M. Piechota, M. Janoszka, O. Kalarus (red.), “Dziedzictwo romantyczne : o (nie)obecności romantyzmu w kulturze współczesnej” (s. 228-234). Katowice : Wydawnictwo Uniwersytetu Śląskiego
The most important features of Romantic music are its emotionality as well as relation toother fields of art. However, Bohdan Pociej shows that Romanticism in music does not restrainexclusively to the 19th century, but is eternal and everlasting. The 20th century composers, relishingavant-garde, usually denied the heritage of Romanticism, however, the current called NewRomanticism whose authors returned to the tradition of Romanticism was founded as early as inthe 1970s. The music of Romanticism and New Romanticism concerns the circle of the so calledhigh culture. However, one needs to ask the question if Romantic music also functions in themass culture. The answers should be looked for in soundtrack music whose authors have drawnfrom Romanticism since the very beginning, that is the 1930s. The very compositions base on theso called “Romantic stereotype” that is eligible for the mass public. Modern society longs for sucha „Romantic myth”, that is why Romantic music is necessary, and, certainly, will always be.