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  1. 3 Muzyka

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  1. 1 Dobrzanska-Fabianska Z.

  2. 1 Golab M.

  3. 1 Lindstedt I.

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  1. 3 2006

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UNKNOWN MONOGRAPHS BY JÓZEF MICHAL CHOMINSKI ON THE SONGS OF EDWARD GRIEG (1936) AND THE TEACHING OF HARMONY (1947)

100%
Golab M.
Muzyka
|
2006
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vol. 51
|
issue 1-2
71-83
EN
The article reports the results of a document search conducted after the death of Krystyna Wilkowska Chominska (the widow of Professor Józef M. Chominski) at their house in Falenica near Warsaw. The search revealed two unknown complete typewritten monographs. The first of them, entitled 'Zagadnienia konstruktywne w piesni solowej Edwarda Griega' (Construction Issues in the Solo Songs of Edward Grieg) (1936) is Chominski's doctoral thesis, written under the supervision of Professor Adolf Chybinski at the Jan Kazimierz University in Lvov. In its day it was the first mongraph devoted to Grieg's vocal-instrumental works. Chominski considers the melodics, the rhythmics of the melody, then the harmonic relationship including both the factors stabilising harmonic tonality and the undermining ones, and finally the structure of the composition, with the traditional division into forms with verses and recomposed ones. The second monograph is a theoretical treatise 'Podstawy harmoniki funkcyjnej. Kurs elementarny nauki harmonii' (The Fundamentals of Harmonics. An Elementary Course in Harmony) (1947). This work continues the tradition of Riemann's theory of functional harmony, and its theoretical-symbolic base draws on the nomenclature employed by Hermann Erpf (1927). The textbook starts with an exposition of less complex chords, and goes on to discuss multiple sounds of greater morphological complexity. However, the book does not simply teach how to construct chords, since in reality the particular chapters are devoted mainly to chords' functional potential.
2
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JÓZEF M. CHOMINSKI'S THEORY OF MUSICAL SONOLOGY

88%
Lindstedt I.
Muzyka
|
2006
|
vol. 51
|
issue 1-2
33-69
EN
The article describes the theory of musical sonology, created by Józef M. Chominski over a period of some 20 years. The key concept of the theory is the category of sonoristics, defined by the author as 'moving to the fore the sound itself as the main means of expression and thereby a factor of construction'. The first part of the article describes the origin and evolution of the theory of sonology, from Chominski's first works in the 1950s, where he postulated viewing a musical composition as an actual sound event and taking into account performance resources when analysing it, to the full exposition of the theory in its mature form in the years 1976-78 (typescript entitled 'Podstawy sonologii muzycznej': (The Fundamentals of Musical Sonology) part. I. (no subtitle), 9 December 1976; part II. 'Systematyka zjawisk dzwiekowych' (The Systematics of Sound Phenomena), 1977; part. III. 'Forma' (The Form), 1978). The second part of the article discusses the basic elements of the theory of sonology, such as a general 'technology of sound' (questions of the source of a sound and the set of performance resources which can significantly enrich its timbre, from traditional instrumentation to percussion and mechanical music), problems relating to the systematics of sound (equivalence of sound material from different sources, dimensions of time and tempo, density and dilution of sound, sonoristic modulation and sonoristic possibilities of a formal continuum. The next section of the article deals with the reception and criticism of Chominski's ideas. While the theory of sonology is and has been of significance in Poland, the existing literature of the subject treats the postulate of investigating the structure of the actual sound of a composition as purely metaphorical. The reason for this is that Chominski's original idea reveals the paradox of drawing conclusions about the 'actual sound' on the basis of analysing the score, and not a particular musical performance. This approach results from the phenomenological conception of investigating the notational record of a composition as a projection of the composer's creative intentions. However, there does exist a need to extend the analysis of sound events to include their acoustic shape and psychologically conditioned perception, which undoubtedly require empirical research. Potential development of research into issues of musical sonoristics can be sought in a solution which will make it possible to identify experimentally physical-acoustic properties of timbre on the basis of its sonogram. Further musicological investigations would reveal the true value of Chominski's theory of sonology as a research method, and order and modify the conceptual apparatus he created.
3
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MODALITY IN POLYPHONY AND THE TRANSFORMATIONS OF THE SOUND TECHNIQUE IN THE MUSIC OF THE MIDDLE AGES AND RENAISSANCE IN THE LIGHT OF 'HISTORIA HARMONII I KONTRAPUNKTU' BY JÓZEF M. CHOMINSKI

75%
Dobrzanska-Fabianska Z.
Muzyka
|
2006
|
vol. 51
|
issue 1-2
7-31
EN
The article examines the views of Professor Józef M. Chominski, expounded in the first two volumes of his monumental 'Historia harmonii i kontrapunktu' (A History of Harmony and Counterpoint), written over fifty years ago. The purpose of the article is to define the relationship between Chominski's methodological assumptions and views on the development of sound technique (tonality), and the German musicological tradition (represented by, among others, G. Adler and H. Riemann). Particular attention is paid to the issues of (1) Chominski's understanding of the categories of 'tonality' and 'modality' in polyphony from the ninth to the fourteenth century, (2) his interpretation of features of modality and its role in the shaping of polyphony, and (3) the transformations in the language of sound in the music of the Middle Ages and the Renaissance. Since Chominski's interpretation of the term 'tonality' approximates to the meaning of 'sound technique', he relates this category to resources of pitch and scale, and clearly associates it with the vertical dimension of polyphony; in a particular sense, he identifies it with functional tonality. By regarding modal scales as the substratum of the ordering of sounds in a composition, Chominski recognizes 'modality' as a kind of tonality; at the same time, by describing 'modality' as a (purely diatonic) system, he contrasts it with the system of functional tonality. He ascribes to modality the status of a factor which orders the horizontal and vertical dimensions of polyphony from the ninth to the sixteenth century, comparable to the role played by the major-minor harmonic tonality in the shaping of homophonic music of the seventeenth to the nineteenth century. Chominski presents the process of change in the sound technique in polyphonic music of the Middle Ages and the Renaissance as a long-term, complicated and multithreaded process, close in a general sense to the universal interpretation of the development of harmonic tonality proposed by C.Dahlhaus.
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