Res Facta Nova. Teksty o muzyce współczesnej最新文献

{"title":"Beethoven jako aktor historyczny. Perspektywa mikrohistoryczna w muzykologii","authors":"Bogumiła Mika","doi":"10.14746/rfn.2020.21.9","DOIUrl":"https://doi.org/10.14746/rfn.2020.21.9","url":null,"abstract":"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 open- ing 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.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"117 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124927783","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Pieśni masowe Władysława Szpilmana w kontekście dorobku piosenkarskiego kompozytora","authors":"Kamila Staśko-Mazur","doi":"10.14746/rfn.2020.21.3","DOIUrl":"https://doi.org/10.14746/rfn.2020.21.3","url":null,"abstract":"The aim of the paper is to analyse songs written by Władysław Szpilman during the socialist realism period 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 mass songs, has distinctive formal features, different musical conceptions, and alongside the march form it includes mostly 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 mass songs shows that they were regarded positively, often as heartening, 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.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"158 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133984419","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Polish Music Published by Moeck 1958 to 1967 – a (Failed?) Transfer from East to West","authors":"Sebastian Borchers","doi":"10.14746/rfn.2020.21.4","DOIUrl":"https://doi.org/10.14746/rfn.2020.21.4","url":null,"abstract":"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.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129147469","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Izotopie w praktyce analizy dzieła muzycznego – na przykładzie \"Arabesque\" Zygmunta Krauzego","authors":"Renata Skupin","doi":"10.14746/rfn.2020.21.8","DOIUrl":"https://doi.org/10.14746/rfn.2020.21.8","url":null,"abstract":"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 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.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128822586","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Mieczysław Tomaszewski. Muzykolog wolny, niezależny i zaangażowany","authors":"Teresa Malecka","doi":"10.14746/rfn.2019.20.1","DOIUrl":"https://doi.org/10.14746/rfn.2019.20.1","url":null,"abstract":"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 Sando- mierski (1976–1981). The text is mainly concerned with Tomasze-wski’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 interpre-tation 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 at-tention to composers’ statements testifying to their original views and inner transformations. The problem of freedom was of particular im-portance to him, both in its personal, artistic aspect and in its histor-ical dimension. Tomaszewski as a person reveals himself throughout his activities as someone both free and committed.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117180096","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Spór o dziedzictwo muzyczne XX wieku","authors":"Marcin Trzęsiok","doi":"10.14746/rfn.2019.20.7","DOIUrl":"https://doi.org/10.14746/rfn.2019.20.7","url":null,"abstract":"This is a voice in a discussion on the subject of the field of values within which twentieth-century music developed. The author under-takes 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 existentia-lism, 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 arti-stic 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.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134362074","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Sfera sacrum w Cronaca del Luogo Luciana Beria","authors":"W.S.W Nowak","doi":"10.14746/rfn.2019.20.4","DOIUrl":"https://doi.org/10.14746/rfn.2019.20.4","url":null,"abstract":"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 Felsen-reitschule, where the work had its premiere, and the imagination of its creators and audiences.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114419686","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Nimfa, Ariadna, Licori. Kształtowanie kobiecej tożsamości w dziełach Claudia Monteverdiego","authors":"M. Bogucki","doi":"10.14746/rfn.2019.20.6","DOIUrl":"https://doi.org/10.14746/rfn.2019.20.6","url":null,"abstract":"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. \u0000At 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. \u0000An 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. \u0000The 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.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129494569","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Don Juan Wolfganga Amadeusa Mozarta w reżyserskiej interpretacji Lii Rotbaumówny – próba rekonstrukcji","authors":"J. Rudnicka","doi":"10.14746/rfn.2019.20.5","DOIUrl":"https://doi.org/10.14746/rfn.2019.20.5","url":null,"abstract":"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.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131703524","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Atlasy pamięci. Warburg i Muzyka Dawna na podstawie Time Regained Björna Schmelzera i Margaridy Garcii","authors":"Ryszard Lubieniecki","doi":"10.14746/rfn.2019.20.8","DOIUrl":"https://doi.org/10.14746/rfn.2019.20.8","url":null,"abstract":"Time Regained (A Warburg Atlas for Early Music) by Björn Schmelzer 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 12th–16th centuries.The main aim of the article is to show how Aby Warburg’ s ide-as 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 re-interpretation in relation to Early Music („Warburg’s montages, Schmelzer’s montages”). The second part („Warburg’s Dictionary 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.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"56 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116505387","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}