{"title":"Dotyk fortepianu. Wybrane zagadnienia fenomenologii wykonania i percepcji utworu muzycznego","authors":"Anna Chęćka","doi":"10.14746/rfn.2018.19.7","DOIUrl":null,"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":0.0000,"publicationDate":"2018-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Res Facta Nova. Teksty o muzyce współczesnej","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.14746/rfn.2018.19.7","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Dotyk fortepianu. Wybrane zagadnienia fenomenologii wykonania i percepcji utworu muzycznego
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.