Piano Sonatas by Ryszard Bukowski – a search of interpretative keys

2019 ◽  
Vol 2 (12) ◽  
pp. 115-136
Author(s):  
Adam Porębski
Keyword(s):  
Piano Sonatas ◽  
Musical Life ◽  
Final Shape ◽  
Traditional Form ◽  
Performance Traditions ◽  
Music Piece ◽  
Natural Way ◽  
The Way

Performing a forgotten piece or work by a not-well-known composer is always a great challenge for an artist. The fact that there are no recordings, no performance traditions or at least an arranged and published score is not conductive to a decision to include such a piece in one’s repertoire. Which elements should a performer pay attention to while working on unknown contemporary pieces? Aside from the emotions and intuition, which influence the shape of a composition in a natural way, he or she should also refer to the intellectual side of interpretation. The issue to reflect on is the way how the knowledge and awareness of the form of a work, its texture, harmony, rhythm and other elements of a music piece may influence the final shape of its interpretation. Ryszard Bukowski – a composer, music theoretician, journalist and organiser of musical life became a permanent part of the musical cityscape of Wrocław of the afterwar period. His numerous compositions include works for diversified line-ups, from solo pieces to vocal-and-instrumental ones. As a skilful pianist, Bukowski eagerly wrote music featuring the piano, and the works he composed the most frequently were solo sonatas. Writing as many as ten piano sonatas took him only a little more than a decade. Was the title of a piece what made the composer refer to this very traditional form thanks to its genre significance? Or was it just the opposite, i.e., with the title being merely a provocation? Perhaps Bukowski’s characteristic creative feature was combining tradition with modernity and on the basis of traditional formal patterns he proposed original solutions in reference to harmony, rhythm or texture? The article analyses Bukowski’s Piano Sonatas no. 2, 5, 9 and 10 in terms of their performance.

Realism and antirealism

2018 ◽  
Author(s):  
Edward Craig
Keyword(s):  
Solar System ◽  
Moral Values ◽  
Truth Conditions ◽  
Traditional Form ◽  
Theories Of Meaning ◽  
The Way

The basic idea of realism is that the kinds of thing which exist, and what they are like, are independent of us and the way in which we find out about them; antirealism denies this. Most people find it natural to be realists with respect to physical facts: how many planets there are in the solar system does not depend on how many we think there are, or would like there to be, or how we investigate them; likewise, whether electrons exist or not depends on the facts, not on which theory we favour. However, it seems natural to be antirealist about humour: something’s being funny is very much a matter of whether we find it funny, and the idea that something might really be funny even though nobody ever felt any inclination to laugh at it seems barely comprehensible. The saying that ‘beauty is in the eye of the beholder’ is a popular expression of antirealism in aesthetics. An obviously controversial example is that of moral values; some maintain that they are real (or ‘objective’), others that they have no existence apart from human feelings and attitudes. This traditional form of the distinction between realism and its opposite underwent changes during the 1970s and 1980s, largely due to Michael Dummett’s proposal that realism and antirealism (the latter term being his own coinage) were more productively understood in terms of two opposed theories of meaning. Thus, a realist is one who would have us understand the meanings of sentences in terms of their truth-conditions (the situations that must obtain if they are to be true); an antirealist holds that those meanings are to be understood by reference to assertability-conditions (the circumstances under which we would be justified in asserting them).

scholarly journals THE FEMINIST HUNGARIAN FOLKTALE AS POSTMODERN COMBINATORICS – THE ANALYSIS OF CSENGE VIRÁG ZALKA'S STORY-BOOK TITLED RIBIZLI A VILÁG VÉGÉN [CURRANT AT THE END OF THE WORLD]

2021 ◽  
Vol 11 (2) ◽  
pp. 18-24
Author(s):  
PATRIK BAKA
Keyword(s):  
Fairy Tales ◽  
Relevant Literature ◽  
Literary Creation ◽  
Traditional Form ◽  
The World ◽  
End Of The World ◽  
Story Writer ◽  
The Way

In this paper we analyze the first story-book of the internationally renowned contemporary Hungarian storyteller, Csenge Virág Zalka. In the first section we investigate the differences between folktale and literary tale, storyteller and story writer, further-/retold heritage and own creation as well as how the boundaries between them destabilize if we note down the folktale originally living in the oral traditional form. Furthermore, we will be discussing the female horizon prevalent in the Zalkaian tale-variants as well as the all-time topicality of the stories by putting the contemporary social and psychological analogies and taboo-breaking procedures of the tales in the foreground. In the focus of our investigation the Ribizli a világ végén [Currant at the End of the World] stands as a literary creation, which although we (also) analyze with an approach coming from the relevant literature of folktales and remade fairy tales, we do this all the way through the analysis in light of the postmodern text-organizing strategies.

An Augmented Reality Based Application for Furnishing Configuration and Evaluation

2011 ◽  
Author(s):  
Stefano Filippi ◽  
Daniela Barattin ◽  
Marco Amato ◽  
Riccardo Tozzi
Keyword(s):  
Virtual Reality ◽  
Augmented Reality ◽  
Case Studies ◽  
Digital Models ◽  
Real Environment ◽  
Functional Behavior ◽  
Domestic Environments ◽  
Important Design ◽  
Natural Way ◽  
The Way

Virtual reality as the way to display digital models and to interact with them has flourished in industrial contexts some years ago, both for design and marketing reasons. However, some specific sectors, e.g. furnishings and garments, would prefer to evaluate their products in a real environment, where their models could be easily placed, and where the interaction with them could take place in a natural way. These requirements suggested the design of an application, based on the augmented reality, which allows users placing digital models of pieces of furniture in real domestic environments, verifying their dimensional and aesthetic compatibility with the existing context, and interacting with them to test functional behavior and usability issues. Such a project would result interesting both for possible customers and for designers, because some important design hints could come from its adoption. An application prototype has been developed and tested in the field in a couple of case studies.

“Yakutia” by A. E. Stroganov. Artistic deconstruction of the mythological idyll

2021 ◽  
pp. 137-147
Author(s):  
I. V. Silantev ◽  
◽  
Yu. V. Shatin ◽  
Keyword(s):  
Individual Freedom ◽  
Important Place ◽  
Realistic Interpretation ◽  
Traditional Form ◽  
The Past ◽  
The World ◽  
The Universe ◽  
The Way

The problem of idyllic space occupies an important place in the mythopoetics of the Siberian text and can rightfully be considered as one of the dominant mythologemes in the culture and literature of the peoples of Siberia. The implementation of this mythologeme is often the mythopoetic topos of Belovodye. Belovodye attracted the attention of writers of the past two centuries, including Siberian authors A. E. Novoselov, M. Plotnikov, and others. The change in the paradigm of realistic writing with postmodern writing, which took place at the turn of the 20th – 21st centuries, allows taking a different look at the mythological idyll to dis- cover other ways of its artistic deconstruction. The play “Yakutia” by Altai playwright A. E. Stroganov is considered as an example of deconstruction of the idyllic myth of the postmodern era. Intended as an idyll of desolation, cold, and asceticism, finally, Yakutia mi-raculously turns into a country of joy, light and, warmth, i.e., it becomes the opposite of the idyll, more consistent with the traditional form of typification. In the context of postmodern-ism, an appeal to the idyll shows that it has the features opposite to the realistic interpretation. The idea of collective happiness is clearly replaced by the idea of individual freedom of a sin-gle person, his existence. At the same time, the main, archetypal features of the transformed world turn out to be very similar to the original prototype: the world of evil left by the heroes opens the way not for an idyll but for a new experience of comprehending the universe.

Ethics and aesthetics: the social theory of barbershop harmony

Popular Music ◽  
1999 ◽  
Vol 18 (1) ◽  
pp. 41-61 ◽  
Author(s):  
Liz Garnett
Keyword(s):  
Mass Media ◽  
Social Theory ◽  
Musical Life ◽  
The Public ◽  
Relative Paucity ◽  
The Social ◽  
The World ◽  
The Relationship ◽  
The Way

Until recently, the world of the British barbershop singer was a self-enclosed community whose existence went largely unrecognised both by musicians involved in other genres and by the public at large. In the last few years this has started to change, chiefly due to the participation of barbershop choruses in the televised competition ‘Sainsbury's Choir of the Year’. Encouraged by the success of Shannon Express in 1994, many other choruses entered the 1996 competition, four of them reaching the televised semi-finals, and two the finals. During this increased exposure, it became apparent that television commentators had little idea of what to make of barbershoppers, indeed regarded them as a peculiar, and perhaps rather trivial, breed of performer. This bafflement is not surprising given the genre's relative paucity of exposure either in the mass media or in the musical and musicological press; the plentiful articles written by barbershoppers about their activity and its meanings are almost exclusively addressed to each other, to sustain the community rather than integrate it into wider musical life. The purpose of this paper, however, is not to follow the theme of these intra-community articles in arguing that barbershop harmony should actually be regarded as a serious and worthy art, or to explain to a bewildered world what this genre is actually about; rather, it aims to explore the way that barbershop singers theorise themselves and their activity to provide a case study in the relationship between social and musical values. That is, I am not writing as an apologist for a hitherto distinctly insular practice, but exploiting that very insularity as a means to pursue a potentially very broad question within a self-limited field of enquiry.

Tripoli's musical soundscape: experiences and meanings

2005 ◽  
Vol 36 ◽  
pp. 79-88 ◽  
Author(s):  
Philip Ciantar
Keyword(s):  
Present Article ◽  
Cultural Context ◽  
Contemporary Music ◽  
Musical Life ◽  
The People ◽  
Musical Practices ◽  
Music Research ◽  
Complex Scenario ◽  
Shed Light ◽  
The Way

AbstractExploring the musical soundscape of a city like Tripoli is fascinating as much as it is challenging to retrieve meanings underlying the same soundscape. The fine blend between, for instance, ‘traditional’ and ‘modern’ musical practices and aesthetics, appertaining to this soundscape, presents the music researcher with a complex scenario to investigate. For this purpose, contemporary music research recognises music ethnography (superficially defined as the writing about the way people get involved in and make music) as a means by which such scenarios can be explored. In line with this, the present article explores Tripoli's musical soundscape by presenting vignettes of people listening to music, actively participating in musical events, as well as making music. Such depictions must shed light on the musical life in contemporary Libya with particular focus on the musical life in Tripoli. The commentary accompanying these vignettes links the sound not only with the people interacting with it, but also with the events that generate it, the place in which it evolves and the socio-cultural context that endows it with meaning.

National and International Canons of Opera in Tsarist Russia

2020 ◽  
pp. 315-336
Author(s):  
Rutger Helmers
Keyword(s):  
Nineteenth Century ◽  
Historical Writing ◽  
Binary Opposition ◽  
Musical Life ◽  
Conceptual Problems ◽  
English Opera ◽  
The Way ◽  
Concert Life

This chapter explores the tension between national and international operatic repertories in the case of nineteenth-century Russia. It discusses conceptual problems associated with the notion of a national canon, which is frequently conceived of in a binary opposition to an international or universal one. The discussion of Russian musical life charts the reception of foreign repertories as well as the canonization of Mikhail Glinka’s operas Zhizn’ za tsarya (A life for the tsar, 1836) and Ruslan i Lyudmila (Ruslan and Lyudmila, 1842), and concludes by showing how the tensions between foreign and domestic works played out differently in critical and historical writing from the way they did in the performing repertory. This chapter is paired with William Weber’s “The survival of English opera in nineteenth-century concert life.”

scholarly journals Intertextuality, Narrativity and Tradition: 8 Brazilian Piano Sonatas

2016 ◽  
Vol 1 (1) ◽  
Author(s):  
Cristina Capparelli Gerling
Keyword(s):  
Main Argument ◽  
Piano Sonatas ◽  
Concert Music ◽  
The Way

Based on theories of intertextuality and narrativity as well as historical and social contextualization, the present paper discusses how eight piano sonatas written between 1950 and 1967 by César Guerra-Peixe (1914-1993), Eunice Catunda (1915-1990), Claudio Santoro (1919-1989), Esther Scliar (1926-1978) and Edino Krieger (1928) respectively, formed a new corpus of Brazilian concert music thoroughly grounded on neoclassical formal principles.  Permeated with the highest level of pianistic virtuosity these eight works paved the way for a host of future works written by composers older and younger. The main argument is developed through the approximation between shared characteristics such as the prominence given to passages in unison found within the sonatas initial thematic statements and the utterances delivered by dramatic types, be they heroic or comic characters.   

scholarly journals Traditional Cottage Cheese production in Kosovo

2018 ◽  
Vol 1 (2) ◽  
pp. 125
Author(s):  
Kaltrina Berisha ◽  
Mentor Thaqi ◽  
Hysen Bytyqi
Keyword(s):  
Sample Size ◽  
Technological Process ◽  
Cottage Cheese ◽  
Small Scale ◽  
Rural Settlements ◽  
Face To Face ◽  
Traditional Form ◽  
Cheese Production ◽  
The Way

The study was conducted to identify the technological process of cottage cheese production as well as its diversity produced in traditional way in Kosovo. The data were collected by survey realized during the period October 2015 – April 2016. The sample size was calculated as 450 small-scale households and was randomly selected, representing all regions of Kosovo. The data were collected by face to face survey in rural settlements. The study was focused on the mode of cottage cheese production, as a way of coagulation, pasteurization, storage and use of cottage cheese produced. According to study result, it was found that Kosovo is characterized by a very small diversity of cottage cheese produced in the traditional form and the technological process of curd production differ slightly between the regions of Kosovo (mainly in the way of coagulation of curd).

The Scottish house factoring profession

Urban History ◽  
1996 ◽  
Vol 23 (3) ◽  
pp. 351-371
Author(s):  
Duncan Sim
Keyword(s):  
Nineteenth Century ◽  
Case Studies ◽  
Urban Housing ◽  
Early Nineteenth Century ◽  
Negative Image ◽  
Traditional Form ◽  
The Way

The tenement is the traditional form of urban housing in Scotland and most tenements were built for rent. From the early nineteenth century onwards, private landlords in Scotland employed ‘factors’ to manage the houses on their behalf, responsible for houseletting, rent collection and the organization of repairs and maintenance. This paper examines the nature of the house factoring profession in terms of its organization and uses case studies to illustrate the way individual firms operated. The representation of the profession through factors’ associations is also examined and there is a consideration of the negative image which factors have acquired. The paper explores the changing nature of factoring as tenement flats have been sold off and factors have become agents not for individual landlords but for a multiplicity of owner-occupiers.

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