{"id":260,"date":"2020-11-24T22:31:58","date_gmt":"2020-11-24T21:31:58","guid":{"rendered":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/?p=260"},"modified":"2020-11-24T23:37:46","modified_gmt":"2020-11-24T22:37:46","slug":"session-2","status":"publish","type":"post","link":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/session-2\/","title":{"rendered":"SESSION 2: Critical Perspectives in Music Analysis"},"content":{"rendered":"

Thursday, 26 November 2020<\/strong><\/p>\n\n\n\n\n\n\n

\n<\/strong>11:15 \u2013 12:45<\/strong><\/td>\n		SESSION 2:<\/strong><\/p>\n

Critical Perspectives in Music Analysis<\/em><\/strong><\/p>\n

chair: Sanja Ki\u0161 \u017duvela<\/td>\n<\/tr>\n

11:15 \u2013 11:45<\/td>\nMonika Karwaszewska\u30fbHanna Dys:<\/p>\n

A Critical Source Edition of Mieczys\u0142aw Surzy\u0144ski\u2019s Concerto for Organ and Orchestra Op. 35 <\/em><\/td>\n<\/tr>\n

11:45 \u2013 12:15<\/td>\nKoichi Kato:<\/p>\n

Sonata Theory in the Age of \u2018Post-Truth\u2019<\/em><\/td>\n<\/tr>\n

12:15 \u2013 12:45<\/td>\nVioletta Kostka:<\/p>\n

Meaning of Music as Rescue for Musicology and Humanities<\/em><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Monika Karwaszewska<\/strong>1<\/sup>\u30fbHanna Dys<\/strong>2<\/sup><\/p>\n

Stanis\u0142aw Moniuszko Academy of Music, Gda\u0144sk<\/p>\n

mon-kar@wp.pl<\/em>1<\/sup><\/em>\u30fb<\/em>hannadys@o2.pl<\/em>2<\/sup><\/em><\/p>\n

\u00a0<\/strong><\/p>\n

A Critical Source Edition of Mieczys\u0142aw Surzy\u0144ski\u2019s Concerto for Organ and Orchestra Op. 35<\/strong><\/p>\n

Currently, new musicology embraces almost every direction of humanistic studies, including the most recent intermedia and interdisciplinary re\u00adsearch, suitable for being combined and used for music scholarship. Its rapid devel\u00adopment proves the need for a continued development of new research tools and systematised terminologies. Earlier heuristic studies that led to the release of critical editions and scholarly musical manu\u00adscripts are, however, still being undertaken and, it seems, will not go out of \u2018fashion\u2019. The poor state of research on contemporary music editing in Polish musicological liter\u00adature prompts deep theoretical reflection on this aspect. The source auto\u00adgraph is excellent cognitive and analytical material in the process of its recep\u00adtion. An editor who prepares a critical or scien\u00adtific edition of a musical work for publication, which will be the basis for performance, must conduct multi-stage research and offer an artistic inter\u00adpretation. Hence the need for con\u00adtem\u00adporary recipients of musical scores to find their answer in the schol\u00adarly edition supplemented with a clearly graphically highlighted perfor\u00admance interpretation.<\/p>\n

During the lecture, the method of the editing of the Concerto for Organ and Orchestra Op. 35 (1904) manuscript by the Polish composer Mieczys\u0142aw Surzy\u0144ski will be presented, as well as the procedure which led to the produc\u00adtion of a contemporary critical edition of this work intended for contem\u00adporary performers and students of the organ. This neo-romantic composition has already been performed and recorded several times thanks to a pre\u00adserved copy of the manuscript of the score (as the original was considered lost) and the published score revised in 1994 by the Polish musicologist and or\u00adganologist Jerzy Go\u0142os. The edition that will have been discussed at the conference contains the recon\u00adstructed score, complete with its orchestral and solo parts, supplemented with an extensive revision commentary. In all probability, it will have been the first complete critical edition of this fine work to date. In addition, an analysis and interpretation of this piece will have been presented, important aspects of approaching a musical work, as part of the most recent music scholarship.<\/p>\n

Key words<\/strong>: Mieczys\u0142aw Surzy\u0144ski, organ music, critical source edition, heuristics, new musicology, Polish music<\/p>\n

Monika Karwaszewska<\/strong>, PhD, Polish music theorist, assistant professor at the Stanis\u0142aw Moniuszko Academy of Music, the editor-in-chief of the Academy’s Publishing House. Member (candidate) of the Musicologists\u2019 Section of the Polish Composers\u2019 Union, author of the monograph Andrzej Dobrowolski. The Music of Pure Form<\/em>. She focuses on the 20th and 21st Century music theory, adopting intermedial and intertextual methods. Recently, she has conducted research into transposing the Italian Transavantgarde to Polish music.<\/p>\n

Hanna Dys,<\/strong> organist, Professor in the Instrumental Department of the Stanis\u0142aw Moniuszko Academy of Music in Gda\u0144sk. In 2009 she obtained her Doctor of Musical Arts, and in 2016, a doctor habilitatus degree. A graduate of both the Academy, where she studied with Prof. Roman Perucki, and of University for Music and Theater in Hamburg (honours degree), where she studied with Wolfgang Zerer. She leads an active concert life, performs at international organ music festivals in Poland and Europe (Germany, Finland, Norway, Moldavia, Spain, Russia, Italy and other countries) and is also an adjudicator in organ music competitions. Her concert performances promote Polish organ music and she chose to record a monographic album with works by Mieczys\u0142aw Surzy\u0144ski for her habilitation. She teaches organ at the Gen\u00aderal School of Music in Gda\u0144sk. Her pupils and students are prizewinners in organ competitions. She regularly provides masterclasses in Poland and abroad, in Russia, Lithuania, Italy.<\/p>\n

\n

Koichi Kato<\/strong><\/p>\n

Independent Researcher<\/p>\n

kato_piano@yahoo.co.jp<\/em><\/p>\n

 <\/p>\n

Sonata Theory in the Age of ‘Post-Truth’<\/strong><\/p>\n

James Hepokoski, with his co-author, Warren Darcy, published Elements of Sonata Theory<\/em> (2006), a systematic method for the analysis of sonata forms. Tracing his writings since the end of the 1980s and early 90s, when the formalist approach was under attack by the emergence of new musi\u00adcol\u00adogy that promulgated the slogan of the context in search of musical mean\u00ading against the music itself, it is palpable that Hepokoski\u2019s chief concern in formulating a theory for sonata was needed for a dialogue or interaction between a form itself and its external sources. Paradoxically, however, despite his on-going emphasis on the importance of context in music theory, his theory resulted in a Kantian \u201cregulative principle\u201d that came close to \u201cthe music itself\u201d or Hanslickian formalism. This paradox seems to reveal or illustrate the vexing issue that lies in shaping music theory, especially in the relativistic age of the \u2018post-truth\u2019 and new Musi\u00adcology. This paper will aim at tracing how<\/em> Hepokoski changed his stance from \u2018sonata deformation\u2019 to \u2018Sonata Theory\u2019, which has exten\u00adsively revised the existing analytical system and its re-evaluation to honour and privilege the classical sonatas, while maintaining the original terminolo\u00adgies devised for \u2018sonata deformation\u2019. It will explore the ideol\u00adogy on musi\u00adcal form and its theorisation, with a reference to an impact of New Musicology on the analysis.<\/p>\n

Key words<\/strong>: Sonata Theory, formalism versus hermeneutics (context), New Musicology, the approach to musical form, norm and deformation<\/p>\n

Koichi Kato<\/strong> obtained his postgraduate degree from Royal Holloway, Univer\u00adsity of London, where he wrote a thesis under the supervision of Professor Jim Samson. He has been presenting conference papers in domestic and international venues, including the CityMac Conference (Society for Music Analysis, UK, 2018), Music and Musicology in the age of Post-Truth<\/em>(University College Dublin, 2018), where he read a paper entitled Deconstructive Ap\u00adproach to Formalism: Dilemma in Analysis through Reading James Hepoko\u00adski\u2018s Sonata Deformational Theory<\/em>, and the Music and Spatiality <\/em>Conference (Belgrade, 2019). He participated in the NZMS (New Zealand Musicological Society) and MSA (Musicological Society of Australia) joint conferences (2010, 2013 and 2017).<\/p>\n

\n

Violetta Kostka<\/strong><\/p>\n

Academy of Music, Gda\u0144sk<\/p>\n

vkkostka@poczta.onet.pl<\/em><\/p>\n

 <\/p>\n

Meaning of Music as Rescue for Musicology and Humanities<\/strong><\/p>\n

The study of musical meaning is an important issue of current musicology and broadly understood humanities. Musical meaning is not a new aspect in our field (Hanslick, hermeneutics, semiotics), but lately cognitive scien\u00adtists, Mark Turner and Gilles Fauconnier, proclaimed their new theory called the Conceptual Integration Network (CIN) that can change our per\u00adspec\u00adtive. There are two aims of my paper: a presentation of this theory and an interpretation of one musical work in the light of a CIN.<\/p>\n

The key concept of Turner and Fauconnier\u2019s theory is \u2018mental space\u2019, which is a small, conceptual package, constructed during thinking. The basic schema of a CIN contains four such mental spaces: two input spaces, a generic space and a blended space, and they activate the inter-spatial mapping of counterparts leading to the creation \u2212 in the last space \u2212 of a new concept\/meaning. Some musicologists, such as Nicholas Cook and Lawrence Zbikowski, tried to adapt this new cognitivist idea to music, and the latter really has a great achievement in this era.<\/p>\n

As a case study I have chosen Pawe\u0142 Szyma\u0144ski\u2019s opera Miserere <\/em>for voices and instruments from 1993. The work is composed of a three-movement attacca<\/em>, and each has its own CIN. The first movement activates the fol\u00adlow\u00ading concepts: the generic space \u2013 faith in eternal life, the text space \u00a0\u2013 an oration directed at God resonant with repentance and humbleness, and the music space \u2013 alternately five sections for solo bass and five choral-instrumental sections, where the choral parts seem to be stable and the instrumental parts in a constant move-up (in very complex technique). As a result, the following conceptual blend is born: sinner \u2500 sung prayer \u2500 mental balance. The sinner is aware of his\/her sin and experiences remorse; the climbing cello glissando shows us that his\/her thoughts are constantly directed to Heaven.<\/p>\n

Key words<\/strong>: musical meaning, conceptual integration network, conceptual blend, Pawe\u0142 Szyma\u0144ski<\/p>\n

Violetta Kostka<\/strong> was trained as a musicologist at the University of Pozna\u0144, she received her PhD degree and then her habilitation from the Institute of Art of the Polish Academy of Sciences in Warsaw. Currently working as Professor at the Academy of Music in Gda\u0144sk, she has won scientific scholarships from the University of Cambridge, the Polish Library in Paris and the State Committee of Scientific Research in Poland. Her research achievements include books on Tadeusz Kassern\u2019s and Pawe\u0142 Szyma\u0144ski\u2019s music, and about 80 articles, published among others in Die Musik in Geschichte und Gegenwart<\/em>, Tempo: A Quarterly Review of Modern Music<\/em> and Studies in Musical Theatre<\/em>. In recent years, she has given several author lectures in Poland and abroad, and organised two conferences on intertextuality in music. Her current research interests oscillate around intertextuality in music, meaning of musical works, film music and different problems of contemporary music.<\/p>\n","protected":false},"excerpt":{"rendered":"

Thursday, 26 November 2020 11:15 \u2013 12:45 SESSION 2: Critical Perspectives in Music Analysis chair: Sanja Ki\u0161 \u017duvela 11:15 \u2013 11:45 Monika Karwaszewska\u30fbHanna Dys:…   Read More<\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","_links_to":"","_links_to_target":""},"categories":[9,1],"tags":[],"class_list":["post-260","post","type-post","status-publish","format-standard","hentry","category-events","category-uncategorized"],"_links":{"self":[{"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/posts\/260","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/comments?post=260"}],"version-history":[{"count":3,"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/posts\/260\/revisions"}],"predecessor-version":[{"id":310,"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/posts\/260\/revisions\/310"}],"wp:attachment":[{"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/media?parent=260"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/categories?post=260"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/tags?post=260"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}