Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Refine search results

Journals help

  1. 2 Musicology Today

  2. 1 Muzyka

Authors help

  1. 3 Lindstedt I.

Years help

  1. 1 2008

  2. 1 2006

  3. 1 2005

Results found: 3

first rewind previous Page / 1 next fast forward last

Search results

help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1

THE DEVELOPMENT OF TWELVE-NOTE AND SERIAL TECHNIQUES IN THE MUSIC OF POLISH TWENTIETH-CENTURY COMPOSERS

100%
Lindstedt I.
Musicology Today
|
2005
|
vol. 2
106-125
EN
The reception of the twelve-note and serial techniques in the output of Polish composers is a discontinuous phenomenon, marked by the re-evaluation of the function of serial rules resulting from a strong need for preserving individual aesthetic identity. The chronology of this reception is divided by the authoress into three phases, embedded in a general descriptive model of 'fluctuations of modernism'. The first phase (1926-1944) is represented by works of Koffler, Majerski and Regamey, the second (1948-1955), termed as the 'outlawed' modernism - by Roman Haubenstock-Ramati and other members of the 'dodecaphonic diaspora': Roman Palester, Konstanty Regamey, Karol Rathaus, as well as Boguslaw Schaeffer. The third phase (1956-1976) was characterized by the coexistence of transformatory procedures derived from dodecaphony with other technical solutions such as sonorism and indeterminacy. The article ends with a conclusion that dodecaphony and serialism played a much more significant part in the history of 20th-century Poland than it has been traditionally accorded to them.
2
Content available remote

HOW TO ANALYZE SONORISTIC MUSIC: PERSPECTIVES FOR THE DEVELOPMENT OF JOZEF M. CHOMINSKI'S THEORY OF SONOLOGY

100%
Lindstedt I.
Muzyka
|
2008
|
vol. 53
|
issue 1(208)
47-63
EN
Józef Michal Chominski's postulate of investigating the 'real sound' of a composition is the most essential aspect of the theory of musical sonology; yet the existing analytical literature regards it primarily as a metaphor. In Chominski's approach, the 'auditive shape of sound' provides the true basis for investigation, whilst its music notation records the projection of the composer's creative intention. However, the sonoristic re-definition of the functions of particular elements of music is carried out exclusively on the basis of the score. Its results are thus not fully satisfactory, because of the gap which exists between the etymology of the concept of 'real sound' (a physical-acoustic fact) and the nature of the source - the written text of a work which is being analysed (a symbolic-sign code). If the theory of sonology is to develop, it seems necessary to relocate the point of gravity, from an interpretation of the sound phenomena encoded graphically in the score to the issues of their acoustic shape and their psychologically conditioned perception. As a condition of adopting such an approach, one has to enter the area of empirical musicology and to identify the 'real sound' using the methods and tools appropriate to it. The model of a sonoristic analysis of a musical composition presented in the first part of the article is based on three kinds of sources: the score (the music notation of a composition), a recording (the acoustic text of a music composition) and a sonogram (a mathematical-information text), which is a form of making the real sound of a composition, taken from its phonographic recording, 'permanent' by means of a visual time-frequency representation. In the later part of the article the authoress presents an analytical study of 'Threnody to the victims of Hiroshima' by Krzysztof Penderecki. This work is one of the most representative examples of the avant-garde style of the 1960s 'Polish school of composition', which the composer himself strongly associated with the idea of music sonoristics/sonology. An analysis of those aspects of sonoristic regulation of 'Threnody' which are given above allows one to observe that the score notation and the spectral image of the work - what might be regarded as a visualisation of auditive perception - provide a very convergent picture, confirming the composer's belief that the 'graphic logic' is reflected in the 'sound logic'. Moreover, the construction of 'Threnody' has certain features of symmetry already apparent on the diagram of the shape and amplitude of the sound wave, which are confirmed on the basis of theoretical-musical criteria associated with the distribution of states of density and dilution of sound and the movement of sound events.
3

ON METHODS OF ANALYSING SONORISTIC MUSIC IN THE CONTEXT OF MUSICAL SONOLOGY OF JÓZEF M. CHOMINSKI

100%
Lindstedt I.
Musicology Today
|
2006
|
vol. 3
93-126
EN
In his theory of sonology aiming at the systematization 20th-century sound phenomena Józef M. Chominski's managed to create a unique theoretical system, unprecedented in the musical thought of the 20th century, which on the one hand reflected changes in compositional techniques and on the other opened up to composers perspectives of creating new sound systems, regulators of timbral qualities and new structural systems. The article opens with a preview of most important 20th-century music theoretical concepts relating to the problem of sound. Chominski's theory is placed within their context, its methods and terms, such as 'sonoristic modulation', criteria (e.g. sound source) and classifications (e.g. of modulated sounds) are explained. Finally, the authoress evaluates cognitive values of this theory and indicates perspectives of its development.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.