Musical Analysis. Historia – Theoria – Praxis (tom 6)



red. A. Granat-Janki i in.

Wrocław 2021

Na stanie

SKU: 978-83-65473-31-8 Kategorie: ,



This publication belongs to the series entitled Musical Analysis. Historia – Theoria – Praxis devoted to the analysis of a musical work, encompassing both the description of the structure and form of a composition, and the interpretation of music, which enables its understanding. Discovering meanings in music is an ever-present subject of interest for scholars all over the world. It is also part of a long-standing research tradition at the Chair of Music Theory and History of Silesian Musical Culture of the Karol Lipiński Academy of Music in Wrocław, where the series has been originated. The book contains texts by musicologists, music theoreticians, composers, conductors and music therapists from Poland and abroad. The research problems they examine include meaning and significance in music, narratology and music rhetoric, intertextuality and wordmusic relations, representation in music, genre-related issues, the style of musical works, the usefulness of analysis in studying musical sources, and the concepts and methods of analysis. It is our belief that the book will arouse interest of a wide range of readers and enrich the knowledge of musical analysis and interpretation.


Spis treści


1. Sense and Signification in Music

Nicolas Meeùs Intrinsic and Extrinsic Meaning in Verbal Language and in Music Clive McClelland Terrifying Trees and Frightening Forests: Signifying the Supernatural in Nature in German Romantic Music Siglind Bruhn The Dies irae of Respectful Remembrance and the Twelve-Tone Rows of Death in Shostakovich’s Symphony No. 14  

2. Narratology, Rhetoric

Joan Grimalt Mozart’s String Quartet K. 421: A Topical-Rhetorical Narrative Analysis Andrzej Tuchowski Tonality and Shaping of the Thematic Material: Beethoven’s Piano Sonatas in C Minor as a Potential Source of Inspiration for ‘Futuristic’ Integrative Techniques in Sonata in B-flat Minor, Op. 35 by Chopin  

3. Intertextuality, Word–Music Relations

Anna Nowak Inter-Compositional Relationships as a Research Problem in the Works of Contemporary Composers Aleksandra Ferenc Intertextual and Intersemiotic Relations in Rafał Augustyn’s Miroirs Beata Bolesławska-Lewandowska Between the Poet and the Composer: On Nowy lirnik mazowiecki [New Mazovian lyrist] by Paweł Hertz and Zygmunt Mycielski Agnieszka Zwierzycka Pieśni Gabryelli [The Songs of Gabryella], Op. 25 by Władysław Żeleński – From Genesis to Resonance  

4. Representation in Music

Katarzyna Szymańska-Stułka Nebular Structures in Lithaniae by Aleksander Kościów Katarzyna Bartos On a Sacred Scarab’s Trail – Reportage II ‘Figures on the Sand’ by Grażyna Pstrokońska-Nawratil  

5. Genology

Anna Granat-Janki Agata Zubel’s Experiments with the Opera – Towards Genre Variety Tomasz Kienik The Magnificat – Instrumental Compositions. Exploration: Arrangements – Quotes – Inspirations  

6. Style

Julie Walker Chopin’s Last Style: Toward a Definition Wojciech Stępień Modernist Approach to Musical Form in Edvard Grieg’s Op. 54 Aleksandra Pijarowska The Stylistic Idiom of Ahmed Adnan Saygun’s Music as Exemplified by His String Quartets  

7. Analysis and Interpretation of Sources

Stephan Lewandowski Friedrich Kalkbrenner’s Traité d’harmonie du pianiste as a Source for Musical Analysis. Theoretical Reflections on the Art of Preluding in the Mid-19th Century Clara Maria Bauer Louise Farrenc’s Symphonies Between Beethoven Reception, Reicha’s Traité de haute composition musicale and Genre References. A Study on the Adhesion of Musical Analysis and Historical Contextualisation  

8. Concepts and Methods of Musical Analysis

Małgorzata Grajter The Concept of Intersemiotic Translation and Its Application to the Analysis of a Musical Work. ‘Translating’ Fryderyk Chopin’s Preludes Gesine Schröder When Igor Went West. An Outline of Music-Theoretical Approaches to Orchestral Performances Agnieszka Draus Performance Studies – Possibilities of Interpretation of Contemporary Music Klaudia Kukiełczyńska-Krawczyk The Perception of Film Music – Discussed on the Example of the Piece My Name Is Nobody by Ennio Morricone

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