Dzieło symfoniczne w perspektywie polskich koncepcji fenomenologicznych: Lutosławski, Górecki, Penderecki
Gespeichert in:
| Beteilige Person: | |
|---|---|
| Format: | Buch |
| Sprache: | Polnisch |
| Veröffentlicht: |
Kraków
Akademia Muzyczna
2013
|
| Schlagwörter: | |
| Links: | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026214543&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026214543&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| Beschreibung: | Zsfassung in engl. Sprache |
| Umfang: | 468 s. il. - Ill., Notenbeisp. 25 cm. |
| ISBN: | 9788362743148 |
Internformat
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Datensatz im Suchindex
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|---|---|
| adam_text | Spis
tresei
Uwagi wstępne
...............................................................................................
π
WPROWADZENIE
27
1.
Geneza i początki rozwoju fenomenologii
................................................. 27
2.
Główne rysy fenomenologii polskiej
......................................................... 39
Część pierwsza
MUZYKA. ANALIZA I INTERPRETACJA SYMFONII
Symfonia polska
1945-2010.
Zarys problematyki
.................... 51
I.
Η
enryk Mikołaj Górecki,
II
Symfonia „Kopernikowska
...... 57
1.
Geneza. Źródła inspiracji
.......................................................................... 58
2.
Uwagi analityczne
..................................................................................... 62
2.1.
Tekst słowny
................................................................................................... 62
2.2.
Muzyka
.......................................................................................................... 64
3.
Interpretacja
............................................................................................... 67
3.1.
Funkcja symboliczna formy
........................................................................... 67
3.2.
Relacja słowo-dźwięk. Wyróżnione słowa i zwroty tekstu,
(^/asv-retoryka
70
3.3.
Funkcja cytatu. Tradycja ludowa i religijna
.................................................. 83
II.
Krzysztof Penderecki,
II
Symfonia
„
Wigilijna
......................... 91
1.
Geneza. Kontekst historyczno-stylistyczny
.............................................. 91
2.
Uwagi analityczne
..................................................................................... 97
3.
Interpretacja. Funkcja cytatu i reminiscencji. Semantyka i symbolika dzieła
105
III. Witold Lutosławski,
IV
Symfonia
.................................................. 121
1.
Geneza. Miejsce dzieła w drodze twórczej kompozytora
......................... 121
2.
„System twórcy
........................................................................................ 125
3.
IV
Symfonia w kontekście „systemu
....................................................... 136
4.
Interpretacja.
IV
Symfonia
-
styl późny czy ostatni?
................................. 150
4.1.
Styl późny w teorii sztuki
............................................................................... 150
4.2.
Przewartościowania poglądów estetycznych Lutosławskiego w świetle
jego autorefleksji
............................................................................................ 154
4.3.
Elementy „stylu późnego w
/
V
Symfonii
...................................................... 158
Część druga
FENOMENOLOGIA. KONCEPCJE
-
INTERPRETACJE SYMFONII
I.
Dzieło muzyczne jako przedmiot intencjonalny.
Roman Ingarden
................................................................................... 173
1.
Koncepcja fiłozoficzno-estetyczna
............................................................. 173
1.1.
Ontologia
........................................................................................................ 173
1.2.
Aksjologia
....................................................................................................... 180
1.2 1.
Sposób istnienia i struktura wartości
.................................................................. 180
1.2.2.
Wartości artystyczne i estetyczne
....................................................................... 1 84
1.2.3.
Jakości metafizyczne
........................................................................................... 190
1.3.
Struktura i sposób istnienia utworu muzycznego
.......................................... 193
1.3.1.
Czym utwór muzyczny nie jest?
........................................................................ 194
1.3.2.
Cechy konstytutywne utworu muzycznego
......................................................... 199
1.3.3.
Sposób istnienia. Całość i tożsamość utworu muzycznego
............................... 208
2.
Wybrane dzieła w świetle koncepcji Romana Ingardena
........................... 215
2.1.
Uwagi wstępne
............................................................................................... 215
2.2.
(2zrizy/-czaso vość
............................................................................................ 218
2.2.1.
IV
Symfonia Witolda Lutosławskiego
................................................................. 219
2.2.2.
II
Symfonia „Kopernikowska Henryka Mikołaja Góreckiego
.......................... 222
2.23.
II
Symfonia „Wigilijna Krzysztofa Pendercckiego
........................................... 224
2.3.
Ekspresja i wartość
......................................................................................... 229
2.3.1. //
Symfonia
,,
Wigilijna
Krzysztofa Pendereckiego
.......................................... 231
2.3.2.
J V
Symfonia Witolda Lutosławskiego
................................................................ 235
2.3.3.
II
Symfonia „Kopernikowska
Henryka Mikołaja Góreckiego
......................... 237
2.3.4.
Wzniosłość w U Symfonii „Kopernikowskie/
Henryka Mikołaja Góreckiego..
243
2.4.
Miejsca niedookreślenia i ich możliwe wypełnienia. Wykonania
-
analiza
porównawcza
................................................................................................. 252
2.4.1.
II
Symfonia
,,
Kopernikowska
Henryka Mikołaja Góreckiego
.......................... 254
2.4.2.
II
Symfonia
.,
Wigilijna Krzysztofa Pendereckiego
........................................... 258
2.4.3.
IV
Symfonia Witolda Lutosławskiego
...............................................................·■ 260
II.
Trzy wymiary dzieła sztuki.
Władysław Stróżewski
........................................................................ 265
1.
Koncepcja filozoficzno-cstetyczna
............................................................. 265
1.1.
Aspekt ontologiczny
....................................................................................... 266
1.1.1.
Geneza dzieła. Twórczość
................................................................................... 267
1.1.2.
Ontyczna struktura dzieła
.................................................................................... 273
1.2.
Aspekt semiotyczny i aksjologiczny
.............................................................. 275
1.2.1.
Znaczenie i sens dzieła sztuki
............................................................................. 275
1.2.2.
Sposób istnienia wartości
.................................................................................... 277
1.2.3.
Wartości a sztuka. Wartości estetyczne i nadestetyczne
...................................... 280
1.3.
Czas piękna- specyfika dzieła muzycznego
.................................................. 284
2.
Wybrane dzieła w świetle koncepcji Władysława Stróżewskiego
............. 288
2.1.
Uwagi wstępne
............................................................................................... 288
2.2.
Aspekt ontologiczny. Dialektyczność
............................................................. 289
2.2.
1
.
Dialektyczność gatunku
...................................................................................... 290
2.2.2.
Dialektyczność formy
......................................................................................... 294
2.2.3.
„Dialektyka zewnętrzności i wewnętrzności
-
problem inspiracji
.................... 300
2.2.4.
„Momenty
dialektyczne w wybranych dziełach
................................................ 305
2.2.5.
^Przeciwieństwa zestrojone*7
-
dialektyka świata brzmieniowego
w
11
Symfonii
.,
Wigilijnej Krzysztofa Pendereckiego
........................................ 3
i
1
2.3.
Aspekt semiotyczny i aksjologiczny. Sens i wartość
..................................... 320
III. Między fenomenologią a hermeneutyką.
Leszek Polony, Bohdan Pociej
......................................................... 329
1.
Leszek Polony
............................................................................................ 329
1.1.
Koncepcja estetyczna. Znaczenie i symbol w muzyce
................................... 329
1.2.
„Przestrzeń symboliczna w
//
Symfonii „Kopernikowskiej
Henryka Mikołaja Góreckiego
....................................................................... 337
1.2.1.
Środki melodyczne i harmoniczne
...................................................................... 338
1.2.2.
Środki fakturalno-instramentacyjne i dynamiczne
............................................. 345
2.
Refleksja Bohdana Pocieja
......................................................................... 352
2.1.
Postawa estetyczna
......................................................................................... 353
2.2.
Projekt kontynuacji założeń estetyki ingardena
............................................. 355
2.3.
Problematyka wartości
................................................................................... 360
IV.
W stronę interpretacji integralnej.
Mieczysław Tomaszewski
........................................................................... 365
1.
Koncepcja teoretyczna
................................. ............................................. 365
1.1.
Koncepcja dzieła muzycznego
....................................................................... 367
1.2.
Metoda interpretacji integralnej
..................................................................... 373
1.2.1.
Założenia
............................................................................................................. 373
1.2.2.
Problematyka ekspresji
....................................................................................... 378
1.2.3.
W stronę wartości
................................................................................................ 381
7
1.3.
Problematyka dzieła słowno-muzycznego
...................................................... 384
1.3.1.
Teoria pieśni
........................................................................................................ 384
1.3.2.
Dzieło w perspektywie „antropologicznej
........................................................ 386
2.
Wybrane dzieła w świetle koncepcji Mieczysława Tomaszewskiego
........ 395
2.1.
Uwagi wstępne
................................................................................................ 395
2.2.
Interpretacja integralna
.................................................................................... 397
2.2.1.
Wybrane symfonie w świetle „modelu sytuacji dzieła muzycznego
................. 397
2.2.2.
Funkcje dzieła
..................................................................................................... 410
2.2.3.
Wartości fundamentalne i komplementarne
........................................................ 416
2.3.
Teoria dzieła wokalno-instrumentalnego
....................................................... 420
2.3.1.
Dzieło w perspektywie ..antropologicznej
......................................................... 420
2.3.2.
„Związki slowno-muzyczne w/7 Symfonii „Kopernikowskie/ Henryka
Mikołaja Góreckiego
.......................................................................................... 425
FENOMENOLOGIA WOBEC DZIEŁA MUZYCZNEGO
Pytania i odpowiedzi
............................................................................. 43
1
Bibliografia
..................................................................................................... 441
Summary
........................................................................................................ 461
Indeks osób
..................................................................................................... 465
8
Summary
Subject of the research
The book entitled A Symphonic Work in the Perspective of Polish
Phenomenological Concepts.
Lut
о
si aw ski.
Górecki.
Penderecki has an
interdisciplinary character, combining music theory and philosophical
issues. Its main research objective is finding the answer to the question
concerning the possibility of interpreting particular pieces of music by means
of phenomenological concepts of musical work and research perspectives
created as a result of such an interpretation. The subject of research consisted
of contemporary symphonic works: Symphony No.
2
Copemican
of
Henryk
Mikołaj Górecki,
Symphony No.
2
Christmas Symphony of
Krzysztof
Penderecki, and Symphony No.
4
of
Witold Lutosławski.
Phenomenology of
Roman Ingarden became a phi losophical-aesthetical starting point proceeded by
concepts developed by Polish musicologists and philosophers remaining under
his significant influence:
Władysław Stróżewski, Mieczysław Tomaszewski,
Leszek
Polony. Another presented standpoint is an original aesthetical-
musicological reflection of
Bohdan Pociej
(bearing phenomenological-
hermeneutical characteristics) that is possible to discern within what he
himself described as his own musical historiosophy .
Structure
Two main parts of the book were preceded by extensive Initial assumptions
and Introduction presenting an outline of the development of phenomenology
in German speaking countries and in Poland and taking into consideration the
sources, beginnings and definition of the movement.
Both parts of the book are a reflection of a research procedure consisting
of two stages. In Part I, the chosen works underwent a detailed analysis and
interpretation that was designed to bring answers to basic questions asked
by those particular symphonies. That is why the interpretation of each work
focused on the issues that were, so to speak visible when confronted with the
music: relation between sounds and words as well as function of quotations
461
and composer s attitude to tradition in the vocal-instrumental Symphony
No.
2
Copernican by
Górecki,
function of allusive quoting of the Silent
Night Christmas carol and reminiscences of patriotic hymns in Symphony No.
2
Christmas Symphony
by Penderecki, an the issue of the so called late
style in the last Symphony No.
4
by Lutosiawski.
In the most substantial and extensive part of the book, Part II, an
attempt was made to look at the chosen symphonies in the light of particular
phenomenological concepts of Roman Ingarden,
Władysław Stróżewski,
Leszek
Polony and
Mieczysław
Toma
szewski.
Structure
ofall
four subchapters
is analogous: they begin with a presentation of a concept followed by an
attempt at distinguishing aspects useful in musical work analysis and finally
there appears the interpretation of symphonies.
The entire work is complemented by a final chapter entitled Phenomenology
confronted with a musical work. Questions and answers (where the author
combined all conclusions drawn from the performed research) and by
a systematized bibliography that includes several hundreds of works.
Summary
Concepts of Roman Ingarden,
Władysław Stróżewski, Leszek
Polony and
Mieczysław
Tomaszewski bring a diversity of ways in which the phenomenon
of music can be approached. At the same time they enable to broaden the
perspective and go deeper in research, opening up to problems omitted
in reduction analyses, such as the questions of value and expression, of
meaning and musical symbols. Reaching for those concepts also gives an
interpreter a possibility to see a particular work in a broader general-musical,
ontological and
axiologica!
perspective. Each of presented concepts is rooted
in phenomenology but has a slightly different shade, which was crucial for the
direction of interpretations. Significantly, all of them, while heading towards
grasping the nature of a work of art touch upon its fundamental problems.
The attempt that was made in the book to look at the chosen symphonies
of Lutosiawski, Penderecki and
Górecki
in the light of the intentional object
concept by Roman Ingarden, enabled to distinguish fundamental qualities of
those works: individuality and idiosyncrasy of a ^wayz -temporal phase structure
in each of the symphonies, their system of artistically and aesthetically valuable
qualities, including the emotional ones, as well as metaphysical values and
a value that seems to stigmatize each of the works to the greatest extent.
The analysis
oí
Symphony No.
2
Christmas Symphony by Penderecki in
the light of the concept of ^wasMsmporality in music enabled to form a thesis
about a unique poligenous nature of time in the work that is connected with
a distinguished function performed by an allusive quotation of a carol and
Polish theme . Because of that, it could be assumed that the sphere of
462
symbolical or axiological references of a musical work has a power
of transforming and creating an internal hierarchy within its multiphase
structure. Focusing on the problematics of values enabled the interpretation
of Symphony No.
2
Copernican by
Górecki
in the light of the category of
sublime, inextricably connected in this case with the phenomenon of sacrum.
Interestingly, in spite of the fact that Ingarden himself did not attempt to
analyze the category of sublime, but only briefly mentioned it in the context
of metaphysical values, his proposal to investigate the axiological sphere of
a work of art gave methodological tools to perform similar interpretations.
Interpretation of chosen symphonies in the light of the concept of three
dimensions in a work of art by
Władysław Stróżewski
enabled to address a few
significant issues, including the dialectics of music, examined in a double
perspective: general, concerning the symphony genre and individual, typical
for each work. In this context, the interpretation of dialectics characterizing
the musical world of Symphony No.
2
Christmas Symphony by Penderecki
was particularly significant as the dialectics turned out to be one of the main
characteristic features ofthatmusic. Followingthemain assets of the philosophy
the author focused on the question of inspiration and its impact in each work,
which undoubtedly made it possible to get closer to capturing their character.
What needs to be reminded here is a particular role performed by double
inspiration in Symphony No.
2
Copernican
by
Górecki,
which has its roots
both in the Copernican theme and in the sphere of religious and sacred
references. By means of the interpretation of
semiotic
and axiological aspect
of the chosen works, an attempt was made to define their levels of meaning and
„super-aesthetical values they evoke. The final point of the interpretation was
an attempt to name
-
using
Stróżewski
s
terminology
-
types of
concrétisations
that could constitute the basis of each work. Besides the fundamental aesthetical
concrétisation, a
possible metaphysical
concrétisation
was distinguished in
Lutosiawski s Symphony No.
4,
existential in Penderecki s Symphony No.
2
and numinotic in
Górecki
s
Symphony No.
2.
While the concepts of Ingarden,
Stróżewski
and Tomaszewski have
a complete character, covering an entire musical work, the reflections of
Leszek
Polony focus on particular spheres of interest (first of all the problem
of symbol and meaning in music). That is why, in the dissertation in the
light
ofthat
author s aesthetics, only the interpretation of one important aspect
of
Henryk
Mikołaj
Górecki s
Symphony No.
2
was presented; it is a work
in which the problem of meaning seems to be particularly important. The
interpretation uncovered the richness of cosmological and religious symbolic
references
ofthat
music, existing in its particular elements (melody, harmony,
instrumentation, texture, dynamics), as well as seems to have proved the
intuition shared by the authors of the concept of a musical symbol
-
and
463
Polony
himself
-
concerning multiple levels, kinds and modalities of that
phenomenon.
Richness of thought and diversity of issues explored in the field of music by
Mieczysław Tomaszewski
resulted in the fact that his perspective was present
throughout all stages of analyses and interpretations of symphonies underwent in the
course of the project. The reflection was referred to while examining origins of the
chosen works, the problem of quotation or of late style . Presentation of Tomaszewski s
concept, concerning the work and the proposal of its integral interpretation, opened
up a possibility of a holistic approach to the examined works. That is why an attempt
was made to discuss them in the light of a phase model of musical structure, focusing
at the same time on the problem of expression so much emphasized by the author.
In reference to Tomaszewski s adaptation of
Jakobson s
paradigm concerning
the function of language for musical research, the role of five basic functions was
traced down: expressive (emotive), poetic (aesthetic), phatic
(integrative),
denotative
(referential), and appellative (impressive, conative) in the interpreted symphonies.
The attention was drawn to a fundamental role of expressive and aesthetic function
in
Lutosławski
s Symphony No.
4,
phatic function in Penderecki s Symphony No.
2,
as well as denotative function in
Górecki
s
Copemican
Symphony. The role of the
remaining functions in the analyzed works was also pointed out. It was also possible to
distinguish fundamental and complementary values, stigmatizing the works in a
unique way, with particular emphasis on the important role of individually understood
truth in each work. In the light of vocal-instrumental work theory an analysis of
Górecki
s
Symphony No.
2
Copemican
was conducted, enabling to validate the
intuition prevailing in the perception of the work and concerning the constitutive roie
of the sphere of meanings, being present primarily by means of verbal text of the work
and evoked by the music.
Interpretations of works in the perspective of Tomaszewski s theories
became, as it turned out, the final point of the entire dissertation, because they
constituted a unique synthesis and summary of all the research concerning the
chosen works.
The book is based on a doctoral dissertation entitled Symphonies of
Lutosławski,
Penderecki and
Górecki
in the light of Polish phenomenological
concepts written under the supervision of Prof, Dr. Teresa Malecka.
Translated by Natalia Szymaszek
464
|
| any_adam_object | 1 |
| author | Kiwała, Kinga 1978- |
| author_GND | (DE-588)1192515390 |
| author_facet | Kiwała, Kinga 1978- |
| author_role | aut |
| author_sort | Kiwała, Kinga 1978- |
| author_variant | k k kk |
| building | Verbundindex |
| bvnumber | BV041240336 |
| ctrlnum | (OCoLC)873388689 (DE-599)BVBBV041240336 |
| format | Book |
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| geographic | Polen (DE-588)4046496-9 gnd |
| geographic_facet | Polen |
| id | DE-604.BV041240336 |
| illustrated | Illustrated |
| indexdate | 2024-12-20T16:33:59Z |
| institution | BVB |
| isbn | 9788362743148 |
| language | Polish |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-026214543 |
| oclc_num | 873388689 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 468 s. il. - Ill., Notenbeisp. 25 cm. |
| publishDate | 2013 |
| publishDateSearch | 2013 |
| publishDateSort | 2013 |
| publisher | Akademia Muzyczna |
| record_format | marc |
| spellingShingle | Kiwała, Kinga 1978- Dzieło symfoniczne w perspektywie polskich koncepcji fenomenologicznych Lutosławski, Górecki, Penderecki Phänomenologie (DE-588)4045660-2 gnd Sinfonie (DE-588)4055087-4 gnd |
| subject_GND | (DE-588)4045660-2 (DE-588)4055087-4 (DE-588)4046496-9 |
| title | Dzieło symfoniczne w perspektywie polskich koncepcji fenomenologicznych Lutosławski, Górecki, Penderecki |
| title_auth | Dzieło symfoniczne w perspektywie polskich koncepcji fenomenologicznych Lutosławski, Górecki, Penderecki |
| title_exact_search | Dzieło symfoniczne w perspektywie polskich koncepcji fenomenologicznych Lutosławski, Górecki, Penderecki |
| title_full | Dzieło symfoniczne w perspektywie polskich koncepcji fenomenologicznych Lutosławski, Górecki, Penderecki Kinga Kiwała |
| title_fullStr | Dzieło symfoniczne w perspektywie polskich koncepcji fenomenologicznych Lutosławski, Górecki, Penderecki Kinga Kiwała |
| title_full_unstemmed | Dzieło symfoniczne w perspektywie polskich koncepcji fenomenologicznych Lutosławski, Górecki, Penderecki Kinga Kiwała |
| title_short | Dzieło symfoniczne w perspektywie polskich koncepcji fenomenologicznych |
| title_sort | dzielo symfoniczne w perspektywie polskich koncepcji fenomenologicznych lutoslawski gorecki penderecki |
| title_sub | Lutosławski, Górecki, Penderecki |
| topic | Phänomenologie (DE-588)4045660-2 gnd Sinfonie (DE-588)4055087-4 gnd |
| topic_facet | Phänomenologie Sinfonie Polen |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026214543&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026214543&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT kiwałakinga dziełosymfonicznewperspektywiepolskichkoncepcjifenomenologicznychlutosławskigoreckipenderecki |