Trio d-moll op. 120 i ostatnia faza twórczości kameralnej Gabriela Fauré

Author(s): Wojciech Stępień / Language(s): Polish Publication Year: 0

The article presents the characteristic features of the late period of the French composer Gabriel Fauré’s (1845–1924) creative output, on the basis of his Piano Trio in D minor, op. 120 (1922–1923). The analysis of the piece has been conducted in the context of Fauré’s chamber music composed in the 1920s: Piano Quintet No. 2 in C minor, op. 115 (1919–1921) as well as Cello Sonata No. 2 in G minor, op. 117 (1921). The author argues that the modal features of the thematic material of the Trio constitute a direct result of the composer’s education in playing the organ as well as the Gregorian chant at École de Musique Classique et Religieuse in Paris (1854–1861). The second part of the piece has been a subject of an in-depth analysis, and the author employed, among others, the method of paradigmatic analysis formulated by Jean-Jacques Nattiez, in order to exemplify the homogeneity of the thematic material and the sparingness of the means of expression utilised by the composer.

IV Symfonia op. 58 i poemat na organy solo In Paradisum op. 61 Feliksa Nowowiejskiego wobec różnych koncepcji stylu późnego w muzyce

Author(s): Ilona Dulisz / Language(s): Polish Publication Year: 0

4th Symphony, op. 58 and the poem for organ solo In Paradisum, op. 61 by Feliks Nowowiejski were composed towards the end of his career. That period of time in the life of the composer constituted a period of struggle: wartime exile, hiding from the occupying forces and struggle with illness. The relevance of the biographical and historical context appears to be extremely clear in the case of those musical pieces. However, while confronting the two aforementioned pieces with the conceptions of the late style formulated by Mieczysław Tomaszewski, Mieczysław Wallis, Carl Dahlhaus and Theodor Adorno, it is possible to notice traces of the characteristics of the late style, which, in the case of Nowowiejski, do not appear solely in his later works.

Stylistyczne przemiany twórczości Sergiusza Rachmaninowa

Author(s): Iwona Świdnicka / Language(s): Polish Publication Year: 0

Rachmaninoff’s composing style, often called the late-Romantic, conservative, or eclectic style, can be described as a belated—and first and foremost individual—style. For Rachmaninoff, modernity meant regression and forced attempts at originality, while, as T.S. Eliot said, “true originality is merely a development.” Rachmaninoff’s works, which constitute a continuation, complement and development, are characterised by their unique features which include: the Rachmaninoff accord, the signature-motif, the motif of fate, the motif of the bell. Another characteristic feature of his works is the direct connection with literary works, poetry and painting, as well as the influence of historical, social and culturalfactors, both of which testify to their intertextual character. The composer consciouslycreates musical pieces which bridge the present and the past, since he is not an innovator,but rather a continuator.

Między prawdą a mitem, czyli styl późny w muzyce Gustawa Mahlera

Author(s): Bogumiła Mika / Language(s): Polish Publication Year: 0

The late style is an aesthetic category with a long-standing tradition. In addition, it is also a widely accepted and recognised category, which emerges time and time again in scholarly reflections of world-class musicologists and art theorists. In this article, the author briefly introduces a variety of approaches concerning the late style. The greatest emphasis is put on the theory of Joseph N. Straus, who distinguished six features of the late style. The majority of the articles are devoted to a discussion of a conception of the late style proposed by Vera Micznik in the context of the music of Gustav Mahler (primarily his 9th Symphony).Micznik conducts her analysis of “lateness” on the basis of three primary perspectives: the history of the work’s reception; the analytical perspective, focused on demonstrating the narrative character of the music; and the historical records, connected with the origin of the musical composition. Thus, the aim of the following article—although, to a large extent, the essay is focused on discussing the established literature on the subject—is to rethink the viewpoint concerning the “obvious” character of the presence of the late style in Mahler’s music.

Oscar Wilde, James Joyce, Flann O’Brien. Różne oblicza schyłkowości w procesie relatywizacji absolutu

Author(s): Dariusz Pestka / Language(s): Polish Publication Year: 0

Oscar Wilde, only nominally representing the Victorian Era, remained very much a contrarian in his artistic endeavours, not in the social and political sphere, but rather in the artistic and moral sense. As a representative of aestheticism, he remained under the idealistic theories of John Ruskin, at the same time succumbing to the impressionist visions of Walter Pater and referring to French symbolists. James Joyce, in his aesthetic credo, eschewed the idea of moral renewal in the religious sense, but at the same time heavily alluded to the aesthetic conception rooted in Thomism. Through his extensive use of experimental techniques, which constitute the very essence of modernism, and his use of parody, he presented the history of humanity focusing on the disintegration of language and its primary communication functions. Flann O’Brien, on the other hand, a writer of the late modern period, anticipated the tendencies characteristic of postmodernism and adopted a sceptical attitude towards the epistemological tradition of the Western civilisation. The ambiguity of O’Brien’s prose manifests, among others, in his use of Menippean satire, which the author utilises in order to allude to the narrative characteristic of the 20th-century anti-utopia with post-apocalyptic undertones, at the same time parodying that literary convention.

Styl późny w służbie sztuki życia. O późnej poezji Davida Herberta Lawrence’a

Author(s): Alina Mitek-Dziemba / Language(s): Polish Publication Year: 0

The point of departure for the following article is the belief that the concept of the late style, which was conceptualised primarily in the context of artistic endeavours, due to itsreflection on the nature of maturing, growing old, or the complex relationship betweensubjectivity and time, appears to share a certain affinity with the philosophy of existencemuch broader than just the art theory. Stylisation can be thus treated as an ancillary term,subordinate to the domain of existential aestheticisation (Richard Schusterman), whoseexistence is clearly inscribed into the modern philosophical project, though, in a broadersense, it has been present in philosophy from the very beginning, manifesting itself in thefigure of life understood as a work of art. Thus, the author of the article ponders the notionof the late style in the context of the aesthetics of existence, while the primary researchgoal becomes its concrete exemplification on the basis of one of the later poetic works ofD.H. Lawrence—a writer who on the one hand was taken before his time by an insidious illness, and on the other hand developed his sense of “lateness” and belatedness with reference to his contemporaries who died in the First World War. The reflections on the matter are highly influenced by the excellent late (and unfinished) book by Edward Said, On Late Style.

O kończeniu i rozpoczynaniu, czyli co się rodzi, gdy przemija postać świata

Author(s): Marcin Trzęsiok / Language(s): Polish Publication Year: 0

The article proposes a typology of articulation of the Romantic and modernist crisis of the Western Culture. The author distinguishes two primary narratives (rhetorics), inwhich the crisis is approached as a decline (twilight) or a new beginning (dawn). He alsointroduces yet another type—a rhetoric of dynamic stability, which emerges as a resultof the exhaustion of the idea of progress and guided history, in which the first two typesare deeply rooted. Moreover, the author characterises briefly each of these rhetorics andprovides examples of how each of them manifests in music. In the conclusions, the authorpoints to the potential for the emergence of a new philosophical paradigm, contained inthe premises of the rhetoric of dynamic stability.

Ogrody twórczości, wyobraźni, myśli

Author(s): Dariusz Rymar / Language(s): Polish Publication Year: 0

The first part of the book presents three main themes which, as a whole, are intended to bea framework for more specific descriptions in its second part. In the first chapter, entitled Realgardens against the myths, the author shows selected examples of landscape designs and discusses theirutilitarian functions, their role in the religious cult, the mythical, symbolic and metaphorical contextswhich have directly affected either programme assumptions of the gardens or a treatment of certainfeatures of the landscape. The cultures of Egypt, Mesopotamia, Greece and Rome are discussedin these respects. The author addresses the intellectual foundation of English and sentimentalgardens to clarify their strong ties with the ancient understanding of the landscape, describing onthis background meaningful features of Arcadia park near Nieborów. The chapter concludes witha discussion of selected solutions in Little Sparta — a garden founded by Sue and Ian Hamilton Finlaynear Edinburgh, Scotland. The second chapter, entitled Gardens of Imagination, discusses literarydescriptions, abstracted from specific landscape implementations. Several examples of literaturefrom different historical periods are invoked, with an emphasis on the role of sensuality. The authoranalyzes the fragments of the Egyptian Book of Gates, the epic of Gilgamesh, the Bible, Divine Comedyof Dante Alighieri, Charles Baudelaire’s Flowers of Evil. The third chapter, entitled The gardensof thought, raises general epistemological issues, first: in terms of the philosophical proposals forovercoming the fear of death, and second: in terms of theory of art viewed from the perspective of thetwentieth-century crisis of the great narrations.The common theme of all the chapters is the Garden of Eden, whose main intentional “function”is to overcome the fear of death. This issue is discussed in the context of eschatological, agnostic,and nihilistic intuitions, organized according to their relationship with specific gardens (Chapter 1),with the literary themes (Chapter 2), and finally with the abstract contemplation on the conditionof mankind and its representation in contemporary art (Chapter 3). Such a structure, inspired byHegel’s description of the history of the Absolute, makes it easier to present the problems of gardensfrom various perspectives — specific relations with nature, aesthetic experience and thought of purelyintellectual character. This approach, on the one hand, serves the clarity of argument by avoidingexcessive complexity of description, and on the other, shows the complexity of the concept of “garden”,resulting from the build-up of different meanings over the millennia.

Ogrody twórczości, wyobraźni, myśli

Author(s): Ewa Linkiewicz / Language(s): Polish Publication Year: 0

Bio…

Author(s): Aleksandra Giełdoń-Paszek / Language(s): Polish Publication Year: 0

A spectacular beginning of bio-art is ascribed to Eduardo Kac’s transgenic experimen GFP Bunny(2000). Since then, in art bio there have been distinguished number of trends, such as: a transgenic art, a microbial art, an agar art. A separate section of bio-art is the work with cells and tissue culture (in vitro). All trends are characterized by the work on unstable materials, the so-called wet media/ wetware, an ephemeral, a processuality, interactivity and the use of highly advanced technologies such as atransgenesis, neuropsychology and robotics. The biological world also inspires designers, builders and architects. The source of inspiration is mainly the physiology of living organisms, their structure and construction.In the bio art there also has appeared a critical movement. It deals with the problem of the relation between science and living organisms, the fight against commerce, the protection of life at each level. This results in a reevaluation of the relationship between humans and other species, which implies a departure from anthropocentrism. A critical aspect of this art is also a question about humans’ right to control their own evolution, to create new forms of life outside the natural order of living. On the one hand, bio art raises concerns, but on the other, it evokes a sense of the inevitability of transformation, of which we are witnesses. It is also heterogeneous in its ideological mssage. It questions the paradigm of the relationship between nature and culture, emphasizing morphism, liquidity and relativity of existing divisions, but it is involved in technology and a praise progress. Especialy dangerous aspect of bio-art is associated with biohacking and bioterrorism.

Fotomedializm Natalii LL — przestrzeń natury (ogród) w fotograficznym metatekście

Author(s): Karolina Tomczak / Language(s): Polish Publication Year: 0

The text examines multi-faceted formal and meaning-related relationships in photo-media projectsby Natalia LL: performances such as Points of Support (Punkty podparcia), the Eagle constellation (1978) and the Pyramid (1979), which present the artist against the background of a broader nature. They bring up several important issues related to the innovativeness of a neo-avant-garde photograph of Wroclaw of the 1970s, i.e. permanent art and isomorphism that implement a conceptual metatextuality of a given work, post-manuality breaking with the modernist paradigm of art, multimedia nature, incorporating a performance, film and verbal text into the medium of photography used in an unusual way, the issue of a creative use of the nature-garden theme in experimental activities. As referred in the article the photo-media art by Natalia LL shows the artist as a deconstructing creator, a contemporary Eve who arranges the space of nature in a demiurgical way, arranging her feminine body in an artistic sign — and thus creates her self-reflexive and feminist compositions. At the same time, the text focuses on the pioneering nature and perversity of this art, as Natalia LL provocativelytoys with the archetypal nature-garden, keeps a modernist individualism and longing for metaphysics,ironic ambiguity, and humour of a simple message.

Ogród zamknięty — otwarta przestrzeń znaczeń

Author(s): Małgorzata Łuczyna / Language(s): Polish Publication Year: 0

The concept of an enclosed garden — latin hortus conclusus is a starting point of my PhD thesis.In my theoretical and practical exploration I have used that concept as a key to understanding and interpreting selected phenomena in contemporary culture. For the purposes of my research I have formulated the idea of ‘an open space of meanings’ — the space to which various historical and contemporary, sociological, philosophical and artistic phenomena can be attributed. The concept of enclosed garden is a key and a symbol rather than a reference to only one form of historical gardens. Such an approach to the subject is a natural consequence of my artistic exploration and experience. In many of my works I have used the context of the creation of personal space, and the sense of relation and identity of the place. For the purpose of this publication I have chosen three chapters, two of which present the theoretical context and the third chapter is an analysis of my own project connected to the topic. The final part is followed by a set of photographs.

Wymyślone — niestworzone

Author(s): Agnieszka Jaworska / Language(s): Polish Publication Year: 0

The cycle of photographs presents a vision of the Garden of Eden abandoned by God and man.The paradise after the expulsion. Dead, fossilized land, closed to people forever. The un-like paradiseknown for its descriptions of the Bible. Photographs show the emaciated, dead, arid landscapes, alongwith biblical Trees of Life and The Tree of Knowledge. The skeletons of trees are made of speciallycrafted bones that are to symbolize, on the one hand, the brevity of the material world, and, on theother, ethical relativim of man.

Ogród jako miejsce zdarzeń osobistych

Author(s): Witold Jacyków / Language(s): Polish Publication Year: 0

“Strange garden’’, the painting by Józef Mehoffer (1902) is the spiritual inspiration for the photosincluded on the following pages of this book. The emotions triggered and inspired by this paintinghave become vividly remembered by the author of the photographs, until now. They become refreshedeach time, the sunlit and dazzled garden, scorching heat and playng children awake the ambivalentfeeling of sheer joy, in contrast to the subconscious fear of loss.

Piękno, sztuka i elementy edukacji estetycznej w pismach polskich neotomistów dwudziestolecia międzywojennego

Author(s): Janina Kostkiewicz / Language(s): Polish Publication Year: 0

In the neo‑scholastic perspective, beauty is construed as the property of being and a feature of reality and human production, including art. It could be found in people’s ways of being and cultural heritage under the name of harmony, perfection or brilliance. The study of beauty is subject to the basic principles of the study of metaphysics. Beauty is an important factor in the development of identity: it uplifts and ennobles. The love of beauty includes rest, respite necessary for the human development. Art itself, not bound by the virtue of prudence, does not aim at improving the human subject, but it is concerned with the work of art itself. It is precisely because of this fact that the neo‑ Scholasticists perceive a conflict between morality and art; that danger, however, can be avoided if the artist is endowed with their own ethic, which contributes to an unwitting creation of ethical works. Art is without a doubt extremely important for the functioning of society and therefore should fulfill its social obligation through aesthetics education and making beauty, truth and goodness available to people from all walks of life.

Muzyka Szymanowskiego w dialogu intertekstualnym

Author(s): Bogumiła Mika / Language(s): Polish Publication Year: 0

The author approaches the works of Karol Szymanowski—treated both as a subject and as an object—in an intertextual dialogue within the field of music. The article begins with a quick overview of intertextuality as a concept. The main aim of the article is to highlight the intertextual references to Szymanowski’s music. Those references, according to the author, are of a twofold nature: they can be either found in the works of Szymanowski themselves, through quotations, borrowings and styling his music after other composers (the subjective aspect), or they can be traced to works of other 20th‑century composers, who referred toSzymanowski’s oeuvre in their own music (the objective aspect). This analysis, in turn, leads to the conclusion that a lively dialogue between various texts of music constitutes a guarantee of the pleasure which comes from listening as well as an indisputable value in the domain of art.

Methodical Sonatas by Georg Philipp Telemann (1681–1767) and Their Contribution to Contemporary Instrumental Music Teaching

Author(s): Karol Medňanský / Language(s): English Publication Year: 0

In the Baroque period of the 17th and 18th centuries, several excellent tractates that focused on the instrumental early music performance were printed. Alongside them, the published methodical early music was devoted to particular problems of instrumental performance. The example of that are Methodical Sonatas for Violin or Flute and Basso Continuo by Georg Philipp Telemann. They deal with quite a serious problem of ornamentation while drawing inspiration from the principles of the mixed – German style. Their methodical quality lies in the fact that the author writes their compositions in one line in the form the compositions are commonly written, while in the line beneath they add the recommended ways of ornamentation. In addition, they also serve as the methodical guide for a precise assignment of the period tempo at which the verbal expression had a different meaning than in the present time. In this sense we can benefit from the tractate by Johann Joachim Quantz entitled Attempt to Create Manual of Playing Diagonal Flute.

Wartości uznawane i realizowane przez studentów Akademii Muzycznej w Łodzi

Author(s): Ewa Kumik / Language(s): Polish Publication Year: 0

Everyone acts according to one’s own system of evaluating and qualifying values, dependent on one’s personal way of perceiving reality. Which values we recognize as valid and prefer in everyday life has been predicated on out upbringing and what has been presented to us as good and morally right. In the following article, the author presents the results of a study she conducted among the students of the Academy of Music in Łódź, concerning the values they recognize as valid and apply in everyday life. In her analysis, the author refers also to selected works on the topic, discussing the issues of the hierarchy of values and psychological and social conditioning for the choice of particular values.

Start zawodowy nauczyciela przedmiotów muzycznych w szkole wyższej

Author(s): Monika Waligóra / Language(s): Polish Publication Year: 0

The initial stages of the teacher’s professional career have always invited a plethora of questions, emotions and curiosity. This issue has become, therefore, the subject of study of the author of the following article. The presented preliminary research on the beginnings of the teaching career of a music teacher at a university showed that it is an area of study which deserves more attention, vaguely established and lacking empirical verification. The overview of literature on the topic allowed to create a preliminary list of criteria determining the professional adaptation of the young teacher. Among them, the author enumerates the following: research potential, teaching potential and interpersonal potential. The analysisconcludes with a presentation of research findings and an announcement of the intention to further pursue the topic academically.

Uplatnenie regionálnych folklórnych tancov v hudobnej výchove

Author(s): Jana Hudáková / Language(s): Slovak Publication Year: 0

Folk dances utilised in education may foster the awareness of cultural heritage, dialogue with music and language and the ways of acquiring specific skills and developing musical capacity. The teaching of music with the incorporation of dance constitutes a complex of the components of studying in direct reference to the natural emotional and aesthetic experiences. This facilitates the development of numerous aspects of a child’s personality and enables them to express themselves by means of music.