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Odgłosy karnawału – muzyczny język Le Carnaval d’Aix op. 83b Dariusa Milhauda

100%

Rusin A.

Kwartalnik Młodych Muzykologów UJ

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2022

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issue 2(53)

5-31

EN

Darius Milhaud (1892–1974) is one of the leading composers of the French avantgarde in the 20th century. His stylistic idiom was formed under the influence of the folklore of various cultures from around the world, which he encountered during his numerous travels. One of the compositions inspired by foreign elements, both musical and cultural, is the fantasia Le Carnaval d'Aix op. 83b (1926) for piano and orchestra. The analysis from the genre perspective aims to examine the musical poetics of the composition (including Milhaud’s specific neoclassical strategies) and its links with Carnival. As a result, a dualistic perspective towards the musical language of the composer is proposed as exemplified by the work in question.

2

Dwa filmy – dwa święta – dwie teorie

100%

Dudzik W.

Kwartalnik Filmowy

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2017

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issue 100 O świętowaniu

81-86

PL

Szkic jest poświęcony dwóm filmom dokumentalnym Andrzeja Fidyka: „Defilada” (1989) i „Carnaval. Największe party świata” (1995) analizowanym w kontekście teorii święta Émile’a Durkheima (effervescence collective) i Victora Turnera (communitas). Autor odnajduje elementy sakralne zarówno w wielkiej defiladzie zorganizowanej z okazji obchodów czterdziestolecia Koreańskiej Republiki Ludowo-Demokratycznej, jak i w karnawale w Rio de Janeiro. Okazuje się jednak, że nasuwająca się przy analizie obu sfilmowanych przez Fidyka świąt opozycja profanum i sacrum – czy struktury i antystruktury – jest pozorna. Struktura miesza się bowiem z antystrukturą na zasadzie dialektycznej: zawieszona na czas święta, odradza się w jego celebrowaniu.

EN

The text is devoted to two documentary films by Andrzej Fidyk: “North Korea: The Parade” (1989) and “Carnaval. The Biggest Party in the World” (1995) analysed in the context of Émile Durkheim’s (effervescence collective) and Victor Turner’s (communitas) theories of celebration. The author finds sacral elements both in the great parade organized on the occasion of the 40th anniversary of the Korean Democratic People’s Republic and in the carnival in Rio de Janeiro. It turns out, however, that the opposition of profanum and sacrum – or of structure and anti-structure that appears natural in the analysis of the two celebrations filmed by Fidyk, is illusory. The structure is mixed with anti-structure on a dialectical basis: suspended for the duration of the festivity, it is revived in its celebration.

3

Heitor Villa-Lobos i Darius Milhaud – w kręgu fascynacji twórczych, postaw i osobowości

88%

Rusin A.

Kwartalnik Młodych Muzykologów UJ

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2021

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issue 1(48)

5-30

EN

The article aims to examine the circumstances of Milhaud and Villa-Lobos’s encounter, who are the significant figures of 20th century French and Brazilian avant-garde. The analysis of the principle aspects of youthful inspirations, musical approaches and personalities as per Mieczysław Tomaszewski’s concept of the integral interpretation, presents the impact of cultural milieux on artists’ aesthetics, together with their apparent fascination with Carnival. Additionally, the study highlights a connection between the composers’ natures and the fantasy implied either as a category or a genre fantasia. As a result, various analogies are identified linking the composers’ life and musical language.

4

Vymyslet masopust : město, novodobé slavnosti, tradice a imaginace

75%

Stavělová D., Kratochvíl M.

Český lid: etnologický časopis (Český lid: Ethnological journal)

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2016

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vol. 103

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issue 4

537-568

EN

Since the beginning of the 1990s we can observe an increasing number of festivities in the Czech Republic which are constructed after a historical shape of the rural carnival. They reveal the needs and intentions of contemporary urban society that manipulates with elements of the carnival in the context of contemporary activities. We focus on the way the structural units of the festivity are selected and appropriated by people within the construction of its contemporary form. The ethnomusicological and ethnochoreological approach enables us to refl ect the cognitive process of the participants that makes visible their personal as well as collective experience of the festivity and gives us information about social relationships, culture and collective memory produced together with imaginaries of the time. The qualitative field research took place in several districts of Prague and its suburbs based on relationships between place and interests

5

Inventing the Carnival : Contemporary Festivities, Tradition and Imaginaries

75%

Stavělová D., Kratochvíl M.

Český lid: etnologický časopis (Český lid: Ethnological journal)

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2016

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vol. 103

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issue 4

569-595

EN

Since the beginning of the 1990s we can observe an increasing number of festivities in the Czech Republic which are constructed after a historical shape of the rural carnival. They reveal the needs and intentions of contemporary urban society that manipulates with elements of the carnival in the context of contemporary activities. We focus on the way the structural units of the festivity are selected and appropriated by people within the construction of its contemporary form. The ethnomusicological and ethnochoreological approach enables us to refl ect the cognitive process of the participants that makes visible their personal as well as collective experience of the festivity and gives us information about social relationships, culture and collective memory produced together with imaginaries of the time. The qualitative field research took place in several districts of Prague and its suburbs based on relationships between place and interests

6

Measuring Mas: A Metaphysical-Bakhtinian Perspective on the Trinidadian Carnivalesque

63%

Sinanan C. D.

Stan Rzeczy

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2022

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issue 1(22) Powrót metafizyki

445-462

EN

Carnival is a space of play where you are at once earthly and divine. We are born to this culture, writing our narratives in song, dress, tradition and spirit. As Trinidadians, we embed our lives, our creativity, and our souls into this sacrament. And every year it blesses our people with inspiration, solace and liberation. The theoretical premise of this paper combines social constructivism and Mikhail Bakhtin’s dialogism, heteroglossia, and chronotope to investigate aesthetic architecture within the Trinidadian carnivalesque (mas). A series of narrative interviews were conducted with Carnival band leader Valmiki Maharaj and visual artist Jackie Hinkson, gathering core meanings, intentions, and processes of creation attached to the Trinidadian brand of Carnival. This work highlights the aesthetic manifestations of reflection, creation, and connection as represented in murals, costuming, and carnival accoutrements, whilst acknowledging the cultural and historical frameworks that support these structures.

PL

Karnawał to przestrzeń zabawy znaczeniami, w której jest się jednocześnie ziemskim i boskim. My, Trynidadczycy, urodziliśmy się w tej kulturze, a następnie pisaliśmy nasze opowieści pieśnią, strojem, tradycją i duchem. To w sakramencie karnawału osadzamy nasze życia, naszą kreatywność i nasze dusze. I każdego roku błogosławi nas on inspiracją, koi i wyzwala. Teoretyczne założenia artykułu łączą społeczny konstruktywizm z opisanymi przez Michaiła Bachtina dialogicznością, heteroglosją i chronotopem w celu zbadania architektury estetycznej trynidadzkiej karnawalizacji (mas). W tekście przedstawiono rezultaty serii wywiadów narracyjnych z liderem zespołu karnawałowego Valmikiem Maharajem i artystą wizualnym Jackiem Hinksonem na temat podstawowych znaczeń, intencji i procesu tworzenia związanych z trynidadzkim gatunkiem karnawału. Opracowanie podkreśla estetyczne przejawy refleksji, kreacji i połączeń na podstawie murali, kostiumów i scenografii karnawału, równocześnie uznając kulturowe i historyczne ramy, które podtrzymują te struktury.

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2 Kwartalnik Młodych Muzykologów UJ

2 Český lid: etnologický časopis (Český lid: Ethnological journal)

1 Kwartalnik Filmowy

1 Stan Rzeczy

2 Kratochvíl M.

2 Rusin A.

2 Stavělová D.

1 Dudzik W.

1 Sinanan C. D.

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