Muzyczna moderna w XX wieku: między kontynuacją, nowością a zmianą fonosystemu
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Polish |
| Veröffentlicht: |
Wrocław
Wydawnictwo Uniwersytetu Wrocławskiego
2011
|
| Schriftenreihe: | Acta Universitatis Wratislaviensis
3357 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache u.d.T.: Musical modernism in the twentieth century |
| Beschreibung: | 327 s. 21 cm. |
| ISBN: | 9788322932490 |
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| adam_text | SPIS TREŚCI
Wprowadzenie
9
Rozdział I. Jaka historia modemy?
20
1.
Heurystyka stara i nowa
20
2.
Pojęcia
—
przedmioty badawcze
28
3.
Problem autonomii fonosystemu
41
4.
Zagadnienia „procesostanu i periodyzacji
48
Rozdział
II.
Narodziny moderny
55
1.
Trzy warstwy kultury muzycznej na przełomie
XIX
i
XX
wieku
55
2.
Kontynuacje stylu romantycznego
66
3.
Transformacje języka muzycznego
73
4.
Rewolty synkretycznc-muzyczne
84
Rozdział III. Moderna jak wszystkie inne
92
1.
Związki moderny z estetyką muzyki
XIX
wieku
92
2.
Prostota
96
3.
Złożoność
707
4.
Przeszłość
118
5.
Tradycja
131
Rozdział
IV.
Moderna zniewolona
146
1.
III Rzesza:
Durch deutsches Land marschieren wir! 146
2.
ZSRR: Antiformalisticzeskij
rajok
156
3.
Podzwonne estetyki normatywnej (na przykładzie PRL)
165
4.
Strategie przystosowania: styl pompiersko-panegiryczny
173
5.
Strategie przetrwania: retrospekcje stylowe i folklorystyczne
183
Rozdział
V.
Moderna inna niż wszystkie
192
1.
Poszukiwania przez modernę granic muzyczności
192
2.
Melosfera
199
3.
Chronosfera
214
4.
Sonosfera
227
5.
Fonosfera
240
SPIS TREŚCI
Rozdział
VI.
Modema
wyzwolona
253
1.
Pluralizm postaw moderny na przełomie
XX
i
XXI
wieku
253
2.
Między prostotą a złożonością
259
3.
Eksploracje muzycznej przeszłości
271
4.
W skarbnicy tradycyjnych kultur muzycznych
282
Posłowie
291
Objaśnienia skrótów
303
Bibliografia
304
Summary
314
Indeks osobowy
319
MUSICAL
MODERNISM
IN
THE TWENTIETH CENTURY:
BETWEEN CONTINUATION, INNOVATION
AND CHANGE OF
PHONOSYSTEM
SUMMARY
Writing a traditional, i.e. idiographic, erudite history of twentieth-century music has
lost its former sense. Modern musicology, through its heuristic and lexicographic
achievements, has made such an endeavour obsolete. The present book, therefore, is
not an attempt at reviving the methodology of conventional music historiography. More
than ever before, a discussion is overdue on approaches to twentieth-century
historiography. It is the highest time music historians stopped fetishising various
ideological notions and blindly imitating their colleagues from the main current of
history research (cultural history), and instead started speaking their own voice. The
challenge lies in the fact that the methodology of music historiography has always
borrowed from other humanities (especially history itself) in proportion to how much
it moved the centre of its reflection away from the musical work itself and its material
(structure).
This history of twentieth-century musical modernism, therefore, takes as its object
musical structure (not the musical work, but its historical and material derivative) in
its cultural context. It focuses not on the musical work as such, but what the latter
manages to generate in terms of cultural value as radical innovation or merely change
(as a recontextualised message). The book uses several methodological models
according to different interpretations of the subsequent phases of twentieth-century
musical modernism. In so doing, it focuses on a small but significant portion of
twentieth-century musical culture as a whole: the phonosystem of musical modernism
in its specific diachronic and
synchronie
evolution.
In Chapter
1:
What history of modernism?, the author discusses fundamental
methodological issues. In sub-chapter
1
{Old and new heuristics),
a systématisation
of
modernist history research sources is suggested, showing their specificity and classifying
them according to musical communication criteria (composer
-
performer
-
listener
-
audience
-
contexts of the audiosphere). Sub-chapter
2
{Notions as research objects)
discusses the basic notions of twentieth-music historiography, including twentieth-
century music , musical modernism in the 20th century , and reflects critically over
314
SUMMARY
the specific notions and categories that make up traditional music historiography
(historical, cultural, stylistic, genre, compositional, ideological and functional notions).
Sub-chapter
3
(Phonosystem autonomy) discusses the term of self-organisation ,
borrowed from cultural theory and related to the phonosystem in order to show its five
evolutional stages (creation, pre-existence, destruction, emergence, and diffusion). Sub-
chapter
4 (
Process-state
and periodisatiori) addresses the issues of combining
synchrony and diachrony in historical research and discusses various ways of periodising
the entire period in question.
Chapter
2:
Birth of modernism, analyses the period between
1890
and
1910.
In
sub-chapter
1
{Three layers of musical culture between the nineteenth and twentieth
century), a specific model of historical stratigraphy is presented, based dividing on
different musical phenomena of the period into three layers. That model is composed
firstly ofContinuations of the Romantic
style(s ib-chapter2),
where boundary phenomena
of music aesthetics are discussed, deeply rooted in the aesthetic dispute of the second
half of the nineteenth and the first decade of the twentieth (Bruckner, Kariowicz,
Rachmaninov,
Paderewski). The second layer of turn-of-the-century musical culture is
defined as Transformations of the musical language (sub-chapter
3),
showing different
ways of introducing innovations in three areas:
1)
harmony and tonality (from Debussy s
anhemitonic pentatonics to Schoenberg s atonalisation of the soundspace, and the central
system of Alexander Scriabin);
2)
musical language (questioning the traditional periodical
structure, extended or abridged syntactic patterns in the music of
Gustav
Mahler and
Karol
Szymanowski);
3)
musical form (the issue
οι
forma
formans
and forma
formata,
additive forms of Richard Strauss). The third and last layer of culture of the historical
period in question are Syncretic musical revolts (sub-chapter
4),
which the author interprets
as
seconda
ргаШса-Ше
manifestations of an emerging musical epoch. These are not, as
in the nineteenth century, issues of
correspondance des
arts, but numerous experiments
with new instruments, attempts at projecting personal synaesthetic experiences of the
composer into a synthetic work (Scriabin), or first radical attempts at breaking through
the existing, more or less conventional musical language (Kulbin s idea of free music ,
the works of
Lourié
and other composers of Russian modernism).
Chapter
3:
A modernism like all others, focuses on the Relations with music
aesthetics of the nineteenth century (sub-chapter
1),
arguing that the modernism of the
first half of the twentieth century is partly explicitly, partly secretly related to European
Romantic music. This theory requires a very different theoretical and cultural model,
drawing on the so-called pre-existential theory of culture. Sub-chapter
2
{Simplicity) looks
at some twentieth-century minimalist practices and their relation to isomorphic music of
the nineteenth century (Schumann, Chopin, Mendelssohn-Bartholdy), later continued by
such authors as
Érik
Satie,
followed by
Béla Bartók,
Sergei Prokofiev, Joseph Matthias
Hauer,
Anton
Webern
and Arnold
Schoenberg.
Sub-chapter
2
{Complexity), on the
contrary, looks at aspects of polymorphic music . Complexity as an aesthetic value is
usually born at the twilight of a given historical style in music. Differences between
315
SUMMARY
individual composers notwithstanding, it is a common denominator of the entire so-called
Tristan generation that later gave life, especially in the German and Austrian context,
to the new tradition of musical Expressionism and the aesthetics of the Second Viennese
School. Sub-chapter
4
(The past) discusses characteristics of musical historism as an
artistic and aesthetic programme of composers, becoming one of the major categories of
twentieth-century music and yet practiced by composers who remain deeply rooted in
the musical culture of the nineteenth century (Grieg, Tchaikovsky, Brahms,
Franck,
Reger).
Later this tendency was embraced by Stravinsky and Hindemith; the former,
through his playing with musical props as a new form of parody; the latter, through his
more generic approach to musical tradition. Sub-chapter
5
(Tradition) throws a bridge
between nineteenth-century music folklorism (Chopin,
Smetana,
Erkel,
The Five,
Granados)
and twentieth-century ethnic
topoi,
created by such authors as Igor Stravinsky,
Sergei Prokofiev,
Béla Bartók, Karol
Szymanowski, Manuel
de Falla
and
Leoš Janáček.
Another suggestion of this chapter is that all four main
topoi
of nineteenth- and early
twentieth-century music history have actually continued through the history of twentieth-
century modernism and musical postmodernism. Consequently, each of the sub-chapters
discusses these artistic phenomena in their later reception forms in the history of
modernism.
Just as the previous two chapters, Chapter
4:
Outlawed modernism, brings a
modification of methodology to match its specific historical interpretation of modernism.
This chapter is more traditional, a fact that is explained by the less advanced state of
research on this particular field. Sub-chapter
1
(Third Reich:
Durch deutsches Land
marschieren wir!)
presents the history of eliminating modernism in German cultural
life after Hitler s rise to power, focusing on the restrictive legal acts up to the infamous
Lexikon der Juden in der Musik (1940),
leading to the penalisation of modernism as a
whole. A similar mechanism of escalating violence and normative Socialist realism
aesthetics can be observed in the USSR (sub-chapter
3:
The USSR: Antiformalisticheskiy
rayok), starting with the official condemnation of the Orthodox or the
Foxtrotters
of the
1920s
and the liquidation of the ISCM-affiliated music societies, independent
of the Soviet authorities, up to the ruthless Communist party agenda for musical art,
centralisation of music organisations, and deportation to labour camps of musicians
seeking to keep a relative independence within the dictatorship of the proletariat .
Sub-chapter
3
(The knell of normative aesthetics, on the example of People s Republic
of Poland) shows some forms of musical culture reception in post-war Soviet-dependent
countries (musicological strategies and conferences,
Zofia
Lissa s
Marxist aesthetics).
The last two sub-chapters discuss the two main strategies adopted by Polish modernist
composers when faced with the totalitarian regime and a limitation of their creative
freedom. Sub-chapter
4
(Adaptation strategies: pomp
&
circumstance) looks at the
major musical genres that received the support of official Communist cultural policy,
mass song and panegyric cantata. Cantatas of Jan Krenz and
Kazimierz
Serocki are
analysed in view of their compositional technique and music aesthetics, in the context
316
SUMMARY
of the Socialist realism doctrine enforced in the early years of the People s Republic
of Poland. Sub-chapter
5
(Survival strategies: retrospective style and folklore) looks at
the strategies of those composers who refused to participate in the pompous, panegyric
style, instead referring to pre-war folklorism and Neoclassicism (Baird and
Lutosławski).
In Chapter
5:
A different modernism, the author looks at how modernism expanded
the boundaries of musical art, and at its radically innovative potential. This approach
requires a different methodology of cultural theory (emergence theory of cultural self-
organisation) that is discussed in sub-chapter
1
(Modernism: looking for the boundaries
of musicality). Material notions of new music should be incorporated as categories of
detailed music theory: melosphere (pitch organisation), chronosphere (musical time
organisation), sonosphere (organisation of sound colour) and phonosphere (inclusion of
soundscape elements). Sub-chapter
2
(Melosphere) focuses on the history of pitch
organisation, ranging from Arnold Schoenberg s free atonality and Alexander Scriabin s
central technique, through Alois
Hába s
microtonal technique, the twelve-tone music of
the Viennese School, Olivier Messiaen s modal technique, Iannis Xenakis stochastic
approach, and the serialism of the Darmstadt pioneers (notably
Boulez
and
Stockhausen),
up to harmonic constructs that are derived from the harmonic series (Grisey and other
so-called specialists). Sub-chapter
3
(Chronosphere) discusses the area of musical time
organisation, not limited to metre or rhythm but extended to a broadly understood
philosophy of musical time. The author analyses the theoretical and technical concepts
of John Cage, Olivier Messiaen,
Karlheinz Stockhausen,
Pierre
Boulez, Gérard
Grisey,
and American minimalist composers (Philip Glass, Steve Reich). In sub-chapter
4
(Sonosphere), the author looks at another emergent characteristic of the musical material:
a sonoristic organisation that activates artificial, anthropogenic sound generators. This
process is derived from Arnold Schoenberg s
Klangfarbenmelodie
and later reappears in
some compositions by
Edgard
Várese,
electronic works, as well as works based on
traditional instrumental ensembles. Sub-chapter
5
(Phonosphere) discusses the inclusion
into sound organisation of non-man-generated, natural elements of the human soundscape.
The historical process of autonomisation of the phonosphere was initiated by Italian
futurists, Pierre SchaefFer s concept of
musique concrète, as
well as the theoretical and
compositional inquiries of authors such as Raymond Murray
Schäfer,
Barry Truax and
Hildegard Westerkamp
(soundscape compositions).
The book s last chapter, Chapter
6:
Freed modernism, opens with a sub-chapter
titled Pluralism of modernist approaches at the turn of the twenty-first century,
addressing the terminological debate of the last decades on notions such as
postmodernism , pluralism , and eclecticism . This new modernism, freed from the
restrictive musical aesthetics of its Dannstadt-centered predecessor, is again able to
address autonomous musical issues. Some of these actions are reminiscent of the
nineteenth-century
fin de siècle
carnival, when the achievements of Romanticism were
synthesised with the accompaniment of detachment, irony, playfulness, and apocalyptic
foreboding. Yet there is also an affinity with the strongly stratified character that we
317
SUMMARY
already observed at the birth of twentieth-century modernism. Sub-chapter
2
(Between
simplicity and complexity) again elaborates on the aesthetic
topoi
that characterised the
first modernism. The category of simplicity is analysed in its new manifestations in
the works of Terrence Mitchell Riley,
Tomasz Sikorski, Zygmunt
Krauze,
Henryk
Mikołaj Górecki,
and
Arvo
Part. The opposite direction, emphasising the aesthetic
category of complexity, can be observed in the output of Brian Ferneyhough, Michael
Finnissy, some spectral compositions, and the works of
Bogusław
Schaeffer that
consistently follow the complexity in music aesthetic programme. In sub-chapter
3
(Exploring the musical past), the author again draws a bridge to the first modernism,
showing the different formal ways of referring to the past in the works of composers
such as
Witold Lutosławski, Krzysztof Penderecki, Krzysztof Baculewski, Paweł
Szymański, Cornelis de Bondt, Sofia
Gubaidulina, Luciano
Berio, Alfred Schnittke,
Paweł Mykietyn, and
Uri Câine.
The current modernism, eclectic and free, continues
to draw its inspiration from folk music (sub-chapter
4:
The treasury of traditional
musical cultures). References to the folklore of a composer s own nation and traditional
musical cultures of other nations, as well as common folk music imagery, are not only
deeply rooted in musical tradition but remain an attractive expressive area for
contemporary composers. In this context, the author observes drastically opposed
compositional strategies and aesthetics in the works of
Zygmunt
Krauze,
Wojciech
Kilar,
Ravi Shankar, Philip Glass, and Bronius
Kutavičius.
The history of modernism s undulation as presented in this book, unknown to any
earlier historical period (though ever since the Middles Ages, each of those epochs had
its own modernism), was determined by moments of autonomous cultural change, but
also extra-musical factors. In the twentieth century, however, both mechanisms of change
are fundamentally different than they were in earlier times. Cultural change, including
autonomous one, is now broadly linked to hitherto unknown mechanisms of social
reception of musical works, and determined by the propagation of ideas contained in the
musical work. That propagation is achieved by different media that are positioned between
composers and listeners, particularly those linked with the extensive network of specialised
music institutions that have become necessary in mediating between the extreme links
of the musical communication process. The character
ofthat
latter process is essentially
similar throughout the twentieth century, though the information flux is clearly increasing
in speed.
A
heteronomie
change, on the other hand, is happening with the input of social
and political premises that interrupt the gradual (quantitative) character of change, under
pressure from a normative aesthetics or through the propagation of a given ideology.
Subsequently, these factors advocate compositional strategies derived from a set of
predefined and universally accepted social objectives. Such change has often shown a
qualitative character, profoundly reorganising not only musical culture (i.e., values) but
also its civilisational context, in particular, those elements that we define musical life.
Translated by
Wojciech Bońkowski
• 318 ·
|
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| id | DE-604.BV040098392 |
| illustrated | Not Illustrated |
| indexdate | 2024-07-10T00:16:49Z |
| institution | BVB |
| isbn | 9788322932490 |
| language | Polish |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-024955006 |
| oclc_num | 796202040 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 327 s. 21 cm. |
| publishDate | 2011 |
| publishDateSearch | 2011 |
| publishDateSort | 2011 |
| publisher | Wydawnictwo Uniwersytetu Wrocławskiego |
| record_format | marc |
| series | Acta Universitatis Wratislaviensis |
| series2 | Acta Universitatis Wratislaviensis |
| spelling | Gołąb, Maciej 1952- Verfasser (DE-588)132845954 aut Muzyczna moderna w XX wieku między kontynuacją, nowością a zmianą fonosystemu Maciej Gołąb Wrocław Wydawnictwo Uniwersytetu Wrocławskiego 2011 327 s. 21 cm. txt rdacontent n rdamedia nc rdacarrier Acta Universitatis Wratislaviensis 3357 Zsfassung in engl. Sprache u.d.T.: Musical modernism in the twentieth century Geschichte 1900-2000 gnd rswk-swf Moderne (DE-588)4039827-4 gnd rswk-swf Musik (DE-588)4040802-4 gnd rswk-swf Musik (DE-588)4040802-4 s Moderne (DE-588)4039827-4 s Geschichte 1900-2000 z DE-604 Acta Universitatis Wratislaviensis 3357 (DE-604)BV004668106 3357 Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024955006&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=024955006&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Gołąb, Maciej 1952- Muzyczna moderna w XX wieku między kontynuacją, nowością a zmianą fonosystemu Acta Universitatis Wratislaviensis Moderne (DE-588)4039827-4 gnd Musik (DE-588)4040802-4 gnd |
| subject_GND | (DE-588)4039827-4 (DE-588)4040802-4 |
| title | Muzyczna moderna w XX wieku między kontynuacją, nowością a zmianą fonosystemu |
| title_auth | Muzyczna moderna w XX wieku między kontynuacją, nowością a zmianą fonosystemu |
| title_exact_search | Muzyczna moderna w XX wieku między kontynuacją, nowością a zmianą fonosystemu |
| title_full | Muzyczna moderna w XX wieku między kontynuacją, nowością a zmianą fonosystemu Maciej Gołąb |
| title_fullStr | Muzyczna moderna w XX wieku między kontynuacją, nowością a zmianą fonosystemu Maciej Gołąb |
| title_full_unstemmed | Muzyczna moderna w XX wieku między kontynuacją, nowością a zmianą fonosystemu Maciej Gołąb |
| title_short | Muzyczna moderna w XX wieku |
| title_sort | muzyczna moderna w xx wieku miedzy kontynuacja nowoscia a zmiana fonosystemu |
| title_sub | między kontynuacją, nowością a zmianą fonosystemu |
| topic | Moderne (DE-588)4039827-4 gnd Musik (DE-588)4040802-4 gnd |
| topic_facet | Moderne Musik |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024955006&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=024955006&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV004668106 |
| work_keys_str_mv | AT gołabmaciej muzycznamodernawxxwiekumiedzykontynuacjanowosciaazmianafonosystemu |