Mazurek fortepianowy w muzyce polskiej XX wieku:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Polish |
| Veröffentlicht: |
Kraków
Musica Iagellonica
2013
Bydgoszcz Wydawnictwo Uczelniane Akademii Muzycznej im. F. Nowowiejskiego |
| Schlagworte: | |
| Online-Zugang: | Abstract Inhaltsverzeichnis |
| Beschreibung: | Zsfassung in engl. Sprache Bibliogr. s. 265-274. Indeks |
| Beschreibung: | 293, [1] s. il. 24 cm |
| ISBN: | 9788370991890 9788361262176 |
Internformat
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| 264 | 1 | |a Kraków |b Musica Iagellonica |c 2013 | |
| 264 | 1 | |a Bydgoszcz |b Wydawnictwo Uczelniane Akademii Muzycznej im. F. Nowowiejskiego | |
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| 500 | |a Zsfassung in engl. Sprache | ||
| 500 | |a Bibliogr. s. 265-274. Indeks | ||
| 648 | 7 | |a Geschichte 1900-2000 |2 gnd |9 rswk-swf | |
| 650 | 7 | |a Mazurki (fortepian) / 20 w / historia i krytyka |2 jhpk | |
| 650 | 7 | |a Muzyka / Polska / 20 w / historia i krytyka |2 jhpk | |
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Datensatz im Suchindex
| _version_ | 1804174827200708608 |
|---|---|
| adam_text | Spis treści
Zagadnienia wstępne......................................................7
Rozdział I. ŹRÓDŁA DWUDZIESTOWIECZNEGO MAZURKA
FORTEPIANOWEGO.......................................................17
1. Proces modelowania gatunku — geneza rytmów mazurkowych...........18
2. Mazurek przed Chopinem — między funkcyjnością a autonomią........24
3. Mazurek Chopinowski — paradygmat gatunku..........................28
4. Mazurek pochopinowski — idealizacja wzorca........................34
Rozdział II. MAZUREK FORTEPIANOWY W XX WIEKU. RECEPCJA
GATUNKU..............................................................38
1. W kręgu tradycji postromantycznej. Lata 1900-1920 ............... 40
2. W poszukiwaniu nowej brzmieniowości. Lata 1920—1945.............. 43
3. Asymilowanie nowych środków wyrazu. Lata 1945-2000............... 55
Rozdział III. TWÓRCY MAZURKÓW FORTEPIANOWYCH............................62
1. Epigoni romantyzmu................................................63
2. Karol Szymanowski — twórca nowego idiomu brzmieniowego............72
3. Aleksander Tansman — paryski neoklasyk............................86
4. Roman Maciejewski — niepokorny kontynuator........................96
5. Witold Friemann — sukcesor romantycznej tradycji.................108
6. Bogusław Schaeffer — modernista poszukujący......................117
7. Henryk Mikołaj Górecki — nowy interpretator dziewiętnastowiecznej tradycji . . .123
8. W nurcie nowej tradycji..........................................127
Rozdział IV. RECEPCJA CHOPINA..........................................155
1. Elementy stylu i dziel Chopina...................................156
Tonalność i harmonika............................................157
Melodyka.........................................................162
Toposy...........................................................163
Intonacje mazurkowe............................................ 166
293
Spis treści
Reminiscencje i aluzje..................................................167
Cytaty..................................................................170
Rytmika.................................................................171
Składnia i forma .......................................................174
2. Idiomy stylistyczne i idee kierunkowe....................................176
Idiomy stylistyczne.....................................................176
Idee kierunkowe.........................................................179
3. Strategie dziedziczenia..................................................181
Naśladowanie idiomu Chopinowskiego......................................181
Integrowanie elementów Chopinowskiego idiomu............................183
Dialog z tradycją Chopinowską...........................................186
4. Wartości, znaczenia, funkcje.............................................188
Rozdział V. DWUDZIESTOWIECZNA POETYKA GATUNKU..................................191
1. Środki tonalno-harmoniczne...............................................192
2. Formuły melodyczne.......................................................199
3. Wzorce rytmiczne.........................................................205
4. Zasady kształtowania i idee formalne.....................................211
5. Gatunkowe konotacje......................................................221
6. Mazurek jako „forma symboliczna”.........................................223
Aneks I. Polskie mazurki fortepianowe 1900-2000 ...............................230
Aneks II. Mazurki na fortepian — dyskografia...................................260
Aneks III. Mazurki na fortepian Jacka Rabińskiego. Źródła melodii ludowych.....262
Literatura cytowana........................................................... 265
Indeks.........................................................................275
Spis przykładów nutowych, tabel i fotografii...................................283
Abstract.......................................................................287
Bayerische
Staatsbibliothek
»München
Abstract
Cultural phenomenon of piano mazurka, since Chopins time one of the
most important forms of artistic expression shaped by the Polish musical tra-
dition, is evidenced by numerous valuable compositions that were no less sig-
nificant in the 20th century than in the 19th century, which is in the time of
domination of the Romantic paradigm and national culture that flourished on
its ground. The history of the ‘development’ of the problem, which the recep-
tion of the piano mazurka in the 20th-century Polish culture certainly is, indi-
cates mazurkas special place in this particular culture. Piano mazurka became
the emanation of certain values of the culture, the expression of spirituality
searching for its identity in a new historical reality.
The book presented to the readers takes on the phenomenon from two
perspectives. The first one is the perspective of the genre treating individual
musical works as illustrations of certain cultural tendencies, artifacts embody-
ing concepts and values important in a particular moment in history. Mar-
tin Heideggers words validate this perspective: ‘...the heart of the matter is
suggested in a general idea of the genre that defines a single something as
being of equal importance for many’. The second perspective, complementary
to the first one, takes as its starting point the musical work viewed as a unique
cultural phenomenon, an individual creation, unique for its sound, structural
and expressive qualities, characterized by a special constellation of inner- and
at times extra-musical meanings. This perspective appears to be a necessary
complement to the conceptual modeling not only due to a need of grasping
the original qualities and special artistic value of the work of art. It was also
287
Abstract
due to the unique character of the 20th-century music that — as Maciej Gołąb
wrote — lacks [...] its own fundament in [tonal] system or compositional
techniques as they were understood in the pásť. The autonomy of composi-
tional poetics characteristic of this century requires their advance deciphering
so that comparative analyses would allow selecting features that define identity
of the genre, community of ideas and values constituting each work.
The music put under discussion herein includes piano mazurkas com-
posed between 1900-2000 by artists who affirmed their belonging to the
Polish culture by both their works and other forms of expression that mani-
fest their cultural ties with Poland. This large collection of musical works
consists of mazurkas written by composers thriving both in Poland (Szy-
manowski, Szeluto, Różycki, Friemann, Woytowicz, Lefeld, Kazuro, Elder,
Schaeffer, Kilar, Górecki, Borkowski, Sawa...) and abroad — as a result of
historical events (Maciejewski, Szałowski, Kassern, Radzyński) or indepen-
dently of those circumstances, deciding to settle in other European (Tans-
man, Rabínski) and American (Stojowski, Łabuński) music centers. The mu-
sic collection of over 500 works includes mazurkas by composers belonging
to several generations, pieces representing various stylistic trends, composed
during times when different cultural paradigms reigned. Its artistic multi-
dimensional value lays in the fact that it helps to notice various mediated
artistic experiences and expressions of the frame of mind in each individual
composition, as well as observe a gradual transformation of the 19th-century
stylistic model of piano mazurka heading in the 20th century toward a new
sound form.
In the five main chapters of the book an attempt is made to discuss the
subject from various and most important perspectives. The first chapter fo-
cuses on the DNA of the phenomenon: the process of the genre s modeling,
emphasizing the role of the characteristic mazurka rhythms’; the situation
of mazurka before Chopin, when it was considered half-functional and half-
-autonomous music; Chopin mazurka gaining the benchmark status; and ma-
zurka of the post-Chopin period, where the idealization of the composers
model has taken place. In the second chapter historical and cultural contexts
of the 20th-century mazurkas have been defined, considered in three separate
periods: first one, lasting (symbolically) from 1920, when mazurka continued
to remain under the influence of post-Romantic tradition; second one, be-
tween the years 1920-1945 — marked with a search for new sound idiom; and
288
Abstract
the third one, lasting until the century s end, characterized by assimilation of
the new means of expression. The third chapter outlines individual works and
collections of mazurkas through the prism of two aesthetic attitudes — epig-
ones of Romanticism, and advocates of new means of expression. Mazurkas
by the most prominent composers of the genre, K. Szymanowski, A. Tans-
man, R. Maciejewski, W. Friemann, B. Schaeffer, and by H. M. Górecki, are
discussed separately herein. The research perspective adopted in the chapter
four looks at the relationship between the 20th-century mazurka and that of
Chopin, specifically relating to elements of the composers style and works,
stylistic idioms characteristic to his music and trends current at the time. It is
manifested by creative strategies, adapted values, as well as meanings and roles
the works had been assigned. The final chapter five focuses on tendencies and
regularities of the notion constituting the 20th-century poetics of the piano
mazurka: tonal-harmonic means, melodic formulas, rhythmical patterns, prin-
ciples of development and formal ideas, genre s connotations and symbolism
of the mazurka.
Important to such an approach are applied terms and analytical cat-
egories, since it is ‘in the terms that we enclose certain contents derived
from experience (M. Heller). The main ones are stylistic categories used
in contemporary theoretical studies of the matter considered, in particular
the concepts formulated by Mieczysław Tomaszewski in his most recent
publications, which the author employs to characterize the essence of the
sound idiom of Chopin s music. Their adaptability to structural forms found
in the 20th-century mazurkas was dictated by both the genre s convention
and the influence of Chopins idiom on Polish music in the 20th century.
On the other hand, the means and techniques of the 20th-century music
that did not fall into any of Tomaszewski s categories due to the historic na-
ture of the artistic phenomenon that Chopin music is, were explained with
the help of other existing typologies. A theoretical concept that delineated
a general framework for the discourse on both structural and sound qualities,
as well as expressive-semantic properties of piano mazurkas was proposed
by Władysław Stróżewski who saw the work of art in three perspectives
— ontological, semiological and axiological that found their continua-
tion in the three concepts of the form: structural, symbolic and axiological.
To analyze the piano mazurka phenomenon as the embodiment of both
composers strategies and their esthetic choices, Leonard B. Meyer s style
289
Abstract
categories have been used. The issue of relationship between a work and oth-
er musical artifacts or presentation styles was discussed based on theoretical
concepts that emphasize the importance of intertextuality and purposeful-
ness of clashing different artistic statements with one another (J. Kristeva,
R. Hatten). However, Gadamer’s hermeneutic horizon guided the interpreta-
tion of piano mazurkas and revealed its methodological necessity especially
in those chapters of the book where the task of explication of the meaning
embodied in individual works and of defining the place of this music in the
Polish musical culture of the 20th century, its importance and values per-
ceived from the perspective of a modern recipient, was taken up. With the
help of the interpretative compass indicated above, the last chapter of the
book aims at grasping the piano mazurka as a symbolic form , i.e. such that
when placed in the historical context not only reveals To the researcher’s
eye the multiple semantic relationships’, but also answers questions that
are important for the human existence’ (A. Grzeliński), revealing its truth.
Heidegger wrote the following: Embedding truth in a work of art means
creating such a being that has never existed before, and such that will not
come into existence ever again.
This aspect of meaning of piano mazurka was earlier noticed in musico-
logical works that focused primarily on Chopins music, music of the 19th
century and musical sources of the mazurka. Among those, especially impor-
tant for shaping the concept of this book were Mieczysław Tomaszewski s
monographs on Chopin. Valuable arguments and interpretations of various
stylistic phenomena relating to piano mazurka and its genesis were provided
by analytical studies of other researchers, including H. Windakiewiczowa,
K. Hławiczka, E. Dahlig-Turek, L. Bielawski, J. Stęszewski and Z. Stęszewska,
D. Idaszak.The question of the 20th-century mazurka has not been comprehen-
sively reflected upon thus far. The collection of mazurkas that music historians
and theorists have paid special attention to was primarily Karol Szymanow-
ski’s output (A. Chybiński, S. Łobaczewska, J. M. Chomiński, T. Chylińska,
L. Bielawski, T. A. Zielinski, M. Janicka-Slysz). It is only the turn of the 21st
century that marks an increased scholarly interest in mazurkas written by oth-
er 20th-century composers, in particular those by Roman Maciejewski and
Aleksander Tansman (J. Cegiełła, T. A. Zieliński), which was driven mainly
by a growing reception of their music. Earlier articles of the author are also
within that realm. The research questions posed in those articles have been the
290
Abstract
trigger for this book which is the first synthetic publication concerning the
reception of piano mazurka in the Polish music of the 20th century It presents
one particular approach (out of many possible) to the matter in question, not
only because the act of interpretation has no end’ (K. Berger). It is also due to
the fact that — as Umberto Eco wrote — By calling a certain form into being,
an artist makes it open to endless interpretational possibilities, [...] but also
because there will be an infinite number of different personalities interpreting
it, each with their own mind-set and way of being .
|
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| indexdate | 2024-07-10T07:06:34Z |
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| language | Polish |
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| publisher | Musica Iagellonica Wydawnictwo Uczelniane Akademii Muzycznej im. F. Nowowiejskiego |
| record_format | marc |
| spelling | Nowak, Anna 1953- Verfasser (DE-588)1136798226 aut Mazurek fortepianowy w muzyce polskiej XX wieku Anna Nowak Kraków Musica Iagellonica 2013 Bydgoszcz Wydawnictwo Uczelniane Akademii Muzycznej im. F. Nowowiejskiego 293, [1] s. il. 24 cm txt rdacontent n rdamedia nc rdacarrier Zsfassung in engl. Sprache Bibliogr. s. 265-274. Indeks Geschichte 1900-2000 gnd rswk-swf Mazurki (fortepian) / 20 w / historia i krytyka jhpk Muzyka / Polska / 20 w / historia i krytyka jhpk Mazurka (DE-588)4276508-0 gnd rswk-swf Klaviermusik (DE-588)4030993-9 gnd rswk-swf Polen (DE-588)4046496-9 gnd rswk-swf Polen (DE-588)4046496-9 g Klaviermusik (DE-588)4030993-9 s Mazurka (DE-588)4276508-0 s Geschichte 1900-2000 z DE-604 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=028074855&sequence=000003&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=028074855&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Nowak, Anna 1953- Mazurek fortepianowy w muzyce polskiej XX wieku Mazurki (fortepian) / 20 w / historia i krytyka jhpk Muzyka / Polska / 20 w / historia i krytyka jhpk Mazurka (DE-588)4276508-0 gnd Klaviermusik (DE-588)4030993-9 gnd |
| subject_GND | (DE-588)4276508-0 (DE-588)4030993-9 (DE-588)4046496-9 |
| title | Mazurek fortepianowy w muzyce polskiej XX wieku |
| title_auth | Mazurek fortepianowy w muzyce polskiej XX wieku |
| title_exact_search | Mazurek fortepianowy w muzyce polskiej XX wieku |
| title_full | Mazurek fortepianowy w muzyce polskiej XX wieku Anna Nowak |
| title_fullStr | Mazurek fortepianowy w muzyce polskiej XX wieku Anna Nowak |
| title_full_unstemmed | Mazurek fortepianowy w muzyce polskiej XX wieku Anna Nowak |
| title_short | Mazurek fortepianowy w muzyce polskiej XX wieku |
| title_sort | mazurek fortepianowy w muzyce polskiej xx wieku |
| topic | Mazurki (fortepian) / 20 w / historia i krytyka jhpk Muzyka / Polska / 20 w / historia i krytyka jhpk Mazurka (DE-588)4276508-0 gnd Klaviermusik (DE-588)4030993-9 gnd |
| topic_facet | Mazurki (fortepian) / 20 w / historia i krytyka Muzyka / Polska / 20 w / historia i krytyka Mazurka Klaviermusik Polen |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028074855&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=028074855&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT nowakanna mazurekfortepianowywmuzycepolskiejxxwieku |