V Symfonia - analiza autorska w kontekście zagadnień warsztatowych i estetycznych:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Polish |
| Veröffentlicht: |
Kraków
Akad. Muzyczna
2012
|
| Schriftenreihe: | Prace Habilitacyjne / Akademia Muzyczna w Krakowie
14 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache |
| Beschreibung: | 70 s. il. - Notenbeisp. 24 cm. |
| ISBN: | 9788362743094 |
Internformat
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| 245 | 1 | 0 | |a V Symfonia - analiza autorska w kontekście zagadnień warsztatowych i estetycznych |c Maciej Jabłoński |
| 264 | 1 | |a Kraków |b Akad. Muzyczna |c 2012 | |
| 300 | |a 70 s. |b il. - Notenbeisp. |c 24 cm. | ||
| 336 | |b txt |2 rdacontent | ||
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| 338 | |b nc |2 rdacarrier | ||
| 490 | 1 | |a Prace Habilitacyjne / Akademia Muzyczna w Krakowie |v 14 | |
| 500 | |a Zsfassung in engl. Sprache | ||
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Datensatz im Suchindex
| _version_ | 1804149057262714880 |
|---|---|
| adam_text | Spis
tresei
Wstęp
............................................................................................. 7
Rozdział
1.
Idee i zakorzenienia. Koncepcja symfonii
jako reprezentacji człowieka i budowania świata
............... 9
Rozdział
2.
Autoprezentacja
V
Symfonii
............................ 13
2.1.
Informacje ogólne. Aparat wykonawczy
................................................ 13
2.2.
Budowa i przebieg utworu
..................................................................... 13
2.3.
Szczegółowy opis przebiegu
.................................................................. 15
Rozdział
3.
Analiza komponentów muzycznych
w kontekście ich funkcji formotwórczej
............................... 21
3.1.
Faktura jako główny składnik formotwórczy
......................................... 21
3.2.
Kolorystyka brzmieniowa. Zagadnienia instrumentacyjne
.................... 29
3.3.
Melodyka i motywika w służbie warstwy fakturalnej i narracji utworu
34
3.4.
Harmonika i jej funkcja kształtowania napięcia
.................................... 39
3.5.
Rytmika i jej funkcje: fakturotwórcza oraz formotwórcza
.................... 44
3.6.
Organizacja metryczna. Agogika jako istotny czynnik kształtowania
narracji
.................................................................................................... 49
Rozdział
4.
Konteksty, inspiracje i pokrewieństwa.
V
Symfonia na tle wybranych przykładów współczesnej
muzyki symfonicznej
.............................................................. 55
Podsumowanie
.............................................................................. 63
Summary
......................................................................................................... 65
Bibliografia
..................................................................................... 68
Indeks nazwisk
................................................................................................ 69
Summary
The subject of the dissertation is Symphony No.
5
composed in
2004
as part of
the Ministry of Culture and Art scholarship. In the introduction the author outlines the
main idea of the work
-
creating a narrative consisting of seemingly irrelevant formal
elements ( crumbs ). Symphony No.
5
is the first work in the authors compositional
output that introduces this type of narrative formation.
In chapter one, a concept of symphony as representation of man and creating
a universe was demonstrated; the author explains its meaning in the context of his
own works, against the backdrop of contemporary symphonic music. It is an attitude
close to the one of the author who wishes to incorporate into music his own
interpretation of the existing world, for that is how he envisions the role of an
artist in contemporary world. Since symphony as a genre is regarded as a unique
form of artistic expression, Symphony No.
5
is a particularly significant work in the
author s entire compositional output.
Chapter two contains a presentation and analysis of the work. It begins with an
outline of its structure and the course of musical narrative. The work consists of two
movements of similar duration (circa
13
minutes). The first movement is built of
a number of episodes, differing in terms of length, character and musical content.
It is characterized by
textural
diversity. An overriding formal idea was to create
a continuum of seemingly heterogeneous episodes
-
crumbs that are separated by
rests, and the duration of which
-
initially short
-
gradually increases. At the same
time the degree of their material affinity increases as well, in order to achieve
cohesion and emphasize the development of the main culmination. A strong scattering
of form returns when the culmination is over. The first movement is divided into five
phases: initial (measures
1-85),
dynamic (measures
86-141),
relaxation
-
interlu¬
de (measures
142-183),
growing tension and main culmination (measures
184-278)
and a final one
-
coda (measures
279-306).
The second movement, covering
208
measures, develops in a more cohesive way. Subsequent formal fragments display
stronger affinity in terms of musical material. The movement is designed as a grand
decrescendo,
both in dynamic and
-
metaphorically
-
expressive sense. In general
outline, the tension decreases while its fluctuations gradually diminish. In the static
middle phase the cohesion reaches a higher level than in previous formal segments.
Due to the intensification of motion and specific expression of the music, the second
movement of Symphony No.
5
consists of three phases: dynamic (measures
1-70),
static (measures
71-197),
coda (measures
198-208).
The following detailed description of the course is given in the form of tables.
Musical material and its most characteristic elements within particular architectonic
65
segments
are described here while taking into account the influence of intentional
artistic means.
The core of the dissertation is the analysis of musical components in the context
of their form-building function, which we find in chapter three. Particular elements
of the work are here shown and discussed in the aspect of their influence on musical
narration. Their presentation takes place in the order that is determined by a hierarchy
of the form-building function. Firstly, the author discusses the
textural
sphere
-
he
distinguishes
3
main types of
textural
development: polyphonic, heterophonic and
homophonic. Each of those types, as well as ways of their application, is described in
the form of tables accompanied by examples taken from the score. Furthermore, the
author discusses means and phenomena such as
textural
counterpoint, the meaning of
contrast and correlation between the degree of
textural
complexity and the degree of
expressive tension of music. Subsequently, the author moves on to analyze the form-
building function of sound and instrumental issues. Among numerous color-related
means, the author distinguished: sound contrast, dialogue of colors and textures
as well as complementary combination of colors. The strategy of using particular
instruments is presented in a graphic form. A palette of sounds, in combination with
a textural
layer, determines the course of narration and is partly responsible for the
scheme of tensions within a form. Differentiation of musical colors in Symphony No.
5
is one of the most important sources of its energetic potential.
Both abovementioned layers of the work are its priority components, performing
a superior role in the process of shaping narration. That is why the presentation of
melody and motifs was executed through the prism of their relation to texture and
sound. The author analyses intervallic structure of melodic lines, motifs
-
gestures ,
points to a significant role of
ostinato
technique and discusses a phenomenon that
can be placed on the borderlands of a melodic,
textural
and sound sphere
-
glissando
articulation. Melody rarely performs a form-building function in Symphony No.
5,
even though particular motifs play a significant role in the development of the face
of the music. This state is a consequence of rejecting motivic development as means
(technique) that consolidates the course. It was an outcome of adopting the idea of
athematic music, where narrative development takes place on the basis of mutual
influence of gestures that do not display a close affinity in intervallic or motivic
structure. An important function is ascribed to exposing particular motifs through
their repetition. It has a significant influence on the cohesion of the course.
Harmony is presented in an analogous way, because harmonic structures of Sympho¬
ny No.
5
display a close relationship with melodic layers. The affinity of both
components is based primarily on the use of similar intervals in a particular fragment
-
both horizontally and vertically. Throughout the entire movement there can be
observed a general tendency to juxtapose free atonality with tonal elements (the latter
being mainly structures close to a major chord with minor ninth), which diversify and
intensify expressiveness as well increase the level of harmonic tension. The Author
also discusses means such as atonal models, vertical structures analogous to func¬
tions in a tonal system, harmonic inclinations and interactions of the most commonly
appearing intervals (minor second,
triton,
minor and major seventh and minor ninth).
He also distinguishes a phenomenon of harmonic chorus
-
a recurring model (chord)
with a strong form-building potential.
The image is completed by the analysis of rhythm (in texture- and form-creating
function), metrical organization and tempo diversification. In Symphony No.
5
rhythm
plays a role inferior to texture, coming to the foreground only in the moments of particular
66
dramaturgical significance (culminations). It manifests itself also in
ostinato
motifs,
especially in the second movement of the work, where we can distinguish various
methods of diversifying rhythmical models by means of e.g. augmentation and
diminution. Within the first movement, there is a clear polarization of two functions in
the rhythmical sphere. An opposition between a texture- and form-building function
(as well as between complicated and unified rhythmical structures) is one of significant
components that contribute to the increase of tension. In the second movement both
those functions are interwoven. Form- building aspect determined the presentation of
metrical organization, whose rather homogeneous structure is supposed to ensure the
precision of performance
-
by making particular instrumental parts more accessible
to the musicians. Also, the shape of musical motion in Symphony No.
5
demonstrates
a strong affinity with the form-building function, which is visualized by tabular
comparisons of applied means and architectonic components. The means that are used
in Symphony No.
5
closely cooperate with the concept of form- building based on
textural
and color qualities, accentuating or creating their expressive impact. Frequent
changes within this layer in the first movement of the work were an outcome of a need
to diversify tension and they are connected with the idea of building a narrative
consisting of episodes
-
crumbs .
The last chapter of the dissertation is devoted to presenting Symphony No.
5
against the backdrop of chosen examples taken from contemporary symphonic music.
Its aim is to show contexts, inspirations and affinity of the Symphony with chosen
works. Symphony No.
5
was created as an outcome of deep interest in the symphony
genre
-
especially in its manifestation in the second half of the 20th century. Works
of other composers often served as a starting point for creating individual solutions.
Therefore, indicating various dependencies existing between several influences and
inspirations is a significant element of presenting Symphony No.
5.
Chapter four
contains indications and discussion of sources and ways of drawing inspiration from
the works of Per
Nergård,
Alfred Schnittke,
Witold Lutosławski,
Lepo
Sumera,
Wojciech Ziemowit Zych
and others.
The final part of the dissertation contains general conclusions and presents
connections between Symphony No.
5
and other works within the compositional
output of the author.
Translated by Natalia Szymaszek
67
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| id | DE-604.BV040105131 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T00:16:58Z |
| institution | BVB |
| isbn | 9788362743094 |
| language | Polish |
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| physical | 70 s. il. - Notenbeisp. 24 cm. |
| publishDate | 2012 |
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| publisher | Akad. Muzyczna |
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| series2 | Prace Habilitacyjne / Akademia Muzyczna w Krakowie |
| spelling | Jabłoński, Maciej 1962- Verfasser (DE-588)120939177 aut V Symfonia - analiza autorska w kontekście zagadnień warsztatowych i estetycznych Maciej Jabłoński Kraków Akad. Muzyczna 2012 70 s. il. - Notenbeisp. 24 cm. txt rdacontent n rdamedia nc rdacarrier Prace Habilitacyjne / Akademia Muzyczna w Krakowie 14 Zsfassung in engl. Sprache Jabłoński, Maciej 1962- (DE-588)120939177 gnd rswk-swf Sinfonie (DE-588)4055087-4 gnd rswk-swf (DE-588)4113937-9 Hochschulschrift gnd-content Jabłoński, Maciej 1962- (DE-588)120939177 p Sinfonie (DE-588)4055087-4 s DE-604 Akademia Muzyczna w Krakowie Prace Habilitacyjne 14 (DE-604)BV022268147 14 Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024961595&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=024961595&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Jabłoński, Maciej 1962- V Symfonia - analiza autorska w kontekście zagadnień warsztatowych i estetycznych Jabłoński, Maciej 1962- (DE-588)120939177 gnd Sinfonie (DE-588)4055087-4 gnd |
| subject_GND | (DE-588)120939177 (DE-588)4055087-4 (DE-588)4113937-9 |
| title | V Symfonia - analiza autorska w kontekście zagadnień warsztatowych i estetycznych |
| title_auth | V Symfonia - analiza autorska w kontekście zagadnień warsztatowych i estetycznych |
| title_exact_search | V Symfonia - analiza autorska w kontekście zagadnień warsztatowych i estetycznych |
| title_full | V Symfonia - analiza autorska w kontekście zagadnień warsztatowych i estetycznych Maciej Jabłoński |
| title_fullStr | V Symfonia - analiza autorska w kontekście zagadnień warsztatowych i estetycznych Maciej Jabłoński |
| title_full_unstemmed | V Symfonia - analiza autorska w kontekście zagadnień warsztatowych i estetycznych Maciej Jabłoński |
| title_short | V Symfonia - analiza autorska w kontekście zagadnień warsztatowych i estetycznych |
| title_sort | v symfonia analiza autorska w kontekscie zagadnien warsztatowych i estetycznych |
| topic | Jabłoński, Maciej 1962- (DE-588)120939177 gnd Sinfonie (DE-588)4055087-4 gnd |
| topic_facet | Jabłoński, Maciej 1962- Sinfonie Hochschulschrift |
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