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“It is my world, to which you are invited…”. Composers’ self-reflection in the programme books of the Warsaw Autumn (1999–2016)
Musicology Today Pub Date : 2017-12-01 , DOI: 10.1515/muso-2017-0003
Ewa Schreiber 1
Affiliation  

Abstract Although we usually treat writing and speaking about music as a secondary activity in relation to creation and performance, discourse about the latest compositional output is now gaining considerable independence. The need for creative artists to work together with institutions and with a whole network of mediators means that in the twentieth and twenty-first centuries, verbal discourse has played even a key role, and the search for a nuanced and original language that might attract potential listeners to new repertoire is proving a serious challenge. For contemporary music, festivals remain the most important – and at times almost the only – forum enabling works to exist in the social awareness. Hence an important area in which discourse linked to contemporary music is shaped consists of festival books and composers’ comments on their works. The latter help composers to forge their own image, at the same time helping or hindering the creation of an additional plane of understanding with potential listeners. This text represents an attempt to distinguish the main thematic areas to appear in composers’ self-reflection on the pages of the programme books of the “Warsaw Autumn” International Festival of Contemporary Music from 1999 to 2016, when Tadeusz Wielecki was appointed director of the festival. We will find here remarks on inspiration, creative process and musical language, as well as technology, nature and modes of listening. Notions taken from physics, chemistry and biology also frequently enter descriptions of music, and art becomes a sort of commentary to modern science. Finally, a separate strand consists of notes in which composers not so much shed light on the techniques they use or build contexts for their works, but rather seek to create plays on words as an alternative to musical compositions. From a broader perspective, analysis of composers’ comments may help us to answer the question as to how such comments shape the plane of communication with potential listeners, what they tell us about discourse on the subject of new music, and the extent to which they expand the categories of its interpretation.

中文翻译:

“这是我的世界,你被邀请进入……”。华沙之秋(1999-2016)节目单中作曲家的自我反思

摘要 尽管我们通常将写作和谈论音乐视为与创作和表演相关的次要活动,但关于最新作曲作品的讨论现在获得了相当大的独立性。创意艺术家需要与机构和整个调解人网络合作,这意味着在 20 和 21 世纪,口头话语甚至发挥了关键作用,寻找一种可能吸引潜在事实证明,新曲目的听众面临严峻挑战。对于当代音乐,音乐节仍然是最重要的——有时几乎是唯一的——使作品能够存在于社会意识中的论坛。因此,与当代音乐相关的话语形成的一个重要领域包括节日书籍和作曲家对其作品的评论。后者帮助作曲家塑造自己的形象,同时帮助或阻碍与潜在听众建立额外的理解平面。本文试图区分 1999 年至 2016 年“华沙秋季”国际当代音乐节节目手册页面上作曲家自我反思中出现的主要主题领域,当时 Tadeusz Wielecki 被任命为“华沙秋季”国际当代音乐节的导演。节日。我们将在这里找到关于灵感、创作过程和音乐语言,以及技术、自然和聆听模式的评论。来自物理、化学和生物学的概念也经常出现在音乐的描述中,艺术成为对现代科学的一种评论。最后,一个单独的链由音符组成,在这些音符中,作曲家并没有过多地阐明他们使用的技巧或为他们的作品构建背景,而是寻求用文字来创作戏剧作为音乐作品的替代品。从更广泛的角度来看,对作曲家评论的分析可能有助于我们回答这样的问题,即这些评论如何塑造与潜在听众的交流平面,他们告诉我们关于新音乐主题的话语,以及他们在多大程度上扩大其解释的范畴。而是寻求创造文字戏剧作为音乐作品的替代品。从更广泛的角度来看,对作曲家评论的分析可以帮助我们回答这样的问题,即这些评论如何塑造与潜在听众的交流平面,他们告诉我们关于新音乐主题的话语,以及他们在多大程度上扩大其解释的范畴。而是寻求创造文字戏剧作为音乐作品的替代品。从更广泛的角度来看,对作曲家评论的分析可能有助于我们回答这样的问题,即这些评论如何塑造与潜在听众的交流平面,他们告诉我们关于新音乐主题的话语,以及他们在多大程度上扩大其解释的范畴。
更新日期:2017-12-01
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