https://pressto.amu.edu.pl/index.php/rfn/issue/feed Res Facta Nova. Teksty o muzyce współczesnej 2021-10-26T12:56:33+00:00 Ewa Schreiber ewa_s@amu.edu.pl Open Journal Systems <p>„Res Facta Nova” to pismo naukowe poświęcone muzyce współczesnej. Od początku istnienia (od roku 1967), niezależnie od meandrów polskiej kultury i polityki kulturalnej, pismo stanowi istotny element pejzażu refleksji muzykologicznej, krytyczno-muzycznej i okołomuzycznej w Polsce. Do grona jego założycieli należeli Michał Bristiger, Stefan Jarociński, Józef Patkowski i Mieczysław Tomaszewski. „Res Facta Nova” publikuje przede wszystkim artykuły dotyczące współczesnej twórczości muzycznej (polskiej i światowej), a także artykuły problemowe poświęcone m.in. semiotyce, estetyce, filozofii, socjologii czy psychologii muzyki, ze szczególnym uwzględnieniem zagadnień sztuki współczesnej.</p> <ul class="oczasopismie"> <li class="show"><a href="/index.php/rfn/about">POLITYKA FUNKCJONOWANIA CZASOPISMA</a></li> <li class="show"><a href="/index.php/rfn/issue/current">AKTUALNY NUMER</a></li> <li class="show"><a href="/index.php/rfn/issue/archive">ARCHIWUM</a></li> </ul> <div class="oczasopismie"><strong>INDEKSOWANE W:</strong> <p><a href="https://dbh.nsd.uib.no/publiseringskanaler/erihplus/periodical/info?id=485408">ERIH Plus</a>, Index-Copernicus (ICI Journals Master List), POL-index, CEEOL, Google Scholar, Bibliografia Geografii Polskiej, Arianta, WorldCat,<a href="https://mostwiedzy.pl/pl/magazine/catalog" target="_blank" rel="noopener"> MOST Wiedzy</a><span lang="PL"><br></span></p> </div> <div class="oczasopismie"><strong>WSKAŹNIKI OCENY CZASOPISMA:</strong></div> <div class="oczasopismie">20 punktów (MNiSW)<br>ICV 2019: 55.95</div> <div class="oczasopismie"><strong>DOI: </strong>10.14746/rfn</div> <div class="oczasopismie"><strong>ISSN:&nbsp;</strong>1897-824X <strong>ISSN (Online):&nbsp;</strong>2544-9303</div> <div class="oczasopismie"><strong>PRACE PUBLIKOWANE W CZASOPIŚMIE DOSTĘPNE SĄ NA LICENCJI CREATIVE COMMONS:</strong><br><a href="https://creativecommons.org/licenses/by-nc-nd/4.0/"><img style="border-width: 0;" src="https://i.creativecommons.org/l/by-nc-nd/4.0/88x31.png" alt="Licencja Creative Commons"></a>&nbsp;<a href="https://creativecommons.org/licenses/by-nc-nd/4.0/" rel="license"> Uznanie autorstwa - Użycie niekomercyjne - Bez utworów zależnych 4.0 Międzynarodowe</a>.</div> https://pressto.amu.edu.pl/index.php/rfn/article/view/28883 Zygmunt Mycielski i „Res Facta” Michała Bristigera: międzyredaktorskie dialogi i solilokwia 2021-10-26T12:56:17+00:00 Beata Bolesławska-Lewandowska beata.boleslawska@ispan.pl <p>Throughout their lives Zygmunt Mycielski and Michał Bristiger were deeply interested in the development of musical life in Poland, understood in its wider perspective. Both were also editors-in-chief of the two most important music periodicals in Poland: „Ruch Muzyczny” (Mycielski) and „Res Facta” (Bristiger). In 1973 Mycielski also joined the Editorial Committee of „Res Facta”. What was his relationship with Michał Bristiger’s journal and with its editor himself? The article explores these relationships on the basis of published issues of „Res Facta” and „Res Facta Nova”, reminiscences of members of the editorial team, as well as preserved correspondence between Zygmunt Mycielski and Michał Bristiger.</p> 2020-12-15T00:00:00+00:00 Copyright (c) 2020 Beata Bolesławska-Lewandowska https://pressto.amu.edu.pl/index.php/rfn/article/view/28703 Pastorałka dramatyczna Juliusza Słowackiego i jej muzyczna interpretacja we "Fragmentach" Zygmunta Mycielskiego 2021-10-26T12:56:19+00:00 Barbara Mielcarek-Krzyżanowska redakcja@resfactanova.pl <p>Zygmunt Mycielski’s final work, <em>Fragmenty</em> to words by Juliusz Słowacki (1987) belongs to the collection of religious works which crown the creative path of the author of Postludia. <em>Fragmenty</em> were written on the basis of a rigorous, individual method of composing using twelve notes – an array system devised by him towards the end of the 1950s which from that time consistently accompanied his creative undertakings.<br>The austerity of technique achieved by limiting external effects, particularly apparent in Mycielski’s religious compositions (alongside <em>Fragmenty</em> one should mention here above all <em>Trzy psalmy</em> and the mass <em>Liturgia sacra</em>), results from the desire to reject pathos in favour of gravity and simplicity. This conscious creative decision means that the devices used serve to bring out the meaning and the emotion in Słowacki’s text, and in the created narration one perceives authenticity, truth and modesty. <em>Fragmenty</em> may be interpreted as a special kind of testament, Mycielski’s confession of faith, and the shades of sacrality discovered in it – the stages of musical spirituality according to Bohdan Pociej’s conception, support this supposition.</p> 2020-12-15T00:00:00+00:00 Copyright (c) 2020 Barbara Mielcarek-Krzyżanowska https://pressto.amu.edu.pl/index.php/rfn/article/view/28702 Pieśni masowe Władysława Szpilmana w kontekście dorobku piosenkarskiego kompozytora 2021-10-26T12:56:22+00:00 Kamila Staśko-Mazur redakcja@resfactanova.pl <p>The aim of the paper is to analyse songs written by Władysław Szpilman during the socialist realism period in the context of the composer’s songwriting achievements. Szpilman’s first hit songs were published as early as the 1930s, and they were followed by others over a period of nearly half a century. The available archival, phonographic and sheet music sources provide information about more than 300 titles which include popular songs, songs for mass performance, for children, for plays and theatrical broadcasts, films and cabarets. The dominant group is that of popular songs and songs for the stage (on themes of love). The group of songs written during the years 1948–56, regarded as mass songs, has distinctive formal features, different musical conceptions, and alongside the march form it includes mostly dance forms (foxtrots, waltzes, polkas, tangos), with the kind of vitality and musical quality that turned them into popular entertainment pieces often achieving the status of hits. In their textual layer the songs are differentiated as well (themes of rebuilding the country, peace, love, work). Evidence of the reception of mass songs shows that they were regarded positively, often as heartening, described as enslaving in view of the context of the performance of selected songs.<br>Popular songs are also characterised by diversity of form and arrangement, differentiated in terms of performance scoring and style (more than 850 archival records). The variety of musical techniques used in this genre, alongside the songs’ melodiousness, ensure that they have a permanent place in the soundscape of the twentieth century.</p> 2020-12-15T00:00:00+00:00 Copyright (c) 2020 Kamila Staśko-Mazur https://pressto.amu.edu.pl/index.php/rfn/article/view/28911 Polish Music Published by Moeck 1958 to 1967 – a (Failed?) Transfer from East to West 2021-10-26T12:56:11+00:00 Sebastian Borchers redakcja@resfactanova.pl <p>From the end of the 1950s, the West German publisher Moeck officially represented the state-led music publishing house PWM ‘in the West’ with the permission of the Polish Ministry of Culture. Beside the distribution of score editions and orchestral performance materials by the PWM, Moeck also represented the interests of Polish composers in the Federal Republic of Germany directly in his own catalogue. Among the first authors of the new series of editions were Kotoński, Lutosławski, Penderecki, Serocki and Szalonek. They belonged to a circle that regularly participated in West German musical life in the 1960s. Despite the spirit of optimism and advantages for the composers, this cooperation also led to problems on several levels. These included the billing of performance materials and the handling of international copyright. This made the participants aware of various limits and led to conflicts – especially on the Polish side. Translation of Polish texts in vocal works into German and English was also not as straightforward as originally planned. The article offers new insights into Polish–German cooperation in the cultural field of music, which went on despite the difficult relationship between the two states then and also beyond the borders of the Cold War.</p> 2020-12-15T00:00:00+00:00 Copyright (c) 2020 Sebastian Borchers https://pressto.amu.edu.pl/index.php/rfn/article/view/28658 Nowa Muzyka i przyjemność w serii utworów audiowizualnych ASMR Neo Hülckera 2021-10-26T12:56:33+00:00 Monika Pasiecznik redakcja@resfactanova.pl <p>New Music developed in the twentieth century under the influence of Theodor W. Adorno’s philosophy. Its sense, according to the philosopher, lies in social criticism, which the composer accomplishes through radical artistic innovation, and the distance from the audience’s expectations. The sensual pleasure of sound reception is not included in the concept of New Music, which preferably should not appeal to anybody, as it “took on the shoulders darkness of the world and all its guilt, and sees its only happiness in knowing misery” (Adorno).</p> <p>In the ASMR series, the German composer Neo Hülcker breaks this paradigm of perception and proposes a radically different interpretation<br>of New Music.<br>ASMR, or Autonomous Sensory Meridian Response, is a sensation of pleasant tingle, caused by subtle acoustic-haptic phenomena, such as amplified murmurs, whispers, touching objects and materials. Millions of people around the world are watching ASMR videos on YouTube that let them relax nicely.<br>In such video compositions as ASMR Tutorial: How to Play “Pression” by Helmut Lachenmann, ASMR Tutorial: How to Play Mark Andre<br>or ASMR Unwrapping the Piano &amp; iv 11a, and Peter Ablinger: weiss/ weisslich 3 – [super soft ASMR] Neo Hülcker investigates the similarity<br>of sound material of illustrative pieces of New Music and ASMR, raising the question of whether New Music can make someone feel<br>tingly. Presenting in the context of ASMR works by Helmut Lachenmann, Mark Andre and Peter Ablinger, Hülcker explores the hidden<br>potential contained in the most radical aesthetics of New Music, namely the suppressed carnal pleasure. The article is an attempt to show the ways how Neo Hülcker redefines the concept of New Music, entering in it the sensual experience of sound.</p> 2020-12-15T00:00:00+00:00 Copyright (c) 2020 Monika Pasiecznik https://pressto.amu.edu.pl/index.php/rfn/article/view/28912 W okowach mitów – "Medeamaterial" Heinera Müllera, Pascala Dusapina i Sashy Waltz 2021-10-26T12:56:09+00:00 Paulina Książek redakcja@resfactanova.pl <p>Pascal Dusapin is regarded as one of the outstanding contemporary French composers. The opera genre seems to have a special place among his creative achievements. <em>Medeamaterial</em> is the composer’s second work for the stage, and one of many where myth becomes the subject. As the text of the libretto, he chose a text by a German dramatist, Heiner Müller. Both authors decide to reinterpret an antique history and deconstruct it using the means available to them. As does Sasha Waltz, who in 2007 staged Dusapin’s work. All three, while initiating a dialogue with the past, set the work firmly in the present. In this article the author attempts to answer the question how the devices used by these creative artists shape the psychological portrait of the drama’s heroine.</p> 2020-12-15T00:00:00+00:00 Copyright (c) 2020 Paulina Książek https://pressto.amu.edu.pl/index.php/rfn/article/view/28961 Naturalistyczna muzykologia systematyczna wobec poglądów Meyera na emocje i znaczenie w muzyce 2021-10-26T12:56:01+00:00 Piotr Podlipniak podlip@amu.edu.pl <p>Leonard B. Meyer’s book <em>Emotion and Meaning in Music</em> was published more than half a century ago. It still provides inspiration for musicologists with various specialisms to undertake research aimed at understanding the intriguing link between music and emotions and the relationship between musical structure and meaning. Since the publication of this outstanding volume we have seen extraordinarily dynamic development of the musicological disciplines constituting that part of systematic musicology which is based on the premises of naturalism. The article focuses on those selected research areas of thisbranch of musicology where the influence of the ideas first presented in the above volume is particularly significant. The most important of Meyer’s postulates in naturalistically oriented systematic musicology that continue to be discussed include: the key role of expectation in shaping our emotional reactions to the musical passages we hear and the inner musical character of the affective meanings created in this way. The main challenges faced by Meyer’s postulates during the recent decades are examined, and the solutions to them proposed within the framework of naturalistically oriented thinking about music.</p> 2020-12-15T00:00:00+00:00 Copyright (c) 2020 Piotr Podlipniak https://pressto.amu.edu.pl/index.php/rfn/article/view/28884 Izotopie w praktyce analizy dzieła muzycznego – na przykładzie "Arabesque" Zygmunta Krauzego 2021-10-26T12:56:15+00:00 Renata Skupin r.skupin@amuz.gda.pl <p>The aim of the paper is to reconsider the question of usefulness of the category of isotopy in semiotic analysis of a musical composition, on the example of Zygmunt Krauze’s <em>Arabesque</em> (1983) for prepared piano and instrumental ensemble. Adopting a suggestion by Nicolas Meeùs, the author undertakes an attempt to transpose Rastier’s differentiation between semantic isotopy and isotopy of the plane of expression (<em>isotopie de l’expression</em>) into analysis of music. Following Michel Arrivé, she presents a model example of isotopic relations in the plane of expression (<em>signifiant</em>) from the novel <em>Les jours et les nuits </em>(<em>Days and Nights</em>) by Alfred Jarry, and finds that isotopy of the plane of expression is for linguistic semioticians an alternative to semantic isotopy in providing cohesiveness in the layer of signs that construct meaning. She then discusses the extent of application of isotopy in music semiotics and draws attention to the semantic capacity of this category in Eero Tarasti’s theory and interpretive practice, where it undergoes metaphorisation and a kind of universalisation. She also refers to the proposal of Jean-Pierre Bartoli to use isotopy in analysing Orientalistic exoticism, which constitutes an example of a return to the level of the simplest constitutive units and the condition of their iteration, i.e., to the structuralistic-semiotic conceptions of isotopy in the approach of Greimas. Moving on to an analysis of Krauze’s composition, the author puts forward the view that Rastier’s categories of isotopy of the plane of expression as „conditions of grammaticality” (<em>conditions de grammaticalité</em>) of an utterance can only apply to specific cases of compositional techniques which are utterances in systemic „musical languages”, and this condition is not met in the case of the work analysed. The argumentation presented in the article is based on an analysis of particular features of the organisation of the sound material, the texture and syntax of<em> Arabesque</em>, as well as references to the composer’s claim to have been inspired by the mystical paintings of Władysław Strzemiński and the oriental connotations of arabesqueness in music. In seeking the musical meaning of Krauze’s <em>Arabesque </em>the author focuses on identifying its <em>intentio operis</em>.</p> 2020-12-15T00:00:00+00:00 Copyright (c) 2020 Renata Skupin https://pressto.amu.edu.pl/index.php/rfn/article/view/28936 Beethoven jako aktor historyczny. Perspektywa mikrohistoryczna w muzykologii 2021-10-26T12:56:06+00:00 Bogumiła Mika bogumila.mika@us.edu.pl <p><span dir="ltr" style="left: 542.874px; top: 268.307px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.94139);" role="presentation">The article focuses on issues of microhistory and the usefulness of&nbsp; </span><span dir="ltr" style="left: 542.874px; top: 289.333px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.991651);" role="presentation">this historiographical practice in musicological research. The au</span><span dir="ltr" style="left: 542.874px; top: 310.36px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.975065);" role="presentation">thor begins by presenting the key issues relating to microhistory,&nbsp; </span><span dir="ltr" style="left: 542.874px; top: 331.387px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.971456);" role="presentation">referring extensively to the book </span><em><span dir="ltr" style="left: 731.357px; top: 331.387px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.945746);" role="presentation">What Is Microhistory? </span></em><span dir="ltr" style="left: 858.126px; top: 331.387px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.946194);" role="presentation">by István&nbsp; </span><span dir="ltr" style="left: 542.874px; top: 352.413px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.957266);" role="presentation">M. Szijártó and Sigurður Gylfi Magnússon. She then quotes and briefly&nbsp; </span><span dir="ltr" style="left: 542.874px; top: 373.44px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.939447);" role="presentation">discusses the most significant musicological works which employed&nbsp; </span><span dir="ltr" style="left: 542.874px; top: 394.467px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.982913);" role="presentation">microhistorical strategy. These are Mark Everist’s book </span><em><span dir="ltr" style="left: 836.806px; top: 394.467px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.990855);" role="presentation">Music Drama&nbsp; </span><span dir="ltr" style="left: 542.874px; top: 415.493px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.992526);" role="presentation">at the Paris Odéon, 1824–1828</span></em><span dir="ltr" style="left: 706.434px; top: 415.493px; font-size: 13.3333px; font-family: serif;" role="presentation">,</span> <span dir="ltr" style="left: 713.274px; top: 415.493px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.966041);" role="presentation">Tamara Levitz’s </span><em><span dir="ltr" style="left: 799.634px; top: 415.493px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.961064);" role="presentation">Modernist Mysteries:&nbsp; </span></em><em><span dir="ltr" style="left: 542.874px; top: 436.52px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.959197);" role="presentation">Perséphone </span></em> <span dir="ltr" style="left: 607.354px; top: 436.52px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.941898);" role="presentation">and Peter J. Schmelz’s article </span><em><span dir="ltr" style="left: 773.717px; top: 436.52px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.917913);" role="presentation">“Shostakovich” Fights the&nbsp; </span></em><span dir="ltr" style="left: 542.874px; top: 457.547px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.973792);" role="presentation"><em>Cold War: Reflections from Great to Small</em>.</span><span dir="ltr" style="left: 769.382px; top: 457.547px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.03317);" role="presentation"> The main part of the text&nbsp; </span><span dir="ltr" style="left: 542.874px; top: 478.573px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.978601);" role="presentation">is devoted to Mark Ferraguto’s monograph </span><em><span dir="ltr" style="left: 769.726px; top: 478.573px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.937094);" role="presentation">Beethoven 1806</span></em><span dir="ltr" style="left: 851.273px; top: 478.573px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.980835);" role="presentation">. That pub</span><span dir="ltr" style="left: 542.874px; top: 499.6px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.01316);" role="presentation">lication is wholly based on the microhistorical approach, thus open- </span><span dir="ltr" style="left: 542.874px; top: 520.627px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.01029);" role="presentation">ing a new perspective in reflection on the instrumental works by the </span><span dir="ltr" style="left: 542.874px; top: 541.653px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.990428);" role="presentation">Master from Bonn. Ferraguto analyses Beethoven’s works from 1806&nbsp; </span><span dir="ltr" style="left: 542.874px; top: 562.68px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.921979);" role="presentation">and early 1807 in the context of the people and the instruments for&nbsp; </span><span dir="ltr" style="left: 542.874px; top: 583.707px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.974515);" role="presentation">which they were composed; he also explores the nature of and reasons&nbsp; </span><span dir="ltr" style="left: 542.874px; top: 604.733px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.994238);" role="presentation">for the composer’s retreat from the „heroic phase”, analysing various&nbsp; </span><span dir="ltr" style="left: 542.874px; top: 625.76px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.01378);" role="presentation">aspects of contemporary musical, social and political life in Vienna.&nbsp; </span><span dir="ltr" style="left: 542.874px; top: 646.787px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.01778);" role="presentation">He does so while concentrating on selected, characteristic moments&nbsp; </span><span dir="ltr" style="left: 542.874px; top: 667.813px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.00917);" role="presentation">which define the given opus. </span><br role="presentation"><span dir="ltr" style="left: 566.501px; top: 688.84px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.989049);" role="presentation">Unlike the earlier musicological works based on the microhistor</span><span dir="ltr" style="left: 542.874px; top: 709.867px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.995087);" role="presentation">ical strategy, Ferraguto’s monograph is not overburdened with detail,&nbsp; </span><span dir="ltr" style="left: 542.874px; top: 730.893px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.00375);" role="presentation">but makes an excellent job of linking contextual issues with analysis&nbsp; </span><span dir="ltr" style="left: 542.874px; top: 751.92px; font-size: 13.3333px; font-family: serif; transform: scaleX(0.972963);" role="presentation">of musical composition. In this way it enriches musicological research&nbsp; </span><span dir="ltr" style="left: 542.874px; top: 772.947px; font-size: 13.3333px; font-family: serif; transform: scaleX(1.01356);" role="presentation">by providing it with a new, interesting dimension.</span></p> 2020-12-15T00:00:00+00:00 Copyright (c) 2020 Bogumiła Mika https://pressto.amu.edu.pl/index.php/rfn/article/view/28937 Wobec społecznego i kulturowego fenomenu "Chopinowskiego Igrzyska" 2021-10-26T12:56:03+00:00 Michał Bruliński redakcja@resfactanova.pl <p>The article is a review of the book <em>The Chopin Games</em> on the history of the Fryderyk Chopin International Piano Competition 1927–2010. In the author’s opinion, the synthesis organizing selected cultural, social and anthropological aspects of the Chopin Competition was very useful, and it’s authors completed a large part of the tasks declared in the introduction to the work.</p> 2020-12-15T00:00:00+00:00 Copyright (c) 2020 Michał Bruliński https://pressto.amu.edu.pl/index.php/rfn/article/view/28659 Głos wołającego na pustyni. O Józefie Patkowskim w kontekście biografii "Ambasador muzyki z Marsa" Agnieszki Pindery 2021-10-26T12:56:24+00:00 Szymon Atys redakcja@resfactanova.pl <p>The article is a review of book Patkowski. <em>Ambassador of Music from </em><em>Mars</em> by Agnieszka Pindera, the first biography of Józef Patkowski, Polish musicologist, founder and longtime manager of the Polish Radio Experimental Studio. It contains a summary and evaluation of the book from a musicological perspective. Particular attention was paid to the previously unknown facts about Patkowski’s life established by the author. The text refers to the broad problems of the reception of electronic and avant-garde music in Poland and to the new wave of interest in the SEPR heritage.</p> 2020-12-15T00:00:00+00:00 Copyright (c) 2020 Szymon Atys