Między traktatem a mową uczuć w dźwięki przemienioną: muzyka XVIII wieku w teorii i praktyce
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| Format: | Buch |
| Sprache: | Polish |
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Łódź
Akademia Muzyczna im. Grażyny i Kiejstuta Bacewiczów w Łodzi
2014
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | 334 Seiten Illustrationen, Notenbeispiele 24 cm |
| ISBN: | 9788360929438 |
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Datensatz im Suchindex
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|---|---|
| adam_text | Spis tresci
Wst^p...............................................................7
I. Documenta..................................................... 13
Irena Bienkowska
Joseph Kohaut (1734—1777) — w poszukiwaniu stylu i... sponsora.....15
Dariusz Smolarek
Muzyka instrumentalna wpolskich osiemnastowiecznych klasztorach sióstr benedyktynek..................................................... 29
Remigiusz Pospiech
Rola spiewów choratowych w XVIII-wiecznych celebracjach liturgicznych na przykladzie srodowisk klasztornych w Polsce.....................67
II. Theoria....................................................... 85
Maegorzata Grajter
Jak umiej$tniepolqczycpoezj$ z muzykq? Aspekt strukturalny zzuiqzkozo stofwnO -muzycznych zu niemieckiej teorii muzyki XVIII wieku.......87
Beata Strózynska
Teoría symfonii w swietle niemieckojgzycznegopis miennictwa muzycznego z XVIII wieku.................................................... 99
III. Ars Compositoria.............................................123
Konrad Wisniewski
Co to jest Galanteriearie ?.......................................125
Anna Ryszka-Komarnicka
O kompozytorskich inventio, dispositio i decoratio w arii Judyty Parto inerme, e non pavento 2 Oratorium La Betulia liberata Pietra Metastasia w wybranych opracowaniach z lat 1734-1781.....................................161
Ryszard Daniel Golianek
Wqtek Lodoiski w tworczosci operowej koiïca XVIII wieku: sentymentalizm i romantyzm.......................
199
IV. Practica.....................................................217
Marek Nahajowski
Miçdzy barokiem a klasycyzmem. Uwagi na temat artykulacji w grze na instrumentach dçtych w XVIII wieku.......................219
Magdalena Pilch
Wibracja w swietle historycznych szkötfletowych — swiadomie wykonywany ozdobniky wyraz emocji czy mechaniczna maniera?....................243
Tomasz Dobrzanski
Powstanie klarnetu klasycznego —
wposzukiwaniu zrôdei ewolucji instrumenta..........................269
Mikolaj Rykowski
Muzyczne uniwersum brzmieniowe wedlug Valentina Roesera —
autora Essai d instruction (Paris 1764)............................283
Marek Toporowski
Strôj mezotoniczny jako narzçdzie analizy stylistyki utworow
Johanna Sebastiana Bacha...........................................297
Program konferencji................................................321
Summary............................................................325
Summary
The 18th century is often described as the moment when contemporary culture was born. Indeed, it was the time of a rapid development of natural sciences, medicine, new social ideas and popularization of knowledge. Fierce and bloody religious conflicts, typical of the 16th century and the first half of the 17th century, died down and the urban boom led to an expansion of cultural aspirations of the middle class and an increase in demand for communing with art in its various forms. It resulted not only in the development of a public concert life but also amateur music-making. The number of publications (treatises and sheet music) dedicated to a wide circle of dilettanti rose, too. What also got transformed was the matter of a musical language, which by the end of the 17th century manifested itself most clearly in the consolidation of the major-minor system and tonal harmony, thus constituting the main point of reference for our perception of a musical work in general to this day. From a contemporary perspective, what should also be mentioned as vital part of the heritage of Bach’s, Handel’s and Mozart’s times is the concept of an orchestra as an ensemble based on a leading role of the strings, or the idea of travelling virtuoso soloists — singers, violinists, flutists. One cannot forget, either, that the 18th century was the time of huge diversity: ‘scholarly’ polyphony of the Renaissance origin co-existed with refined lightness of the galant style and emotionality of the ‘ Sturmund Drang stylistics, while principles of a rhetoric discourse —
with a later concept of individual expression. A separate issue made heated debates held by theorists and musicians about superiority of one of national styles existing then, or on the contrary — the idea of universalism of music.
For all these reasons it is not possible to sketch a one-dimensional picture of the epoch, and any attempt to make the 18th-century repertory come down only to general concepts of Baroque and Classicism, borrowed by the 19 h-century musicologists from the history of art, puts it in danger of creating a distorted way in which this exceptionally varied music is perceived. With younger researchers, especially those of the Anglo-Saxon circle, a concept of the so-called ‘long 18th century’ is getting more and more popular. The beginning of it is often set around 1670. It was the time
326 | Summary
when many crucial changes in a musical language occurred, just to name a few like: the aforementioned consolidation of the major-minor system, development of the idea of good temperaments7 as an alternative to the traditional mean-tone temperament, or a complete change in the construction of the woodwinds resulting in the development of a new sonic paradigm, without which it is hard to imagine Bachs cantatas or Mozart s operas. It is much more difficult to establish the final moment of the epoch. Probably, the most obvious and the least disputable date seems to be 1789 (The French Revolution), though there appear suggestions of moving the borderline to 1815, or even - 1830 (sicf)9 as it is recommended by editors of the Eighteenth-Century Music magazine.
All the above-mentioned questions make the 1 S^-century music an unusually interesting and intriguing research object both in a cultural, historical, aesthetic, theoretic and performing aspect. The Chair of Music Theory at the Academy of Music in Lodz has a rich tradition of discussing these matters, which is connected with a pioneer activity of Professor Franciszek Wesolowski. In the 1980s, thanks to his initiative, there was a series of conferences dedicated to theory and performing practice of the Baroque music organized at the Academy. The research on music culture of the 18th century belongs to the mainstream activities of the Chair also today, which is reflected both in the subjects of the undertaken research and publications appearing as a result of it.
The keynote of this book is to show music of that century from numerous perspectives, in particular - to stress the links between theory, aesthetics and performing practice. It is commonly known that many musicians and composers of the time did not shun a theoretical reflection and outstanding theoreticians (often practitioners, too) eagerly expressed their opinions about issues concerning vocal or instrumental techniques. For that reason articles not only by musicologists and theoreticians but also outstanding instrumentalists — specialists in the period performance of early music are included in this volume. We wished, however, to focus — as far as possible - on less known aspects of the IB^-century compositional output, only occasionally referring to some achievements of The great five7 - Johann Sebastian Bach, Georg Friedrich Händel, Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig van Beethoven, which significantly influenced the form of this publication.
Summary j 327
The first part of the book (Documenta) opens with three texts dedicated to the analysis of documents and musical sources connected, somehow, with Poland. In the first one Irena Bienkowska investigates, in a detective-like manner, biographical motifs of the little known Austrian composer, Josef Kohaut, affiliated for some time with the court of the Radziwill family in Biala Podlaska and Stuck, and next — with the circle of Parisian artists. In turn, Dariusz Smolarek and Remigiusz Pospiech dedicate their research to a complex question of music (instrumental repertory and Gregorian chant) functioning in the selected convent circles of the Republic of Both Nations, which became thriving cultural centers that actively participated in the life of local communities in the period of the Partitions of Poland.
The second part of the book (7heoria) comprises two texts dealing with important questions of the lS^-century music theory of the German circle with reference to compositional practice. In the first one Malgorzata Grajter introduces vital issues concerning the technical basis for setting a text to music in vocal compositions, comparing the views of the 18th-century theoreticians of the German-speaking circle such as Johann Mattheson, Johann Georg Sulzer, or Heinrich Christoph Koch. Beata Strozynska, in turn, reflected upon the place of sinfonia in the systematics of instrumental music genres of the time. What deserves a particular attention is an endeavor to investigate the evolution of a style and formal structure of these compositions, depending on the context and intended venue — theatre, chamber or church.
A peculiar parallel to the considerations upon the theory of composition makes an analysis of selected examples of the lS^-century compositional output (Ars Compositoria)y which is presented in the third part of the publication in question. It opens with an elaborate article by Konrad Wisniewski on the problems of the so-called Galanteriearie in the Hamburger opera at the beginning of the century. The author thoroughly analyzes ambiguous views of theoreticians and librettists of the time, attempting to determine the specifics of this rare vocal genre both in literary and musical terms. His study is illustrated with numerous interesting analyses of the repertory of composers associated with the theatre located at Gansemarkt. The comparative study by Anna Ryszka-Komarnicka seems to be equally interesting and the object of it became various manners of musical-rhetorical settings of lyrics. As an example the author used the Parto inerme e non pavento aria,
328 | Summary
taken from a popular 18th-century oratorian libretto, La Betulia ,
written by the presumably most famous poet-librettist of the time, Pietro Metastasio. This part of the book closes with the text by Ryszard Daniel Golianek dedicated to Polish motifs in the French opera of the Revolution times. What comes to the fore is a then popular motif of a fictional Polish gendewoman — Lodoiska — deriving from the Les amours du chevalier de Faublas novel by Jean-Baptiste Louvet de Couvrai. Her adventures became the basis for many theatrical works at the turn of the 18th and 19th century, led by a memorable Cherubini’s opera.
The last and most elaborate part of the publication ( ) comprises
five articles on various aspects of performance practice of late Baroque and Classicism with regard to the wind and keyboard instruments. Since the process of stylistic evolution in the 2nd half of the 18th century referred not only to the art of composition but also to aesthetic preferences in the field of performing practice, which was reflected through changes in some aspects of playing techniques. In some cases those changes were quite radical; it is illustrated in the analysis of articulation problems regarding the woodwinds, carried out by the author of this summary. Somewhat different seems to be the question of views on vibrato in the 18th-century flute-playing manuals, which is discussed in the article by Magdalena Pilch. The two successive texts are dedicated to the history of an instrument which was newly-created in the 18th century — the clarinet. In the first Tomasz Dobrzariski explores the relation between evolution of its construction and timbre and compositional output; in the latter Mikolaj Rykowski discusses a musical and pedagogical activity of Valentin Roeser, the author of the first significant clarinet-playing manual. The whole book is summed up with the text by Marek Toporowski, which deals with an important issue of musical temperaments, affecting the essence of tonal aspect of music and, to some extent, compositional practice, too. The author presents a daring, polemic thesis about the continuity of composers’ thinking connected with the specifics of meantone temperament in the times when other temperament systems already dominated. To illustrate this interesting discourse, he presented chosen fragments taken from Johann Sebastian Bach’s works for keyboard instruments.
Obviously, the presented selection of texts does not cover all the problems that researchers of the 18th-century music culture are bound to face.
Summary | 329
However, thanks to the diversity of the issues addressed here, it was possible to show a few important and interesting research threads and problems which undoubtedly deserve continuation and further discussion. Although the epoch in question seems to be relatively well-researched, especially compared to earlier periods in the history of music, it still hides a lot of secrets and mysteries as well as possibilities to re-interpret and verify previous findings. Therefore, we hope that readers will find this publication not only illuminating but also, first and foremost, it will inspire them to further debate and research into more or less familiar problems of theory and musical practice of Bachs and Mozart s times.
translated by Elzbieta Fesnak-Przybylska
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| spelling | Między traktatem a mową uczuć w dźwięki przemienioną muzyka XVIII wieku w teorii i praktyce pod red. Małgorzata Grajter i Marka Nahajowskiego Łódź Akademia Muzyczna im. Grażyny i Kiejstuta Bacewiczów w Łodzi 2014 334 Seiten Illustrationen, Notenbeispiele 24 cm txt rdacontent n rdamedia nc rdacarrier Zusammenfassung in englischer Sprache Geschichte 1700-1800 gnd rswk-swf Muzyka / 18 w / historia i krytyka / konferencje jhpk Musik (DE-588)4040802-4 gnd rswk-swf (DE-588)1071861417 Konferenzschrift 2014 Lodz gnd-content Musik (DE-588)4040802-4 s Geschichte 1700-1800 z DE-604 Grajter, Małgorzata edt 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=027973758&sequence=000003&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=027973758&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
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| title | Między traktatem a mową uczuć w dźwięki przemienioną muzyka XVIII wieku w teorii i praktyce |
| title_auth | Między traktatem a mową uczuć w dźwięki przemienioną muzyka XVIII wieku w teorii i praktyce |
| title_exact_search | Między traktatem a mową uczuć w dźwięki przemienioną muzyka XVIII wieku w teorii i praktyce |
| title_full | Między traktatem a mową uczuć w dźwięki przemienioną muzyka XVIII wieku w teorii i praktyce pod red. Małgorzata Grajter i Marka Nahajowskiego |
| title_fullStr | Między traktatem a mową uczuć w dźwięki przemienioną muzyka XVIII wieku w teorii i praktyce pod red. Małgorzata Grajter i Marka Nahajowskiego |
| title_full_unstemmed | Między traktatem a mową uczuć w dźwięki przemienioną muzyka XVIII wieku w teorii i praktyce pod red. Małgorzata Grajter i Marka Nahajowskiego |
| title_short | Między traktatem a mową uczuć w dźwięki przemienioną |
| title_sort | miedzy traktatem a mowa uczuc w dzwieki przemieniona muzyka xviii wieku w teorii i praktyce |
| title_sub | muzyka XVIII wieku w teorii i praktyce |
| topic | Muzyka / 18 w / historia i krytyka / konferencje jhpk Musik (DE-588)4040802-4 gnd |
| topic_facet | Muzyka / 18 w / historia i krytyka / konferencje Musik Konferenzschrift 2014 Lodz |
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