Intuicja czy scjentyzm Stockhausen - Ligeti - Nono - Berio - Xenakis - Grisey

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1. Verfasser: Humięcka-Jakubowska, Justyna (VerfasserIn)
Format: Buch
Sprache:Polish
Veröffentlicht: Poznań Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk 2013
Schriftenreihe:Prace Komisji Muzykologicznej / Poznańskie Towarzystwo Przyjaciół Nauk / Wydział Nauk o Sztuce 32
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600 1 7 |a Nono, Luigi / (1924-1990) / krytyka i interpretacja  |2 jhpk 
600 1 7 |a Berio, Luciano / (1925-2003) / krytyka i interpretacja  |2 jhpk 
600 1 7 |a Grisey, Gérard / (1946-1998) / krytyka i interpretacja  |2 jhpk 
600 1 7 |a Xenakis, Iannis / (1922-2001) / krytyka i interpretacja  |2 jhpk 
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Datensatz im Suchindex

_version_ 1804151976757297152
adam_text Spis treści WPROWADZENIE ..................................................................... 11 1. Cel i przedmiot rozprawy ................................................................... 11 2. Metodyka badań ................................................................................ 19 Część pierwsza REKONESANS TEORETYCZNY ............................................ 25 1. Konteksty procesu twórczego ............................................................. 25 2. Intuicyjny aspekt procesu twórczego .................................................. 36 3. Scjentystyczny aspekt procesu twórczego ........................................... 62 4. Charakterystyka pojmowania muzyki jako czystego przepływu ........ 86 4.1. Koncepcja struktury muzycznej jako pochodnej struktury materiału dźwiękowego .............................................. 90 4.2. Koncepcja czasu jako szeregu autonomicznych momentów ........ 118 Część druga REKONESANS PRAKTYCZNY ..............................................135 1. Utwory Karlheinza Stockhausena .................................................... 135 1.1. Podstawa fìlozofìczno-metodologiczna ........................................ 135 1.2. Realizacje ................................................................................... 146 1.2.1. Klavierstücke I-IV na. fortepian (1952)............................... 146 1.2.2. Kontra-Punkte na 10 instrumentów: flet, klarnet, klarnet basowy, fagot, trąbkę, puzon, fortepian, harfę, skrzypce i wiolonczelę (1952-1953).................................. 157 1.2.3. Zeitmasse па. kwintet dęty: obój, flet, rożek angielski, klarnet, fagot (1955-1956) ............................................... 168 1.2.4. Harlekin na klarnet solo (1975)......................................... 180 1.2.5. Jubiläum na orkiestrę (1977) ............................................ 193 Spis tresei 2. Utwory György Ligetiego ...................................................................204 2.1. Podstawa filozoficzno-metodologiczna ........................................204 2.2. Realizacje ................................................................................... 219 2.2.1. Musica ricercata na fortepian (1951-1953) ........................ 219 2.2.2. Apparitions nâ orkiestrę (1958-1959) ...............................234 2.2.3. Continuum na klawesyn (1968) .......................................249 2.2.4. Chamber Concerto dia 13 muzyków (1969-1970) ............260 2.2.5. Ramifications na orkiestrę smyczkową lub 12 instrumentów smyczkowych solo ( 1968-1969) ...........269 3. Utwory Luigiego Nono ......................................................................286 3.1. Podstawa filozoficzno-metodologiczna ........................................286 3.2. Realizacje ...................................................................................296 3.2.1. Variazioni canoniche sulla serie delľop. 41 di A. Schô nbergna. orkiestrę kameralną (1950).................296 3.2.2. Polifonica-Monodia-Ritmica na flet, klarnet, klarnet basowy, saksofon, róg; fortepian i perkusję (1951).............309 3.2.3. Incontri na 24 instrumentalistów (1955).......................... 319 3.2.4. Composizione no. 2 (Diario polacco 58) na orkiestrę (1958-1959)...................................................330 3.2.5. Fragmente- Stille, an Diotima na 2 skrzypiec, altówkę i wiolonczelę (1980)..........................................................339 4. Utwory Luciano Berio .......................................................................350 4.1. Podstawa filozoficzno-metodologiczna ........................................350 4.2. Realizacje ...................................................................................364 4.2.1 Cinque Variazioni na fortepian (1952-1953)......................364 4.2.2. Sincronie na kwartet smyczkowy (1964) .......................... 376 4.2.3. Sinfonia na 8 głosów i orkiestrę (1968-1969) ....................390 4.2.4. Sequenza Vilna obój solo (1969) ......................................407 4.2.5 Ritorno degli Snovidenia na wiolonczelę solo і 30 instrumentalistów (1976-1977)................................. 419 Spis treści 5. Utwory Iannisa Xenakisa .................................................................429 5.1. Podstawa fìlozofìczno-metodologiczna ........................................429 5.2. Realizacje ...................................................................................437 5.2.1. Metastaseis na orkiestrę (1953-1954) ...............................437 5.2.2. Achorripsis na orkiestrę (1956-1957)................................446 5.2.3. Akmta na 16 instrumentów dętych (1964-1965) ..............457 5.2.4. Evryali na fortepian (1973) ............................................... 470 5.2.5. Horos na orkiestrę (1986)..................................................482 6. Utwory Gerarda Griseya ....................................................................498 6.1. Podstawa filozoficzno-metodologiczna ........................................498 6.2. Realizacje ................................................................................... 507 6.2.1. Derives na 2 grupy orkiestrowe (1973-1974) .....................507 6.2.2. Les Espaces acoustiques na orkiestrę (1974-1985) ............ 515 6.2.3. Tempus ex machina dla 6 perkusistów (1979) .................. 535 6.2.4. Anubis et Nout na solo klarnetu kontrabasowego lub solo saksofonu basowego, lub solo saksofonu barytonowego (1983)........................................................ 547 6.2. 5. Talea na flet, klarnet, skrzypce, wiolonczelę i fortepian (1985-1986) ..................................................................... 559 Część trzecia REKONESANS POZNAWCZY ................................................571 1. Modelowanie dynamiczne ................................................................. 572 2. Modelowanie probabilistyczne ............................................................ 617 3. Modelowanie kognitywne ...................................................................636 4. Modelowanie reprezentacji częstotliwościowo-czasowej .....................649 Zakończenie .........................................................................................689 Bibliografia ...........................................................................................702 Spis przykładów ...................................................................................726 Spis wykresów ...................................................................................... 736 Indeks ................................................................................................... 741 Summary .............................................................................................. 747 Summary The nature of creation - in the sense of an observable sequence of changes is processual and as such it implies specific kind of development in stages. In¬ dividual stages may either result regularly one from another or they may show sudden unexpected turns leading to completely new creative strategies. Creative strategies adopted within any domain of human activity may in¬ clude both the phases which are under the artist s full control as well as spon¬ taneous moments during which the final product is as much the outcome of some well thought-out strategy as the result of various strategy independent external factors. As far as artistic musical activities are concerned one must as¬ sume that each piece of music is unique as a product of some definite creative process. What is more, equally unique is the process itself; it is unrepeatable with respect to both the nature and number of individual stages and also to the inspiration and motivation which determine the structure of the creative pro¬ cess. The composer s psychological traits and - broadly taken - the surround¬ ing reality (the people; things, processes; phenomena, the situations he or she gets familiar with and must react to) determine the artist s cognitive capacities thus shaping his specific way of thinking. Prevalence of one particular cognitive element within the creative process, or the dominance of several such elements at the time of composing a work of music together with the impact of the composer s emotional stance upon the process may all determine both the nature of the process and the composer s diverse creative attitudes. The subject matter of my study here are both the declarations of principles and explanatory texts (of philosophical nature) formulated by the artists them¬ selves, as well as the analysis of some chosen works of music by the compos¬ ers who were often believed to be members of the so-called post- Webern or Darmstadt School. The three (i.e., declarations, texts and compositions) will be analyzed in the context of the intellectual element that might have inspired the composers. Two factors seemed to have shaped the specific approach of that group of composers to music: music was the pure flow (of sound, of time, of the spirit and of musical events). And the two factors that influenced the ap¬ proach were the free play of imagination7 - directly related to the artist s intui¬ tion and the musical scientism that were to characterize the creative process. That kind of approach to music seems to be closely connected to two concepts: 1 ) of time - viewed as a series of moments, each of which has its own value irrespective of the context and independently of the consequences that might follow a given moment; 2) of structure, which must not be a product of some 747 Summary commonly accepted convention or tradition, but which must rather emerge from the structure of the sound itself. The concept of progressive and supranational art propagated among the post- World War II avant-garde composers could be and was embodied in many distinct ways in various musical works. I would also like these variations to constitute the subject matter of the present work. The avant-garde composers seem to have chosen - presumably in the name of progress - two mutually opposing ways of organizing music. Their ap¬ proach to music was either deterministic or non- deterministic. When a com¬ poser worked on a deterministic piece of music, he or she would usually adapt some pre-compositional processes and structural concepts making use of tools borrowed from science (mainly from physics and mathematics). Yet, even in the case of non- deterministic compositions, seientistically- inspired concepts would often appear, either in the form of enriching the creative process with some elements of probability theory and introducing the notion of randomness into the process of composing music (which was influenced by the studies of time dependent stochastic models of random events). The liberated music that could appear as a product of the creative processes restricted in the ways presented above would be free music, unconstrained by the traditional rules and conventions, organized with attention paid to the shaping of a given sphere of sounds or sonosphere,- the music whose aim is to mark the presence of the anti-narrative flow of acoustic events . The material analyzed in this monograph has been organized in terms of three surveys. The first one, which is called a practical survey is meant to present the ways in which the artists philosophical and methodological as¬ sumptions are put into the individual composer s practice. Here, instances of composers self-reflections are presented as well as the musicological analysis of selected pieces. Each piece is described with respect to the specific princi¬ ples underlying its pitch structure, its rhythm and meter, harmonic patterns, themes and motifs, sound texture and its formal structure. The second theoretical survey refers to some distinct branches of knowl¬ edge and discusses their approaches to the nature of the creative process. Thus it mentions psychology because human mental abilities and the concept of intuition are extremely important for our creativity,· philosophy is discussed on account of the relationship between scientism and post-Webern science- oriented attitudes of certain composers and finally musicological perspective is assumed to account for the pure flow and its influence upon the structure of music as well as on its specific approach to the notion of time. The third cognitive survey is meant to account for possible analyses of musical substance as they are offered by various technological methods of ex¬ amining music and by Music Information Retrieval research. There are four methods of normative analysis associated with four types of models: dynamic, 748 Summary probabilistic, cognitive and time-frequency imaging(visualizing) . They based on information theory and statistical research. All these models generate ob¬ jective numerical data which provide insight into the auditory structure of a piece of music. Dynamic modeling of music tries - for instance - to shape the pitch, tone and rhythm of the sound in order to emulate acts of natural perception of mu¬ sic. Probabilistic modeling measures the entropy of music - stating the rela¬ tionship between the order, disorder and chaos among the sound events in a musical piece entropy helps us to determine which musical structure is most typical and frequent and which is rare. Cognitive modeling is based on auditory scene analysis. Here, piano-roll diagrams help to explain (by showing various groupings of either sequential or simultaneous nature) the chronological and formal organization of a work of music and/or certain aspects of the perception of musical chords and tone. Finally, there are temporal and spectral visualiza¬ tions (spectral analysis) that can give an insight into in many aspects of the structure of a musical piece. The aim of this monograph is to answer as exhaustively as possible the question concerning the extent to which the composer s philosophical stand may influence the choice of his/her creative conception and strategy, and then, the extent to which the assumed attitudes (intuitive or science-based) affect the resultant form of music understood as the pure flow . The monograph ends with a list of conclusions drawn in the course of my three reconnaissance missions . I think my working hypothesis still holds: the proportions of intuition and scientism in the creative works of Stockhausen, Ligeti, Nono, Berio, Xenakis and Grisey do vary Though I do notice that the creative attitude of Ligeti is marked predominantly by intuitive factors (irre¬ spective of how the composer himself understood intuition and of what place he would assign to it in his multi-stage creative process). Ligeti s emotionally conditioned intuitive factors are also examples of the highest degree of congru¬ ence of the composer s ideas of the created work with the shape of the musical surface generated in the course of the creative process. The scientistic aspect of Grisey s creative process has - in my opinion - pre- compositional nature. The same is true of all the works of serial music, in which the composers made use of some elements of combinatorics. Grisey s scientism is also visible when he tries to translate into the language of music certain acoustic and psych- acoustic phenomena. Yet, conventional musical instruments made it impos¬ sible - in the case of Grisey - to match his ideas to the final product in the form of auditive representations of the arising shapes of musical surface. I think that in the case of Grisey s creative works we are dealing not only with metaphoric language used to describe the musical work and the creation process, but also with metaphoric conversion of the composer s ideas into his music. Extreme scientism characterizing Xenakis musical creation together with his archi- 749 tecturaľ inclination [he was also an architect] to geometrize musical works, as well as his tendency to treat musical phenomena like stochastic processes [the organization of a musical work was determined probabilistically] - all that unexpectedly resulted in almost perfect compatibility of the composer s ex¬ pectations with the auditive representations of musical surfaces. In the cases of Stockhausen, Nono i Berio, their scientism can be traced to the choice of certain specific tools , which modify - in the analyzed compositions - the ini¬ tial musical material and enrich the musical works with a spatial dimension. Extra-musical knowledge and intuition would influence - in equal degree - the choice of both the tools and composers strategies. The practical reconnaissance of my monograph was restricted to only thirty compositions (though there were also some cyclic works among them). I do not think they can exhaustively exemplify all the problems discussed in the study. A more thorough analysis of the relationships between the intui¬ tional versus scientistic aspects of the creative process on the one hand and the auditive representation of music on the other would be possible with an extended corpus of musical illustrations. p ■ ι о -. j і« : ; .... ι . , Ι München î
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publishDate 2013
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spelling Humięcka-Jakubowska, Justyna Verfasser (DE-588)1030049785 aut
Intuicja czy scjentyzm Stockhausen - Ligeti - Nono - Berio - Xenakis - Grisey Justyna Humięcka-Jakubowska
Poznań Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk 2013
749 s. graph. Darst., Notenbeisp. 25 cm
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Prace Komisji Muzykologicznej / Poznańskie Towarzystwo Przyjaciół Nauk / Wydział Nauk o Sztuce 32
Zsfassung in engl. Sprache
Bibliografia. - Indeks
Stockhausen, Karlheinz / (1928-2007) / krytyka i interpretacja jhpk
Ligeti, György / (1923-2006) / krytyka i interpretacja jhpk
Nono, Luigi / (1924-1990) / krytyka i interpretacja jhpk
Berio, Luciano / (1925-2003) / krytyka i interpretacja jhpk
Grisey, Gérard / (1946-1998) / krytyka i interpretacja jhpk
Xenakis, Iannis / (1922-2001) / krytyka i interpretacja jhpk
Geschichte 1950-1990 gnd rswk-swf
Muzyka / 20 w / historia i krytyka jhpk
Musik (DE-588)4040802-4 gnd rswk-swf
Musik (DE-588)4040802-4 s
Geschichte 1950-1990 z
DE-604
Poznańskie Towarzystwo Przyjaciół Nauk / Wydział Nauk o Sztuce Prace Komisji Muzykologicznej 32 (DE-604)BV005893205 32
Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027153903&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis
Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027153903&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract
spellingShingle Humięcka-Jakubowska, Justyna
Intuicja czy scjentyzm Stockhausen - Ligeti - Nono - Berio - Xenakis - Grisey
Stockhausen, Karlheinz / (1928-2007) / krytyka i interpretacja jhpk
Ligeti, György / (1923-2006) / krytyka i interpretacja jhpk
Nono, Luigi / (1924-1990) / krytyka i interpretacja jhpk
Berio, Luciano / (1925-2003) / krytyka i interpretacja jhpk
Grisey, Gérard / (1946-1998) / krytyka i interpretacja jhpk
Xenakis, Iannis / (1922-2001) / krytyka i interpretacja jhpk
Muzyka / 20 w / historia i krytyka jhpk
Musik (DE-588)4040802-4 gnd
subject_GND (DE-588)4040802-4
title Intuicja czy scjentyzm Stockhausen - Ligeti - Nono - Berio - Xenakis - Grisey
title_auth Intuicja czy scjentyzm Stockhausen - Ligeti - Nono - Berio - Xenakis - Grisey
title_exact_search Intuicja czy scjentyzm Stockhausen - Ligeti - Nono - Berio - Xenakis - Grisey
title_full Intuicja czy scjentyzm Stockhausen - Ligeti - Nono - Berio - Xenakis - Grisey Justyna Humięcka-Jakubowska
title_fullStr Intuicja czy scjentyzm Stockhausen - Ligeti - Nono - Berio - Xenakis - Grisey Justyna Humięcka-Jakubowska
title_full_unstemmed Intuicja czy scjentyzm Stockhausen - Ligeti - Nono - Berio - Xenakis - Grisey Justyna Humięcka-Jakubowska
title_short Intuicja czy scjentyzm
title_sort intuicja czy scjentyzm stockhausen ligeti nono berio xenakis grisey
title_sub Stockhausen - Ligeti - Nono - Berio - Xenakis - Grisey
topic Stockhausen, Karlheinz / (1928-2007) / krytyka i interpretacja jhpk
Ligeti, György / (1923-2006) / krytyka i interpretacja jhpk
Nono, Luigi / (1924-1990) / krytyka i interpretacja jhpk
Berio, Luciano / (1925-2003) / krytyka i interpretacja jhpk
Grisey, Gérard / (1946-1998) / krytyka i interpretacja jhpk
Xenakis, Iannis / (1922-2001) / krytyka i interpretacja jhpk
Muzyka / 20 w / historia i krytyka jhpk
Musik (DE-588)4040802-4 gnd
topic_facet Stockhausen, Karlheinz / (1928-2007) / krytyka i interpretacja
Ligeti, György / (1923-2006) / krytyka i interpretacja
Nono, Luigi / (1924-1990) / krytyka i interpretacja
Berio, Luciano / (1925-2003) / krytyka i interpretacja
Grisey, Gérard / (1946-1998) / krytyka i interpretacja
Xenakis, Iannis / (1922-2001) / krytyka i interpretacja
Muzyka / 20 w / historia i krytyka
Musik
url http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027153903&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA
http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027153903&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA
volume_link (DE-604)BV005893205
work_keys_str_mv AT humieckajakubowskajustyna intuicjaczyscjentyzmstockhausenligetinonoberioxenakisgrisey