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    Wyświetlanie 1-13 z 13
    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:
    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:
    Mozart i śpiewacy: ograniczenie czy inspiracja?
    Mozart and singers: limitation or inspiration?
    Autorzy:
    Brandenburg, Daniel
    Powiązania:
    https://bibliotekanauki.pl/articles/920344.pdf
    Data publikacji:
    2009-06-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Mozart
    opera
    Italian singing conventions
    composing for singers
    XVIII century music
    muzyka XVIII w.
    Opis:
    Mozart and singers: limitation or inspiration?Stefan Kunze called the time before Mozart settled in Vienna the years of migration and study. Daniel Brandenburg in his article shows that in reference to the operas composed by young Mozart for Milan (Mitridate re di Ponto, 1770, Lucio Silla, 1772) and Munich (Idomeneo re di Creta, 1781), the process of education meant also mastering the Italian singing conventions. Composing for singers appears to be an inspirational task, although it was limited in various ways. That double effect is recorded in Mozart’s scores.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2009, 7, 13-14; 87-96
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    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
    Tytuł:
    Professional career and family life of Viennese Primadonnas. The case of Catarina Cavalieri and Aloysia Weber (Lange)
    Autorzy:
    Winiszewska, Hanna
    Powiązania:
    https://bibliotekanauki.pl/articles/780101.pdf
    Data publikacji:
    2019
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    singer
    opera
    18th century
    Vienna
    history of 18th century music
    Mozart
    Aloysia Lange
    Catarina Cavalieri
    Opis:
    The aim of this article is to present the issue of female singers and their role in the society of eighteenth-century Vienna on the example of two women: Mozart’s sister-in-law Aloysia, née Weber, later Lange, and Catarina Cavalieri, the first Constance. These singers were rivals on the opera stage in late 18th century Vienna, as evidenced by the parts written for them by Mozart in his Der Schauspieldirektor. From the social point of view, the biographies of these two outstanding singers are very different.
    Źródło:
    Interdisciplinary Studies in Musicology; 2019, 19; 31-40
    1734-2406
    Pojawia się w:
    Interdisciplinary Studies in Musicology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Sacred music by Amandus Ivanschiz: attributions and variants of extant compositions
    Autorzy:
    Jochymczyk, Maciej
    Powiązania:
    https://bibliotekanauki.pl/articles/780363.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Amandus
    Ivanschiz
    Ivancic
    eighteenth-century church music
    Mass
    litany
    sources
    variant
    version
    Opis:
    The Pauline father Amandus Ivanschiz (1727-1758) was a composer whose music heralded the style of the early Classical period. He worked mainly in Austria (Wiener Neustadt and Mariatrost), as well as in Rome (it has recently been established that he spent three years there). His sacred music, especially masses, litanies and cantata-style pieces to non-liturgical texts, has been preserved in numerous manuscripts (over 260 items) held in eight countries of Central Europe (Austria, the Czech Republic, Germany, Poland, Slovakia, Slovenia, Switzerland and Hungary). Comparative analysis of all the manuscripts allows one to distinguish several problems commonly encountered in research into eighteenth-century musical sources, such as variants, multiple versions of works and contradictory attributions of authorship, further exacerbated by the lack of originals. This article focusses on the most recent findings relating to Ivanschiz’s life and religious music, as well as discussing and illustrating discrepancies between various copies of the same compositions by reference to selected works. We will also consider the differentiation of authorial variants from variant versions arising from custom.
    Źródło:
    Interdisciplinary Studies in Musicology; 2012, 11; 251-264
    1734-2406
    Pojawia się w:
    Interdisciplinary Studies in Musicology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    The Charter of the Kwidzyn (Marienwerder) Convivium Musicum of 1587 as a source for the history of musical culture in Prussian towns
    Autorzy:
    Bogdan, Izabela
    Powiązania:
    https://bibliotekanauki.pl/articles/780171.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    music society
    ‘convivium musicum’
    ‘collegium musicum’
    ‘Kantoreigesellschaft’
    Kwidzyn
    Marienwerder
    Ducal Prussia
    sixteenth-century Protestant music
    Reformation
    Salomon Klein
    Opis:
    Music societies, referred to in German documents as ‘Kantoreigesellschaften’, ‘Musikgesellschaften’ or ‘Musikkranzlein’, and in Latin records as ‘collegia musica’ or ‘convivia musica’, were founded in numerous towns in German-speaking territories during the veiy first years after the Reformation. They were of an elite character, comprising the most prominent burghers, including the mayor, aldermen, councillors, church officials (pastor, deacon, cantor, organist) and local schoolteachers. Pupils and students attending Protestant schools and universities in German-speaking regions also actively participated in musical performances given by the societies. Their members provided a polyphonic setting for the Mass and other services, as the convivia had the noble mission of singing to the glory of God and educating young people. There are few extant charters of sixteenth-century societies of this type. The present article provides a detailed description of the charter of the Convivium Musicum in Kwidzyn, a town located during the sixteenth century and the first half of the seventeenth century within the borders of Ducal Prussia. This society, founded on 18 February 1587, followed an early modem trend for creating music societies under the patronage of municipal councils and the Church. Its initiator was a local Protestant superintendent (‘Erzpriester’) and pastor, Salomon Klein, supported by deacons, a local teacher, an organist, mayors, aldermen, a notary, a municipal judge, town councillors and others. The article carefully examines each chapter of the charter, providing information on the Convivium’s structure, organisation and activities and the duties of its members.
    Źródło:
    Interdisciplinary Studies in Musicology; 2012, 11; 213-234
    1734-2406
    Pojawia się w:
    Interdisciplinary Studies in Musicology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Apparebit repentina dies: Hindemith’s musical panorama of Judgment Day
    Autorzy:
    Bruhn, Siglind
    Powiązania:
    https://bibliotekanauki.pl/articles/780153.pdf
    Data publikacji:
    2015
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Paul Hindemith
    The Last Judgment
    20th-century choral music
    musical hermeneutics
    musical parameters interpreting text
    Opis:
    In 1947, while teaching at Yale University, the German composer Paul Hindemith (1895-1963) wrote a composition for mixed chorus and brass ensemble based on an anonymous Latin hymn believed to date from the 8th century or before. This text, which he had discovered in The Oxford Book of Medieval Latin Verse, tells in a poetic rewording of New T estament passages of the events to be expected on Judgment Day. Below a deceptively simple surface with regular trochaic tetrameters organized in 23 couplets that are launched by the consecutive letters of the alphabet, the hymn hides various dramatic perspectives. These include a narrator announcing what is to come and later describing what he witnesses in a vision, direct-speech dialogues between Christ as the Judge of the World and the two groups of the chosen and the damned, and a concluding moral admonishment addressed by the pious author to his contemporary listeners or latter-day readers. As the analysis of the musical structure and texture, meter and rhythm, thematic material and tonal organization shows, Hindemith achieves a semiotic rendering of these aspects and many finer nuances. Just as the medieval text ostensibly uses only one mode throughout without depriving the message of any of its colorful expressiveness, so Hindemith’s music uses only one constellation of sound colors - choral singing against or in alternation with ten brass instruments - to bring the multifaceted scene to life. This music is both text setting and scenic painting, replete with refined allusions as well as onomatopoeic depiction, weaving a web of signification with which the composer at once heightens and deepens the early poet’s message.
    Źródło:
    Interdisciplinary Studies in Musicology; 2015, 14; 34-47
    1734-2406
    Pojawia się w:
    Interdisciplinary Studies in Musicology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Archives and blank spots: scholarly perspectives for recovering Polish music (1794–1945)
    Autorzy:
    Gmys, Marcin
    Powiązania:
    https://bibliotekanauki.pl/articles/780407.pdf
    Data publikacji:
    2019
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    blank spot in the history of music
    Polish music in the nineteenth century and in the early twentieth century
    the music of Józef Nowakowski
    Józef Elsner
    Karol Kurpiński
    Ignacy Feliks Dobrzyński
    Stanisław Moniuszko
    Eugeniusz Morawski
    Feliks Nowowiejski
    Adolf Gużewski
    national style in music
    Opis:
    In this article, the author tries to present the issue of blank spots in the history of Polishmusic since 1794 (the world premiere of Cud mniemany, czyli Krakowiacy i Górale [The supposedmirtacle, or Cracovians and highlanders] composed by Jan Stefani to the libretto of Wojciech Bogusławski is regarded as a symbolic beginning of national style in Polish music) up to the end of the SecondWorld War. It was a great period in history when Poland twice did not exist as a state (between1795 and 1918 and between 1939 and 1945).At the beginning the attention is drawn to the Polish music in the nineteenth century. Author describes new discoveries such as the Second Piano Quintet in E flat Major (with double bassinstead of second cello) by Józef Nowakowski (Chopin’s friend), and String Quartets op. 1 and monumentaloratorio Passio Domini Nostri Jesu Christi by Józef Elsner who was Chopin’s teacher in the Conservatory of Music in Warsaw (Elsner’s Passio discovered at the end of the twentieth century isregarded now as the most outstanding religious piece in the history of Polish music in the nineteenth century). Among other works author also mentions romantic opera Monbar (1838) by Ignacy Feliks Dobrzyński and first opera of Stanisław Moniuszko Die Schweitzerhütte (about 1839) written to the German libretto during composer’s studies at Singakademie Berlin.  Addressing the issue of Polish music of the first half of the twentieth century author draws attention to the composer Eugeniusz Morawski regarded as the leading Polish author of programme music next to Mieczysław Karłowicz (unfortunately Morawski is still forgotten figure in the Polish musical life).  Among others the importance of symphonic heritage of Feliks Nowowiejski, an author ofextremely popular in Europe during the second decade of twentieth century oratorio Quo vadis, is mentioned. At the end of article, the author takes up the problem of the enigmatic figure of Adolf Gużewski.The whole musical output of Gużewski, whose opera Dziewica lodowców [The Ice Maiden] was applauded in Warsaw and Russian opera houses in the second decade of the twentieth century, is now considered lost.
    Źródło:
    Interdisciplinary Studies in Musicology; 2019, 19; 95-105
    1734-2406
    Pojawia się w:
    Interdisciplinary Studies in Musicology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Waste paper as a music source: fragments preserved with the incunabula at the University Library in Wroclaw
    Autorzy:
    Gancarczyk, Paweł
    Powiązania:
    https://bibliotekanauki.pl/articles/780107.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    University Library in Wroclaw
    music manuscripts
    fragmentary sources
    chant music
    fifteenth-century polyphony
    Opis:
    Preserved with the incunabula at the University Library in Wroclaw are eighty-five fragments of music manuscripts. Alongside numerous antiphonaries, notated breviaries and missals, they also include a fragment with polyphonic music (PL-WRu XV Q1066). This contains three compositions typical of fifteenth-century Central European repertory. There are grounds for supposing that this fragment was written in Silesia during the second quarter of that century. Research into the music fragments from the University Library in Wroclaw has provided the author with a point of departure for discussing methodological issues. Questions are raised regarding the nature of fragmentary sources, with reference to the classification of historical sources proposed by Jerzy Topolski. The status of fragments differs from that of sources preserved intact, and this should be reflected in research procedures, such as the method of establishing provenance. The adoption of new methodological principles requires a critical re-examination of the interpretation of some musical fragments, including the sources preserved in Poland.
    Źródło:
    Interdisciplinary Studies in Musicology; 2012, 11; 41-52
    1734-2406
    Pojawia się w:
    Interdisciplinary Studies in Musicology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    W poszukiwaniu postaci (w XIX-wiecznych teoriach opery i prozie artystycznej)
    In the Search of Character (in Nineteenth-century Theories of Opera and Artistic Prose)
    Autorzy:
    Nowicka, Elżbieta
    Powiązania:
    https://bibliotekanauki.pl/articles/2135523.pdf
    Data publikacji:
    2022-09-30
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    opera
    theories of music
    theories of literature
    character
    nineteenth century
    Opis:
    The article analyses texts regarding the opera character, or indirectly linked to it, by a number of authors from the late eighteenth century to the last decades of the nineteenth century: Sulzer, Rousseau, Hoffmann, Stendhal, Baudelaire, Wagner. The author focuses on their theoretical texts and artistic prose. The analysis indicates a strong multilateral involvement of the reflection on the topic of character in contemporary aesthetic views and anthropological concepts.
    Źródło:
    Poznańskie Studia Polonistyczne. Seria Literacka; 2022, 42; 15-32
    1233-8680
    2450-4947
    Pojawia się w:
    Poznańskie Studia Polonistyczne. Seria Literacka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Towards “The Nature and Secrets of Music”: W. C. Printz and the natural history tradition
    Autorzy:
    Wessel, Jan Andreas
    Powiązania:
    https://bibliotekanauki.pl/articles/2122190.pdf
    Data publikacji:
    2021-11-21
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    W. C. Printz
    music historiography
    natural history
    17th century
    Opis:
    The present article provides arecontextualization of Wolfgang Caspar Printz’s (1641–1717) landmark music history published in 1690 (Historische Beschreibung der edelen Sing- und Kling-Kunst). later commentators have read it as a primitive, naïve and even failed attempt at writing the history of music. Still, they seem to agree that the text, in virtue of its subject matter, forms part of a canon of music historiography. The present article will seek the interpretative key in the wider intellectual context, outside of the narrow confines of texts about the musical past. It will advance the thesis that Printz built his music historiography from elements of the natural history tradition. Two arguments support this thesis. First, it will be argued that the organization of the material in chapters XIv, Xv and XvI betrays the influence of a classical version of taxonomy closely associated with the natural history tradition. Secondly, that Printz’s inquiry into the purpose of music reveals his reliance on a concept of nature similarly rooted in natural history.
    Źródło:
    Interdisciplinary Studies in Musicology; 2021, 21; 93-105
    1734-2406
    Pojawia się w:
    Interdisciplinary Studies in Musicology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    At the “Crux” of Henryk Gorecki’s Totus Tuus, Op. 60: Signification of Polish Catholic Marian Devotion
    Autorzy:
    Helmcke, William M.
    Powiązania:
    https://bibliotekanauki.pl/articles/780385.pdf
    Data publikacji:
    2015
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Henryk Mikołaj Górecki
    Totus Tuus
    Polish
    20th-century
    Minimalism
    Sacred Music
    Pope John Paul II
    Homophony
    Motive
    Augenmusik
    Opis:
    Henryk Górecki was a devout Polish Catholic composer. He testified that many of his compositions refer to Bogurodzica, a medieval Polish hymn pertaining to Marian devotion. Furthermore, Górecki himself wrote the first seven notes of Bogurodzica on a compositional sketch. This act strongly indicates that the first seven notes of Bogurodzica signify its sum. Consequently, the article has argued that Górecki derived three motives from the first seven notes of Bogurodzica and transformed them into musical signifiers of signified Polish Catholic Marian devotion in Totus Tuus. These motives include a descending fourth derived from Bogurodzica notes 3-6; a verticalization of the fourth; incomplete neighbor from Bogurodzica notes 1-2 and complete neighbor from Bogurodzica notes 5-7; and a voice exchange that visually depicts the Christian Cross as Augenmusik. The Bogurodzica-basei motives thoroughly saturate the crux of the composition. Within the sacred pitch space of Totus Tuus Górecki, the high priest of Holy Minimalism, delivers a profoundly moving autobiographical homily preaching the musical signification of Marian devotion.
    Źródło:
    Interdisciplinary Studies in Musicology; 2015, 14; 136-150
    1734-2406
    Pojawia się w:
    Interdisciplinary Studies in Musicology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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