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    Wyświetlanie 1-6 z 6
    Tytuł:
    Czy pianiści to również aktorzy, czyli kilka refleksji nad gestem w muzyce
    Pianist as an actor: remarks on gesture in music
    Autorzy:
    Bruliński, Michał
    Powiązania:
    https://bibliotekanauki.pl/articles/514102.pdf
    Data publikacji:
    2015
    Wydawca:
    Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
    Tematy:
    gesture
    music
    pianist
    musical semantics
    communication
    Opis:
    Apart from the functional dimension, the pianist’s gesture, which cannot be compared to linguistic sign, is a medium of various meanings, therefore it plays an important role in the extraverbal proces of communication between the pianist and the audience during the piano recital. It is stated that the agreement between pianists, as representatives of airtight world of classical music, and a crowd of aesthetically open-minded people, lies in the sphere of body and gesture. The author outlines some proposals on how to define a musical gesture and how to examine it. It is proved that the gesture is a powerful tool in the pianist's hands and that the arsenal of emotionally-communicative gestures during the piano performance process is enormous. Immensely important in the gestural context is coherence and naturalness. There exists a contradiction between the reflections derived from the modern performance practice and the common knowledge of the majority of piano teachers, caused by numerous 'historical misunderstandings'. A brief study of selected gestural cases (Franz Liszt, Ignacy Jan Paderewski, Sviatoslav Richter, Emil Gilels, Lang Lang, Martha Argerich, Yuja Wang, Waldemar Malicki) was done.
    Źródło:
    Kwartalnik Młodych Muzykologów UJ; 2015, 3 (26); 44-56
    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:
    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:
    Muzyka a cisza. O wymiarach ciszy w muzyce
    Music and Silence: On the Dimensions of Silence in Music
    Autorzy:
    KIWAŁA, Kinga
    Powiązania:
    https://bibliotekanauki.pl/articles/1047479.pdf
    Data publikacji:
    2020-01-16
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II
    Tematy:
    dźwięk, cisza, przestrzeń i czas muzyczny, semantyka muzyczna, jakości metafizyczne
    sound, silence, musical space and time, musical semantics, metaphysical qualities
    Opis:
    Przedmiotem artykułu jest wielostronne ujęcie dialektyki ciszy i dźwięku w muzyce. Ciszę muzyczną, przejawiającą się między innymi przez pauzę, należy odróżnić zarówno od obiektywnej ciszy fizycznej (nieprzynależącej do muzyki), jak i od tak zwanej ciszy „przymuzycznej”, konstytuowanej w relacji wykonawca–odbiorca, charakterystycznej dla momentu tuż przed rozpoczęciem dzieła i tuż po jego zakończeniu. Wewnętrzna cisza dzieła muzycznego ma różne funkcje, z których na plan pierwszy wysuwa się konstrukcyjna i wyrazowa (energetyczna). Jednak cisza ta może pełnić również funkcje semantyczne i symboliczne; w wyjątkowych wypadkach mogą w oparciu o nią ukonstytuować się również Ingardenowskie jakości metafizyczne. W artykule podjęty został również problem czasoprzestrzennego charakteru muzycznej ciszy, w tym także jej istotnej roli w konstytuowaniu wrażenia głębi w muzyce. Zwieńczeniem artykułu jest krótkie rozpoznanie teologicznych i filozoficznych ujęć dialektyki muzyki i ciszy, w tym fundamentalnej dla tego problemu myśli fenomenologicznej. Egzemplifikacją podjętych interpretacji są odwołania do konkretnych koncepcji i utworów autorstwa kompozytorów dwudziestego wieku, przede wszystkim Antona Weberna, Johna Cage’a, Krzysztofa Pendereckiego, Henryka Mikołaja Góreckiego, Eugeniusza Knapika.
    The subject of the article is a multidimensional approach to the dialectics of silence and sound in music. Musical silence, manifested among others by a rest (pause), should be distinguished both from objective physical silence (which is not part of music) and from the so-called ‘music related’ silence, constituted in the ‘performer–listener,’ relation characteristic of the moment just before and directly after the composition is performed. The inner silence of a musical work has many functions, of which the most important seems to be its constructional and expressional (energetic) role. However, the inner silence of a musical work may also hold semantic and symbolic functions; in exceptional situations Ingardenian metaphysical qualities may also constitute themselves on the basis of such silence. The article also discusses the space and time nature of musical silence, including its crucial role in constituting an impression of depth in music. The article concludes with a short examination of some theological and philosophical approaches to the dialectics of music and silence, including the fundamental treatment of the problem in the phenomenological thought. References to specific concepts and compositions by 20th-century composers (Anton Webern, John Cage, Krzysztof Penderecki, Henryk Mikołaj Górecki, Eugeniusz Knapik, and others) exemplify the discussed interpretations.
    Źródło:
    Ethos; 2016, 29, 1 (113); 65-87
    0860-8024
    Pojawia się w:
    Ethos
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    How music and lyrics interact: A translation-oriented analysis of musical narrative in Disney’s “Let it go”
    Autorzy:
    Reus, Tim
    Powiązania:
    https://bibliotekanauki.pl/articles/54174898.pdf
    Data publikacji:
    2024-10-06
    Wydawca:
    Oficyna Wydawnicza ATUT – Wrocławskie Wydawnictwo Oświatowe
    Tematy:
    audiovisual translation
    Disney
    musical narrative
    music semantics
    song translation
    Opis:
    Much research on song translation focuses on formal constraints, such as rhyme and rhythm, but few studies seem to investigate the relationship between lyrics and music itself. This study examines how meaning is constructed in music, and how the meaning of music interacts with the meaning of lyrics in a song translation context. The analysis follows three paradigms of meaning in music: musical narrative, music rhetoric, and music semantics. These paradigms are used to describe the meaning of the music of the Disney song “Let it go”, from the 2013 musical film Frozen. Disney songs are some of the most commonly translated songs, and as such, they have an important effect on child development. It is found that on a general level, the music of “Let it go” expresses a victory of a rebellious force over an established order, which is expressed by means of a growth of energy and intensity. This growth closely follows the four rhetorical phases of the narratio, probatio, dubitatio, and peroratio, which allows for a structural analysis of musical meaning and narrative. The findings suggest that treating the music of a song as a central element can guide the translation process and scholarly analysis of songs and their translations. This study stresses the importance of the role of music in the multimodal product that is a song.
    Źródło:
    Studia Translatorica; 2024, 15; 133-153
    2084-3321
    2657-4802
    Pojawia się w:
    Studia Translatorica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Musical sense-making between experience and conceptualisation: the legacy of Peirce, Dewey and James
    Autorzy:
    Reybrouck, Mark
    Powiązania:
    https://bibliotekanauki.pl/articles/780281.pdf
    Data publikacji:
    2015
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    musical sign
    sense-making
    experience
    cognitive semantics
    radical empiricism
    continuous- discrete
    percept-concept
    Opis:
    This contribution revolves around the concept of musical sense-making. Starting from the seminal works of Peirce, Dewey and James, it focusses on the musical experience, which can be defined from an empiricist position as a process that calls forth epistemic interactions with the sounds. Central in this approach is the tension between the richness and fullness of the musical experience and the cognitive economy of symbolic abstraction. Dewey, in particular, has stressed the role of having an experience proper as a kind of heightened vitality. James, on the contrary, has dealt with the distinction between percept and concept, stressing the role of knowledge-by-acquaintance as the kind of knowledge we have of something by its presentation to the senses. In what he coined as radical empiricism he states that the significance of concepts always consists in their relation to perceptual particulars, which, in turn, are embedded in a conceptual map. This map can be described in semiotic terms, which holds a symbolic approach to cognition to the extent that it is concerned with signs rather than with sensory realia. The question should be raised, however, as to the nature of these signs. There is, in fact, a critical distinction between internal and external semantics with signs referring primarily to themselves or to something external to the music. In an attempt to bring these claims together, it is argued that musical signs should provide a self-referential semantics for which the abstract is really material, a real semiotics of singular potential wich is grounded in the real and natural experience. Reying on some grounding work of Peirce and Morris and the relation between signs and tool using, a theoretical framework is introduced that has at least some operational power in going beyond a merely acoustic description of the music as it sounds.
    Źródło:
    Interdisciplinary Studies in Musicology; 2015, 14; 192-205
    1734-2406
    Pojawia się w:
    Interdisciplinary Studies in Musicology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-6 z 6

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