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  1. 3 Musicology Today

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  1. 3 Zeranska-Kominek S.

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1

THE PROBLEM OF ORIENTALISM IN THE MUSIC OF KAROL SZYMANOWSKI

100%
Zeranska-Kominek S.
Musicology Today
|
2008
|
vol. 5
39-56
EN
A close reading of studies to the composer's 'oriental' works as well as of his own published writings and notes, including his Arabistic notes held in the University of Warsaw Library, permits to question the widely accepted interpretation of Szymanowski's connections with the Orient. The analysis of the notebooks, permits to state that the composer's main source of knowledge was the book by Le Bon and other French scholars. The way he approached Arabic culture reveals an original, independent mind, resistant to facile stereotypes of the oriental exotic. It is clear that the composer did not seek neither any precise information about Oriental music, nor was he searching for artistic inspiration. He wanted to avoid all stereotypical formulas symbolising the Orient and - as the authoress of the article points out - the linking of an 'oriental'-like technique with any actual musical tradition of the east raises justifiable doubts. A more promising source of musical 'exoticism' was the traditional folk music, although Szymanowski was again well aware of the danger of incorporating it into a professional musical language, which could give rise to an 'academic' folklore devoid of artistic depth.
2

MUSIC IN 'DER MINNE REGEL' BY EBERHARD CERSNE OF MINDEN (1404)

100%
Zeranska-Kominek S.
Musicology Today
|
2007
|
vol. 4
5-16
EN
The article describes musical aspects of 'Der Minne Regel', the treatise by Eberhard Cersne, in a broader context of the literary tradition of the epoch. This convention was pervaded by the spirit of courtly love - main subject of the 12th century treatise 'De amore' of Andreas Capellanus, which was the most important model of 'Der Minne Regel' (The Rules of Love) written in German by Cersne. A description of garden, presented as an allegory of love, is an important part of the treatise, realized according to a poetical tradition closer to Eberhard's times; with music - particularly birds singing - being its obligatory component. The analysis of their symbolic meanings and their description by references to musical instruments and by use of music theory terms constitutes the main part of the article.
3

THE ORPHEUS-TYPE MYTH IN TURKMEN MUSICAL TRADITION

100%
Zeranska-Kominek S.
Musicology Today
|
2005
|
vol. 2
126-136
EN
The myth of a poet-musician who dies of love while seeking immortality in art is found not only in European culture; it is also present in the tradition of the peoples of Central Asia. Görogly (Son of the Grave) is an initiated singer and poet, who, in following the path of love, vanquishes death, restores harmony to the universe and brings cultural goods to the mankind. Tales of Görogly or Körogly (Son of the Blind Man), arranged in an epic cycle, are known among Turkmen, Uzbeks, Karakalpaks, Kazakhs and Turks, as well as Azerbaijanis, Armenians, Georgians, Kurds and Tajiks. A tale from this cycle, entitled 'Harman Dali', which tells the story of love between a beautiful princess and the brave djigit Görogly, is widely known in Turkmenistan, above all in the Turkmen part of Chorasmia. The analysis of this tale reveals musical, philosophical and cosmological threads and the wealth of symbolical meanings. Substantial similarities between both myths are described by juxtaposing the Turkmen tale with a 15th-century ballad on Orpheus and Eurydice by Robert Henryson.
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