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Emigracja wewnętrzna Giacinto Scelsiego — studium przypadku

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Skupin R.
Aspekty Muzyki
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2014
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vol. 4
53-65
EN
Giacinto Scelsi — actually Count Giacinto Scelsi Francesco Maria d’Ayala Valva — be-longed to this type of artists whose life is inextricably associated with his work. Despite the fact that his countrymen were definitely “alien” to him, he lived and worked the last thirty years of his life in Rome, via di San Teo-doro No. 8, alienated from the Italian musical environment and underestimat-ed as a composer in his homeland. Extremely strict fusion of the life and work of Scelsi allows one to read his artistic decisions materialized in his work and his life choices as a uniform quasi-text. The evolution of his musical language (from the influence of Debussy, the neo-classicism, dode-caphony, machinisme to the highly individual musical poetics inspired by the spiritual and musical cultures of the Orient) closely merged with biographical threads (travels around Europe, real and imaginary internal journeys to the East). Aristocratic origins and privileged social position biased the reception of his work in changing Italian reality (i. a. fascism and communism). The fascination of the Indo-Tibetan tradition of understanding the essence and function of sound led Scelsi to the crystallization of individual musical poetics of Scelsi the composer and at the same time — to the conversion of Scelsi the man to Buddhism, individually conceived and “professed”. The Yoga of Sound practice was treated by composer as a self-therapy and at the same time as his compositional modus operandi, which aimed to explore the third dimension of the sound — its depth in a musi-cal and spiritual sense. Scelsi devoted his personal life to his creativity and “composing” — to the specifically understood transcendence. The role of “the proteus” has initially not been the choice of Scelsi, however, with time and after his life experiences it was deliberately incorporated into his life and creative plan. It can be interpreted as the Scelsian strategy of internal emigration in his own country.
2
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Izotopia semantyczna i jej zastosowanie w badaniach nad orientalizmem muzycznym — możliwości i ograniczenia

100%
Skupin R.
Aspekty Muzyki
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2011
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vol. 1
181-202
EN
The aim of this study is to determine the possibilities and constraints of applying semantic isotopy, a concept developed in the area of semiotics with reference to language system and structure, in analysis of Orientalism as a way of presenting a reality that is referred to as the Orient in a musical work. The starting point is a review of acts of functioning of isotopy in semiotic text concept: from the original understanding of A. J. Greimas (semantic coherence of narrative text in the context of his theory of structural semantics), through the approach of François Rastier (strategic concept of interpretation within his theory of interpretative semantics) and Bernard Pottier (stability of semic feature, or isosemy of lexical-grammatical structures), to Umberto Eco’s concept (interpretive coherence associated with the concept of topic within the principle of textual cooperation). Determinants of adaptation of isotopy in musical semiotics are considered using the example of spectacularly extended fi eld of application of this concept in Eero Tarasti’s semiotic theory (or theory of musicological cognition of music) and his concept of discourse (musical one, and about music). The range of usefulness of isotopy is presented on the basis of methodological propositions of JeanPierre Bartoli and results of his research into Orientalism of the 19th- and early 20th-century French music. A description of consequences of examining Orientalism (oriental exoticism) as a semiotic system, assuming “language-likeness” of music, concerns conditions of “isotopic functioning” of musical exoticism. The conclusions underline a necessity for distinguishing between Orientalism and orientality due to the nature of semiosis in the case of music, and a need to verify the authenticity of “allochtonic units” (Bartoli’s “oriental semes” or “exosememes”) in a prospect of research in Orientalism as a phenomenon in the Western culture. These issues have also been emphasized in recent research on the musical consequences of cultural diffusion processes (manifestations of “occidentalising exoticism” in contemporary musical practice in the Middle East), in which the isotopy/isosemy is used as an objectifi ed transcultural analytical tool.
3
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Tadeusza Z. Kasserna ujęcie Orientu w operze The Anointed według dramatu Koniec Mesjasza Jerzego Żuławskiego

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Skupin R.
Aspekty Muzyki
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2013
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vol. 3
83-109
EN
The title character of Andrzej Żuławski’s drama The End of the Messiah (1911) is a historical fi gure of a Turkish-Jewish apostate messiah — Sabbatai Zevi (1626–1676). Żuławski exposes in his play, which contains many Polish elements, the idea of Jewish messianism in a mystical and national sense and his representation of the Islamic Orient has a pessimistic and escapist message. Tadeusz Z. Kassern in his own adaptation of the drama in his lyric opera The Anointed (1949–51) removed all Polish threads and added one oriental character: the Muezzin’s voice, imitating an adhan — muslim call for prayer, which has a key importance for musical orientalism of the opera. Although it is presented with a relatively objective ethnographic accuracy, it creates an exotic background for the action — as a modern aspect of couleur locale. Muezzin’s voice is always heard in the scenes with exclusive participation of Jewish main characters (Sabbatai and Miriam), which emphasizes the relation of antithetical worlds (inside – outside) or opposition: Jewish characters – alien (exotic) Muezzin. Opera The Anointed is an emblematic example of the hybrid referentiality of Kassern’s musical orientalism.
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'UN ROYAUME DIFFÉRENT' (A DIFFERENT REALM) - ABOUT 'HURQUALIA' IN THE CONTEXT OF THE THE MUSICAL STYLE OF GIACINTO SCELSI

100%
Skupin R.
Musicology Today
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2007
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vol. 4
104-114
EN
Scelsi's 'Hurqualia' (1960), first of his six works for grand orchestra, differs substantially from the rest of his output. The analysis of different aspects of the works permits to describe its characteristic features and symbolism. Whereas Scelsi's idiom relies mainly in Indian-Tibetan evocations, it is the spirit of Arabia, which resonates in this work. One of the elements, which reflect it, is the timbre, with - in contrast to other compositions - reed woodwind instruments accentuated (also by amplification), as well as viola and double bass emphasized. This is explained by the authoress as a reference to the sound of Arabic oboe 'zurna' and the 'rebab' respectively. The work's distinctiveness is manifest also in rhythmic dynamism, surprising in the context of Scelsi's output, mostly contemplative and static in its character. Finally, the meaning of its title is explained as the name of Muslim mythical emerald land; the journey to this land being a symbol of the initiation process. The authoress argues that the metaphor of road, so clearly present in the music and symbolism of this composition, is the most appropriate key to interpreting Scelsi's poetics in general.
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