PL EN


Journal
2011 | 1 | 35-46
Article title

III Sonata „da camera” na fortepian Romana Bergera w kontekście jego teorii o teorii

Content
Title variants
EN
Roman Berger’s Sonata No. 3 „da camera” for Piano in the Context of the Composer’s Theory of the Theory
Languages of publication
PL
Abstracts
EN
The article attempts to confront Roman Berger’s concepts of music theory, in particular the theory of musical analysis, using one of his works: Sonata No. 3 „da camera” for piano (1971). In its most general aspect, the confrontation focuses on the overriding idea in Berger’s theory, which defines a piece of music as a specific integral combination of shape (form) and movement of substance (musical material), aimed at achieving a desired expressive message. In terms of SHAPE, the sonata builds an image of an integrated, almost concentric musical piece generated from a single structural idea. Its individual levels and stages demonstrate features analogous to the sonata model, both in the composition of the 4-movement cycle, and the generic solutions applied in individual segments. This frame, which accounts for the outermost quality of the work’s structure, is filled with SUBSTANCE, or the musical content, the “movement” of which builds the genre-specific and microformal levels of the development process. The structural idea, or motif, which is the essential element of the substance, is subject to the structural programme, which — pursuant to Berger’s concept of movement of substance — takes various forms, ranging from associative to almost dissociative. Adopting the criterion of the degree of association, three basic form classes are arrived at (A, B, and C). The combinations of the classes, correlated with the agogical norm, determine the formal structure of the sonata. This is how Berger’s concept of inteThe article attempts to confront Roman Berger’s concepts of music theory, in particular the theory of musical analysis, using one of his works: Sonata No. 3 „da camera” for piano (1971). In its most general aspect, the confrontation focuses on the overriding idea in Berger’s theory, which defi nes a piece of music as a specifi c integral combination of shape (form) and movement of substance (musical material), aimed at achieving a desired expressive message. In terms of SHAPE, the sonata builds an image of an integrated, almost concentric musical piece generated from a single structural idea. Its individual levels and stages demonstrate features analogous to the sonata model, both in the composition of the 4-movement cycle, and the generic solutions applied in individual segments. This frame, which accounts for the outermost quality of the work’s structure, is fi lled with SUBSTANCE, or the musical content, the “movement” of which builds the genre-specifi c and microformal levels of the development process. The structural idea, or motif, which is the essential element of the substance, is subject to the structural programme, which — pursuant to Berger’s concept of movement of substance — takes various forms, ranging from associative to almost dissociative. Adopting the criterion of the degree of association, three basic form classes are arrived at (A, B, and C). The combinations of the classes, correlated with the agogical norm, determine the formal structure of the sonata. This is how Berger’s concept of integrity and building the shape through substance is generally carried through. The purpose of the piece, which is its expressive message, is basically determined in the sonata dedication: in memoriam Frico Kafenda (the composer’s teacher and friend). The dedication governs the moods of the music, as well as the distribution and intensity of tensions, coordinated with the genre-essence of the form. On this level, naturally for a musical piece in a sense, the intertextual, symbolic contexts are embedded.grity and building the shape through substance is generally carried through. The purpose of the piece, which is its expressive message, is basically determined in the sonata dedication: in memoriam Frico Kafenda (the composer’s teacher and friend). The dedication governs the moods of the music, as well as the distribution and intensity of tensions, coordinated with the genre-essence of the form. On this level, naturally for a musical piece in a sense, the intertextual, symbolic contexts are embedded.
Contributors
  • Akademia Muzyczna im. S. Moniuszki w Gdańsku, Wydział Dyrygentury, Kompozycji i Teorii Muzyki
References
  • Berger Roman, Analiza in spe, w: Muzyka w kontekście kultury. Studia dedykowane Profesorowi Mieczysławowi Tomaszewskiemu w osiemdziesięciolecie urodzin, red. Małgorzata Janicka-Słysz, Teresa Malecka, Krzysztof Szwajgier, Kraków 2001, s. 703.
  • Berger Roman, O integracji muzycznej, w: Dzieło muzyczne, teoria, historia, interpretacja, red. Irena Poniatowska, Kraków 1984, s. 164–165.
  • Berger Roman, Teoria źle obecna, w: Muzyka źle obecna, red. Krystyna Tarnawska-Kaczorowska, Warszawa 1989, s. 147.
  • Pociej Bohdan, Roman Berger między słowem, pojęciem a muzyką, w: Muzyka źle obecna, red. Krystyna Tarnawska-Kaczorowska, Warszawa 1989, s. 268.
Document Type
Publication order reference
Identifiers
YADDA identifier
bwmeta1.element.desklight-00e5ce94-92ba-4e5f-9d04-6568b91fad40
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