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    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:
    Profil aktywności muzycznej uczniów na progu adolescencji w perspektywie dekady (2007–2017)
    Profile of musical activity of students at the beginning of their adolescence in the perspective of the years 2007–2017
    Autorzy:
    Weiner, Agnieszka
    Powiązania:
    https://bibliotekanauki.pl/articles/894190.pdf
    Data publikacji:
    2019-05-17
    Wydawca:
    Akademia Pedagogiki Specjalnej im. Marii Grzegorzewskiej. Wydawnictwo APS
    Tematy:
    early school stage
    musical activity
    comparative analysis
    etap wczesnoszkolny
    aktywność muzyczna
    analiza porównawcza
    Opis:
    The author undertakes a comparative analysis of the multi-dimensional musical activity of Grade 1–3 students, in a temporal perspective which consists of a two-fold study at an interval of 10 years. The interpretation of the captured change, in terms of the profi le of the behaviors preferred by of young Poles, leads to the conclusion that typical activity for that age group is disappearing, what may undoubtedly serve as an inspiration for new, interdisciplinary research initiatives. The functioning of children in a virtual environment, which modifi es patterns of behavior has a special meaning for the generated change.
    Autorka podejmuje analizę porównawczą wielowymiarowej aktywności muzycznej uczniów klas początkowych w perspektywie temporalnej – dwukrotnego badania w odstępie 10 lat. Interpretacja uchwyconej zmiany w zakresie profilu preferowanych przez młodych Polaków zachowań skłania do wniosku o zaniku typowej dla wieku aktywności, co niewątpliwie może stanowić inspirację dla interdescyplinarnych inicjatyw badawczych. Szczególne znaczenie dla generowanej zmiany posiada funkcjonowanie dzieci w wirtualnym środowisku, które modyfikuje wzorce podejmowanych zachowań.
    Źródło:
    Problemy Opiekuńczo-Wychowawcze; 2019, 577(2); 46-58
    0552-2188
    Pojawia się w:
    Problemy Opiekuńczo-Wychowawcze
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Topics in Music – Definitions, History, and Meanings
    Autorzy:
    Sołtysik, Michał S.
    Powiązania:
    https://bibliotekanauki.pl/articles/2176103.pdf
    Data publikacji:
    2020
    Wydawca:
    Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
    Tematy:
    music and topics
    theories of musical topos
    content of a music work
    musical semantics
    topical music analysis
    Opis:
    The aim of the paper is to present the concept of topics (Gr. τοπικά) in music, which entails a presentation of its uses in the history of culture and literary studies. Thanks to such a broad context, it will be possible to interpret this Greek term more fully as applied to musicology and to the analysis of selected examples of musical works. The article consists of three complementary parts. The first deals with the origins of the concept, derived from ancient rhetoric and discussed, among others, by Aristotle, Cicero, and Boethius. The second part of the article presents topics in the context of analyses by Ernst Robert Curtius, Janina Abramowska, and Jacek Jadacki in the field of literary studies. The last and most extensive part of this paper is dedicated to the place of topics in musicology on the example of several authors. I discuss writings on topic theory, which since the 1980s has mainly been developed by researchers from Anglo-Saxon countries.
    Źródło:
    Kwartalnik Młodych Muzykologów UJ; 2020, 4(47) ENG; 5-23
    2956-4107
    2353-7094
    Pojawia się w:
    Kwartalnik Młodych Muzykologów UJ
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Topika w muzyce – definicje, historia, znaczenie
    Topics in Music – Definitions, History, and Meanings
    Autorzy:
    Sołtysik, Michał S.
    Powiązania:
    https://bibliotekanauki.pl/articles/2171377.pdf
    Data publikacji:
    2020
    Wydawca:
    Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
    Tematy:
    music and topics
    theories of musical topos
    content of a musical piece
    musical semantics
    topical music analysis
    Opis:
    The aim of the article is to present the concept of topics in music, which was associated with the presentation of this term in the history of culture and literature. Due to the broader context, it will be possible to present this Greek term more fully in musicology and in relation to the interpretation of selected examples of musical works. The study consists of three complementary parts. The first introduces to the genesis of the concept, which originates from ancient rhetoric and has been described, among others by Aristotle, Cicero or Boethius. The second part of the article is the presentation of the topic in the context of the analyzes of Ernst Robert Curtius, Janina Abramowska and Jacek Jadacki in the field of literary studies. The last and most extensive part of this text is devoted to showing topics in musicology on the example of several authors. The papers on topic theory will be highlighted, which since the 1980s has been mainly developed by researchers from Anglo-Saxon countries.
    Źródło:
    Kwartalnik Młodych Muzykologów UJ; 2020, 4(47); 5-26
    2956-4107
    2353-7094
    Pojawia się w:
    Kwartalnik Młodych Muzykologów UJ
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    A versatile model for music creation utilizing tension states
    Autorzy:
    Ruuska, H.
    Takebayashi, Y.
    Powiązania:
    https://bibliotekanauki.pl/articles/385256.pdf
    Data publikacji:
    2009
    Wydawca:
    Sieć Badawcza Łukasiewicz - Przemysłowy Instytut Automatyki i Pomiarów
    Tematy:
    musical composition
    music analysis
    cognitive science
    computer-generated music
    Opis:
    We investigates novel methods for creating systems for assisting musical composing. In this presentation we describe some previously neglected problem areas in musical structure analysis: knowledge-based computational expectation mapping and narrative-based structure. We also investigate how results from musical pattern analysis might be used for predicting human cognitive processing of general commonsense domains in everyday life. We conclude with a statement of how investigating music can lead to insights in other fields of cognitive science.
    Źródło:
    Journal of Automation Mobile Robotics and Intelligent Systems; 2009, 3, 4; 184-186
    1897-8649
    2080-2145
    Pojawia się w:
    Journal of Automation Mobile Robotics and Intelligent Systems
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Levels of modalization in existential and transcendental analysis: The matter of being-in-self
    Autorzy:
    Rosato, Paolo
    Powiązania:
    https://bibliotekanauki.pl/articles/780333.pdf
    Data publikacji:
    2015
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Homeostasis
    existential semiotics
    musical analysis
    modalities
    transcendental subject
    kinetic energy
    Opis:
    This essay reflects on some applications of Eero Tarasti’s existential semiotics to music analysis, starting from the asymmetry that marks the categories of “myself’ and “itself’. If it seems evident that we can know the musical being-in-itself, that is topics, norms, forms, and so on, we can wonder if and how we can know the being-in-myself, that is the pure kinetic energy before that it has token any kind of forms. As it is for Schopenhauer’s “Wille”, that firstly becomes objective as Platonic ideas, and secondly as spatio-temporal-causal natural realm; musical energy or “being-in myself’ takes shape firstly as virtual deep-level-figures, and secondly as spatio-temporal-actorial situations, within which being-for-myself struggles with the being-for-itself. Modalities (will, must, can, know) operate in both these two levels of taking shape, but at the first level we have to look for a transcendental musical subject, not characterized by specific historical and cultural features. Then, I introduce the notion of homeostasis, that is the principle that “regulates the global process of breaking away from an original state of rest or balance, and of the subsequent restoration of that balance”. Homeostasis allows us to analyze musical modalization at a deep level, where the transcendental subject takes the form of the being-in-itself. But the research of a transcendental subject is slightly different to that of the Moi, within which the being-in-myself is situated. To analyze the being-in-myself of an individual musical subject, we adopt a less universal homeostasis, that is a specific way to convey musical energy (melodic, harmonic, rhythmic, agogic, and so on) proper of Western music. So doing, I claim that one cannot recognize the first four measures of Beethoven’s Piano Sonata op. 7 as “the moment of Being-in-myself in all of its immediacy” as Tarasti does. Being-in-myself has to be examined in a different light.
    Źródło:
    Interdisciplinary Studies in Musicology; 2015, 14; 206-220
    1734-2406
    Pojawia się w:
    Interdisciplinary Studies in Musicology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Jazzowe infiltracje w literaturze czeskiej w latach 20. XX wieku
    Jazz infiltrations in Czech literature in the 1920s of the 20th century
    Autorzy:
    Novak, Radomil
    Powiązania:
    https://bibliotekanauki.pl/articles/650089.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    czech literature
    analysis
    musical inspiration
    jazz
    1920s
    Opis:
    The article is concentrated on jazz inspiration in the Czech culture of the 1920s, espe-cially its infiltration to the Czech poetry. Contemporary manifests, anthologies, essays and critics has been researched so as to detect the influence of this new musical phe-nomenon over the Czech avant-garde art. The inspiration by jazz music then have been discovered in concrete books of poetry by E. F. Burian, V. Nezval, J. Seifert, J. Voskovec and J. Werich. The jazz motives as ‘jazz-band, black, saxophone etc.’ as well as imitation of a blues form were found there. In conclusion, the author points to the fact that the jazz music has become the symbol of the new revolutionary art, identified with the left-wing avant-garde, and it has brought a new view of reality, methods and functions of art.
    Źródło:
    Acta Universitatis Lodziensis. Folia Litteraria Polonica; 2012, 16, 2; 54-67
    1505-9057
    2353-1908
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Litteraria Polonica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Creating, practicing, and reacting to music: A content analysis of research
    Autorzy:
    Mazur, Zofia
    Lawendowski, Rafał
    Powiązania:
    https://bibliotekanauki.pl/articles/2125558.pdf
    Data publikacji:
    2020-06-29
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    creating music
    musical practice
    reactions to music
    literature review
    content analysis
    psychology of music
    Opis:
    Psychology of music, a science of the relations between humans and sound structures, is continuously developing. Given the growing number of publications in this domain, reviews of the literature are of value, as they integrate knowledge, informing and guiding future research endeavors. This article presents the results of a 47-year (1973–2019) content analysis of research on creating, practicing, and responding to music featured in The Psychology of Music journal. The purpose of our study was to identify and describe the themes in research on creating, practicing, and responding to music, indicating which study topics were the most often present in publications. We identified 17 categories of research topics and found that the largest number of publications dealt with predictors of music creating, self-regulated practice, or affective responses to music. Suggestions for developing and bolstering research and practice are provided.
    Źródło:
    Roczniki Psychologiczne; 2019, 22, 4; 299-323
    1507-7888
    Pojawia się w:
    Roczniki Psychologiczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Frédéric Chopin, entre exacerbation romantique du modèle vocal et innovations percussives : une mixité dynamique
    Frédéric Chopin, Between Romantic Exacerbation of the Vocal Model and Percussive Innovations: a Dynamic Mix
    Autorzy:
    Laliberté, Martin
    Powiązania:
    https://bibliotekanauki.pl/articles/2038306.pdf
    Data publikacji:
    2021-12-29
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Chopin
    musical models
    piano music
    organology
    musical analysis
    Opis:
    After some in-depth analysis, for instance, of the first Ballade in G minor (1836), Frédéric Chopin’s music reveals itself as a striking case of a musical equilibrium between two major musical tendencies. On the one hand, his music brings the reaching towards an idealised voice to a full and very convincing development. His musical themes sing most of the time while all the main characteristics of his writing explore continuous spaces, to the extent the piano can achieve. He uses many melodic chromaticisms and broad gestures, very voice-like phrasings ranging from the most delicate pianissimi to the extremely dramatic fortissimo, and other vocal features. On the other hand, his music is unavoidably written for a percussion instrument (the piano), makes much use of rhythms and often dances as well, while his accompaniments are thick with vertical features, accents and other percussive traits. In reality, Chopin’s music is in a striking state of equilibrium between the vocal and the percussive and constitutes a rich case of a mixed status between the two poles. Perhaps for one of the last times in Western music, Chopin is precisely at the point of equilibrium, before the rise of the percussive that gave birth to much of the twentieth century’s music. Chopin’s music will remain a true and much beloved monument of equilibrium.
    Źródło:
    Poznańskie Studia Polonistyczne. Seria Literacka; 2021, 41; 107-123
    1233-8680
    2450-4947
    Pojawia się w:
    Poznańskie Studia Polonistyczne. Seria Literacka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Zwischen Tönen und Texten: Eine kontrastive Analyse der Verwendung von musikalischen Fachwörtern in nichtfachlichen Kontexten in deutschen und tschechischen Medien
    Between Tones and Texts: A Contrastive Analysis of the Use of Musical Terms in Non-Specialist Contexts in German and Czech Media
    Autorzy:
    Hilscherová, Pavlína
    Powiązania:
    https://bibliotekanauki.pl/articles/41518322.pdf
    Data publikacji:
    2024-07-23
    Wydawca:
    Oficyna Wydawnicza ATUT – Wrocławskie Wydawnictwo Oświatowe
    Tematy:
    musikalische Terminologie
    Metapher
    fachlicher Kontext
    kontrastive Analyse
    musical terminology
    metaphor
    specialist context
    contrastive analysis
    Opis:
    Das Thema des Beitrags sind ausgewählte musikalische Fachwörter, die in der deutschen und tschechischen Publizistik im übertragenen Sinne als Metapher verwendet werden. Als Materialgrundlage dient das größte deutschsprachige Korpus DeReKo (Mannheim) sowie das Tschechische Nationale Korpus (Český národní korpus). Im Mittelpunkt der Analyse stehen sowohl die Kontexte, in denen die untersuchten Termini im übertragenen Sinne benutzt, als auch die Sachverhalte, die mit diesen Termini bezeichnet werden. Gleichzeitig werden die Funktionen analysiert, welche die Fachwörter im jeweiligen Kontext erfüllen. Ein bedeutender Teil des Beitrags enthält außerdem einen kontrastiven Aspekt, indem die Verwendung dieser Fachwörter in ihrer metaphorischen Bedeutung in deutschen journalistischen Texten mit ihrer Verwendung in tschechischen Texten gegenübergestellt wird. Dies ermöglicht, Gemeinsamkeiten und Unterschiede in der Verwendung von Metaphern in beiden Sprachen aufzudecken. Eine Frequenzanalyse gibt schließlich Aufschluss darüber, wie verbreitet dieses Phänomen in den deutschen und tschechischen Medien ist. Dabei wird nicht nur der aktuelle Gebrauch berücksichtigt, sondern auch die zeitliche Entwicklung, um Veränderungen im Laufe der Jahre zu identifizieren.
    The topic of this article is selected musical terms that are used metaphorically in German and Czech journalism. The largest German-language corpus, DeReKo (Mannheim) and the Czech National Corpus (Český národní korpus) serve as the material basis for this study. The analysis focuses on the contexts in which the examined terms are used metaphorically, as well as the concepts they refer to. At the same time, the functions that these technical terms fulfil in their respective context are examined. A significant portion of the article also includes a contrastive aspect by comparing the use of these technical terms in their metaphorical sense in German journalistic texts with their use in Czech texts. This allows for the identification of similarities and differences in the use of metaphors in both languages. Finally, a frequency analysis provides insights into how widespread this phenomenon is in the German and Czech media. The study takes into account not only current usage but also temporal development to identify changes over the years.
    Źródło:
    Linguistische Treffen in Wrocław; 2024, 25, 1; 359-373
    2084-3062
    2657-5647
    Pojawia się w:
    Linguistische Treffen in Wrocław
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Narrative strategies of the Romantic “philosophical epics” in the piano works of Franz Liszt (Analysis o/Sposalizio, Valee D’Obermann, Ballade No. 2 and the Sonata in B minor)
    Autorzy:
    Grabocz, Marta
    Powiązania:
    https://bibliotekanauki.pl/articles/780389.pdf
    Data publikacji:
    2015
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    musical signification
    musical semiotics
    narrative strategy
    signifieds in music
    character variation
    formal variation
    complex sonata form
    narrative analysis
    Opis:
    The article explains how ideas, characters and images borrowed from literary works and of fine arts are represented in Liszt’s the piano works of (i.e. with the help of motives, themes and narrative strategies). I. The first level of analysis concerns the typology of basic elements in the new lisztian forms: A. Four types of musical motives or figures and their signifieds (semes). B. Sixteen types of musical themes with their signifieds (classemes). C. Considering the great parts or sections of a piece we discovered seven types with their signifieds (isotopies). II. The second level of analysis consists in the presentation of three types of narrative strategies. The narrative strategy would mean the conscious organization of concatenation of the above mentioned signifying elements. A. The “figurative strategy” refers to the formal variation [‘Formalvariation” in German] of onetheme, or of one “thematic complex” (theme introduced and followed by expressive describing motives or refrain), for example: Sposalizio. B. The “simple narrative strategy” consists in a succession of character variations [‘Charaktervariation’], i.e. variation in the musical genre, in the signified of one musical theme (for example: Vallee d’Obermanri). C. The “complex narrative strategy” describes the structures which combine sonata form, cyclical sonata in four movements and variation form. This strategy implies that a whole thematic complex (exposition) is submitted to different stages of the character variation (for example: Dante sonata, Sonata in B minor, 2nd Ballade in B minor, etc.).
    Źródło:
    Interdisciplinary Studies in Musicology; 2015, 14; 113-135
    1734-2406
    Pojawia się w:
    Interdisciplinary Studies in Musicology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Uwagi o przydatności typologii strategii intertekstualnych Stanisława Balbusa do badań nad muzyką
    A few comments on the usefulness of the typology of intertextual strategies by Stanisław Balbus for musicological research
    Autorzy:
    Dziadek, Magdalena
    Powiązania:
    https://bibliotekanauki.pl/articles/521990.pdf
    Data publikacji:
    2017
    Wydawca:
    Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
    Tematy:
    intertextuality
    musical analysis
    Stanisław Balbus
    Opis:
    The paper is an attempt to investigate the possibilities and limitations connected with the unreflective adaptation of the concept of intertexuality, worked out by theoreticians of literature, to musicological research. The author is especially interested in assessing in that sense the concept of the relationships between literary styles proposed by Stanisław Balbus in the book Between Styles, which is currently the source of inspiration for many Polish musicologists. The starting point of the reflection is recalling the doubts addressed by Tibor Kneif already in the 1970s, as far as the reasonableness of using the achievements of semiotics by musicologists is concerned. Going further, the author enters into discussion with some Polish musicologists who use the proposals of intertextuality researchers, e.g. Balbus’, quite too hastily, and examines the examples of sub-mitting by them as intertextual musical works in which one can not find in fact any intertextual relations. The author describes as unreasonable the procedure of presenting the musical works based on borrowings as especially worthy in the sense of their connection with the tradition. The danger lies here in the fact of how easily objective analysis can be replaced with ideology. The author also reminds that most of extra-textual relationships in musical works can be describedusing the traditional tools of musicological analysis — aimed at searching the autonomous sense of music.
    Źródło:
    Aspekty Muzyki; 2017, 7; 53-69
    2082-6044
    Pojawia się w:
    Aspekty Muzyki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    What is a musical sign?: A guess at the riddle
    Autorzy:
    Dougherty, William P.
    Powiązania:
    https://bibliotekanauki.pl/articles/780381.pdf
    Data publikacji:
    2015
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    semiotics
    Charles Sanders Peirce
    Ludwig van Beethoven
    music analysis
    musical topics
    Opis:
    Issues surrounding the nature of the musical sign loom large in the development of a viable musical semeiotic that goes beyond ad hoc or impressionistic appropriations of terminology. This article articulates an understanding of the sign with specific relevance to the analysis of musical topics by rigorously applying Peirce’s semeiotic theory to illuminate the nature of sign functioning in music.
    Źródło:
    Interdisciplinary Studies in Musicology; 2015, 14; 62-83
    1734-2406
    Pojawia się w:
    Interdisciplinary Studies in Musicology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    An Accent-Based Approach to Automatic Rendering of Piano Performance: Preliminary Auditory Evaluation
    Autorzy:
    Bisesi, E.
    Parncutt, R.
    Powiązania:
    https://bibliotekanauki.pl/articles/177339.pdf
    Data publikacji:
    2011
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    piano performance
    expression
    accents
    musical analysis
    Director Musices
    Opis:
    We are exploring the relationship between accents and expression in piano performance. Accents are local events that attract a listener’s attention and are either evident from the score (immanent) or added by the performer (performed). Immanent accents are associated with grouping (phrasing), metre, melody and harmony. In piano music, performed accents involve changes in timing, dynamics, articulation, and pedalling; they vary in amplitude, form, and duration. We analyzed the first eight bars of Chopin Prelude op. 28 n. 6. In a separate study, music theorists had marked grouping, melodic and harmonic accents on the score and estimated the importance (salience) of each. Here, we mathematically modeled timing and dynamics in the prelude in two ways using Director Musices (DM) – a software package for automatic rendering of expressive performance. The first rendering focused on phrasing following existing and tested procedures in DM. The second focused on accents – timing and dynamics in the vicinity of the accents identified by the theorists. In an informal listening test, 10 out of 12 participants (5 of 6 musicians and 5 of 6 non-musicians) preferred the accent-based formulation, and several stated that it had more variation of timing and dynamics from one phrase to the next.
    Źródło:
    Archives of Acoustics; 2011, 36, 2; 283-296
    0137-5075
    Pojawia się w:
    Archives of Acoustics
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    O specyfice musicalu rockowego
    Rock musical and its specificity
    Autorzy:
    Bernatowicz, Wojciech
    Powiązania:
    https://bibliotekanauki.pl/articles/1944370.pdf
    Data publikacji:
    2021-06-30
    Wydawca:
    Narodowe Centrum Kultury
    Tematy:
    musical
    rock
    sztuki performatywne
    rock opera
    analiza
    performing arts
    analysis
    Opis:
    This article discusses various aspects of rock musical, focusing on its relationship with the aesthetics of rock music. The introduction provides a methodological approach to this type of a musical theatre work. The existing concepts related to this term are presented, a distinction is made between the category of rock opera and rock musical, and an original definition of this subgenre is proposed. The next section explores the relationship between rock music and rock musical in terms of authenticity. Differences and similarities in the performing practice are presented for both artistic forms along with their sound representations. The final section of the article analyses two prominent musicals created in the early stages of the subgenre development – Hair and Jesus Christ Superstar. Having set certain boundary conditions for fusing rock with theatre, both productions are analysed for their structural components appropriate for the musical form (musical elements, dramatic elements of the work) in combination with rock aesthetics and the performance of this type of work on stage.
    Źródło:
    Kultura Współczesna. Teoria. Interpretacje. Praktyka; 2021, 114, 2; 150-161
    1230-4808
    Pojawia się w:
    Kultura Współczesna. Teoria. Interpretacje. Praktyka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-15 z 15

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