Search results

1

Paul Hindemith a idea postępu, tradycja i neoklasycyzm

100%

Księska-Koszałka J.

Kwartalnik Młodych Muzykologów UJ

|

2017

|

issue 4(35)

111-122

EN

Paul Hindemith is one of the most famous composers of the 20th century as well as the most important thinkers in the field of music. His aesthetic beliefs are inspired mainly by Boethius and Saint Augustine. He raises an issue of ideas of tradition and progress, which seemed quite disputable in the music of the 20th century. Hindemith believes that in the world exist some universal spiritual principles, which must be integrated by composers in the process of creating music. He criticises the approaches in which the technique itself appears to be predominant, therefore he negates such techniques as the twelve-tone chromatic scale. According to Hindemith, the development of music must be based on traditional fundaments, which, however, can be linked to modern styles and ideas. That seems crucial not only in the process of composing, but also in teaching music, both in theory and in practice.

2

Paul Hindemith and the Idea of Progress, Tradition and Neoclassicism

100%

Księska-Koszałka J.

Kwartalnik Młodych Muzykologów UJ

|

2017

|

issue 4(35) Eng

112-124

EN

Paul Hindemith is one of the most famous composers of the 20th century as well as the most important thinkers in the field of music. His aesthetic beliefs are inspired mainly by Boethius and Saint Augustine. He raises an issue of ideas of tradition and progress, which seemed quite disputable in the music of the 20th century. Hindemith believes that in the world exist some universal spiritual principles, which must be integrated by composers in the process of creating music. He criticises the approaches in which the technique itself appears to be predominant, therefore he negates such techniques as the twelve-tone chromatic scale. According to Hindemith, the development of music must be based on traditional fundaments, which, however, can be linked to modern styles and ideas. That seems crucial not only in the process of composing, but also in teaching music, both in theory and in practice.

3

Neoclassicism and the return to Sources in the Egyptian Drama

100%

Machut-Mendecka E.

Rocznik Orientalistyczny

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vol. Rocznik Orientalistyczny, T. 43, (1984), wyd. 1985

4

Tonality and Neoclassicism in Stravinsky’s Sonata for Piano, Mvt. 2 (1924)

88%

Ballengee C.

Interdisciplinary Studies in Musicology

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2021

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issue 21

9-21

EN

Igor Stravinsky’s Sonata for Piano is an often overlooked yet important artifact of the composer’s neoclassicism. his treatment of tonality in the second movement is both literally and aurally more conventional than one might first guess. Stravinsky’s reliance on convention points to an ideology of continuity, one that honors the legacy of beethoven and other heroes. In doing so, Stravinsky’s Sonata brings forward old ideas wrought in new ways for a modern era. This essay examines ways of thinking about Stravinsky’s neoclassic style through analysis of the second movement of the Sonata focusing on the use of post-tonal techniques to create surprisingly tonal music.

5

Arthur Honegger wobec Jeana Cocteau i Grupy Sześciu1

88%

Melski M.

Kwartalnik Młodych Muzykologów UJ

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2017

|

issue 4(35)

91-109

EN

The purpose of this article is to present a broad spectrum of relations between Arthur Honegger—a composer, and Jean Cocteau—a poet and playwright. They are often associated with the group under the patronage of Cocteau called Les Six, to which Honegger undoubtedly belonged. The poet gathered young composers around himself and became the initiator of artistic meetings and concerts. Most of tchem took place between 1917 and 1921. Cocteau wanted to show the path French music should follow. In accordance to that, his aesthetic manifesto Le Coq et l’Arlequin was published in 1918. In the first section, Honegger’s and Cocteau’s aesthetic views concerning music, elements of musical work and its expression are presented and confronted. Next, the composer’s as well as poet’s work is presented by the example of their cooperation. The analysis of mutual relations leads to the conclusion that, despite many different views, Honegger and Cocteau respected each other and were very kind. The composer significantly departed from the ideals of Cocteau and developed his own individual style resulting from a wide range of musical inspirations. Les Six was a short-lived group and Cocteau himself was gradually moving away from his controversial and radical views.

6

A tradição de Camões na poesia brasileira durante o Arcadismo ou a reinvenção do imaginário épico em O Uruguay de Basílio da Gama e n’O Caramuru de Santa Rita Durão

88%

Kalewska A.

Studia Iberystyczne

|

2014

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vol. 13

111-131

EN

In colonial Brazilian epic, exemplified in here by the poems O Uruguay (1769) by Basílio da Gama and Caramuru (1781) by José Santa Rita Durão the tradition of Os Lusíadas (1572) by Luís Vaz de Camões has been affirmed as strong literary influence, even though a new poetic attitude appears, one which exalts differences, narrating the heroic deeds of Brazil, consecrating the Brazilian soil and identifying its people, if not the construction of the paradigm of Brazilianism. In the scope of interest are the two poems which represent the ambiguity of the senses of construction and ideological expression, the Classicist and modern spirit, tradition and, before all, the break with the colonial ideology. The literary formation in Brazil seems to have been born out of the juxtaposition of the tradition of Os Lusíadas (1572) by Luís Vaz de Camões as one of the strongest factor in the process of formation of global Lusophone conscience and its gradual overcoming and substitution by national Brazilian models.

7

Cechy stylu neoklasycznego w Sonacie organowej Tadeusza Paciorkiewicza

88%

Arseniuk P.

Kwartalnik Młodych Muzykologów UJ

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2022

|

issue 1(52)

5-21

EN

The aim of this study was to describe the structure of the organ Sonata by Tadeusz Paciorkiewicz and to show its Neoclassical features. For this purpose, the main elements of the piece were described, such as: form, melody, texture, harmony, rhythm, tempo and timbre. Despite the typical Neoclassical elements, the presence of the Romantic elements in the piece was also stated, which is typical of Paciorkiewicz's aesthetics.

8

Arthur Honegger and His Relation to Jean Cocteau and Les Six

88%

Melski M.

Kwartalnik Młodych Muzykologów UJ

|

2017

|

issue 4(35) Eng

93-111

EN

The purpose of this article is to present a broad spectrum of relations between Arthur Honegger—a composer, and Jean Cocteau—a poet and playwright. They are often associated with the group under the patronage of Cocteau called Les Six, to which Honegger undoubtedly belonged. The poet gathered young composers around himself and became the initiator of artistic meetings and concerts. Most of tchem took place between 1917 and 1921. Cocteau wanted to show the path French music should follow. In accordance to that, his aesthetic manifesto Le Coq et l’Arlequin was published in 1918. In the first section, Honegger’s and Cocteau’s aesthetic views concerning music, elements of musical work and its expression are presented and confronted. Next, the composer’s as well as poet’s work is presented by the example of their cooperation. The analysis of mutual relations leads to the conclusion that, despite many different views, Honegger and Cocteau respected each other and were very kind. The composer significantly departed from the ideals of Cocteau and developed his own individual style resulting from a wide range of musical inspirations. Les Six was a short-lived group and Cocteau himself was gradually moving away from his controversial and radical views.

9

Neoklasyczny idiom muzyki Tadeusza Kasserna

75%

Kostka V.

Aspekty Muzyki

|

2011

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vol. 1

63-82

EN

A characteristic feature of Tadeusz Z. Kassern’s artistic output is a variety of musical styles, among which there is Post Romanticism, Post Impressionism, Folklorism, Expressionism, and different neoclassical sub-styles such as the Neoclassicism proper, Neoclassicism with archaic elements, Neoclassicism with archaic and romantic elements, as well as radical Neoclassicism. Among the abovementioned styles, the proper Neoclassicism is predominant. It is represented by Concerto for string orchestra, Concertino for oboe and string orchestra, the opera Comedy of the Dumb Wife to the composer’s own libretto based on a play by Anatole France, and many other works. The works belonging to this group are part of a widespread musical dialect, at the same time bearing traces of the composer’s individual choices that create a distinct musical idiom. This idiom, like the majority of idioms within the sub-dialect, is well-grounded in neotonal syntactic rules and formal strategies directed mainly at typical baroque and classical forms. Within the scope of the patterns replicated, it is close to the French and Polish proper Neoclassicisms. With the French Neoclassicism, it has in common static tonality, form, solutions in orchestration, as well as the use of quotations and parody; with the Polish style, it shares principles of symmetry and references to Polish musical tradition. As characteristic determinants of Kassern’s idiom, one can assume the simplest kinds of poly-tonality, considerable use of ostinatos, varied rhythmic unfolding, and multi-layered texture, which in its most developed form can be found in the expressionistic opera The Anointed.

10

Seeing things by Anna Margolin

63%

Francuz A.

Przegląd Narodowościowy – Review of Nationalities

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2016

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issue 6

261–267

PL

Jeśli przywołać najważniejsze dla tej poezji słowa, należałoby rozpocząć opowieść od kamieni, lilii, dłoni i krwi, które, jeśli przyjrzeć się im z filologiczną dokładnością, są wzajemnie powiązane: sytuują się wyraźnie na przeciwległych brzegach procesu twórczego Mówią o wznoszeniu gmachu złożonego z wyobrażeń o sile i słabości swej, upojeniu i zastyganiu w tym, co od wieków poeci klasycy próbowali zgłębić: harmonię i jasność, wiedzeni nadzieją, że w życiu ponad wszystko trzymać się należy piękna A ponadto w dyscyplinie nie poprzestawać, ćwiczyć oko i poszerzać pole widzenia, od porywów serca nie stronić; serce bowiem rośnie, potężnieje od wielkich idei, namiętności Pojemna się staje ta wizja pisania, jest splotem sprzeczności- tak ją widzi jedna z najważniejszych poetek dwudziestowiecznych, pisząca w jidysz, Anna Margolin Poezja Margolin jest wyraźnym zwrotem w stronę neoklasycyzmu, nawarstwianiem wątków, tez, aluzji, myśli przejętych od światopoglądowo jej bliskich artystów, wielkich indywidualności: Anny Achmatowej (od której przejęła imię), Osipa Mandelsztama, Rainera Marii Rilkego, Ezra Pounda.

EN

If we recall the most important words for the poetry, we should begin the story with the stones, lily, hands and blood, which, if you look at them with the philological accuracy, are interrelated: situate themselves clearly on opposite banks of the creative process. They talk about the construction of the building consisting of perceptions about their own strength and weakness, ecstasy and congealing in what for centuries the classics poets have tried to fathom: the harmony and clarity, driven by the hope that in life they should above all stick to be beauty. And in addition, they ought to go further than discipline, practice eye and expand the field of view, should not shun from the gusts of the heart, because the heart grows more powerful due to great ideas, passions. Spacious becomes the vision of writing, it is the weave of contradictions - this is how one of the most important twentieth-century poets, who wrote in Yiddish, Anna Margolin sees it. Margolin’s poetry is a clear return towards neoclassicism, building up topics, theses, allusions, ideas taken from ideologically close to her artists of great individuality, Anna Akhmatova (from whom she took her name), Osip Mandelstam, Rainer Maria Rilke, Ezra Pound.

11

Scena dell’incontro tra il poeta e la Musa nel poemetto Urania di Alessandro Manzoni alla luce della tradizione classica. Analisi strutturale

63%

Raczyńska A.

e-Scripta Romanica

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2015

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vol. 2

39-45

EN

The short poem Urania is the last neoclassical work of Alessandro Manzoni, one of the greatest representatives of Italian Romanticism. This paper analyses the chance meeting between Pindar and the Muse Urania. It examines whether this scene is structured in the same way as those in which chance meetings between poets and divinities take place in ancient literature. My analysis is inspired by research conducted by Tomasz Mojsik - a Polish scholar in history and classical philology - on the role of the Muses in Ancient Greek culture.

IT

Il poemetto Urania è l’ultimo lavoro neoclassico di Alessandro Manzoni, uno degli esponenti del Romanticismo italiano. L’obiettivo del mio articolo è l’analisi della scena dell’incontro fra il poeta Pindaro e la Musa Urania. Le mie ricerche mirano a riconoscere le relazioni tra la scena del poemetto e la tradizione classica dell’incontro di un poeta con una divinità ispiratrice. Le mie analisi sono ispirate alle ricerche di Tomasz Mojsik, storico e filologo classico polacco, sul ruolo delle Muse nella cultura della Grecia antica.

12

Барочные отзвуки классицизма: Михаил Ломоносов, Гавриил Державин и Симеон Полоцкий

51%

Прохоров Г.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

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2022

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issue 15

251-262

EN

In this article, I trace some effects produced by Baroque on the Russian poetry and question the traditional attitude to the cultural epoch as to somewhat occasional and uninfluential; a mere buffer between the traditional Old Russian art and Russian Neoclassicism introduced by Peter the Great’s reforms oriented towards new European norms. In contrast to the vision, I put an emphasis on the genuine, rhetoric nature of the Neoclassicism. Russia has never been a country of the classical antiquity; thus, Russian poets use classical motifs solely and exclusively as popular verbal cliches. Beneath the new formulas, poets continue the Russian literary tradition; Russian Neoclassicism is shaped by the Baroque. I compare works by Symeon of Polotsk, Mikail Lomonosov, and Gavriil Derzhavin in order to explore a poetic tradition manifested by a shared plot and a set of motifs. Influenced by Symeon of Polotsk, Russian Neoclassicism continues to use baroque elements. Namely, the protagonists of Lomonosov are sceptical about the capabilities of the human mind to interpret nature. Quite opposite, they are admired by superabundance and the omnipresent mysteries of the Universe. In later poetry, such as Derzhvine’s ode titled “God”, the baroque vision is linked with Pre-Romanticism. There, an individual appears as someone who is able to have a sensual experience of the Universe and interact with it. The world turns into an area of dialogue and spiritual interaction between the Creator and the Human.

RU

В центре статьи – эволюция топосов, пришедших в русскую поэзию в эпоху барокко. Автор полемизирует с традиционным для России отношением к барокко как в явлению периферийному и чуждому русской культуре – скорее буферу между традиционным древнерусским и новым искусством, рожденным реформами Петра I и ориентированным на европейские образцы. Акцентируется риторическая природа русского классицизма, при котором античные мотивы и аллюзии – исключительно речевые формулы, введенные скорее как дань моде, притом что Россия никогда не была страной античной цивилизации. Соответственно, под этими формулами продолжает жить русская литературная традиция, а русский классицизм несет в себе отчетливые черты русского барокко. В статье сопоставляются произведения Симеона Полоцкого, Михаила Ломоносова, Гавриила Державина и вскрывается преемственность, выраженная общностью сюжетной ситуации и обращением к общему набору мотивов. Барочные элементы, вошедшие в русскую литературу при посредничестве Симеона Полоцкого, продолжают функционировать внутри духовной поэзии классицизма. Потому лирический герой Ломоносова парадоксально испытывает скепсис по поводу способности человеческого разума познавать и осмыслять природу; восхищается сверхъизбыточностью и непознаваемостью мироздания. В более поздней поэзии (ода Бог Гавриила Державина) пришедшая из барокко топика выражает переживания, характерные для мироощущения предромантизма. Мир предстает объектом, предназначенным для переживания индивидуальной личностью, зоной диалога между Творцом и человеком.

13

Návrat k tradícii? „Neoklasicizmus“ v čínskej poézii osemdesiatych rokov 20. storočia

45%

Tkáčová M.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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2020

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issue 61

188-203

EN

This article analyses a part of a new phenomenon occurring in Chinese poetry of the 1980s — after decades of denying the domestic tradition, some of the so-called Third generation poets started to find their way back to it. Unlike the more popular “searching for the roots” movement authors, however, poets like Shi Guanghua, Song Qu and Song Wei, Cheqianzi, and Daxian, whose poems are the subject of this analysis, turned mainly to its classical part. In various ways they incorporated elements of classical Tang and Song poems, as well as references to the well-known traditional works, into their own (fundamentally modern) poetry. The term “neoclassicism” (xin gudianzhuyi) comes from an eccentric theory of Chen Zhongyi, further developed by Olga Lomová in her unpublished paper. Based on our own analysis, we attempt to identify the ways in which modern poetry approaches this tradition, and to qualify in which sense this is to be considered a return to tradition.

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Paul Hindemith a idea postępu, tradycja i neoklasycyzm

Paul Hindemith and the Idea of Progress, Tradition and Neoclassicism

Neoclassicism and the return to Sources in the Egyptian Drama

Tonality and Neoclassicism in Stravinsky’s Sonata for Piano, Mvt. 2 (1924)

Arthur Honegger wobec Jeana Cocteau i Grupy Sześciu1

A tradição de Camões na poesia brasileira durante o Arcadismo ou a reinvenção do imaginário épico em O Uruguay de Basílio da Gama e n’O Caramuru de Santa Rita Durão

Cechy stylu neoklasycznego w Sonacie organowej Tadeusza Paciorkiewicza

Arthur Honegger and His Relation to Jean Cocteau and Les Six

Neoklasyczny idiom muzyki Tadeusza Kasserna

Seeing things by Anna Margolin

Scena dell’incontro tra il poeta e la Musa nel poemetto Urania di Alessandro Manzoni alla luce della tradizione classica. Analisi strutturale

Барочные отзвуки классицизма: Михаил Ломоносов, Гавриил Державин и Симеон Полоцкий

Návrat k tradícii? „Neoklasicizmus“ v čínskej poézii osemdesiatych rokov 20. storočia