Fresk w muzyce polskiej XX i XXI wieku: w poszukiwaniu differentia specifica
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Polish |
| Veröffentlicht: |
Poznań
Akademia Muzyczna im. I. J. Paderewskiego
2012
Wydawn. Ars Nova |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache u.d.T.: Fresco in Polish music of the twentieth and twenty-first centuries Bibliogr. s. 328-341. Indeks |
| Beschreibung: | 353 s., XIV s. tabl. Ill., Notenbeisp. 25 cm |
| ISBN: | 9788388392559 |
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| 500 | |a Zsfassung in engl. Sprache u.d.T.: Fresco in Polish music of the twentieth and twenty-first centuries | ||
| 500 | |a Bibliogr. s. 328-341. Indeks | ||
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Datensatz im Suchindex
| _version_ | 1804149770627842048 |
|---|---|
| adam_text | SPIS TREŚCI
WPROWADZENIE
7
1.
Cel i zakres badań
10
2.
Stan badań
14
3.
Podstawy metodologiczne
18
ROZDZIAŁ I
23
TYTUŁ UTWORU ARTYSTYCZNEGO
1.
Status ontyczny tytułu
28
2.
Autorstwo tytułu
32
3.
Funkcje tytułu
34
3.1.
Tytuł w kontekście utworu
39
3.1.1.
Funkcja identyfikacyjna
39
3.1.2.
Funkcja informacyjna
40
3.2.
Tytuł w kontekście jego autora (twórcy dzieła)
42
—
funkcja informacyjna
3.3.
Tytuł w kontekście odbiorcy utworu
44
—
funkcja ewokatywna
4.
Tytuł utworu muzycznego
46
4.1.
„Poetyka
46
4.2.
Funkcje tytułu
47
ROZDZIAŁ
II
53
FRESK W KONTEKŚCIE TYTUŁU UTWORU MUZYCZNEGO
1.
Kontekst
54
2.
Dwa pojęcia fresku w myśli europejskiej
57
2.1.
Znaczenie dosłowne
-
denotacja
58
2.2.
Znaczenie metaforyczne
-
konotacja
59
3.
Teoria systematyzująca interpretację
62
4.
Analogia
64
5.
Fresk muzyczny
-
perspektywy ujęcia problemu
68
6.
Ekphrasis i
correspondance
des
arts
70
6.1.
Ekphrasis
70
6.2.
Correspondance des
arts
72
7.
Heteronomizm
versus autonomizm
75
ROZDZIAŁ III
79
FRESK MUZYCZNY W KONTEKŚCIE UTWORU
1.
Fresk muzyczny w perspektywie techniki malarskiej
80
1.1.
Al fresco
na fortepian, organy i taśmę Zbigniewa
Kozuba
80
1.2.
Freski symfoniczne Kazimierza Serockiego
82
2.
Fresk jako metafora
92
2.1.
„Something that is gone
(„Coś co odeszło ). Fresk na głos
92
żeński łub męski i smyczki Janusza Stalmierskiego
2.2.
Fresk gregoriański na organy oraz Fresk na flet i organy
101
Mariana Sawy
2.3.
Freski na orkiestrę symfoniczną
107
Krystyny Moszumańskiej-Nazar
Fresk
[I]
109
Fresk
II
110
Fresk III „Lwowski
122
3.
Fresk muzyczny w aspekcie formalno-konstrukcyjnym.
142
Przenikania. Fresk symfoniczny Zbigniewa
Kozuba
ROZDZIAŁ
IV
173
FRESK MUZYCZNY W KONTEKŚCIE TWÓRCY
1.
Pojęcie inspiracji
174
2.
Freski Giotta di Bondone: u źródeł inspiracji cyklu
Fresco
186
Grażyny Pstrokońskiej-Nawratil
3.
Starocerkiewna ikonografia
197
w zwierciadle Trzech fresków symfonicznych
Romualda Twardowskiego
Fresk I
199
Fresk
II
203
Fresk III
206
4.
Fresk jako cykl
218
ROZDZIAŁ
V
223
SONORYSTYCZNY ASPEKT MUZYCZNYCH FRESKÓW
1.
Polska muzyka
II
połowy
XX
wieku
-
zarys problematyki
224
2.
Dźwięk jako istota i zjawisko.
237
O dwóch rodzajach brzmieniowości dzieła muzycznego
3.
Sonoryzm
244
4.
Struktury sonorystyczne
251
jako analogony malarskich kompozycji barwowych
5.
Podsumowanie
319
W POSZUKIWANIU
DIFFERENTIA
SPECIFICA
321
FRESKU W MUZYCE POLSKIEJ
ANEKSY
327
Bibliografia
328
Summary
342
Indeks nazwisk
345
FRESCO
IN POLISH MUSIC
OF THE TWENTIETH AND TWENTY-FIRST CENTURIES.
IN QUEST FOR DIFFERENTIA
SPECIFICA
SUMMARY
Music literature of the latter half of the twentieth and early twenty-first
centuries has brought works whose titles include the word fresco , a term
that had not been used in music before. Interestingly, over forty out of
about one hundred pieces entitled fresco and written in Europe and
North America have been composed in Poland. That considerable number
of works with similar titles inevitably provokes a theoretical look at those
compositions; is it a new type of a musical expression that has been
constituted and disseminated? If so, is it possible to distinguish features
that are common for works of this kind, and are the features individual
enough to create a new category in music? Particularly, what are the
factors conditioning the filiation of a painterly title with a musical
composition? It would be especially interesting to find out whether this
exceptional admiration for fresco demonstrated by Polish composers
concerns merely the titles or influences also the form of the work. Or is it
maybe a composer s arbitrary decision to name their works musical
frescos and, as such, it cannot be substantiated? Moreover, why do Polish
composers value this category so highly that compositions declaring
their fresco character have been constantly present in Polish
music for over fifty years now? Thus appears a research question
which, if resolved, might considerably contribute to the picture of Polish
musical culture; we may be witnessing a completely new phenomenon
similar to the Polish composing school of sixty years ago (mostly
sonorism understood as a peculiar technique preferring timbre to other
composing parameters as well as particular sensitivity to the sonoristic
values of a musical piece). This, so to speak, musical fresconess and
sonorism developed within the Polish composing school might then be
closely related. Not only were both tendencies conceived at the same time
(the sixth decade of the previous century), but one can hazard a guess
that if there is any obvious dominant feature common for the Polish
compositions entitled fresco , it is certainly their sonoristic status.
The outlined line of thought suggests the following structure of the
research discourse:
1.
The second half of the twentieth century, mainly in Poland, brings
compositions whose titles contain the word
fresk
(Polish for fresco ),
freski
(Polish for frescoes ), fresco ,
fresque ,
or
al
fresco .
342
2.
This observation leads to the following main research questions:
-
do the musical frescoes constitute a collection that is ho¬
mogeneous in any respect?
-
what functions does the title of a work play?
-
why did compositions entitled fresco not appear earlier
than in the latter half of the twentieth century?
Insight into the collection of musical frescoes shows that the pieces
differ in terms of both esthetic and artistic values: their texture, instru¬
mentation, etc., and eventually the senses (values) that they convey.
Common for them all, however, is one unquestionable feature that is par¬
ticularly noteworthy and noticeable
prima faciae:
the title shared by all
the considered works. When compositions with such titles are analyzed,
the point of departure may be this, and only this, common denominator.
Therefore, the first chapter Title of an artistic work is devoted
to the title of an artistic (literary and musical) work and discusses the
following three main issues:
1.
the
ontic
status of a title,
2.
authorship of a title,
3.
a broadly understood semantic context and functions of a title.
The second chapter entitled Fresco in the context of the title of
a musical work focuses on the title of a musical work containing the
word fresco . Of particular interest is the semantic status of the dis¬
cussed proper name of a work and, strictly speaking, the question of the
semantic validity of the author s decision to title his/her composition
using the word fresco . This chapter considers such issues as the context
that features the term fresco , which leads to the statement that the
musical sense of the discussed term is not revealed in any of the au¬
thor s hints included in or accompanying the title. That is why further
research may only:
1.
appeal to intuitions commonly associated with the term fresco ;
2.
consider individual senses that artists associate with fresco .
Further analysis concerns basic relations between the title of a work
and its subject matter and broadly understood circumstances of its crea¬
tion, thus situating the piece in a triple context of form, content and ori¬
gin. As will be shown, the semantic intentions that composers associate
with the key term fresco go beyond the first aspect and are of vital im¬
portance in defining the theoretical perspective of the present re¬
search. Its basis as well as the point of departure for the consecu¬
tive study constitute two ways of understanding the term fresco
resulting from the difference between the denotation and connotation of
the word. On the one hand, the term fresco may indicate a set of fea¬
tures, all or only some of them, that are characteristic of the name
fresco understood literally and, on the other hand, it can connote
certain properties of what the term fresco refers to metaphorically.
The choice of a proper theory to systemize interpretation may be justi¬
fied by stating that in both cases a musical fresco represents a non-
343
-musical
fresco,
i.e. a painting, and has some of its characteristics that
may be understood (as above):
a) literally (denotation), or
b) metaphorically (connotation).
Regardless of how they are understood, however, they are always non-
sonoric and hence non-musical features. Therefore, there must be a
certain similarity and correspondence between a musical fresco and
a non-musical one, and the non-musical features should be somehow
presented with sound.
The similarity and correspondence include the notions of analogy and
ekphrasis that have also been discussed in the present chapter.
In the light of the suggested theoretical construct and constative that
Polish composers who have labeled their works as frescoes interpret the
notion differently, and by entitling their compositions with the word
fresco they associate various senses to the term, four key ways
of understanding the notion may now be distinguished and elaborated on:
IN THE CONTEXT OF A COMPOSITION:
1.
the nature of a (musical) fresco consists in musical application
of a painterly technique named
al
fresco;
2.
the title of a musical work ( fresco ) should be understood as a se-
mantically broad metaphor/connotation;
3.
a musical fresco considered in a formal-constructional aspect
may be described in terms of analogy between a musical structure and a
painting;
IN THE CONTEXT OF A CREATOR:
4.
a painted fresco is particularly an inspiration that founds the com¬
position or defines the bases for the process of creating a musical fresco .
The above-mentioned aspects by no means exclude one another.
The four exemplified ways of the composers assimilation of the term
fresco are discussed in two subsequent chapters of the present study.
Further part of the monograph resumes the question about possible
common features of musical works, apart from the already addressed
question of their titles. Do the compositions entitled fresco have any
properties that would justify their (musical or artistic) homogeneity?
Chapter five on The sonoristic aspect of musical frescoes takes a
stance on the issue.
The summary attempts to find the differentia
specifica
of a musi¬
cal fresco and definitively reply to the research questions stated in the
introduction.
|
| any_adam_object | 1 |
| author | Kostrzewska, Hanna ca. 20./21. Jh |
| author_GND | (DE-588)1161469125 |
| author_facet | Kostrzewska, Hanna ca. 20./21. Jh |
| author_role | aut |
| author_sort | Kostrzewska, Hanna ca. 20./21. Jh |
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| geographic_facet | Polen |
| id | DE-604.BV040651088 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T00:28:19Z |
| institution | BVB |
| isbn | 9788388392559 |
| language | Polish |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-025477987 |
| oclc_num | 826562541 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 353 s., XIV s. tabl. Ill., Notenbeisp. 25 cm |
| publishDate | 2012 |
| publishDateSearch | 2012 |
| publishDateSort | 2012 |
| publisher | Akademia Muzyczna im. I. J. Paderewskiego Wydawn. Ars Nova |
| record_format | marc |
| spelling | Kostrzewska, Hanna ca. 20./21. Jh. Verfasser (DE-588)1161469125 aut Fresk w muzyce polskiej XX i XXI wieku w poszukiwaniu differentia specifica Hanna Kostrzewska Poznań Akademia Muzyczna im. I. J. Paderewskiego 2012 Wydawn. Ars Nova 353 s., XIV s. tabl. Ill., Notenbeisp. 25 cm txt rdacontent n rdamedia nc rdacarrier Zsfassung in engl. Sprache u.d.T.: Fresco in Polish music of the twentieth and twenty-first centuries Bibliogr. s. 328-341. Indeks Geschichte 1900-2010 gnd rswk-swf Musik (DE-588)4040802-4 gnd rswk-swf Polen (DE-588)4046496-9 gnd rswk-swf Polen (DE-588)4046496-9 g Musik (DE-588)4040802-4 s Geschichte 1900-2010 z 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=025477987&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=025477987&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Kostrzewska, Hanna ca. 20./21. Jh Fresk w muzyce polskiej XX i XXI wieku w poszukiwaniu differentia specifica Musik (DE-588)4040802-4 gnd |
| subject_GND | (DE-588)4040802-4 (DE-588)4046496-9 |
| title | Fresk w muzyce polskiej XX i XXI wieku w poszukiwaniu differentia specifica |
| title_auth | Fresk w muzyce polskiej XX i XXI wieku w poszukiwaniu differentia specifica |
| title_exact_search | Fresk w muzyce polskiej XX i XXI wieku w poszukiwaniu differentia specifica |
| title_full | Fresk w muzyce polskiej XX i XXI wieku w poszukiwaniu differentia specifica Hanna Kostrzewska |
| title_fullStr | Fresk w muzyce polskiej XX i XXI wieku w poszukiwaniu differentia specifica Hanna Kostrzewska |
| title_full_unstemmed | Fresk w muzyce polskiej XX i XXI wieku w poszukiwaniu differentia specifica Hanna Kostrzewska |
| title_short | Fresk w muzyce polskiej XX i XXI wieku |
| title_sort | fresk w muzyce polskiej xx i xxi wieku w poszukiwaniu differentia specifica |
| title_sub | w poszukiwaniu differentia specifica |
| topic | Musik (DE-588)4040802-4 gnd |
| topic_facet | Musik Polen |
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| work_keys_str_mv | AT kostrzewskahanna freskwmuzycepolskiejxxixxiwiekuwposzukiwaniudifferentiaspecifica |