Archiwum indeks numerów / Archive INDEX OF THE JOURNAL VOLUMES

Archiwum Res Facta / RES FACTA Archive

Numer 01 (1967)

Numer 02 (1968)

Numer 03 (1969)

Numer 04 (1970)

Numer 05 (1971)

Numer 06 (1972)

Numer 07 (1973)

  • E. Bieńkowska (Wydział Nauk Humanistycznych Uniwersytetu Kardynała Stefana Wyszyńskiego w Warszawie) Prezentacja Ricoeura
  • P. Ricoeur Symbol daje do myślenia
  • R. Przybylski Mandelsztam i muzyka
  • O. Mandelsztam Puszkin i Skriabin
  • H. H. Eggebrecht Uwagi o metodzie analizy muzycznej
  • T. Kneif Prolegomena do estetyki muzycznej
  • C. Debussy Zagłada domu Usherów, Diabeł w dzwonnicy
  • L. Rappoport Notatki o twórczości Sergiusza Słonimskiego
  • W. Szalonek (1927-2001) O nie wykorzystanych walorach sonorystycznych instrumentów dętych drewnianych
  • H. Sabbe O związku pomiędzy kreacją tekstu słownego i muzycznego w kompozycji wokalnej
  • J. Chołopow „Modi o ograniczonej transpozycji” w teoretycznych koncepcjach Messiaena i Jaworowskiego
  • O. Messiaen Technika mojego języka muzycznego

Numer 08 (1977)

Numer 09 (1982)

  • S. Jarociński 16 VIII 1912 – 8 V 1980 Od redakcji
  • M. Tomaszewski Słowo na Powązkach
  • S. Jarociński Muzyka współczesna
  • S. Jarociński O Debussym
  • S. Jarociński Męczeństwo św. Sebastiana – misterium G. d’Annunzia i C. Debussy’ego w pięciu scenach
  • A. Wightman Szymanowskiego pisma o muzyce – studium porównawcze. Szymanowski's Writings on Music. A Comparative Study
  • P. E. Carapezza (Universita degli Studi di Palermo) Król Roger między Dionizosem i Apollinem
  • C. Dahlhaus O pieśniach Karola Szymanowskiego do słów Richarda Dehmela. Zu Karol Szymanowskis Dehmel-Liedern
  • S. Martinotti Recepcja twórczości Szymanowskiego we Włoszech
  • H. Sugano Muzyka chóralna Karola Szymanowskiego
  • T. Chylińska Nowe materiały do korespondencji Karola Szymanowskiego z Jarosławem Iwaszkiewiczem
  • W. Lutosławski Przemówienie w czasie „Commencement” w Cleveland
  • W. Lutosławski Kilka problemów z dziedziny rytmiki
  • K. Meyer O muzyce Witolda Lutosławskiego
  • J. Casken Przejście i transformacja w muzyce Witolda Lutosławskiego
  • H. G. Gadamer Odczyt wygłoszony w PEN-Clubie w Warszawie na wiosnę 1979 roku
  • H. G. Gadamer Idea logiki Hegla
  • H. G. Gadamer Hegel i romantyzm heidelberski
  • G. Boehm Obraz i czas
  • M. Tomaszewski Nad analizą i interpretacją dzieła muzycznego. Myśli i doświadczenia
  • A. Feil Próba strukturalnej analizy pieśni Schuberta
  • F. R. Noske Forma formans. Muzyka jako przedmiot i jako ruch
  • D. Stockmann Muzyka jako system komunikacji. Aspekty teorii informacji i znaku w badaniach muzyki przekazywanej tradycją ustną
  • A. P. Merriam Muzyka jako zachowanie symboliczne
  • M. Mead Badania komunikacji kulturowej. Od intuicji do analiz
  • M. Schneider Podstawy intelektualne i psychologiczne śpiewu magicznego
  • R. M. Schafer Muzyka środowiska
  • A. Chybiński Z materiałów epistolarnych (komentarz i opracowanie Krystyny Winowicz)

Archiwum Res Facta Nova / Res Facta Nova Archive

Numer 1 (10) 1994

Numer 2 (11) 1997

  • Witold Lutosławski (25.01.1913 – 07.02.1994)
  • I. Nikolska Rozmowa z Witoldem Lutosławskim. O moim języku muzycznym (oprac. B. i J. Stęszewscy)
  • Z. Skowron Rozmowa z Witoldem Lutosławskim. Spotkania z Witoldem Lutosławskim
  • S. Będkowski Rozmowa z Witoldem i Danutą Lutosławskimi. By nie zatarł czas… Witold Lutosławski o sobie
  • L. da Ponte Don Giovanni (libretto w przekładzie S. Barańczaka)
  • L. da Ponte Le Nozze di Figaro (Wesele Figara, libretto w przekładzie S. Barańczaka)
  • A. Jordan-Szymańska Percepcja formy utworu muzycznego w świetle psychologii poznawczej

Numer 3 (12) 1999

  • List Floriana Dąbrowskiego
  • M. Głowiński Wokół książki Stefana Jarocińskiego o Debussym
  • M. Woźna-Stankiewicz Między impresjonizmem a symbolizmem, czyli pierwsze polskie interpretacje muzyki Claude'a Debussy'ego
  • L. Sokół Dwa „Sezony w piekle”: Rimbaud i Strindberg
  • A. Bielik-Robinson Ekstaza i melancholia
  • I. Poniatowska Czy muzyka wyraża? Esej o Vladimirze Jankélévitchu
  • E. Witkowska-Zaremba Maurice Emmanuel i ciągłość języka muzycznego
  • E. Grabska Zapomniany filozof sztuki dobymodernizmu. Między Płockiem a Paryżem
  • A. Socha Eric Satie: garść refleksji (między Erickiem Satie a Stefanem Jarocińskim)
  • M. Bristiger (1921–2016) Boris de Schloezer (1881-1969) – świadek epoki
  • M. Szoka Ernest Ansermet i Frank Martin – dzieje przyjaźni
  • S. Jakóbczyk Dwa teatry Maurycego Maeterlincka
  • J. Kłobukowska U źródeł problematyki pieśni francuskiej końca XIX wieku
  • J. Bauman-Szulakowska Twórczość kameralna G. Faurégo i E. Chaussona jako obraz przemian epoki
  • M. Asikainen Selim Palmgren i Uuno Klami – przedstawiciele „nurtu francuskiego” w muzyce fińskiej na początku XX w.
  • D. Maciejewicz „Sujet en procès” w semiotycznej teorii Julii Kristevej a muzyka Mortona Feldmana
  • R. Francès, M. Imberty, A. Zenatti Świat muzyki (przeł. M. Bogdan, H. Kotarska)
  • A. Schneider Historyczność sztuki i muzyka pozaeuropejska (tłum. M. Nawrocka)

Numer 4 (13) 2001

  • I. Poniatowska Mieczysław Tomaszewski: Chopin. Człowiek, dzieło, rezonans. Poznań 1998 (rec.)
  • R. Berger Chopin i Szymanowski a współczesność
  • R. Berger Sens muzyki artystycznej („poważnej”)
  • Słowo o autorze, wykaz wybranych kompozycji i publikacji [R. Bergera] (oprac. G. Piotrowski)
  • C. Seeger O trybach logiki muzycznej (tłum. M. Zapędowska)
  • M. Bristiger (1921–2016) O filozofii muzyki Aleksieja F. Łosiewa (1893-1988)
  • L. Popławski Torami nowej muzyki

Numer 5 (14) 2002

  • C. Seeger „Tractatus Esthetico-Semioticus”: Model systemów komunikacji międzyludzkiej (tłum. M. Turski, red. M. Jabłoński)
  • M. Jabłoński (Katedra Muzykologii, Wydział Historyczny, Uniwersytet im. Adama Mickiewicza) Charlesa Seegera wizja muzykologii filozoficznej
  • M. Jabłoński (Katedra Muzykologii, Wydział Historyczny, Uniwersytet im. Adama Mickiewicza) Wmyślanie się w muzykologię
  • J. Stęszewski Robert Lach i Werner Danckert
  • R. Lach Studia do historii rozwoju ornamentalnej melopei. Tezy końcowe (tłum. J. Stęszewski)
  • W. Danckert Królestwo dźwięków i liczba-symbol w kulturach rozwiniętych i w świecie pierwotnym (tłum. M. Nawrocka)
  • T. Szeligowski Listy do Marii Modrakowskiej (red. M. Gmys)

Numer 6 (15) 2003

  • Prace wybrane [Paolo Emilio Carapezzy]
  • M. A. Balsano Le terre del compimento
  • R. J. Wieczorek Humanizm muzyczny. Z dziejów kłopotliwej hipostazy
  • G. Collisani „Hic sunt leones”: animali e musica nella Sicilia nel Cinque e Seicento
  • A. Tedesco Una sconosciuta raccolta di libretti siciliani a Roma
  • E. Witkowska-Zaremba Niektóre aspekty włoskiej i niemieckiej „ars organica” w pierwszych dekadach XV wieku
  • Z. Skowron La musica nel „Cortigliano polacco” di Łukasz Górnicki: un confronto con l'opera di Castiglione
  • Z. Dobrzańska-Fabiańska Tonalne i modalne aspekty „Delli madrigali a cinque voci del Prencipe di Venosa libro sesto” (1611)
  • B. Przybyszewska-Jarmińska Starania biskupa wrocławskiego Karola Habsburga o pozyskanie włoskich śpiewaków (1621-1622)
  • P. Poźniak Kanony Andrzeja Chylińskiego, prefekta muzyki w Padwie, na tle „uczonej” muzyki w XVII-wiecznej Polsce
  • A. Szweykowska, Z. M. Szweykowski Modelli italiani nell'opera di Marcin Mielczewski
  • M. Rosaria Adamo „Bella figlia dell'amore…”
  • R. Pagano Organo e orchestra in Francia, dopo Sedan
  • M. Gmys (Uniwersytet im. Adama Mickiewicza w Poznaniu, Wydział Nauk o Sztuce, Instytut Muzykologii) Karola Szymanowskiego muzyka sfer. Projekt analizy semantycznej III Symfonii „Pieśń o nocy”
  • P. Violante Il silenzio del profeta
  • H. Geyer Zwischen Traum und Alptraum: Beobachtungen an Benjamin Brittens Liederzykus „Nocturne” op. 60
  • A. Titone Cose nuove e cose antiche
  • M. Bristiger (1921–2016) „Świtu blask na ziemię spływa…”. Uwagi do restytucji polskiego przekładu libretta opery Domenico Scarlattiego „Narciso” (1720)
  • C. S. Capeci Libretto Domenico Scarlattiego „Narciso” (przekład Michała Bristigera i Zygmunta Kubiaka)
  • G. Giuriati Continuà e transformazioni nei procedimenti esecutivi della tarantella di Montemarano
  • A. Fiorenza Flamingoes and mustard, or Trough the looking-Glass and what Erik found there
  • A. Collisani L'idea estetica dei significanti in musica
  • M. Jabłoński (Katedra Muzykologii, Wydział Historyczny, Uniwersytet im. Adama Mickiewicza), M. Poprawski (Prze)moc metafory
  • J. Stęszewski O dwóch historiach muzyki, które warto rozróżniać. Etnomuzykologiczna i muzykologiczna glosa do koncepcji Fernanda Braudela

Numer 7 (16) 2004

  • A. A. Łuczak Florian Dąbrowski – Kompozytor i Obywatel
  • K. Meyer Zawsze wierny w przyjaźni
  • J. Stęszewski Florek
  • M. Dziadek Poszukiwacz prawdy. Szkic o pismach muzycznych Floriana Dąbrowskiego
  • R. Berger „Celanstimmen” – głosy „na koniec Czasu”?
  • H. Lorkowska U źródeł Pro Sinfoniki. Koncepcje edukacji artystycznej prof. Floriana Dąbrowskiego
  • F. Dąbrowski Faksymile rękopisu pieśni „Cello Einsatz” do słów Paula Celana
  • K. Berger (Department of Music Stanford University) Teoria sztuki. Hermeneutyka. Interpretacja i jej prawomocność
  • Karol Berger – Wykaz publikacji (wybór)
  • J. Humięcka-Jakubowska (Wydział Historyczny Uniwersytetu im. Adama Mickiewicza w Poznaniu) Czy restytucja teorii postaci w badaniu percepcji muzyki drugiej połowy XX wieku…?
  • P. Podlipniak (Katedra Muzykologii, Wydział Historyczny, Uniwersytet Adama Mickiewicza) O pewnych uniwersalnych aspektach komunikacji muzycznej
  • A. Jarzębska (Instytut Muzykologii, Wydział Historyczny Uniwersytetu Jagiellońskiego w Krakowie) O relacjach między człowiekiem a muzyką. Z problemów analizy i interpretacji muzyki

Numer 8 (17) 2005

  • M. Bristiger (1921–2016) Uwagi wstępne do hasła „Opera” Johanna Georga Sulzera
  • J. G. Sulzer Opera; Operetki, opery komiczne
  • F. Martin Odpowiedzialność kompozytora
  • F. Martin Ekspresja albo inkarnacja
  • F. Martin „System” i komponowanie
  • M. Szoka Mit tristanowski w ujęciu Franka Martina (na tropie pewnej powieści)
  • K. Kozłowski Zbawienie w miłości („Tristan i Izolda” Richarda Wagnera)
  • A. Koszewska Teza o wartości etycznej dzieła muzycznego
  • D. Łopatowska „Hardingfele” w norweskiej tradycji ludowej
  • E. Schreiber Metafora w badanich muzykologicznych. Wokół książki „Klang – Struktur – Metapher”

Numer 9 (18) 2007

Numer 10 (19) 2008

Numer 11 (20) 2010

Numer 12 (21) 2011

Studia poświęcone Profesorowi Michałowi Bristigerowi z okazji Jego dziewięćdziesiątych urodzin przez redakcyjnych przyjaciół.

  • Od redakcji
  • H. Sieradz (oprac.) Wykaz publikacji Michała Bristigera
  • P. E. Carapezza (Universita degli Studi di Palermo) Socrate in Polonia
    • Socrates in Poland. Michał Bristiger is a versatile and open-minded scholar, cosmopolitan and polyglot: he is thus able to look constantly at complete and up-to-date multiethnic panoramas, compare different cultures, perceiving their substantial specifi cities and the different roles and meanings, in each of them, of similar or even identical elements. From this there derives his ability to discern and connect: exemplary, in the synchronic geographical dimension, are the editorial groups of his journals and the many international conferences organized by him with astute Socratic maieutics in Poland, Austria and Italy; and in the diachronic historical dimension his numerous essays, directly written by him in various languages and published in Europe and America. We could define his philosophical orientation as Socratic, phenomenological and Vichian. He stresses (2004: 2-3) „supra-aesthetic values: ethical, religious, metaphysical, sacral”; he speaks of an „internal and autonomous obligation to take on ourselves our responsibilities for the present state of music and (…) for our musical future” and considers history as sedimentation of layers that „are added on one another and interact”; hence his sunny optimism. With Apollo, the god of music, as a musician he shares the lyre; but also the virtue of paian, that is to say that of the healer: not so much because, before graduating in musicology, he graduated in medicine and surgery, and indeed was a practicing physician; but rather because he heals and cures with music like Apollo, or with philosophy, like Socrates, who deemed philosophy the supreme kind of music, until at the end of his life he realised instead that music was the supreme kind of philosophy. With Socrates he shares positive dialectics, intense dialogue and maieutics in teaching. And he believes that „art and music have a primary role in the creation of the idea of Europe. Of the creative musical process there remain the artistic, aesthetic and supra-aesthetic values, the latter being extremely important in the formation of man.” He is illustrious not only for the wisdom distilled in his discourses, always dense and pregnant but clear and airy, uttered and written by him in many different languages, but also for his capacity to organize meetings and collaborations of people of every language and nation, to connect them and induce them to friendly dialogue. This is manifested – even more than in the many journals, both on paper and on the Internet – in the numerous seminars, meetings, conferences and congresses organized by Michał Bristiger. Exemplary among them, even more than those in institutional places, are the conferences/ summer holidays, which he invented and organized in 1995 and 1996, while he was teaching at the university of Calabria, at Canna and Nocara: the Meetings of Serra Maiori, the latter being the mountain near the Ionian Sea that overhangs those little towns. They were the most remarkable and delightful conferences that I have ever had the fortune to participate in. At the first one, there were fifty participants, at the second one a hundred, coming from fifteen nations on four continents. The topic of these meetings was music, but not only: or, more exactly, music in the broadest sense, both of classical antiquity („In music do you also understand the discourses?”, Socrates asks; „But of course!”, Glauco answers, in the third book of Plato’s Republic), and according to the modern defi nition by John Blacking („the humanly organized Sound”): then poetry too, literature, history, philosophy, theatre, dance; in short, everything that is founded on discourse, verbum, λογος. But above all music strictu sensu, that is to say sound images, produced by composers, realized by singers and players, cheerfully enjoyed by the people present. We lived, in those happy summers, for twelve days, together with those who generously gave us hospitality: we in their houses and music in their churches, which became the living heart of international art and culture in the beautiful valley and in the mythical sea of an earthly paradise; thus pursuing and attaining the purpose of music: both immediate and ephemeral, and mediated and stable, even eschatological. The purpose of music, indeed – as we are taught by Blacking, commented on by Michał Bristiger – is „music itself, while it resounds; ‘the soundly organized humanity’, even when it ceases to resound.” The memory of the Meetings of Serra Maiori remains as the most effective metaphor of Bristiger’s Socratic maieutics: the search for the truth, prompting each person to find it in themselves and to draw it out of their own souls. This pedagogic method, based on the active participation of the people involved, prepares them for dialogue and communication.

  • M. Tomaszewski Słuchając muzyki Henryka Mikołaja Góreckiego
    • Listening to the Music of Henryk Mikołaj Gorecki. An attempt to look upon the artistic path of the recently deceased composer in the perspective of an „eyewitness”: a listener of successive fi rst performances and, also, (in the years 1858-1988) a publisher of his musical works. A short survey, in which the stress has been put on the things that appeared particularly interesting, surprising and meaningful in the compositions of the author of Ad Matrem, Symphony No. 3: Symphony of Sorrowful Songs the quartet Already It Is Dusk. Many facts indicate that, as it was noted before (R. Berger, K. Droba), Gorecki made the gesture of „jumping out of the system”. He consciously abandoned the composition of music for a „festival” stage and in compliance with its unwritten standards. Writing the music based on archetypical values and referring to the original functions of a musical work, Gorecki achieved resonance going far beyond the limited circle of functioning of the modern, avant-garde music. He showed a way out for „high” modern music from a kind of isolation in which it found itself in the former century.

  • J. Stęszewski Pożyteczne sprzężenie? Stanisława Gąsowskiego Światówki i Zygmunta Krauzego Aus aller Welt stammende. Przyczynek do historii niezwykłego przypadku
    • Advantageous Connection? Światowki Stanisław Gąsowski and Aus aller Welt stamm­ende by Zygmunt Krause. A Contribution to the Story of an Extraordinary Case. A composition, being an effect of inspiration by folklore, is generally never presented to the provider of the inspiration. Moreover, it does not become an object of mutual confrontation and evaluation of the folk carrier, Gąsowski and the composer Zygmunt Krauze. The article is devoted to an original, valuable composition by Zygmunt Krauze Aus aller Welt stammende (światowka). It is stated in the conclusion that a folk musician representing two circles of musical-cultural – localfolk experience, and professional – has diffi culty accepting the manner in which the composer treated his/her folk tradition, although their opinion need not be well-founded, nevertheless, it is a signal that the axiological and musical-technical lack of deference manifested by composers, scholars and proponents of the movement around the „second” or „new tradition”, including the editors of the media, should become a sphere of in-depth analyses and critical refl ection. One example from before more than 150 years, confi rming that the problem is not new, is the opinion expressed by Fryderyk Chopin about the study entitled Pieśni ludu polskiego [„The Songs of Polish Folk”] (1942-1847) by Oskar Kolberg.

  • E. Tarasti World and its interpretation
  • M. Jabłoński (Katedra Muzykologii, Wydział Historyczny, Uniwersytet im. Adama Mickiewicza) The integrity and interpretation. Some remarks on philosophical musicology
  • A. Jarzębska (Instytut Muzykologii, Wydział Historyczny Uniwersytetu Jagiellońskiego w Krakowie) Model dyskursu o muzyce w ujęciu Philipa Tagga
    • A Model of Discourse About Music As Presented by Philip Tagg. Musicological discourse about music has been dominated by a three-part pattern: composer (poietic process) – musical work (neutral level) – listener (aesthetic experience) suggesting the possibility of a „neutral”, quasi-objective discussion about a musical work and separating it from a listener and his/her „subjectivity”. A dynamic development of cognitivistics, observed in the recent years and termed as „a cognitive revolution”, brought „the human factor” – i.e., a subject equipped in the universal, cognitive and emotional mechanisms and living in a community accepting a defined system of values-into the centre of studies of the contemporary humanities. This departure from a positivistic paradigm in psychology, linguistics and other human sciences was an inspiration for the search of a new model concerning the discourse in music. An interesting example of this transformation can be the model of musical communication proposed by the Canadian musicologist Philip Tagg in his work Introductory Notes to the Semiotics of Music (1999). The model of Tagg, which draws a division between transmitter – channel – receiver, although referring to the above-mentioned three-part pattern by Jean-Jacques Nattiez, emphasises the „human factor”: auditory experience and its mental representation as well as the need to „interpret” it in the context of a given culture. According to Tagg, the fundamental problem of musical communication is codal incompetence and/or codal interference, that is incorrect reading of the message intended by the composer, which is influenced both by the cultural incompetence within a framework of a particular store of symbols, and also, preference by the composer or the receivers of his/her music for a different system of values or social and cultural norms (sociocultural norms). The model of Tagg and the ponderings of Roger Scruton, underlying the need for continuation of the so-called high culture (comp. Culture Counts, Faith and Feeling in the World Besieged, 2007), may be the inspiration for re-evaluation of the positivistic approach in musicological studies and the formulation of such principles of discourse in music that combine the rigour and discipline of logical thinking with knowledge about the results of studies conducted by cognitive psychologists and non-cultural, musical, universal qualities, take into consideration the possibility of diverse interpretation of music due to codal incompetence or codal interference, but at the same time refer to some kind of a paradigm of perfection connecting „aesthetic interests” with universal ethical norms.

  • H. Geyer „Natura non fecit saltus” – Musik, Ausdruck, Permutaton – ein „Sein Werden” – Zeugnisse zu Bruno Madernas Streichquartett in 2 Sätzen, 1955
    • Natura non fecit saltus. Bruno Maderna’s quartet for strings, written for Darmstadt in 1955, is estimated as one of the outstanding examples of modernity. A scrupulous analysis did explore the techniques of the composition, whereas, possibly very deep, philosophical background still remained quite unexplored. A hitherto unknown letter by Berio to Malipiero, preserved in the Malipiero-Archives in Venice, opens a wider discussion about possibly the fundamental ideas of philosophy and approach to music and art, which seems to be connected with the composition of this string quartet. The crucial ideal seems to be not only the phenomenon of different variants of silence, but also the ideal of permanent development, the „positive revolution en permanence”. Therefore other documents by Berio, Nono and Maderna himself are discussed and presented to demonstrate a wide-ranging artistic discussion which involved a group of artists, not only musicians, in the early 1950s in Venice being partly in contradiction to the ideas of the Darmstadt group. This concerns a long duree of philosophical argumentation and implication, which runs back to antiquity and the connection with the past, in this case, the past of the great traditions of the (Venetian) Renaissance and Humanism untill the early Baroque.

  • A. Tenczyńska Projekt „lektury muzykologicznej” polskiej poezji dwudziestowiecznej
    • A Project of ”Musicological Reading” of Polish 20th-Century Poetry. Edward Balcerzan noticed a certain tendency in Polish postwar poetry which he termed as „musicological”- it with a „musical” tendency, typical of the literature of three first decades the 20th century-and traced its roots to the Romantic idea of correspondance des arts. In way, he characterised the process in which the aspiration to develop musicality of a poem on basis of supra-organization of its prosodic level turned into the search for references to the aspects of music at the structural level of poetic utterance. In the opinion of the scholar, references of this kind imply a particular manner of reception of a literary text, requiring the musicological knowledge and terminology. The project of this „musicological reading”, just roughly sketched by the author of Poezja jako semiotyka sztuki on the margin of considerations about postwar poetry, constitutes a primary point of departure for the scientific proposal put forward by the author of the article, who suggests to develop it in the theoretical and methodological dimension, and, first of all, to broaden its historical framework by the poetry of the first half of the 20th century.

  • E. Schreiber Metafora jako figura muzyczna. Przegląd stanowisk
    • Metaphor As a Musical Figure. Overview of Opinions. The text is an attempt to present, confront and critically analyse the opinions concerning the use of the concept of metaphor with reference to music. Sceptical opinions stem from the conviction that the notion of metaphor is strictly connected with qualities of language (Krzysztof Guczalski, Steven C. Krantz). The advocates of such notion try to point out such elements of metaphor that can also describe the qualities of music. Each of the scholars reckons some other features of this figure to be most significant. The authors demonstrate also great dependence from a selected theory of metaphor and from the context of studies: semantics (Carl R. Hausman, Robert Hatten), cognitive linguistics (Nicholas Cook, Lawrence Zbikowski) or structuralism (Craig Ayrey). Referring the elements of metaphor to music adopts various forms depending on the authors’ opinions on the issue of musical meaning. In each of the mentioned cases the key question remains, that is whether the model of metaphor introduces into the analysis of music something that, in other situation, couldn’t be made apparent.

  • R. J. Wieczorek Florenckie canti carnascialeschi: między rytuałem a muzyką
    • Poetry Florentine canti carnascialeschi: Between Ritual and Music. Since the end of the 1960s, when the writings of Mikhail Bakhtin found profound resonance in the Western scholarly circles, the thinking about carnival has been dominated by carnivalization. This notion became a universal tool in the analysis of all kinds of phenomena from the sphere of modern culture which remained outside the realm of offi cial or high culture. However, in the early modern Europe Pre-Lenten carnival sensu stricto did not constitute any spontaneous, sudden spurt, revolt or contestation of the offi cial festivities organized by the ruling class. Conversely, it was a series of carefully planned events, requiring long-term preparations and expenditures. The subject of the article are Florentine carnival rituals at the height of popularity of canti carnascialeschi – i.e., the last three decades of the 15th century and the first two decades of the 16th century. It is impossible nowadays to understand the role the music played in the carnival without knowing the character of those rituals. The preserved texts of canti carnasicaleschi provide important documentation of the Florentine carnival rituals. The central motif of those songs are sexual symbols, expressed in more or less veiled manner. The majority of them includes specific terminology for various trades (names of products, requisites or equipment), enabling the poets to get away with the use of the lexis explicitly invoking associations with the erotic sphere. Consequently, the patrons of canti carnascialeschi should not be looked for among the Florentine trade groups but rather among young representatives of patrician families, who, at the close of the 15th c. was Lorenzo de’Medici, and at the beginning of the 16th century – the brothers Lorenzo and Filippo Strozzi.

  • B. Przybyszewska-Jarmińska O muzycznych i teatralnych doświadczeniach Michała Kazimierza Radziwiłła podczas jego pobytu w Italii w latach 1677-1678 raz jeszcze
    • On Musical and Theatrical Experiences of Michał Kazimierz Radziwiłł During His Stay in Italy in the Years 1677-1678 Once Again. Duke Michał Kazimierz Radziwiłł and his wife Katarzyna, sister of the Polish king Jan III Sobieski, between 1677 and 1678 made a journey to Rome stopping longer in Venice where they participated in the opera season. This event was discussed by Alojzy Sajkowski (in the publications from 1969 and 1973) and Zbigniew Chaniecki (2005) who based their texts on a written account (Diariusz) Teodor Billewicz who travelled with the Radziwiłłs. In March 1678, in honour of the guests from Poland, the oratorio S. Casimiro Prencipe reale di Polonia performed in Chiesa Nuova in Rome, the text of which was composed by Ottavio Santacroce and the music most likely by Giovanni Bicilli (those facts were studied by Arnaldo Morelli – in the papers published in 1986, 1991, 1994 – and Anna Ryszka-Komarnicka – in the publications from the beginning of the 21stcentury). The article presents the circumstances of the peregrination of the Radziwiłłs in the years 1677-1678 as well as the following trip of Michał Kazimierz Radziwiłł (without his wife) to Rome (in the years 1679-1680) when the duke, acting on behalf of the king as an obedience envoy, made a splendid entry into the Eternal City and died on his way back (in Bologna, in November 1680). Owing to the most recent studies concerning the chronology of the Venetian operas (among others by Eleanor Selfridge-Field, 2007) a defi nite or probable identifi cation was carried of drammi permusica, which Radziwiłł together with his wife watched in December 1677 and January 1678 in Venice. Drawing upon Diariusz Billewicz which has recently been made public in the form of an edition (Marek Kunicki-Goldfi nger, 2004), as well as from avvisi that period stored in Rome (Archivio Segreto Vaticano, Archivio di Stato, Biblioteca Apostolica Vaticana) other musical attractions during their journey were pointed out, and, on the basis of the bills preserved in Archiwum Głowne Akt Dawnych (Central Archives of Historical Records) in Warsaw, the surnames or first names of Italian musicians who had earned the gratitude of Radziwiłł were given as well as the information about the opera and the mass which were copied for him in Venice.

  • I. Poniatowska Ikoniczny wizerunek Beethovena w polskiej poezji
    • Iconic Image of Beethoven in Polish Poetry. The reception of Beethoven in German literature has been presented by H. H. Eggebrecht in Zur Geschichte de Beethoven Rezeption (1972). Its core (”nucleus”) and semantic fi elds have basically unchanged. The „superficial” reception, in turn, stemming from individual feelings, generational and historical differences, from differences between cultures is constantly, although it embraces also some elements of the said nucleus, which Eggebrecht brought to 3 categories: suffering, will and surpassing diffi culties – all determined by a unified of life and musical output of Beethoven. The study presented is an attempt at confrontation of the abovementioned iconic image of Beethoven throughout almost 200-year-long reception with the feeling of a poet – a Polish poet. In the 19th century J. Łuszczewska (Deotyma) honoured the 100th birthday anniversary of the composer with a poem in the form of a dialogue entitled Symfonia („Symphony”), which was staged in Teatr Wielki (Grand Theatre) in Warsaw. Also K. Ujejski illustrated Beethoven’s compositions with verse. In the 20th century, in turn, there appeared an entire pleiad of poets who devoted their poetical verses to Beethoven such as Z. Herbert, W. Wirpsza, A. Zagajewski. Opolskie Towarzystwo Muzyczne (Musical Society in Opole) issued simple copies of a collection of 18 poems, among others by Hulewicz, Gałczyński, Baczyński, Iwaszkiewicz. The poems include the aforementioned symbols of pain, inner strength, immortality of Beethoven’s art as a constant value, but also the love of nature and life in general. A typical Polish ideological quality is the association of that idealized, heroic image of Beethoven with the Polish history and struggle of the nation.

  • M. Gmys (Uniwersytet im. Adama Mickiewicza w Poznaniu, Wydział Nauk o Sztuce, Instytut Muzykologii) Między Wagnerem a Verdim: I Medici Ruggiera Leoncavalla
    • Between Wagner and Verdi: I Medici by Ruggiero Leoncavallo. The author discusses a forgotten opera by Ruggiero Leoncavallo I Medici, written around 1880 (world premiere 1893), which the Italian conductor Alberto Veronesi together with Placido Domingo (performer of one of the main roles) decided to bring back to general awareness. The composition provides an interesting proof of the Italian reception of Wagner, mingling with the „obvious” influences of the works of Verdi, especially from „the period of Rigoletto”. The opera, quite faithfully „describing” the development of the Pazzi’s plot against the Medici, was originally thought as the first part of the never fi nished historical trilogy Crepusculum , which was supposed to be the Italian „anti-tetralogy” (the title Crepusculum to Twilight of the Gods). I Medici, in many fragments indicating strong influence of Wagner (especially with regard to instrumentation, but also to the used motifs, to recall, for instance, the fact of adoption of the leitmotif of longing from Tristan and Isolda), was patronized by Giosue Carducci – mentioned by Leoncavallo in the score of the opera – an eminent Bolognese thinker and spiritus movens the „Wagnerian craze” in Italy. I Medici, along with a simultaneously published symphonic poem May Night, show a new aspect of Leoncavallo, a composer, who, at least in the period of his youth, boldly experimented with musical styles as well as existing musical genres.

  • M. Woźna-Stankiewicz Pierwsza podróż Zdzisława Jachimeckiego do Italii
    • First Journey of Zdzisław Jachimecki to Italy. With his habilitation thesis entitled „Italian Influences in Polish Music”, published in 1911 in Cracow, Zdzisław Jachimecki initiated complex studies in Polish musicology into the Polish-Italian musical relationships. For the first time in Italy, he presented the results of his research (the lecture entitled L’italianita e gl’italiani nella musica polacca 1424-1924) in the period between December 1924 and March 1925 at the universities in Rome, Padua, Florence and Bologna and the Venetian Ateneo Veneto. The plan of travelling to Italy appeared for the first time around 19 May 1903 when Karol Lanckoroński, following his return to Vienna from Rome, put forward an idea of a joint stay with Jachimecki at Lago Maggiore through July and August 1903. The student of musicology at Vienna University since December 1902, also worked part-time with Karol Lanckoroński as his secretary, and since 1903 also as the tutor of the Polish language of the count’s son, Antoni. The plans of this Italian holiday never materialized. The route of the first Italian journey of Z. Jachimecki in 1908 included: Venice (16-20 April), Ferrara (20-22 April), Florence (22-28 April) and Bologna (28-29 April). The trip was preceded by the first short meeting of the young musicologist with Karol Szymanowski (also returning from his first trip to Italy) at the railway station in Cracow on 12 April 1908. Jachimecki spent three successive days (13-15 April) in Vienna, among others, visiting Karl Horwitz and Egon Wellesz, his friends from studies with Guido Adler and Arnold Schonberg. The details of that stay and the impressions of Zdzisław concerning the Italian towns, their historical monuments as well as the collections of famous galleries of painting have been described on the basis of accounts contained in unpublished letters of Z. Jachimecki to his fiancee - Zofia Godzicka. The original lone journey of 25-year old Z. Jachimecki to Italy was undertaken four months before his wedding with 22-year old Zofia, which took place in Cracow in the Church of SS. Peter and Paul on September 7, 1908. Mr and Mrs Jachimecki started their first joint journey to Italy in the summer of 1910.

  • J. Guzy-Pasiak Emigracja w perspektywie postkolonialnej. Wybrane problemy twórczości polskich kompozytorów emigracyjnych: Karola Rathausa i Ludomira Michała Rogowskiego
    • Emigration in Postcolonial Perspective. Selected Problems Concerning the Compositions of Emigrational Composers: Karol Rathaus and Ludomir Michał Rogowski. The text analyses the possibilities of adoption of a post-colonial perspective in the studies of composer’s works, with a provision that the culture is not a neutral zone neither in political nor historical sense. Colonization, broadly understood as any form of domination, exerts influence upon the contents and the form of art works, thus the purpose of post-colonial studies into the artistic output is to describe the mechanisms of power visible in that production. Music, aesthetics and the history of two Polish composers in emigration in the first half of the 20th century, whose reasons to leave the country and the artistic choices made while abroad were quite different: Karol Rathaus (1895-1954) and Ludomir Michał Rogowski (1882-1954), were taken into account as examples of practical application of theory, more widespread in the field of social sciences and literary studies than musicology.

  • J. Stankiewicz Ile wykonań Kwartet na koniec Czasu Oliviera Messiaena odbyło się w Stalagu VIII A w Gorlitz? Nowe fakty i hipotezy 70 lat później
    • How Many Performances of Quatuor pour la Fin du Temps (Quartet for the End of Time) by Olivier Messiaen Were Given in Stalag VIII A in Görlitz? New Facts and Hypotheses 70 Years Later. In the musicological literature devoted to Olivier Messiaen the fact of composing the Quatuor pour la Fin du Temps in Stalag VIII A in Görlitz is generally known, the composition considered as the greatest achievement of chamber music of the 20th century. Also known are the facts regarding the legendary premiere of the Quartet which took place in Stalag VIII A on 15 January 1941, vividly related by the composer and three performers of that concert: a violinist Jean (Eugène) Le Boulaire, a clarinettist Henri Akoka and a cellist Étienne Pasquier. However, neither the early fundamental writings on the musical works of Messiaen (Antoine Goléa, Pierrette Mari, Claude Samuel, Harry Halbreich), nor the most recent monographs (Rebecca Rischin, Anthony Pople, Peter Hill and Nigel Simeon) inform about the fact that not yet finished Quartet was performed before official premiere in the Stalag, organized by Polish artists, cadets — the prisoners of war, during the „Polish Evening”, in mid-December 1940. They combined the performance of the five parts of the Quartet with a recitation in Polish of 13 poems by Zdzisław Nardelli, including the one entitled Otchłań ptaków (The Abyss of the Birds). That such „Polish Evening” took place is evidenced not only by the accounts of its organizers and the audience (Zdzisław Nardelli, Bohdan Samulski, Antoni Śliwiński, Świętosław Krawczyński and others — a circle of Polish artists and intellectuals who were together with Messiaen the prisoners-of-war camp), but also by the programme of that evening in manuscript hidden by Śliwiński and made accessible to the general public in 1982 in Cracow. It is a unique document – published here – and unknown to the researchers studying the Messiaen’s musical output. The eight participants and organizers put their signatures on that programme, among which the signature of Messiaen is visible. Moreover, in that programme the „Polish Evening” is given the name Otchłań ptaków (The Abyss of the Birds), that is identical with the third solo part for clarinet L’Abîme des oiseaux in the Quatuor pour la Fin du Temps, which may suggest the influence of Nardelli upon the artistic output of Messiaen or the opposite. The discovery of this archival programme sheds different light on the official premiere of the Quartet, ordered later by the German camp’s authorities, the organization of which was facilitated by „Polish Evening”. Thus we can say today that the premiere concert of the Quatuor pour la Fin du Temps in Stalag VIII A in Görlitz in 1941 was not the first presentation of this composition in the camp.

Numer 13 (22) 2012

Numer 14 (23) 2013

Numer 15 (24) 2014

Numer 16 (25) 2015

ISSN 1897-824X
DOI 10.14746/rfn.2015.16; numer opublikowany wyłącznie online

Numer 17 (26) 2016

Jan Stęszewski (1929–2016) in memoriam
Edition of the volume: Marcin Gmys, Anna Lubońska, Dobrawa Lisak-Gębala, Sławomir Wieczorek
Wydawca/Publisher: PWM

  • Jan Stęszewski (1929–2016) In memoriam (R.J. Wieczorek, B. Muszkalska, R. D. Golianek, J. Tatarska, P. Podlipniak, G. Piotrowski, B. Tarasiewicz, R. Ciesielski, B. Mielcarek-Krzyżanowska)
  • T. Górny (Uniwersytet Jagielloński, Wydział Polonistyki, Katedra Teorii Literatury) Kilka uwag o badaniach muzyczno-literackich
    • A Few Remarks on Word and Music Studies

      In this paper, the author first discusses and challenges the popular opinion that music essentially amounts to sounds and language to graphic representation, as well as problematising, on the basis of studies of orality, Ferdinand de Saussure’s contrasting thesis that the essence of language is confined to its sound. He goes on to enquire what distinguishes a musical sound from a linguistic sound, noting that, according to the findings of music philosophy, language is distinguished by the ability to establish meaning in terms of a code. Linguistic sound refers to notions and creates discourse, whilst musical sound is primarily devoid of that ability. That is an axiom which on one hand underpins musicology and on the other distinctly characterises word and music studies. The author goes on to give a brief outline of the principal models that organise this field of research (Steven Paul Scher, Werner Wolf, Andrzej Hejmej).

      Keywords: music, literature, meaning of sound, Scher, Wolf, Hejmej

  • A. Reimann-Czajkowska (Uniwersytet Adama Mickiewicza, Wydział Filologii Polskiej i Klasycznej, Instytut Filologii Polskiej) Stanisława Barańczaka muzyczny porządek
    • The Musical Order of Stanisław Barańczak

      The paper tackles the issue of interdisciplinary relations between literary works by Stanisław Barańczak and music. The first part of the paper quotes Barańczak’s opinions on music, which are connected with the autothematic reflections about his own works. However, the main subject of the interpretation is “fonet”, which is a new musico -literary form characterized in the volume Pegaz zdębiał. This volume in turn is thematically connected with Pegaz dęba by Julian Tuwim. “Fonets” are written on the basis of arias from Don Giovanni by W.A. Mozart (e.g. duettino Là cì darem la mano). This experimental form does not translate meanings of Italian words but transposes sound of the foreign words into similar sound of Polish words. Barańczak’s “fonets” are also confronted with the libretto by Lorenzo da Ponte. The comparative interpretation of the both shows many similarities – libretto as well as “fonet” are adapted to a vocal interpretation. “Fonet” is not only a verbal form of art but also a new musico-literary genre.

      Keywords: intermediality, intertextuality, Barańczak, literature and music, ope- ra, fonet

  • D. Lisak-Gębala (Uniwersytet Wrocławski, Wydział Filologiczny, Instytut Filologii Polskiej) Muzyczny kod doświadczenia w poezji Edwarda Pasewicza
    • Musical Code of Experience in Edward Pasewicz’s Poetry

      Although many musical terms, particular works’ titles or names of prominent artists could be found in texts written by poet and composer Edward Pasewicz, neither the prosody nor construction of these poems represent most identifiable models of music in literature. Typical for Pasewicz’s poetry metaphorical allusions, however, establish an original musical code of experience which imitates the individual somatic rhythm. The speaker in these poems often presents himself as someone improvising simultaneously music and words or as sensitive listener associating famous musical works with own poetical phrases.

      Keywords: music in literature, Polish poetry - 21 century, Edward Pasewicz, intermediality

  • A. Al-Araj (Uniwersytet Jagielloński, Wydział Polonistyki, Katedra Teorii Literatury) W rytmie oberka dookoła świata. Inspiracje muzyczne w utworze Oberki do końca świata Wita Szostaka
    • In Oberek Rhythm Around the World. Musical Inspirations in Wit Szostak’s Work Oberki do końca świata [Obereks to the End of the World]

      In this article, the author reflects on the influence of musical inspirations on the form and plot of Wit Szostak’s novel Oberki do końca świata [Obereks to the end of the world]. In the first part, referring to interviews with the writer, the author identifies possible sources of that fascination and the consequences resulting from allusions to the art of sounds on the level of language and the way in which works are formed. She then draws attention to the role and manifestations of inspiration from musical construction in Oberki do końca świata and reveals the strong connection between the vision outlined by Szostak and the still vivid mythology of folk music.

      Keywords: ‘musicality’ of literature, oberek, myth, contemporary Polish novel, Wit Szostak

  • R. Augustyn (Uniwersytet Wrocławski, Wydział Filologiczny, Instytut Filologii Polskiej) „On tam być musi”. Próba przeglądu relacji tekstowo-muzycznych w moich kompozycjach
    • ‘It has to be there’. An attempted overview of textual-musical relations in my compositions

      The first part of this text surveys situations in my compositions in which a text (or a group of texts) is chosen to be set to music. The next part is devoted to functional aspects in light of the titular formula. I will then discuss detailed operations carried out on the texts (not particularly frequent) and the role of titles in relation to the verbal text and its verbal-musical realisation. A separate paragraph deals with my own texts used in my music.

      Keywords Polish music of the twentieth and twenty-first centuries (contemporary Polish music), words and music, composer’s self-reflection, Wrocław – composers, Rafał Augustyn

  • P. Krzaczkowski 4 for Beckett. Uwagi na marginesie
    • 4 for Beckett. Margin Notes

      The work of Samuel Beckett has faced the problem of showing the ontological and epistemological chaos by means of literature. To do this he had to find a tool to organize the linguistic material that would provide flexibility in dealing with literary material as chaos, while giving the opportunity to rule over it. Hence, the key to his work became structuring literary text by means of musical forms, in which he found substantial freedom and structural discipline.

      Keywords: Samuel Beckett, literature, chaos

  • T. Misiak (Dolnośląska Szkoła Wyższa, Wydział Nauk Społecznych i Dziennikarstwa, Instytut Dziennikarstwa i Komunikacji Społecznej) Słuchając pismo nosem. Słowo, dźwięk, muzyka w literackiej twórczości Roberta Szczerbowskiego
    • Listening to a Text with One’s Nose. Word, Sound and Music in the Literary Output of Robert Szczerbowski

      Robert Szczerbowski is an artist who works in many different media. That intermedia character of his works enables him to employ metaphors emphasising the multi-sensory nature of its reception. An important role in his output is played by metaphors linked to sound, music and hearing. Meanings connected with those phe- nomena reveal a variety of links between different media, such as sound, voice and print. This article represents an attempt at an integral interpretation of Szczerbowski’s work from the perspective of metaphors linked to sound and music, showing hybrid forms of artistic realisation such as the installation, the book and the sound recording.

      Keywords: intermedia, multi-sensory, book, object, sound, metaphor

  • D. Brzostek (Uniwersytet Mikołaja Kopernika, Wydział Filologiczny, Katedra Kulturoznawstwa) O abiektach dźwiękowych. Intymne hałasy, zdyscyplinowana spontaniczność i wstręt do improwizacji
    • On the Sound Abjects. Intimate Sounds, Disciplined Spontaneity and Disgust to Improvisation

      The main topic of the paper is theory of „sound abject”, or „somatic noise” – any unwanted sound of human body, „neither [sound] subject nor [sound] object”. Borrowing terms from two eminent authors of twentieth-century aesthetics – Julia Kristeva, who proposed the concept of abject, and Pierre Schaeffer, who announced the existence of acousmatic sound objects, I hereby take the liberty of introducing the idea of „sound abject” – an unwanted, uncanny corporeal sound (the sound of the body itself), uncontrolled by the self and constituting neither a subject nor an object but a sound phantasm that separates from the body and resounds worrisomely. Obviously, these are not only meaningful/less hems or sighs, „sniffing” and embarrassing „rumbling” of the stomach, but also sounds produced by the body which are unexpected here and now: effeminate voices of mature men, a boy’s singing coming from the mouth of a grown-up performer, or a human voice emitted from the guts of a machine.

      Keywords: abject, sound object, sound abject, psychoanalysis

  • Panel dyskusyjny: O abiektach dźwiękowych (Renata Tańczuk, Dariusz Brzostek, Robert Losiak Tomasz Misiak, Adam Poprawa)
    • The article is a discussion on the sound abjects - the concept proposed by Dariusz Brzostek.

  • B. Mielcarek-Krzyżanowska (Akademia Muzyczna im. Feliksa Nowowiejskiego w Bydgoszczy Wydział Kompozycji, Teorii Muzyki i Reżyserii Dźwięku Katedra Teorii Muzyki i Kompozycji, PL) Folklor muzyczny w twórczości kompozytorów polskich XX wieku
    • Musical Folklore in 20 th-century Polish Compositions: Selected Works

      This paper studies the problems of folk music influencing the works of twentieth-century Polish composers. Various reasons that persuaded artists to draw inspiration from folk patterns (aesthetic, socio-political motivation, stimuli and preferences, musical criteria, as well as a com- mercial considerations) lead the author to search for ways of functioning folk patterns in professional musical pieces, according to the idea of Walter Wiora (folk music as: a cantus firmus, a theme-base for variations, a source of quotation, a stirring of musical-ritual complex, an object of imitation in folk style and an abstractive tonal-structural idiom) and the functions of folk-inspired musical works according to the functions of language defined by Roman Jakobson. Selected works by Karol Szymanowski, Roman Maciejewski, Stanisław Wiechowicz, Andrzej Panufnik, Witold Lutosławski, Grażyna Bacewicz, Wojciech Kilar and Henryk Mikołaj Górecki reveal the special features of musical folklore acting as an invigorating impulse, the basic material for the new work, not limiting the creative imagination – together with the inspiring impact of the ideas in Karol Szymanowski’s folk music.

      Keywords: musical folklore, Polish music, contemporary music

  • A. Al Araj (Uniwersytet Jagielloński, Wydział Polonistyki, Katedra Teorii Literatury) Czy słuchanie muzyki minimalistycznej musi wywoływać znudzenie? O pewnym „wybryku” Henryka Mikołaja Góreckiego
    • If listening to minimal music has to lead to boredom? The case of one „prank” by Henryk Mikołaj Górecki

      In my article I try to analyze the idea of minimalism in the context of boredom. I make a comparison between different definitions of the minimal art, including those ones which emphasize a sociological aspect of this phenomenon (by Susan Sontag, Frances Colpitt, Lucy R. Lippard, Henry Geldzahler), and hypothesize what is the reason of particular listeners’ reactions (such like frustration, anger, disap- pointment, impatience and - finally - boredom). I claim that it is not only the audience’s fault that one piece of art or music does not seem suggestive, clear and familiar for us; it is dependent on the composer’s imagination and used methods or techniques as well. I refer to a Henryk Mikołaj Górecki’s famous minimal work (called a „prank” by the composer himself), Concert for Harpsichord (or Piano) and String Orchestra op. 40, to prove this argument. I show that repetitiveness, simplicity or severity of means can be used in a very inventive way and make us feel interested, involved in listening to music.
      Keywords: minimal music, boredom, Henryk Mikołaj Górecki, Concert for Harp- sichord (or Piano) and String Orchestra op. 40


  • K. Stefański (Uniwersytet Adama Mickiewicza, Wydział Historyczny, Instytut Muzykologii) Transpozycje
    • The article is a review of the book "Transpozycje. Muzyka w nowoczesnej literaturze europejskiej", ed. Andrzej Hejmej, Tomasz Górny (Kraków 2016).

Numer 18 (27) 2017

Michał Bristiger (1921–2016) in memoriam
Redakcja tomu/Edition of the volume: Marcin Gmys, Anna Lubońska, Ewa Schreiber, Hanna Winiszewska
Wydawca/Publisher: PWM

  • Od redakcji. Michał Bristiger (1921–2016) in memoriam
  • M. Bristiger (1921–2016) Polskie okno na muzykę włoską. Lectio magistralis (przeł. M. Prusak)
    • The speech delivered by Michał Bristiger on the occasion of awarding him with the honoris causa doctorate by the University of Palermo (Palermo, Palazzo Steri, 22 November, 2004).

  • M. Prusak (Palermo) Michał Bristiger in memoriam. Rozmowa z Paolo Emilio Carapezzą, Antonellą Balsano, Amalią Collisani, Nino Fiorenza oraz Giorgio Reda.
    • Paolo Emilio Carapezza, Antonellą Balsano, Amalia Collisani, Nino Fiorenza, and Giorgio Reda in an interview about Michał Bristiger.

  • A. Laskowski Listy do przyjaciół. Wprowadzenie
    • The introduction to the four letters written to Michał Bristiger by his friends.

  • E. Denisow (1929-1996) List do Michała Bristigera z 28 sierpnia 1970
    • The text is the archived letter to Michał Bristiger written by Edison Denisov in 1970.

  • A. Sznitke (1934-1998) List do Michała Bristigera z 8 sierpnia 1967
    • The text is the archived letter to Michał Bristiger written by Alfred Schnittke Szalonek in 1967.

  • Z. Mycielski (1907-1987) List do Michała Bristigera z marca 1954
    • The text is the archived letter to Michał Bristiger written by Zygmunt Mycielski in 1954.

  • W. Szalonek (1927-2001) List do Michała Bristigera z 31 stycznia 1970
    • The text is the archived letter to Michał Bristiger written by Witold Szalonek in 1970.

  • M. Gmys (Uniwersytet im. Adama Mickiewicza w Poznaniu, Wydział Nauk o Sztuce, Instytut Muzykologii) Idea wiecznego powrotu według Busoniego
    • The Idea of Eternal Recurrence According To Busoni

      Ferruccio Busoni liked to describe himself as the most Nietzschean as well as the least Wagnerian composer of his time. It seems that, in the case of this Italian musician, the most interesting manifestation of his views on the philosophy of the author of Also sprach Zarathustra is still his opus magnum – the unfinished opera Doktor Faust. For many years the question of how this work was supposed to reflect the idea of eternal recurrence remained obscure. The circular structure of the arrangement of the scenes only became apparent when the work was provided with a new ending by Anthony Beaumont, conductor and musicologist, in the 1980s. In contrast to the earlier version by Philip Jarnach it took into consideration the full text of the libretto left by the composer. This structure is particularly easy to observe when one views the orchestral Saraband as a fully-fledged element of the dramatic plot (the Saraband itself, from the tonal point of view, summarises the dramatic curve of Doktor Faust) and it also has the form of a circle. The original tonal plan of the full composition by Busoni, which according to Beaumont returns in the final scene to the cen- tral axis around the C note, symbolizes this circular dramatic feature of Doktor Faust, repeatable and capable of continuous recurrence.

      Keywords: Ferruccio Busoni, Friedrich Nietzsche, idea of eternal recurrence, Doktor Faust

  • A. Jarzębska (Instytut Muzykologii, Wydział Historyczny Uniwersytetu Jagiellońskiego w Krakowie) Genealogia europejskiej muzyki artystycznej w ujęciu Karola Bergera
    • The genealogy of European Artistic Music in Karol Berger’s Approach

      In his A Theory of Art (1999) Karol Berger proposed an original model of discourse on the subject of the history of modern European artistic music. The author concentrates on the aims of artistic endeavour and on the question: „what should be the function of art if it is to be meaningful to us?”. He links the beginnings of European artistic music to the appearance and establishment of modern music notation, which made it possible to separate the roles of composer and performer of a musical work. In the proposed model of continuity and change in the history of European music, Berger abandoned traditional stylistic categories (such as the baroque, classicism, romanticism or modernism) and applied a new set of specifically defined categories, regarded as ideal types, namely such as: the practice of artistic music, autonomous, functional, mimetic and popular music. The originality of the model of the history of music proposed by Berger consists in highlighting the continuity of two fundamental ideas (generally associated with ratio and emotio) and the caesurae resulting from radical changes in their configuration, as well as applying the philosophy of communitarianism to interpreting music produced by talented creative personalities, but functioning in a community organised around stable social practices.

      Keywords: history of music, philosophy of music, aesthetics

  • A. Nowok-Zych (Akademia Muzyczna im. Karola Szymanowskiego w Katowicach, Wydział Kompozycji, Interpretacji, Edukacji i Jazzu, Katedra Kompozycji i Teorii Muzyki) Symfonia pocieszenia? Rzecz o XXI Symfonii „Kadysz” na sopran i orkiestrę op. 152 Mieczysława Weinberga
    • A Symphony of Solace? On Symphony No. 21 „Kaddish” by Mieczysław Weinberg

      The article attempts to analyse and interpret Mieczysław Weinberg’s Symphony No. 21 „Kaddish” on the basis of available biographical sources (including those by David Fanning and Danuta Gwizdalanka) and the score (Peermusic Classical). The quotations and self-quotations given in the texts allow one to present Weinberg’s last great symphonic work in such perspectives as the Jewish tradition, Mahler’s aesthetics, the works of Dmitri Shostakovich and Polish music. On the basis of selected literature relating to Judaism, kaddish is understood not only as a prayer for the dead members of the community (the symphony is dedicated to the victims of the Warsaw ghetto, including Weinberg’s family), but above all as a prayer of solace and trust. This became the point of departure for the interpretation proposed here.

      Keywords: Mieczysław Weinberg, Symphony No. 21 „Kaddish”, Judaism, Soviet composers, Gustav Mahler, Dmitri Shostakovich, Second World War

  • S. Wieczorek (Uniwersytet Wrocławski, Wydział Nauk Historycznych i Pedagogicznych, Instytut Muzykologii) Niedokończona wzniosłość. Kilka uwag do przekładu artykułu Reinholda Brinkmanna
    • The Unfinished Sublime. A Few Comments on the Translation of Reinhold Brinkmann’s Study

      The article is a commentary on Reinhold Brinkmann’s study The Distorted Sublime: Music and National Socialist Ideology. A Sketch. The German musicologist intended to develop the theses presented in that study in a planned book on the subject of music in the Third Reich. His death put an end to this project, but in my text I attempt to reconstruct the key ideas which accompanied Brinkmann while he worked on this subject, as well as placing this unfinished project both in the context of his biography and the research conducted by him. Another important thread here is the question of the reception of Brinkmann’s article in the bibliography of this subject.

      Keywords: history of music, Nazi and music, sublime and music, music and propaganda

  • A. Mozalewska (Uniwersytet im. Adama Mickiewicza w Poznaniu, Instytut Muzykologii) Autobiograficzne aspekty Seven Sonnets of Shakespeare Andrzeja Czajkowskiego
    • Seven Sonnets of Shakespeare by Andrzej Czajkowski as an Autobiographical Work

      The paper explores autobiographical angle of Seven Sonnets of Shakespeare – a song cycle composed by Andrzej Czajkowski in 1967. The main aim of it is to determine if any of the seven parts of the cycle contains elements that were directly inspired by or drawn from the composer’s complicated life. Among all, it features a scientific reflection on theoretical aspects of a sonnet and cycle, complemented by musical and contextual analysis. Above endeavours provided information which enabled an extensive interpretation of Seven Sonnets of Shakespeare.

      Keywords: Andrzej Czajkowski, William Shakespeare, neoclassicism, music as autobiography

  • W. Nowak (Uniwersytet im. Adama Mickiewicza w Poznaniu, Wydział Nauk o Sztuce, Instytut Muzykologii, PL) Relacje między głosem a tekstem w Outis Luciana Beria
    • Relationships Between Voice and Text in Outis by Luciano Berio

      In Outis (1995/1996), the penultimate stage work of Luciano Berio, voice functions as a source of experiments and various techniques of recording on the one hand, on the other – it is a tool for the transfor- mation of that which is textual. The tension between the textual and oral manner of cognizing and constructing the world is embedded in various relationships created by the voice and the verbal text in Outis. The aim of the article is to distinguish the three relationships created between the voice and the verbal text in Outis and to carry out their multi-aspectual evaluation. The three different kinds of relationships between voice and text include: “the drawing near of voice and text”, “the drawing apart of voice and text”, and a relationship which might be described as “consensual” or “ambivalent”. The first of these relationships will be examined with reference to the characteristics of the libretto and recitation and its functions; the second – with reference to four types of vocal gestures, and the third with reference to the performative function of voice, which is linked to the possibility of overcoming the dualism of the two relationships indicated earlier. The evaluation of the relationships will involve the performative perspective (associated with the ideas of such researchers as Erika Fisher-Lichte and Richard Schechner) and the conception of vocal gesture formulated by Berio; it will also be confronted with the conception of musical gesture conceived by Michał Bristiger.

      Keywords: Berio, voice, verbal text, stage works, vocal gesture, performativity

  • K. Kolinek-Siechowicz (Uniwersytet Warszawski, Wydział „Artes Liberales”) Utopia autentyczności
    • The Utopia of Authenticity

      The article concerns the problem of adequacy of the term „authenticity” in relation to contemporary performances of early music, and its identification with the trend of historical performance. The au- thor considers the meaning of this concept in philosophy, in order to juxtapose it with its musicological usage, which involves different connotations. Authenticity in discourse about music relates primarily to the issue of performing early music in accordance with our knowledge about historical musical practice. However, the present trend in historical performance goes beyond reconstruction (which in itself is a utopian postulate) of early practice, and does not pretend to „authenticity” understood as reviving the sound of the past. In this context the issue of authenticity takes on a different meaning: the author proposes such an understanding of the term which would enhance the role of the performer and the living aesthetic experience of the audience. At the same time the text takes up the issue of interest in early music in the 20th and 21st centuries. The author refers to the ideas of John Butt, who links this phenomenon to the ideology of modernism. The discussion concludes with the thesis that expanding the interests of music lovers to include music of the earlier centuries has the characteristics of a compensation mechanism.

      Keywords: Authenticity, early music, historical performance, philosophy of music

  • P. Siechowicz (Uniwersytet Warszawski, Wydział Nauk o Kulturze i Sztuce, Instytut Muzykologii) Cyrulik impresariem. Wpływ ekonomii na twórczość muzyczną na przykładzie impresaryjnego modelu produkcji opery włoskiej w XVIII i XIX wieku
    • The Barber as an Impresario

      The influence of economics on musical output in the case of the impresario model of Italian opera production The article discusses the impresario model of Italian opera production, which determined its character from the beginnings of public theatre until the events initiated by the Spring of Nations. The sequence of the levels at which economics influenced musical output is examined through an analysis of the changes in the ways that the impresario is present in Italian opera. Initially, impresario is the organizer of operatic productions; secondly, he becomes the subject of satire expressed in written form, i.e., in music criticism; thirdly, impresario appears on stage as one of the characters in the operatic play; fourthly, it is impresario who provides the model for the character of the barber in Gioacchino Rossini’s The Barbier of Seville. The passage through the successive levels is shown in a historical perspective as a process, moving from the beginnings of the existence of a specific econom- ic model of music production, through its negation in the form of criticism and satire, to its assimilation within the artistic creation.

      Keywords: impresario, metaopera, barber, opera production, Rossini

  • R. Ciesielski (Wydział Artystyczny Uniwersytetu Zielonogórskiego) Pokolenie kompozytorskie „debiut 1930” (przyczynek do diachronii muzyki polskiej XX wieku)
    • Generation of Composers “Debut 1930” (a Contribution to the Diachrony of Polish Music in the Twentieth Century)

      The stylistic pluralism and the simultaneity of quite a few aesthetic conventions, characteristic of the twentieth century, lead to the conclusion that the ordering of historical space needs to take into account methods that are different from the traditional ones. The article proposes that the category of “generation” should be applied in relation to Polish twentieth-century music. Adopting this category does not mean that it is exclusive, and it does refer to aesthetic, stylistic and technical-compositional criteria. The essence of this proposal consists in the complex claim that: 1. The group of young Polish composers who began their creative careers during the twenty years between the two world wars was a generational formation, defined by the following premises: a) experience of studying composition in Poland (influence of Szymanowski), b) continuing their studies in Paris, c) polemical attitude towards the Romantic tradition and the then existing state of Polish music (excluding Szymanowski), d) adopting neoclassical aesthetic (as interpreted in France and by Stravinsky) as their starting point: this was the source and the main factor constituting the generational nature of this group of composers, e) having their debut around the year 1930; 2. that generation introduced neoclassical aesthetics into Polish music on a permanent basis; 3. the appearance of this aesthetic as a generational mode plays a significant role in a diachronic approach to the history of Polish music in the twentieth century. Constructing a generational category for the group of compos- ers in question is based on references to their music and their writings, on the perception of this group as a generation in the research tradition, and on adopting the concept of generationality not on the basis of age but on the temporal closeness of the composers’ debuts.

      Keywords: Polish twentieth-century music, Association of Young Polish Musicians in Paris, generation of composers, generational debut

  • R. D. Golianek (Uniwersytet im. Adama Mickiewicza w Poznaniu, Wydział Nauk o Sztuce, Instytut Muzykologii) Teatr – muzyka – sacrum. Mojżesz Antona Rubinsteina jako wzorzec opery religijnej
    • Theatre – Music – Sacrum. Anton Rubinstein’s Moses as a Model of Religious Opera

      From the contemporary perspective, Anton Rubinstein (1829–1894) is viewed primarily as an outstanding pianist, whose compositions, expressing a conservative approach in the second half of the nineteenth century, were forgotten immediately after his death. But Rubinstein was also seeking new paths in music, and the conception of religious opera which he devised is an expression of this search. Works of this kind were to have librettos based on the Bible, and the solemn nature of the spectacle was to have an effect on audiences similar to partici- pation in a religious service. This required appropriate compositional solutions, vocal and choral techniques, and a specially constructed theatre with the necessary stage machinery. One of Rubinstein’s plans for creating a religious opera was realised as his Moses, composed to a libretto by Salomon Hermann Mosenthal. Work on this composition stretched over many years, and the full score was not completed until 1891. On the few occasions when this work was performed during the 1890s it was never staged in its entirety; this was mainly the result of the gigantic scoring and performance demands, as well as the stage action being split into two evenings. The work, in eight enormous stage presentations, narrates the fate of Moses from birth until death, and the compositional techniques devised for this purpose, as well as clear references to the rhetorical tradition, provide clarity to the issues with which the work is concerned. Paradoxically, however, by adopting an attitude aesthetically opposed to Wagnerian avant-garde ideas in this attractive conception of religious opera, Rubinstein condemned himself to being isolated as a composer insensitive to current artistic trends.

      Keywords: religious opera, Anton Rubinstein, Bible, sacrum, stage misterium

  • R. Brinkmann (1934-2010) Wypaczona wzniosłość. Szkic o muzyce i ideologii narodowego socjalizmu (przeł. S. Wieczorek)
    • The article is Polish translation of the chapter "The Distorted Sublime: Music and National Socialist Ideology – A Sketch" by Reinhold Brinkmann. The text was oryginally published in the book: "Music and Nazism: Art under Tyranny, 1933–1945", ed. M.H. Kater and A. Riethmüller, Laaber 2003.

  • K. Berger (Department of Music Stanford University) Muzykologia według Don Giovanniego albo: czy mamy stać się drastyczni? (przeł. E. Schreiber)
    • The text is a Polish translation of the article "Musicology According to Don Giovanni, or: Should We Get Drastic?" by Karol Berger. It was oryginally published by „Journal of Musicology” (2005, vol. 3).

  • A. Tansman (1897-1986) Karol Szymanowski (przeł. M. Gamrat)
    • The text is Polish translation of the article on Karol Szymanowski written by Aleksander Tansman. Oryginally published in French in La Revue Musicale (1922).

  • M. Gamrat (Instytut Muzykologii, Wydział Nauk o Kulturze i Sztuce, Uniwersytetu Warszawskiego) O związkach muzyki ze słowem raz jeszcze
    • The article is a review of the book: Hazel Smith, The Contemporary Literature-Music Relationship: Intermedia, Voice, Technology, Cross-Cultural Exchange, (Routledge 2016).

Numer 19 (28) 2018

Andrzej Rakowski (1931–2018) In memoriam
Redakcja tomu/Edition of the volume: Ewa Schreiber, Julia Kaleńska-Rodzaj
Wydawca/Publisher: PWM

  • J. Kaleńska-Rodzaj (Uniwersytet Pedagogiczny w Krakowie, Katedra Psychologii) Emocje estetyczne w świetle badań psychologii muzyki: opis i mechanizmy wyjaśniające
    • Aesthetic emotions in light of research into the psychology of music: a description and explanatory mechanisms

      The main aim of this article is to review contemporary research on aesthetic emotions from the perspective of music psychology. By analyzing the results of research review in the broader theoretical context, the author attempts to answer the question of the appropriateness of distinguishing a separate category of aesthetic emotions and musical aesthetic emotions. She concludes that despite the specific terminology used to describe aesthetic musical emotions (classification of aesthetic emotions by M. Zentner et al.), some specific induction mechanisms (a multi-level theory of emotion causation by P.N. Juslin) and functions fulfilled in the listener’s life, there is no clear evidence to distinguish musical aesthetic emotions as a separate category of emotions, and the term aesthetic emotions should be reserved only for the emotions arising as a result of the cognitive evaluation of the stimulus according the listener’s aesthetic criteria.

      Keywords: aesthetic emotions, aesthetic judgements, basic emotions, emotion induction mechanisms, music listening

  • S. Makomaska (Uniwersytet Warszawski, Wydział Historyczny, Instytut Muzykologii) Muzyka w służbie „naukowego zarządzania” – od tayloryzmu do audiomarketingu
    • Music in the service of „scientific management” – from Taylorism to audiomarketing

      The presence of music in the contemporary world also encompass- es its functioning within activities that can be termed “acoustic engineering”. It is a strategy that involves the designing, construction and modification of the acoustic space of a given place by means of programmed music using scientific and technical knowledge. Its purpose is to modify or change the recipients’ responses and behaviour in a way consistent with the values and interests of the sender. In such an approach, music is embedded in the framework of the social communication model, which assumes that the end result of the communication process is to control the recipients’ responses and behaviour (usually unconsciously for them). This strategy primarily concerns activities carried out in public space. The analysis of the selected concepts that use music as an instrument of “scientific management” in the workplaces and at the points of sale (e.g. Muzak and audiomarketing) seems to confirm that music was and is being used as an effective tool for the control and change of the workers or/and consumers behaviour. In this way, the listener is reduced to the role of a responsive recipient and becomes “the slave of the surrounding world”. The purpose of this article is to show the relationship between the “scientific management” doctrine introduced by Frederick Winslow Taylor in 1911 and the selected concepts in which music is treated as a tool of influence. Special attention will be paid to the contemporary activities known as audio marketing, which, according to the Author, can be regarded as a manifestation of neo-Taylorism.

      Keywords: background music, Scientific Management, Taylorism, Muzak, audio-marketing, consumer behaviour, acoustic engineering

  • A. Mądro (Akademia Muzyczna w Krakowie, Wydział Twórczości, Interpretacji i Edukacji Muzycznej, Katedra Teorii i Interpretacji Dzieła Muzycznego) Między- i metazmysły – percepcja w dobie sztuki multimedialnej
    • Inter- and metasenses – perception in the age of multimedial art

      The mechanism of perceiving the world by mankind is still an unfathomable, yet highly discussed, problem of modern science in its various fields. If the issue is considered in the specific context of contemporary music and art – electroacoustic, multimedia, inter- active – questions arise: how do the hearing and the mind react to the new synthesized sounds? What are the mechanisms and rules of multi-sensory perception? Are new perceptual skills developing in the face of new aesthetic situations? Does mankind in the age of the new media take another step on the long path of its “sensory evolution”? New media art often puts the senses to the proof; it is a game played with perception, with its limitations and capabilities. In turn, intensification of experience appears to the audience as liberation, escapism, but also as a search for new ways of knowing.

      Keywords: senses, multimodal perception, immersion, new media art, neuroaesthetics

  • P. Podlipniak (Uniwersytet Adama Mickiewicza, Wydział Historyczny, Instytut Muzykologii, PL) Percepcja muzyki – słuchanie muzyki czy słuchanie dźwięków
    • Perception of music – listening to music or listening to sounds

      Listening to music is usually understood as perception of a stimulus of a particular kind which, however, does not differ in any special way from listening to other, non-musical sound stimuli. Numerous observations show, however, that the majority of musical stimuli is perceived in a particular manner, suggesting that alongside the cognitive strategies used in the perception of all kinds of sound stimuli, listening to music also activates music-specific cognitive mechanisms. On the other hand, a large section of musical artistic output of the Western culture in the twentieth century became an exceptional phenomenon, both in historical and geographical perspective, in that it abandoned the organisation of the sound structure of music on the basis of pitch-rhythm relationships. From the psychological perspective, this exceptionality consists above all in omitting, during the perceptual processing of this kind of music, of some of the perceptual cognitive structures characteristically involved in the perception of traditionally conceived melodic structures. For a full understanding of the ways of perceiving music it is thus necessary to apply contemporary knowledge of the specific features of the human cognitive system and its evolutionary sources. The aim of the article is to present

      Keywords: auditory perception, auditory scene analysis, functions of the sense of hearing, sound communication, perceptual constructivism, cognitive predispositions

  • K. Czernecka (Uniwersytet Pedagogiczny w Krakowie, Katedra Psychologii) Neuropsychologiczne aspekty percepcji muzyki
    • Neuropsychological aspects of music perception

      The article reviews selected neuropsychological studies on brain correlates of music perception. First, the role and specialization of auditory cortex is discussed, focusing on differences between primary/ secondary cortices as well as hemispheric asymmetry. Second, brain structures giving rise to emotional experiences during music listening are discussed, along with several possible explanatory mechanisms. Third, studies showing strengthened relationships between motor and auditory areas of the brain are demonstrated in the context of relative easiness of music to organize actions. The last part of the article focuses on the role of prefrontal cortex in building musical expectations and error perception. The influence of additional variables, such as listener’s musical training, on the observed effects is also discussed.
      Keywords: music perception, neuropsychology, brain, music training, emotions, motor functions, executive functions

  • A. Zawadzka-Gołosz (Akademia Muzyczna w Krakowie, Wydział Twórczości, Interpretacji i Edukacji Muzycznej, Katedra Teorii i Interpretacji Dzieła Muzycznego) Gra kompozytora z percepcją słuchacza na przykładzie twórczości Witolda Lutosławskiego
    • The composer’s game with the perception of the audience on the example of Witold Lutosławski’s works

      The title issue of this article is preceded by reflections on the prob- lem of perception as such, taking into account the perspective of the author’s creative and pedagogical experiences. The examples of perception problems of music-educated students, especially as part of the process of developing the auditory intellect (hearing education), are the bases of the introduced hypotheses and attempts to diagnose the problem. One of the theses in this article is that the consciousness and knowledge of the mechanisms of perceptual hearing (both its possibilities and limitations) should accompany the creator of the musical creation. There is also an attempt to answer the question who the composer and who their listener is today. The distinction between the “composing creator” and the “creating creator” is emphasized. Attention is drawn to the problems of the perception of a contemporary work; listeners’ habits, resulting from knowledge limitation and lack of development of the so called “cognitive attention”, limit the acceptance of new aesthetic and technical attitudes. The “perception shock” caused by the inflow of unknown information does not allow the strategy to organize the visual or auditory scene into a logical whole. The emergence of new sound qualities and their new aesthetic categorization (melodies of colors, melodies of textures, harmonies of colors, etc., and a new approach to time and space) in the 20th and 21st century music, requires “guiding the listener on the new sound stage” and opening them to appropriate perceptual strategies. Witold Lutosławski’s work – in the context of his philosophy of creation, becomes a unique example of inviting the listener to the perception game, which is based, above all, on the composer’s desire to meet his audience in a deep aesthetic experience.

      Keywords: music perception, Witold Lutosławski, contemporary music

  • A. Chęćka (Uniwersytet Gdański, Instytut Filozofii, Socjologii i Dziennikarstwa, Zakład Estetyki i Filozofii Sztuki) Dotyk fortepianu. Wybrane zagadnienia fenomenologii wykonania i percepcji utworu muzycznego
    • The touch of a piano. Selected issues of phenomenology of performance and perception of a musical work

      The main purpose of the article is to reflect on performer’s aesthetic concretization of a musical work. The virtuoso’s concretization blurs the boundaries of the subject and the object of experience: the musician becomes a screen for music, embodies it. The artist’s perception is sharpened, which is shown in the article based on the experience of a pianist performing Claude Debussy’s music. Especially important – apart from hearing – is the sense of touch in this experience. The analysis of the experience of the perceptive performer presented here is in a significant way inspired by the pedagogical practice of the French pianist, Alfred Cortot – his statements, recordings and testimonies of his pupils. On the theoretical side, it is founded on the phenomenology of Maurice Merleau-Ponty and Michel Henry, and indirectly also refers to the comments of Roman Ingarden about aesthetic concretization.

      Keywords: hearing, touch, perception, concretization, piano

  • A. Igielska (Uniwersytet im. Adama Mickiewicza w Poznaniu, Wydział Filologii Polskiej i Klasycznej, Instytut Filmu, Mediów i Sztuk Audiowizualnych) Tragedia lalki w żywiole komedii. Operowy kontekst filmu Aria Piotra Sapiegina (2001)
    • The tragedy of a doll in the element of comedy. The operatic context of the film Aria by Pjotr Sapegin (2001)

      The subject of the analysis is the animated puppet film Aria by Pjotr Sapegin, which refers to the plot and the music – through the quotes from the aria ‘Un bel dì vedremo’ in the arrangement of Normand Roger – of the opera Madama Butterfly by Giacomo Puccini. By taking as a main reference point a description of musical operations made in the film and their contribution in constructing the meanings of the audiovisual work, the author of the article moves suc- cessively between several interpretation levels: historical (she situates the film within the puppet’s opera tradition), media-theoretical (she considers the qualitative transformation of the doll in theater and film in the perspective of different aesthetics of both media), theatrological (she reflects on the doll’s ontology, with particular emphasis on the question of comicality), and operological (she refers in part to the entire opera of Puccini and portrays more accurately verbal, musical and dramaturgical values of the aria ‘Un bel dì vedremo’, while proving that the Sapegin’s film is an example of meta-reflection on aria as a form of dramatic-musical expression). The multiple perspectives of the study are used to reveal the dramatic, stylistic, adaptive and philosophical complexity of Sapegin’s work and lead to the recognition of the capabilities of an animated film as an audiovisual medium that continually leads a creative dialogue with music as well as the potential of the puppet aesthetics at the beginning of the 21st century.

      Keywords: Pjotr Sapegin, Aria (2001), Giacomo Puccini, Madama Butterfly, puppet animation film, opera and animation film, Normand Roger

  • E. Chorościan (Akademia Muzyczna w Krakowie, Wydział Twórczości, Interpretacji i Edukacji Muzycznej, Katedra Teorii i Interpretacji Dzieła Muzycznego) Muzyka a nowe media. Polska twórczość elektroakustyczna przełomu XX i XXI wieku
    • The article is a a review of book "Muzyka a nowe media. Polska twórczość elektroakustyczna przełomu XX i XXI wieku" by Andrzej Mądro (Kraków, 2017).

  • M. Chełkowska-Zacharewicz (Uniwersytet Śląski w Katowicach, Instytut Psychologii) Synestezja a sztuka, red. Aleksandra Rogowska, Julia Kaleńska-Rodzaj
    • The article is a review of book "Synestezja a sztuka" edited by Aleksandra Rogowska and Julia Kaleńska-Rodzaj (Kraków 2016).

Numer 20 (29) 2019

Redakcja tomu/Edition of the volume: Ewa Schreiber, Sławomir Wieczorek
Wydawca/Publisher: PWM

  • T. Malecka (Akademia Muzyczna w Krakowie, Wydział Twórczości, Interpretacji i Edukacji Muzycznej, Katedra Teorii i Interpretacji Dzieła Muzycznego, PL) Mieczysław Tomaszewski. Muzykolog wolny, niezależny i zaangażowany
    • Mieczysław Tomaszewski. A free, independent and committed musicologist

      The article discusses the culture-creating activities of Mieczysław Tomaszewski (1921–2019) at the Polish Music Publishing House and within the context of Musical Encounters at Baranów Sandomierski (1976–1981). The text is mainly concerned with Tomaszewski’s publications relating to twentieth-century Polish composers: Karol Szymanowski, Witold Lutosławski, Krzysztof Penderecki and Henryk Mikołaj Górecki. The reflections of the Polish musicologist are closely entwined with the theoretical conceptions developed by himself: the conception of Wort-Ton, the method of integral interpretation of a musical work, the conception of nodal points in the lives of composers, or intertextuality in music. Applying these conceptions allowed him to describe Polish twentieth-century compositions at different levels and in different contexts: beginning with a synthetic periodisation of creative development, up to masterly analyses and interpretations of individual works that take into consideration their intertextual references. The Polish musicologist also paid careful attention to composers’ statements testifying to their original views and inner transformations. The problem of freedom was of particular importance to him, both in its personal, artistic aspect and in its historical dimension. Tomaszewski as a person reveals himself throughout his activities as someone both free and committed.

      Keywords: freedom, Mieczysław Tomaszewski, Witold Lutosławski, Krzysztof Penderecki, Henryk Mikołaj Górecki, Fryderyk Chopin, Karol Szymanowski

  • M. Nowak (Mannheim, DE) Józef Patkowski at the Darmstadt International Summer Courses for New Music
    • Józef Patkowski at the Darmstadt International

      Summer Courses for New Music Around 1960, the Darmstadt International Summer Courses for New Music were an important contact point for Polish composers and musicians to the Western avant-garde after years of isolation due to the doctrine of socialist realism imposed in Poland. During this first phase of Polish participation, Józef Patkowski participated twice in the Courses. Mainly based on sources to be found in the archives of the International Music Institute Darmstadt (IMD), this article discusses Patkowski’s perception of the Courses as well as his lecture on New Music in Poland which he held in Darmstadt 1962, and gives an insight into the organizational process of artistic contact between Poland and a Western festival.

      Keywords: Józef Patkowski, Darmstadt Summer Courses, festival, contemporary music in Poland

  • M. Nowicka-Ciecierska (Uniwersytet im. Adama Mickiewicza w Poznaniu, Wydział Nauk o Sztuce, Instytut Muzykologii, PL) Uchem krytyka. Idiom kompozytorski Pawła Szymańskiego w ujęciu Andrzeja Chłopeckiego
    • In the critic’s ear. Paweł Szymański’s compositional idiom in the conception of Andrzej Chłopecki

      The article aims to present the compositional idiom of Paweł Szymański (b. 1954) as conceived by Andrzej Chłopecki (1950–2012), an outstanding Polish music critic and musicologist. His opinion-forming texts, written in a distinctive language, resonated widely in the Polish and international music community. The article has the character of a review, presenting quotations from Chłopecki’s texts regarded by the author as the most significant, confronted with self-reflections of the composer himself, as well as references to other researchers’ comments. The initial part of the article describes Chłopecki’s promotional activities in relation to Szymański’s work. As an active employee of the Polish Radio, Chłopecki was in a position to commission works, prepare programmes on the subject of the composer’s music, as well as organise a monographic festival presenting the majority of his works. The next section of the article recapitulates the first important text by this opinion-forming critic which discusses the works of Szymański, titled W poszukiwaniu utraconego ładu. „Pokolenie” Stalowej Woli [In search of lost order. The Stalowa Wola „generation”]. In it the critic emphasised the role of tonality and the Baroque as the archetype always present in the composer’s music. The central part of the article discusses the main features of Szymański’s music, the subject of Chłopecki’s later texts; these included heterophony, bidirectional composing, and the dialectic interplay between structure and its transformations. The last section of the article talks about the charge made by the critic against the composer, that of remaining within the same aesthetics, even though placing his compositions among the most significant and individual phenomena of postmodernist music.

      Keywords Andrzej Chłopecki, Paweł Szymański, composer’s idiom, Polish musical criticism, surconventionalism

  • W. Nowak (Uniwersytet im. Adama Mickiewicza w Poznaniu, Wydział Nauk o Sztuce, Instytut Muzykologii, PL) Sfera sacrum w Cronaca del Luogo Luciana Beria
    • The sphere of sacrum in Luciano Berio’s Cronaca del Luogo

      One can point to numerous manifestations of the sphere of sacrum in Luciano Berio’s stage works. It is created in the works of the Italian artist through the use of Christian symbolism, or that associated with the Judeo-Christian tradition, as in the case of Cronaca del Luogo (1999). The sphere of sacrum in Berio’s last stage work is created through such means as intertextual references to the Holy Writ, rabbinic and apocryphal literature and, linked to the creation of specific locations of the action – the space of sacred place, the palace and a Jewish cemetery. Even the title of the work points to the link between the work and the sphere of sacrum, and between the sphere of sacrum and the symbolism of space. This article will present an interpretation of these „imagined worlds” linked to the sphere of sacrum, created by the relationship between words, sounds and images, on the boundary between the space of the „wall” of Salzburg’s Felsenreitschule, where the work had its premiere, and the imagination of its creators and audiences.

      Keywords: sphere of sacrum, Luciano Berio, stage works, Cronaca del Luogo, space of sacred place, space of the palace, space of Jewish cemetery

  • J. Rudnicka (Uniwersytet Wrocławski, Wydział Filologiczny, Instytut Filologii Polskiej, PL) Don Juan Wolfganga Amadeusa Mozarta w reżyserskiej interpretacji Lii Rotbaumówny – próba rekonstrukcji
    • Don Juan by Wolfgang Amadeus Mozart in the directorial interpretation of Lia Rotbaum – an attempt at reconstruction

      Don Juan by Wolfgang Amadeus Mozart, directed by Lia Rotbaum (Opera Wrocławska, 1969), turned out to be an unorthodox staging supported by deep theoretical reflection. This article attempts to reconstruct this staging, on the basis of what is known as the work’s documentation (director’s copy, photographs, opera programme), reviews, accounts by the singers, as well as the director’s theoretical writings. Don Juan in the interpretation of Lia Rotbaum is an ambivalent figure, who combines contradictory attitudes. He is not a thoroughly negative protagonist; it is the other characters in the opera who, like mirrors, reflect other aspects of his activities. For this reason the director makes the question of responsibility of one person towards another the main theme of the work. Directorial techniques include the use of the revolving stage to give tempo and dynamics to individual scenes; removing and changing the sequence of some musical fragments; operating with studied, rich stage movement, and a highly ordered stage design.

      Keywords: Lia Rotbaumówna, Opera Wrocławska, Don Juan, Don Giovanni, Wolfgang Amadeus Mozart, opera theatre

  • M. Bogucki (Uniwersytet Warszawski, Wydział Polonistyki, Instytut Kultury Polskiej, PL) Nimfa, Ariadna, Licori. Kształtowanie kobiecej tożsamości w dziełach Claudia Monteverdiego
    • Nymph, Arianna, Licori – the shaping of feminine identity in the works of Claudio Monteverdi

      This article analyses the way of setting lament and the theme of madness to music in the first half of the seventeenth century, on the example of the works of Claudio Monteverdi. At that time the way of expressing states on the verge of madness was the lament as a distinctive musical form in the course of the composition. The discussion takes as its point of departure one of the most famous examples of lament from early seventeenth century, Claudio Monteverdi’s The Nymph’s Lament – an emotional outburst by the eponymous heroine, held within bounds by a chorus of male voices. The work is analysed in its musical aspect as well as in the context of the “video clip” advertising Anna Prohaska’s album Enchanted Forest. An example of a lament by Monteverdi using other musical techniques is the monologue from the opera Arianna by its heroine, which became the model for later laments. Symbolically it presents a woman’s unsuccessful struggle for her right to individuality and the cultural role of arranged marriage. Its shape is influenced by the commedia dell’arte tradition. The first opera directly concerned with the theme of madness is Monteverdi’s La finta pazza Licori. Also in this case inspiration came from commedia dell’arte. Even though this work was not completed, the available versions allow us to reconstruct the composer’s intentions and to show how the theme of madness came to make its appearance on operatic stages.

      Keywords:opera, madness, lament, Claudio Monteverdi, gende

  • W. Schultz Z trwogą wyczekując zmiany paradygmatu. Schyłek Nowej Muzyki (przeł. M. Trzęsiok)
    • The text is the Polish translation of the article by Wolfgang-Andreas Schultz „In banger Erwartung eines Paradigmenwechsels. Die Endzeit der Neuen Musik” from the book "Avantgarde, Trauma, Spiritualität" (Schott Music, Mainz, 2015).

  • M. Trzęsiok (Akademia Muzyczna w Katowicach, Wydział Kompozycji, Dyrygentury, Teorii i Edukacji Muzycznej, Katedra Kompozycji i Teorii Muzyki, PL) Spór o dziedzictwo muzyczne XX wieku
    • Argument over the musical legacy of the twentieth century

      This is a voice in a discussion on the subject of the field of values within which twentieth-century music developed. The author undertakes a polemic with Alicja Jarzębska, who in her book Spór o piękno muzyki [Argument over the Beauty of Music] put forward the thesis that the musical culture of the previous century was caught up in a struggle between two antinomic visions of reality: it was faced with a choice between Christian Platonism and post-Christian existentialism, i.e., a conglomerate of pantheism, prometheism, influences from beyond Europe, nihilism, dehumanisation, ideological seductions and cynicism. In response to this thesis the article proposes a reflection on the causes of the axiological instability and the drama that left its mark on the music of the last century. This drama – and this is the main thesis of the essay – results from the conflict between tradition and the modern natural and historical sciences. This conflict brings about a profound change in the response to the world and the artistic imagination: the centre is no longer the perfection of the Idea or Creation, but the mystery of the suffering integral to the nature of existence. Such a perspective means that the picture of twentieth- -century music forms a configuration significantly different from that proposed by Jarzębska.

      Keywords: twentieth-century music, modernism, Christianity, secularisation, music aesthetics

  • R. Lubieniecki (Uniwersytet Wrocławski, Wydział Nauk Historycznych i Pedagogicznych, Instytut Muzykologii, PL) Atlasy pamięci. Warburg i Muzyka Dawna na podstawie Time Regained Björna Schmelzera i Margaridy Garcii
    • Atlases of memory. Warburg and Early Music on the basis of Time Regained by Björn Schmelzer and Margarida Garcia

      Time Regained (A Warburg Atlas for Early Music) by Björn Schmel- zer and Margarida Garcia, published in 2018, is the first large-scale attempt to apply to musicology, or more precisely the Early Music movement with its beginnings in the nineteenth century, the thinking and action strategy of the German art historian Aby Warburg. The authors chose as a kind of model Warburg’s famous Mnemosyne Atlas. In a similar way, Time Regained was presented in the form of an exhibition, premiered during the residence of the Belgian vocal ensemble Graindelavoix at the Utrecht Early Music Festival in 2018. The book version, alongside 10 plates containing ca. 1500 pictures, provides an extensive commentary on the exhibition. In view of its close relationship to the performance practice of the Graindelavoix ensemble, led by Björn Schmelzer, the main subject of discussion is vocal polyphony in the 12 th –16 th centuries. The main aim of the article is to show how Aby Warburg’ s ideas and work are used by Schmelzer and Garcia to create their own vision of Early Music, and thus to examine the possibilities opened up for musicology and historical performance by the authors of Time Regained. Most of the text is devoted to systematising the opinions scattered over the pages of this extensive publication. The point of departure is the Mnemosyne Atlas – its structure, the contexts relating to it, and its reinterpretation in relation to Early Music („Warburg’s montages, Schmelzer’s montages”). The second part („Warburg’s Dic- tionary for Early Music”) concerns the manner of applying Warburg’s concepts (Pathosformel, Nachleben, Zwischenraum, bewegtes Leben) in the area of musicology and historical performance. The last fragment of the article (“The potential of Time Regained”) discusses the practical realisations of the potential contained within Time Regained itself.

      Keywords: Björn Schmelzer, Margarida Garcia, Graindelavoix, performance of early music, polyphony of the Middle Ages and Renaissance, Aby Warburg, atlas, Mnemosyn

Numer 21 (30) 2020

Redakcja tomu/Edition of the volume: Ewa Schreiber, Sławomir Wieczorek
Wydawca/Publisher: PWM

  • Z. Mycielski (1907-1987) Muzycy o literaturze [Muzyka i język]
    • Musicians on literature [Music and language]

      It is a archived text written by Zygmunt Mycielski for the meeting of the PEN CLUB on January 29, 1981. The typescript is preserved in the collection of the Zygmunt Mycielski Archive at the Manuscript Department of the National Library in Warsaw. Some of the considerations presented in it remain identical to the typescript of the paper that Mycielski prepared for his visit to Dubrovnik in March 1981, entitled Musik und die Sprache.

      Keywords: Zygmunt Mycielski, music and literature, music and language

  • B. Bolesławska-Lewandowska (Instytut Sztuki PAN, PL) Zygmunt Mycielski i Michał Bristiger: międzyredaktorskie dialogi i solilokwia
    • Zygmunt Mycielski and Michał Bristiger’s „Res Facta”: intereditorial dialogues and soliloquies

      Throughout their lives Zygmunt Mycielski and Michał Bristiger were deeply interested in the development of musical life in Poland, understood in its wider perspective. Both were also editors-in-chief of the two most important music periodicals in Poland: „Ruch Muzyczny” (Mycielski) and „Res Facta” (Bristiger). In 1973 Mycielski also joined the Editorial Committee of „Res Facta”. What was his relationship with Michał Bristiger’s journal and with its editor himself? The article explores these relationships on the basis of published issues of „Res Facta” and „Res Facta Nova”, reminiscences of members of the editorial team, as well as preserved correspondence between Zygmunt Mycielski and Michał Bristiger.

      Keywords: Zygmunt Mycielski, Michał Bristiger, Res Facta, correspondence of twentieth-century Polish composers

  • B. Mielcarek-Krzyżanowska (Akademia Muzyczna im. Feliksa Nowowiejskiego w Bydgoszczy Wydział Kompozycji, Teorii Muzyki i Reżyserii Dźwięku Katedra Teorii Muzyki i Kompozycji, PL) Pastorałka dramatyczna Juliusza Słowackiego i jej muzyczna interpretacja we Fragmentach Zygmunta Mycielskiego
    • Drama pastorale by Juliusz Słowacki and its musical interpretation in Fragmenty by Zygmunt Mycielski
      Zygmunt Mycielski’s final work, Fragmenty to words by Juliusz Słowacki (1987) belongs to the collection of religious works which crown the creative path of the author of Postludia. Fragmenty… were written on the basis of a rigorous, individual method of composing using twelve notes – an array system devised by him towards the end of the 1950s which from that time consistently accompanied his creative undertakings. The austerity of technique achieved by limiting external effects, particularly apparent in Mycielski’s religious compositions (alongside Fragmenty one should mention here above all Trzy Psalmy and the mass Liturgia sacra), results from the desire to reject pathos in favour of gravity and simplicity. This conscious creative decision means that the devices used serve to bring out the meaning and the emotion in Słowacki’s text, and in the created narration one perceives authenticity, truth and modesty. Fragmenty may be interpreted as a special kind of testament, Mycielski’s confession of faith, and the shades of sacrality discovered in it – the stages of musical spirituality according to Bohdan Pociej’s conception, support this supposition.

      Keywords: Zygmunt Mycielski, Juliusz Słowacki, sacrum in music, cantata-oratorio works, late style

  • K. Staśko-Mazur (Uniwersytet Wrocławski, Wydział Nauk Historycznych i Pedagogicznych Instytut Muzykologii, PL) Pieśni masowe Władysława Szpilmana w kontekście dorobku piosenkarskiego kompozytora
    • Songs for mass performance by Władysław Szpilman in the context of the composer’s songwriting achievements

      The aim of the paper is to analyse songs written for mass performance by Władysław Szpilman in the context of the composer’s songwriting achievements. Szpilman’s first hit songs were published as early as the 1930s, and they were followed by others over a period of nearly half a century. The available archival, phonographic and sheet music sources provide information about more than 300 titles which include popular songs, songs for mass performance, for children, for plays and theatrical broadcasts, films and cabarets. The dominant group is that of popular songs and songs for the stage (on themes of love). The group of songs written during the years 1948-56, regarded as songs for mass performance, has distinctive formal features, different musical conceptions, and alongside the march form it includes dance forms (foxtrots, waltzes, polkas, tangos), with the kind of vitality and musical quality that turned them into popular entertainment pieces often achieving the status of hits. In their textual layer the songs are differentiated as well (themes of rebuilding the country, peace, love, work). Evidence of the reception of songs for mass performance shows that they were regarded positively, often as heartening, but are also described as enslaving in view of the context of the performance of selected songs. Popular songs are also characterised by diversity of form and arrangement, differentiated in terms of performance scoring and style (more than 850 archival records). The variety of musical techniques used in this genre, alongside the songs’ melodiousness, ensure that they have a permanent place in the soundscape of the twentieth century.

      Keywords: Władysław Szpilman, song for mass performance, song

  • S. Borchers (Folkwang University of the Arts, Essen Deutsches Polen-Institut, DE) The Publishing of Polish contemporary music by the German Moeck-Verlag since the late 1950s – A (failed) transfer from East to West?
    • The Publishing of Polish contemporary music by the German Moeck-Verlag since the late 1950s – A (failed) transfer from East to West?

      From the end of the 1950s, the West German publisher Moeck officially represented the state-led music publishing house PWM ‘in the West’ with the permission of the Polish Ministry of Culture. Beside the distribution of score editions and orchestral performance materials by the PWM, Moeck also represented the interests of Polish composers in the Federal Republic of Germany directly in his own catalogue. Among the first authors of the new series of editions were Kotoński, Lutosławski, Penderecki, Serocki and Szalonek. They belonged to a circle that regularly participated in West German musical life in the 1960s. Despite the spirit of optimism and advantages for the composers, this cooperation also led to problems on several levels. These included the billing of performance materials and the handling of international copyright. This made the participants aware of various limits and led to conflicts - especially on the Polish side. Translation of Polish texts in vocal works into German and English was also not as straightforward as originally planned. The article offers new insights into Polish-German cooperation in the cultural field of music, which went on despite the difficult relationship between the two states then and also beyond the borders of the Cold War.

      Keywords: Cold War, contemporary Music, copyright, cultural transfer, Moeck, music publishing, translation

  • M. Pasiecznik (Uniwersytet Wrocławski, Wydział Nauk Historycznych i Pedagogicznych, Instytut Muzykologii, PL ) Nowa Muzyka i przyjemność w serii utworów ASMR Neo Hülckera
    • New Music and Pleasure in Neo Hülcker’s ASMR Series

      New Music developed in the twentieth century under the influence of Theodor W. Adorno’s philosophy. Its sense, according to the philosopher, lies in social criticism, which the composer accomplishes through radical artistic innovation, and the distance from the audience’s expectations. The sensual pleasure of sound reception is not included in the concept of New Music, which preferably should not appeal to anybody, as it “took on the shoulders darkness of the world and all its guilt, and sees its only happiness in knowing misery” (Adorno). In the ASMR series, the German composer Neo Hülcker breaks this paradigm of perception and proposes a radically different interpretation of New Music. ASMR, or Autonomous Sensory Meridian Response, is a sensation of pleasant tingle, caused by subtle acoustic-haptic phenomena, such as amplified murmurs, whispers, touching objects and materials. Millions of people around the world are watching ASMR videos on YouTube that let them relax nicely. In such video compositions as ASMR tutorial: How to play “Pression” by Helmut Lachenmann, ASMR tutorial: how to play Mark Andre or ASMR unwrapping the piano & iv 11a, and Peter Ablinger: weiss/weisslich 3 – [super soft ASMR] Neo Hülcker investigates the similarity of sound material of illustrative pieces of New Music and ASMR, raising the question of whether New Music can make someone feel tingly. Presenting in the context of ASMR works by Helmut Lachenmann, Mark Andre and Peter Ablinger, Hülcker explores the hidden potential contained in the most radical aesthetics of New Music, namely the suppressed carnal pleasure. The article is an attempt to show the ways how Neo Hülcker redefines the concept of New Music, entering in it the sensual experience of sound.

      Keywords: New Music, pleasure, ASMR, Adorno, Lachenmann, Ablinger, Andre, aesthetics of negation

  • P. Książek (Uniwersytet im. Adama Mickiewicza w Poznaniu Wydział Nauk o Sztuce Instytut Muzykologii, PL) W okowach mitów – Medeamaterial Heinera Müllera, Pascala Dusapina i Sashy Waltz
    • In the shackles of myth – Medeamaterial of Heiner Müller, Pascal Dusapin and Sasha Waltz

      Pascal Dusapin is regarded as one of the outstanding contemporary French composers. The opera genre seems to have a special place among his creative achievements. Medeamaterial is the composer’s second work for the stage, and one of many where myth becomes the subject. As the text of the libretto he chose a text by a German dramatist, Heiner Müller. Both authors decide to reinterpret an antique history and deconstruct it using the means available to them. As does Sasha Waltz, who in 2007 staged Dusapin’s work. All three, while initiating a dialogue with the past, set the work firmly in the present. In this article the author attempts to answer the question how the devices used by these creative artists shape the psychological portrait of the drama’s heroine.

      Keywords: opera, Medea, Medeamaterial, baroque, twentieth-century music, Sasha Waltz, Pascal Dusapin, Heiner Müller

  • P. Podlipniak (Uniwersytet Adama Mickiewicza, Wydział Historyczny, Instytut Muzykologii, PL) Naturalistyczna muzykologia systematyczna wobec poglądów Meyera na emocje i znaczenie w muzyce
    • Naturalistic systematic musicology and Meyer’s views on emotions and meaning in music

      Leonard B. Meyer’s book Emotion and Meaning in Music was published more than half a century ago. It still provides inspiration for musicologists with various specialisms to undertake research aimed at understanding the intriguing link between music and emotions and the relationship between musical structure and meaning. Since the publication of this outstanding volume we have seen extraordinarily dynamic development of the musicological disciplines constituting that part of systematic musicology which is based on the premises of naturalism. The article focuses on those selected research areas of this branch of musicology where the influence of the ideas first presented in the above volume is particularly significant. The most important of Meyer’s postulates in naturalistically oriented systematic musicology that continue to be discussed include: the key role of expectation in shaping our emotional reactions to the musical passages we hear and the inner musical character of the affective meanings created in this way. The main challenges faced by Meyer’s postulates during the recent decades are examined, and the solutions to them proposed within the framework of naturalistically oriented thinking about music.

      Keywords: schematic expectations, veridical expectations, musical style, paradox of the information theory, Bayesian inference, uncertainty, surprisal, formalism, absolutism, emotivism, referentialism, neopythagoreanism

  • R. Skupin (Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku Wydział Dyrygentury, Kompozycji i Teorii Muzyki Instytut Teorii Muzyki, PL) Izotopie w praktyce analizy dzieła muzycznego — na przykładzie Arabesque Zygmunta Krauzego
    • Isotopies in the practice of analysing a musical composition, on the example of Arabesque by Zygmunt Krauze

      The aim of the paper is to reconsider the question of usefulness of the category of isotopy in semiotic analysis of a musical composition, on the example of Zygmunt Krauze’s Arabesque (1983) for prepared piano and instrumental ensemble. Adopting a suggestion by Nicolas Meeùs, the author undertakes an attempt to transpose Rastier’s differentiation between semantic isotopy and isotopy of the plane of expression (isotopie de l’expression) into analysis of music. Following Michel Arrivé, she presents a model example of isotopic relations in the plane of expression (signifiant) from the novel Les jours et les nuits (Days and nights) by Alfred Jarry, and finds that isotopy of the plane of expression is for linguistic semioticians an alternative to semantic isotopy in providing cohesiveness in the layer of signs that construct meaning. She then discusses the extent of application of isotopy in music semiotics and draws attention to the semantic capacity of this category in Eero Tarasti’s theory and interpretive practice, where it undergoes metaphorisation and a kind of universalisation. She also refers to the proposal of Jean-Pierre Bartoli’s to use isotopy in analysing Orientalistic exoticism, which constitutes an example of a return to the level of the simplest constitutive units and the condition of their iteration, i.e., to the structuralistic-semiotic conceptions of isotopy in the approach of Greimas. Moving on to an analysis of Krauze’s composition, the author puts forward the view that Rastier’s categories of isotopy of the plane of expression as „conditions of grammaticality” (conditions de grammaticalité) of an utterance can only apply to specific cases of compositional techniques which are utterances in systemic „musical languages”, and this condition is not met in the case of the work analysed. The argumentation presented in the article is based on an analysis of particular features of the organisation of the sound material, the texture and syntax of Arabesque, as well as references to the composer’s claim to have been inspired by the mystical paintings of Władysław Strzemiński and the oriental connotations of arabesqueness in music. In seeking the musical meaning of Krauze’s Arabesque the author focuses on identifying its intentio operis.

      Keywords: semantic isotopy, isotopy of the plane of expression, semiotics of music, Arabesque, Krauze Zygmunt, Strzemiński Władysław

  • B. Mika (Uniwersytet Śląski w Katowicach Wydział Humanistyczny Instytut Nauk o Sztuce, PL) Beethoven jako aktor historyczny. Perspektywa mikrohistoryczna w muzykologii
    • Beethoven as a historical actor. Microhistorical perspective in musicology

      The article focuses on issues of microhistory and the usefulness of this historiographical practice in musicological research. The author begins by presenting the key issues relating to microhistory, referring extensively to the book What Is Microhistory? by István M. Szijártó and Sigurður Gylfi Magnússon. She then quotes and briefly discusses the most significant musicological works which employed microhistorical strategy. These are Mark Everist’s book Music Drama at the Paris Odéon, 1824–1828, Tamara Levitz’s Modernist Mysteries: Perséphone and Peter J. Schmelz’s article “Shostakovich” Fights the Cold War: Reflections from Great to Small”. The main part of the text is devoted to Mark Ferraguto’s monograph Beethoven 1806. That publication is wholly based on the microhistorical approach, thus opening a new perspective in reflection on the instrumental works by the Master from Bonn. Ferraguto analyses Beethoven’s works from 1806 and early 1807 in the context of the people and the instruments for which they were composed; he also explores the nature of and reasons for the composer’s retreat from the „heroic phase”, analysing various aspects of contemporary musical, social and political life in Vienna. He does so while concentrating on selected, characteristic moments which define the given opus. Unlike the earlier musicological works based on the microhistorical strategy, Ferraguto’s monograph is not overburdened with detail, but makes an excellent job of linking contextual issues with analysis of musical composition. In this way it enriches musicological research by providing it with a new, interesting dimension.

      Keywords: Beethoven, microhistory, the year 1806, historical actor, contexts, historiographical practice

  • M. Bruliński (Uniwersytet Warszawski, Wydział Artes Liberales Uniwersytet Muzyczny Fryderyka Chopina, PL) Wobec społecznego i kulturowego fenomenu Chopinowskiego Igrzyska
    • In the face of the social and cultural phenomenon of the Chopin Games

      The article is a review of the book Chopin's Igrzysko on the history of the Fryderyk Chopin International Piano Competition 1927-2010. In the author's opinion, the synthesis organizing selected cultural, social and anthropological aspects of the Chopin Competition was very useful, and its authors completed a large part of the tasks declared in the introduction to the work.

      Keywords: Fryderyk Chopin, piano competitions, The International Chopin Piano Competition, piano, sociology of music, anthropology of music

  • S. Atys (Uniwersytet Wrocławski Wydział Nauk Historycznych i Pedagogicznych Instytut Muzykologii, PL) Głos wołającego na pustyni. O Józefie Patkowskim w kontekście biografii Ambasador muzyki z Marsa Agnieszki Pindery
    • Crying in the desert. About Józef Patkowski in the context of biography Ambassador of Music from Mars by Agnieszka Pindera

      The article is a review of book Patkowski. Ambassador of music from Mars by Agnieszka Pindera, the first biography of Józef Patkowski, Polish musicologist, founder and longtime manager of the Polish Radio Experimental Studio. It contains a summary and evaluation of the book from a musicological perspective. Particular attention was paid to the previously unknown facts about Patkowski's life established by the author. The text refers to the broad problems of the reception of electronic and avant-garde music in Poland and to the new wave of interest in the SEPR heritage.

      Keywords: Józef Patkowski, Polish Radio Experimental Studio, biography, Polish musical avant-garde, Polish electronic music

Res Facta Nova 2010-2011
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