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SONORISM: POSITIVIST AND COGNITIVE APPROACHES TO THE PROBLEM OF SOUND

100%
Jarzebska A.
Muzyka
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2008
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vol. 53
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issue 1(208)
65-79
EN
The development of sound-recording technology, as well as various avant-garde artistic manifestos promoting timbral experiments, led to increased interest in the problem of sound quality by twentieth-century composers and music theorists. Sound quality was regarded as being concerned with the experience of performed music (characterised through the metaphor of power or colour) and, in the second half of the twentieth century, also as being concerned with the electronic recording of sound (objets musicaux, sound object) and the visual result of its analysis (sonogram), described using the terminology of acoustics. In the modern theory and aesthetics of music, the problem of timbre has been discussed from the point of view of positivist or idealistic philosophy, and the end of the twentieth century saw the arrival of the cognitive approach, developed within cognitive psychology (Sloboda, Serafine, Bregman). The French language developed the concept of 'corp sonore' (J.-Ph. Rameau), English employs the term 'the power of sound' (E. Gurney), while German has the term 'Klangfarbe' (H.von Helmholtz). The term 'Klangfarbe', widely used by composers and music theorists, has been variously understood as the auditive experience of 'Tonsatz' associated with the means of performance and the metaphor of colour (Riemann, Erpf, Kurth, Schönberg), as a particular type of experimental sound (Lachenmann) and, in the theory of music developed by F. Blum, as the abstract aspect of the 'sound materia' (Tonstoff). Józef Michal Chominski's sonology theory has, on the one hand, a positivist character (it concerns a new technology for generating and transforming sound) but, on the other hand, it stresses the psychological-cognitive aspect of experiencing sound (differentiations: homogenous-polygenous, monochronic - polychronic sound). The term 'sonorism' refers generally to the auditive experience of avant-garde compositions and the new signs of music notation associated with them, but it also includes the 'colouring' effect of the traditional 'Tonsatz' mentioned above. The theory of music inspired by cognitive psychology proposes the term 'parton', which takes into account the concepts of 'gestalt' and of the 'invariant' (Jarzebska). In the article, the concept of 'sonoristic parton' is illustrated using the example of compositions by Lutoslawski (Venetian Games) and Stravinsky (The Flood).
2
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BOUNDARIES AND DEFINITIONS: THE COMPOSITIONAL REALITIES OF POLISH SONORISM

100%
Thomas A.
Muzyka
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2008
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vol. 53
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issue 1(208)
7-15
EN
The article focuses on the concept of sonorism and related terms as musicological and critical tools used in in the description of Polish music after 1956. The author demonstrates that this termonology has constituted a valuable component in musicological thinking in Poland, and he considers various advantages as well as stylistic and chronological limitations of sonoristic concepts for music composed beyond the 1960s
3
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SONORISTIC SPACE IN MAHLER'S FIRST SYMPHONY

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Dolp L.
Muzyka
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2008
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vol. 53
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issue 1(208)
119-130
EN
Reception of Mahler's First Symphony has often concluded that it undermines the teleological premise of its symphonic principles. The aurhoress proposes that Mahler's 'failure' to achieve a clear syntactic process shows instead a proactive engagement with the potential of sonorities to create a meaningful, multi-dimensional space. This quality in his music can be framed as a type of early sonoristic project. The work shows a characteristic sensitivity to register, dynamics, and tone color. Mahler's spatial music facilitates a phenomenological pivot from a 'lateral' orientation toward one of 'depth'. This pivot magnifies the passage's experiential weight and, by extension, its capacity to symbolize the beginning of the hero's path.
4
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THE ST LUKE PASSION AS BRITAIN'S FIRST ENCOUNTER WITH SONORISM

100%
Rutherford-Johnson T.
Muzyka
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2008
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vol. 53
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issue 1(208)
131-139
EN
Penderecki's 'St Luke Passion' is not usually considered a sonoristic work. In the United Kingdom, however, firsthand experience of truly sonoristic pieces was limited and St Luke was the first notable experience of the style for many British audiences. After two performances in 1967 London's critical community divided, a pattern that would mirror international opinion in the following decades. The work's detractors labelled it an unthinking collection of sound effects. Its defenders attempted to negate these accusations by distancing the work from the Polish school and stressing its conventional methods of construction, passing over its extravagant soundworld to focus on recognisable models such as serialism, strict counterpoint, organic development and underlying tonalities. Negatively or positively, sonorism was regarded in the work as a colouristic device, a means by which modernistic means were domesticated to word-painting or dramatic embellishment. Both instances, this paper will argue, did a disservice to the work as an example of Polish political defiance, which was suppressed by either the criticism of its sonoristic technique as mere sound effects or its reduction to familiar Western European designs. Through a combination of reception history and score analysis, this article examines the impact of St Luke in the formation of a British interpretation of sonorism, and compares this to a new reading of the work that draws attention to its use of sonoristic means in support of a political-theological programme, restoring its forgotten political power and arriving at a richer understanding of Penderecki's sonoristic method.
5
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SONORISM AND SONORISTICS IN THE MUSIC OF WITOLD SZALONEK: PROBLEMS OF ANALYSIS AND INTERPRETATION

100%
Humphries C.
Muzyka
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2008
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vol. 53
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issue 1(208)
93-105
EN
Polish sonorism in general, and its specific form as developed by Szalonek, pose some unusual challenges for musical analysis and interpretative musicology, owing to the fact that they give prominence to aspects of music such as timbre and texture whose sensuously immediate character is sufficiently complex to mean that they are, or at least would seem to be, highly resistant to straightforward functional categorisation. Yet both musical analysis and the interpretation of music as a cultural sign-system presuppose a grasp of the internal functional organisation of the music they are concerned with. One possible solution to this problem is proposed by those who adopt a structuralist approach to timbre and texture as compositional variables. This article considers whether such an approach - as exemplified by Danuta Mirka's analysis of Penderecki's sonoristic works - can also be applied to sonoristic music in general, and to Szalonek's music in particular. It argues that such an approach possesses serious limitations, even though these do not show up in an analysis of the kind of sonoristic music that focuses largely on sound-mass effects, as Penderecki's compositions do. A consideration of Szalonek's more soloistic exploitation of sonoristic compositional techniques highlights both phenomenological deficiencies within the structuralist model and the extent to which it retains a formalistic conception of the ingredients of music - one that seems to run counter to the anti-formalist aesthetic that is a feature of sonorism. The author then considers what might be involved in seeking to develop an alternative strategy for analysing such works.
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