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Paweł Szymański’s Self-Analyses Reread

100%
Naliwajek-Mazurek K.
Musicology Today
|
2015
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vol. 12
|
issue 1
90-98
EN
The article is an attempt to present important categories of composer Paweł Szymański’s musical language, based on his self-analytical statements, which were in major part answers to musicologists’ questions. Luciano Berio pointed out why the situation of a composer who would like to address questions about his or her music is difficult - a lack of necessary detachment would be one of the reasons. A musicologist, on the other hand, is tempted to construct their own supposedly objective analytical view of a composer’s musical language. The dialogistic approach proposed by anthropological musicology may be a solution to these dilemmas. Other main topics mentioned in the article are related to the role of meta-concepts in Szymański’s musical language.
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Pomiędzy muzyką a językiem. Figuralne i krytyczne w muzyce na przykładzie Lyotardowskiej analizy Sequenzy III Luciana Berio

86%
Szyszkowska M. A.
Aspekty Muzyki
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2016
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vol. 6
69-84
EN
The author refers to an article by J.-F. Lyotard A few words to sing in which the philo-sopher tries to analyze Sequenza III by Luciano Berio, a piece performed by Cathy Berberian. A few words to sing is an example of Lyotard’s dealing with musical topics situated “on the bor-derline”. In this particular case, the author suggests that the analysis in question lies in perfect agreement with Lyotard’s categories of figure and giving voice to the victim disallowed to speak, as opposed to the (purely) aesthetic, thus enforcing the demand of “resisting the aesthetic”. Lyotard’s musical interests, although perhaps not so evident as his passion with the image, also indicate quite clearly his specific (anti-)aesthetics. While listening to Sequenza III, Lyotard discovers the decon-structed discourses that Berio planted in his musical work. Their interrelations, as well as our own expectations towards the piece — as Lyotard believed — all provide a significant context for the interpretation of Sequenza III, the interpretation which may still give rise to revolution, if only the total critical potential of the work is duly used.
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