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1

IDEOLOGIES OF PROGRESS AND NATIONALISM AND THE CONCEPTS OF SUPRANATIONAL AND NATIONAL MUSIC

100%
Jarzebska A.
Musicology Today
|
2005
|
vol. 2
5-24
EN
The decline and fall of the idea of progress intensified interest in the problems of nationalism. Stravinsky in his 'Poetics of Music' identified universality with a harmony of diversity governed by the idea of beauty, goodness and truth, while cosmopolitanism was associated for him with a lack of sense of community and the rejection of cultural tradition, with the anarchy brought about by the 'monster of originality', the so-called progressive art, which made a radical break with the traditional system of values. In fact, not only avant-garde music achieved the status of supranational, cosmopolitan art, but also neoclassicism of the inter-war period was associated with the concept of supranational music. On the other hand, both currents were also marked by nationalistic thinking. The authoress presents various interpretations of 20th-century uses of the term to define the concept of 'national music'.
2

POLISH MUSICAL CRITICS ON SOME TECHNICAL AND AESTHETIC CONCEPTS OF THE SECOND AVANT-GARDE. OPINIONS AND PROPOSITIONS :(Polska krytyka muzyczna wobec wybranych koncepcji warsztatowo-estetycznych drugiej awangardy. Opinie i postulaty)

100%
Ciolkiewicz U.
Przegląd Muzykologiczny
|
2006
|
issue 6
155-183
EN
This article focuses on the writings of five Polish critics: Stefan Kisielewski, Zygmunt Mycielski, Adam Walacinski, Tadeusz Andrzej Zielinski, and Leszek Polony. While analysing their writings on the musical avant-garde in Poland from the middle of the 1950s up to the 1970s the authoress argued that, in spite of being interested in the avant-garde innovations, such as aleatorism and 'open' form, all five critics approached the radical novelties with some reserve. Their approach, which reflected their own aesthetic views (and their system of values), was the idea of a musical work as a coherent, that is artistically integral, whole. They all were searching for this integrity especially on the level of form, but also on the aesthetic level, including the spiritual realm of a musical work. As far as the latter is concerned, some of the Polish critics, such as Stefan Kisielewski, represented autonomous aesthetics in the spirit of Eduard Hanslick, whereas others, such as Leszek Polony - the heteronymous one. What united the attitudes of all five critics, apart from the nuances of their individual aesthetic approach, was the proposition of the integrity of art. While witnessing the growing presence of the avant-garde, they were unanimously aware of the necessity for music to be rooted in cultural tradition, more precisely - in the classical-romantic tradition, which they considered as a source of music's humanist and even sacred character. The concluding point of the article is the question of the possible impact of the writings of the five Polish critics on the output of Polish composers of that time. Yet although it is impossible to point out a direct connection between these two groups, one cannot totally deny the existence of a deeper impact of the critics on the composers in the sphere of aesthetic ideas, which then could have been transformed into practical, compositional choices.
3

PASSWORD 'ROGER'. THE HERO OF KAROL SZYMANOWSKI'S OPERA 'KING ROGER' IN TADEUSZ MICINSKI'S THEATRE OF THE SOUL

88%
Boniecki E.
Musicology Today
|
2008
|
vol. 5
57-78
EN
Although the significance of Micinski in the development o the composer's imagination is generally known, the comments contained in the correspondence of Szymanowski and writings of Iwaszkiewicz suggest that this issue should be examined more closely. The author states that the composer introduced a double layer into the theatrical form of 'King Roger' on purpose: to denote the external layer, linked to the stage plot, and the truly important, internal, spiritual layer. According to the author, Szymanowski clearly followed Micinski's idea of the theatre, and the latter's aesthetic and spiritual ideas, such as the vision of the theatre as the temple of the soul, a place of man's spiritual growth, was similar to the composer's views. His opera fits into the framework designed for this genre by the symbolists; it is a symbolic and symbolist work, where the author created his own total theatre of the soul.
4

AUDITORY CULTURE - AN ASSUMPTION OF MUSICAL CULTURE. ON SEVERAL ASPECTS OF RESPECTIVE MUSICAL AESTHETICS

88%
Belicova R.
Musicologica Slovaca et Europaea
|
2006
|
vol. 25
7-27
EN
The aesthetic sense is an anthropological constant. The sensual, aesthetic way of perception activates consciousness, stimulates imagination and cultivates the creative capacity of man. It is realized within an auditory culture due to the variability of musical manifestations, it forms a sphere of musical culture and adumbrates its basic characteristics. The classical manifestation of European musical culture is significantly modified as a consequence of the realized plurality of the poetics of music. The basic changes can be seen particularly in the forms of musical life connected with the concert type of musical reception. Receptive musical aesthetics is a methodological alternative to classical musical aesthetics. Here music is considered as an auditory phenomenon with specific aesthetic functions but not necessarily artistic ones. The receptive potential of music is multiform and it corresponds to a wide spectrum of typologically and axiologically non-homogeneous musical manifestations.
5
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K PROBLÉMU ROZPADU A KONŠTITÚCIE NOVÝCH POSLUCHÁČSKYCH NÁVYKOV ZO ZORNÉHO UHLA HUDOBNEJ ESTETIKY

75%
Kopčáková S.
ESPES
|
2015
|
vol. 4
|
issue 1
4 – 11
EN
The matter of considering popular music as a phenomenon that in the 20th century, along with the penetration of mass-media and recording into music, has caused a complete change in listening habits. Together with innovations in compositional techniques, or better approaches to music production and performing practice, the possibilities of modifying sound, not only in connection to the author and performer but also to the listener, have arisen. A new type of listener as well as a new kind of listening demands scrutinization of issues connected to so-called adequate listening within adequate auditive situations. In the contribution the author, through historical connections, surveys developmental changes in listening. In parallel, the author also takes into account issues of professional and lay participation in musical communication through current tendencies objectified in the deliberations of music aestheticians, scholars as well as authors (composers, producers).
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