Antoni Szałowski: person and work
Gespeichert in:
| Beteilige Person: | |
|---|---|
| Format: | Buch |
| Sprache: | Englisch |
| Veröffentlicht: |
Frankfurt am Main
PL Acad. Research
2013
|
| Schriftenreihe: | Ars musica
4 |
| Schlagwörter: | |
| Links: | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025971099&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| Beschreibung: | Literaturverz. S. 391 - 412. - Werkverz.: A. Szałowski S. 415 - 435 |
| Umfang: | 496 S. Ill., Noten |
| ISBN: | 9783631639955 |
Internformat
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| 100 | 1 | |a Szczurko, Elżbieta |e Verfasser |0 (DE-588)140568379 |4 aut | |
| 245 | 1 | 0 | |a Antoni Szałowski |b person and work |c Elżbieta Szczurko |
| 264 | 1 | |a Frankfurt am Main |b PL Acad. Research |c 2013 | |
| 300 | |a 496 S. |b Ill., Noten | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 490 | 1 | |a Ars musica |v 4 | |
| 500 | |a Literaturverz. S. 391 - 412. - Werkverz.: A. Szałowski S. 415 - 435 | ||
| 600 | 1 | 7 | |a Szałowski, Antoni |d 1907-1973 |0 (DE-588)134535308 |2 gnd |9 rswk-swf |
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Datensatz im Suchindex
| _version_ | 1819292451207118848 |
|---|---|
| adam_text | Contents
1.
Introduction
........................................................................................ 19
1.1.
Defining the subject
...................................................................................... 19
1.2.
Objectives, premises and methods
............................................................. 21
1.3.
The sources and current state of research
.................................................. 26
1.3.1.
The manuscripts
................................................................................. 26
1.3.2.
Publishers of Szakwski s music and his phonography
................. 27
1.3.3.
Correspondence and other documents
............................................ 29
1.3.4.
Synthetic-analytic studies and memoirs
.......................................... 30
2.
The anthropological dimension of artistic development
.................. 39
2.1.
The socio-cultural context
............................................................................ 40
2.2.
Features of the artist s personal subjectivity
.............................................. 68
2.2.1.
Creative development
........................................................................ 70
2.2.2.
Keeping faith with ideals
.................................................................... 72
2.2.3.
The impractical artist
......................................................................... 76
2.3.
Help from others and Szalowski s formation as a composer
.................. 81
2.3.1.
Nadia Boulanger.................................................................................
81
2.3.2.
The publishers
..................................................................................... 88
2.3.3.
The critics
............................................................................................ 91
2.3.4.
Conductors, composers, soloists and friends
................................. 96
2.3.5.
Teresa
Szałowska
................................................................................ 101
3.
The essence of creativity
..................................................................... 103
3.1.
Towards Neoclassicism
................................................................................ 103
3.1.1.
Compositions from the period of studies in Warsaw
(1919-1930) 103
3.1.2.
Compositions from the period of studies in Paris
(1931-1936) .. 121
3.1.3.
Overtu re as the crowning achievement of the early creative period
129
Contents
3.2.
Mature Neoclassicism
................................................................................... 138
3.2.1. Technical
issues
................................................................................... 138
3.2.1.1.
Tonal-harmonic properties
................................................. 139
3.2.1.1.1.
Scalar material
.................................................................. 141
3.2.1.1.2.
Intervalles
in the linear process
..................................... 152
3.2.1.1.3.
Consonances and chords
............................................... 159
3.2.1.1.4.
Types of chordal combinations
.................................... 166
3.2.1.1.5.
Centralisation
.................................................................. 173
3.2.1.2.
Orchestral technique
............................................................ 181
3.2.1.2.1.
Instrumentation
.............................................................. 185
3.2.1.2.2.
Disposition of the orchestral ensemble
........................ 187
3.2.1.2.3.
Solo instruments
............................................................. 191
3.2.1.2.4.
Positioning of performance groups in relation to
tutti
195
3.2.1.2.5.
Types of sound structures
............................................. 198
3.2.1.2.6.
Types of registers
............................................................ 200
3.2.1.2.7.
Articulation
...................................................................... 203
3.2.1.2.8.
Dynamics
................................................................. 206
3.2.1.3.
Metro-rhythmics
.................................................................. 208
3.2.1.3.1.
The concept of temporality in music
........................ 208
3.2.1.3.2.
Motorie
structures
.......................................................... 212
3.2.1.3.3.
Breaking rhythmic regularity
......................................... 217
3.2.1.3.4.
Polymetry
.......................................................................... 220
3.2.1.3.5.
Dance rhythms
................................................................ 226
3.2.1.4.
Constructing the form
.......................................................... 229
3.2.1.4.1.
Genres and forms
........................................................... 230
3.2.1.4.1.1.
Sonatinas
...................................................... 232
3.2.1.4.1.2.
Concertos
...................................................... 233
3.2.1.4.1.3.
Cyclical compositions for symphonic
and chamber orchestras
............................. 233
3.2.1.4.1.4.
Music for chamber ensembles
.................. 234
3.2.1.4.1.5.
Songs
............................................................. 235
3.2.1.4.1.6.
Suites
.............................................................. 236
3.2.1.4.1.7.
Toccatas
........................................................ 240
3.2.1.4.1.8.
Single-movement compositions
.............. 241
3.2.1.4.2.
The sonata form
............................................................... 245
3.2.1.4.2.1.
The coefficients of form
.............................. 252
3.2.1.4.2.2.
Shaping the form
......................................... 256
Contents
3.2.1.4.2.3.
The integrity of the cycle
............................ 256
3.2.1.4.2.4.
The sonata form in concertos
................... 257
3.2.1.4.2.4.1.
Violin Concerto
.................... 258
3.2.1.4.2.4.2.
Concerto for oboe, clarinet,
bassoon and orchestra
....... 262
3.2.1.4.2.5.
Reinterpretation of the model
of the sonata form
....................................... 269
3.2 2.
Aesthetics and technique
................................................................... 272
3.2.2.1.
Sérénité
.................................................................................... 272
3.2.2.2.
Musical humour
................................................................... 280
3.2.2.2.1.
„Light music
................................................................... 284
3.2.2.2.2.
Humour and
sérénité
...................................................... 286
3.2.2.3.
A work of art in heteronomous perspective
..................... 288
3.2.2.3.1.
The ballet The Enchanted Inn
(L Auberge ensorcelée)
290
3.2.2.3.1.1.
The symbolic media
.................................... 295
3.2.2.3.1.1.1.
Non-musical media
............... 295
3.2.2.3.1.1.2.
Musical media
........................ 297
3.2.2.3.1.2.
Illustration of motion events
...................... 305
3.2.2.3.2.
The symphonic picture The Raising of Lazarus
.......... 312
3.2.2.3.2.1.
Homage to Giotto
........................................ 315
3.2.2.3.2.2.
Characteristics of Giotto s art
................... 317
3.2.2.3.2.3.
Musical attributes of programmaticality
-
the semantic function of instruments
....... 321
3.2.2.3.2.4.
Musical symbols
.......................................... 323
3.2.2.3.2.5.
Tonal relationships
...................................... 326
3.2.2.3.2.6.
A musical composition and a painterly
composition
................................................. 327
3.2.2.3.3.
Cantata for female voices and string orchestra
........... 329
3.2.2.3.3.1.
The themes of the poems
............................ 330
3.2.2.3.3.2.
The structure of the composition
.............. 334
3.2.2.3.3.3.
Types of archaisation
................................... 336
3.2.2.3.3.4.
Musical devices as symbols of concepts
... 337
3.2.2.3.3.5.
Musical-rhetorical figures
........................... 337
3.2.2.3.3.5.1.
Illustrative figures
.................. 338
3.2.2.3.3.5.2.
Expressive figures
.................. 340
3.2.2.3.3.5.3.
The symbolism of numbers
. 342
Contents
4.
Antoni Szałowski
and the school of
Nadia Boulanger.......................
345
4.1.
The Neoclassicism of the Polish School
...................................................... 345
4.1.1.
Michał
Spisak......................................................................................
351
4.1.2.
Grażyna Bacewicz
................................................................................ 355
4.1.3.
Stefan Kisielewski
................................................................................ 357
4.2.
The Neoclassicism of the American School
............................................... 361
4.2.1.
Aaron Copland
................................................................................... 364
4.2.2.
Roy Harris
........................................................................................... 367
4.2.3.
Walter Piston
...................................................................................... 370
4.3.
The norm of
Nadia Boulanger s
compositional school and the works
of
Antoni Szałowski.......................................................................................
371
4.3.1.
Nadia
Boulanger s talent as a teacher
............................................... 371
4.3.2.
The compositional school of
Nadia Boulanger
and Neoclassicism
374
4.3.3.
Antoni Szałowski
and the school of
Nadia Boulanger...................
379
5.
Conclusion
................................................................................................... 385
5.1.
The artist and his work
................................................................................. 385
5.2.
A musical composition and tradition
......................................................... 386
5.3.
Keeping faith with the ideals of Neoclassicism
.......................................... 388
Bibliography
............................................................................................. 391
Bibliography of
Antoni Szałowski................................................................
391
Supplementary literature
............................................................................... 401
Catalogue of works by
Antoni Szałowski...............................................
413
Chronological list
............................................................................................ 415
Systematic list
.................................................................................................. 432
Appendix
.................................................................................................. 437
Harmonic analysis of
Antoni
Szalowski s String Quartet No.
3.............. 437
List of orchestral works by
Antoni Szałowski.............................................
449
List of music examples
................................................................................... 451
List of illustrations
.......................................................................................... 456
Abbreviations
........................................................................................... 459
Resume
...................................................................................................... 461
Zusammenfassung .................................................................................. 471
Index of persons and compositions
........................................................ 485
10
|
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| id | DE-604.BV040993341 |
| illustrated | Illustrated |
| indexdate | 2024-12-20T16:28:54Z |
| institution | BVB |
| isbn | 9783631639955 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-025971099 |
| oclc_num | 844105885 |
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| physical | 496 S. Ill., Noten |
| publishDate | 2013 |
| publishDateSearch | 2013 |
| publishDateSort | 2013 |
| publisher | PL Acad. Research |
| record_format | marc |
| series | Ars musica |
| series2 | Ars musica |
| spellingShingle | Szczurko, Elżbieta Antoni Szałowski person and work Ars musica Szałowski, Antoni 1907-1973 (DE-588)134535308 gnd |
| subject_GND | (DE-588)134535308 |
| title | Antoni Szałowski person and work |
| title_auth | Antoni Szałowski person and work |
| title_exact_search | Antoni Szałowski person and work |
| title_full | Antoni Szałowski person and work Elżbieta Szczurko |
| title_fullStr | Antoni Szałowski person and work Elżbieta Szczurko |
| title_full_unstemmed | Antoni Szałowski person and work Elżbieta Szczurko |
| title_short | Antoni Szałowski |
| title_sort | antoni szalowski person and work |
| title_sub | person and work |
| topic | Szałowski, Antoni 1907-1973 (DE-588)134535308 gnd |
| topic_facet | Szałowski, Antoni 1907-1973 |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025971099&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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