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    Wyświetlanie 1-5 z 5
    Tytuł:
    HarMA+ Project: European Landscape of Teaching Practices and Pedagogical Innovation in HMEI’s — Harmony and Music Analysis Fields
    Autorzy:
    Gioveni, Salvatore
    Skupin, Renata
    Powiązania:
    https://bibliotekanauki.pl/articles/2144069.pdf
    Data publikacji:
    2021
    Wydawca:
    Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
    Tematy:
    HarMA+ project
    strategic partnership
    music theory
    teaching practices
    Źródło:
    Aspekty Muzyki; 2021, 11; 143-153
    2082-6044
    Pojawia się w:
    Aspekty Muzyki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Emigracja wewnętrzna Giacinto Scelsiego — studium przypadku
    Giacinto Scelsi’s internal emigration — the case study
    Autorzy:
    Skupin, Renata
    Powiązania:
    https://bibliotekanauki.pl/articles/521910.pdf
    Data publikacji:
    2014
    Wydawca:
    Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
    Tematy:
    Giacinto Scelsi
    internal emigration
    Italian music
    twentieth century music
    Opis:
    Giacinto Scelsi — actually Count Giacinto Scelsi Francesco Maria d’Ayala Valva — be-longed to this type of artists whose life is inextricably associated with his work. Despite the fact that his countrymen were definitely “alien” to him, he lived and worked the last thirty years of his life in Rome, via di San Teo-doro No. 8, alienated from the Italian musical environment and underestimat-ed as a composer in his homeland. Extremely strict fusion of the life and work of Scelsi allows one to read his artistic decisions materialized in his work and his life choices as a uniform quasi-text. The evolution of his musical language (from the influence of Debussy, the neo-classicism, dode-caphony, machinisme to the highly individual musical poetics inspired by the spiritual and musical cultures of the Orient) closely merged with biographical threads (travels around Europe, real and imaginary internal journeys to the East). Aristocratic origins and privileged social position biased the reception of his work in changing Italian reality (i. a. fascism and communism). The fascination of the Indo-Tibetan tradition of understanding the essence and function of sound led Scelsi to the crystallization of individual musical poetics of Scelsi the composer and at the same time — to the conversion of Scelsi the man to Buddhism, individually conceived and “professed”. The Yoga of Sound practice was treated by composer as a self-therapy and at the same time as his compositional modus operandi, which aimed to explore the third dimension of the sound — its depth in a musi-cal and spiritual sense. Scelsi devoted his personal life to his creativity and “composing” — to the specifically understood transcendence. The role of “the proteus” has initially not been the choice of Scelsi, however, with time and after his life experiences it was deliberately incorporated into his life and creative plan. It can be interpreted as the Scelsian strategy of internal emigration in his own country.
    Źródło:
    Aspekty Muzyki; 2014, 4; 53-65
    2082-6044
    Pojawia się w:
    Aspekty Muzyki
    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:
    Tadeusza Z. Kasserna ujęcie Orientu w operze The Anointed według dramatu Koniec Mesjasza Jerzego Żuławskiego
    Representations of the Orient in Tadeusz Z. Kassern’s opera The Anointed based on Jerzy Żuławski’s drama The End of the Messiah
    Autorzy:
    Skupin, Renata
    Powiązania:
    https://bibliotekanauki.pl/articles/521988.pdf
    Data publikacji:
    2013
    Wydawca:
    Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
    Tematy:
    Tadeusz Z. Kassern
    The Anointed
    opera
    Andrzej Żuławski
    The End of the Messiah
    orientalism
    Opis:
    The title character of Andrzej Żuławski’s drama The End of the Messiah (1911) is a historical fi gure of a Turkish-Jewish apostate messiah — Sabbatai Zevi (1626–1676). Żuławski exposes in his play, which contains many Polish elements, the idea of Jewish messianism in a mystical and national sense and his representation of the Islamic Orient has a pessimistic and escapist message. Tadeusz Z. Kassern in his own adaptation of the drama in his lyric opera The Anointed (1949–51) removed all Polish threads and added one oriental character: the Muezzin’s voice, imitating an adhan — muslim call for prayer, which has a key importance for musical orientalism of the opera. Although it is presented with a relatively objective ethnographic accuracy, it creates an exotic background for the action — as a modern aspect of couleur locale. Muezzin’s voice is always heard in the scenes with exclusive participation of Jewish main characters (Sabbatai and Miriam), which emphasizes the relation of antithetical worlds (inside – outside) or opposition: Jewish characters – alien (exotic) Muezzin. Opera The Anointed is an emblematic example of the hybrid referentiality of Kassern’s musical orientalism.
    Źródło:
    Aspekty Muzyki; 2013, 3; 83-109
    2082-6044
    Pojawia się w:
    Aspekty Muzyki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Izotopia semantyczna i jej zastosowanie w badaniach nad orientalizmem muzycznym — możliwości i ograniczenia
    Semantic Isotopy as Applied to Research in Musical Orientalism — Possibilities and Constraints
    Autorzy:
    Skupin, Renata
    Powiązania:
    https://bibliotekanauki.pl/articles/521863.pdf
    Data publikacji:
    2011
    Wydawca:
    Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
    Tematy:
    semantic isotopy
    musical orientalism
    musical exoticism
    musical semiotics
    textual interpretation
    musical discourse
    Opis:
    The aim of this study is to determine the possibilities and constraints of applying semantic isotopy, a concept developed in the area of semiotics with reference to language system and structure, in analysis of Orientalism as a way of presenting a reality that is referred to as the Orient in a musical work. The starting point is a review of acts of functioning of isotopy in semiotic text concept: from the original understanding of A. J. Greimas (semantic coherence of narrative text in the context of his theory of structural semantics), through the approach of François Rastier (strategic concept of interpretation within his theory of interpretative semantics) and Bernard Pottier (stability of semic feature, or isosemy of lexical-grammatical structures), to Umberto Eco’s concept (interpretive coherence associated with the concept of topic within the principle of textual cooperation). Determinants of adaptation of isotopy in musical semiotics are considered using the example of spectacularly extended fi eld of application of this concept in Eero Tarasti’s semiotic theory (or theory of musicological cognition of music) and his concept of discourse (musical one, and about music). The range of usefulness of isotopy is presented on the basis of methodological propositions of JeanPierre Bartoli and results of his research into Orientalism of the 19th- and early 20th-century French music. A description of consequences of examining Orientalism (oriental exoticism) as a semiotic system, assuming “language-likeness” of music, concerns conditions of “isotopic functioning” of musical exoticism. The conclusions underline a necessity for distinguishing between Orientalism and orientality due to the nature of semiosis in the case of music, and a need to verify the authenticity of “allochtonic units” (Bartoli’s “oriental semes” or “exosememes”) in a prospect of research in Orientalism as a phenomenon in the Western culture. These issues have also been emphasized in recent research on the musical consequences of cultural diffusion processes (manifestations of “occidentalising exoticism” in contemporary musical practice in the Middle East), in which the isotopy/isosemy is used as an objectifi ed transcultural analytical tool.
    Źródło:
    Aspekty Muzyki; 2011, 1; 181-202
    2082-6044
    Pojawia się w:
    Aspekty Muzyki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-5 z 5

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