Intuicja czy scjentyzm: Stockhausen - Ligeti - Nono - Berio - Xenakis - Grisey
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Polish |
| Veröffentlicht: |
Poznań
Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk
2013
|
| Schriftenreihe: | Prace Komisji Muzykologicznej / Poznańskie Towarzystwo Przyjaciół Nauk / Wydział Nauk o Sztuce
32 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache Bibliografia. - Indeks |
| Beschreibung: | 749 s. graph. Darst., Notenbeisp. 25 cm |
| ISBN: | 9788376542577 |
Internformat
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| 245 | 1 | 0 | |a Intuicja czy scjentyzm |b Stockhausen - Ligeti - Nono - Berio - Xenakis - Grisey |c Justyna Humięcka-Jakubowska |
| 264 | 1 | |a Poznań |b Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk |c 2013 | |
| 300 | |a 749 s. |b graph. Darst., Notenbeisp. |c 25 cm | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 490 | 1 | |a Prace Komisji Muzykologicznej / Poznańskie Towarzystwo Przyjaciół Nauk / Wydział Nauk o Sztuce |v 32 | |
| 500 | |a Zsfassung in engl. Sprache | ||
| 500 | |a Bibliografia. - Indeks | ||
| 600 | 1 | 7 | |a Stockhausen, Karlheinz / (1928-2007) / krytyka i interpretacja |2 jhpk |
| 600 | 1 | 7 | |a Ligeti, György / (1923-2006) / krytyka i interpretacja |2 jhpk |
| 600 | 1 | 7 | |a Nono, Luigi / (1924-1990) / krytyka i interpretacja |2 jhpk |
| 600 | 1 | 7 | |a Berio, Luciano / (1925-2003) / krytyka i interpretacja |2 jhpk |
| 600 | 1 | 7 | |a Grisey, Gérard / (1946-1998) / krytyka i interpretacja |2 jhpk |
| 600 | 1 | 7 | |a Xenakis, Iannis / (1922-2001) / krytyka i interpretacja |2 jhpk |
| 648 | 7 | |a Geschichte 1950-1990 |2 gnd |9 rswk-swf | |
| 650 | 7 | |a Muzyka / 20 w / historia i krytyka |2 jhpk | |
| 650 | 0 | 7 | |a Musik |0 (DE-588)4040802-4 |2 gnd |9 rswk-swf |
| 689 | 0 | 0 | |a Musik |0 (DE-588)4040802-4 |D s |
| 689 | 0 | 1 | |a Geschichte 1950-1990 |A z |
| 689 | 0 | |5 DE-604 | |
| 810 | 2 | |a Poznańskie Towarzystwo Przyjaciół Nauk / Wydział Nauk o Sztuce |t Prace Komisji Muzykologicznej |v 32 |w (DE-604)BV005893205 |9 32 | |
| 856 | 4 | 2 | |m Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027153903&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |3 Inhaltsverzeichnis |
| 856 | 4 | 2 | |m Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027153903&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |3 Abstract |
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| 999 | |a oai:aleph.bib-bvb.de:BVB01-027153903 | ||
| 942 | 1 | 1 | |c 780.9 |e 22/bsb |f 0904 |g 438 |
Datensatz im Suchindex
| _version_ | 1804151976757297152 |
|---|---|
| adam_text | Spis treści
WPROWADZENIE
..................................................................... 11
1.
Cel i przedmiot rozprawy
................................................................... 11
2.
Metodyka badań
................................................................................ 19
Część pierwsza
REKONESANS TEORETYCZNY
............................................ 25
1.
Konteksty procesu twórczego
............................................................. 25
2.
Intuicyjny aspekt procesu twórczego
.................................................. 36
3.
Scjentystyczny aspekt procesu twórczego
........................................... 62
4.
Charakterystyka pojmowania muzyki jako czystego przepływu
........ 86
4.1.
Koncepcja struktury muzycznej jako pochodnej
struktury materiału dźwiękowego
.............................................. 90
4.2.
Koncepcja czasu jako szeregu autonomicznych momentów
........ 118
Część druga
REKONESANS PRAKTYCZNY
..............................................135
1.
Utwory Karlheinza Stockhausena
.................................................... 135
1.1.
Podstawa
fìlozofìczno-metodologiczna
........................................ 135
1.2.
Realizacje
................................................................................... 146
1.2.1. Klavierstücke
I-IV
na. fortepian
(1952)............................... 146
1.2.2. Kontra-Punkte
na
10
instrumentów: flet, klarnet,
klarnet basowy, fagot, trąbkę, puzon, fortepian, harfę,
skrzypce i wiolonczelę
(1952-1953).................................. 157
1.2.3. Zeitmasse
па.
kwintet dęty: obój, flet, rożek angielski,
klarnet, fagot
(1955-1956) ............................................... 168
1.2.4. Harlekin
na klarnet solo
(1975)......................................... 180
1.2.5. Jubiläum
na orkiestrę
(1977) ............................................ 193
Spis
tresei
2.
Utwory
György
Ligetiego
...................................................................204
2.1.
Podstawa filozoficzno-metodologiczna
........................................204
2.2.
Realizacje
................................................................................... 219
2.2.1.
Musica
ricercata
na
fortepian
(1951-1953) ........................ 219
2.2.2.
Apparitions
nâ
orkiestrę
(1958-1959) ...............................234
2.2.3.
Continuum
na klawesyn
(1968) .......................................249
2.2.4.
Chamber Concerto
dia
13
muzyków
(1969-1970) ............260
2.2.5.
Ramifications
na orkiestrę smyczkową lub
12
instrumentów smyczkowych solo
( 1968-1969) ...........269
3.
Utwory Luigiego
Nono
......................................................................286
3.1.
Podstawa filozoficzno-metodologiczna
........................................286
3.2.
Realizacje
...................................................................................296
3.2.1.
Variazioni canoniche sulla
serie
delľop.
41
di
A. Schô nbergna.
orkiestrę kameralną
(1950).................296
3.2.2.
Polifonica-Monodia-Ritmica na flet, klarnet, klarnet
basowy, saksofon, róg; fortepian i perkusję
(1951).............309
3.2.3.
Incontri
na
24
instrumentalistów
(1955).......................... 319
3.2.4.
Composizione no.
2
(Diario polacco
58)
na orkiestrę
(1958-1959)...................................................330
3.2.5.
Fragmente-
Stille,
an
Diotima
na
2
skrzypiec, altówkę
i wiolonczelę
(1980)..........................................................339
4.
Utwory
Luciano
Berio
.......................................................................350
4.1.
Podstawa filozoficzno-metodologiczna
........................................350
4.2.
Realizacje
...................................................................................364
4.2.1
Cinque Variazioni
na fortepian
(1952-1953)......................364
4.2.2.
Sincronie
na kwartet smyczkowy
(1964) .......................... 376
4.2.3.
Sinfonia
na
8
głosów i orkiestrę
(1968-1969) ....................390
4.2.4.
Sequenza
Vilna
obój
solo
(1969) ......................................407
4.2.5
Ritorno degli Snovidenia
na wiolonczelę
solo
і
30
instrumentalistów
(1976-1977)................................. 419
Spis treści
5.
Utwory
Iannisa Xenakisa
.................................................................429
5.1.
Podstawa
fìlozofìczno-metodologiczna
........................................429
5.2.
Realizacje
...................................................................................437
5.2.1. Metastaseis na
orkiestrę
(1953-1954) ...............................437
5.2.2.
Achorripsis
na orkiestrę
(1956-1957)................................446
5.2.3.
Akmta na
16
instrumentów dętych
(1964-1965) ..............457
5.2.4.
Evryali
na fortepian
(1973) ............................................... 470
5.2.5.
Horos
na orkiestrę
(1986)..................................................482
6.
Utwory Gerarda Griseya
....................................................................498
6.1.
Podstawa filozoficzno-metodologiczna
........................................498
6.2.
Realizacje
................................................................................... 507
6.2.1.
Derives na
2
grupy orkiestrowe
(1973-1974) .....................507
6.2.2.
Les Espaces acoustiques
na orkiestrę
(1974-1985) ............ 515
6.2.3.
Tempus ex machina
dla
6
perkusistów
(1979) .................. 535
6.2.4.
Anubis et Nout na solo klarnetu kontrabasowego
lub solo saksofonu basowego, lub solo saksofonu
barytonowego
(1983)........................................................ 547
6.2. 5.
Talea
na flet, klarnet, skrzypce, wiolonczelę i fortepian
(1985-1986) ..................................................................... 559
Część trzecia
REKONESANS POZNAWCZY
................................................571
1.
Modelowanie dynamiczne
................................................................. 572
2.
Modelowanie probabilistyczne
............................................................ 617
3.
Modelowanie kognitywne
...................................................................636
4.
Modelowanie reprezentacji częstotliwościowo-czasowej
.....................649
Zakończenie
.........................................................................................689
Bibliografia
...........................................................................................702
Spis przykładów
...................................................................................726
Spis wykresów
...................................................................................... 736
Indeks
................................................................................................... 741
Summary
.............................................................................................. 747
Summary
The nature of creation
-
in the sense of an observable sequence of changes
is
processual
and as such it implies specific kind of development in stages. In¬
dividual stages may either result regularly one from another or they may show
sudden unexpected turns leading to completely new creative strategies.
Creative strategies adopted within any domain of human activity may in¬
clude both the phases which are under the artist s full control as well as spon¬
taneous moments during which the final product is as much the outcome of
some well thought-out strategy as the result of various strategy independent
external factors. As far as artistic musical activities are concerned one must as¬
sume that each piece of music is unique as a product of some definite creative
process. What is more, equally unique is the process itself; it is unrepeatable
with respect to both the nature and number of individual stages and also to the
inspiration and motivation which determine the structure of the creative pro¬
cess. The composer s psychological traits and
-
broadly taken
-
the surround¬
ing reality (the people; things, processes; phenomena, the situations he or she
gets familiar with and must react to) determine the artist s cognitive capacities
thus shaping his specific way of thinking.
Prevalence of one particular cognitive element within the creative process,
or the dominance of several such elements at the time of composing a work of
music together with the impact of the composer s emotional stance upon the
process may all determine both the nature of the process and the composer s
diverse creative attitudes.
The subject matter of my study here are both the declarations of principles
and explanatory texts (of philosophical nature) formulated by the artists them¬
selves, as well as the analysis of some chosen works of music by the compos¬
ers who were often believed to be members of the so-called post-
Webern
or
Darmstadt
School. The three (i.e., declarations, texts and compositions) will
be analyzed in the context of the intellectual element that might have inspired
the composers. Two factors seemed to have shaped the specific approach of
that group of composers to music: music was the pure flow (of sound, of time,
of the spirit and of musical events). And the two factors that influenced the ap¬
proach were the free play of imagination7
-
directly related to the artist s intui¬
tion and the musical
scientism
that were to characterize the creative process.
That kind of approach to music seems to be closely connected to two concepts:
1 )
of time
-
viewed as a series of moments, each of which has its own value
irrespective of the context and independently of the consequences that might
follow a given moment;
2)
of structure, which must not be a product of some
747
Summary
commonly accepted convention or tradition, but which must rather emerge
from the structure of the sound itself.
The concept of progressive and supranational art propagated among the
post- World War II avant-garde composers could be and was embodied in many
distinct ways in various musical works. I would also like these variations to
constitute the subject matter of the present work.
The avant-garde composers seem to have chosen
-
presumably in the
name of progress
-
two mutually opposing ways of organizing music. Their ap¬
proach to music was either deterministic or
non-
deterministic. When a com¬
poser worked on a deterministic piece of music, he or she would usually adapt
some pre-compositional processes and structural concepts making use of tools
borrowed from science (mainly from physics and mathematics). Yet, even in
the case of
non-
deterministic compositions,
seientistically-
inspired concepts
would often appear, either in the form of enriching the creative process with
some elements of probability theory and introducing the notion of randomness
into the process of composing music (which was influenced by the studies of
time dependent stochastic models of random events). The liberated music
that could appear as a product of the creative processes restricted in the ways
presented above would be free music, unconstrained by the traditional rules
and conventions, organized with attention paid to the shaping of a given sphere
of sounds or sonosphere,- the music whose aim is to mark the presence of the
anti-narrative flow of acoustic events .
The material analyzed in this monograph has been organized in terms
of three surveys. The first one, which is called a practical survey is meant to
present the ways in which the artists philosophical and methodological as¬
sumptions are put into the individual composer s practice. Here, instances of
composers self-reflections are presented as well as the musicological analysis
of selected pieces. Each piece is described with respect to the specific princi¬
ples underlying its pitch structure, its rhythm and meter, harmonic patterns,
themes and motifs, sound texture and its formal structure.
The second theoretical survey refers to some distinct branches of knowl¬
edge and discusses their approaches to the nature of the creative process. Thus
it mentions psychology because human mental abilities and the concept of
intuition are extremely important for our creativity,· philosophy is discussed
on account of the relationship between
scientism
and post-Webern science-
oriented attitudes of certain composers and finally musicological perspective is
assumed to account for the pure flow and its influence upon the structure of
music as well as on its specific approach to the notion of time.
The third cognitive survey is meant to account for possible analyses of
musical substance as they are offered by various technological methods of ex¬
amining music and by Music Information Retrieval research. There are four
methods of normative analysis associated with four types of models: dynamic,
748
Summary
probabilistic, cognitive and time-frequency
imaging(visualizing)
.
They based
on information theory and statistical research. All these models generate ob¬
jective numerical data which provide insight into the auditory structure of
a piece of music.
Dynamic modeling of music tries
-
for instance
-
to shape the pitch, tone
and rhythm of the sound in order to emulate acts of natural perception of mu¬
sic. Probabilistic modeling measures the entropy of music
-
stating the rela¬
tionship between the order, disorder and chaos among the sound events in
a musical piece entropy helps us to determine which musical structure is most
typical and frequent and which is rare. Cognitive modeling is based on auditory
scene analysis. Here, piano-roll diagrams help to explain (by showing various
groupings of either sequential or simultaneous nature) the chronological and
formal organization of a work of music and/or certain aspects of the perception
of musical chords and tone. Finally, there are temporal and spectral visualiza¬
tions (spectral analysis) that can give an insight into in many aspects of the
structure of a musical piece.
The aim of this monograph is to answer as exhaustively as possible the
question concerning the extent to which the composer s philosophical stand
may influence the choice of his/her creative conception and strategy, and then,
the extent to which the assumed attitudes (intuitive or science-based) affect
the resultant form of music understood as the pure flow .
The monograph ends with a list of conclusions drawn in the course of my
three reconnaissance missions . I think my working hypothesis still holds: the
proportions of intuition and
scientism
in the creative works of
Stockhausen,
Ligeti,
Nono,
Berio, Xenakis and Grisey do vary Though I do notice that the
creative attitude of
Ligeti
is marked predominantly by intuitive factors (irre¬
spective of how the composer himself understood intuition and of what place
he would assign to it in his multi-stage creative process). Ligeti s emotionally
conditioned intuitive factors are also examples of the highest degree of congru¬
ence of the composer s ideas of the created work with the shape of the musical
surface generated in the course of the creative process. The scientistic aspect
of Grisey s creative process has
-
in my opinion
-
pre-
compositional nature.
The same is true of all the works of serial music, in which the composers made
use of some elements of combinatorics. Grisey s
scientism
is also visible when
he tries to translate into the language of music certain acoustic and psych-
acoustic phenomena. Yet, conventional musical instruments made it impos¬
sible
-
in the case of Grisey
-
to match his ideas to the final product in the form
of auditive representations of the arising shapes of musical surface. I think that
in the case of Grisey s creative works we are dealing not only with metaphoric
language used to describe the musical work and the creation process, but also
with metaphoric conversion of the composer s ideas into his music. Extreme
scientism
characterizing Xenakis musical creation together with his archi-
749
tecturaľ
inclination
[he was also an architect] to geometrize musical works,
as well as his tendency to treat musical phenomena like stochastic processes
[the organization of a musical work was determined probabilistically]
-
all that
unexpectedly resulted in almost perfect compatibility of the composer s ex¬
pectations with the auditive representations of musical surfaces. In the cases
of
Stockhausen,
Nono i Berio,
their
scientism
can be traced to the choice of
certain specific tools , which modify
-
in the analyzed compositions
-
the ini¬
tial musical material and enrich the musical works with a spatial dimension.
Extra-musical knowledge and intuition would influence
-
in equal degree
-
the
choice of both the tools and composers strategies.
The practical reconnaissance of my monograph was restricted to only
thirty compositions (though there were also some cyclic works among them).
I do not think they can exhaustively exemplify all the problems discussed in
the study. A more thorough analysis of the relationships between the intui¬
tional versus scientistic aspects of the creative process on the one hand and
the auditive representation of music on the other would be possible with an
extended corpus of musical illustrations.
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|
| any_adam_object | 1 |
| author | Humięcka-Jakubowska, Justyna |
| author_GND | (DE-588)1030049785 |
| author_facet | Humięcka-Jakubowska, Justyna |
| author_role | aut |
| author_sort | Humięcka-Jakubowska, Justyna |
| author_variant | j h j jhj |
| building | Verbundindex |
| bvnumber | BV041706610 |
| ctrlnum | (OCoLC)873544691 (DE-599)BVBBV041706610 |
| era | Geschichte 1950-1990 gnd |
| era_facet | Geschichte 1950-1990 |
| format | Book |
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| id | DE-604.BV041706610 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T01:03:23Z |
| institution | BVB |
| isbn | 9788376542577 |
| language | Polish |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-027153903 |
| oclc_num | 873544691 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 749 s. graph. Darst., Notenbeisp. 25 cm |
| publishDate | 2013 |
| publishDateSearch | 2013 |
| publishDateSort | 2013 |
| publisher | Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk |
| record_format | marc |
| series2 | Prace Komisji Muzykologicznej / Poznańskie Towarzystwo Przyjaciół Nauk / Wydział Nauk o Sztuce |
| spelling | Humięcka-Jakubowska, Justyna Verfasser (DE-588)1030049785 aut Intuicja czy scjentyzm Stockhausen - Ligeti - Nono - Berio - Xenakis - Grisey Justyna Humięcka-Jakubowska Poznań Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk 2013 749 s. graph. Darst., Notenbeisp. 25 cm txt rdacontent n rdamedia nc rdacarrier Prace Komisji Muzykologicznej / Poznańskie Towarzystwo Przyjaciół Nauk / Wydział Nauk o Sztuce 32 Zsfassung in engl. Sprache Bibliografia. - Indeks Stockhausen, Karlheinz / (1928-2007) / krytyka i interpretacja jhpk Ligeti, György / (1923-2006) / krytyka i interpretacja jhpk Nono, Luigi / (1924-1990) / krytyka i interpretacja jhpk Berio, Luciano / (1925-2003) / krytyka i interpretacja jhpk Grisey, Gérard / (1946-1998) / krytyka i interpretacja jhpk Xenakis, Iannis / (1922-2001) / krytyka i interpretacja jhpk Geschichte 1950-1990 gnd rswk-swf Muzyka / 20 w / historia i krytyka jhpk Musik (DE-588)4040802-4 gnd rswk-swf Musik (DE-588)4040802-4 s Geschichte 1950-1990 z DE-604 Poznańskie Towarzystwo Przyjaciół Nauk / Wydział Nauk o Sztuce Prace Komisji Muzykologicznej 32 (DE-604)BV005893205 32 Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027153903&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027153903&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Humięcka-Jakubowska, Justyna Intuicja czy scjentyzm Stockhausen - Ligeti - Nono - Berio - Xenakis - Grisey Stockhausen, Karlheinz / (1928-2007) / krytyka i interpretacja jhpk Ligeti, György / (1923-2006) / krytyka i interpretacja jhpk Nono, Luigi / (1924-1990) / krytyka i interpretacja jhpk Berio, Luciano / (1925-2003) / krytyka i interpretacja jhpk Grisey, Gérard / (1946-1998) / krytyka i interpretacja jhpk Xenakis, Iannis / (1922-2001) / krytyka i interpretacja jhpk Muzyka / 20 w / historia i krytyka jhpk Musik (DE-588)4040802-4 gnd |
| subject_GND | (DE-588)4040802-4 |
| title | Intuicja czy scjentyzm Stockhausen - Ligeti - Nono - Berio - Xenakis - Grisey |
| title_auth | Intuicja czy scjentyzm Stockhausen - Ligeti - Nono - Berio - Xenakis - Grisey |
| title_exact_search | Intuicja czy scjentyzm Stockhausen - Ligeti - Nono - Berio - Xenakis - Grisey |
| title_full | Intuicja czy scjentyzm Stockhausen - Ligeti - Nono - Berio - Xenakis - Grisey Justyna Humięcka-Jakubowska |
| title_fullStr | Intuicja czy scjentyzm Stockhausen - Ligeti - Nono - Berio - Xenakis - Grisey Justyna Humięcka-Jakubowska |
| title_full_unstemmed | Intuicja czy scjentyzm Stockhausen - Ligeti - Nono - Berio - Xenakis - Grisey Justyna Humięcka-Jakubowska |
| title_short | Intuicja czy scjentyzm |
| title_sort | intuicja czy scjentyzm stockhausen ligeti nono berio xenakis grisey |
| title_sub | Stockhausen - Ligeti - Nono - Berio - Xenakis - Grisey |
| topic | Stockhausen, Karlheinz / (1928-2007) / krytyka i interpretacja jhpk Ligeti, György / (1923-2006) / krytyka i interpretacja jhpk Nono, Luigi / (1924-1990) / krytyka i interpretacja jhpk Berio, Luciano / (1925-2003) / krytyka i interpretacja jhpk Grisey, Gérard / (1946-1998) / krytyka i interpretacja jhpk Xenakis, Iannis / (1922-2001) / krytyka i interpretacja jhpk Muzyka / 20 w / historia i krytyka jhpk Musik (DE-588)4040802-4 gnd |
| topic_facet | Stockhausen, Karlheinz / (1928-2007) / krytyka i interpretacja Ligeti, György / (1923-2006) / krytyka i interpretacja Nono, Luigi / (1924-1990) / krytyka i interpretacja Berio, Luciano / (1925-2003) / krytyka i interpretacja Grisey, Gérard / (1946-1998) / krytyka i interpretacja Xenakis, Iannis / (1922-2001) / krytyka i interpretacja Muzyka / 20 w / historia i krytyka Musik |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027153903&sequence=000002&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=027153903&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV005893205 |
| work_keys_str_mv | AT humieckajakubowskajustyna intuicjaczyscjentyzmstockhausenligetinonoberioxenakisgrisey |