在东方文化、描绘自然、艺术的对应以及在音乐中反映骶骨。我已经讨论过她的精选作品（Sanctus，我唱的现代人；这些短语……这些歌曲……这些咏叹调……，IMAGE 1929）。在对 Kowalska-Lasoń 的一些作品进行简要分析的基础上，我定义了她的艺术立场和技巧以及后现代主义、新声音主义的感官主义。她的音乐的显着特点是：对音乐形式、叙事连续性的经典、任意主义和严格的符号以及半音和全音写作之间的相关程度持开放态度。艺术家本人认为“游牧”一词与其作品的特征有关，作品被认为具有象征性功能。我的作曲家肖像还附有 Kowalska-Lasoń 的精选作品、奖项、表演和她学生的成就清单。