Kasni opus Natka Devčića Lirska scena za bariton, rog i gudački kvartet iz 1984. i Gudački kvartet iz 1987. [Late Opus by Natko Devčić: Lyric Scene, for bariton, horn and string quartet of 1984 and String Quartet of 1987] (original) (raw)
Related papers
2022
In morphological analysis, the musical work and the listener are seen as elements of one communicative duality. Each element of this duality may play the role of either subject or object. Morphological analysis takes sound construction as its main target. This makes possible a more flexible approach to analyzing a musical text. The morpheme, one of the cornerstones of morpho-logical analysis, can be defined as a sound construction with a typical set of characteristic features. The other cornerstone, the morph, transforms a morpheme into a genеriс, stylistic “flesh and blood” of a specific musical text, on the basis of polymorphism. From the point of view of morphological analysis, the musical development in the “Introduction” to Stravinsky’s The Rite of Spring is based on a step-by-step approach to an externally existing object, permitting us to perceive (see or hear) its details. The object itself is polymorphic, i.e., like an embryo, it contains within itself, from the start, every element it needs for further development. The starting point of the “Introduction,” the high-register bassoon melody accompanied by the supporting French horn voice, can be defined as a forest seen in a distance, from where the sound of a shepherd’s horn can be heard. The ten intonational elements of the initial three measures of the ballet are the base from which the form of the “Introduction” is developed. Keywords: oeuvre of Stravinsky, morphological analysis, The Rite of Spring, object-descriptive polymorphism.
Stylistic Morphology in the Music of Henryk Górecki, 1960-1974
2018
The musical output of Henryk Mikołaj Górecki (1933-2010) is commonly perceived and evaluated in the West from the point of the astounding commercial success of his Symphony No. 3 “Symfonia pieśni żałosnych” (1977), resulting in a fixed and highly limited reference point to the composer’s earlier musical output. The musical trajectory of Górecki’s stylistic development is often mythologized in the press and media to create a narrative of divinatory or spiritual “revelation” surrounding Górecki’s post-Symphony No. 3 output (1977-2010), grouping him rather erroneously as a “holy minimalist”, along with John Tavener (1944-2013) and Arvo Pärt (1935-). While these characterizations helped bolster Górecki’s mystique and reputation in the West, it frequently undermined and occasionally disparaged the composer’s roots in the Polish avant-garde and his artistic contribution to this musical environment. From a surfaced viewpoint, it appears that Górecki’s earlier and later works are like oil and water, but in reality they form a continuous stream of artistic progress, unified by both an ardent personality and an unrelenting hunger for reconfiguration and development as a composer. This paper will argue that Górecki’s mature works are the result of a gradual stylistic morphologization, passing through periods of various aesthetic fixations that define several “eras” in his composition output from 1960 to 1974.
Musical Discourse in the Works of Milutin Cihlar Nehajev and Nedjeljko FABRIO1
2008
The interdisciplinary topic of the thesis has been accorded with the syllabus of the post-graduate course entitled Literature and Social Context at the Faculty of Arts and Sciences, University of Rijeka, in Rijeka. The nature of the source material required research at two parallel levels: intermedial and historiographic. The literary work of Milutin Cihlar Nehajev (1880-1931) and Nedjeljko Fabrio (1937) researched in this thesis belongs to a remarkable artistic practice of literary intervention into the realm of music. Thus, this research has been additionally motivated by a desire to comprehend the artists whose inspiration stems from different sources. The first part considers intermedial achievements on the theoretical plane elaborated by Steven Paul Scher, Werner Wolf, Aaga A. Hansen-Löve and other authors, who developed the notion of appropriation of music by literature from aesthetical and other aspects. In its theoretical considerations, the study offers an insight into the ...
The Unusual Sounding and the Dramaturgy in the Piano Works by D. Nenov
The Unusual Sounding and the Dramaturgy in the Piano Works by D. Nenov, 2012
The objective of this study is the elaboration of the dramaturgical principles in the piano works by Dimitar Nenov. The research conclusions highlighted the following: The intimate connection with the Bulgarian folk music is not enough to explain the unusual sounding of the Nenov`s plays. The spatial interpretation of the notions`staticànd`dynamic`familiarnotions`staticàndnotions`staticànd`dynamic`notions`staticànd`dynamic`familiar to Nenov from his practice as an architect has a profound influence on his piano opuses. In his works, the form of which requires static character in the construction of the chosen musical form, in the thematicism (somewhat-in the texture) a more diverse and more complete approaches are conducted associated with the dynamic principles. In examples with dynamic form the captivating techniques, expressions of the static principle, find manifestation (but incomplete fulfillment) in the textural setup, the type of thematicism, the construction of the themes. More fully developed are the manifestations of the dynamic principle. Main principles determining the form are variability and disproportion. Therefore, in the piano works of Dimitar Nenov is preferred dynamism, complex multilayered texture, connections made at different levels within a piece, sharp sounding dynamic thematicism.
Paper [Рукопись], 2022
In morphological analysis, the musical work and the listener are seen as elements of one communicative duality. Each element of this duality may play the role of either subject or object. Morphological analysis takes sound construction as its main target. This makes possible a more flexible approach to analyzing a musical text. The morpheme, one of the cornerstones of morphological analysis, can be defined as a sound construction with a typical set of characteristic features. The other cornerstone, the morph, transforms a morpheme into a genеriс, stylistic “flesh and blood” of a specific musical text, on the basis of polymorphism. One shining example of the depth and rapidity of morphic transformations in Tchaikovsky’s music is the finale of his First Piano Concerto. From the point of view of morphological analysis, the musical development in the “Introduction” to Stravinsky’s Rite of Spring is based on a step-by-step approach to an externally existing object, permitting us to perceive (see or hear) its details. The object itself is polymorphic, i.e., like an embryo, it contains within itself, from the start, every element it needs for further development. The starting point of the “Introduction,” the high-register bassoon melody accompanied by the supporting French horn voice, can be defined as a forest seen in a distance, from where the sound of a shepherd’s horn can be heard. The ten intonational elements of the initial three measures of the ballet are the base from which the form of the “Introduction” is developed. Keywords: oeuvre of Tchaikovsky and Stravinsky, morphological analysis, Rite of Spring, object-descriptive polymorphism. В морфологическом анализе музыкальное произведение и слушатель рассматриваются как элементы коммуникативного двуединства. Каждый элемент этого двуединства может играть роль либо объекта, либо субъекта. Морфологический анализ выбирает в качестве своей главной цели звуковую конструкцию. Благодаря этому сoздается возможность более гибкого подхода к анализу музыкального текста. Морфема — один из краеугольных камней морфологического анализа — может быть определена как звуковая конструкция с типовым набором характерных черт. Другой краеугольный камень — морф трансформирует мофему в жанрово-стилистическую «плоть и кровь» конкретного музыкального теквта на основе полимофизма. Ярким примером глубины и стремительности морфных превращений в музыке Чайковского является финал Первого фортепианного концерта. C позиций морфологического анализа музыкальное развитие во Вступлении «Весны священной» Стравинского является поэтапным приближением к вовне существующему объекту, позволяющим воспринять (разглядеть, услышать) его детали. Сам объект полиморфен, т.е. изначально содержит в себе в как эмбрионе все необходимые элементы дальнейшего развития. Исходную точку Вступления – мелодию фагота в высоком регистре, сопровождаемую подголоском валторны, можно определить как видимый вдали лес, из которого доносится звук пастушьего рожка. Десять интонационных элементов начального трехтакта балета являются основой развертывания формы Вступления. Ключевые слова: творчество Чайковского, Стравинского, морфологический анализ, «Весна священная», объектно-изобразительный полиморфизм
2022
In morphological analysis, the musical work and the listener are seen as elements of one communicative duality. Each element of this duality may play the role of either subject or object. Morphological analysis takes sound construction as its main target. This makes possible a more flexible approach to analyzing a musical text. The morpheme, one of the cornerstones of morphological analysis, can be defined as a sound construction with a typical set of characteristic features. The other cornerstone, the morph, transforms a morpheme into a genеriс, stylistic “flesh and blood” of a specific musical text, on the basis of polymorphism. One shining example of the depth and rapidity of morphic transformations in Tchaikovsky’s music is the finale of his First Piano Concerto. From the point of view of morphological analysis, the musical development in the “Introduction” to Stravinsky’s Rite of Spring is based on a step-by-step approach to an externally existing object, permitting us to perceive (see or hear) its details. The object itself is polymorphic, i.e., like an embryo, it contains within itself, from the start, every element it needs for further development. The starting point of the “Introduction,” the high-register bassoon melody accompanied by the supporting French horn voice, can be defined as a forest seen in a distance, from where the sound of a shepherd’s horn can be heard. The ten intonational elements of the initial three measures of the ballet are the base from which the form of the “Introduction” is developed. Keywords: oeuvre of Tchaikovsky and Stravinsky, morphological analysis, Rite of Spring, object-descriptive polymorphism. В морфологическом анализе музыкальное произведение и слушатель рассматриваются как элементы коммуникативного двуединства. Каждый элемент этого двуединства может играть роль либо объекта, либо субъекта. Морфологический анализ выбирает в качестве своей главной цели звуковую конструкцию. Благодаря этому создаётся возможность более гибкого подхода к анализу музыкального текста. Морфема – один из краеугольных камней морфологического анализа – может быть определена как звуковая конструкция с типовым набором характерных черт. Другой краеугольный камень – морф – трансформирует морфему в жанрово-стилистическую «плоть и кровь» конкретного музыкального текста на основе полиморфизма. Ярким примером глубины и стремительности морфных превращений в музыке Чайковского является финал Первого фортепианного концерта. C позиций морфологического анализа музыкальное развитие во Вступлении «Весны священной» Стравинского является поэтапным приближением к существующему вовне объекту, позволяющим воспринять (разглядеть, услышать) его детали. Сам объект полиморфен, то есть изначально содержит в себе как в эмбрионе все необходимые элементы дальнейшего развития. Исходную точку Вступления – мелодию фагота в высоком регистре, сопровождаемую подголоском валторны, – можно определить как видимый вдали лес, из которого доносится звук пастушьего рожка. Десять интонационных элементов начального трёхтактового мотива балета являются основой развёртывания формы Вступления. Ключевые слова: творчество Чайковского, Стравинского, морфологический анализ, «Весна священная», объектно-изобразительный полиморфизм
Modernity in Polish Music: „Mity” by Karol Szymanowski and „Caprices” by Ludomir Michał Rogowski
Lietuvos muzikologija, 2017
As we take a look at the history of Polish music, we can see, that the tendencies popular in Western Europe in the beginning of the 20 th century, e.g. impressionism, expressionism or dodecaphony, were developed much more lately. This was mostly because of the political situation in Poland but also because of sentimentalism to the Romantic Era and audience's conservatism. However, there were many excellent examples of the approach to modernism in Polish composers' works. The author of this paper examines two of them. The first one can be seen in a composition by Karol Szymanowski entitled Mity, Op. 30 (1915) for violin and piano, in which the composer created a new musical style-violin impressionism. The second one is seen in a musical piece by Ludomir Michał Rogowski, Caprices (1922?) for viola, soprano or clarinet and piano, in which the composer tried to break the rules of classical harmony by usage of, as he said, "natural" scales. The aim of the article is to show a new approach to musical material by the aforementioned composers that is-their way of modernizing Polish music.