After a ten-month valuation process, on the 5th of April 2024, I received the Doctorate habilitated degree (Associate Professorship) in Management. It is the last stage before the Full Professorship distinction. The main scientific achievement in the evaluation process was my monograph:  Szostak, M. (2024) Humanistic Management, Organization and Aesthetics: Art of Management and Management of Art. New York City: Routledge. doi: 10.4324/9781003458029.

2024/03/22 – USA – Chicago IL, Fourth Presbyterian Church 2024/03/31 – USA – San Francisco CA, Cathedral of St. Mary of the Assumption 2024/04/05 – USA – Reno NV, Trinity Episcopal Cathedral 2024/04/07 – USA – San Francisco CA, Grace Cathedral

Szostak, M. (2024) ‘Organ landscapes in Kazakhstan’, The Organ, 407(Feb-April 2024), pp. 32–50. Abstract:In August 2023, at the invitation of the Catholic bishop of Karaganda, Msgr. Adelio Dell’Oro, I visited Kazakhstan in central Asia to perform three recitals in the Karaganda region. Kazakhstan is not a place where organs are popular; I would rather even say that the majority of Kazakh society barely associates the word “organ” with a musical instrument. However, all venues (Cathedral of the Blessed Virgin Mary of Fatima in Karaganda, Birth of Our Lady Church in Szachtinsk, and the church of Our Lady Mother of the Church in Karaganda- Fedorovka) were fully taken during all recitals, and the reception of organ music was enthusiastically warm. This

Szostak, M. and Sułkowski, Ł. (2024) ‘Creativity management within the aesthetical situation regarding the in-real or digital form of participation in arts: art receivers’ perspective’, Creativity Studies, 17(1), pp. 41–58. doi: 10.3846/cs.2024.16418. Abstract:Because digitalisation of the aesthetical experience, a process speeded up by the not-yet-finished COVID-19 pandemic, should be considered in the context of growth or loss of artistry/creativity, this paper aims to assess the influence of the participation form in the aesthetical situation by receivers on the level of artistry/creativity potential loss. Assessment of the quality of participation by the receivers in each of five types of arts (musical arts, performing arts, literary arts, audio-visual arts, visual arts) was done using the same ten criteria for each type of

Szostak, M. (2023) ‘Reflexivity in aesthetic situation management’, Discourses on Culture, 20, pp. 161–197. doi: 10.2478/doc‑2023‑0015. Abstract:The article deals with reflexivity in the context of the aesthetic situation from two perspectives: self-management and management of the components in the aesthetic situation. All considerations are based on the theory of the aesthetic situation (Gołaszewska, 1984), transcribed into the management field (Szostak, 2023a) with the use of a metaphor of an organisation as a work of art (Szostak & Sułkowski, 2020). Emphasis on reflexivity in specific components of the aesthetic situation – especially the creator and the recipient perspectives – brings a new light into the process of self-awareness and prediction of potential consequences of activities before their appearance. The following issues

Szostak, M. (2023) ‘Managing the process of organ improvisation’, The Organ, No 406, Nov.2023-Jan.2024, Musical Opinion Ltd, London, ISSN 0030-4883, pp. 6–16. Abstract: Continuing considerations about the noble and respectable art of organ improvisation (Szostak, 2019, 2020, 2023), I would like to answer the following questions in this work: 1) What are the components of the aesthetic situation in case of organ improvisation and what are the relations between these components? 2) How can an organ improviser manage the process of artistic improvisation in order to be efficient in his musical activities? An interdisciplinary approach must be applied from three perspectives (instrumental studies, aesthetics, and management) to find justified answers. All the time, we base on the concept of Maria Gołaszewska’s theory

Organ recital tour in Scotland, November 2023 Sunday, 5th Nov 2023, 1.00 pmSt Bride’s Episcopal Church, GLASGOW Sunday, 5th Nov 2023, 6.00 pmSt Columba’s Episcopal Church, EDINBURGH Wednesday, 8th Nov 2023, 7.30 pmSt Ninian’s Episcolpal Cathedral, PERTH

Friday & Saturday, 2023/10/27 & 28Lviv Organ Hall D. Buxtehude (1637-1707),Prelude, Fugue and Ciaccona C-dur, BuxWV 137 Antonio Vivaldi (1678-1741),String Concert in E Major, Op. 8 No 1 („Spring” from „Four Seasons”), RV 269,AllegroLargoDanza Pastorale J.S. Bach,Schmücke dich, o loebe Seele, BWV 654Passacaglia c-moll, BWV 582 Improvisation,Organ Symphony on Ukrainian themes:PreludeFugueAdagioScherzoCantabileFinal

2023/09/17 – PORTUGAL – Dornes, Santuario de Nossa Senhora do Pranto 2023/09/16 – PORTUGAL – Torres Novas, Igreja de Santiago 2023/09/15 – PORTUGAL – Lisbon, Basílica dos Mártires

Monday, the 14th of August, 2023 at 16:00 Program: J.S. Bach– Fantasia in G Major, BWV 572– Air on the G string, BWV 1068– Passacaglia in C Minor, BWV 582 – click here L. van Beethoven– Allegro con brio from 5th Symphony in C Minor, Op. 67 – click here E. Morricone– Gabriel’s Oboe from The Mission L.J.A. Lefébure-Wély– Sortie in E flat Major