Na froncie muzyki: socrealistyczny dyskurs o muzyce w Polsce w latach 1948-1955 = On the musical front
Saved in:
| Main Author: | |
|---|---|
| Format: | Book |
| Language: | Polish |
| Published: |
Wrocław
Wydawnictwo Uniwersytetu Wrocławskiego
2014
|
| Series: | Musicologica Wratislaviensia
10 Acta Universitatis Wratislaviensis 3604 |
| Subjects: | |
| Online Access: | Abstract Inhaltsverzeichnis |
| Physical Description: | 292 Seiten Illustrationen 24 cm |
| ISBN: | 9788322934531 |
Staff View
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| adam_text | On the Musical Front
The Socialist Realist Discourse on Music in Poland
in 1948-1955
Summary
The book examines the discourse on music in Stalinist Poland between Î948 and 1955. 1 am inter-
ested in various opinions about contemporary music as well as history of music formulated at the
time in speeches by representatives of the government, treatises on musical aesthetics and theory,
musicological analyses, biographies of composers, reviews of musical works or feature films devoted
to composers. My study is one of the first attempts in music studies to provide a thorough analysis of
one of the fundamental aspects of musical culture in Stalinist Poland.
In it I have used written, film as well as iconographie sources. The written sources include contri-
butions of participants in the hierarchical communication in musical culture of the socialist realism
era — from President Bolesław Bierut through musicologists, music critics, composers, musicians and
music promoters to listeners. The listeners range from the mass audience of the film hit of Polish so-
cialist realism, i.e. Young Chopin by Aleksander Ford, participants in talks talking place before popular
concerts, visitors to the Chopin exhibition at the National Museum in Warsaw, readers of popular
monographs devoted to composers or works of fiction devoted to Fryderyk Chopin’s biography,
to readers of musicological treatises and participants in various meetings in musical circles.
In Chapter Two, The hierarchical structure of the discourse on contemporary musicy I discuss the
debate about contemporary music taking place in 1948—1955 from the perspective of the hierarchy
of opinions expressed in it. Following Janusz Sławiński, I make a distinction between statements
by mentors (“leaders of the ideological front”; in the context of music this function was performed
only by the then Deputy Minister and Minister of Culture and Art, Włodzimierz Sokorski), trend set-
ters (“key figures of postulating criticism”; in music they were represented by the influential music-
ologist Zofia Lissa) and executors — authors of daily reviews. In their programme statements the
mentors pointed to music’s tasks stemming from the communist party’s policy at the time. In turn,
the trend setters translated general premises into detailed programmes they promoted among the art-
ists. The executors, on the other hand, followed these criteria and recommendations in their everyday
work as reviewers of the composers’ work.
In the first part of the chapter I analyse first of all archived minutes of meetings featuring musi-
cians and representatives of the government, during which the mentor formulated norms for com-
posers, while trend setters pointed to directives to be followed in their implementation. Analysing the
various meetings from 1948 to 1955,1 have pointed to changes in the debate in question. Włodzimierz
Sokorski and Zofia Lissa praised or criticised selected works of Polish composers. Thus they indicat-
ed the artists’ successes as well as failures in their pursuit of the socialist ideal. On a daily basis the
284 SUMMARY
progress in Polish music was assessed by music critics and musicologists. Verification of composers
achievements by the executors is the subject of the next part of Chapter Two. The most important
phenomenon examined in this part may be the tension between the work of the executors and of the
trend setters. The executors reviews in which the label of formalism was applied to most contempor-
ary compositions was very badly received by the trend setters. It is, therefore, extremely important
to place the executors opinions in the discussion about contemporary music. In general, they were on
its margins. Their reviews were published in second-tier journals and their negative (and aggressive)
message was an exception among all the others.
An analysis of three studies by Zofia Lissa devoted to the aesthetics and theory of music fills
Chapter Three: Exegesis and rationalising legitimation in the discourse on the aesthetics and theory of
music. Each of the studies constituted an exegesis in musicology of Lenin s and Stalin s concepts
and fitted in well with the totalitarian state s propaganda campaign focused on the publication of the
writings of party leaders. What makes the studies in question characteristic is a unique intertextual
relation — or anti-intertextual relation, as Michał Głowiński would have it — between Lissa s own
deliberations and Stalin’s and Lenin s works. Every reference to their thoughts, whether by means
of a quotation, description of views or reference to comments by other authors, confirmed the ana-
lysed idea. They were never subject of criticism; on the contrary, Lissa’s studies are full of statements
glorifying the values of their works. This type of uncritical, dogmatic, unilateral interpretation not
allowing any deviations was described as exegesis by Maria Janion, who saw in it a dangerous form of
hermeneutics practised in totalitarian states. Lissa s deliberations were an intellectual construct; they
were meant to legitimise socialist realism as a new artistic style in Polish music. Following Marcin
Zaremba s proposal, I have called this type of legitimising strategy a rationalising legitimation.
Chapter Four, Hagiography and narrative legitimisation in the discourse on the history of music, is
devoted to an analysis of texts dealing with the history of music and written in the Stalinist period.
Contributions concerning the history of the art of sounds, both with reference to selected historical
periods and biographies of composers as well as their musical works, became a powerful institution
serving to legitimise socialist realism. Stories dealing with the history of music, taken up in numerous
articles, lectures, speeches, academic treatises, museum exhibitions, iconography, feature films, film
chronicles and stagings of operatic works, were to legitimise the Stalinist aesthetic order by demon-
strating a continuity between the artistic past and present. Historians did not seek to find traditions
with some affinity to the present but tried to make them up, which obviously meant that the images
of selected composers and historical periods had to be adapted to suit the contemporary aesthetic and
personal ideals. It is not surprising in this context that Johann Sebastian Bach and Fryderyk Chopin
became some of the most important patrons of the present, while musical Renaissance became a per-
iod particularly close to it.
The hagiographie category mentioned in the title suggests the presence of a fixed pattern of repre-
senting biographies and works of positively viewed artists. Boris Groys has pointed out that this was
not about history but a sort of hagiography, which was to accompany the creation of a hierarchical
figure devoid of individuality. In Poland, this pattern comprised nine determinants: “there was a false
image of their life and work, “they lived in an era of revolutions, class struggle and peasants misery,”
“they grew up politically under the influence of the masters,” “they disliked the privileged classes,”
“they distanced themselves from religion,” “they sympathised with the oppressed classes,” “they had
Russian friends,” “their works were inspired by the revolution” and “they drew on folk music.”
The phenomena in question disappeared sixty years ago. When summing up my reflections,
I looked once again at the Stalinist period from the perspective of “the long term,” this time taking
into account the time after 1955, i.e. I took into consideration the possible consequences of the pro-
cesses in question. For Janusz Sławiński the Stalinist period was a “point of reference” for later literary
discussions, yet historians of 20th century musical culture have hitherto not examined a similar prob-
SUMMARY 285
lem in a broader context, limiting themselves to explaining the explosion of interest in new music in
Poland by citing the preceding socialist realist “captivity” as the reason.
We should, however, ask the following question: how was the reception of the musical avant-
garde in Poland affected by the seemingly surprising similarity between socialist realism and the
avant-garde, a similarity pointed out by many scholars? Historiosophical views shared by the two
formations meant that the argument that composers’ work was determined by historical necessity
came first from the East, only to return unexpectedly after 1955 from the West. Then it was almost
immediately rejected officially. Was it not the case that the asemantic nature of their musical works
almost obsessively declared by a majority of Polish artists was associated with a repulsion of what was
a fundamental premise of the official aesthetics of the 1940s and 1950s, i.e. that artists’ works should
reflect reality? In the future we should also answer the question as to how the consolidation of the
stereotype of Chopin quoting authentic folk melodies in his works was influenced by the images from
Young Chopin by Aleksander Ford, the most important and the most popular film biography of the
composer.
Translated by Anna Kijak
Spis treści
Wprowadzenie .......................................................................... 9
Rozdział I · Zagadnienia wstępne
1. Przedmiot pracy ................................................................... 15
2. Inspiracje teoretyczne i metodologiczne ........................................... 19
3. Źródła do badań ................................................................... 24
4. Stan badań ........................................................................ 26
Rozdział II · Hierarchiczny układ wypowiedzi w dyskursie o muzyce współczesnej
1. Mentorzy i ustawiacze — formułowanie norm i dyrektyw ............................. 39
1.1. „... czas wielki, by postawić u nas zagadnienie”........................... 39
1.2. „...można dziś wymagać od naszych kompozytorów”............................ 42
1.3. . .kierunek wytyczony jest jasno i cel musi zostać osiągnięty”............. 46
1.4. „...nie ma przejścia z języka modernistycznego do języka realistycznego”... 56
1.5. „...epigonizm pozostaje epigonizmem, czy dotyczy Moniuszki czy też Hindemitha” 64
1.6. „.. .nie należy wysnuwać wniosku, że teraz można robić, co się komu żywnie podoba” 65
1.7. „...powinniśmy popierać, kultywować i kształtować nawet muzykę wielostopniową” 73
2. Mentorzy i ustawiacze — udzielanie nagan i pochwał................................ 77
3. Egzekutorzy — wypominanie błędów................................................... 89
Rozdział III · Egzegeza i legitymizacja racjonalizacyjna w dyskursie o estetyce
i teorii muzyki
1. Egzegeza Leninowskiej teorii odbicia ............................................. 102
2. Egzegeza Stalinowskiej koncepcji języka .......................................... 119
3. Egzegeza Stalinowskiej charakterystyki praw naukowych ............................ 132
Rozdział IV · Hagiografia i legitymizacja narracyjna w dyskursie o historii muzyki
1. Żywoty równoległe kompozytorów ................................................... 146
1.1. .. .fałszywie przedstawiano jego życie i twórczość ........................ 156
1.2. .. .żył w epoce rewolucji, walki klas i niedoli chłopów.................... 159
1.3. ... dojrzewał pod wpływem mistrzów......................................... 161
1.4. ... odczuwał niechęć wobec klas uprzywilejowanych ......................... 169
1.5. .. .dystansował się wobec religii.......................................... 176
1.6. .. .sympatyzował z klasami uciskanymi ..................................... 182
1.7. .. .przyjaźnił się z Rosjanami ............................................ 190
1.8. .. .pisał dzieła inspirowane rewolucją..................................... 191
1.9. .. .czerpał z muzyki ludowej............................................... 207
8
SPIS TREŚCI
2. Leona Schillera reinterpretacja oper Stanisława Moniuszki ........................ 217
3. Elementy ciągłości w przedstawieniach kompozytorów ................................ 233
4. Renesans w muzyce — tradycja wymyślona realizmu socjalistycznego................... 249
Zakończenie .......................................................................... 259
Bibliografia ......................................................................... 266
Summary............................................................................... 283
Indeks osób........................................................................... 286
|
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| format | Book |
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| series | Musicologica Wratislaviensia Acta Universitatis Wratislaviensis |
| series2 | Musicologica Wratislaviensia Acta Universitatis Wratislaviensis 3604 |
| spelling | Wieczorek, Sławomir 1983- Verfasser (DE-588)1083284126 aut Na froncie muzyki socrealistyczny dyskurs o muzyce w Polsce w latach 1948-1955 = On the musical front Sławomir Wieczorek On the musical front Wrocław Wydawnictwo Uniwersytetu Wrocławskiego 2014 292 Seiten Illustrationen 24 cm txt rdacontent n rdamedia nc rdacarrier Musicologica Wratislaviensia 10 Acta Universitatis Wratislaviensis 3604 Zusammenfassung in englischer Sprache Geschichte 1948-1955 gnd rswk-swf Muzyka / Polska / 1945-1970 / historia i krytyka jhpk Realizm socjalistyczny (muzyka) / Polska jhpk Muzyka / teoria / historia / Polska / 20 w Realizm socjalistyczny / muzyka polska Sozialistischer Realismus gnd Musik gnd Musik (DE-588)4040802-4 gnd rswk-swf Sozialistischer Realismus (DE-588)4055848-4 gnd rswk-swf Polen gnd Polen (DE-588)4046496-9 gnd rswk-swf Polen (DE-588)4046496-9 g Sozialistischer Realismus (DE-588)4055848-4 s Musik (DE-588)4040802-4 s Geschichte 1948-1955 z DE-604 Musicologica Wratislaviensia 10 (DE-604)BV021678264 10 Acta Universitatis Wratislaviensis 3604 (DE-604)BV004668106 3604 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=028069171&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Abstract 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=028069171&sequence=000002&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Wieczorek, Sławomir 1983- Na froncie muzyki socrealistyczny dyskurs o muzyce w Polsce w latach 1948-1955 = On the musical front Musicologica Wratislaviensia Acta Universitatis Wratislaviensis Muzyka / Polska / 1945-1970 / historia i krytyka jhpk Realizm socjalistyczny (muzyka) / Polska jhpk Muzyka / teoria / historia / Polska / 20 w Realizm socjalistyczny / muzyka polska Sozialistischer Realismus gnd Musik gnd Musik (DE-588)4040802-4 gnd Sozialistischer Realismus (DE-588)4055848-4 gnd |
| subject_GND | (DE-588)4040802-4 (DE-588)4055848-4 (DE-588)4046496-9 |
| title | Na froncie muzyki socrealistyczny dyskurs o muzyce w Polsce w latach 1948-1955 = On the musical front |
| title_alt | On the musical front |
| title_auth | Na froncie muzyki socrealistyczny dyskurs o muzyce w Polsce w latach 1948-1955 = On the musical front |
| title_exact_search | Na froncie muzyki socrealistyczny dyskurs o muzyce w Polsce w latach 1948-1955 = On the musical front |
| title_full | Na froncie muzyki socrealistyczny dyskurs o muzyce w Polsce w latach 1948-1955 = On the musical front Sławomir Wieczorek |
| title_fullStr | Na froncie muzyki socrealistyczny dyskurs o muzyce w Polsce w latach 1948-1955 = On the musical front Sławomir Wieczorek |
| title_full_unstemmed | Na froncie muzyki socrealistyczny dyskurs o muzyce w Polsce w latach 1948-1955 = On the musical front Sławomir Wieczorek |
| title_short | Na froncie muzyki |
| title_sort | na froncie muzyki socrealistyczny dyskurs o muzyce w polsce w latach 1948 1955 on the musical front |
| title_sub | socrealistyczny dyskurs o muzyce w Polsce w latach 1948-1955 = On the musical front |
| topic | Muzyka / Polska / 1945-1970 / historia i krytyka jhpk Realizm socjalistyczny (muzyka) / Polska jhpk Muzyka / teoria / historia / Polska / 20 w Realizm socjalistyczny / muzyka polska Sozialistischer Realismus gnd Musik gnd Musik (DE-588)4040802-4 gnd Sozialistischer Realismus (DE-588)4055848-4 gnd |
| topic_facet | Muzyka / Polska / 1945-1970 / historia i krytyka Realizm socjalistyczny (muzyka) / Polska Muzyka / teoria / historia / Polska / 20 w Realizm socjalistyczny / muzyka polska Sozialistischer Realismus Musik Polen |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028069171&sequence=000001&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=028069171&sequence=000002&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV021678264 (DE-604)BV004668106 |
| work_keys_str_mv | AT wieczoreksławomir nafronciemuzykisocrealistycznydyskursomuzycewpolscewlatach19481955onthemusicalfront AT wieczoreksławomir onthemusicalfront |