Rocznik Komparatystyczny


ISSN: 2081-8718     eISSN: 2353-2831    OAI    DOI: 10.18276/rk.2018.9-04
CC BY-SA   Open Access   ERIH PLUS

Issue archive / 9 (2018)
Poetic Musicology among Musical Discourses: The Poet as a Listener

Authors: Iwona Puchalska
Jagiellonian University
Keywords: comparative literature intermediality Polish poetry in 20th century Adam Zagajewski Julia Hartwig musicology musical analysis reception of music transcription of music aculogy
Whole issue publication date:2018
Page range:19 (61-79)
Cited-by (Crossref) ?:

Abstract

This paper analyses selected examples of Polish poetry from the 20th century devoted to music (poems by Adam Zagajewski and Julia Hartwig), placing them in the context of the musicological discourses that exist today, particularly the auditive discourse. Poems devoted to music are treated as cultural statements – evidence of the reception of music. The concept of “poetic musicology” elaborated by Anna Barańczak in the 1970s, still one of the most valid and important strategies for speaking about music, has been updated and revitalised, placed in the space of culture, particularly in the area of Polish human sciences, where there is an exceptionally rich and diverse poetic output related to music.
Download file

Article file

Bibliography

1.Adorno, Theodor Wiesengrund. Typen musikalischen Verhaltens. Idem. Einleitung in die Musiksoziologie: zwölf theoretische Vorlesungen. Reinbek bei Hamburg: Rowohlt Verlag, 1968.
2.Bonnefoy, Yves. L’Alliance de la poésie et de la musique. Paris: Galilée, 2007.
3.Chion, Michel. Le Son. Paris: Fayard, 1998.
4.------. Le Son: Traité d’acoulogie. Paris: A. Colin, 2010.
5.Davies, Stephen. Musical Meaning and Expression. Ithaca: Cornell University Press, 1994.
6.Gołąb, Maciej. Muzyczna moderna w XX wieku: Między kontynuacją, nowością a zmianą fonosystemu. Wrocław: Wydawnictwo Uniwersytetu Wrocławskiego, 2011.
7.Hanslick, Edouard. O pięknie w muzyce. Trans. Stanisław Niewiadomski. Warszawa: M. Arzt, 1903.
8.Hartwig, Julia. Czułość. Kraków: Znak, 1992.
9.------. Gorzkie żale. Kraków: Wydawnictwo a5, 2011.
10.Hejmej Andrzej, Muzyka w literaturze: Perspektywy komparatystyki interdyscyplinarnej. Kraków: Universitas, 2008.
11.Hennion, Antoine. “L’écoute à la question”. Revue de Musicologie 1 (2002): 95–149.
12.Imberty, Michel. “L’épistémologie du sens dans les recherches en psychologie de la musique”. De l’écoute à l’oeuvre: Études interdisciplinaires. Ed. Michel Imberty. Paris: L’Harmattan, 2001.
13.Kivy, Peter. Music Alone: Philosophical Reflections on the Purely Musical Experience. Ithaca–New York: Cornell University Press, 1990.
14.Nattiez, Jean-Jacques. La musique est le discours: Apologie de la musicologie. Anjou (Quebec): Editions Fides, 2010.
15.Scruton, Roger. The Aesthetics of Music. Oxford: Oxford University Press, 1999.
16.------. Understanding Music: Philosophy and Interpretation. London–New York: Bloomsbury Publishing, 2009.
17.Steiner, George. Rzeczywiste obecności [Real Presences]. Trans. Ola Kubińska. Gdańsk: Słowo/obraz terytoria, 1997.
18.Szendy, Peter. Écoute, une histoire de nos oreilles. Paris: Editions de Minuit, 2001.
19.Szymborska, Wisława. Some People Like Poetry. Eadem. Nothing Twice: Selected Poems. Trans. Stanisław Barańczak and Clare Cavanagh. Cracow: Wydawnictwo Literackie, 1997.
20.The Glenn Gould Reader. Part three: The Prospects of Recording. Ed. Tim Page. New York: Vintage Books, 1990.
21.Tolila, Paul. “Préface: L’amateur et le sociologue”. Antoine Hennion, Sophie Maisonneuve, Émilie Gomart. Figures de l’amateur: Formes, objets, pratiques de l’amour de la musique aujourd’hui. Paris: La Documentation Française, 2000.
22.Tomaszewski, Mieczysław. Interpretacja integralna dzieła muzycznego: Rekonesans. Kraków: Wydawnictwo Akademii Muzycznej, 2000.
23.Wittgenstein, Ludwig. Tractatus logico-philosophicus. Trans. Bogusław Wolniewicz. Warszawa: Wydawnictwo Naukowe PWN, 1997.
24.Zagajewski, Adam. Asymmetry: Poems. Trans. Clare Cavanaugh. New York: Farrar, Straus and Giroux, 2018.
25.------. Unseen Hand: Poems. Trans. Clare Cavanagh. New York: Farrar, Straus and Giroux, 2012.