- Tytuł:
- Andrzej Dobrowolski. Muzyka czystej formy
- Autorzy:
-
Karwaszewska, Monika
Kowalska-Pińczak, Alina
Szymańska-Stułka, Katarzyna - Powiązania:
- https://bibliotekanauki.pl/books/1034014.pdf
- Data publikacji:
- 2017
- Wydawca:
- Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
- Opis:
- The treatise constitutes the first monographic presentation of the work of Andrzej Dobrowolski, one of the leading Polish composers of the 2nd half of the 20th century. Dobrowolski (1921-1990) belonged to the generation of composers who made their debut at the turn of the 40s and 50s of the last century, then in the 60s actively participating in adopting and disseminating new aesthetic ideas and compositional techniques. He became famous thanks to his pioneering electroacoustic works for tape combined with live performance. He was one of the first composers in the country whose electroacoustic works were published by the Polskie Wydawnictwo Muzyczne [Polish Music Editions] in the form of realisational scores. Moreover, he is remembered as a prominent organised of the music life, active in the forum of the Polish Composers’ Union, a co-founder of the Warsaw Autumn International Festival of Contemporary Music, a composer associated with the activities of the Polish Radio Experimental Studio in Warsaw, and the author of the textbook Metodyka nauczania harmonii w szkołach muzycznych II stopnia [Methodology of teaching harmony in secondary music schools]. His musical output, although it was often presented at prestigious music festivals both in Poland and abroad, and despite positive response from music critics, still has not been gathered into a thorough and complete edition. The amount of literature on the composer’s life and work is modest, so this thesis fills the gap existing in the Polish musicological writing. The lack of detailed information about the composer’s life and the reception of his musical output is, apparently, the result of difficult access to source materials (scores and recordings) kept in state archives and private collections. Only 20 works have been published (some of them as facsimiles of the composer’s autograph), while the remaining (unpublished) part of the output exists in the form of pencil-written autographs and autographs of the final drafts. The queries undertaken in the process of the research in public archives and libraries, as well as private collections, then a critical assessment of these sources made it possible to explain many unclear and imprecise biographical and bibliographical issues. After carrying out a reconstruction of historical facts and analysis of the discovered musical sources, a full list of the composer’s works and their periodisation showing the pivotal points in his life was created. The subject of the analyses and interpretation became the composer’s whole surviving output, diverse in terms of genre and style, and it was set against the stylistic changes occurring in Polish music in the 2nd half of the 20th century. The composer’s output consist of no less than 93 works encompassing music for traditional instrumental formations (orchestra, chamber ensembles, solos, and vocal-instrumental), electroacoustic music, as well as music for theatre, film, and radio. The thesis was subdivided into three principal sections preceded by an introduction (the 1st section) describing the thesis subject and area, the present state of the research, the accessible source materials, the methodological approach, and the terminology used. The 2nd section titled Kompozytor i jego epoka [The composer and his times] consists of a year-by-year chronology, list of works, and periodisation. The calendar documents facts from the composer’s life and his versatile musical activities, presenting them on the background of important historical and musical events in the country and in Europe, also indicating events connected with the reception of his works nowadays. Together with the list of works placed in this section of the thesis, the calendar became the basis for the proposed periodisation of the output corresponding with Mieczysław Tomaszewski’s invariable model of pivotal points in the composer’s creative life. The 3rd section, Twórczość muzyczna. Interpretacje [The musical creativity. Interpretations], contains an analysis and interpretation of the composer’s output, systemized according to the then current aesthetic approaches and compositional techniques, identifying the musical forms and genres, as well as the performing resources. The output was divided into two principal phases: the output created in the years 1948–1956 characterized by continuing the heritage line and reactions to the normative aesthetic, and the output created in the years 1956–1989 developed in the environment of new resources of musical expressivity and artistic ideas. The 2nd phase, which saw the formation of Dobrowolski’s compositional idiom, is further divided into three stylistic sub-phases: the 1st – transitional, connected with encountering new resources of musical expressivity and emergence of his individual compositional language, the 2nd – the longest one, taking place in the aura of avant-garde ideas, characterized by stylistic maturity, and the 3rd – the late and the last one, with indications of a turn towards some postmodernist ideas. The 4th section, Idiom kompozytorski – próba charakterystyki [The compositional idiom – an attempt at characterisation], is an attempt at reconstruction of Andrzej Dobrowolski’s aesthetic views and specifying his compositional idiom based on the undertaken analyses of his works in relation to the ideas and stylistic currents in Polish music at the time. In this section, the perspective of aesthetic-hermeneutic description of the issues was adopted, which allowed for presenting the most important features of Dobrowolski’s musical idiom rooted in aesthetic currents of the 20th century art, especially the one belonging to musical modernism, e.g. the Witkiewicz idea of pure form, musical constructivism, autotelic conception of musical work, systemised regulating techniques, aleatorisicm, the idea of a masterpiece, and compositional craft. An additional element of the thesis is a section with authorised interviews with the composer’s students and performers of his works, as well as full chronological list of works. The thesis concludes with a bibliography, as well as tables, examples, diagrams, photographs and index. The bibliography is divided into musical sources, personal files, correspondence, interviews, documents, and literature on the subject encompassing theses on the composer’s works and personality, history and theory of music, methodology, history and theory of culture, and Internet publications (databases).
- Dostawca treści:
- Biblioteka Nauki
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