Search results

1

Biological and social aspects of the theoretical thought of Richard Wallaschek

100%

Muszkalska B.

Interdisciplinary Studies in Musicology

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2009

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issue 8

71-80

PL

The article is devoted to the work of Richard Wallaschek, who was sharply criticised during his lifetime, and only in the 1980s did the academic community renew its interest in his achievements. His book Primitive Music (London 1893) is considered to have laid the foundations for comparative musicology. He sought to prove that comparing European music with the music of primitive peoples was essential, and was the only way to attain a proper view of the products and development of our own culture. The year 1896, in which Wallaschek received his habilitation from the University of Vienna, is regarded as the beginning of comparative musicology in Vienna. Wallaschek postulated that ‘formal aesthetics’, describing merely ‘the chronology of composers’ and marked by an europocentricism, be replaced by a modern musicology, collaborating with music psychology and music ethnography and based on the natural foundations of musical aesthetics - a musicology which would formulate its conclusions on the basis of ‘facts and examples’, which it would verify by means of natural material. A central place in his research was occupied by the genesis of music, musical experiencing and aesthetic judgment, and the perception and creation of music. Taking up the question of musical abilities, Wallaschek devoted much space to women. He considered them more gifted than men, in which he differed from Eduard Hanslick and from other of his contemporary scholars. Postulating a sociological analysis of the situation of musical women in various cultures, he pointed to the methodological necessity of making a strict distinction between the actual musical abilities of women and the social appraisal of those skills.

2

Collage as the Principle of Mythological Thinking and Postmodern Music

75%

Kozel D.

Hudební věda (Musicology)

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2018

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vol. 55

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issue 2

181-192

XX

The term neo-mythologism can be used as an interpretative approach to reflect the new 20th-century music paradigm, which helps to explain changes in the understanding of basic structural elements of myth and music. The study identifies certain possible correlations between mythological thinking and music by analysing the concept of collage (bricolage). The underlying theoretical concept employed is Claude Lévi-Strauss’ structural anthropology as proposed in La Pensée Sauvage (1962). Collage is viewed as a manifestation of neo-mythologism and as a narrative in the postmodern musical discourse, which is accompanied by changes in the understanding of the essence of the musical matter and compositional techniques of composers. The compositional treatment of several different layers of the musical structure within a musical collage with a view to conveying a new meaning is in principle akin to how meaning is generated in mythological thinking through the combination of various materials.

3

Pomiędzy muzyką a językiem. Figuralne i krytyczne w muzyce na przykładzie Lyotardowskiej analizy Sequenzy III Luciana Berio

75%

Szyszkowska M. A.

Aspekty Muzyki

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2016

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vol. 6

69-84

EN

The author refers to an article by J.-F. Lyotard A few words to sing in which the philo-sopher tries to analyze Sequenza III by Luciano Berio, a piece performed by Cathy Berberian. A few words to sing is an example of Lyotard’s dealing with musical topics situated “on the bor-derline”. In this particular case, the author suggests that the analysis in question lies in perfect agreement with Lyotard’s categories of figure and giving voice to the victim disallowed to speak, as opposed to the (purely) aesthetic, thus enforcing the demand of “resisting the aesthetic”. Lyotard’s musical interests, although perhaps not so evident as his passion with the image, also indicate quite clearly his specific (anti-)aesthetics. While listening to Sequenza III, Lyotard discovers the decon-structed discourses that Berio planted in his musical work. Their interrelations, as well as our own expectations towards the piece — as Lyotard believed — all provide a significant context for the interpretation of Sequenza III, the interpretation which may still give rise to revolution, if only the total critical potential of the work is duly used.

4

Notes about Musical and Aesthetic Thinking in Slovakia in the 20th Century

75%

Kopčáková S.

Humanum. Międzynarodowe Studia Społeczno-Humanistyczne

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2012

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issue 2(9)

197-205

EN

This paper addresses the little studied area of Slovak music and its influence from ‘above‘: the aesthetic theory (dogmatic aesthetics) created out of the political demands placed on art in the 1950s and 60s. In this relatively short ‘Socialist building‘ period, music as both an adornment of the regime and an ideological tool was promoted in accordance with Lenin’s reflection theory and Zhdanov’s normative aesthetics using rules, prohibitions and dogma. Fortunately, however, the mission to build and entrench socialism was never fulfilled.

5

Antyczne źródła estetyki muzycznej

63%

Bramorski J.

Studia Gdańskie

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2020

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vol. 46

221-234

EN

Starting with Pythagoras, through Plato and Aristotle, the ancient theory of the musical aesthetics stressed the particular meaning beauty of music in the ethical perspective both in the personal as well as in the social dimension. Music fulfilled the essential function in educating the youth according to the ideal of kalokagatia. This way it exemplified the indispensable element of ancient paideia, constituting the moral character of a human being and enabling him the contemplation of beauty. The ancient vision of the musical aesthetics became close to the Christian presentation of this issue. The concept of musical ethos, characteristic of the ancient philosophy influenced shaping the theory of music influenced not only the theory of music in the centuries that followed but the development of the entire European culture as well. The ancient philosophers' thought did not lose its timeliness. It shows us that we cannot limit the work of upbringing to the practical and technical aspect only, since passing over the higher abilities of the soul, one will not achieve the proper aim of education, which is the moral goodness and integrity of a man.

PL

Począwszy od Pitagorasa, poprzez Platona i Arystotelesa, starożytna teoria estetyki muzycznej akcentowała szczególne znaczenie piękna muzyki w perspektywie etycznej, zarówno w wymiarze osobistym, jak i społecznym. Muzyka spełniała istotną funkcję w wychowaniu młodzieży według szlachetnego ideału kalokagatii. W ten sposób stanowiła ona niezbędny element antycznej paidei, formując moralny charakter człowieka oraz uzdalniając go do kontemplacji piękna. Antyczna wizja estetyki muzycznej stała się bliska chrześcijańskiemu ujęciu tego zagadnienia. Charakterystyczna dla filozofii starożytnej koncepcja etosu muzycznego wywarła wpływ nie tylko na kształtowanie się teorii muzyki w następnych wiekach, ale na rozwój całej kultury europejskiej. Myśl filozofów antycznych nie straciła swej aktualności. Wskazuje także nam, że nie można ograniczać dzieła wychowania jedynie do aspektu praktyczno-technicznego, gdyż pomijając wyższe zdolności duszy, nie osiągnie się właściwego celu edukacji, jakim jest moralna dobroć i prawość człowieka.

6

Fakt estetyczny jako autonomiczne doświadczenie poznawcze w badaniach nad uczeniem się muzyki (rekomendacje dla wczesnej edukacji)

63%

Trzos P. A.

Ars inter Culturas

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2019

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vol. 8

155-174

EN

Music education theorists agree that the success of music learning depends to a large extent on the quality of the educational impact at early stages of education. Early music education is therefore the stage where the identification of natural developmental potential and the development of appropriate musical competences and skills is particularly important (in terms of the professionalization of activities and their evaluation). This text raises important issues for educators concerning research on the disciplinarization of knowledge about early music education and the quality of socio-cultural practice in this field. It refers to E.E. Gordon's contemporary Theory of Learning Music and its main conceptual category - audiation. In this theoretical construction, the adopted definitions allow one to draw recommendations for general reflection on the relationship between theory and the practice of research on the autonomy of childhood experience of music and aesthetics. This reflection is inscribed in the reflection of contemporary pedagogy and strives to evaluate the basic qualities of music pedagogy (at least in the aspect of creating empirical-praxeological knowledge).

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