Bohdan Pociej  Bohdan Pociej (January 17, 1933 – March 3, 2011) was a Polish musicologist and writer who studied historical parallels between music and philosophy. His work mainly focused on Baroque and Romantic music. He wrote about the phenomenology of Husserl and Ingarden, and also about hermeneutics. Pociej was the author of several documents about Bach and Mahler; he examined music's role in the cultural complex and the intellectual trends of its period. Pociej was born in Warsaw, and received his primary and secondary education in Silesia. In 1952 he began studies in the Department of Polish Studies at the University of Warsaw, but after a year he transferred to the newly formed Department of Musicology at the same University. In 1959 he received his Master of Arts degree for a dissertation on "The Output of François Couperin (1668–1733) in Regard to His Harpsichord Pieces". He lived in Podkowa Leśna. In 1957 Pociej began writing criticism for "Ruch muzyczny" (The Musical Movement), a music periodical; in 1959 he became an editor there. He published in many of Poland's culture magazines, including "Przegląd kulturalny" (The Cultural Review), "Tygodnik Powszechny" (The Catholic Weekly), "Nowe Książki" (New Books), "Więź" (The Link), "Znak" (The Sign) and "Twórczość" (Creative Work). He made several series of radio broadcasts for Polish Radio 2, focusing on classical music, culture and the arts. He was a visiting lecturer at the Music Academies in Kraków and Warsaw, and took part in academic conferences, particularly on early music and the philosophy of music. In 1983–85 Bohdan Pociej joined the Musicologists' Section in the Polish Composers' Union. He was also a member of the Polish Writers' Association and the Polish Philosophical Association. Bohdan Pociej studied and wrote about both in musicology and philosophy. He called the domain of his writings "historiosophy". Pociej described analogies between the thinking of composers and philosophers, including medieval parallels between the ideas of Thomas Aquinas and the Ars Nova musical period; parallels between the monadic system of Leibniz and the polyphonic musical forms of Bach; and the analogy between the thought of Hegel and the musical creation of Beethoven.