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On Methodological Peculiarities of Musicology

100%
Brozek A.
Zagadnienia Naukoznawstwa
|
2008
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vol. 44
|
issue 2(176)
161-177
EN
As every scientific discipline, musicology has some peculiarities. One of them is diversity of musicological domain. Among musicological objects one can find spatiotemporal (particular), as well as non-spatiotemporal ones. The second class divides into two subsets: quasi-particular objects (i.e. compositions-ideas) and universal objects (i.e. various theoretical objects as scales, keys and musical forms). Moreover, musicology is a theory of artifacts, what brings about the fact that its domain constantly changes and increases. The specific construction of the domain of musicology is joined with peculiarities of its terminology and conceptual scheme. Musicological terminology is very wide and musicological terms are encumbered by logical errors: ambiguity and vagueness. At the same time, acquiring the state of correctness in such a complicated conceptual and terminological framework is a very difficult task. Another peculiarity of musicology is the fact that one cannot sharply distinguish between analytic and synthetic musicological sentences. Finally, the peculiar feature of musicology is the presence of normative sentences in its structure. A methodologist, concerned with diagnosis of logical status of methodology and methods of its improvement, has to respect all these peculiarities.
2

ON THE ONTIC CORRELATES OF MUSICAL TERMS

100%
Brozek A.
Kwartalnik Filozoficzny
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2007
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vol. 35
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issue 3
131-144
EN
In this paper the authoress analyzes her own previous views on the ontology of musical objects. The problem is discussed in the perspective of the conceptions of the semiotic functions of musical terms. She claims that musical compositions, being products of the creative activity of composers, are quasi-particular objects, distinct from particular (or real) objects, as well as from universal objects. To describe the variety of musical objects coherently, we should distinguish three different referential functions. Thanks to the function of designating, terms refer to particular objects and thanks to the function of denominating, to universal objects. Musical compositions are quasi-designated by their titles.
3

ETHICAL MINIMALISM OF TADEUSZ KOTARBINSKI

63%
Brozek A., Jadacki J. J.
Etyka (Ethics)
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2006
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issue 39
48-71
EN
The article presents a schematic reconstruction of Tadeusz Kotarbinski's ethical views. An analysis of Kotarbinski's ethical writings (which, unfortunately, are far from the ideal of precision) shows that the following theses constitute his ethical system. The basic negative moral norm is 'You should do wrong to nobody beyond necessary need', and the basic positive norm is 'You should do good to somebody'. Thus Kotarbinski's ethics can be called 'local altruism'. For Kotarbinski the main virtue is protectiveness and for this reason his system is called 'the ethics of a reliable guardian'. The reliable guardian's goal should be prevention and elimination of unhappiness; thus Kotarbinski's ethical system can be called 'ethical minimalism'. Ethical norms are justified by induction supplemented by moral intuition. First, we recognize intuitively acts which are evidently good and those which are evidently evil; next, we abstract from them the essence of the honorable and of the dishonorable. Kotarbinski's ethical system was intended to be independent from philosophical and religious doctrines, however, it's content is very close to the evangelical ethics.
4
Content available remote

THE LOGICAL STATUS OF ELEMENTARY MUSICAL TERMINOLOGY

63%
Brozek A., Jadacki J.
Muzyka
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2005
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vol. 50
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issue 1(196)
57-86
EN
The article presents a sample of logical analysis performed on the terminology used to describe 'professional' European music in the eighteenth and nineteenth centuries. Although we basically confined our analysis to the most elementary part of that terminology, we are convinced that our observations apply to musical terminology as a whole. Using examples from a Polish encyclopaedia of music, we demonstrate the faults characteristic of the whole elementary musical terminology. Firstly, elementary musical terms are often badly defined, using definitions which are inadequate or faulty in other, logically important, respects. Secondly, many musical terms are too imprecise to fulfil the function expected of them. Thirdly, musical terminology is not supported, so far, by a clear conceptual framework. In order to eradicate the faults indicated here, terms which contain them should be explicated, their meaning should be reconstructed, and appropriate regulatory definitions should be formulated. At a future date we intend to perform such a reconstruction on the whole of the elementary musical terminology.
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