Polyphonic techniques in the works of polish composers of the 2nd half of the 20th century

The research reflection regarding the 20th‑century compositional output is often limited to one movement only. This is connected with the multitude of approaches taken by composers in that period of music history. From the 21st-century perspective, however, it is already possible to take a step back from the dividing line, formulated in the subject literature, and treat the entire stylistic‑ aesthetic formations holistically so as to illustrate the universality of base motives propelling the representatives of seemingly unconnected movements. The article discusses the issue of polyphony present in the works of Polish composers of the 2nd half of the 20th century. The research material in question is, however, so plentiful that it calls for focusing on selected problems of multi‑ voice music. What seems to be the most important issue is discovering the significance of applying polyphonic techniques by representatives of the so‑called “second modernism” and postmodernism. The first chapter presents the typology. The second one makes an attempt to answer the question regarding the importance of using the researched resources. The last chapter provides, in turn, a research reflection putting polyphonic techniques in a broader perspective, which aims to give an answer to the question of the role of the idea of polyphony in ever‑changing music. Adopting the three points of view allows to observe inapparent coincidences of motives behind the behavioural patterns of the 2nd modernism representatives and the distinctiveness of the solutions applied by postmodern composers. At the same time, the research reflection reveals the inferiority of polyphony‑related elements towards more extensive measures aimed to facilitate breaking the static character of sonoristic structures and streams, or carrying out the deconstruction process.