Muzyka w Kontekście Pedagogicznym, Społecznym i Kulturowym 4 / 2024

URI dla tej Kolekcjihttps://repozytorium.ur.edu.pl/handle/item/10919

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Słowo wstępne
(Wydawnictwo Uniwersytetu Rzeszowskiego, 2024-10) Nidecka, Ewa; Wąsacz-Krztoń, Jolanta
The Reception and Performance of Ludwig van Beethoven’s Instrumental Music in “Ville Lumière” from the late 1820s through the mid–1840s
(Wydawnictwo Uniwersytetu Rzeszowskiego, 2024-10) Cadi Sulumuna, Temina
Ludwig van Beethoven emerged as a towering figure in the French press during the first half of the nineteenth century. His “bizarre” music served as an excellent tool for contemporary progressive critics, helping them to form an elite audience and elevate “the musical intelligence of the masses”, to show professional musicians the direction which “modern music” should take and to encourage skillful amateurs to dare to perform compositions that may not have been captivating upon first being heard. Readers of the time were thus gradually compelled to accept the “new German school of composition”. It was mainly in promoting Beethoven’s instrumental music in Ville Lumière that the French press saw a strong argument for portraying the city as the hub of the most sublime and finest European music. The purpose of the present article is to contribute towards musicological studies by depicting a complex picture of assimilating, interpreting, and evaluating Beethoven’s music as well as adapting it to French performance conventions. All these points are considered through the lens of the music and non-music press targeting a highly diverse readership during the first half of the nineteenth century. The article is divided into two sections. The first section focuses on the reception of Beethoven’s instrumental music by the elite Parisian audience, while the second one discusses the French peculiarities in the performance of Beethoven’s music from the late 1820s to the mid-1840s.
„Trzy utwory” na skrzypce i fortepian Stanisława Serwaczyńskiego (1781–1859) w kontekście historycznym, artystycznym i pedagogicznym
(Wydawnictwo Uniwersytetu Rzeszowskiego, 2024-10) Siedlaczek, Iwona A.
Stanislaw Serwaczynski is known in Polish musical culture as Henryk Wieniawski’s teacher. Basing upon three title compositions the author shows the violinist from a different angle, as a prominent individuality of his time, man being part of the cultural elite of the rising nation. The violinist’s personality was shaped by education and upbringing of the Enlightenment, in which the major role played Masonic ideals of his father, Michal. Throughout his life, Serwaczyński testified that he was moved by these ideals and worked for national culture as virtuoso, chamber musician and composer. His works indicates an interest in folk music, which was very characteristic of the national school of composing. This interest was initiated in 18 th century by Holland and Stefani. Three pieces make important works of instrumental literature and valuable pedagogical compositions. They are also a kind of bridge to romantic violin miniatures composed by his Lublin student.
Romance „Les Adieux” Teodora Leszetyckiego – pożegnanie z Petersburgiem
(Wydawnictwo Uniwersytetu Rzeszowskiego, 2024-10) Nidecka, Ewa
Romance "Les Adieux" by Theodor Leschetizky was written around 1890. The piece is associated with Petersburg, where in the years 1858–1878 he gave piano lessons at the local conservatory. The composer dedicated the piece to Princess Tatiana Alexandrovna Yusupova, daughter of a Russian diplomat of Swiss origin, count Alexander Ivanovich Ribeaupierre. The composition belongs to the circle of salon music that characterizes many works composed in the 19th century. It refers to the waltz genre, numerous examples of which can be found in the works of P. Tchaikovsky. Melodiousness, smooth harmony, calm musical narrative, these are the main features of the piece. The composer used also numerous harmonic changes, figurations and varied articulation, which give the whole piece lightness. He does not use a single cantilena pattern, but based on the main motivic model, introduces various melodic variants through repetitions, which increases the sound value of the miniature.
„Metamorfozy” na fortepian Edwarda Sielickiego – w okowach ponowoczesności i w świetle polskich wariacji fortepianowych powstałych po 1989 roku
(Wydawnictwo Uniwersytetu Rzeszowskiego, 2024-10) Łukaszewski, Marcin Tadeusz
The article describes Edward Sielicki's Metamorfozy in the light of Polish piano variations written after 1989 and in the context of the concept of postmodernism. The composer (born in 1956) belongs to the generation of artists born in the 1950s. Generally, it is akin to the „Stalowa Wola generation”. Metamorfozy, created in 2013/2017, are close to the variational form, although they are not directly variations. In the music material, Sielicki used, in a processed manner, motifs taken from, among others, from the Prelude in B flat minor, Op. 28 No. 16 and the Etude in A flat major, Op. 25 No. 1 by Chopin and the Prelude in A minor, Op. 32 No. 8 of Rachmaninoff. He deformed them, blending them into the sound material of his own invention. The way of using the set material brings Metamorfozy closer to postmodern aesthetics with such categories as allusiveness, grotesque, viewing oneself and others' creativity in the „crooked mirror”.
Wyzwania wykonawcze muzyki współczesnej – refleksje z perspektywy pianisty
(Wydawnictwo Uniwersytetu Rzeszowskiego, 2024-10) Popko, Paweł
Contemporary music gives us a wide spectrum for creative expression and interpretation. We are confronted with a great number of compositions, the value of each is not yet (as in the case of music of previous eras) verified by history. Thus, we are moving in a space that is untamed, new, changing, and therefore inaccessible and dangerous for some, and fascinating for others. Appropriately then, what might the contemporary performer draw on? This article discusses the pianist's versatility in performance of contemporary works. Using my own artistic experience and some examples of works, I have described what challenges modern composers face for pianists. I have also quoted contributions from pianists who have practical insight into the work and performance of new music. There was also a theme related to music education and emerging stereotypical thinking about contemporary music.
Instrumenty muzyczne w liturgii Kościoła katolickiego w rejonach obwodu tarnopolskiego w Ukrainie
(Wydawnictwo Uniwersytetu Rzeszowskiego, 2024-10) Bondar, Svitlana
The article systematizes information about unpreserved organs of the Ternopil region, primarily in the Bereżany and Ternopil districts. The period of the beginning of the Roman Catholic confession in Ukraine and the Ternopil region is described. A list of musical instruments in all parishes of both districts is provided. It was established that the oldest instrument was the organ from 1627 in the town of Zborów in the parish church of St. Anna.
Translating an Operatic Libretto: The Status and Role of an Interpreter. Cognitive Linguistics in the Interpretation and Translation of Stage Directions – a Case Study
(Wydawnictwo Uniwersytetu Rzeszowskiego, 2024-10) Muszyńska-Andrejczyk, Agnieszka
The paper addresses the question of the translation of an operatic libretto and examines the status and role of a libretto’s interpreter in the creative process of opera production. The author also mentions the role of a dramaturge in the opera theatre and indicates certain similarities between the functions of the dramaturge and that of the interpreter. The paper refers to cognitive linguistics as a useful method in the examination of a translated text. The author, inspired by works of the Polish linguist and interpreter Elżbieta Tabakowska, draws on the key term present in cognitive linguistics (imagery) and its aspects, such as prominence (trajector/ landmark), elaboration (granularity/ resolution), and focusing (foreground/ background), applying them to a short analysis of the stage directions from the libretto of Giacomo Puccini’s one-act opera Suor Angelica.
Streaming. O doświadczaniu muzyki w czasie pandemii
(Wydawnictwo Uniwersytetu Rzeszowskiego, 2024-10) Kokowska, Mariola
The aim of this article is to present issues related to the experience of musical art in the digital age and the COVID-19 pandemic. The core issue includes the perspective of the streaming mode of experiencing music during the pandemic, against which the context of phenomenological aesthetic experience in the form of the virtual concert, the virtual concert hall and the aspect of the virtual voice assistant is addressed. The social-therapeutic dimension of music suggests references to the adaptive role of virtual forms of communicating musical content present in the pandemic era. Music and the human being are linked by the need for the communal shaping of interpersonal relationships through the digitisation of experience and performance practice as activated by a specific crisis situation initiated by the objective external world.

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