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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.
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SONORISM: FOOTPRINTS AND FINGERPRINTS

88%
Maslowiec A.
|
2008
|
vol. 53
|
issue 1(208)
81-92
EN
Polish avant-garde music after 1956 has often been described by the term 'sonoristic', introduced into Polish musicology by the musicologist Józef Chominski. This trend, characterized by an emphasis on texture and timbre and often coupled with non-traditional instrumental and vocal techniques, became known as 'sonorism' [sonorystyka] and associated with the term 'Polish School'. While this paper touches on problematic issues such as the time-frame, definition and periodisation of the movement, its main focus is on the sonoristic repertoire and two complementary aspects which the authoress refers to, metaphorically, as footprints and fingerprints. The footprints are shared sonoristic features and characteristics such as texture and timbre used as primary structural elements, sharp textural contrasts, fast rate of change, and particular aspects of articulation and notation, all of which join to constitute criteria that enable one to distinguish virtually all sonoristic works from contemporary 'textural' pieces by composers such as Xenakis and Ligeti. The present discussion of fingerprints, which highlights highly diverse personalities within the general sonoristic trend, concentrates on three works: Schaeffer's 'Scultura' (1960), Serocki's 'Symphonic frescos' (1963-1964), Szalonek's 'Les sons' (1965). These works provide a useful supplement to more familiar instances of sonoristic fingerprints in the early works of, for instance, Penderecki and Górecki. Both aspects of such works are equally important for the understanding of the nature of sonorism. The paper concludes that, despite its problematic aspects, the notion of sonorism is not only justly imprinted as a term and concept in Polish musicology but is finally crossing the language barrier. The term 'sonorism' has come to usefully represent both the footprints and the fingerprints of the movement.
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