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„Profesorowie też potrafią bębnić”. Od demokratyzacji doświadczenia muzycznego po dialog międzykulturowy

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Chęćka-Gotkowicz A.
Estetyka i Krytyka
|
2013
|
issue 1(28)
29-41
EN
This article considers Kathleen Marie Higgins’s theory of musical experience. She examines the features of human perception that enable music’s ability to provoke the sense of a democratic, shared, crosscultural experience. Drawing on philosophy, psychology, anthropology, and ethnomusicology, Higgins provides a new understanding of what it means to be musical.
2
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Czy rozumienie muzyki zależy od świadomego śledzenia struktur formalnych utworu? Jerrold Levinson i Peter Kivy wobec problemu doświadczenia muzycznego

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Chęćka-Gotkowicz A.
Aspekty Muzyki
|
2012
|
vol. 2
11-23
EN
Does musical understanding depend upon refl ective awareness of large-scale musical structure? Jerrold Levinson, in his brilliant book Music in the Moment, rejects this notion and defends the view that musical comprehension is fundamentally a matter of individual momentary impressions. In other words, understanding music is a matter of moment-by-moment absorption of individual bits of music. Levinson calls this perspective ‘concatenationism’. This perspective helps to defend music lovers who are passionate and attentive, yet structurally unconcerned. On the other hand, Peter Kivy, in his distinctively elegant style, defends the structuralist position, as it contributes a substantial part of the satisfaction derived from classical music. My aim in this article is to present the main strands of that passionate controversy between Kivy and Levinson.
3
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Muzyka z polskiej księgarni

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Chęćka-Gotkowicz A.
Estetyka i Krytyka
|
2015
|
issue 1(36)
163-165
EN
Review o the book M. Jabłoński, Przeciwko muzykologii niewrażliwej, Wydawnictwo Nauka i Innowacje, Poznań 2014, 383 strony; D. Czaja, Kwintesencje. Pasaże baroko-we, PWM, Kraków 2014, 357 stron.
4
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Persona (non) grata. Czy muzyka absolutna potrzebuje narratora?

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Chęćka-Gotkowicz A.
Aspekty Muzyki
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2013
|
vol. 3
11-25
EN
Some narrative interpreters of absolute music canon — as Jenefer Robinson or Edward T. Cone — tend to perceive it as the symbolic utterance of a virtual musical character. This character, called musical persona, is supposed to have the ability to sustain listener’s interest as characters in literary fi ction do. The explanation for the fact that the piece of music is „powerfully moving” is that it depicts a „musical persona’s psychological drama”. In my paper I want to concentrate on Jenefer Robinson’s infl uential book Deeper than Reason and her conception of musical persona which seems to be highly controversial.
5
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Czy muzyka jest symbolem porządku moralnego? Koncepcje Gisèle Brelet i Pascala Quignarda

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Chęćka-Gotkowicz A.
Aspekty Muzyki
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2011
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vol. 1
47-61
EN
The paper examines Gisèle Brelet’s and Pascal Quignard’s concepts concerning the relation between music and morality. The fi rst consideration involves Gisèle Brelet’s assumption that music always helps to instill virtue in the listeners. Brelet claims that we can train ourselves to be better people by listening to absolute (instrumental) music in particular. Contrary to Brelet’s intuition, Pascal Quignard, in his controversial discussion of music in La haine de la musique (Hatred of music), asks how we could be moved by Schubert and at the same time be able to act ferociously? How to explain the coexistence of Holocausts and terror campaigns on one hand, and the aesthetic sensibilities of the persons responsible for such evil on the other? In my paper, I give a sympathetic hearing to both Brelet’s and Quignard’s perspectives. I try to respond to some likely objections to Brelet’s idealism and Quignard’s skepticism.
6
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Czy umiemy słuchać – typologia odbiorców muzyki

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Chęćka-Gotkowicz A.
Estetyka i Krytyka
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2010
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issue 19
25-35
EN
Nowadays, it is quite easy to hear music without listening to it. Listening to music is often treated merely as a method of consolation, or an escape from the realities of life. My paper contains an analysis of listeners’ reactions to classical music. I further make an attempt to describe some distinctive features of different groups of listeners i.e. laymen, music lovers and professional musicians. Is it possible to improve our comprehension of musical material? Regardless of whether we listen to the music by Chopin or free-jazz, we can deepen our understanding by becoming more conscious of the listening process and its component parts. In the article I also make some references to such authors as Adorno, Behne, Copland, Wallis who have discussed listeners’ approaches to music and perceptual abilities of music enthusiasts.
7
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W poszukiwaniu semantycznej niewinności. Muzyczne fantazmaty Pascala Quignarda

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Chęćka-Gotkowicz A.
Estetyka i Krytyka
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2012
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issue 2(25)
31-44
XX
The paper presents the most significant musical themes stimulating the oeuvre of the French writer, Pascal Quignard, whose life and books remain in very close relation to music. Moreover, the paper discusses the connections between the arts in Quignardian works by analyzing the nature of what grows on the borders of music, language and image under such names as 1. the motif of the ineffable 2. the problem of the prenatal audition 3. the problem of musical temporality as a means of breaking the continuum of time and 4. the motif of the terror of sounds. The fourth expression is particularly shocking: Quignard associates music with suffering and accuses it of inflicting pain. It is not, however, the musical matter that is the object of Quignard’s heavy criticism. He refers to the mode of music’s existence in the world. Hence the question of how to conciliate the paradox of “hatred of music” with glorification of musical art simultaneously present in Quignard’s works.
8
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Muzyka jako utopia języka idealnego. Kilka spojrzeń na twórczość Pascala Quignarda

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Chęćka-Gotkowicz A.
Panoptikum
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2010
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issue 9(16)
222-232
EN
The works of Pascal Quignard include numerous references to visual arts and music. His stories often originate in images which constitute a source of writer’s inspiration. One of the author’s aims is based on paradox: he tries to reveal the invisible through the visible. It is music that shows him the way of touching the mystery of invisible. Its universal link with human origins can be understood as a place of memory for writings. Quignard follows up the secrets of music via its mythical origins. One of Quignard’s most significant and controversial attempts is his interpretation of the myth of Ulysses, presented in his book The Hatred of Music.
9
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Filozofia muzyki ponad podziałami

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Chęćka-Gotkowicz A.
ΣΟΦΙΑ. Pismo Filozofów Krajów Słowiańskich
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2009
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issue 9
235-237
EN
Book Review: Bohdan Pociej, Z perspektywy muzyki, Biblioteka „WIĘZI”, Warszawa 2005, ss. 338
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