Józef Michał Chomiński: biografia i rekonstrukcja metodologii
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Polish |
| Veröffentlicht: |
Wrocław
Wydawnictwo Uniwersytetu Wrocławskiego
2008
|
| Schriftenreihe: | Musicologia Wratislavisiensia
3 Acta Universitatis Wratislaviensis 3095 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Literaturverz. S. [174] - 179. - Zsfassung in engl. Sprache |
| Beschreibung: | 188 S. Ill 24 cm |
| ISBN: | 9788322929810 |
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Datensatz im Suchindex
| _version_ | 1811004259702931456 |
|---|---|
| adam_text |
Spis
tresei
Objaśnienia skrótów
(7)
Wprowadzenie
(9)
Część I
·
Biografia
1.
Gente Ruthenus
-
natione Polonus
(21 )
Lata nauki
-
z Ostrowa, Przemyśla i Werchraty do Lwowa
-
studia muzykologiczne na Uniwersytecie
Jana Kazimierza
-
magisterium i doktorat u Adolfa Chybińskiego
-
pierwsze rozprawy o Perotinie,
Griegu i Szymanowskim
-
w poszukiwaniu stałej pracy
-
przeprowadzka do Warszawy
-
w Bibliotece
Narodowej Józefa Piłsudskiego
2.
Okupacja
¡ lata
powojenne
(36)
W okupowanej Warszawie i na robotach przymusowych
-
profesura w PWSM w Poznaniu
-
kryzys
życiowy i zdrowotny
-
kuracja w Leysin w Szwajcarii
-
współpraca z
Adolfem
Chybińskim
-
sekre¬
tarz redakcji „Kwartalnika Muzycznego"
-
teoria muzyki czy muzykologia?
-
próby podjęcia pracy
w szkolnictwie muzycznym
3.
Stabilizacja życiowa i zawodowa
(48)
Habilitacja na Uniwersytecie Poznańskim
i veniam
legendi na
Uniwersytecie Warszawskim
-
mał¬
żeństwo z Krystyną Wilkowską
—
rodzina
-
konferencja kompozytorów i muzykologów w Łagowie
Lubuskim
-
redaktor „Studiów Muzykologicznych"
-
współpraca z Polskim Wydawnictwem Mu¬
zycznym w Krakowie
4.
U szczytu możliwości twórczych
(71 )
Kierownictwo Katedry Historii Muzyki Powszechnej na Uniwersytecie Warszawskim i Zakładu Hi¬
storii i Teorii Muzyki w Instytucie Sztuki PAN
-
redaktor naczelny „Muzyki" i „Rocznika Cho¬
pinowskiego"
-
nowe inicjatywy wydawnicze i leksykograficzne
-
Monumenta
Musicae in
Polonia
i „Słownik muzyków polskich"
-
kolejny kryzys zdrowotny
5.
Falenickie lata
(84)
„Nie chcielibyśmy zostawić niczego niedokończonego"
-
autorski tandem z Krystyną Wilkowską-
-Chomińską
—
uczniowie
-
relegowany i uhonorowany: perturbacje w Związku Kompozytorów Pol¬
skich
-
Nagroda Fundacji Jurzykowskiego z Nowego Jorku
-
przekłady książek na języki obce i nie¬
zrealizowane zagraniczne projekty wydawnicze
6
SPIS TREŚCI
Część
II
·
Rekonstrukcja
metodologii
6.
Inspiracje klasyczną muzykologią niemiecką
(101)
Gatunkowa systematyka prac naukowych
-
wczesne przesłanki idei muzykologicznych
-
u podstaw
analizy Riemannowskiej
-
Zagadnienia konstruktywne w
piesni
solowej Edwarda
Griega
(1936) -
fa¬
scynacja fenomenalistyką muzyczną
Hansa
Mersmanna
-
pierwsze prace o muzyce Karola Szyma-
nowskiego
7.
W kręgu „czystej" nauki harmonii i teorii form muzycznych
(115)
Na zawodowym rozdrożu i „froncie odbudowy" powojennego szkolnictwa muzycznego
-
doświad¬
czenia metodyczne: Metodyka nauczania form muzycznych w średnich szkołach muzycznych
(1946)
-
fascynacje „czystą" teorią muzyki
-
spekulatywna teoria harmonii: Podstawy harmoniki funkcyjnej
(1947)
8.
Pasje analityczne i koncesje ideologiczne
(123)
Inspiracje deskryptywną teorią harmonii
Hermanna
Erpfa i genologią chopinowską: Preludia
(1950)
i Sonaty Chopina
(1960) -
„walka muzyki kościelnej ze świecką": Muzyka polskiego Odrodzenia
(1953)
-
rozbudowa teorii formy muzycznej i „strategia doklejek" przeciw formalizmowi muzycznemu:
„stare" Formy muzyczne
(1954, 1956)
9.
Między muzyką dawną
a nowq
teorią dzieła muzycznego
(134)
„Monumentalna i nadal bezprecedensowa w literaturze przedmiotu": Historia harmonii i kontrapunk¬
tu
(1958,1962,1990) -
raz jeszcze Studia nad twórczością KaroL· Szymanowskiego
(1969)
-zaintereso¬
wania sonorystyką muzyczną
-
„flagowa" teoria muzykologii polskiej: Muzyka Polski Ludowej
(1968)
i Fundamenta sonologiae
(1976, 1977,1978)
10.
W stronę wielkich syntez
(151)
Autorska systematyka muzykologii wokół rdzenia teorii muzyki
-
„nowe" Formy muzyczne
(1974-
1987) -
Chopin po raz ostatni, monograficznie i heurystycznie: Chopin
(1978)
i Katalog dziel Fry¬
deryka Chopina
(1990) -
ostatnie syntezy: Historia muzyki
(1989, 1990)
i Historia muzyki polskiej
(1995, 1996)
Posłowie
(166)
Literatura cytowana
(174)
Akta osobowe, korespondencja, dokumenty
Literatura podmiotowa
Literatura przedmiotu
Summary
(180)
Spis ilustracji
(
I
83)
Indeks osób
(184)
Józef Michał Chomiński
Biography and a reconstruction
of his methodology
Summary
Józef
Michal
Chomiński
(1906-1994)
is considered the most eminent Polish musicologist of his
generation, not only for his enormous scientific output and for the creation of a canon of academic
textbooks for musicology students, but also for the establishment of a wide and recognisable
scientific school.
Chomiński
is a crucial character for the history of musicology in Poland. During the
activity of the first two academic departments of musicology at the Jagiellonian University in Cracow
(since
1911)
and
Jan Kazimierz
University in Lvov (since
1912),
headed respectively by
Zdzisław
Jachimecki
(1882-1953)
and Adolf Chybinski
(1880-1952),
Polish musicology was not an institu¬
tionally mature discipline, i.e. it was not represented by a sufficient number of academic institutes and
research schools, represented by outstanding scientific personalities. The establishment of a musico-
logical milieu in Poland required a certain critical mass, which came to being with four
habilitations
passed at the
Poznan
University after World War II. It was only this second generation of musicolo¬
gists
(Hieronim
Feicht,
Zofia
Lissa,
Józef
M.
Chomiński, and Stefania Łobaczewska)
that created this
milieu.
Chomiński
came from the Lvov musicological centre that developed dynamically between the
world wars; after World War II, he created his own scientific school, the first of its kind in the his¬
tory of Polish musicology.
Chomiński
promoted
22
PhDs in musicology, half of which later gained
habilitations
and took over the major professorships at various academic, research and publishing
institutions.
The present book is composed of two parts: Biography (a calendar of Chominski's life) and A Re¬
construction of Methodology of
Józef
M. Chominski's
research. The calendar is based on a wide source
material that has been taken into consideration in earlier studies about
Chomiński.
Apart from per¬
sonal acts from institutions where he worked (including the National Library in Warsaw, Warsaw
University, Polish Academy of Sciences and PWM Edition in Cracow), the author has gained access
to Chominski's private archive. A smaller, less important part of this archive is held at the Archives of
Polish Composers at the Warsaw University Library, but the major part is still in the possession of the
Chomiński
family. The author has used not only official documents related to Chominski's profes¬
sional path, but also his private correspondence. This biographical chapter is presented in the form of
a calendar, to avoid imposing an interpretation of events on the reader; as in the case of many scholars
of his generation,
Chomiński
also has had some controversial episodes in his biography. Events are
not footnoted to specific sources, to avoid overburdening with source information, and because data
from the calendar was often sourced from several documents.
Chapter
1,
Gente
Ruthenus
-
Kationé
Polonus,
discusses Chominski's school years in
Ostrów
and
Przemyśl,
his musicological studies at the
Jan Kazimierz
University in Lvov, his MA and PhD degrees
written under the tutorship of Adolf Chybinski, and Chominski's first dissertations, dedicated to
Pérotin,
Edvard
Grieg, and
Karol
Szymanowski. Information about his move to Warsaw is also given
SUMMARY
1 81
and his search for a stable position at the J.
Piłsudski
National Library is mentioned as well. Chapter
2,
German Occupation and Post-War Years, tells the story of Chominski's life in German-occupied War¬
saw, forced labour, and his first post-war professorship at the State High School of Music in
Poznań,
which he never took on because of a heavy lung disease; he subsequently undertook treatment at Ley-
sin, Switzerland. After returning to Poland
Chomiński
entered a close cooperation with Prof. Adolf
Chybiński
as assistant editor of the
"Kwartalnik Muzyczny"
[The Music Quarterly]. Chapter
3,
Professional and Personal Life Stability, discusses Chominski's
habilitation
at the
Poznan
Univer¬
sity and his obtainment of a right to teach at the Warsaw University, his marriage with
Krystyna
Wilkowska, and the conference of composers and musicologists in
Łagów
(1949).
During this time,
Chomiński
was an active contributor to the
"Studia Muzykologiczne" [Musicological
Studies] perio¬
dical and cooperated with PWM Edition in Cracow. Chapter
4,
At the Height of Creative Powers,
shows
Chomiński
as Head of Music History at the Institute of Musicology of the Warsaw University
and Head of Music History and Theory at the Institute of Arts of the Polish Academy of Sciences,
editor-in-chief of
"Muzyka"
[The Music] and
"Rocznik Chopinowski"
[The Chopin Annual], and
initiator of source and lexicographical publications
{Monumenta Musicae in Polonia,
Słownik mu¬
zyków polskich
[Dictionary of Polish Musicians]). Chapter
5
{Years in Falenica) presents the husband-
and-wife team of
Chomiński
and
Krystyna Wilkowska-Chomińska,
effects of Chominski's teaching
activities, perturbations within the Polish Composers' Union, awards, initiatives of translation of
Chominski's books into foreign languages, and unfulfilled publishing projects abroad.
The second part of the book is a reconstruction of
Józef
M. Chominski's
methodology of musi¬
cological research. From a choice of
a synchronie
(presenting the various elements of Chominski's
methodological formation) or diachronic perspective (showing the changes in time of his research
interest and methods), the author has opted for the latter, due to the fact that
Chomiński
dynamic¬
ally developed his subject matters and methodological profile throughout his life. His versatility was
legendary, and his scientific apparatus underwent characteristic change, starting from German music
phenomenalism in the pre-war and immediate post-war period, through a new, structuralist approach
to the sonoristic musical work, up to the great historical syntheses which
Chomiński
undertook at the
end of his life, beginning with his fundamental History of Harmony and Counterpoint.
In Chapter
6,
Inspired by Classic German Musicology,
Chomiński
doctoral thesis is discussed,
titled Construction in the Solo Songs of
Edvard
Grieg
(1936),
as well as Hans Mersmann's music phe¬
nomenalism, which supplied
Chomiński
with the methodology of his first writings about
Karol Szy-
manowski, published before the war. Chapter
7,
'Pure' Harmony and Musical Form Theory, shows
Chominski's activities at the 'reconstruction front' of post-war musical education and his teaching
experience, which bore fruit in the shape of his book Methodic of Teaching Musical Form at Secondary
Music Schools
(1946),
as well as an unpublished speculative theory of harmony, Basics of Functional
Harmony
(1947).
Chapter
8,
Analytical Passions, Ideological Concessions, discusses the influence on
Chomiński
of Hermann Erpf's descriptive theory of harmony, and his interest in Chopin's musical
genres. The latter resulted in two books: [Chopin's] Preludes
(1950)
and Chopin's Sonatas
(1960).
This chapter also analyses Chominski's contribution to Marxist historiography {History of Polish Ren¬
aissance,
1953,
written together with
Zofia
Lissa),
and the first versions of a musical form theory in
the Original' Musical Forms
(1954, 1956).
Chapter
9,
Between Ancient Music and a New Theory ofthe
Musical Work, discusses Chominski's monumental, and to this day unsurpassed, History of Harmony
and Counterpoint
(1958, 1962, 1990),
the new version of Studies on the Work of
Karol Szymanowski
(1969),
and his interest in music sonorism, the major theory of Polish musicology, presented in The
Music of People's Poland
(1968)
and the unpublished work
Fundamenta Sonologiae
(1976,1977,1978).
Chapter
10,
Towards Great Syntheses, reflects on Chominski's new systematic of musicology, with
music theory at its core
( 1978)
and the new version of Musical Forms, written together with the schol¬
ar's wife,
Krystyna Wilkowska-Chomińska
(1974-1987).
This chapter also discusses Chominski's
last writings on Chopin {Chopin,
1978;
A Catalogue ofthe Works of Frederick Chopin, together with
182
SUMMARY
T. D.
Turio,
1990),
and his final syntheses: History of Music
(1989-1990)
and History of Polish Music
(1995, 1996).
To assess the scholarly work of
Józef
M.
Chomiński
is no easy task. This can be done from an
inner (i.e., within Chominski's school) and outer perspective, taking into account other methodo¬
logical schools or specialist theories of knowledge. The author of the present book has accepted the
former perspective.
Józef
Chominski's choice of scholarly path was influenced by the methodologi¬
cal dilemmas of pre-war German musicology, as summarised on the first pages of Hans Mersmann's
Angewandte Musikästhetik.
This dilemma concerned the choice of epistemological premises, ranging
from Kretzschmar's hermeneutics to Riemann's
positivist
music history and theory. The concept
of phenomenalism and phenomenalist aesthetics was expected, at that time, to bring a synthesis of
these approaches. In that debate,
Chomiński
already in his pre-war writings declared himself against
the psychological, introspective methods of Kretzschmarian hermeneutics, and was openly opposed
to any metaphysical reasoning on music, even when based on hard analytical ground, as in the case
of
Heinrich Schenker's
theory. Chominski's opposition to any kind of music philosophy remained
unshaken until the end of his life. He was even suspicious of music aesthetics, when cultivated outside
musical work analysis. It is eloquent that he ignored Roman Ingarden's attractive invitation (one
whose value
Chomiński
was certainly well aware of) to contribute to the discussion on the axiology of
the musical work. He was, therefore, no music philosopher or aesthetician, but rather a music scholar
on the grounds of music's autonomous cognitive models, related exclusively to music's historical-
theoretical or historical-cultural context.
On the other hand,
Chomiński
resisted the
positivist idiography
of Adolf
Chybiński
or the music
essayism of
Zdzisław
Jachimecki. He was neither a 'caterpillar' in the type of his tutor, confident in
the power of discovery of a single fact, nor a supporter of the ephemeral achievements of Jachimecki's
'butterfly musicology'. He disregarded the fundamental methodological debate of Polish musicology
between the wars, unlike many musicologists that emerged after World War II and continued to refer
to this debate in their scholarly activities. He focused strongly on walking his own path, character¬
istically detached from the academic patterns of his pre-war masters, and continuously traced new
domains of musicological cognition. For his wide output in various
subdisciplines
of musicology, his
clear historiosophic and theoretical concepts, showing a specific tension between music history and
theory, he was both
a continuator
and (mostly) an initiator of new musicological ideas. He created a
modern academic standard, taken over (regardless of their specific research interests) by his students,
who have today become unanimously the most influential group of musicologists in Poland. Professor
Chomiński
was certainly among the most illustrious European musicologists of his generation.
Through
Józef
Chominski's professional biography and the analysis of his scholarly output, the
author has also traced the major dilemmas of Polish musicology of the second half of the 20th century:
the ways of assimilation of the achievements of Western European (particularly German) musico¬
logy; the evolving
historiographie
concept that emphasised research on Polish composers, particu¬
larly those who strongly contributed to the history of world music; and finally, the shaping of a new
object of research: music sonorism, together with its theoretical subdiscipline and musical sonology.
Attempting a final assessment of Chominski's output, the author indicates the systematic part of his
writings as the one that has best withstood the test of time. It is hard to envisage writing about the
works of Chopin or Szymanowski or the works of modern Polish composers without taking into ac¬
count
Józef
M. Chominski's
high standards of cognitive assertions.
Translated by
Wojciech Bońkowski |
| any_adam_object | 1 |
| author | Gołąb, Maciej 1952- |
| author_GND | (DE-588)132845954 |
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| building | Verbundindex |
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| genre | (DE-588)4006804-3 Biografie gnd-content |
| genre_facet | Biografie |
| id | DE-604.BV035822943 |
| illustrated | Illustrated |
| indexdate | 2024-09-23T16:17:28Z |
| institution | BVB |
| isbn | 9788322929810 |
| language | Polish |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-018681661 |
| oclc_num | 643394003 |
| open_access_boolean | |
| owner | DE-12 DE-11 |
| owner_facet | DE-12 DE-11 |
| physical | 188 S. Ill 24 cm |
| publishDate | 2008 |
| publishDateSearch | 2008 |
| publishDateSort | 2008 |
| publisher | Wydawnictwo Uniwersytetu Wrocławskiego |
| record_format | marc |
| series | Musicologia Wratislavisiensia Acta Universitatis Wratislaviensis |
| series2 | Musicologia Wratislavisiensia Acta Universitatis Wratislaviensis |
| spelling | Gołąb, Maciej 1952- Verfasser (DE-588)132845954 aut Józef Michał Chomiński biografia i rekonstrukcja metodologii Maciej Gołąb Wrocław Wydawnictwo Uniwersytetu Wrocławskiego 2008 188 S. Ill 24 cm txt rdacontent n rdamedia nc rdacarrier Musicologia Wratislavisiensia 3 Acta Universitatis Wratislaviensis 3095 Literaturverz. S. [174] - 179. - Zsfassung in engl. Sprache Chomiński, Józef Michał 1906-1994 (DE-588)103399968 gnd rswk-swf (DE-588)4006804-3 Biografie gnd-content Chomiński, Józef Michał 1906-1994 (DE-588)103399968 p DE-604 Musicologia Wratislavisiensia 3 (DE-604)BV035822941 3 Acta Universitatis Wratislaviensis 3095 (DE-604)BV004668106 3095 Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=018681661&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=018681661&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Gołąb, Maciej 1952- Józef Michał Chomiński biografia i rekonstrukcja metodologii Musicologia Wratislavisiensia Acta Universitatis Wratislaviensis Chomiński, Józef Michał 1906-1994 (DE-588)103399968 gnd |
| subject_GND | (DE-588)103399968 (DE-588)4006804-3 |
| title | Józef Michał Chomiński biografia i rekonstrukcja metodologii |
| title_auth | Józef Michał Chomiński biografia i rekonstrukcja metodologii |
| title_exact_search | Józef Michał Chomiński biografia i rekonstrukcja metodologii |
| title_full | Józef Michał Chomiński biografia i rekonstrukcja metodologii Maciej Gołąb |
| title_fullStr | Józef Michał Chomiński biografia i rekonstrukcja metodologii Maciej Gołąb |
| title_full_unstemmed | Józef Michał Chomiński biografia i rekonstrukcja metodologii Maciej Gołąb |
| title_short | Józef Michał Chomiński |
| title_sort | jozef michal chominski biografia i rekonstrukcja metodologii |
| title_sub | biografia i rekonstrukcja metodologii |
| topic | Chomiński, Józef Michał 1906-1994 (DE-588)103399968 gnd |
| topic_facet | Chomiński, Józef Michał 1906-1994 Biografie |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=018681661&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=018681661&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV035822941 (DE-604)BV004668106 |
| work_keys_str_mv | AT gołabmaciej jozefmichałchominskibiografiairekonstrukcjametodologii |