Muzyka i metafora: koncepcje kompozytorskie Pierre'a Schaeffera, Raymonda Murraya Schafera i Gérarda Griseya
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Abschlussarbeit Buch |
| Sprache: | Polish |
| Veröffentlicht: |
Warszawa
Narodowe Centrum Kultury
2012
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache |
| Beschreibung: | 382 s. il. - Ill., Notenbeisp. 25 cm. |
| ISBN: | 9788361587873 |
Internformat
MARC
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| 245 | 1 | 0 | |a Muzyka i metafora |b koncepcje kompozytorskie Pierre'a Schaeffera, Raymonda Murraya Schafera i Gérarda Griseya |c Ewa Schreiber |
| 264 | 1 | |a Warszawa |b Narodowe Centrum Kultury |c 2012 | |
| 300 | |a 382 s. |b il. - Ill., Notenbeisp. |c 25 cm. | ||
| 336 | |b txt |2 rdacontent | ||
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| 502 | |a Zugl.: Diss. | ||
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Datensatz im Suchindex
| _version_ | 1804149472187383808 |
|---|---|
| adam_text | Spis treści
381
Wstęp
................................................................................................................5
Rozdział I. TEORIE METAFORY OD POETYKI DO KOGNITYWISTYKI
.......13
1.
Metafora w Poetyce i Retoryce Arystotelesa
................................................................15
2.
Tradycja arystotelesowska-kontynuacje i rewizje
...................................................29
3.
Interakcyjna teoria metafory
....................................................................................41
4.
Kognitywna teoria metafory
.....................................................................................55
Rozdział
II.
WYOBRAŹNIA METAFORYCZNA W BADANIACH
MUZYKOLOGICZNYCH
...............................................................71
1.
Metafora wobec statusu muzyki i nauki o muzyce
....................................................74
2.
Metafora w teoriach analizy muzycznej
....................................................................83
3.
Metafora wobec znaczenia muzycznego
...................................................................89
4.
Metafora wobec ekspresji muzycznej
.....................................................................107
5.
Metafora wobec doświadczeń przestrzeni i ruchu
..................................................126
6.
Teoria
Michaela
Spitzera: próba syntezy
................................................................142
7.
Wyobraźnia metaforyczna: konteksty filozoficzne i estetyczne
..............................150
Rozdział III. KONCEPCJE KOMPOZYTORSKIE:
PIERRE SCHAEFFER,
RAYMOND MURRAY SCHAFER
I
GÉRARD GRISEY
................167
1.
Pierre Schaeffer
i koncepcja przedmiotu dźwiękowego
.........................................169
1.1.
Funkcje słuchania w
ref
leksji
Pierre a Schaeffera
................................................173
1.2.
Metafora przedmiotu dźwiękowego
..................................................................188
1.3.
Typomorfologia jako próba opisu przedmiotu dźwiękowego
.............................200
1.4.
Twórczość Schaeffera i jej związki z refleksją metaforyczną
...............................211
2.
Raymond Murray
Schafer
i koncepcja pejzażu dźwiękowego
................................226
2.1.
Wielki łańcuch bytu jako model dźwiękowego wszechświata
.............................232
2.2.
Dźwięk i cisza
...................................................................................................236
2.3.
Pejzaż dźwiękowy a kompozycja muzyczna
.......................................................248
2.4.
Poza obszarem słyszalności: dźwięki makro- oraz mikroświata
.........................257
2.5.
Bóg i człowiek jako twórcy środowiska akustycznego
........................................261
2.6.Twórczość Schafera i jej związki z refleksją metaforyczną
..................................265
3.
Gérard
Grisey i organiczna koncepcja dźwięku
...................................................281
3.1.
Koncepcja czasu muzycznego
............................................................................287
3.2.
Anatomia czasu
.................................................................................................296
3.3.
Fizjologia dźwięku
............................................................................................300
3.4.
Czas muzyczny wobec czasu słuchacza
.............................................................306
3.5.
Twórczość Griseya i jej związki z refleksją metaforyczną
..................................309
4.
Trzy koncepcje dźwięku: próba podsumowania
..................................................325
382
Zakończenie
........................................................................................................333
Abstract
.............................................................................................................335
Bibliografia
..........................................................................................................341
Spis ilustracji
.......................................................................................................365
Indeks osobowy
...................................................................................................367
Indeks rzeczowy
..................................................................................................375
Abstract
Many contemporary scholars write about the cognitive and aesthetic
value of metaphors. These include not only literary critics, but also philo¬
sophers, linguists and scholars of cultural studies. The classic definition of
metaphor, understood as transferring a term for one thing onto another,
originates in the writings of Aristotle. The initial meaning of metaphor was
defined within the framework of poetry and rhetoric; however, in ancient
times, issues related to the metaphor were already becoming part of
a larger philosophical system encompassing logic, ontology epistemology
and aesthetics. Creating a successful metaphor attested to philosophical
acuity whereas the power of a metaphor s image was closely linked to the
theory of poetic mimesis.
The twentieth-century theories of metaphor are equally capacious. In
the interaction theory of metaphor, founded among others by Max Black
and Nelson Goodman in the
1960s,
semantics and creating new, revealing
meanings are at the forefront, while the cognitive role of the metaphor is
manifested by the development of an original vision of reality In cogni¬
tive theory of metaphor, developed by George Lakoff and Mark Johnson in
the early
1980s,
the metaphor assumes an essential role as a basic figure of
thought which enables the understanding of one thing in terms of another.
The metaphor influences thinking in all its forms, it is verbalized in the
language of poetry, everyday speech or in the language of science. It is due
to these modern theories, highlighting the broad-ranging impact of this
figure of speech, that the study of metaphor has become one of the fastest
336
growing disciplines of research. It is worth noting that these theories are
closely connected with the leading philosophical and aesthetic currents of
the second half of the twentieth century These were, in succession, phe¬
nomenology hermeneutics, semiotics and cognitive science.
Music, as one of the many objects of reflection, is similar to other sub¬
jects, but also unique in many respects. The issue of metaphor has been
permeating into musicology starting from the
1980s.
This process has been
contributing to a new understanding of the traditional divisions between
analysis and interpretation, structure and expression, as well as is the musi¬
cal and the
extramusical.
The concept of metaphor also allows one to grasp
the history of thought on music and the character of musicological dis¬
course from a different perspective.
This publication is a contribution to musicological research on metaphor.
Its first basic aim is to introduce the concept of metaphorical imagination
and link it to the reception of twentieth-century theories of metaphor in
musicology In formulating the concept of the imagination, it is helpful to
refer to not only the twentieth-century theories of metaphor derived from
Anglo-American circles, but also the slightly older, rich French philosophi¬
cal tradition of studies of the imagination: the thought of Jean-Paul Sartre,
Paul Ricoeur or
Gaston Bachelard.
Metaphorical imagination is a concept
revealing the non-verbal and verbal dimensions of metaphor and thus can
enhance those contexts, which can be particularly useful when reflecting
on music. These include such phenomena as aspect perception, described
by
Ludwig
Wittgenstein. Aspect perception is based on distinguishing and
emphasising selected aspects of a perceived object and links knowledge to
sensory experience. Marcus B. Hester refers this phenomenon to metaphor
in poetry, whereas in musicology, the idea of aspect perception was devel¬
oped by Roger Scruton and Nicholas Cook. The imagination also plays
a significant role in creating concepts, as it mediates between the level of
the senses and language, the individual and general. The problem of sche¬
mata created in the imagination and serving as the basis for developing
concepts is derived from the philosophy of
Immanuel Kant,
and became
337
an important element of the cognitive theory of metaphor in the twentieth
century Finally the creative function of the imagination helps to explain
the functioning of the metaphorical meanings of music. In the phenom-
enological tradition, the distance to reality, made possible by the workings
of the imagination, is linked to the creative potential of the imaginary The
creative potential of the imagination can in turn be connected with the
interaction theory of metaphor, where discarding the literal meaning of
words in favour of their metaphorical meaning results in a new vision of
the world. This is how Robert S.
Hatten
or Carl R. Hausman explain the
emergence of original meanings of music. The imagination understood in
a social context (Nicholas Cook) governs the use of basic concepts within
a given musical culture.
Reflections on metaphor and imagination lead to another issue
—
the
manifestations of metaphorical imagination occurring in the ideas of three
twentieth-century composers: Pierre Schaeffer, Raymond Murray
Schäfer
and Gerard Grisey Their concepts are considered both from the point of
view of theoretical reflection, as well as the creative ideas connected to this
reflection. The choice of these three composers was dictated by several
considerations. Changes in the development of technology have intro¬
duced completely new elements into the music of the second half of the
twentieth century In their work, each of these three composers attempts
to incorporate these new possibilities of sound registration and transfor¬
mation. While doing so, they avoid speculative reflection, focusing rather
on the direct study of sound. They emphasize the interdisciplinary char¬
acter of their work, as well as the need to broaden one s knowledge and
search for a new vocabulary to describe music. As a result of their thinking
and creativity each of these artists has significantly changed the way of
thinking about music, its form, functioning and interaction with the listener.
An analysis of their texts shows that each composer s reflections are
focused on one central metaphor, that is, the sonic object (Schaeffer), the
soundscape
(Schäfer)
and the organism of sound (Grisey). The metaphor
of the object enhances concentration on a single sound and the analysis of
338
its characteristics. The metaphors of the soundscape and organism allow
a sound to be described within the context of space and time. These meta¬
phors allow an entire system of associated concepts to be created, serving
to conceptualize music and influence the creative mind-set.
In analyzing the composers writings, elements of interaction and cog¬
nitive theories of the metaphor were used. Pierre Schaeffer presents his
deliberations within the context of phenomenological reduction, allow¬
ing previous convictions on music to be suspended. The rich and original
reflection on listening allows one to refer the writings of Schaeffer to the
issues of aspect perception, while the phenomenological and hermeneu-
tic frameworks of metaphorical imagination facilitate the description of
creating a new understanding of sound. A supporting role in the detailed
classification of sound objects is also played by the theory of the meta¬
phorical understanding of musical matter developed by Francesco Spam-
pinato, which is based on
semiotic
and cognitive approaches to metaphor.
An important part of interpreting the writings of
Schäfer
is the model of
the Great Chain of Being derived from Platonic philosophy The Great
Chain of Being has been described both within the framework of the
cognitive theory of metaphor, and in the historical studies of Arthur O.
Lovejoy Finally in Grisey s reflection, the organic metaphor becomes part
of a scientific vision of the world, where the mechanical and the organic
are perceived as two competing concepts. In interpreting the composer s
writings, primarily focused on the problems of musical time, a special role
is played by the philosophical concepts of time as a supplement to organic
metaphor, with the concepts of Henri
Bergson
foremost among them.
In analyzing composed works, the metaphors used undergo a renewed
selection and interpretation. Their influence is manifested in various ways
-through the choice of sonic material and how it is shaped, the techniques
of composition used, titles of the compositions and musical notation.
The book connects philosophical and aesthetic problems with musi-
cological issues, and its scope proves to be very broad. The themes
addressed, despite their number and diversity, continue and complement
339
each other. The order of the chapters was planned according to the increas¬
ingly detailed character of the issues addressed. The first chapter discusses
the theory of metaphor, developed within the framework of philosophy
aesthetics, literary studies and linguistics. The second chapter presents the
contexts in which metaphor-related issues arise in musicological reflection.
It is an attempt not only to summarize the current state of research, but also
to discern the most important problems related to the subject of metaphor
in musicology These problems include a reflection on the status of research
on music and musical analysis, on musical meaning and expression, as well
as issues related to the spatial, kinesthetic treatment of music. The concept
of metaphorical imagination facilitates a synthesis of the aforementioned
contexts, while allowing important features of the metaphor to be empha¬
sized. Finally the third chapter analyzes the texts of the composers and
discusses selected aspects of their compositions, serving to reveal specific
metaphors, as well as how they influence the imagination of the compos¬
ers and enrich their thought. The last part of the book shows that the role
of metaphorical imagination can be fully appreciated only after a detailed
analysis of the reflections and creativity of the aforementioned composers.
It affects the perception of sound, musical time and the role of the listener,
and helps composers to express their sense of creativity their aesthetic
and philosophical views.
The conclusions drawn as a result of the analysis and comparison of the
three compositional concepts can serve not only as an important contribu¬
tion to the currently developing study of metaphor, but also can provide
new tools in studying contemporary music. Metaphors are an important
element in the ideas of composers. They enable a better understanding of
how to perceive music and its connection to the individual musical poetics
of a specific composer. Revealing the rich and diverse sources of metaphor
also says much about the transformations underway in contemporary musi¬
cal culture.
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| publisher | Narodowe Centrum Kultury |
| record_format | marc |
| spelling | Schreiber, Ewa Verfasser aut Muzyka i metafora koncepcje kompozytorskie Pierre'a Schaeffera, Raymonda Murraya Schafera i Gérarda Griseya Ewa Schreiber Warszawa Narodowe Centrum Kultury 2012 382 s. il. - Ill., Notenbeisp. 25 cm. txt rdacontent n rdamedia nc rdacarrier Zsfassung in engl. Sprache Zugl.: Diss. Schaeffer, Pierre 1910-1995 (DE-588)11917989X gnd rswk-swf Schafer, R. Murray 1933-2021 (DE-588)119151634 gnd rswk-swf Grisey, Gérard 1946-1998 (DE-588)123526531 gnd rswk-swf Metapher (DE-588)4038935-2 gnd rswk-swf Musik (DE-588)4040802-4 gnd rswk-swf (DE-588)4113937-9 Hochschulschrift gnd-content Schaeffer, Pierre 1910-1995 (DE-588)11917989X p Schafer, R. Murray 1933-2021 (DE-588)119151634 p Grisey, Gérard 1946-1998 (DE-588)123526531 p Musik (DE-588)4040802-4 s Metapher (DE-588)4038935-2 s 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=025268673&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=025268673&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Schreiber, Ewa Muzyka i metafora koncepcje kompozytorskie Pierre'a Schaeffera, Raymonda Murraya Schafera i Gérarda Griseya Schaeffer, Pierre 1910-1995 (DE-588)11917989X gnd Schafer, R. Murray 1933-2021 (DE-588)119151634 gnd Grisey, Gérard 1946-1998 (DE-588)123526531 gnd Metapher (DE-588)4038935-2 gnd Musik (DE-588)4040802-4 gnd |
| subject_GND | (DE-588)11917989X (DE-588)119151634 (DE-588)123526531 (DE-588)4038935-2 (DE-588)4040802-4 (DE-588)4113937-9 |
| title | Muzyka i metafora koncepcje kompozytorskie Pierre'a Schaeffera, Raymonda Murraya Schafera i Gérarda Griseya |
| title_auth | Muzyka i metafora koncepcje kompozytorskie Pierre'a Schaeffera, Raymonda Murraya Schafera i Gérarda Griseya |
| title_exact_search | Muzyka i metafora koncepcje kompozytorskie Pierre'a Schaeffera, Raymonda Murraya Schafera i Gérarda Griseya |
| title_full | Muzyka i metafora koncepcje kompozytorskie Pierre'a Schaeffera, Raymonda Murraya Schafera i Gérarda Griseya Ewa Schreiber |
| title_fullStr | Muzyka i metafora koncepcje kompozytorskie Pierre'a Schaeffera, Raymonda Murraya Schafera i Gérarda Griseya Ewa Schreiber |
| title_full_unstemmed | Muzyka i metafora koncepcje kompozytorskie Pierre'a Schaeffera, Raymonda Murraya Schafera i Gérarda Griseya Ewa Schreiber |
| title_short | Muzyka i metafora |
| title_sort | muzyka i metafora koncepcje kompozytorskie pierre a schaeffera raymonda murraya schafera i gerarda griseya |
| title_sub | koncepcje kompozytorskie Pierre'a Schaeffera, Raymonda Murraya Schafera i Gérarda Griseya |
| topic | Schaeffer, Pierre 1910-1995 (DE-588)11917989X gnd Schafer, R. Murray 1933-2021 (DE-588)119151634 gnd Grisey, Gérard 1946-1998 (DE-588)123526531 gnd Metapher (DE-588)4038935-2 gnd Musik (DE-588)4040802-4 gnd |
| topic_facet | Schaeffer, Pierre 1910-1995 Schafer, R. Murray 1933-2021 Grisey, Gérard 1946-1998 Metapher Musik Hochschulschrift |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025268673&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=025268673&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT schreiberewa muzykaimetaforakoncepcjekompozytorskiepierreaschaefferaraymondamurrayaschaferaigerardagriseya |