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Wyświetlanie 1-15 z 67
Tytuł:
Fryderyk Chopin in popular instrumental music
Autorzy:
Kasperski, Jakub
Powiązania:
https://bibliotekanauki.pl/articles/780379.pdf
Data publikacji:
2010
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Fryderyk Chopin
popular culture
popular music
instrumental music
rock music
electronic music
inspiration
reception
Opis:
The author considers whether Fryderyk Chopin and his oeuvre may be regarded as part of popular culture - and if so, to what extent. However, the text is mostly taken up with analysis of popular instrumental music inspired by Chopin’s works in various ways: from simple quotation, adaptation and transcription to more sophisticated instrumentation and arrangement, free improvisation or even the creation of a completely new work derived from a single motif or sample from Chopin. Consequently, the author deals with the problem of reception, but also with the issue of transculturation and the relationship between high and popular culture. The article shows and describes the variety of Chopin inspiration in a wide range of styles and genres of popular music, such as rock music, easy-listening, electronic music, dance music and disco.
Źródło:
Interdisciplinary Studies in Musicology; 2010, 9; 357-370
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The commentary to some motifs of Peter Faltins semiotics of music
Autorzy:
Fujak, Julius
Powiązania:
https://bibliotekanauki.pl/articles/780393.pdf
Data publikacji:
2015
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
semiotics of music
music syntax
meaning
Opis:
The article is focused on original musical semiotics of well known Slovak theoretician Peter Faltin (1939-1981), especially on his original semiotic theories in 1970s, including his last (unfinished) work Signification of Aesthetic Signs Music and Language based on L. Wittgenstein's philosophy. The paper also delas with studies of contemporary representatives of Slovak and Czech semiotics, aesthetics and postmodern philosophy such as Eubomir Chalupka, Jarmila Doubravovâ, Klement Mitterpach and Jûlius Fujak, who commented, explained and developed Faltin's thoughts in the frame of their research.
Źródło:
Interdisciplinary Studies in Musicology; 2015, 14; 100-112
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
From Kotoński to Duchnowski. Polish electroacoustic music
Autorzy:
Kominek, Mieczysław
Powiązania:
https://bibliotekanauki.pl/articles/780237.pdf
Data publikacji:
2011
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
electroacoustic music
electronic music
concrete music
music for tape
generators
experimental Studio of Polish Radio
“Warsaw Autumn” International Festival of Contemporary Music
live electronic
synthesisers
computer music
Opis:
Founded in November 1957, the Experimental Studio of Polish Radio (SEPR) was the fifth electronic music studio in Europe and the seventh in the world. It was an extraordinary phenomenon in the reality of the People’s Poland of those times, equally exceptional as the Warsaw Autumn International Festival of Contemporary Music, established around the same time - in 1956. Both these ‘institutions’ would be of fundamental significance for contemporary Polish music, and they would collaborate closely with one another. But the history of Polish electroacoustic music would to a large extent be the history of the Experimental Studio. The first autonomous work for tape in Poland was Włodzimierz Kotoñski’s Etiuda konkretna (na jedno uderzenie w talerz) [Concrete study (for a single strike of a cymbal)], completed in November 1958. It was performed at the Warsaw Autumn in i960, and from then on electroacoustic music was a fixture at the festival, even a marker of the festival’s ‘modernity’, up to 2002 - the year when the last special ‘concert of electroacoustic music’ appeared on the programme. In 2004, the SEPR ceased its activities, but thanks to computers, every composer can now have a studio at home. There are also thriving electroacoustic studios at music academies, with the Wroclaw studio to the fore, founded in 1998 by Stanisław Krupowicz, the leading light of which became Cezary Duchnowski. Also established in Wroclaw, in 2005, was the biennial International Festival of Electroacoustic Music ‘Música Electrónica Nova’.
Źródło:
Interdisciplinary Studies in Musicology; 2011, 10; 141-154
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Liszt and the issue of so called Gypsy music
Autorzy:
Piotrowska, Anna G.
Powiązania:
https://bibliotekanauki.pl/articles/780221.pdf
Data publikacji:
2014
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Franz Liszt
Gypsy music
Hungary
Hungarian music
national music
Bela Bartok
Opis:
The article attempts to shed light on Liszt’s connections with so called Gypsy music, with particular emphasis on the sources and manifestations of the composer’s interest in the subject. The paper also shows the effects of Liszt’s thought on his academic successors. Liszt’s fascination with Gypsy music and culture is discussed by outlining his childhood memories as well as indicating numerous personal contacts he had with renowned Gypsy musicians. The author of the paper also links Liszt’s enchantment with Gypsy culture with his readiness to identify his travelling virtuoso status with that of a Gypsy-wanderer. Special attention in the article is put on Liszt’s book Des Bohemiens et de leur musique en Hongrie (1859). The author of the article claims that Liszt’s cosmopolitanism may be a key factor while explaining the composer’s predilection to Gypsy culture and music. While focusing on the reception of Liszt’s views on so called Gypsy music by the posterity Bartok’s interpretation of Liszt’s ideas is reminded. Discussed are also their repercussions in the second half of the twentieth century and early twenty first century.
Źródło:
Interdisciplinary Studies in Musicology; 2014, 13; 127-140
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Chopin and Polish FOLK
Autorzy:
Dahlig-Turek, Ewa
Powiązania:
https://bibliotekanauki.pl/articles/780339.pdf
Data publikacji:
2010
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Fryderyk Chopin
mazurkas
traditional music
folk music
Opis:
Although Chopin’s music is continually analysed within the context of its affinities with traditional folk music, no one has any doubt that these are two separate musical worlds, functioning in different contexts and with different participants, although similarly alien to the aesthetic of mass culture. For a present-day listener, used to the global beat, music from beyond popular circulation must be “translated” into a language he/she can understand; this applies to both authentic folk music and the music of the great composer. In the early nineties, when folk music was flourishing in Poland (I extend the term “folk” to all contemporary phenomena of popular music that refer to traditional music), one could hardly have predicted that it would help to revive seemingly doomed authentic traditional music, and especially that it would also turn to Chopin. It is mainly the mazurkas that are arranged. Their performance in a manner stylised on traditional performance practice is intended to prove their essentially “folk” character. The primary factor facilitating their relatively unproblematic transformation is their descendental triple-time rhythms. The celebrations of the bicentenary of the birth of Fryderyk Chopin, with its scholarly and cultural events of various weight geared towards the whole of society, gave rise to further attempts at transferring the great composer’s music from the domain of elite culture to popular culture, which brings one to reflect on the role that folk music might play in the transmission and assimilation of artistic and traditional genres.
Źródło:
Interdisciplinary Studies in Musicology; 2010, 9; 343-356
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Musemes in affect. Philip Tagg’s model of music analysis
Autorzy:
Zielonka, Stefania
Powiązania:
https://bibliotekanauki.pl/articles/1797347.pdf
Data publikacji:
2020-12-28
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
popular music
musical analysis
semiology of music
Opis:
The paper is an attempt to synthesize the most important aspects of a model of popular and film music analysis proposed by British musicologist Philip Tagg. Tagg, using the category of musemes – universal meaning units, isolated from the musical structure of the composition on the basis of criteria established for every given case – examines selected pieces using multi-level semiotic analysis. In his model Tagg takes into account both the importance of the broadly understood cultural context and the intertextuality of the piece. He also emphasizes the role of affect in musical communication, which is necessary to fully understand the meaning of a musical work.
Źródło:
Interdisciplinary Studies in Musicology; 2020, 20; 97-105
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The notion of nature in modern music theory and history as seen hy Carl Dahlhaus and Karol Berger
Autorzy:
Jarzębska, Alicja
Powiązania:
https://bibliotekanauki.pl/articles/780323.pdf
Data publikacji:
2009
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
music theory
music history
aesthetics of music
theory of art
the notion of nature
Opis:
Modern music theory, ignoring the problems connected with the subject’s auditive experience but referring to the objective laws of nature, was criticised by Carl Dahlhaus, although he accepted - to a certain extent - the hypothesis of historical determinism. Dahlhaus links this turning point in the history of reflection on music with the transition from the ‘ontological contemplation’ of the Tonsystem to the ‘aesthetic contemplation’ of the Tonkunstwerk, the fundamental characteristic of which is the idea of ‘wholeness’ (die Idee der Ganzheit). The new conception of the discourse on the theory and history of modern music proposed by Karol Berger in his book A Theory of Art (2000) bears testimony to crucial changes in the contemporary humanities linked to the so-called ‘cognitive revolution’. According to Berger, the fundamental characteristic distinguishing modern art from premodern art is its autonomy. Berger distances himself from the modern tradition of theoretic- aesthetic discourse treating the work of art, including the work of music, as an axiologically neutral entity independent of ‘human nature’, that is, of the functioning of our memory, imagination and cognitive mechanisms, and also not having a specific social function. At the centre of Berger’s theoretical interests is aesthetics, as broadly understood, coupled with ethics and history, poetics and hermeneutics. He is not interested - like Dahlhaus - in considering ‘what art is’ or ‘what music is’ , but poses the question: ‘What should the function of art be, if art is to have a value for us ?’
Źródło:
Interdisciplinary Studies in Musicology; 2009, 8; 93-108
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The reliability of evaluation musical performance by music experts
Autorzy:
Manturzewska, Maria
Powiązania:
https://bibliotekanauki.pl/articles/780235.pdf
Data publikacji:
2011
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
evaluation
musical performance
music contest
reliability
music experts
Opis:
To test the reliability of the evaluation of musical performances by musical experts, the protocols of the jury of an international music contest have been subjected to statistical analysis. The object of the analysis were 2156 jurors’ points and rank ratings, given by 28 members of the jury, assessing 77 different performances of one of Fryderyk Chopin’s polonaises, evaluated during the first stage of an international music competition. The analysis revealed the following: 1. very large interpersonal (inter-rater) differences of the jurors’ ratings, 2. despite these differences, there was a very high level of statistical significance of the inter-rater agreement (p<.ool) of the jurors’ evaluation, 3. despite the high level of statistical significance of inter-rater agreement of the evaluation of musical performance, this accounts for only 1/3 of the general variance of ratings. Conclusion: individual ratings of musical performance are not a reliable measure of musical achievement, even when given by music experts of the highest level.
Źródło:
Interdisciplinary Studies in Musicology; 2011, 10; 97-110
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Why does a creative city need its local music? A study of the contemporary Wroclaw jazz scene
Autorzy:
Kopaniecki, Jakub
Powiązania:
https://bibliotekanauki.pl/articles/2122171.pdf
Data publikacji:
2021-11-21
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Music scene
place
cultural space
popular music
creative class
Opis:
The aim of the article is to look at serious musical leisure activities in selected places in Wroclaw, in order to explain their significant contribution to making the capital of lower Silesia a creative city. Taking the perspective of research on music scenes and leisure studies, the author tries to demonstrate that the music scene in Wroclaw, although it didn’t develop its original sound, functions in a very effective way, providing a space for personal development, shaping the identity of individuals and the entire city. The discussed places not only serve as a physical space for a performance but primarily are communities based on internal and external cooperation. They are real “meeting places,” as the promotional slogan of Wroclaw says, for audiences and performers, amateurs, and professionals alike. The article is based on research on the Wroclaw music scene conducted since 2019. live performances that took place before the COvID-19 pandemic and between subsequent lockdowns were taken into account.
Źródło:
Interdisciplinary Studies in Musicology; 2021, 21; 23-38
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Tools of the trade: click-tracks and conductors
Autorzy:
Moore, Thomas R.
Powiązania:
https://bibliotekanauki.pl/articles/1797354.pdf
Data publikacji:
2020-12-31
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Conducting
Click-Track
New Music conducting
click-track
new music
Opis:
This essay will examine the manner in which composers and artistic directors have used conductors and click-tracks within the context of new music ensembles performing integrative concerts. The analyses and examples provided will rely for the most part on material gathered during in-depth interviews that I conducted with artistic directors, composers, conductors, and musicians, all of whom are professionally active in the new music field in Europe (and beyond). I will examine the application of both click-tracks and conductors and demonstrate that their implementation represents an active choice made by either the composer and/or artistic directors. Both click-tracks and conductors are viewed by the interviewees as potential tools with somewhat overlapping possibilities and capacities and their presence is no secondary phenomenon of the music. They become instead a means for the above actors to meet their objectives, be they artistic, pragmatic, technical, or otherwise.
Źródło:
Interdisciplinary Studies in Musicology; 2020, 20; 9-20
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Identity Representations: How Did the 1979 Iranian Revolution Affect Kurdish Folk Music?
Autorzy:
Prévost, Lorane
Powiązania:
https://bibliotekanauki.pl/articles/2122179.pdf
Data publikacji:
2021-11-21
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Kurdish music
Iranian Revolution
cultural identity
Kurdistan
Iran
folk music
Opis:
The following paper constitutes a part of my master thesis on the consequences of the 1979 Iranian Revolution on Kurdish folk music. The strong identity claimed by the Islamic Republic of Iran and particularly by Ruhollah Khomeini led to an obscuration of the Iranian cultural plurality, dominated by the Persian culture. Iranian music is often understood as Persian music while regional genres were confined to small areas. The domination of folk and regional identities by institutional, more-erudite identities is not limited to Iran but can be observed worldwide; however, the restricted access to music and research in the years following the Iranian Revolution enhanced this tendency in the country. In other words, vernacular genres including Kurdish folk music were denied a global presence and are still overshadowed by the dominance of classical music. Academic works made shortly after the revolution by important figures such as Jean During highlights a confusion between what was intended as folk music by the Kurdish population and what was perceived as such by foreign researchers. For this reason, the distinction between vernacular and classical music is still enforced nowadays, leading to an increasing gap between Persian culture and that of Iranian minorities. Furthermore, with Kurdish folk music being a regional genre and as political conflicts arouse between Iranian Kurds the Islamic Republic of Iran after 1979, Kurdish music is often perceived through a political lens only, denying the variety of reasons a genre may become popular and reducing music to a mean towards an objective. Through the perception of Kurdish folk music, this paper interrogates how political conflicts and cultural hegemony in music affects the representation of vernacular identities and seeks to explore how this participates in the discrimination of minorities.
Źródło:
Interdisciplinary Studies in Musicology; 2021, 21; 75-92
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Reference to the realm of nature in the theoretical reflections and the music of Ludomir Michał Rogowski
Autorzy:
Wójtowicz, Ewa
Powiązania:
https://bibliotekanauki.pl/articles/780321.pdf
Data publikacji:
2009
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Polish composer
20th century music
tonal crisis
theory of scales
musical form
national music
programme music
Dionysus
Dubrovnik
Opis:
Besides an abundant musical output, the rich legacy of Ludomir Michał Rogowski (1881-1954) also contains numerous writings, a special place among which is held by Muzyka przyszłości [The music of the future], written in 1919 and published three years later. In this work Rogowski asserted that the possibilities for composing music on the basis of the major, minor and chromatic scales were exhausted. He went on to propose an expansion of the repertoire of scales, giving two criteria for the choice of scales: ‘naturalness’ and ‘rhythmicity’. A ‘natural’ scale is one which can be read from the sequence of fifth steps of the twelve-note chromatic scale in equal temperament. The simplest example is the anhemitonic pentatonic scale. The concept of the renewal of tonal material is central to Muzyka przyszłości, but its author formulates an idea about the rhythmic essence of musical form as well. In his considerations on this subject, he proceeds from the nature-related phenomenon of symmetry. He treats the simplest symmetrical pattern, the ternary form ABA, as an elementary manifestation of rhythm expanded into form. References to nature also occur in Rogowski’s texts on national music. In this context, folk music represents such values connected with nature as simplicity, honesty and freshness; it is devoid of all artificiality or posture, free from all convention. In Rogowski’s musical output, a fascination with nature became a powerful source of inspiration, from which many symphonic works of a programmatic character emerged. The connection with nature and joy of life - the crucial values of Mediterranean culture - are conveyed by the music of Cortege de Dionysos and by the whole of composer’s oeuvre. Rogowski confirmed his belonging to the culture of the South not only with his music. When, in 1926, he left Warsaw for Dubrovnik, he confirmed it also with his life.
Źródło:
Interdisciplinary Studies in Musicology; 2009, 8; 81-92
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Giacinto Scelsi - homo viator and his musical itinerary
Autorzy:
Skupin, Renata
Powiązania:
https://bibliotekanauki.pl/articles/780391.pdf
Data publikacji:
2013
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Scelsi Giacinto
twentieth-century music
Italian music
homo viator
Orient
orientalism
Opis:
Giacinto Scelsi was a “traveller to the East”, who tied his life inextricably to creative work. As a composer, he sought a path for the renewal of his own musical language, shaped during his youth under the powerful influence of other composers’ styles. On becoming a homo religiosus, in the Eliadean sense, he found his own path to transcendence through art (creation), deeply inspired by those great traditions of the Orient in which art was a reflection of the artist’s spirituality. The topos of the path is one of the main keys to interpreting Scelsi’s work. His works for large orchestra and choir contain distinct traces of a Scelsian “voyage to the East”. They form one great cycle, integrated by the motif of the path, expressed through meanings added in the content of the individual programme-titles. The cycle’s finale, the eschatological Pfhat (1974), is the musical depiction of a journey that ends with “a clear, primordial light,” symbolising man’s encounter with a higher reality and “great liberation” as the goal of his spiritual path. The chronotope of the path is revealed in the very musical material of his orchestral works: in their quasi-visual soundspace. It is manifest, among other things, in the processual form - one might even say the storyline - and the consistently applied procedure of transforming sonorities, texture and rhythmic structures. A fundamental symbolic function is discharged by various forms of “upwards path”, linked to the dramaturgical role of an upwards motion pattern in the melody and an upwards movement in the tonal-harmonic plan of the orchestral works. The most crucial of all the variants of the motif of the path is the direction “into the core”, that is, towards the “inner space” of the sound. This carries significance both in the dimension of the harmonic spectrum of a sound and also its spiritual depth - the mystical dimension. The journey to the centre acquires the status of an emblematic topos of the Scelsian poetic of the viaggio al centro del suono [journey to the centre of the sound].
Źródło:
Interdisciplinary Studies in Musicology; 2013, 12; 127-148
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Fractals and music. A reconnaissance
Autorzy:
Lindstedt, Iwona
Powiązania:
https://bibliotekanauki.pl/articles/780291.pdf
Data publikacji:
2009
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
fractals
fractal nature of music
music analysis
l/ f noise
scaling
selfsimilarity
Opis:
Among the many definitions of the fractal employed by mathematicians, one of the most suggestive holds that ‘the fractal is a self-similar figure displaying an invariability in respect to the transformations of scaling’. This article is an effort to present the overview of fractals in mathematics and nature and then to describe the current state of research on fractal nature of music. It is shown that self-similarity and scaling are properties of many canonic works of Western music (e.g. Johann Sebastian Bach, Ludwig van Beethoven), appearing in various forms in all historical periods. It is found in binary and ternary divisions of form and in melodic structures. It is also noted that a frequent point of reference in fractal studies of the properties of music is twentieth-century repertoire (e.g. Per Norgárd, Conlon Nancarrow, Gyórgy Ligeti, Charles Wuorinen). The case of l/f noise in which frequency (pitch) scaling naturally occurs is also discussed. Such ‘scaling noise’ is typical of many natural phenomena; it is observed, for example, in the variable tension of nerve cells and in heartbeats. It was also discovered in music. The article summarizes the results of the research made by Voss and Clarke (1975, 1978), Hsü and Hsü (1990,1991), Henze and Cooper (1997) who analyzed stylistically diverse works - classical, jazz, blues, rock and non-European music - and found in them l/f relationships referring to Fourier spectra, notes or intervals. The article reports also the psychological experiments raising the statements about a close relationship between fractal structure and the human sense of beauty. It is stressed that the fractal orientation of modern mathematics provides interesting cognitive tools allowing us to discover hitherto unexplored links between nature and art, both in the area of listeners’ aesthetic preferences and also in the fascinating realm of artistic creation.
Źródło:
Interdisciplinary Studies in Musicology; 2009, 8; 151-172
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Krzysztof Penderecki’s Eighth Symphony, ‘Lieder der Vergänglichkeit’ - from inspiration by nature to existential reflection
Autorzy:
Chłopicka, Regina
Powiązania:
https://bibliotekanauki.pl/articles/780299.pdf
Data publikacji:
2009
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
nature inspirations in music
symphony genre
20th century music
Polish music
Eighth Symphony by Krzysztof Penderecki
word-tone relations
Opis:
In the Penderecki oeuvre, symphonic music has been pivotal, with eight symphonies written over the span of forty years, including Symphony No. 6, which remains in the sketch stage. As he admits, the sequence of symphonies constitutes a sort of musical autobiography. In the life and work of Penderecki his interests in nature and culture have long run parallel, and in both spheres the moment of creation has been particularly significant. Penderecki’s artistic work has clearly focused on two domains: composing music and moulding the nature which surrounds his Luslawice house - the space of the garden and park. The latter type of art concerns nature not in its primeval form, but rather in the shape imposed on it by man. Over the last decade, the composer’s two passions have tended to drift closer together and intertwine. During this time, he has written his Eighth Symphony (‘Lieder der Vergänglichkeit’), devoted to trees, and Three Chinese Songs, permeated by his enchantment with the beauty of nature. In his Eighth Symphony, Penderecki employs poetic and musical images to show the beauty and diversity of the forms of the surrounding world of nature, in which it is given to man to live the successive phases of his life. However, a relevant dimension of the symphony is that of looking from a distance at the fate of man - the existential reflection offered mainly by the commenting choral parts, as in ancient tragedy. What dominates is a sense of transition, the sadness of decline and the thought of the inevitability of the fate of man, who searches for a way to unravel the mystery of existence.
Źródło:
Interdisciplinary Studies in Musicology; 2009, 8; 189-202
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 67

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