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1

The notion of nature in modern music theory and history as seen hy Carl Dahlhaus and Karol Berger

100%

Jarzębska A.

Interdisciplinary Studies in Musicology

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2009

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issue 8

93-108

PL

Modern music theory, ignoring the problems connected with the subject’s auditive experience but referring to the objective laws of nature, was criticised by Carl Dahlhaus, although he accepted - to a certain extent - the hypothesis of historical determinism. Dahlhaus links this turning point in the history of reflection on music with the transition from the ‘ontological contemplation’ of the Tonsystem to the ‘aesthetic contemplation’ of the Tonkunstwerk, the fundamental characteristic of which is the idea of ‘wholeness’ (die Idee der Ganzheit). The new conception of the discourse on the theory and history of modern music proposed by Karol Berger in his book A Theory of Art (2000) bears testimony to crucial changes in the contemporary humanities linked to the so-called ‘cognitive revolution’. According to Berger, the fundamental characteristic distinguishing modern art from premodern art is its autonomy. Berger distances himself from the modern tradition of theoretic- aesthetic discourse treating the work of art, including the work of music, as an axiologically neutral entity independent of ‘human nature’, that is, of the functioning of our memory, imagination and cognitive mechanisms, and also not having a specific social function. At the centre of Berger’s theoretical interests is aesthetics, as broadly understood, coupled with ethics and history, poetics and hermeneutics. He is not interested - like Dahlhaus - in considering ‘what art is’ or ‘what music is’ , but poses the question: ‘What should the function of art be, if art is to have a value for us ?’

2

Developing Tomorrow's Drumming by Studying the Past

86%

Kayser T.

Signum Temporis

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2010

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vol. 3

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issue 1

28-33

EN

Introduction. The master thesis Transmissions of Paradiddles in Jazz and Rock Drumming, A Historical Study (Kayser, 2009) concluded that several paradiddles (specific combinations of single and double strokes) used in military drumming in the 18th and 19th centuries are still in use by today's jazz and rock drummers, though applied in new ways to the drum set.The Aim of the Study. The purposes of this article is to uncover connections between old military drumming of European-American heritage and drum set playing, and to see if learning from centuries of drumming heritage could also be a way to move ahead and develop the art of drumset playing.Materials and Methods. In the present article three drum beats, played by three world famous drummers, have been analyzed using the paradiddle and Baton Mesle drum rudiments as analyzing tools.Results. Gene Krupa used paradiddles derived from military drumming in his basic drumbeat for ‘Sing, Sing, Sing’. Steve Gadd used variations of the Single Paradiddle in his drumbeat for ‘Late in the Evening’. Drummer Virgil Donati developed the art of drumset playing further by playing two different paradiddle patterns of different lengths simultaneously.Conclusions. The three drummers of choice for the present article have all used sticking patterns of European-American military drumming heritage as building blocks to create new and original rhythmic patterns on the drumset. Studying older drumming patterns and practices could be one methodical approach to contemporary music pedagogy in the field of drumming, and a way to achieve a sustainable development of the art of drumset playing.

3

Sztuka jako narzędzie poznawania artystyczno-kulturowej przestrzeni – omówienie prac „Ars inter Culturas”

58%

Chaciński J.

Ars inter Culturas

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2020

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issue 9

5-10

EN

In the current issue of the journal „Ars inter Culturas”, scholarly articles have been gathered and arranged into several thematic groups. Most of the issue is devoted to music, its analysis and to musical education, both conceptual and historical studies, as well as research into its effects. The articles in the first section are arranged chronologically, covering musical space from ancient Egypt to contemporary times. The second section includes historical research on music education, from the perspective of both Eastern European and Polish experiences. The third section maintains a multicultural profile, showing the interpenetration of various musical concepts between countries and their national adaptations.Traditionally, space is set aside in „Ars inter Culturas” for fields that round out the theore-tical area of other aspects of multiculturalism. This time, these were texts offering theological analysis as well as in teaching religious education for young people. The last part of this issue are references to other arts – ballet, design, as well as historical and contemporary interpreta-tion of literature, and sport.

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The notion of nature in modern music theory and history as seen hy Carl Dahlhaus and Karol Berger

Developing Tomorrow's Drumming by Studying the Past

Sztuka jako narzędzie poznawania artystyczno-kulturowej przestrzeni – omówienie prac „Ars inter Culturas”