George Crumb: muzyka onirycznych wizji i magicznych formuł
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Polish |
| Veröffentlicht: |
Łódź
Akademia Muzyczna im. Grażyny i Kiejstuta Bacewiczów
2011
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache |
| Beschreibung: | 380 s. il. - Ill., Notenbeisp. 24 cm. |
| ISBN: | 9788360929186 |
Internformat
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| 245 | 1 | 0 | |a George Crumb |b muzyka onirycznych wizji i magicznych formuł |c Marta Szoka |
| 264 | 1 | |a Łódź |b Akademia Muzyczna im. Grażyny i Kiejstuta Bacewiczów |c 2011 | |
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| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
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| 600 | 1 | 7 | |a Crumb, George |d 1929-2022 |0 (DE-588)118820443 |2 gnd |9 rswk-swf |
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Datensatz im Suchindex
| _version_ | 1804148780398804992 |
|---|---|
| adam_text | Spis
tresei
WPROWADZENIE
7
1.1.
Założenia metodologiczne
9
1.2.
Intertekstualność jako klucz interpretacyjny
15
TWÓRCZOŚĆ
GEORGE A CRUMBA
-
GENERALIA
23
2.1.
Główne nurty i etapy
25
2.2.
Genealogia procesu twórczego
29
2.3.
Idiom stylistyczny
36
POETYKA
47
3.1.
O wspólnocie wyobraźni
-
związki z poezją
Federica
Garcii Lorki
49
3.2.
Poemat Walta Whitmana i jego umuzycznienie
102
3.3.
Metafory czasu, śmierci, dobra i zła jlO
3.4.
Kontemplacja Natury
120
3.5.
Pejzaż w muzyce jako kategoria interpretacyjna I35
3.6.
Teatralizacja działań wykonawczych
149
3.7.
Cytaty, aluzje, stylizacje
162
3.8.
Symbolika notacji muzycznej Igg
3.9.
Numerologia,
kosmologia, „magiczne formuły
210
TECHNIKA
223
4.1.
Rodzaje kształtowania formalnego
225
4.2.
Symetryczność na poziomie makro i mikroformalnym
242
4.3.
Mozaikowość dźwiękowego
designu
258
4.4.
Organizacja materiału dźwiękowego
264
4.5.
Rola techniki aleatorycznej
273
4.6.
Koncepcje w zakresie technologii brzmienia
279
4.7.
Nowy typ pianistyki
293
4.8.
Rozwój środków techniki wokalnej
309
4.9.
Nowe środki techniki wykonawczej. Nowe instrumentarium
314
POSŁOWIE
343
ANEKSY
345
1.
Kalendarium życia
George a Criimba
347
2.
Wykaz utworów
George a
Grumba
349
3.
Bibliografía
362
4.
Wykaz przykładów nutowych
369
5.
Indeks nazwisk
371
6.
Summary
377
SUMMARY
In the survey titled The Top Ten Most Interesting Items of the Festival, carried
out by
„Ruch Muzyczny
after another edition of Warsaw Autumn Festival in
1975,
three out of four critics appointed George Crumb s Black Angels quartet.
It was neither the first piece of that composer presented in Poland, nor the first
one performed at the festival. Nevertheless, the impression left by it was incre¬
dibly intense. „One cannot stay indifferent to this amazing ability to have a con¬
versation with musical past and the mythology of European culture, to this
fascinating, naively surrealistic vision of evil in which quotation, stylization and
pastiche interweave to form the sound never heard before Crumb , wrote
Olgierd
Pisarenko to justify his choice. Those who could not „stay
indifferenť were
soon
joined by the participants of memorable
Baranów
meetings, where the perfor¬
mance of Black Angels on September 10th,
1976
served as a pretext for including
Crumb s piece in the debate conducted there. Polish artists like
Olga Szwajgier,
Andrzej
Dutkiewicz,
Szabolcs
Esztènyi,
Stanisław Skoczyński, Jerzy Witkowski,
Wilanów
Quartet were also interested in this music.
..
Browsing through archive
programs of the Warsaw Autumn Festival one can notice that all most important
compositions by Crumb appeared successively; the last one
-
so far
-
in
2005.
For
the author of this text, however, it is not either Black Angels or
Makrokosmos -
heard at Warsaw Autumn in
1976 -
that served as an inspiration for further, ex¬
tensive studies. A one-year grant stay in the United States of America
(1993-
1994),
devoted to the research on American organ music, resulting in a premiere
performance of Pastoral Drone at the Conversatorium of Contemporary Organ
and Chamber Music in Legnica (October 8th,
1994)
and above all performance
of Apparition by Terry Ellen Rhodes from the University of North Carolina in
Chapel Hill accompanied by a Polish pianist,
Beata Cywińska,
at the Academy of
Music in
Łódź,
in March
1996
usher in the following stages of approaching the
topic of this book. The conviction that Crumb s musical idiom is idiosyncratic
-
comparing the output of the second half of 20th century and the beginning of
21st century
-
and that his individual aesthetics is consistent gave me the spur
to more extensive research on that matter.
The book George Crumb. The Music ofOneiric Visions and Magic Formulas
makes an attempt at multidimensional synthesis of the American composer s ar¬
tistic output. It is not, however, a monograph kept up in a „the life and works of
or „composer and his epoch style. Its form and individual „method , at the same
time, is metaphorically described by the title. Dichotomy of Crumb s music
377
oneirism translating into a prevailing impression
-
those intangible, sophisticated,
unusually subtle sound visions, and discipline as well as logic of its inner struc¬
ture, technical formulas reminding so often magic number puzzles is reflected in
two main parts of the book titled: Poetics and Technique. Poetics, understood in
an Aristotle-like way as the art of composition, constitutes a set of „superior,
more-than-technical rules of work formation and for interpretation is an indis¬
pensable intermediary between the work and its receiver. While the technical
rules of work formation, often encompassed with the concept of music (sound)
language, are a summary of expression, sound,
textural
means as well as forms
and genres used by the composer in the act of conveying his artistic message.
The language depends not only on aesthetic trends of the epoch but also on indi¬
vidual preferences. First of all, it is determined by semantics. That is why, poetics
and technique are not juxtaposed here, or prioritized, but they complement each
other. To some extent, both main parts of the book are „parallel sets , they group
texts which, as a matter of fact, should be read in a parallel way if linear reading
could be rejected. That is the case of George Crumb, the artist for whom everyt¬
hing connected with the sphere of inspiration and poetics is strongly integrated
with the things making composer s musical technique special: sound and
textural
concepts, rigorous organization of pitch and rhythm, even innovative character
of performing techniques. What complements the reading of this „dichotomist
synthesis are introductory texts,
Generalia,
outlining Crumb s output in terms
of periodization, stylistic idiom and genealogy of creative process. Intertextuality,
as a key to interpretation, along with a critical overview of its main presentations
referring to music, constitutes the contents of the initial chapter which also makes
the top of a pyramid-like structure of the book.
The need to understand the work and its importance in the cultural, psycho¬
logical, aesthetic, etc. context and interpretation of its meanings „with the use of
historically determined codes indicates a superior usefulness of hermeneutic
method for this inquiry. The work is not an autonomous being, independent of
the conditions which a researcher is subject to. A cognitive approach permits us
to get it out of isolation, and taking into consideration the postulates of psycho¬
logy of music or anthropology in the cognitive process may contribute to a new
interpretation enriched with cultural, ideological, spiritual and even biographical
elements of genealogy of the interpreted subject. At the same time, what is close
to the author is a sort of music analysis based more on empirical experience con¬
nected with aesthetic experience (thus, subjective one) than on examining the
sound structure as a written object. The meanings uncovered by this experiment
378
make an attempt at explaining the work as a whole. The work as an aural object,
experienced at a certain time and within a certain space, is subject to permanent
changeability of our perceptive abilities dependent not only on our age, music li¬
teracy, knowledge, mental condition, but also on the communication intermediary
between a work of art and its listener, namely
-
on the performer. Taking into
account performing specifications in the process of analyzing a musical work is
important especially when talking about a composer who made a development of
unconventional means of performing techniques (especially piano and vocal ones)
one of the trademarks of his own style. It seems that both analyses and interpre¬
tations of Crumb s complicated scores can help in better aural perception of the
complexities of his music, and examining the relations between a sphere of in¬
credibly rich sound texture and a modern, difficult (really challenging in a psy¬
chological sense) performing technique will let us grasp that phenomenon. The
book assumed, as a point of departure, music analysis also in terms suggested
by the metaphor of „aural scene , in a sense of being based on „universal mecha¬
nisms of perceptive process of aural phenomena and retaining them in our me¬
mory . That problem is more and more often raised also in American musicology.
It is just American studies in Crumb s output that makes a natural and clear per¬
spective for this work.
The present work, not restricting the perspectives of intertextuality as a re¬
search method to the manifestation of heterogeneous borrowings and references
(quotations, stylizations), confronts Crumb s music mostly with
Federico
Garcia
Lorca s poetry. It is an incredibly significant sphere of composer s output, and
that is why we start our reflections on poetics from him. A deep conviction about
uniqueness of poetry-music relations in this case imposed a method of fostering
sense of particular texts through comparing different translations of poems. Spa¬
nish is not a native language for the composer, which does not prevent him from
grasping not only the sense but also musicality and rhythmicality of Lorca s phra¬
ses. To some extent, it justifies the need to discover these elements also in Polish,
in the translations sometimes reaching the mastery level. Other aspects of the
research into
intertextual
relations in Crumb s music range from theatre, pain¬
ting, contemplating nature, astrological concepts, numerology, graphic design,
science, ecology, up to ideology. Since Crumb is a composer who swiftly reacts to
the reality surrounding him and who observes development of an idea not only
in a psychological but also social aspect. Already mentioned the Black Angels
quartet with a composer s note: „in
tempore
belli , unambiguously interpreted
as a comment on the Vietnam war, remains the symbol of uncompromising nature
379
of a contemporary artist s attitude, not a „pretentious aesthete locked on the
top of the „magic mountain . The comment on the topic of human being s barba¬
rian attitude towards nature, and, at the same time, the expression of delight
with its beauty and mystery are the pieces like Vox balaenae, Night of the Four
Moons and An Idyll for the Misbegotten. Last but not least, there is a context of
complex traditions and cultural dissimilarity of America, with its eclecticism,
multi-ethnicity, and a mix of high and low art genres (American
Songbook).
A composer, just like any other man, is determined by all their experiences, by
what surrounds him, different aspects of life which are written down inside him
-
like in everybody
-
as if in the book. It is just one more of the „texts that ap¬
pear in view of the research on George Crumb s output.
An important part of this work is an attempt to put the experience of the sound
of Crumb s music into words. In all descriptions of what we hear there is a ques¬
tion raised about accuracy of words. The intention of introducing Crumb s style
and output also to potential performers dictated an attempt at systematization
of all possible innovative techniques and performing practices used by Crumb in
his pieces. This is where comprehensive lists of the technical means placed in the
last chapters of the part devoted to technique come from. They might be a prac¬
tical guide not only for instrumentalists and singers but also composers. It is un¬
deniable that many years of the author s practice in music theory understood as
„simultaneously science, humanistic discipline, and art , with an inseparable dose
of pedagogy, somehow influenced the concept of the whole book. Contemplating
music, since rational, intellectual and methodic contemplation of a musical work
is what practising music theory could come down to, after all requires aesthetic,
psychological and even emotional involvement.
Tłum. Elżbieta Fesnak-Przybylska
380
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| spelling | Szoka, Marta 1955- Verfasser (DE-588)1027362702 aut George Crumb muzyka onirycznych wizji i magicznych formuł Marta Szoka Łódź Akademia Muzyczna im. Grażyny i Kiejstuta Bacewiczów 2011 380 s. il. - Ill., Notenbeisp. 24 cm. txt rdacontent n rdamedia nc rdacarrier Zsfassung in engl. Sprache Crumb, George 1929-2022 (DE-588)118820443 gnd rswk-swf Crumb, George 1929-2022 (DE-588)118820443 p DE-604 Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024706410&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024706410&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Szoka, Marta 1955- George Crumb muzyka onirycznych wizji i magicznych formuł Crumb, George 1929-2022 (DE-588)118820443 gnd |
| subject_GND | (DE-588)118820443 |
| title | George Crumb muzyka onirycznych wizji i magicznych formuł |
| title_auth | George Crumb muzyka onirycznych wizji i magicznych formuł |
| title_exact_search | George Crumb muzyka onirycznych wizji i magicznych formuł |
| title_full | George Crumb muzyka onirycznych wizji i magicznych formuł Marta Szoka |
| title_fullStr | George Crumb muzyka onirycznych wizji i magicznych formuł Marta Szoka |
| title_full_unstemmed | George Crumb muzyka onirycznych wizji i magicznych formuł Marta Szoka |
| title_short | George Crumb |
| title_sort | george crumb muzyka onirycznych wizji i magicznych formul |
| title_sub | muzyka onirycznych wizji i magicznych formuł |
| topic | Crumb, George 1929-2022 (DE-588)118820443 gnd |
| topic_facet | Crumb, George 1929-2022 |
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