Abstract The article discusses the notion of Polish music, the possibilities of defining that notion, establishing its scope and listing specific problems related to it. For about 150 years, writers on Polish music have expressed the conviction that it has its own distinctive stylistic and expressive character. Studies concerning the specific qualities of Polish national style after WWII have naturally linked up to Polish music history, mainly that of the 19th century. The new political and cultural situation in Poland after 1989 calls, however, for a change of perspective. We must take into account the present-day cultural situation, in which boundaries are blurred, while supra-national structures and global thinking are beginning to dominate. The paper attempts to define Polish music as a notion in contemporary discourse on history, to examine the resonance of that category, and to point to artistic phenomena which this notion may be said to describe. I will list and analyse the criteria that have been used to define that notion. Though the problem concerns the history of Polish music at large, the cognitive situation is particularly complex and ambivalent with reference to the 19th century. I will discuss the most common ways of defining the criterion of Polishness in music, namely: the origins and nationality of the composers; their place of activity; references to Polish music traditions, and the expressive qualities of the music itself. In the conclusion, I will present my thesis concerning the possibility of defining Polish music.

中文翻译：

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波兰音乐的概念：寻找适当的标准

摘要本文讨论了波兰音乐的概念，定义该概念，确定其范围并列出与之相关的特定问题的可能性。大约150年以来，波兰音乐作家一直坚信它具有自己独特的风格和表现力。关于第二次世界大战后的波兰民族风格的特定品质的研究自然地与波兰的音乐历史（主要是19世纪的音乐历史）相关联。但是，1989年以后波兰新的政治和文化形势要求改变看法。我们必须考虑到当今的文化形势，在这种文化边界中，界限已经模糊了，而超国家的结构和全球思想却开始占主导地位。本文试图将波兰音乐定义为当代关于历史的论述中的一个概念，检查该类别的共鸣，并指出可以用该概念描述的艺术现象。我将列出并分析用于定义该概念的标准。尽管这个问题关系到整个波兰音乐的历史，但相对于19世纪，认知情况特别复杂且模棱两可。我将讨论定义音乐波兰度标准的最常见方法，即：作曲家的出身和国籍；他们的活动地点；提及波兰的音乐传统，以及音乐本身的表现力。最后，我将提出有关定义波兰音乐的可能性的论文。我将列出并分析用于定义该概念的标准。尽管这个问题关系到整个波兰音乐的历史，但相对于19世纪，认知情况特别复杂且模棱两可。我将讨论定义音乐波兰度标准的最常见方法，即：作曲家的出身和国籍；他们的活动地点；提及波兰的音乐传统，以及音乐本身的表现力。最后，我将提出有关定义波兰音乐的可能性的论文。我将列出并分析用于定义该概念的标准。尽管这个问题关系到整个波兰音乐的历史，但相对于19世纪，认知情况特别复杂且模棱两可。我将讨论定义音乐波兰度标准的最常见方法，即：作曲家的出身和国籍；他们的活动地点；提及波兰的音乐传统，以及音乐本身的表现力。最后，我将提出有关定义波兰音乐的可能性的论文。我将讨论定义音乐波兰度标准的最常见方法，即：作曲家的出身和国籍；他们的活动地点；提及波兰的音乐传统，以及音乐本身的表现力。最后，我将提出有关定义波兰音乐的可能性的论文。我将讨论定义音乐波兰度标准的最常见方法，即：作曲家的出身和国籍；他们的活动地点；提及波兰的音乐传统，以及音乐本身的表现力。最后，我将提出有关定义波兰音乐的可能性的论文。