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Kategorie czasu i formy muzycznej w II Koncercie na wiolonczelę i orkiestrę symfoniczną Pawła Mykietyna

100%
Kaszubska N.
Kwartalnik Młodych Muzykologów UJ
|
2022
|
issue 3(54)
19-41
EN
The paper supplements the research on the latest Paweł Mykietyn's work. It broadens the spectrum of problems related to the technique of deconstruction in his works and allows for a better understanding of the structure of the Concerto No. 2 for cello and symphony orchestra. The main research method is descriptive analysis, bringing Paweł Mykietyn's musical language closer to the harmonic material, textural systems, agogic-metric structures, and the concept of form. The analysis is based on the score of the 2nd Concerto for Cello and Symphony Orchestra, published in 2019 by the PWM Edition in Kraków. The structure of the paper includes: introduction, three paragraphs and a summary. The characteristics of Paweł Mykietyn’s work contained in the introduction will allow the reader to become familiar with stylistic tendencies at various stages of the composer's work. The section devoted to the genesis and reception aims to present the history of the creation of the analysed work, as well as its contexts and resonance. The analytical sketch in the context of the issues of time and form will allow to present selected aspects of the compositional technique.
2

Integration Attempts Paweł Mykietyn and the Composer’s Self-Reflection

88%
Gmys M.
Musicology Today
|
2015
|
vol. 12
|
issue 1
51-62
EN
In this paper, the author attempts to reconstruct the aesthetic views of Paweł Mykietyn, a leading Polish composer of the middle generation. Since Mykietyn has never presented his views comprehensively, the author reconstructs his opinions on the basis of published interviews with the composer, focusing on his ideas regarding musical and nonmusical inspirations, the significance of mathematical procedures in the compositional process, traditional musical forms, the role of quotations and self-quotations, experimentation with microtones and musical time, as well as the concept of music as autobiography.
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