Around 1960, the Darmstadt International Summer Courses for New Music were an important contact point for Polish composers and musicians to the Western avant-garde after years of isolation due to the doctrine of socialist realism imposed in Poland. During this first phase of Polish participation, Józef Patkowski participated twice in the Courses. Mainly based on sources to be found in the archives of the International Music Institute Darmstadt (IMD), this article di-scusses Patkowski’s perception of the Courses as well as his lecture on New Music in Poland which he held in Darmstadt 1962, and gives an insight into the organizational process of artistic contact between Poland and a Western festival.
{"title":"Józef Patkowski at the Darmstadt International Summer Courses for New Music","authors":"M. Nowak","doi":"10.14746/rfn.2019.20.2","DOIUrl":"https://doi.org/10.14746/rfn.2019.20.2","url":null,"abstract":"Around 1960, the Darmstadt International Summer Courses for New Music were an important contact point for Polish composers and musicians to the Western avant-garde after years of isolation due to the doctrine of socialist realism imposed in Poland. During this first phase of Polish participation, Józef Patkowski participated twice in the Courses. Mainly based on sources to be found in the archives of the International Music Institute Darmstadt (IMD), this article di-scusses Patkowski’s perception of the Courses as well as his lecture on New Music in Poland which he held in Darmstadt 1962, and gives an insight into the organizational process of artistic contact between Poland and a Western festival.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129154748","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 title issue of this article is preceded by reflections on the problem of perception as such, taking into account the perspective of the author’s creative and pedagogical experiences. The examples of perception problems of music-educated students, especially as part of the process of developing the auditory intellect (hearing education), are the bases of the introduced hypotheses and attempts to diagnose the problem. One of the theses in this article is that the consciousness and knowledge of the mechanisms of perceptual hearing (both its possibilities and limitations) should accompany the creator of the musical creation. There is also an attempt to answer the question who the composer and who their listener is today. The distinction between the “composing creator” and the “creating creator” is emphasized. Attention is drawn to the problems of the perception of a contemporary work; listeners’ habits, resulting from knowledge limitation and lack of development of the so called “cognitive attention”, limit the acceptance of new aesthetic and technical attitudes. The “perception shock” caused by the inflow of unknown information does not allow the strategy to organize the visual or auditory scene into a logical whole. The emergence of new sound qualities and their new aesthetic categorization (melodies of colors, melodies of textures, harmonies of colors, etc., and a new approach to time and space) in the 20th and 21st century music, requires “guiding the listener on the new sound stage” and opening them to appropriate perceptual strategies.Witold Lutosławski’s work – in the context of his philosophy of creation, becomes a unique example of inviting the listener to the perception game, which is based, above all, on the composer’s desire to meet his audience in a deep aesthetic experience.
{"title":"Gra kompozytora z percepcją słuchacza na przykładzie twórczości Witolda Lutosławskiego","authors":"Anna Zawadzka-Gołosz","doi":"10.14746/rfn.2018.19.6","DOIUrl":"https://doi.org/10.14746/rfn.2018.19.6","url":null,"abstract":"The title issue of this article is preceded by reflections on the problem of perception as such, taking into account the perspective of the author’s creative and pedagogical experiences. The examples of perception problems of music-educated students, especially as part of the process of developing the auditory intellect (hearing education), are the bases of the introduced hypotheses and attempts to diagnose the problem. One of the theses in this article is that the consciousness and knowledge of the mechanisms of perceptual hearing (both its possibilities and limitations) should accompany the creator of the musical creation. There is also an attempt to answer the question who the composer and who their listener is today. The distinction between the “composing creator” and the “creating creator” is emphasized. Attention is drawn to the problems of the perception of a contemporary work; listeners’ habits, resulting from knowledge limitation and lack of development of the so called “cognitive attention”, limit the acceptance of new aesthetic and technical attitudes. The “perception shock” caused by the inflow of unknown information does not allow the strategy to organize the visual or auditory scene into a logical whole. The emergence of new sound qualities and their new aesthetic categorization (melodies of colors, melodies of textures, harmonies of colors, etc., and a new approach to time and space) in the 20th and 21st century music, requires “guiding the listener on the new sound stage” and opening them to appropriate perceptual strategies.Witold Lutosławski’s work – in the context of his philosophy of creation, becomes a unique example of inviting the listener to the perception game, which is based, above all, on the composer’s desire to meet his audience in a deep aesthetic experience.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"130 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125274754","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 main aim of this article is to review contemporary research on aesthetic emotions from the perspective of music psychology. By analyzing the results of research review in the broader theoretical context, the author attempts to answer the question of the appropriateness of distinguishing a separate category of aesthetic emotions and musical aesthetic emotions. She concludes that despite the specific terminologyused to describe aesthetic musical emotions (classification of aesthetic emotions by M. Zentner et al.), some specific induction mechanisms (a multi-level theory of emotion causation by P.N. Juslin) and functions fulfilled in the listener’s life, there is no clear evidence to distinguish musical aesthetic emotions as a separate category of emotions, and the term aesthetic emotions should be reserved only for the emotions arising as a result of the cognitive evaluation of the stimulus according the listener’s aesthetic criteria.
{"title":"Emocje estetyczne w świetle badań psychologii muzyki: opis i mechanizmy wyjaśniające","authors":"Julia Kaleńska-Rodzaj","doi":"10.14746/rfn.2018.19.1","DOIUrl":"https://doi.org/10.14746/rfn.2018.19.1","url":null,"abstract":"The main aim of this article is to review contemporary research on aesthetic emotions from the perspective of music psychology. By analyzing the results of research review in the broader theoretical context, the author attempts to answer the question of the appropriateness of distinguishing a separate category of aesthetic emotions and musical aesthetic emotions. She concludes that despite the specific terminologyused to describe aesthetic musical emotions (classification of aesthetic emotions by M. Zentner et al.), some specific induction mechanisms (a multi-level theory of emotion causation by P.N. Juslin) and functions fulfilled in the listener’s life, there is no clear evidence to distinguish musical aesthetic emotions as a separate category of emotions, and the term aesthetic emotions should be reserved only for the emotions arising as a result of the cognitive evaluation of the stimulus according the listener’s aesthetic criteria.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116483875","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 presence of music in the contemporary world also encompasses its functioning within activities that can be termed “acoustic engineering”. It is a strategy that involves the designing, construction and modification of the acoustic space of a given place by means of programmed music using scientific and technical knowledge. Its purpose is to modify or change the recipients’ responses and behaviour in a way consistent with the values and interests of the sender. In such an approach, music is embedded in the framework of the social communication model, which assumes that the end result of the communication process is to control the recipients’ responses and behaviour (usually unconsciously for them). This strategy primarily concerns activities carried out in public space. The analysis of the selected concepts that use music as an instrument of “scientific management” in the workplaces and at the points of sale (e.g. Muzak and audiomarketing) seems to confirm that music was and is being used as an effective tool for the control and change of the workers or/and consumers behaviour. In this way, the listener is reduced to the role of a responsive recipient and becomes “the slave of the surrounding world”. The purpose of this article is to show the relationship between the “scientific management” doctrine introduced by Frederick Winslow Taylor in 1911 and the selected concepts in which music is treated as a tool of influence. Special attention will be paid to the contemporary activities known as audiomarketing, which, according to the Author, can be regarded as a manifestation of neo-Taylorism.
{"title":"Muzyka w służbie „naukowego zarządzania” – od tayloryzmu do audiomarketingu","authors":"Sylwia Makomaska","doi":"10.14746/rfn.2018.19.2","DOIUrl":"https://doi.org/10.14746/rfn.2018.19.2","url":null,"abstract":"The presence of music in the contemporary world also encompasses its functioning within activities that can be termed “acoustic engineering”. It is a strategy that involves the designing, construction and modification of the acoustic space of a given place by means of programmed music using scientific and technical knowledge. Its purpose is to modify or change the recipients’ responses and behaviour in a way consistent with the values and interests of the sender. In such an approach, music is embedded in the framework of the social communication model, which assumes that the end result of the communication process is to control the recipients’ responses and behaviour (usually unconsciously for them). This strategy primarily concerns activities carried out in public space. The analysis of the selected concepts that use music as an instrument of “scientific management” in the workplaces and at the points of sale (e.g. Muzak and audiomarketing) seems to confirm that music was and is being used as an effective tool for the control and change of the workers or/and consumers behaviour. In this way, the listener is reduced to the role of a responsive recipient and becomes “the slave of the surrounding world”. The purpose of this article is to show the relationship between the “scientific management” doctrine introduced by Frederick Winslow Taylor in 1911 and the selected concepts in which music is treated as a tool of influence. Special attention will be paid to the contemporary activities known as audiomarketing, which, according to the Author, can be regarded as a manifestation of neo-Taylorism.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130226075","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 subject of the analysis is the animated puppet film Aria by Pjotr Sapegin, which refers to the plot and the music – through the quotes from the aria ‘Un bel dì vedremo’ in the arrangement of Normand Roger – of the opera Madama Butterfly by Giacomo Puccini. By taking as a main reference point a description of musical operations made in the film and their contribution in constructing the meanings of the audiovisual work, the author of the article moves successively between several interpretation levels: historical (she situates the film within the puppet’s opera tradition), media-theoretical (she considers the qualitative transformation of the doll in theater and film in the perspective of different aesthetics of both media), theatrological (she reflects on the doll’s ontology, with particular emphasis on the question of comicality), and operological (she refers in part to the entire opera of Puccini and portrays more accurately verbal, musical and dramaturgical values of the aria ‘Un bel dì vedremo’, while proving that the Sapegin’s film is an example of meta-reflection on aria as a form of dramatic-musical expression). The multiple perspectives of the study are used to reveal the dramatic, stylistic, adaptive and philosophical complexity of Sapegin’s work and lead to the recognition of the capabilities of an animated film as an audiovisual medium that continually leads a creative dialogue with music as well as the potential of the puppet aesthetics at the beginning of the 21st century.
分析的主题是Pjotr Sapegin的动画木偶电影《咏叹调》，它引用了Giacomo Puccini的歌剧《蝴蝶夫人》的情节和音乐——通过引用诺曼·罗杰编曲中的咏叹调“unbel dì vedremo”。本文以对影片中音乐操作的描述及其对构建音像作品意义的贡献为主要参照点，在几个解读层次之间依次移动:历史(她将电影置于木偶的歌剧传统中)，媒介理论(她从两种媒体的不同美学角度考虑戏剧和电影中玩偶的质的转变)，戏剧(她反思玩偶的本体论，特别强调滑稽性的问题)和歌剧(她部分参考了普契尼的整个歌剧，并更准确地描绘了语言，唱段“unbeldì vedremo”的音乐和戏剧价值，同时证明萨皮金的电影是对唱段作为戏剧音乐表达形式的元反思的一个例子)。该研究的多个视角被用来揭示萨皮金作品的戏剧性、风格、适应性和哲学复杂性，并导致人们认识到动画电影作为视听媒介的能力，它不断引领着与音乐的创造性对话，以及21世纪初木偶美学的潜力。
{"title":"Tragedia lalki w żywiole komedii. Operowy kontekst filmu Aria Piotra Sapiegina (2001)","authors":"Anna Igielska","doi":"10.14746/rfn.2018.19.8","DOIUrl":"https://doi.org/10.14746/rfn.2018.19.8","url":null,"abstract":"The subject of the analysis is the animated puppet film Aria by Pjotr Sapegin, which refers to the plot and the music – through the quotes from the aria ‘Un bel dì vedremo’ in the arrangement of Normand Roger – of the opera Madama Butterfly by Giacomo Puccini. By taking as a main reference point a description of musical operations made in the film and their contribution in constructing the meanings of the audiovisual work, the author of the article moves successively between several interpretation levels: historical (she situates the film within the puppet’s opera tradition), media-theoretical (she considers the qualitative transformation of the doll in theater and film in the perspective of different aesthetics of both media), theatrological (she reflects on the doll’s ontology, with particular emphasis on the question of comicality), and operological (she refers in part to the entire opera of Puccini and portrays more accurately verbal, musical and dramaturgical values of the aria ‘Un bel dì vedremo’, while proving that the Sapegin’s film is an example of meta-reflection on aria as a form of dramatic-musical expression). The multiple perspectives of the study are used to reveal the dramatic, stylistic, adaptive and philosophical complexity of Sapegin’s work and lead to the recognition of the capabilities of an animated film as an audiovisual medium that continually leads a creative dialogue with music as well as the potential of the puppet aesthetics at the beginning of the 21st century.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"222 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124407821","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}
Tekst jest recenzją książki Synestezja a sztuka (red. Aleksandra Rogowska, Julia Kaleńska-Rodzaj).
{"title":"Synestezja a sztuka, red. Aleksandra Rogowska, Julia Kaleńska-Rodzaj","authors":"Maria Chełkowska-Zacharewicz","doi":"10.14746/rfn.2018.19.10","DOIUrl":"https://doi.org/10.14746/rfn.2018.19.10","url":null,"abstract":"Tekst jest recenzją książki Synestezja a sztuka (red. Aleksandra Rogowska, Julia Kaleńska-Rodzaj).","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114190528","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 reviews selected neuropsychological studies on brain correlates of music perception. First, the role and specialization of auditory cortex is discussed, focusing on differences between primary/secondary cortices as well as hemispheric asymmetry. Second, brain structures giving rise to emotional experiences during music listening are discussed, along with several possible explanatory mechanisms. Third, studies showing strengthened relationships between motor and auditory areas of the brain are demonstrated in the context of relative easiness of music to organize actions. The last part of the article focuses on the role of prefrontal cortex in building musical expectations and error perception. The influence of additional variables, such as listener’s musical training, on the observed effects is also discussed.
{"title":"Neuropsychologiczne aspekty percepcji muzyki","authors":"K. Czernecka","doi":"10.14746/rfn.2018.19.5","DOIUrl":"https://doi.org/10.14746/rfn.2018.19.5","url":null,"abstract":"The article reviews selected neuropsychological studies on brain correlates of music perception. First, the role and specialization of auditory cortex is discussed, focusing on differences between primary/secondary cortices as well as hemispheric asymmetry. Second, brain structures giving rise to emotional experiences during music listening are discussed, along with several possible explanatory mechanisms. Third, studies showing strengthened relationships between motor and auditory areas of the brain are demonstrated in the context of relative easiness of music to organize actions. The last part of the article focuses on the role of prefrontal cortex in building musical expectations and error perception. The influence of additional variables, such as listener’s musical training, on the observed effects is also discussed.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125306066","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 mechanism of perceiving the world by mankind is still an unfathomable, yet highly discussed, problem of modern science in its various fields. If the issue is considered in the specific context of contemporary music and art – electroacoustic, multimedia, interactive – questions arise: how do the hearing and the mind react to the new synthesized sounds? What are the mechanisms and rules of multi-sensory perception? Are new perceptual skills developing in the face of new aesthetic situations? Does mankind in the age of the newmedia take another step on the long path of its “sensory evolution”?New media art often puts the senses to the proof; it is a game played with perception, with its limitations and capabilities. In turn, intensification of experience appears to the audience as liberation, escapism, but also as a search for new ways of knowing.
{"title":"Między- i metazmysły – percepcja w dobie sztuki multimedialnej","authors":"A. Mądro","doi":"10.14746/rfn.2018.19.3","DOIUrl":"https://doi.org/10.14746/rfn.2018.19.3","url":null,"abstract":"The mechanism of perceiving the world by mankind is still an unfathomable, yet highly discussed, problem of modern science in its various fields. If the issue is considered in the specific context of contemporary music and art – electroacoustic, multimedia, interactive – questions arise: how do the hearing and the mind react to the new synthesized sounds? What are the mechanisms and rules of multi-sensory perception? Are new perceptual skills developing in the face of new aesthetic situations? Does mankind in the age of the newmedia take another step on the long path of its “sensory evolution”?New media art often puts the senses to the proof; it is a game played with perception, with its limitations and capabilities. In turn, intensification of experience appears to the audience as liberation, escapism, but also as a search for new ways of knowing.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114631317","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}
Listening to music is usually understood as perception of a stimulus of a particular kind which, however, does not differ in any special way from listening to other, non-musical sound stimuli. Numerous observations show, however, that the majority of musical stimuli is perceived in a particular manner, suggesting that alongside the cognitive strategies used in the perception of all kinds of sound stimuli, listening to music also activates music-specific cognitive mechanisms. On the other hand, a large section of musical artistic output of the Western culture in the twentieth century became an exceptional phenomenon, both in historical and geographical perspective, in that it abandoned the organisation of the sound structure of music on the basis of pitch-rhythm relationships. From the psychological perspective, this exceptionality consists above all in omitting, during the perceptual processing of this kind of music, of some of the perceptual cognitive structures characteristically involved in the perception of traditionally conceived melodic structures. For a full understanding of the ways of perceiving music it is thus necessary to apply contemporary knowledge of the specific features of the human cognitive system and its evolutionary sources. The aim of the article is to presenta number of various cognitive mechanisms of different evolutionary age which are involved in the perception of music, as well as an attempt to indicate their differentiated participation in the creation of the aesthetic experience of different kinds of music.
{"title":"Percepcja muzyki – słuchanie muzyki czy słuchanie dźwięków","authors":"P. Podlipniak","doi":"10.14746/rfn.2018.19.4","DOIUrl":"https://doi.org/10.14746/rfn.2018.19.4","url":null,"abstract":"Listening to music is usually understood as perception of a stimulus of a particular kind which, however, does not differ in any special way from listening to other, non-musical sound stimuli. Numerous observations show, however, that the majority of musical stimuli is perceived in a particular manner, suggesting that alongside the cognitive strategies used in the perception of all kinds of sound stimuli, listening to music also activates music-specific cognitive mechanisms. On the other hand, a large section of musical artistic output of the Western culture in the twentieth century became an exceptional phenomenon, both in historical and geographical perspective, in that it abandoned the organisation of the sound structure of music on the basis of pitch-rhythm relationships. From the psychological perspective, this exceptionality consists above all in omitting, during the perceptual processing of this kind of music, of some of the perceptual cognitive structures characteristically involved in the perception of traditionally conceived melodic structures. For a full understanding of the ways of perceiving music it is thus necessary to apply contemporary knowledge of the specific features of the human cognitive system and its evolutionary sources. The aim of the article is to presenta number of various cognitive mechanisms of different evolutionary age which are involved in the perception of music, as well as an attempt to indicate their differentiated participation in the creation of the aesthetic experience of different kinds of music.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"202 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124544796","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 main purpose of the article is to reflect on performer’s aesthetic concretization of a musical work. The virtuoso’s concretization blurs the boundaries of the subject and the object of experience: the musician becomes a screen for music, embodies it. The artist’s perception is sharpened, which is shown in the article based on the experience of a pianist performing Claude Debussy’s music. Especially important – apart from hearing – is the sense of touch in this experience. The analysis of the experience of the perceptive performer presented here is in a significant way inspired by the pedagogical practice of the French pianist, Alfred Cortot – his statements, recordings and testimonies of his pupils. On the theoretical side, it is founded on the phenomenology of Maurice Merleau-Ponty and Michel Henry, and indirectly also refers to the comments of Roman Ingarden about aesthetic concretization.
{"title":"Dotyk fortepianu. Wybrane zagadnienia fenomenologii wykonania i percepcji utworu muzycznego","authors":"Anna Chęćka","doi":"10.14746/rfn.2018.19.7","DOIUrl":"https://doi.org/10.14746/rfn.2018.19.7","url":null,"abstract":"The main purpose of the article is to reflect on performer’s aesthetic concretization of a musical work. The virtuoso’s concretization blurs the boundaries of the subject and the object of experience: the musician becomes a screen for music, embodies it. The artist’s perception is sharpened, which is shown in the article based on the experience of a pianist performing Claude Debussy’s music. Especially important – apart from hearing – is the sense of touch in this experience. The analysis of the experience of the perceptive performer presented here is in a significant way inspired by the pedagogical practice of the French pianist, Alfred Cortot – his statements, recordings and testimonies of his pupils. On the theoretical side, it is founded on the phenomenology of Maurice Merleau-Ponty and Michel Henry, and indirectly also refers to the comments of Roman Ingarden about aesthetic concretization.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"80 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123800325","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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