By Rima Povilionienė
This edited ebook covers many subject matters in musicological literature, accumulating quite a few techniques to track experiences that encapsulate the shiny relation track has to society. It focusses on repertoires and geographical components that experience now not formerly been good frequented in musicology. As readers will see, track has many jobs to play in society. tune could be a generator of social phenomena, or as a result them; it could actually increase or turn on social activities, or just co-habit with them. especially, tune has a solid place inside society, in that it actively participates in it. song can both describe or prescribe social points; musicians could have a definite position/role in society (e.g., the “popstar” as style chief, spokesman for political matters, etc.). reckoning on the kind of society, track can have a undeniable “meaning” or “function” (music doesn't suggest an analogous factor all over the world). finally, tune can outline a society, and it's common for it to most sensible outline a selected historic moment.
Case-studies during this paintings offer visibility for musical cultures which are infrequently uncovered within the dominant musicological discourse. numerous contributions mix musicological research with "insider-musician" issues of view. a few essays within the assortment deal with the cultural conflict among specific sorts of music/musicians and the respective institutional opposite numbers, whereas definite contributing authors draw on experimental examine findings.
all through this e-book we see how musics are socially major, and - even as - that societies are musically major too. therefore the e-book will entice musicologists, cultural students and semioticians, among others.
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Extra info for Sounds, Societies, Significations: Numanistic Approaches to Music
Alfred Schnittke used his E. pl © Springer International Publishing AG 2017 R. 1007/978-3-319-47060-3_3 33 34 E. Wójtowicz polystylistic technique in a string quartet, and Maurizio Kagel—the convention of an instrumental theatre. The attitudes of the 20th-century composers towards the genre tradition of a string quartet polarized: from continuing in the works of neo-classicists to negating the genre basis by extreme avant-garde American composers: John Cage in the Thirty Pieces for String Quartet,1 or George Brecht, whose “anti-quartet” consists of musicians entering onto the stage, taking a bow, shaking hands with each other and then exiting the stage.
Referring to the composition as “a sentimental journey”, he emphasized a deeply personal, autobiographic, retrospective nature of the work. Sure enough, in a number of subsequent contrasting episodes we recognize shadows of the past. Turbulent and grotesque at times Vivace is built on the motif from Penderecki’s opera Ubu Rex, also used in the second movement of the String Trio. A folk melody appears in the further part of the quartet—as the composer described it after the première performance—“a traditional Hutsul kolomyjka that he had heard in his youth played on the violin by his father, who had come from Rohatyn in southeast Poland” (Lindstedt 2015) (Fig.
Adam Walaciński’s artistic work depicts one of them. 1 Adam Walaciński: A Few Biographical Facts The composer, publicist, music critic and teacher, born in Kraków in 1928, was interested in music since childhood. Initially, he became a violinist in the Kraków Radio Orchestra, directed by Jerzy Gert (from 1948), but he soon discovered his own path, which led to composition; yet his “restless spirit” wouldn’t allow him to take up regular compositional studies. Walaciński found a soul mate in Stefan Kisielewski—one of the most distinct ﬁgures on the Polish music scene of the time, known for his sharp mind and contrary sense of humor.