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Technika kompozytorska Arvo Pärta w utworach instrumentalnych z okresu wczesnej stylistyki tintinnabuli

100%

Krawczyk A.

Aspekty Muzyki

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2014

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vol. 4

147-169

EN

The most known works of Estonian composer Arvo Pärt (*1935) have been written in his individual compositional style called tintinnabuli. The style was formed in 1976 as a result of a significant crisis Pärt had experienced after his last dodecaphonic composition. At that point the composer realized that dodecaphony and other contemporary techniques are no longer inspiring for him and decided search for a new direction for his music. In 1976–1980, after some years of exercising and studying early music, he presented several works, mostly instrumental, introduc-ing a new stylistic quality. The compositions are based on a precise system of regulations which has determined many aspects of Pärt’s musical language. The melodic material is limited to two scales: one diatonic and one ‘triad scale’, the latter having been created on the basis of triad struc-ture. The form has been constructed by using a simple mathematical procedure — a sequence, although some external formal models are also involved. The rhythm is often based on a repetitive scheme which can be interpreted as a reference to a medieval isorythm. It is the very detailed and consequent system of those and others technical principles that make the pieces composed during the early period of tintinnabuli style consistent and recognizable.

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Działalność kompozytorska, naukowa i pedagogiczna Alicji Gronau w świetle biografii kompozytorki

63%

Łukaszewski M. T.

Seminare. Poszukiwania naukowe

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2012

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vol. 32

253-266

EN

‘High-calibre artists who are women’ – was the motto of an exhibition ‘Polish women composers 1816-1939’, which was held in Katowice in 2003. In the nineteenth century, professional composers were almost all men. Only a handful of women earned a reputation for accomplishments that went beyond amateur music-making. In the twentieth century, women made their presence felt in various forms of artistic activity, including music. Grażyna Bacewicz (1909-1969) is regarded as the patron of Polish women composers of the last century. She achieved worldwide reputation and ranks among the most outstanding 20th-century Polish composers, alongside Karol Szymanowski, Witold Lutosławski and Krzysztof Penderecki. Alicja Gronau, born in 1957, belongs to the most interesting Polish women composers. She began her musical education in 1971 in one of Warsaw’s secondary music schools, attending eurhythmics classes with Barbara Turska and studying piano improvisation with Szabolcs Esztényi, a Hungarian pianist and composer domiciled in Poland. It was thanks to Esztényi that improvisation charted the development of her career. Having graduated from secondary school, Gronau enrolled at the Fryderyk Chopin Music Academy in Warsaw, where she gained two diplomas: in music theory (the class of Witold Rudziński) and subsequently in composition (under the guidance of Marian Borkowski). During her studies, she worked closely at the Experimental Eurhythmics Workshop at her Alma Mater. She participated in the Workshop’s study visit to Hungary, the 14th Congress of the International Society for Music Education in Warsaw and in the eurhythmics courses organized by the E. Jaques-Dalcroze Institute in Geneva and Zakopane (Poland). Gronau stresses that eurhythmics and improvisation played a highly important role in the development of her compositional workshop. Gronau’s first composition, written during her studies with Marian Borkowski, was Przenikanie (Penetration) for solo clarinet (1981). It was followed by Mironczarnie I for a cappella vocal septet (1982), Gioco per voci e batteria (1982), Open for clarinet, viola and horn (1983), Flowing for orchestra (1984), String Quartet No. 1 (1984) and Versioni for 24 performers (1984). In these works, she employed a wide range of techniques. She developed her skills at numerous master courses, including those in Kazimierz Dolny-on-the-Vistula. She is a prizewinner of many composers’ competitions, as well as grants and state distinctions (see – the final fragment of the Polish version of the article). Her creative interests proceeded from a freely-elaborated dodecaphony to controlled aleatory and a search for her own, individual musical idiom. One of her latest major compositions is Poemat – Requiem for orchestra. Her entire output includes several dozen compositions for various performance forces and of diverse stylistic and expressive features. (see the list of compositions at the end of the Polish version of the article). Gronau has also developed a teaching career. She joined the faculty of the Fryderyk Chopin Music Academy (now the Fryderyk Chopin Music University) in 1983. She gained a doctor’s degree in 1997 and became an assistant professor in music composition in 2007. She also worked closely with the Universities in Warsaw and Zielona Góra, as well as with universities in Romania and Chile. At her Alma Mater, she is Head of postgraduate studies in music theory and composition, and of doctoral studies. She also organizes academic sessions and concerts in the ‘composer portrait’ series. In her research, she concentrates on her own compositional method (see the list of publications in the Polish version of the article), the problems of eurhythmics and the theory of rhythm, musical graphics and the analysis of works by other composers (e.g. Marian Borkowski, Jani Christou, Piotr Perkowski, Witold Rudziński, Kazimierz Sikorski). She has several books and numerous articles in Polish and foreign periodicals to her credit.

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Słowo podstawowym narzędziem gregoriańskiej techniki kompozytorskiej w adaptacji wzorców modalnych do nowych tekstów

63%

Ferfoglia S.

Liturgia Sacra. Liturgia - Musica - Ars

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2019

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vol. 54

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issue 2

543-572

EN

In the article the author asks how the Gregorian melodies were created? How were they written down? Is it possible that the notation may be a tool for a deeper understanding of the text? In this way the author explores the secrets of the Gregorian compositional technique – which is based on using the same formulas or even the whole melodies for different texts. It is clearly visible that the Gregorian composer “thought through the perspective of the word”. Each new text has a different verbal rhythm, resulting from the nature of the words, and this gives the same melody a new sense and a new meaning in a new verbal context. To convince oneself of the truthfulness of this statement and of the sophistication of the composer’s intervention, it is not enough to look only at the Vatican notation; one must reach for adiastematic notation, which conveys the rhythm of the intonation contour. Comparing the same melodies in different verbal contexts with divergent rhythms shows us that the same melody becomes for the composer a “pretext” to express something more. In the article, three melodies (graduals) based on the modal pattern of the fifth modus – plagal tritus – (Christus factus est, Exiit sermo, Ecce sacerdos magnus) were analysed. On their example, the author demonstrates how the modal pattern of plagal tritus has been adapted to the new text.

PL

W artykule Autorka pyta się jak powstały melodie gregoriańskie? W jaki sposób zostały one zapisane? Czy zapis może być narzędziem do głębszego zrozumienia tekstu? Autorka wchodzi w ten sposób w tajniki gregoriańskiej techniki kompozytorskiej; polega ona przede wszystkim na wykorzystywaniu tych samych formuł albo nawet całych melodii do różnych tekstów, w czym wyraźnie widać, że kompozytor gregoriański „myślał słowem”. Każdy nowy tekst zawiera inny rytm werbalny, wynikający z natury słów, a to nadaje tej samej melodii nowy sens i nowe znaczenie w nowym kontekście słownym. Aby przekonać się o prawdziwości tego stwierdzenia i wyrafinowaniu zabiegu kompozytorskiego nie wystarczy spojrzeć tylko notację watykańską; trzeba sięgnąć do notacji adiastematycznej, która przekazuje rytm przebiegu melodycznego. Porównanie ze sobą tych samych melodii w różnych kontekstach słownych z różnym rytmem pokazuje nam, że ta sama melodia staje się dla kompozytora „pretekstem” do wyrażenia czegoś więcej. W artykule zostały przeanalizowane trzy melodie (graduały) bazujące na wzorcu modalnym piątego modusu, czyli tritusa plagalnego (Christus factus est, Exiit sermo, Ecce sacerdos magnus), Na ich przykładzie Autorka pokazuje, w jaki sposób wzorzec modalny tritusa plagalnego został zaadaptowany do nowego tekstu.

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Inspiracje muzyką dawną w twórczości kompozytorskiej Pawła Łukaszewskiego na przykładzie wybranych utworów: „Luctus Mariae”, „Via Crucis” i „Resurrectio”

51%

Łukaszewski M. T.

Seminare. Poszukiwania naukowe

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2015

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vol. 36

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issue 2

215-228

EN

The article discusses some aspects of the work of Paweł Łukaszewski (b. 1968), a Polish composer working at the Frederic Chopin University of Music in Warsaw. Łukaszewski’s musical works primarily consist of sacral music. The article describes the features of his compositional techniques, inspiration derived from early music and the use of rhetorical figures in three works: Luctus Mariae, Via Crucis and Resurrectio. All works are written for Latin texts. Luctus Mariae – for the contemporary Latin poetry of Jerzy Wojtczak-Szyszkowski, the other works for liturgical texts and passages from the Scripture. Łukaszewski describes his musical language as “renewed tonality”. In the presented works, the author introduces the following musical rhetorical figures: saltus duriusculus, exclamatio, aposiopesis, suspiratio, dispositio. The lineup and deliberative use of a formal course in these works is also symbolic.

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1 Krawczyk A.

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Technika kompozytorska Arvo Pärta w utworach instrumentalnych z okresu wczesnej stylistyki tintinnabuli

Działalność kompozytorska, naukowa i pedagogiczna Alicji Gronau w świetle biografii kompozytorki

Słowo podstawowym narzędziem gregoriańskiej techniki kompozytorskiej w adaptacji wzorców modalnych do nowych tekstów

Inspiracje muzyką dawną w twórczości kompozytorskiej Pawła Łukaszewskiego na przykładzie wybranych utworów: „Luctus Mariae”, „Via Crucis” i „Resurrectio”