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Listening to Different Texts: Between Reich and Eco with Nycz

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Szyszkowska M. A.

Eidos. A Journal for Philosophy of Culture

2019

vol. 3

issue 3(9)

5-13

In this essay, the author considers intertextuality in contemporary musical work, conceptualizing it not only as a critical category and as an artistic convention, but also as an aesthetic strategy. Listening for texts, as it were, opens the work for influences and gives it new purposes. The multiple texts, which are mutually interdependent, alter each other’s meaning and are “read” and “re-read” during aesthetic experience. Depending on the listener, these meanings are more or less pronounced; some are seen as primary, while others are seen as secondary. Sometimes they are co-dependent and meaningful together, but sometimes they shy each other out. The multilayered quality of the work is acknowledged and seen as important even before individual meanings can be discovered. The author proposes a look at intertextuality in reference to musical works by Steve Reich, (e.g. Different trains, 1988). The author uses Ryszard Nycz’s definition of intertextuality and confronts it with Umberto Eco’s idea of interpretation and the structural openness of art. Putting forward a concept of listening-in as a necessary element of receiving and understanding certain musical works, she suggests accepting an intertextual aesthetic strategy for a satisfactory aesthetic experience. Assuming the presence of multiple texts, which are different in character and meaning, and accepting their interdependence, changes the reception of the work and colors its qualities. The challenge is not only to seek out different texts hidden behind the purely musical face of the work but to find out the way they influence each other, knowing full well that the major or minor role those texts play depend on the listener as much as on the author.

Wolność, nieskończoność, wzniosłość: przestrzeń duchowa w doświadczaniu muzyki religijnej w perspektywie fenomenologicznej

58%

Szyszkowska M. A.

Pro Musica Sacra

2020

vol. 18

In pursuing the phenomenological description of musical religious experience author refers to William James’ analysis of religious experience, pointing to his ideas of the individual, emotional and above all engagement as the major elements that mark the religious experience. She refers to the aesthetic and psychological though of Edmund Gurney as well as the work of Max Scheler trying presenting a comparison between the religious and aesthetic in the context of the musical experience. Pointing to the music that may be neither functioning nor inspired by the Church, author describes the attentive and engaged music experience that opens up the spiritual space for growing and changing oneself as the ultimate prize for the listening-in.

W poszukiwaniu fenomenologicznego ujęcia muzycznego doświadczenia religijnego autorka nawiązuje do analizy doświadczenia religijnego Williama Jamesa oraz do pism Edmunda Gurneya, a wreszcie do pracy Maxa Schelera. Sięgając do opisu doświadczeń religijnych i mistycznych, stara się naszkicować podobieństwo między doświadczeniem mistycznym, wsłuchiwaniem się a praktyką religijną opisywaną w literaturze filozoficznej. Odwołując się do muzyki, która bez względu na styl, wyznanie kompozytora oraz tekst liturgiczny, prowadzi do doświadczenia mistycznego lub religijnego, określa doświadczenie muzyki religijnej poprzez odwołanie się indywidualnego zaangażowania, emocjonalnej pełni oraz duchowej przestrzeni wyznaczanej m.in. przez wysiłek wsłuchiwania się.

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1 Eidos. A Journal for Philosophy of Culture

1 Pro Musica Sacra

1 2020

1 2019

2 Szyszkowska M. A.

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Listening to Different Texts: Between Reich and Eco with Nycz

Wolność, nieskończoność, wzniosłość: przestrzeń duchowa w doświadczaniu muzyki religijnej w perspektywie fenomenologicznej