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    Wyświetlanie 1-6 z 6
    Tytuł:
    Zarys problematyki determinizmu i indeterminizmu w muzyce drugiej połowy XX wieku w kontekście przemian myśli naukowej i filozoficznej1
    The Sketch on the Issue of Determinism and Indeterminism in Music of the 2nd Half of the 20th Century in the Context of Transformation of the Academic and Philosophical Thought
    Autorzy:
    Dąbek, Karolina
    Powiązania:
    https://bibliotekanauki.pl/articles/514024.pdf
    Data publikacji:
    2019
    Wydawca:
    Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
    Tematy:
    determinism
    indeterminism
    aleatoric music
    integral serialism
    Opis:
    In the second half of the 20th century, integral serialism and rational way of thinking were considered as an indicate of determinism in music. At the same time, indeterminism was associated with the music composed with the use of chance operations, classified like that by Henri Pousseur in his reading entitled Theorie und Praxis in der neusten Musik, delivered in Darmstadt in 1958. However, certain music pieces show that the demarcation between determinism and indeterminism in music remainsunclear. The author attempts to outline the problem of determinism and indeterminism in avant-garde music of the second half of the 20th century, taking into consideration selected crucial compositions and the context of development in science and philosophy of that time.
    Źródło:
    Kwartalnik Młodych Muzykologów UJ; 2019, 3(42); 77-98
    2956-4107
    2353-7094
    Pojawia się w:
    Kwartalnik Młodych Muzykologów UJ
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Finite-state Optimality Theory : non-rationality of Harmonic Serialism
    Autorzy:
    Hao, Yiding
    Powiązania:
    https://bibliotekanauki.pl/articles/103903.pdf
    Data publikacji:
    2019
    Wydawca:
    Polska Akademia Nauk. Instytut Podstaw Informatyki PAN
    Tematy:
    optimality theory
    harmonic serialism
    phonology
    finite-state
    strictly local
    subregular
    Opis:
    This paper analyzes the language-theoretic complexity of Harmonic Serialism (HS), a derivational variant of Optimality Theory. I show that HS can generate non-rational relations using strictly local markedness constraints, proving the “result” of Hao (2017), that HS is rational under those assumptions, to be incorrect. This is possible because deletions performed in a particular order have the ability to enforce nesting dependencies over long distances. I argue that coordinated deletions form a canonical characterization of non-rational relations definable in HS.
    Źródło:
    Journal of Language Modelling; 2019, 7, 2; 49-99
    2299-856X
    2299-8470
    Pojawia się w:
    Journal of Language Modelling
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Awangardowe techniki kompozytorskie w Trzech diagramach na flet solo Henryka Mikołaja Góreckiego
    Avant-garde compositional techniques in Three diagrams for solo flute by Henryk Mikołaj Górecki
    Autorzy:
    Sucharska, Weronika
    Powiązania:
    https://bibliotekanauki.pl/articles/514016.pdf
    Data publikacji:
    2016
    Wydawca:
    Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
    Tematy:
    Henryk Mikołaj Gorecki
    Three diagrams for solo flute
    compositional techniques
    punctualism
    aleatorism
    serialism
    Opis:
    The aim of the article is to analyse Three diagrams for solo flute Op. 15 by Henryk Mikołaj Gorecki in the light of compositional techniques used in the piece as well as placing the work in the context of the early output of the composer. In order to achieve the defined aims the score has been analysed as well as the statements of the composer and of people related to him. This research enabled the author to precise in what ways Gorecki uses techniques such as serialism, punctualism and aleatorism. In the paper composer’s individual and innovative approach to the avant-garde techniques is revealed. However, the idiomatic elements of the whole Gorecki’s style are also present in the analysed work. The article consists of two parts. The first part includes the problem of history and the style of Henryk Mikołaj Gorecki’s early works. The second part is devoted to the analysis and conclusions.
    Źródło:
    Kwartalnik Młodych Muzykologów UJ; 2016, 4(31); 78-99
    2956-4107
    2353-7094
    Pojawia się w:
    Kwartalnik Młodych Muzykologów UJ
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Architektonika Logiki sensu Deleuzea
    Architectonics of Deleuze’s Logic of sense
    Autorzy:
    Tercz, Jakub
    Powiązania:
    https://bibliotekanauki.pl/articles/1015702.pdf
    Data publikacji:
    2012-01-01
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    structuralism
    serialism
    sens
    combinatorics
    architectural method of reading
    strukturalizm
    serializm
    kombinatoryka
    architektoniczna
    metoda czytania
    Opis:
    W artykule przedstawiam specyficzną propozycję lektury Logiki sensu, którą – luźno nawiązując do filozofii Kanta – nazywam architektoniczną. Lektura architektoniczna polegać ma na jednoczesnej analizie teorii filozoficznej oraz formalnej konstrukcji dzieła. Chociaż technikę taką można próbować odnieść do wielu klasycznych już pozycji, to przypadek Logiki sensu okazuje się wyjątkowy – zasugerował ją bowiem sam autor, gdy każdy z trzydziestu czterech rozdziałów nazwał serią, pojęcie „serii” zaś uczynił kluczowym dla teorii. Logika jest więc celowo książką samozwrotną, co przekłada się między innymi na to, iż układ rozdziałów i akapitów, charakter pojęć filozoficznych, a nawet trudności z czytaniem znajdują uzasadnienie w treści. Ostatecznie okazuje się, że Logika sensu jest skonstruowana jak układanka czekająca na złożenie zgodnie z subiektywnymi pytaniami i problemami Czytelnika. Celowo nie przedstawiam żadnej konkretnej propozycji lektury, wykładam jedynie narzędzia do jej„obsługi”. W tym sensie artykuł stanowi prolegomena do właściwej lektury Logiki sensu.
    The article presents a specific proposal of reading the Logic of Sense, which – referring to the philosophy of Kant – I call architectural. Architectural reading consists in the simultaneous analysis of philosophical theory and the formal structure of the work. Although this technique may be referred to a number of classic works, Logic’s case appears to be unique, as suggested by the author when he names each of the 34 chapters ‘series’ as a pivotal concept for the theory. ThereforeLogic is deliberately self-reflexive, which means that the structure of chapters and paragraphs, the nature of philosophical concepts, and even the difficulty in reading are justified by contents. Finally, it appears that Logic is constructed as a puzzle waiting to be solved in accordance with subjective questions and problems of the reader. I intentionally do not present any particular proposal of reading, I merely try to provide a ‘strategy’. In this sens, the article is a prolegomena to the proper reading of the Logic of Sense.
    Źródło:
    Praktyka Teoretyczna; 2012, 5; 17-32
    2081-8130
    Pojawia się w:
    Praktyka Teoretyczna
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Contemporary Music in Central Italy: an Overview of Recent Decades
    Autorzy:
    Mastropietro, Alessandro
    Powiązania:
    https://bibliotekanauki.pl/articles/780341.pdf
    Data publikacji:
    2013
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Compositional Teaching
    Post-Modernism
    Complexity [Theory of]
    Electronic Music
    (Post-)Serialism
    Rome
    Florence
    Musical Theatre
    Multimedia
    (Neo- and Post-)Avantgarde
    Opis:
    The present article tries to make thematic the geographical plan of the present volume, by examining the major focal points of Contemporary Music in Central Italy which act as centres disseminating compositional trends through a long-established interest in recent music, as well as didactical structures and important teachers. Clearly, Rome is a more influential centre than Florence (where the endemic tendency of Florentine culture towards a sense of order, the settlement there of Dallapiccola, and the rise of a pioneering activity in the field of electronic music since the ‘60s are noteworthy); this is due to the teaching - through different generations - of Petrassi, Guaccero, Donatoni, Corghi and now Fedele, as well as the presence of many musical institutions, and the availability of artists and writers involved in exchanges and collaborations with composers. For this reason, many composers who were educated or active in Rome developed an outstanding - often prophetic - predilection for mix-media or theatrical works. After Bussotti, Guaccero, Macchi and Bertoncini, Giorgio Battistelli is a pivotal figure representing this trend in the next generation of composers; nonetheless an aptitude for it can be perceived also in other composers from both generations (Clementi, Pennisi and Renosto; Sbordoni, Lombardi, Rendine, D’Amico and De Rossi Re), including among the younger ones Silvia Colasanti, Roberta Vacca and Francesco Antonioni. In parallel, electronic music has been cultivated by Evangelisti and Branchi, as a way of renewing musical thought and language from their foundations: researches in the musical application of digital processing have been remarkable in Rome, along with experimentation in real time sound-generation and -transfoimation (Nottoli, Lupone, Di Scipio). On the whole, the generation born in the 1950s seems to tend (in aesthetics as well as in poetics) towards a change of thinking about musical form, integrating paradigmatic (structural) categories, typical of serial music, with syntagmatic (fictional) ones. Such an integration is perceivable as early as in the works of Donatoni, which have widely influenced many younger Italian composers, whether they have studied under him or not. The compositional horizon in Central Italy will be examined, with a special focus on that generation, with regard to two issues: 1) Has this change been determined (or helped) by post modernism? Before post-modernism became widespread during the 1980s, some composers from Rome had already elaborated a language which included heterogeneous sound materials and playing with musical codes, even if they did not deny the necessity of historical progress of musical language. Furthermore, postmodernism doesn’t suffice to explain the music of many composers, for whom the stratification of musical language and the sphericity of internal relationship inside a work is a result of the theory of complexity. 2) What is the aesthetical and poetical tendency in the youngest generation of composers, since a radicalization between a fictional and a visionary approach seems to have been established in their music?
    Źródło:
    Interdisciplinary Studies in Musicology; 2013, 12; 13-40
    1734-2406
    Pojawia się w:
    Interdisciplinary Studies in Musicology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    … prosta nieskończona… Wanda Czełkowska, Krystian Jarnuszkiewicz, Andrzej Wojciechowski
    ...A Straight Infinite Line... Wanda Czełkowska, Krystian Jaruszkiewicz, Andrzej Wojciechowski
    Autorzy:
    Grubba, Dorota
    Powiązania:
    https://bibliotekanauki.pl/articles/424728.pdf
    Data publikacji:
    2012
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    CONCEPTUALISM
    CONCEPTUAL ART
    INSTALLATION ART
    EDINBURGH 1972
    MULTIPLE
    STRUCTURE
    SERIALISM
    MODULE
    ENVIRONMENT
    KRAKOW GROUP
    ART GROUPS
    WANDA CZELKOWSKA
    KRYSTIAN JARUSZKIEWICZ
    ANDRZEJ WOJCIECHOWSKI
    STANISŁAW DROZDZ
    KAZIMIERZ MALEWICZ
    XAWERY DUNIKOWSKI
    ROBERT MORRIS
    JERZY LUDWINSKI
    LE CORBUSIER
    ROLAND BARTHES
    MODULOR
    POD MONA LISA GALLERY
    Opis:
    In the paper, I recall three independent individuals, whose work oscillated around conceptual art. They shared a strong interest situated on the borderline of mathematics and art philosophy (including problems such as: an open space, the concept of central – axial point, infinite line etc.) and research on semantic and lexical possibilities of geometry. The work of these three extremely different artists, Wanda Czelkowska, Krystian Jaruszkiewicz, Andrzej Wojciechowski, seems to be tied together by a common element; building spatial utterances based on forms that existed on the border of contemporary and archetypical language. They evoke reflections (e.g. sociological and cultural) by the use of a strongly individualised and meta-artistic code. I analysed the following artworks: Wanda Czelkowska's Conceptual Information about a Table presented in 1972 in Edinburgh at The International Art Festival and another work entitled Absolute elimination of sculpture as a notion of shape (66 concrete slabs and 66 light points) from 1972; the project of a room independent of gravity (1959/1960), Capitel as the structure of space from 1952; Krystian Jaruszkiewicz's multi-material object entitled Sacrifice to Xawery Dunikowski (1975), that incorporated an old Polish definition of the ‘obiata’ (sacrifice) custom taken from Bogumił Linde’s dictionary in its original graphic version into an ascetic form; Andrzej Wojciechowski's works from the period when he co-operated with Stanislaw Drozdz, among them a series of photographs SALVE from 1970 (a stone with a Latin greeting found in an empty field), a model and an idea of the Self-sustaining Plinth from the Symposium “Wrocław’70”, an action entitled The Tower of Joy 23 VII 1970 built with the residents of Wrocław, and a philosophical and formal dialogue with S. Drozdz A Sphere and a stone – two perfections (1974).
    Źródło:
    Sztuka i Dokumentacja; 2012, 6; 163-169
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-6 z 6

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