The article is a review of Anna Maria Busse Berger’s book The Search for Medieval Music in Africa and Germany, 1891–1961: Scholars, Singers, Missionaries. This volume discusses the role of youth movements (Jugendbewegung, Wandervogel, Singbewegung) responsible for creating the cultural life of Germany, and the interdependencies between musicologist-medievalists, ethnomusicologists and missionaries. It also deals with the fascinating, difficult beginnings of comparative musicology, including the story of musicology as a scholarly discipline that was slowly finding its place among other branches of learning that had already been long established at universities.
这篇文章是对Anna Maria Busse Berger的书《在非洲和德国寻找中世纪音乐，1891-1961:学者，歌手，传教士》的评论。本卷讨论了青年运动的作用(Jugendbewegung, Wandervogel, Singbewegung)负责创造德国的文化生活，以及音乐学家-中世纪主义者，民族音乐学家和传教士之间的相互依存关系。它还讲述了比较音乐学迷人而艰难的开端，包括音乐学作为一门学术学科的故事，它慢慢地在其他已经在大学里建立了很长时间的学习分支中找到了自己的位置。
{"title":"Podróż do źródeł muzyki? Afrykańsko-niemieckie związki muzyczne w I poł. XX wieku","authors":"Wojciech Odoj","doi":"10.14746/rfn.2021.22.14","DOIUrl":"https://doi.org/10.14746/rfn.2021.22.14","url":null,"abstract":"The article is a review of Anna Maria Busse Berger’s book The Search for Medieval Music in Africa and Germany, 1891–1961: Scholars, Singers, Missionaries. This volume discusses the role of youth movements (Jugendbewegung, Wandervogel, Singbewegung) responsible for creating the cultural life of Germany, and the interdependencies between musicologist-medievalists, ethnomusicologists and missionaries. It also deals with the fascinating, difficult beginnings of comparative musicology, including the story of musicology as a scholarly discipline that was slowly finding its place among other branches of learning that had already been long established at universities.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115411218","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article discusses the book Musical Solidarities by Andrea F. Bohlman. In her monograph she describes the history of Solidarity, placing sound at the centre of her analysis. The methods she uses allow her to examine historical facts holistically: she reaches for fieldwork as well as voice analysis, specific music motifs, and the influence of Polish musicians and composers on social attittudes in the 1980s. She offers an interesting analysis of the songs that acompanied the protests and the phenomenon of Stefan Bratkowski’s “Gazeta Dźwiękowa” [Sound Gazette] and its influence on the listeners. She draws attention to the icons of the Solidarity period such as Father Jerzy Popiełuszko, Lech Wałęsa, Krzysztof Penderecki and their voices, understood both literally and metaphorically. She also analyses contemporary reinterpretations of songs from that period, using Jacek Kaczmarski’s Mury [Walls] and Janek Wiśniewski padł [Janek Wiśniewski fell]. The author rejects the chronological approach to research, analysing the historical period through problematization of selected issues.
{"title":"Etnomuzykologia Solidarności. Wokół \"Musical Solidarities: Political Action and Music in Late Twentieth-Century Poland\" Andrei F. Bohlman","authors":"Joanna Kwapień","doi":"10.14746/rfn.2021.22.12","DOIUrl":"https://doi.org/10.14746/rfn.2021.22.12","url":null,"abstract":"The article discusses the book Musical Solidarities by Andrea F. Bohlman. In her monograph she describes the history of Solidarity, placing sound at the centre of her analysis. The methods she uses allow her to examine historical facts holistically: she reaches for fieldwork as well as voice analysis, specific music motifs, and the influence of Polish musicians and composers on social attittudes in the 1980s. She offers an interesting analysis of the songs that acompanied the protests and the phenomenon of Stefan Bratkowski’s “Gazeta Dźwiękowa” [Sound Gazette] and its influence on the listeners. She draws attention to the icons of the Solidarity period such as Father Jerzy Popiełuszko, Lech Wałęsa, Krzysztof Penderecki and their voices, understood both literally and metaphorically. She also analyses contemporary reinterpretations of songs from that period, using Jacek Kaczmarski’s Mury [Walls] and Janek Wiśniewski padł [Janek Wiśniewski fell]. The author rejects the chronological approach to research, analysing the historical period through problematization of selected issues.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128474977","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article aims to present the compositional idiom of Paweł Szy-mański (b. 1954) as conceived by Andrzej Chłopecki (1950–2012), an outstanding Polish music critic and musicologist. His opinion-forming texts, written in a distinctive language, resonated widely in the Polish and international music community. The article has the character of a review, presenting quotations from Chłopecki’s texts regarded by the author as the most significant, confronted with self-reflections of the composer himself, as well as references to other researchers’ com-ments. The initial part of the article describes Chłopecki’s promotional activities in relation to Szymański’s work. As an active employee of the Polish Radio, Chłopecki was in a position to commission works, prepare programmes on the subject of the composer’s music, as well as organise a monographic festival presenting the majority of his works. The next section of the article recapitulates the first important text by this opinion-forming critic which discusses the works of Szymański, titled W poszukiwaniu utraconego ładu. „Pokolenie” Stalowej Woli [In search of lost order. The Stalowa Wola „generation”]. In it the critic emphasised the role of tonality and the Baroque as the arche-type always present in the composer’s music. The central part of the article discusses the main features of Szymański’s music, the subject of Chłopecki’s later texts; these included heterophony, bidirection-al composing, and the dialectic interplay between structure and its transformations. The last section of the article talks about the charge made by the critic against the composer, that of remaining within the same aesthetics, even though placing his compositions among the most significant and individual phenomena of postmodernist music.
{"title":"Uchem krytyka. Idiom kompozytorski Pawła Szymańskiego w ujęciu Andrzeja Chłopeckiego","authors":"Magdalena Nowicka-Ciecierska","doi":"10.14746/RFN.2019.20.3","DOIUrl":"https://doi.org/10.14746/RFN.2019.20.3","url":null,"abstract":"The article aims to present the compositional idiom of Paweł Szy-mański (b. 1954) as conceived by Andrzej Chłopecki (1950–2012), an outstanding Polish music critic and musicologist. His opinion-forming texts, written in a distinctive language, resonated widely in the Polish and international music community. The article has the character of a review, presenting quotations from Chłopecki’s texts regarded by the author as the most significant, confronted with self-reflections of the composer himself, as well as references to other researchers’ com-ments. The initial part of the article describes Chłopecki’s promotional activities in relation to Szymański’s work. As an active employee of the Polish Radio, Chłopecki was in a position to commission works, prepare programmes on the subject of the composer’s music, as well as organise a monographic festival presenting the majority of his works. The next section of the article recapitulates the first important text by this opinion-forming critic which discusses the works of Szymański, titled W poszukiwaniu utraconego ładu. „Pokolenie” Stalowej Woli [In search of lost order. The Stalowa Wola „generation”]. In it the critic emphasised the role of tonality and the Baroque as the arche-type always present in the composer’s music. The central part of the article discusses the main features of Szymański’s music, the subject of Chłopecki’s later texts; these included heterophony, bidirection-al composing, and the dialectic interplay between structure and its transformations. The last section of the article talks about the charge made by the critic against the composer, that of remaining within the same aesthetics, even though placing his compositions among the most significant and individual phenomena of postmodernist music.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126698145","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Throughout their lives Zygmunt Mycielski and Michał Bristiger were deeply interested in the development of musical life in Poland, understood in its wider perspective. Both were also editors-in-chief of the two most important music periodicals in Poland: „Ruch Muzyczny” (Mycielski) and „Res Facta” (Bristiger). In 1973 Mycielski also joined the Editorial Committee of „Res Facta”. What was his relationship with Michał Bristiger’s journal and with its editor himself? The article explores these relationships on the basis of published issues of „Res Facta” and „Res Facta Nova”, reminiscences of members of the editorial team, as well as preserved correspondence between Zygmunt Mycielski and Michał Bristiger.
{"title":"Zygmunt Mycielski i „Res Facta” Michała Bristigera: międzyredaktorskie dialogi i solilokwia","authors":"Beata Bolesławska-Lewandowska","doi":"10.14746/rfn.2020.21.1","DOIUrl":"https://doi.org/10.14746/rfn.2020.21.1","url":null,"abstract":"Throughout their lives Zygmunt Mycielski and Michał Bristiger were deeply interested in the development of musical life in Poland, understood in its wider perspective. Both were also editors-in-chief of the two most important music periodicals in Poland: „Ruch Muzyczny” (Mycielski) and „Res Facta” (Bristiger). In 1973 Mycielski also joined the Editorial Committee of „Res Facta”. What was his relationship with Michał Bristiger’s journal and with its editor himself? The article explores these relationships on the basis of published issues of „Res Facta” and „Res Facta Nova”, reminiscences of members of the editorial team, as well as preserved correspondence between Zygmunt Mycielski and Michał Bristiger.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"319 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124521472","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Leonard B. Meyer’s book Emotion and Meaning in Music was published more than half a century ago. It still provides inspiration for musicologists with various specialisms to undertake research aimed at understanding the intriguing link between music and emotions and the relationship between musical structure and meaning. Since the publication of this outstanding volume we have seen extraordinarily dynamic development of the musicological disciplines constituting that part of systematic musicology which is based on the premises of naturalism. The article focuses on those selected research areas of thisbranch of musicology where the influence of the ideas first presented in the above volume is particularly significant. The most important of Meyer’s postulates in naturalistically oriented systematic musicology that continue to be discussed include: the key role of expectation in shaping our emotional reactions to the musical passages we hear and the inner musical character of the affective meanings created in this way. The main challenges faced by Meyer’s postulates during the recent decades are examined, and the solutions to them proposed within the framework of naturalistically oriented thinking about music.
{"title":"Naturalistyczna muzykologia systematyczna wobec poglądów Meyera na emocje i znaczenie w muzyce","authors":"P. Podlipniak","doi":"10.14746/rfn.2020.21.7","DOIUrl":"https://doi.org/10.14746/rfn.2020.21.7","url":null,"abstract":"Leonard B. Meyer’s book Emotion and Meaning in Music was published more than half a century ago. It still provides inspiration for musicologists with various specialisms to undertake research aimed at understanding the intriguing link between music and emotions and the relationship between musical structure and meaning. Since the publication of this outstanding volume we have seen extraordinarily dynamic development of the musicological disciplines constituting that part of systematic musicology which is based on the premises of naturalism. The article focuses on those selected research areas of thisbranch of musicology where the influence of the ideas first presented in the above volume is particularly significant. The most important of Meyer’s postulates in naturalistically oriented systematic musicology that continue to be discussed include: the key role of expectation in shaping our emotional reactions to the musical passages we hear and the inner musical character of the affective meanings created in this way. The main challenges faced by Meyer’s postulates during the recent decades are examined, and the solutions to them proposed within the framework of naturalistically oriented thinking about music.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128793694","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article is a review of the book The Chopin Games on the history of the Fryderyk Chopin International Piano Competition 1927–2010. In the author’s opinion, the synthesis organizing selected cultural, social and anthropological aspects of the Chopin Competition was very useful, and it’s authors completed a large part of the tasks declared in the introduction to the work.
{"title":"Wobec społecznego i kulturowego fenomenu \"Chopinowskiego Igrzyska\"","authors":"Michał Bruliński","doi":"10.14746/rfn.2020.21.10","DOIUrl":"https://doi.org/10.14746/rfn.2020.21.10","url":null,"abstract":"The article is a review of the book The Chopin Games on the history of the Fryderyk Chopin International Piano Competition 1927–2010. In the author’s opinion, the synthesis organizing selected cultural, social and anthropological aspects of the Chopin Competition was very useful, and it’s authors completed a large part of the tasks declared in the introduction to the work.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"80 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124442180","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article is a review of book Patkowski. Ambassador of Music from Mars by Agnieszka Pindera, the first biography of Józef Patkowski, Polish musicologist, founder and longtime manager of the Polish Radio Experimental Studio. It contains a summary and evaluation of the book from a musicological perspective. Particular attention was paid to the previously unknown facts about Patkowski’s life established by the author. The text refers to the broad problems of the reception of electronic and avant-garde music in Poland and to the new wave of interest in the SEPR heritage.
{"title":"Głos wołającego na pustyni. O Józefie Patkowskim w kontekście biografii \"Ambasador muzyki z Marsa\" Agnieszki Pindery","authors":"Szymon Atys","doi":"10.14746/rfn.2020.21.11","DOIUrl":"https://doi.org/10.14746/rfn.2020.21.11","url":null,"abstract":"The article is a review of book Patkowski. Ambassador of Music from Mars by Agnieszka Pindera, the first biography of Józef Patkowski, Polish musicologist, founder and longtime manager of the Polish Radio Experimental Studio. It contains a summary and evaluation of the book from a musicological perspective. Particular attention was paid to the previously unknown facts about Patkowski’s life established by the author. The text refers to the broad problems of the reception of electronic and avant-garde music in Poland and to the new wave of interest in the SEPR heritage.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"218 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121165654","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Zygmunt Mycielski’s final work, Fragmenty to words by Juliusz Słowacki (1987) belongs to the collection of religious works which crown the creative path of the author of Postludia. Fragmenty were written on the basis of a rigorous, individual method of composing using twelve notes – an array system devised by him towards the end of the 1950s which from that time consistently accompanied his creative undertakings.The austerity of technique achieved by limiting external effects, particularly apparent in Mycielski’s religious compositions (alongside Fragmenty one should mention here above all Trzy psalmy and the mass Liturgia sacra), results from the desire to reject pathos in favour of gravity and simplicity. This conscious creative decision means that the devices used serve to bring out the meaning and the emotion in Słowacki’s text, and in the created narration one perceives authenticity, truth and modesty. Fragmenty may be interpreted as a special kind of testament, Mycielski’s confession of faith, and the shades of sacrality discovered in it – the stages of musical spirituality according to Bohdan Pociej’s conception, support this supposition.
Zygmunt Mycielski的最后一部作品，Juliusz Słowacki(1987)的《话语的碎片》(fragmentto words)属于宗教作品集，它为《Postludia》作者的创作之路奠定了基础。片段是根据一种严格的、个人的方法写成的，使用12个音符——这是他在20世纪50年代末设计的一种阵列系统，从那时起一直伴随着他的创作事业。通过限制外部效果而实现的技术的紧缩，在米切尔斯基的宗教作品中尤其明显(除了《碎片》，我们应该在这里首先提到的是《圣诗》和《弥撒圣餐》)，源于拒绝悲情的愿望，赞成重力和简单。这种有意识的创作决定意味着，所使用的手段是为了在Słowacki的文本中表达意义和情感，在创造的叙事中，人们感受到真实、真实和谦逊。碎片可以被解释为一种特殊的遗嘱，米切尔斯基的信仰告白，以及在其中发现的神圣性的阴影——根据Bohdan Pociej的概念，音乐灵性的阶段，支持了这一假设。
{"title":"Pastorałka dramatyczna Juliusza Słowackiego i jej muzyczna interpretacja we \"Fragmentach\" Zygmunta Mycielskiego","authors":"Barbara Mielcarek-Krzyżanowska","doi":"10.14746/rfn.2020.21.2","DOIUrl":"https://doi.org/10.14746/rfn.2020.21.2","url":null,"abstract":"Zygmunt Mycielski’s final work, Fragmenty to words by Juliusz Słowacki (1987) belongs to the collection of religious works which crown the creative path of the author of Postludia. Fragmenty were written on the basis of a rigorous, individual method of composing using twelve notes – an array system devised by him towards the end of the 1950s which from that time consistently accompanied his creative undertakings.The austerity of technique achieved by limiting external effects, particularly apparent in Mycielski’s religious compositions (alongside Fragmenty one should mention here above all Trzy psalmy and the mass Liturgia sacra), results from the desire to reject pathos in favour of gravity and simplicity. This conscious creative decision means that the devices used serve to bring out the meaning and the emotion in Słowacki’s text, and in the created narration one perceives authenticity, truth and modesty. Fragmenty may be interpreted as a special kind of testament, Mycielski’s confession of faith, and the shades of sacrality discovered in it – the stages of musical spirituality according to Bohdan Pociej’s conception, support this supposition.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128797886","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
New Music developed in the twentieth century under the influence of Theodor W. Adorno’s philosophy. Its sense, according to the philosopher, lies in social criticism, which the composer accomplishes through radical artistic innovation, and the distance from the audience’s expectations. The sensual pleasure of sound reception is not included in the concept of New Music, which preferably should not appeal to anybody, as it “took on the shoulders darkness of the world and all its guilt, and sees its only happiness in knowing misery” (Adorno). In the ASMR series, the German composer Neo Hülcker breaks this paradigm of perception and proposes a radically different interpretationof New Music.ASMR, or Autonomous Sensory Meridian Response, is a sensation of pleasant tingle, caused by subtle acoustic-haptic phenomena, such as amplified murmurs, whispers, touching objects and materials. Millions of people around the world are watching ASMR videos on YouTube that let them relax nicely.In such video compositions as ASMR Tutorial: How to Play “Pression” by Helmut Lachenmann, ASMR Tutorial: How to Play Mark Andreor ASMR Unwrapping the Piano & iv 11a, and Peter Ablinger: weiss/ weisslich 3 – [super soft ASMR] Neo Hülcker investigates the similarityof sound material of illustrative pieces of New Music and ASMR, raising the question of whether New Music can make someone feeltingly. Presenting in the context of ASMR works by Helmut Lachenmann, Mark Andre and Peter Ablinger, Hülcker explores the hiddenpotential contained in the most radical aesthetics of New Music, namely the suppressed carnal pleasure. The article is an attempt to show the ways how Neo Hülcker redefines the concept of New Music, entering in it the sensual experience of sound.
新音乐在二十世纪受到西奥多·阿多诺哲学的影响而发展起来。在这位哲学家看来，它的意义在于作曲家通过激进的艺术创新完成的社会批判，以及与观众期望的距离。声音接收的感官愉悦不包括在新音乐的概念中，它最好不应该吸引任何人，因为它“承担了世界的黑暗和它所有的罪恶，并在了解痛苦中看到它唯一的幸福”(阿多诺)。在ASMR系列中，德国作曲家Neo h lcker打破了这种认知范式，提出了一种完全不同的新音乐解释。ASMR，即自主感觉经络反应，是一种愉快的刺痛感，由细微的声学-触觉现象引起，如放大的杂音、低语、触摸物体和材料。全世界有数百万人在YouTube上观看ASMR视频，让他们好好放松。在这些视频作品中，ASMR教程:如何玩Helmut Lachenmann的“Pression”，ASMR教程:如何玩Mark Andreor ASMR打开钢琴& iv 11a，以及Peter Ablinger: weiss/ weisslich 3 -[超级软ASMR] Neo hlcker调查了新音乐和ASMR的说明作品的声音材料的相似性，提出了新音乐是否能让人有感觉的问题。在Helmut Lachenmann, Mark Andre和Peter Ablinger的ASMR作品的背景下，h lacker探索了新音乐中最激进的美学所包含的隐藏潜力，即被压抑的肉体快感。本文试图展示Neo hreclker如何重新定义新音乐的概念，并将声音的感官体验引入其中。
{"title":"Nowa Muzyka i przyjemność w serii utworów audiowizualnych ASMR Neo Hülckera","authors":"Monika Pasiecznik","doi":"10.14746/rfn.2020.21.5","DOIUrl":"https://doi.org/10.14746/rfn.2020.21.5","url":null,"abstract":"New Music developed in the twentieth century under the influence of Theodor W. Adorno’s philosophy. Its sense, according to the philosopher, lies in social criticism, which the composer accomplishes through radical artistic innovation, and the distance from the audience’s expectations. The sensual pleasure of sound reception is not included in the concept of New Music, which preferably should not appeal to anybody, as it “took on the shoulders darkness of the world and all its guilt, and sees its only happiness in knowing misery” (Adorno). \u0000In the ASMR series, the German composer Neo Hülcker breaks this paradigm of perception and proposes a radically different interpretationof New Music.ASMR, or Autonomous Sensory Meridian Response, is a sensation of pleasant tingle, caused by subtle acoustic-haptic phenomena, such as amplified murmurs, whispers, touching objects and materials. Millions of people around the world are watching ASMR videos on YouTube that let them relax nicely.In such video compositions as ASMR Tutorial: How to Play “Pression” by Helmut Lachenmann, ASMR Tutorial: How to Play Mark Andreor ASMR Unwrapping the Piano & iv 11a, and Peter Ablinger: weiss/ weisslich 3 – [super soft ASMR] Neo Hülcker investigates the similarityof sound material of illustrative pieces of New Music and ASMR, raising the question of whether New Music can make someone feeltingly. Presenting in the context of ASMR works by Helmut Lachenmann, Mark Andre and Peter Ablinger, Hülcker explores the hiddenpotential contained in the most radical aesthetics of New Music, namely the suppressed carnal pleasure. The article is an attempt to show the ways how Neo Hülcker redefines the concept of New Music, entering in it the sensual experience of sound.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129606530","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pascal Dusapin is regarded as one of the outstanding contemporary French composers. The opera genre seems to have a special place among his creative achievements. Medeamaterial is the composer’s second work for the stage, and one of many where myth becomes the subject. As the text of the libretto, he chose a text by a German dramatist, Heiner Müller. Both authors decide to reinterpret an antique history and deconstruct it using the means available to them. As does Sasha Waltz, who in 2007 staged Dusapin’s work. All three, while initiating a dialogue with the past, set the work firmly in the present. In this article the author attempts to answer the question how the devices used by these creative artists shape the psychological portrait of the drama’s heroine.
{"title":"W okowach mitów – \"Medeamaterial\" Heinera Müllera, Pascala Dusapina i Sashy Waltz","authors":"Paulina Książek","doi":"10.14746/rfn.2020.21.6","DOIUrl":"https://doi.org/10.14746/rfn.2020.21.6","url":null,"abstract":"Pascal Dusapin is regarded as one of the outstanding contemporary French composers. The opera genre seems to have a special place among his creative achievements. Medeamaterial is the composer’s second work for the stage, and one of many where myth becomes the subject. As the text of the libretto, he chose a text by a German dramatist, Heiner Müller. Both authors decide to reinterpret an antique history and deconstruct it using the means available to them. As does Sasha Waltz, who in 2007 staged Dusapin’s work. All three, while initiating a dialogue with the past, set the work firmly in the present. In this article the author attempts to answer the question how the devices used by these creative artists shape the psychological portrait of the drama’s heroine.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"80 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114641890","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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