Idea przestrzeni w muzyce:
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Uniwersytet Muzyczny Fryderyka Chopina
2015
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Datensatz im Suchindex
| _version_ | 1804175926336946176 |
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| adam_text | Concept of Space in Music
Summary
The present paper is the outcome of my research into space in music which although often accentuated in the theory of music still fails to be perceived as one of the main musical categories. Although as a rule spatial elements in music are not being questioned, music continues to be considered a temporal rather than spatial art. To modify this approach I attempted to present musical space as a category essential for the formation of a piece of music. I discuss space as the quantity that determined the concept, form and construction of a musical composition throughout centuries. I also point to the elements of music that can be perceived as related to space (pitch, span, lengthiness, dimension, depth, density, dynamics, power, energy).
In my opinion space in music is a concept that defines the way of forming music and a source of compositional strategies. The former refers to space as a category of actuality of music which sets the rules of existence of things as well as the forms of that existence, in this case music, as an object of cognition974. An approach to space in music as an aesthetic category complements this discussion. In this way, musical space can be understood as one of the ways of presentation of music imparting a definite aesthetic value and expressing recipient’s approach to the piece975, so musical space becomes an area of interpretation of musical phenomena.
Universal space can be seen as a source of compositional strategies, i.e. an area of potential subject matter reserves, options, patterns, inspirations, impulses and ideas that serve the purpose of creating music. It becomes a quantity determinant for the form of music being the environment in which music is created, performed, received and evaluated. This means that space can to a significant degree define the shape of music as there appear structural solutions similar to those that have been defined in relation to universal space. Space emerges in the musical structure and determines its formation and development parameters.
The present research proposals arise from my understanding of musical space as some kind of view of universal space built in the process of references to the space that can be seen and heard, as well as through its impact and the way it is experienced and represented. My observations showed that the rules and phenomena governing space, both perceived and experienced by man, form certain patterns to which composers refer, often ‘adjusting or ‘matching’ their works to fit them, struggling with their impact or sometimes even aiming to exceed them. At the same time they show a creative approach to these patterns carrying characteristics of an artistic vision and interpretation.
974 A. Podsiad, Kategoria (Category), in: Slownik terminow i pojfc filozoftcznych (Dictionary of Philosophical Terms ), Warszawa 2000, p. 435.
975 Ibid, p. 436.
285
Summary
The study of the music-space relationship shows that the two coexist which enables us to invest space with a new meaning as a fundamental sphere of realization of music. The aim of this study is as follows:
• to present the notion of musical space in historical perspective from the Middle Ages to modem times in relation to the changes in the understanding of universal space in philosophy, science and leading artistic concepts;
• to isolate crucial points depicting changes in the understanding of space as in the liberal arts in relation to transformations in the structure and concept of music;
• to single out and study spatial elements of music and musical space in relation to the phenomena of musical matter and form as well as the concept of a work of music, perception and reception of musical compositions and composition styles.
There has always been space in music. Although it has been more accentuated in our times (among others, with the birth of so-called spatial music by Edgar Varese, Karlheinz Stockhausen, Iannis Xenakis and spectral music composers), there was a phenomenon that can be defined as spatial thinking in music in all historical periods. Throughout the ages it coexisted with the concept of space in general as reflected in philosophy, the arts and sciences. Once manifestations of space are discerned in music it is easier to grasp its substance: narration, form, harmonic arrangements as well as the sphere of ideas and rules of actual sound presentation. It also helps to see musical phenomena as a structural and sound entity which seems crucial for analytical and interpretation processes976 because to a certain degree music is a set or a system of elements such as melodic patterns, harmonics and rhythm which at a certain level acquire a concrete form that corresponds with the auditory image of a given composition emerging in the surrounding space. This space described in scientific terms can be seen as an area where musical phenomena that emerge in a different dimension are formed.
Space in music can be perceived in many ways but one of them, a simple one, seems fundamental. It combines two perspectives: the objective nature of space as well as its subjective reception and perception by man that match the main tendencies in the perception of the universal space expressed in the natural sciences and the arts since time immemorial. At the same time the historical nature and simplicity of this approach, the most classic one, seems the most accurate because it defines as it were the primal order of these phenomena. It turns out it is the most inspiring because such a classification makes it possible to derive further interpretations of space, more diverse and more subtle. Thus a specific existential space is created (emphasized, among others, in architecture977) which combines natural space with its perception by man.
976 Proposed by Mieczyslaw Tomaszewski with reference to integral interpretation of music - id.. Interpretacja integra/na dziela muzycznego. Rekonesans (Integral Interpretation of Music. A Reconnais-sance Krakow 2000.
977 ‘architecture is the matter of emotions (...) the goal of architecture is to thrill’ - Le Corbusier, Vers une architecture ( W sfronç architektwy Warszawa 2012, p. 31.
286
Summary
Research basis in the light of specialist literature -space in the theory of music
The problem of space in music is not unknown to researchers. Abundant literature is devoted to different aspects of musical space as well as to problems related to music although from a perspective it boils down to random observations, sometimes essays, lectures or articles quoted in this paper, among them, by Ludwik Bielawski, Michal Bristiger, Pierre Boulez, Constantin Floros, Leszek Polony, Irena Poniatowska, Bohdan Pociej, Eero Tarasti, Mieczyslaw Tomaszewski. I attempted to find ‘spatial’ theoretical approaches in the concepts of such academics as, for instance, Heinrich Schenker, Hugo Riemann, Hermann Erpf, Ernst Kurth, Carl Dahlhaus, Manfred Bukofzer, Hans H. Eggebrecht, Jozef M. Chominski and Nicolai Hartmann, and also drew from reflections by eminent composers, among them Fryderyk Chopin, Gustav Mahler, Anton Webern, Karol Szymanowski, Boulez, Xenakis, Andrzej Panufnik and Witold Lutosiawski. In my paper, I devote some place to comprehensive studies relating to space in music, among them to Contemplating Music. Source Reading in the Aesthetics of Music by Dahlhaus, On Music Today by Boulez, Przestrzeh i
muzyka (Space and Music) by Polony as well as to interdisciplinary analyses. Space combined with time was dealt with by, among others, Bielawski in Strefowa teoria czasu i jej znaczenie dla antropologii muzycznej {Zonal theory of time and its significance for anthropology of music) and Slawomira Zeranska-Kominek Symbole czasu i przestrzeni w muzyce Azji Centralnej {Symbols of time and space in the music of Central Asia); Bristiger in his Forma wariacyjna w muzyce instrumentalnej renesansu {Variation in Renaissance instrumental music) discussed Renaissance instrumental compositions, Tarasti in A Theory of musical semiotics showed space in semiotic perspective, Zofia Lissa in O ciszy w muzyce {On Silence in Music) dealt with silence, Andrzej Rakowski and Andrzej Miskiewicz discussed music in acoustic space in Wysokosc, glosnosc i barwa — badanie wymiarow wrazeniowych dzwigkow muzycznych {Pitch, loudness and timbre — a study of musical sounds sensory dimensions) while Floros pointed to the impact of space on the structure of music in Mahler’s symphonies in Gustav Mahler The Symphonies.
Methodology and structure of the paper
My research is based on philosophical, aesthetic and cosmological reflections on universal space and space in music and arts from antiquity to this day, mainly Aristotle, Plato, Saint Augustine, Boethius, Saint Thomas Aquinas, Descartes, Gottfried W. Leibniz, Isaac Newton, Arthur Schopenhauer, Edmund Husserl, Edith Stein, Max Bense, Gaston Bachelard, Bernhard Riemann, Albert Einstein, Alfred N. Whitehead, Roman Ingarden, André Gide, Witkacy, Leon Chwistek, Wfadyslaw Strzemihski, Chominski, Wladyslaw Strozewski, Maurice Merleau-Ponty, Umberto Eco, Bielawski, Bristiger, John A. Sloboda, Rakowski, Walter J. Ong, Brian C. J. Moore, Alexandre Koyré, Jacques Le Goff, Boulez, Xenakis, Polony, Roman Duda, Mieczyslaw Porçbski,
287
Summary
Robert Pilat, Michai Heller, Zeranska-Kominek, Alicja Jarz^bska, William J. T. Mitchell, Le Corbusier, Marcin Poprawski, Steen E. Rasmussen, Maria Misiqgiewicz. Their reflections can be considered a basis for observation of changes that affected the concept, sense and evolution of musical space from the Middle Ages to the present. Drawing from the leading opinions indicated in the sciences and arts I attempted to grasp moments significant for the transformation of the concept of space and to confront them with the most distinctive, in my opinion, moments when the conception of space in music changed.
My intention was to provide proof of the presence of space in music. There is more to the problem of space in music than it just being a metaphor for if it were so the majority of problems relating to the structure and nature of music would boil down to this concept. Space in music appears to be rather a question of reference, often very real, to the space of the surrounding environment as well as a response to the understanding of space prevalent in a given period, current at a given historical moment. It seems musical space can be understood as an artistic interpretation of environmental phenomena through imitation or drawing from existing patterns and their translation into the idiom of music, a transformation of an artistic vision. Each and every time, this is an act of creation of a new artistic space.
The present study concentrates on finding these relations with reference to the concept and structure of music as such. This is an interdisciplinaiy study as I drew from different scientific and artistic disciplines in an attempt to discern interrelations between them and music reflected in the form of music and the style of organization of musical expression from the perspective of musical space I devote a lot of attention to the idiom of musical expression, often referring in my research to the structures of a higher order where the traditional elements of a composition play an essential although not a primary role. The presented approach to space in the structure of music is of phenomenological character as it focuses on the examination of an artistic oeuvre as a Husserlian phenomenon, i.e. examination of that whose manifestation is clear, of that which is before us978. I am inclined to follow the method of theoretical thinking and logical acting founded on ‘spiritual observation and description of what we see’979 as formulated by Jozef M. Bochenski, of what we get as a result of direct cognition based on the reception of the sound of music and realization of the piece in acoustic conditions, a sine qua non for any genuine cognition despite the fact that it refers to a system of signs, i.e. the score. Examination of the inmost substance, according to the phenomenological rule of the ‘return to things-in-themselves% equals articulation of a phenomenon980, in this case a musical composition experienced in a musical space perspective.
The adopted assumptions allowed me to examine musical space from the point of view of changes in the concept of universal space in historical perspective with reference to selected scientific, philosophical, aesthetic and theoretical interpretations (in relation to music and other fine arts). My deliberations comprise the following stages:
978 E. Husserl, Ideen zu einer reinen Phaenorneno/ogie undphaenomenologischen Philosophie. Erstes Buch (Idee czyystej fenomenologii ifenomenologicznej fdozofti. Ksifga pierwsza), Warszawa 1975.
979 J. M. Bochenski, Wspó/czesne metody mvsienia (Modern Methods of Reasoning), Poznan 1993, p. 24.
980 Ibid, p. 29.
288
Summary
L Origins of musical space - universal space as a source and inspiration for creating space in music. Space is presented in the deepest reflection possible to approach the essence of musical space, set certain frames and priorities. This reflection includes topics dealing with the following:
• nature of musical space, spatial nature of sound, role of sound phenomena in perception of space, phenomena of ‘music syntax’ that reflect the structures of universal space;
• definition of musical space in general terms that outline the areas of ‘external’, ‘internal’, and ‘measured’ space in relation to the physical phenomena in nature and the universe. This space determines such qualities as entity, situation and depth of ‘experienced’ space bearing on man’s perspective, his ability to perceive and experience spatial phenomena that define ideas in music and the principles of organization of space: ‘empty’ and ‘filled up’, ‘pure’ space, the space of form and spatial phenomena in the structure of music, and the space of ‘tone’;
• universal and human space in musical harmony (harmonia mundi);
• evolution of musical space seen as a drive from a closed world to a boundless universe.
2. Space in music as a dimension — within the range of experienced, measured and defined space. Space in music seen from the perspective of objective parameters, dimensions, sizes, forms, as well as an element providing creative inspiration and a pattern of artistic phenomena. Here I discuss the following:
• nature of musical space as a medium and source of composition writing strategies;
• quantities such as span and lengthiness that determine the form, depths and dimensions of music;
• harmony as a manifestation of ‘musical geometry’;
• quantities describing musical space as measured and defined i.t. force, dynamics, energy, tension, density and volume in musical structure;
• space in music as a process in the context of time and movement measures, mathematical structures, openness, continuity, reproductions, and functions.
3. Space in music as experience — within discerned and imagined space. This part of my paper introduces an opposing understanding of space that springs from man’s experience and perception described, among others, in phenomenology. Emphasis is on the space experienced and created by a composer. Here, I concentrate on perception of space in music by philosophers, among others, Bense (space versus beauty in art), Bachelard (topography of space experienced and imagined), Husserl (phenomenological concepts of space in music), Stein (concept of empathy in relation to musical phenomena), and Schopenhauer (spatial approach to music). Presented are selected concepts of space in fine arts, literature, architecture and sculpture, taking into account the most vital aspects of the changes in the perception of artistic space.
In the light of the above I singled out the following turning points that determined the changes in the understanding of space in the humanistic thought and the accompanying transformations in the organization of musical space:
289
Summary
Aristotle’s Topos - Concepts of a closed Narrow-range melodies,
concept of space universe; concept of a place traditional music, music form,
as a place in local and its limits tone as a border between the
perspective internal structure and the
external manifestation of music,
music form as a form of tone,
sonology and sonorism
Plato’s chora --- Syncretism, combination of Moments without sound in
understanding of space art and human thought music, extramusical concepts in
as a reflection of an composition
idea
Space as an entity, Icon, mosaic, directness of Concept of musical integrity,
logos of Parmenides artistic presentation cantus planus
of Elea
Antique concepts of Universal phenomena as Punctual constructions of
atoms and particles as the structure and system of musical structure (from chorale
forming the structure connections to punctualism and minimal
of space music)
Harmonia miindi in Renaissance symmetry and Concepts of harmonics,
Pythagorean thought perspective symmetry, and proportion in
music as a reflection of the
universal order (Renaissance
polyphony), harmonics and
counterpoint, classical tonality
and harmonics, Neoclassicism
Situation in space Late-Mediaeval Organum as liberation of the
and its manifestations scholasticism as liberation space of voices
in Thomas Aquinas’ of sensual perception of
reflections reality, Gothic architecture
Extensiveness as Light and shade contrasts Articulation in music, sound
the main attribute of form, sensitivity to expression
space in Descartes’ and tone (17th-century musica
philosophy (space of prattica)
position, form and size)
Newton’s absolute New world order, modem Concept of absolute in music,
space, dynamics, ‘arrow of time’(entropy) sound continuum, dynamics as
gravity, continuum an element of music, structure
of music as movement, ‘drive
at’ (motet, Beethoven)
Leibniz’s space as Organization of space as Spatial forms in music (fugue)
a system of locations regards the form and order
of locations
290
Summary
Going beyond the Phenomenological concepts, Experiments with new sounds,
three-dimensionality space as an experience, harmonics and new dimensions
of space in Riemann’s internal experience of in music (Chopin, Liszt,
geometry space, onirist topographies Mahler)
and interiorization of
space (Bachelard), Kubist
experiments with space,
experiments with a new
order in visual arts
Einstein’s theory New world order in time- Music as a substantiation
of relativity, space- -space perspective of time-space interrelations
-time continuum
Hilbert’s quantum Division of space, concept Musical abstraction, atonality,
mechanics and spaces of duration of the universe, colorism in music, concepts
Bergson’s multi-dimensional man, of spatial music (Varese,
spatialization of time concepts of unlimited Stockhausen, Xenakis),
Alain Connes’ universe, frozen form, spectralism in music, fractal
noncommutative intermingling of various structures, static form, musical
geometry kinds of arts and their image and landscape
characteristics, a change in
priorities
Apart from the crucial points I present the impact of space upon music in two aspects: as a medium of form (with reference mainly to so-called measured, defined space from the perspective of the natural sciences) and as a creative vision (from the point of view of innovative composition concepts in connection with space interpretation dominant in the humanities). Bridges spanning the two types of musical space perception form a grid of interrelations and interactions that can provide subjects for discussion and further deliberations. There is only one space but there are different ways of how it is manifested, perceived and defined by man continuously fascinated by this phenomenon.
The present study does not aspire to provide the final definition of space in music. It is rather an attempt at collecting proof of its existence. It may also provide an opening for a discussion, or at least become a fairly comprehensive introduction to such an exchange of ideas. It surely does not include references to all concepts of space in the humanist thought, arts and musical compositions. I do hope, however, it may inspire (or provide a point of departure) a different, new perception of musical phenomena and musical works, a broader approach to promote a more extensive knowledge of music. I believe my conclusions can inspire artists, mainly composers and performers looking for new elements in their creative techniques and for new forms of interpretation of music.
I intend to draw on the conclusions of my research presented in this paper together with analytical and interpretation tools in my future research, teaching and popularizing activities to promote science and art. I plan an English-language monographic publication devoted to the presentation of the ‘spatial’ approach to musical work and the phenomenon of music in a broader international perspective. In the near future, I also
291
Summary
plan to publish a book titled Przestrzen muzyczna jako zrodlo strategii kompozy tors kick (Musical Space as a Source of Composition Writing Strategies) dedicated to changes in organization of musical space in a number of selected compositions.
Translation: Malgorzata Stafiej
Indeks nazwisk*
Abraham Gerald Ernest Heal 214 Adler Guido 10, 110 Adorno Theodor 186 Aguila Jésus 150 Ajdukiewicz Kazimierz 11 Anaksymander 130 Amol Michal, wlasc. Buonarroti Michelangelo 276 Arystoteles 10, 17, 20, 27, 53, 54,
57, 83, 108, 110, 115, 118, 126,
131-134, 136, 140, 149, 157, 162, 163, 166 A sa (jew Boris 9 Aufray Jean-Paul 24 Augustyn sw. 20, 25, 113, 139 Auriol Pierre 149 Awicenna 141
Bacevicius Vytautas 110, 111 Bach Johann Sebastian 42, 56, 57,
62, 65,67, 68,81, 116, 117, 154, 162, 165, 174,210,214,219,
272, 275
Bachelard Gaston 20, 48, 56, 126-128, 151, 152, 208,211-215,217,219, 220, 268
Bacon Francis 115 Bagenal Hope 271,272 Ball Philip 95, 262 Balzano Gerald J. 146 Banach Stefan 53, 198, 200 Barlow Clarence 135
Bartok Béla 102, 111,257 Baudelaire Charles 204, 265, 268 Bauer-Lechner Natalie 109 Becker Judith 9
Beethoven Ludwig van 53, 65, 149, 162, 201,214, 218, 219,248, 250, 253, 256, 258, 259 Benade Arthur 99 Bense Max 20, 48, 208-210 Berger Karol 13 Bergson Henri 25 Bernhard Christoph 60 Besseler Heinrich 114, 120 Bielawski Ludwik 19, 20, 25, 29, 82, 92, 180, 198 Blake William 267 Blanchot Maurice 206 Blume Friedrich 78 Bochenski Jôzef Maria 21 Boecjusz 20, 83, 111, 112 Bolyai Jânos 174 Borkowski Marian 135, 136, 210 Borys Wieslaw 46 Bouasse Henri 99
Boulez Pierre 19, 20, 56, 71, 86—88, 134, 135, 150, 183, 185, 186, 195, 257, 275
Braque Georges 254 Brelet Gisèle 9
Bristiger Michat 11, 13, 19, 20, 83, 84, 168
Brockes Barthold Heinrich 68
* Nazwiska wystçpujgce wylgcznie w przypisach zapisano kursyvva. Tak samo zaznaczono numery stron, na ktôrych nazwisko pojawia siç tylko w przypisie.
279
Indeks nazwisk
BrozekAnna 140, 142 Bruno Giordano 116, 167, 169 Bruyne Edgar De 113 Brüggen Frans 270 Buczyñska-Garewicz Hanna 757, 205, 206,217, 221
Bukofzer Manfred 19, 40, 67, 120 Buxtehude Dietrich 174
Cage John 61 Calvino Italo 224 Cantor George 140 Caravaggio Michelangelo Merisi da 252
Cardano Hieronim 157 Carter Eliot 137 Cassirer Emst 130, 206 Cézanne Paul 262, 263 Chlopecki Andrzej 61, 62 Chominski Józef Micha! 9, 19, 20, 97, 99, 100, 136, 138, 139 Chomsky Noam 43, 44, 94 Chopin Fryderyk 20, 56, 65-67, 102, 149, 150, 177, 189, 201, 202, 210, 214,219, 269,270 Choron Alexander 119 Chrystus Jezus 62, 114 Chwistek Leon 20, 259, 264-266 Clarke Samuel 163, 164 Connes Alain 188 Corbusier Le 20, 26, 82, 140 Corelli Arcangelo 162, 210 Cowell Henry 150, 257 Crary Jonathan 261, 262 Crumb George 102, 177 Curtius Emst Robert 133
Dahlhaus Carl 19, 20, 76, 77, 79, 83,
95, 96, 119, 120, 234 Danecka-Szopowa Krystyna 36, 38, 114 Dang Thai Son 270 Dankowska Jagna 77, 108, 141 Dante Alighieri 267
D§bek Stanislaw 113, 114 Debussy Claude 87, 90, 150, 171 Degas Edgar 277 Demokryt 118, 130 Dobrzanska-Fabiañska Zofia 120 Doppler Christian Andreas 142 Drew James 186 Duda Roman 20, 131, 153,157, 174-176
Dziçbowska Elzbieta 100
Eco Umberto 20, 71, 72 Eggebrecht Hans Heinrich 13, 19, 281 Einstein Albert 20, 25, 27, 53, 163, 178, 186, 187, 204 Eisenman Peter 261 Eliade Mircea 38 Eliot Thomas S. 267 Elsner Józef 275 Empedokles 107 Epstein David 172, 182, 184 Erpf Hermann 19, 100, 149 Escher Maurits C 44 Euklides 27,53, 150, 115, 153, 163, 174, 193-194, 196, 204 Euler Leonhard 173 Evans Gareth 32
Falla Manuel de 150
Faraday Michael 178, 186
Fétis François J. 119
Floros Constantin 13, 19, 20, 109, 110
Forkel Johann N. 78
Frank Joseph 266
Fraser Julius Thomas 9, 10
Fréchet Maurice 199
Fubini Enrico 111, 112, 250, 251
Gadamer Hans-Georg 11 Galejew [Galeyev] Bulat 123 Galilei Vincenzo 128, 145 Galileusz, wlasc. Galileo Galilei 115, 118, 142
280
Indeks nazwisk
Gärdenfors Peter 103 Gassendi Pierre 165 Gaudi Antoni 275
Gauss Carl Friedrich 53, 163, 174, 177
Gehry Frank 261
Gide André 20, 66
Giotto Bondone di 251, 252
Glass Philip 135
Gmys Marcin 111
Goethe Johann Wolfgang 80, 270
Gogh Vincent van 95
Greimas Algirdas J. 218
Grisey Gérard 137
Gropius Walter 260
Günzel Stephan 203
Haber Francis C. 117
Hadid Zaha 261
Haendel Georg Friedrich 271
Halle Morris 44
Handschin Jacques 83
Hanslick Edward 53, 76, 79, 83, 141
Harley Anna Maria 122
Harnoncourt Nicolas 160, 161, 270
Hartmann Nicolai 19, 96
Hatten Robert 218
Hauptmann Moritz 97, 98
HausdorfF Feliks 176, 200
Haydn (Franz) Joseph 219
Hegel Georg Wilhelm Friedrich 78,
79, 83, 92, 95-98, 249-251 Heidegger Martin 10, 13, 25, 55, 90, 204, 206, 208, 278 Heine Heinrich, wlasc. Heine Harry Chaim 24, 270
Heller Michat 20, 109, 172, 182-184,
187-192 Helman Zofia 11 Helmholtz Hermann von 97 Heraklit z Efezu 155 Herbart Johann Friedrich 175 Herreweghe Philippe 68 Hesse Benedykt 141
Hilbert David 179, 189, 198, 199 Hildegarda z Bingen sw. 113 Hillis Miller J. 266 Hindemith Paul 145 Hoene-Wroñski Józef 121 Hoftmannsthal Hugo von 93 Horacy 276
Husserl Edmund 20, 21, 25, 27, 48,
55, 117, 130, 204, 205, 224-228, 230-235
Huygens Christiaan 165, 187
Ingarden Roman 9, 20, 47, 64, 70-72, 79, 141, 167, 168,198, 223,226, 264
Ives Charles 121, 202, 214 Izydor z Sewilli 112
Jakimowicz Irena 75 Jakobson Roman 28 Jan od Krzyza sw. 114 Jan sw. 68, 114
Janicka-Slysz Malgorzata 110, 224 Jarzçbska Alicja 98, 137, 148, 159, 250 Jencks Charles 278 Johnson Philip 261 Josephs Jess J. 142, 145 Joyce James 185, 267
Kagel Mauricio 150 Kandinsky [Kandyriski] Wassily 85, 192, 193, 256
Kant Immanuel 25, 57, 78, 83, 97,
125, 203,205, 242, 243 Karg-Elert Siegfried 99, 100 Karlowicz Mieczyslaw 221, 250 Kartezjusz, wlasc. Descartes René 20,
115, 118, 157, 158, 165, 197, 242 Kepler Johannes 82, 83, 108-111, 115,
116, 155
Kerman Joseph 11 Kircher Athanasius 110 Klaniczay Tibor 277
281
Indeks nazwisk
Klee Paul 256
Klimt Gustav 254, 255, 257
Kopemik Mikolaj 115, 164, 169
Koyré Alexandre 20, 52, 115-118
Krawczyk Dorota 11
Kuczynska Alicja 71
Kurth Emst 9, 19, 64, 81, 84, 101, 112
Langacker Ronald Wayne 103 Langer Susan 23 Le Goff Jacques 20, 83, 117, 148 Leibniz Gottfried Wilhelm 20, 32, 57, 58, 83, 115, 116, 155, 156,
165,173,174,183,243 Lévinas Emmanuel 221 Lewin Kurt 219 Liebeskind Daniel 261 Ligeti György 85, 186, 187 Lindstedt Iwona 137 Lipka Krzysztof 13 Lippman Edward A. 48, 83, 84 Lipps Hans 239
Lissa Zofia 9, 20, 62, 64, 65, 149 Listing Johann Benedict 173 Liszt Ferenc 149, 182, 204 Locke John 32 Lomax Alan J.148 Lowinsky Edward Elias 120 Loyola Ignacy sw. 114 Luter Marcin 68
Lutoslawski Witold 20, 65, 91, 150, 176, 187, 202
Lobaczewska Stefania 60 Lobaczewski Nikolaj 53, 174
Macedo Frederico 91 Machabey Armand 120 Maciejewicz Dorota 11, 185, 186 Mahler Gustav 20, 56, 89, 109, 110, 121, 149, 150, 162, 177,210,214, 219, 221,224, 255,256 Majewska Zofia 225, 254
Malecka Teresa 23 Marr David 32, 103, 106 Martenot Maurice 274 Mattheson Johann 60 Matusiak Blazej 113 Maxwell James C. 178, 186 Merleau-Ponty Maurice 20, 33, 34, 58, 90, 205, 207 Mersenne Marin 142 Mersmann Hans 9 Messiaen Olivier 59, 86, 140, 145,
150, 166,210, 262 Meyer Joseph 160 Meyer Leonard B. 207 Meyerhofer 99 Michon John A. 10 Mikolaj z Kuzy 116, 156, 169 Millikan Ruth 32 Milton John 267 Milosz Czeslaw 219 Minkowski Hermann 163, 178, 187, 199, 204
Misiqgiewicz Maria 276-278 Miskiewicz Andrzej 20, 147 Mitchell William John Thomas 48, 266, 267
Monet Claude 253 Montaigne Michael de 115 Monteverdi Claudio 60, 67-69, 119, 120, 154, 162,219, 252, 269 Moore Brian C. J. 40-42 More Henry 118, 169 Morgan Robert P. 48 Moryto Stanislaw 204 Mozart Leopold 161 Mozart Wolfgang Amadeus 81, 202, 214 ,270,271
Muratow Pawiel 67 Mycielski Zygmunt 145
Nagy Moholy László 260 Newton Isaac 20, 25, 26, 27, 53, 54, 115, 126, 163-166, 169, 178, 183
282
Indeks nazwisk
Nietzsche Friedrieh 249 Norberg-Schulz Christian 219 Norwid Cyprian Kamil 62 Novalis, wlasc. Hardenberg Georg Philipp Friedrich Freiherr von 109
Obniska Ewa 68
Ociosa Petrus Palma 156
Ockeghem Johannes 114
Ockham William 149
Oettingen Arthur Joachim von 97-99
Olejniczak Janusz 270
Ong Walter Jackson 20, 36-38
Palestrina Giovanni Pierluigi da 114, 150,171,211,252
PanufhikAndrzej 20, 56, 81, 111, 145, 150,162,176,219 Parmenides z Eiei 130, 131, 162 Patocka Jan 207 Penderecki Krzysztof 167, 169 Perils Vivian 48
Picasso Pablo 26, 155, 254, 258 Pilat Robert 20, 32, 33, 103-106 Pitagoras 59, 107, 128, 145, 193 Platon 17, 20, 83, 108, 111, 118, 131-133, 156, 166 Plomp Reinier 40
Pociej Bohdan 13, 19, 81, 89, 102, 107,110, 168 Poe Edgar Alan 267 Poincaré Jules Henri 173 Pol Balthazar van der 99 Pollitt Jerome J. 267 Polony Leszek 19, 20, 89, 90 Poniatowska Irena 19 Poprawski Marcin 70, 71 Porçbski Mieczyslaw 20, 254, 258 Porfiriusz 107 Portoghesi Paolo 219 Postel Christian Heinrich 68 Poulenc Francis 162
Pound Ezra Weston Loomis 267 Près Josquin des 211, 214, 252 Proust Marcel 185, 205, 219, 223 Ptolomeusz Klaudiusz 163
Rafael Santi 270
Rakowski Andrzej 20, 143, 146, 147 Rameau Jean-Philippe 59, 129, 159 Rasmussen Steen Eiler 271, 272 Rauschenberg Robert 61 Ravel Maurice 150, 192 Reich Steve 201 Reinold Helmut 83, 84 Rembrandt Harmenszoon Rijn van 95 Riemann Bernhard 20, 53, 174-178, 180, 204
Riemann Hugo 11, 19, 64, 98-100,
132,163
Rimbaud Arthur 268 Rimski-Korsakow Nikolaj 137 Rodczenko Aleksandr 260 Rosen Charles 60 Russell Bertrand 140, 266
Sartre Jean Paul 25 Sauveur Joseph 40 Scacchi Marco 60, 275 Scelsi Giacinto 137 Schapiro Meyer 263 Schelling Friedrich Wilhelm Joseph 78, 79
Schenker Heinrich 11, 19, 43, 92-94, 129
Schlegel Friedrich 140 Schönberg Arnold 57, 59, 83, 137, 151,262
Schopenhauer Arthur 20, 77, 101, 127, 242-250
Schreiber Ewa 20 Schubert Franz 65, 182, 204 Searle John A. 276 Seeger Charles 90
283
Indeks nazwisk
Serocki Kazimierz 192 Seurat Georges 261, 262 Shepard Roger Newland 146 Signac Paul 262 Skarga Barbara 127 Skowron Zbigniew 123 Skriabin Aleksandr 111, 250 Sloboda John A. 20, 43, 44, 94, 145, 146
Steier Andreas 270
Stein Edyta sw. 20, 236, 238-241 Sterne Laurence 267 Stockhausen Karlheinz 9, 18, 71, 89, 122,123, 185, 186 Strauss Richard 250 Strawinski Igor 86, 137, 148, 160, 202, 257
Stroeker Elisabeth 207 Strozewski Wladyslaw 20, 29, 45, 131 Strzemihski Wladyslaw 20, 260, 263, 264
Stumpf Carl 98, 101 Szalonek Witold 150 Szymanowski Karol 111, 150, 214, 221,224, 260
r
Switata Wojciech 270
Tales z Miletu 193 Tarasti Eero 13, 19, 20, 85, 218 Tamawska-Kaczorowska Krystyna 90 Tatlin Wladimir 260 Teresa Benedykta od iw. —
patrz Stein Edyta Teresa z Avila sw. 114, 265 Tinctoris Johannes 114 Tischner Jozef 90
Tomasz z Akwinu sw. 20, 114, 141, 155 Tomasz z Yorku 83
Tomaszewski Mieczyslaw 19, 28, 223 Trzçsiok Marcin 80 Turner William 267
Varèse Edgar 18, 95, 111, 121, 122, 150, 162
Vinci Leonardo da 71, 167 Vivaldi Antonio 204
Wagner Richard 271 Webern Anton 20, 57, 59, 65, 80, 134-136, 162, 165, 166, 183, 256, 261 Weise Christian 68 Wellek Albert 84 Werckmeister Andreas 59, 129 Whitehead Allred North 20,51, 140, 167 Whitrow Gerald James 184 Witkacy, wlasc. Witkiewicz Stanislaw Ignacy 20, 53, 72-75, 259 Witruwiusz 277
Wolter, wlasc. Arouet François Marie 164
Wordsworth William 267
Xenakis Iannis 18, 20, 53, 56, 86, 122, 139, 169, 176, 177, 185, 186, 192
Zarlino Gioseffo 59, 129 Zimbardo Philip 35 Zukerkandel Wilhelm 196 Zvonar Richard 123 Zych Cezary 23
Zeraiiska-Kominek Slawomira 11,20, 190, 195
284
Spis tresci
Przedmowa.............................................................9
Wprowadzenie.........................................................17
1 Cel i problematyka badañ..........................................17
2. Podloze badari w swietle literatury przedmiotu - przestrzeñ w mysli
teoretyczno-muzycznej.............................................19
3. Metodología badañ.................................................20
4. Rezultaty badañ...................................................22
I. U podloza przestrzeni muzycznej - przestrzeñ swiata jako
zródlo i inspiracja w ksztaltowaniu przestrzeni w muzyce..........23
1. Przestrzeñ jako esencja...........................................23
1.1. Przestrzeñ i czas jako podstawowe kategorie muzyki...........23
1.2. Istota przestrzeni muzycznej.................................26
2. Rola zjawisk dzwi^kowych w percepcji przestrzeni..................32
2.1. Dzwi^k jako wspólczynnik przestrzeni.........................32
2.2. Przestrzenna natura dzwi^ku..................................38
2.3. Slyszenie jako zjawisko przestrzenne — osobliwosci slyszenia.41
3. Muzyczna skladnia jako odbicie struktur przestrzeni swiata.
Przestrzeñ wyrazana poprzez j^zyk i jej muzyczne odniesienia......43
4. Definiowanie przestrzeni muzycznej - kilka rozróznieñ.............48
4.1. Przestrzeñ zewngtrzna........................................50
4.2. Przestrzeñ wewngtrzna........................................51
4.3. Przestrzeñ mierzona - natura, przyroda, kosmos...............52
4.4. Przestrzeñ doswiadczana - cztowiek, percepcja, doswiadczenie,
wyobrazenie...................................................55
4.5. Przestrzeñ pasta i wypetniona................................60
4.5.1. Pauza - fizykalnie pusta, semantycznie peina...........63
4.5.2. Wybrzmienie u Chopina - proba oddefiniowania
przestrzeni muzycznej....................................66
4.5.3. Wypelnianie przestrzeni dzwi^kiem - eksperyment
Monteverdiego ...........................................67
4.5.4. Miejsca niedookreslenia................................70
4.6. Przestrzeñ czysta............................................72
4.6.1. Czysta Forma Witkacego a muzyka........................72
4.6.2. Muzyka „czysta” - muzyka absolutna.....................76
4.7. Przestrzeñ ksztaltu. Relacje w przestrzeni...................78
5
Spis tresci
5. Zjawiska przestrzenne w strukturze muzycznej......................82
5.1. Od esencji przestrzeni muzycznej do Struktur pozaczasowyeh....82
5.2. Organizacja swiata dzwiçkowego w ujçciu Pierre’a Bouleza......86
5.3. Wewnçtrzna przestrzennosc utworu a doswiadczenie przestrzeni. ... 89
5.4. Warstwowa struktura muzyki....................................92
5.5. Przestrzen brzmienia..........................................97
6. Przestrzen swiata i czlowieka we wzajemnej relacji muzycznej......101
6.1. Harmonia mundi...............................................101
6.2. Umyslowosc czlowieka w harmonii swiata.......................103
6.3. Harmonia sfer................................................107
6.4. Kompozytorskie idee muzyki i kosmosu.........................109
6.5. Symfonicznosc swiata i symfonicznosc czlowieka...............113
7. Od zamkniçtego swiata do nieograniczonego uniwersum...............115
7.1. Ogolne tendencje i punkty wçzlowe w przeobrazaniu siç
rozumienia przestrzeni muzycznej i przestrzeni swiata..........115
7.2. Moment przelomu..............................................119
7.3. Otwieranie siç przestrzeni dzwiçku i swiata..................121
II. Przestrzen muzyczna jako wymiar - w krçgu przestrzeni
obserwowanej, mierzonej i definiowanej...........................125
1. Jednosc przestrzeni, wielosc ujçc.................................125
2. Zrödlo rozumienia przestrzeni.....................................130
2.1. Przestrzen Platona i Arystotelesa a uklad materii dzwiçkowej.131
2.2. Brzmienie jako wspölczynnik przestrzeni......................136
2.3. Przestrzen w sferze mikro - wnçtrze dziela muzycznego
wpenetracji badawczej..........................................140
2.4. Dzwiçk jako fala i jego parametry przestrzenne...............141
3. Natura jako medium przestrzeni muzycznej. Problem zrödla
jako miejsca, z ktörego czerpie siç material......................144
4. Rozpiçtosc i rozci^glosc w muzyce: ksztalt, glçbia, wymiary.......151
5. Harmonia i kontrapunkt jako przejaw muzycznej geometrii...........155
6. Przestrzen w ujçciu Kartezjusza - u podstaw barwy
i artykulacji dzwiçku.............................................157
7. Przestrzen muzyczna mierzona i definiowana........................162
7.1. Przestrzen absolutna Newtona a muzyka........................163
7.2. Muzyczne kontinuum...........................................166
7.3. Zjawiska przestrzeni - fizyka materii i jej odbicie w strukturze
dziela muzycznego..............................................169
7.4. Wzglçdnosc przestrzeni w ujçciu Leibniza - muzyka
jako system relacyjny..........................................173
7.5. Utwor muzyczny w perspektywie zmiennych
przestrzenno-czasowych.........................................178
6
Spis tresci
8. Przestrzeñ muzyczna jako procès..................................182
8.1. Czas i ruch w przestrzeni muzycznej.........................182
8.2. Czas uprzestrzenniony w kompozycji muzycznej.................185
8.3. Geometría nieprzemienna a pole struktur dzwiçkowych..........187
8.4. Dzielo muzyczne jako model czasowo-przestrzenny..............190
8.5. Muzyczna bezczasowosc — wyzwolenie nowej przestrzeni.........192
8.6. Przestrzeñ matematyczna i jej przejawy w przestrzeni dziela
muzycznego....................................................193
8.6.1. Trójwymiarowa przestrzeñ Euklidesa a elementy muzyki.... 193
8.6.2. Liczba.................................................193
8.6.3. Wymiar.................................................194
8.6.4. Rozci^glosc - ksztah, struktura, konstrukcja...........197
9. Przestrzenna natura muzyki w kontekscie miary. Parametry
wyzszego rzçdu....................................................198
9.1. Funkcja a muzyczna relacja przestrzenna. Przestrzenie
matematyczne..................................................198
9.2. Espaces imaginaires..........................................200
III. Przestrzeñ muzyczna jako doswiadczenie - w krçgu przestrzeni
odczuwanej i wyobrazonej.........................................203
1. U podstaw doswiadczenia przestrzeni....................203
1.1. Fenomenología percepcji w doswiadczeniu przestrzeni..........205
1.2. Rozwazania Maxa Bensego na tern at zwiqzków przestrzeni
i artystycznego piçkna.......................................208
1.3. Bachelardowska topografía przestrzeni odczuwanej
i wyobrazonej a muzyka.......................................211
1.3.1. Interioryzacja przestrzeni wedhxg mysli Bachelarda....212
1.3.2. Wertykalnosc i centrum w przestrzeni muzycznej........215
1.3.3. Przekraezanie granic w sztuce.........................219
1.4. Husserlowska idea postrzegania przestrzeni muzycznej ........224
1.5. Koncepcja wczucia Edyty Stein w relacji do przestrzeni
muzycznej.....................................................236
1.6. Schopenhauer i jegoprzestrzenne ujçcie muzyki................242
2. Przestrzeñ kreowana, tworzona, przestrzeñ wizji artystycznej......251
2.1. Przestrzeñ w sztukach plastycznych w korespondencji
z przestrzeni^ muzyczn^......................................251
2.2. Percepcja przestrzeni........................................261
2.3. Przestrzeñ dziela literackiego w swietle muzyki..............264
2.4. Przestrzeñ architektury w relacji do muzyki..................268
Indeks nazwisk.......................................................279
Summary..............................................................285
Bibliografía.........................................................293
7
|
| any_adam_object | 1 |
| author | Szymańska-Stułka, Katarzyna |
| author_GND | (DE-588)1200367650 |
| author_facet | Szymańska-Stułka, Katarzyna |
| author_role | aut |
| author_sort | Szymańska-Stułka, Katarzyna |
| author_variant | k s s kss |
| building | Verbundindex |
| bvnumber | BV043365925 |
| contents | Bibliografie Seite 293-[309]. Personenregister |
| ctrlnum | (OCoLC)956632211 (DE-599)BVBBV043365925 |
| format | Book |
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| id | DE-604.BV043365925 |
| illustrated | Not Illustrated |
| indexdate | 2024-07-10T07:24:03Z |
| institution | BVB |
| isbn | 9788361489610 |
| language | Polish |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-028785000 |
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| owner_facet | DE-12 |
| physical | 308, [1] Seiten 24 cm |
| publishDate | 2015 |
| publishDateSearch | 2015 |
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| publisher | Uniwersytet Muzyczny Fryderyka Chopina |
| record_format | marc |
| spelling | Szymańska-Stułka, Katarzyna Verfasser (DE-588)1200367650 aut Idea przestrzeni w muzyce Katarzyna Szymańska-Stułka Warszawa Uniwersytet Muzyczny Fryderyka Chopina 2015 308, [1] Seiten 24 cm txt rdacontent n rdamedia nc rdacarrier Bibliografie Seite 293-[309]. Personenregister Zusammenfassung in englischer Sprache unter dem Titel: Concept of space in music Raum (DE-588)4048561-4 gnd rswk-swf Musik (DE-588)4040802-4 gnd rswk-swf Musik (DE-588)4040802-4 s Raum (DE-588)4048561-4 s 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=028785000&sequence=000004&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Register // Personenregister 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=028785000&sequence=000005&line_number=0002&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=028785000&sequence=000006&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Szymańska-Stułka, Katarzyna Idea przestrzeni w muzyce Bibliografie Seite 293-[309]. Personenregister Raum (DE-588)4048561-4 gnd Musik (DE-588)4040802-4 gnd |
| subject_GND | (DE-588)4048561-4 (DE-588)4040802-4 |
| title | Idea przestrzeni w muzyce |
| title_auth | Idea przestrzeni w muzyce |
| title_exact_search | Idea przestrzeni w muzyce |
| title_full | Idea przestrzeni w muzyce Katarzyna Szymańska-Stułka |
| title_fullStr | Idea przestrzeni w muzyce Katarzyna Szymańska-Stułka |
| title_full_unstemmed | Idea przestrzeni w muzyce Katarzyna Szymańska-Stułka |
| title_short | Idea przestrzeni w muzyce |
| title_sort | idea przestrzeni w muzyce |
| topic | Raum (DE-588)4048561-4 gnd Musik (DE-588)4040802-4 gnd |
| topic_facet | Raum Musik |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028785000&sequence=000004&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=028785000&sequence=000005&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028785000&sequence=000006&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA |
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