Sztuka muzyczna jako dziedzina kultury: próba analizy kulturowego funkcjonowania zachodnioeuropejskiej muzyki artystycznej
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Polish |
| Veröffentlicht: |
Poznań
Wydawnictwo Naukowe Uniwersytetu im. Adama Mickiewicza
2007
|
| Schriftenreihe: | Seria Kulturoznawstwo / Uniwersytet Imienia Adama Mickiewicza <Poznań>
14 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache u.d.T.: The art of music as a field of culture |
| Beschreibung: | 258 s. 24 cm |
| ISBN: | 9788323217558 |
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Datensatz im Suchindex
| _version_ | 1804140822365470720 |
|---|---|
| adam_text | Spis treści
Wstęp
...................................................................................................................................... 7
Rozdział I. Kontekst teoretyczny: sztuka w świetle społeczno-regulacyjnej kon¬
cepcji kultury
......................................................................................................................... 25
A. Dziedziny kultury symbolicznej
.............................................................................. 25
B. Praktyka artystyczna i sztuka jako dziedzina kultury symbolicznej
.................. 29
С
Dzieło sztuki jako warstwowa struktura humanistyczna i struktura transhi-
storyczna
..................................................................................................................... 39
D. Komunikacja symboliczno-kulturowa
-
komunikacja artystyczna
.................... 45
Rozdział
II.
Przedmiot badań: pojęcie zachodnioeuropejskiej muzyki artystycznej
.. 58
A. Praktyka muzyczna i kultura muzyczna
..................................................................... 58
B. Techniczno-muzyczne wyznaczniki zachodnioeuropejskiej muzyki artystycznej
.. 62
С
Estetyczne wyznaczniki ciągłości zachodnioeuropejskiej tradycji muzycznej
...... 72
D. Zachodnioeuropejska muzyka artystyczna: rekapitulacja
........................................ 82
E. Awangarda wobec tradycji artystycznej muzyki europejskiej
................................. 83
F. Problematyczna odbudowa: muzyka postmodernistyczna
...................................... 98
Rozdział III. Muzyczne dzieło sztuki
................................................................................ 114
Rozdział
IV.
Sens komunikowany muzycznego dzieła sztuki
..................................... 125
A. Ekstensywne semantyki wartości estetycznej dzieła muzycznego
..................... 128
1.
Ekstensywne semantyki ekspresyjności
............................................................. 129
a. Semantyka autoekspresji
................................................................................... 130
b. Semantyka ekspresji planowanej
..................................................................... 136
2.
Ekstensywna semantyka analogii
........................................................................ 142
a. Analogie lokalne
................................................................................................ 143
b. Semantyka analogii globalnej
........................................................................... 144
3.
Muzyka i znak
........................................................................................................ 156
B. Intensywne semantyki wartości estetycznej dzieła muzycznego
........................ 169
1.
Semantyka formy
................................................................................................... 178
2.
Semantyka wartości artystycznych
..................................................................... 179
С
Prosta i złożona wartość estetyczna
........................................................................ 180
D. Wartość estetyczna awangardowego i postmodernistycznego dzieła sztuki
muzycznej
................................................................................................................... 181
1.
Semantyka wartości estetycznej dzieła metamuzycznego
............................... 181
2.
Problem paramuzyki
............................................................................................. 185
3.
Status semantyczny muzyki postmodernistycznej
........................................... 188
ROZD3AŁ
V.
Historyczna zmienność kultury muzycznej
............................................... 194
A. Niektóre problemy metodologiczne związane z wyjaśnianiem funkcjonalno-
-genetycznym
............................................................................................................. 195
B. Determinanty przemian kultury muzycznej
.......................................................... 201
С
Współczesne przemiany kultury muzycznej
......................................................... 208
Rozdział
VI.
Uwagi o wartościowaniu muzycznego dzieła sztuki
.............................. 219
Konkluzje
.............................................................................................................................. 230
Na zakończenie. Podstawowe pojęcia i ustalenia społeczno-regulacyjnej koncepcji
kultury
.................................................................................................................................... 234
1.
Determinacja subiektywno-racjonalna i założenie o racjonalności
................. 235
2.
Determinacja funkcjonalna i praktyka społeczna jako struktura
funkqo-
nalna
........................................................................................................................ 239
3.
Praktyka społeczna i kultura
................................................................................ 241
4.
Sfery kultury
........................................................................................................... 246
Bibliografia
............................................................................................................................. 251
The art of music as a field of culture. An attempt at an analysis of the cultural
functioning of Western European artistic music
-
summary
....................................... 255
The art of music as a field of culture
An attempt at an analysis of the cultural functioning
of Western European artistic music
Summary
The aim of this dissertation is a reflection on the selected problems in the field of cultural
functioning of the Western European artistic music. Such a problem has been formulated
within ethnomusicology and encountered numerous difficulties. Due to this, it is pro¬
posed to use a new, i.e. so far poorly used in such a way, a theoretical context. It is a
social-regulation conception of
Jerzy Kmita
together with the outline of
Grzegorz
Banaszak s conception of musical culture. In this connection this conception may not be
known to researchers on music or known to them to a small extent, this work contains a
separate part devoted to the presentation of its main theses. In this part explanation
procedures, adopted in the social-regulation conception of culture (the humanistic inter¬
pretation and the functional-genetic explanation), a concept of culture and social practice
as well as the division of culture into spheres and fields, is presented. In this part of the
text, the author contained certain discussions of problems of the general theory of cul¬
ture, included here because of their minor importance for the chief motif of the disserta¬
tion. The key issue, i.e. conception of artistic culture, contained in the social-regulation
conception of culture, has been included in the main text.
The selected theoretical context, thus the theory of culture of a kind nowadays called
modernist , requires with the present condition of humanities, a renewed defence.
Argumentation in its favour must be carried out before such a theory is used. Due to this
reason, a separate fragment of the introduction has been dedicated all to the polemic
with the main accusations both against specifically this theory (mainly concerning the
conception of humanistic interpretation, its applicability to avant-garde and post-avant-
garde artistic phenomena and the assumption on rationality accompanying it) as well as
against the theoretical model of humanities in general (doubts of an epistemological
character). The author discusses both accusations of particular authors, among others
Anna Zeidler-Janiszewska,
Grzegorz
Dziamski and
Leszek
Nowak
as well as more
common opinions, characteristic of the so called postmodernist humanities.
A proper exposition is divided into three main parts: presentation of the assumed
explanation context (conception of artistic culture based on the main theses of the social-
regulation conception of culture), description of the subject of studies (or characterisa¬
tion of the Western European artistic music), discussion of the selected issues in the field
of the cultural functioning of the art of music (in several stages).
255
In Chapter One, first a conception of art and artistic culture, based mostly on re¬
search results of Teresa Kostyrko, is presented. The place of art is characterised within
the hierarchy of functional factors in culture with special emphasis on the aesthetic
world view valorisation of values reachable practically as a cultural function for art. In
reference to Banaszak s conception, terminological conventions are suggested as to the
understanding of such terms as musical culture , musical practice , and artistic mu¬
sic . Although this part is in great majority a presentation of a conceptual apparatus, it
also contains an authorial attempt at consideration of several general problems of the
theory of artistic culture, which come to mind, i.e. questions about the historical genesis
of art and the question of the so called end of art. , discussed vividly in the aesthetics
of the
80s.
Another stage of presentation of the assumed theoretical context is an expli¬
cation of the conception of the work of art adopted in this dissertation. Work of art is
thus understood as a humanistic structure, i.e. a system of relations possessing its global
property of an intentional character and explained on the way of humanistic interpreta¬
tion, of a layer character. At the same time, a concept of semantic artistic directives is
introduced as well as of a communicated sense of work of art as its aesthetic value and
of artistic communication as a kind of symbolic communication. Work of art is under¬
stood at the same time as a transhistorical structure in the sense offered by Teresa Kostyr¬
ko. Characterisation of a work of art is constructed in this way so that it is in agreement
with the general and accepted in the social-regulation conception of culture, description
of art as a domain of communication sphere of symbolic culture.
In Chapter Two of the dissertation an attempt is made at finding specific features of
the Western European artistic music, thus at making more precise the subject of re¬
search. In it a cultural science perspective is adopted, which is compatible with the pre¬
viously theoretical assumptions. Therefore, the European musical art is characterised by
means of the search of cultural norms and directives generative to it. This concerns both
the technical-musical aspect as well as the aesthetic ones. The author indicated the par¬
ticularly distinguished role of an individual work of music as the superior aim of com¬
posers activity, importance of the act of composing as the main form of creative proce¬
dure, a principle of separation of the function of a composer and that of a performer
along with the key role of musical notation resulting from this distinction, and further
the developmental character of the European polyphony resulting from the rule of inno-
vativeness. Then the specific character of dependencies between composer s practice and
the theory of music in the Western European artistic music and the norm of aesthetic
autonomy of the art of music are reflected upon. None of the indicated elements is
thought to be sole characteristic of the musical culture of Europe while as a specific one
has been considered such and not another set up of elements.
Further parts of Chapter Two are devoted to investigation of the place which within
the Western European art of music is occupied by the avant-garde and post-modernist
production, thus in prospect investigation of the question about the continuity of Euro¬
pean music as a specific tradition.
Putting forward of the category of a work of music as the basic one for the musical
culture considered here involves the necessity of an in-depth consideration of this cate¬
gory to which Chapter Three is devoted. In this chapter the significance of the earlier
presented conclusions as to the work of art in general, thus, first of all, understanding it
as a layer humanistic structure. The general scheme of a work of art as consisting of
three layers, i.e. the presenting layer, the presented layer and that of the communicated
sense in reference with music may cause numerous doubts. However, many of them can
be dispelled through precisation of the notions used and careful separation of their theo-
256
retical
sense from commonplace use. The presenting layer of a work of music is under¬
stood here as a complex system of individual acoustic events (in the physical sense),
defined by the form of recording a work, most often a musical score. In turn, the pre¬
sented layer of a work of music is understood as a system of relationships between ab¬
stract musical events, which are given perceptively only by means of individual acoustic
events. And lastly, this system of relationships has a definite communicated sense as¬
cribed to it by semantic directives.
This sense can be both a definite property of a work of music, e.g. its form (an auto-
nomystic option) and as if an additional property, given through a separate cultural
convention, e.g. a poetic programme (a heteronomysric option).
An in-depth characteristics of the possible communicated senses, which semantic direc¬
tives may ascribe to a work of music, and then their typology, thus become a key question of
the cultural conception of music. It happens so because the communicated sense has been
considered as a superior layer of a work of music, and the communicative character as one of
the main characteristics of art as a field of culture in general, features which demarcate its
place in the cultural whole. In this connection, problems of semantics of a work of music
Chapter Four, which is the most essential part of this book is devoted.
The possible semantics of a work of music are divided into two main groups: exten¬
sive semantics and intensive semantics. Extensive semantics are understood as all such
semantics, which ascribe to a work of music any sense other than the autonomous one,
thus they see the sense of a work of music in something other than its formal structure or
directly sensual properties. To put it differently, these semantics ascribe to a work as a
communicated sense something which is not directly given both in the presenting and
the presented layer of a work.
The first subgroup are the semantics of expressiveness ascribing to a work as its
communicated sense (an aesthetic value) its ability of emotional influence on a recipient,
which is called an expression. Here we speak of a whole subgroup since such ascribing
occurred in the history of musical culture non-uniformly. First of all, a model of self-
expression of the 18th century origin should be distinguished (here derived from Rous¬
seau s conception) within which expressive abilities of music are understood as self-
expression of a creative subject. In the science of culture perspective the theoretical
recklessness of such an interpretation is not formulated as an accusation, since such a
semantics was and is respected by a certain community of music recipients
-
its validity
is a problem to tackle by aesthetics and philosophy of art, and not for research on cul¬
ture. However, of greater importance is a semantic model treating expression as a con¬
stant projected property in the process of composition (hence the proposed name
-
the
semantics of planned expression ) and determined by the structure of a work, not iden¬
tified with any emotional states of a subject.
The second subgroup of extensive semantics is the semantics of analogy which, as
the name itself indicates, ascribe to a work of music as its communicated sense a certain
non-musical
analógon
of the presented layer of a work. As possessing such an
analógon
may be considered either only certain details of a work (e.g. onomatopoeic fragments or
elements of the so called painting with sound) or a work as a whole (e.g. in program
music). In the former case we speak of semantics of local analogies, and in the latter
about global analogy.
The third group of extensive semantics is historically most peculiar and the most
difficult to interpret. It is based on treating music as a kind of code,
i.e.
at least some
elements of a work of music are ascribed a character of the set signs. We have to do with
the best developed musical semantics of this kind in the Baroque system of musical
257
rhetorics, and to be more precise, in the science on sound figures. However, there are
also later individual attempts by composers to build a similar semantics, yet they have
not achieved a character of the binding, cultural convention. Here attempts by Richard
Wagner and Olivier Messiaen should be mentioned in particular.
The other basic group of semantics of a work of music are the intensive semantics
whose directives ascribe to a work of music as aesthetic values its certain immanent
properties, definite ones, its analytically perceptible features. The history of intensive
semantics going to the fore in the European musical culture gains its culmination in
Hanslick s conception of absolute music.
There are two basic kinds of intensive semantics. The main one, presented fully in
the aesthetic views of Forkel, Stravinsky and presumably those of Ingarden, treat as a
proper sense of the work a manner of structuring of its presented layer, thus the musical
form, or to put it better, a formal musical process. However, there is a difference be¬
tween a view of this kind and perception as a sense of a work of its technical musical
content, or the richness of technical-composer solutions. The other situation is described
as an aesthetisation of artistic values.
All the above distinguished semantics of a work of music are of a character of his¬
torical cultural conventions, so for each of them, apart from an attempt at their theoreti¬
cal description, by necessity is introduced an abbreviated historical reasoning concern¬
ing their origin and functioning. The semantics distinguished in this book are not the
only ones possible which, as the author of this book understands, played a significant
role in the history of the Western European musical culture.
The possibility of a simultaneous interpretation of a work according to different se¬
mantics, e.g. the necessity of interpretation of the 19th century program music, taking
into consideration both the directives of the semantics of analogy and intensive seman¬
tics, bring about a necessity of distinguishing the simple or the complex aesthetic value.
The former is ascribed to a work by the strength of one definite semantics and the latter
by application of directives of more than one semantic convention.
The reasoning concerning the semantics of a work of music is supplemented with
remarks on specific characteristics of avant-garde and post-modern musical production,
especially within the so called metamusic with reference to avant-garde and problems of
the ironic attitude in reference to postmodernism.
Chapter Five deals with the possibility of explaining historical transformations of
musical culture by means of a procedure of functional-genetic explanation assumed in
the social-regulation conception of culture. Following quite detailed remarks of the
methodological character, an attempt is made to define the main determinants of the
historical development of music using the theses of the theory of culture assuming a
functional relation of art with the sphere concerning worldviews and all the fields of
culture with the economic factors. This attempt is concluded with iratial hypotheses as
to the determinants defining our own musical times and its changes.
And the last part, Chapter Six is devoted to the problem of cultural conventions on
the basis of which works of art are evaluated. Here the role of knowledge supplied by
sciences on art and of the criteria established by the shape of the European musical tra¬
dition is discussed. Considerations end with a question about this whether nowadays
there occurs a decay of social conventions, which previously made possible a relatively
agreeable evaluation of works. Separately, a methodological issue is set,
i.e.
the place
and permissibility of evaluating judgements in the sciences on art.
Translated by
Andrzej Pietrzak
258
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| author | Moraczewski, Krzysztof 1974- |
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| building | Verbundindex |
| bvnumber | BV035849777 |
| contents | Bibliogr. s. 251-254 |
| ctrlnum | (OCoLC)177361077 (DE-599)BVBBV035849777 |
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| geographic | Europa (DE-588)4015701-5 gnd |
| geographic_facet | Europa |
| id | DE-604.BV035849777 |
| illustrated | Not Illustrated |
| indexdate | 2024-07-09T22:06:05Z |
| institution | BVB |
| isbn | 9788323217558 |
| language | Polish |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-018707861 |
| oclc_num | 177361077 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 258 s. 24 cm |
| publishDate | 2007 |
| publishDateSearch | 2007 |
| publishDateSort | 2007 |
| publisher | Wydawnictwo Naukowe Uniwersytetu im. Adama Mickiewicza |
| record_format | marc |
| series2 | Seria Kulturoznawstwo / Uniwersytet Imienia Adama Mickiewicza <Poznań> |
| spelling | Moraczewski, Krzysztof 1974- Verfasser (DE-588)1190586916 aut Sztuka muzyczna jako dziedzina kultury próba analizy kulturowego funkcjonowania zachodnioeuropejskiej muzyki artystycznej Krzysztof Moraczewski Poznań Wydawnictwo Naukowe Uniwersytetu im. Adama Mickiewicza 2007 258 s. 24 cm txt rdacontent n rdamedia nc rdacarrier Seria Kulturoznawstwo / Uniwersytet Imienia Adama Mickiewicza <Poznań> 14 Zsfassung in engl. Sprache u.d.T.: The art of music as a field of culture Bibliogr. s. 251-254 Muzyka / Europa Zachodnia / historia i krytyka jhpk Muzyka / filozofia i estetyka jhpk Muzyka - Europa Zachodnia - historia i krytyka jhpk Muzyka - filozofia i estetyka jhpk Kulturleben (DE-588)4126540-3 gnd rswk-swf Musik (DE-588)4040802-4 gnd rswk-swf Europa (DE-588)4015701-5 gnd rswk-swf Europa (DE-588)4015701-5 g Musik (DE-588)4040802-4 s Kulturleben (DE-588)4126540-3 s DE-604 Uniwersytet Imienia Adama Mickiewicza <Poznań> Seria Kulturoznawstwo 14 (DE-604)BV035849774 14 Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=018707861&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=018707861&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Moraczewski, Krzysztof 1974- Sztuka muzyczna jako dziedzina kultury próba analizy kulturowego funkcjonowania zachodnioeuropejskiej muzyki artystycznej Bibliogr. s. 251-254 Muzyka / Europa Zachodnia / historia i krytyka jhpk Muzyka / filozofia i estetyka jhpk Muzyka - Europa Zachodnia - historia i krytyka jhpk Muzyka - filozofia i estetyka jhpk Kulturleben (DE-588)4126540-3 gnd Musik (DE-588)4040802-4 gnd |
| subject_GND | (DE-588)4126540-3 (DE-588)4040802-4 (DE-588)4015701-5 |
| title | Sztuka muzyczna jako dziedzina kultury próba analizy kulturowego funkcjonowania zachodnioeuropejskiej muzyki artystycznej |
| title_auth | Sztuka muzyczna jako dziedzina kultury próba analizy kulturowego funkcjonowania zachodnioeuropejskiej muzyki artystycznej |
| title_exact_search | Sztuka muzyczna jako dziedzina kultury próba analizy kulturowego funkcjonowania zachodnioeuropejskiej muzyki artystycznej |
| title_full | Sztuka muzyczna jako dziedzina kultury próba analizy kulturowego funkcjonowania zachodnioeuropejskiej muzyki artystycznej Krzysztof Moraczewski |
| title_fullStr | Sztuka muzyczna jako dziedzina kultury próba analizy kulturowego funkcjonowania zachodnioeuropejskiej muzyki artystycznej Krzysztof Moraczewski |
| title_full_unstemmed | Sztuka muzyczna jako dziedzina kultury próba analizy kulturowego funkcjonowania zachodnioeuropejskiej muzyki artystycznej Krzysztof Moraczewski |
| title_short | Sztuka muzyczna jako dziedzina kultury |
| title_sort | sztuka muzyczna jako dziedzina kultury proba analizy kulturowego funkcjonowania zachodnioeuropejskiej muzyki artystycznej |
| title_sub | próba analizy kulturowego funkcjonowania zachodnioeuropejskiej muzyki artystycznej |
| topic | Muzyka / Europa Zachodnia / historia i krytyka jhpk Muzyka / filozofia i estetyka jhpk Muzyka - Europa Zachodnia - historia i krytyka jhpk Muzyka - filozofia i estetyka jhpk Kulturleben (DE-588)4126540-3 gnd Musik (DE-588)4040802-4 gnd |
| topic_facet | Muzyka / Europa Zachodnia / historia i krytyka Muzyka / filozofia i estetyka Muzyka - Europa Zachodnia - historia i krytyka Muzyka - filozofia i estetyka Kulturleben Musik Europa |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=018707861&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=018707861&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV035849774 |
| work_keys_str_mv | AT moraczewskikrzysztof sztukamuzycznajakodziedzinakulturyprobaanalizykulturowegofunkcjonowaniazachodnioeuropejskiejmuzykiartystycznej |