Name: Musical Analysis. Historia – Theoria – Praxis. Vol. 7
SKU: 978-83-65473-53-0
Availability: InStock

Opis

This is the seventh volume of the collective monograph devoted to music-analytical studies, the aim of which is to present musical analysis from historical, theoretical, and practical perspectives. The range of issues addressed is broad, as the authors – musicologists, music theorists, and composers from various academic centres in Poland and abroad (Austria, France, Germany, Lithuania, Serbia, Spain, and United Kingdom) – represent different research approaches, including semiotic, hermeneutic, axiological, and intertextual ones, and use different concepts and methods of analysing and interpreting a musical work in the search for sense and meaning in music. What draws attention is the wide application of analysis, including in the study of the relationship between music and the word, in the exploration of issues of genre, style, and compositional technique, as well as those of expression and narrative in music. The questions of performance and reception of music are also raised. We hope that the diverse discourses on music and different perspectives on musical analysis presented in this volume of Musical Analysis. Historia – Theoria – Praxis will prove insightful and interesting to readers.

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Contents

Introduction

MUSICAL NARRATOLOGY AND PERFORMER'S ANALYSIS

Márta Grabócz Musical Narratology: Theory, Analysis, Performance

Joan Grimalt Rubato as a Sign of Subjectivity. Franz Schubert’s Impromptu No.1 in C Minor, Op.90: A Performer’s Analysis

HERMENEUTICS, SEMIOTICS

Nicholas P.McKay Igor Stravinsky’s Espressivo Enigma

Jean-Marie Jacono When a Formal Analysis Is No Longer Possible: Pictures at an Exhibition by Modest Petrovich Mussorgsky and Its Political Contexts

Małgorzata Grajter João Domingos Bomtempo’s Grand Fantasia in C Minor, Op.14: Form and Expression

Carlos Villar-Taboada In the Maze of the Night: Rodolfo Halffter’s Dialogues with History in Piano Works around 1970

GENEOLOGY, INTERTEXTUALITY

Gražina Daunoravičienė Music Genotype in Contemporaneity: Hypothesis of Evolution

Violetta Przech Bettina Skrzypczak’s String Quartet No.3 in the Context of the Tradition of the Genre. Ideas – Structure – Sound – Aesthetics

Aleksandra Ferenc Rafał Augustyn’s Strings Quartets: A Reinterpretation of the Genre

WORD–MUSIC RELATIONS, RHETORIC

Marek Nahajowski Andrzej Koszewski’s La Espero: A Famous but Unknown Masterpiece?

Aleksandra Pijarowska Music in Dialogue with the Word. Katarzyna Dziewiątkowska’s Vocal-and-Instrumental Lyric Works

AXIOLOGY OF MUSIC

Anna Nowak Music Infused with Values. On the Oeuvre of Hanna Kulenty

Anna Granat-Janki Spirituality in Music as an Object of Analysis: Based on the Oeuvre of Marcin Bortnowski

MUSICAL MEANING AND SIGNIFICANCE

Ivana Petković Lozo Interference between Berislav Popović’s Compositional and Music-Theoretical Écriture: String Quartet (1962) and Music Form or Meaning in Music (1998)

Ewa Schreiber Music and the Child’s Discovery. Ein Kinderspiel by Helmut Lachenmann

Joanna Schiller-Rydzewska Listening to Gdańsk: An Audiospheric Reminder of the City by Elżbieta Sikora

Katarzyna Bartos Madness and Clarity of Thought in the ‘Tarantella’ from John Corigliano’s Symphony No.1

CONCEPTIONS AND METHODS OD MUSIC ANALYSIS

Katarzyna Szymańska-Stułka The Musical Mindfulness in the Reception of a Musical Work: The Case of Anitya by Ignacy Zalewski

Gesine Schröder Poetic Counterpoint Practice and the Leipzig Counterpoint Theory of the19th Century

Tomasz Kienik On the Instructive Usefulness of Twentieth-Century Analytical Methods and Tools: A Comparative Study of Four Works for Solo Flute by Sofia Gubaidulina, Jeff Manookian, Werner de Blesser, and Frederic Rzewski

RECONNAISSANCE OF SELECTED COMPOSER'S WORKS

Miłosz Kula Not only Bajka [Fairy tale]. Stanisław Moniuszko’s Symphonic Output According to the Newest Research

Katarzyna Dziewiątkowska Ennio Morricone’s Soundscape in the Film Lolita (1997) by Adriane Lyne

Martyna Krymska-Renk Pieces for Solo Instrument and Piano by Leszek Wisłocki in the Context of His Compositional Output: A Reconnaissance and Reflection