MUSIC: FUNCTION AND VALUE VOL. 1-2

Music: Function and Value. Proceedings of the 11th International Congress on Musical Signification 27 IX-2 X 2010, Kraków, Poland.

Redakcja/Editors: Teresa Malecka i/and Małgorzata Pawłowska.

Kraków 2013, objętość/number of pages: 825 stron/pages (vol. 1) i 775 stron/pages (vol. 2), format: B5, ISBN 978-83-62743-18-6 (vol. 1), 978-83-62743-19-3 (vol. 2). Książka sprzedawana jako komplet (vol. 1 i 2). The book is sold as a set (vol. 1 + 2).

 

Zawartość/Content:

Volume 1

Eero Tarasti, Musical Signification Today. A Preface by the President of the International Association for Semiotic Studies

Eero Tarasti, The Concept of Genre: In General and in Music

Robert S. Hatten, A Discourse on Musical Values

Márta Grabócz, Value in Contemporary Art and the Category of the ‘Sublime’ in New Music (works of F.-B. Mâche, J.-C. Risset and P. Eötvös)

Mieczysław Tomaszewski, Chopin’s Music Read Anew

Constantin Floros, Warum ist die Musik Mahlers heute so beliebt?

Gino Stefani and Stefania Guerra Lisi, A Therapeutic View on Music

I. Semiotics

Ludwik Bielawski, Signification in Music and Culture

Anna Chęćka-Gotkowicz, La signification de la musique selon Pascal Quignard

Július Fujak, The Sources of the Revitalization of Education in Musical Semiotics (In the Range of Initiatives from Peter Faltin to Existential Semiotics)

Desirée García Gil, Learning Music with Words: Music and Poetry as Carriers of Global Meaning

Icíar Nadal García, The Incorporation of the “Semiomotivo” as a Tool in Musical Semiotic Analysis

Panu Heimonen, How Do Music-Analytical Concepts Acquire Their Meaning? – Intertextuality as an Element in Music Analysis

Maciej Jabłoński, Writing the Experience. Musicology and Musical Meaning

Eliza Krupińska, Meaning and Interpretation in Music. Peircean Threads in the Works of Nattiez

Jolyon Laycock, Function, Inspiration and Musical Creativity

Raffaele Longo, The Semiotic Player. Notating Time in Graphic Scores

Grisell Macdonel, The Musical Work and the Existence of the Performer: Existential Semiotic Analysis of the Sonic Aspect of the Musical Work

Lina Navickaitė-Martinelli, Beethoven from Theory to Practice: The Interpreter’s Function in Musical Narrative

Juha Ojala, Reach or Breach? On Methodological Approaches to the Study of Musical Signification

Olga Otašević, Boris Asafiev’s “Intonation World”

Małgorzata Pawłowska, The Semantics of Love in Musical Interpretations of the Romeo and Juliet Myth

Leszek Polony, Between Hermeneutical Symbol and Cognitive Metaphor Towards a Critique of Musicological Pansemiosis

Alexander Polyakov, Kitsch in the Context of Semiotics

Marcin Trzęsiok, Immediacy and Convention in Igor Stravinsky’s Orpheus

II. Axiological Perspective

Carmen Fernández Amat, Comparative Analysis of Different Values of the Same Musical Fragment

Solfa Carlile, Axiology, Constructivism and Schemata: The young composer’s perspective

Ben Curry, On the value of Mozart’s Symphony in A, K201

Katie J. Graber, Race and Opera: Function and Value

Inga Jankauskienė, Veridiction in Opera. Opera and the Object of Value in It

Alicja Jarzębska, Debate on Music and Meaning after the “Cognitive Revolution”

Danutė Kalavinskaitė, Möglichkeiten der Wertigkeit der Musik im Rahmen der erneuerten katholischen Liturgie: aktuelle litauische Fallbeispiele

Kinga Kiwała, Der axiologische Aspekt des späten Stils. Die 4.Sinfonie Witold Lutosławskis

Nausica Morandi, From Medieval Officium Stellae to Contemporary Star Plays: The Evolutionary Persistence of Axiological Structures

Piotr Podlipniak, The Universal Aesthetic Value of Tonality and the Ubiquity of Tonal Music

Mark Reybrouck, Musical Sense-making and Valuing: an Experiential and Ecological Approach

Ewa Schreiber, The Value of a Living Sound. The Axiological Component of Gérard Grisey’s Organic Metaphor

Robert Michael Weiß, The Calculator’s Ears. New computer-based insights into tonal systems and tonal structures based upon George Russell’s Lydian Chromatic Concept and Josef Matthias Hauer’s System of the 44 Tropes

III. Aesthetics and Style

Paulo F.de Castro, Who Owns Musical Meaning? Aspects of the Objectivist Fallacy in the Writings of Hanslick, Stravinsky and Boulez

Marlies De Munck, Music as ‘Anti-hermeneutics’ – Raindrops Revisited

Krzysztof Guczalski, Expressive Meaning of Music – the Pioneer Conception of Henryk Elzenberg Versus Anglo-American Aesthetics

Elena G. Rabinovitch, Prooimion: The Song and its Name

Nicholas Ross, Mozart, Chopin, Debussy and the Golden Section

Lola Paule Rossignol, Poétique musicale d’Alexandre Scriabine

Renata Suchowiejko, Ève / Mélisande et l’idée de l’éternel féminin?

Daniel Wierzejski, Music in the Axiological and Semiotic Perspective of Stefan Kisielewski’s Theory and It’s Topicality in Light of Contemporary Semiological Research

IV. Culture and Popculture

Krzysztof Cyran, Recent Polish Music Inspired by the Bible: a Dialogue Between the “High” and Pop Culture

Heloísa de Araújo Duarte Valente, The Performance of Media Song: From Caruso to Beyoncé

Kai Lassfolk, On the Sonic Identity and Sound Ideal of 1950s Solid Body Electric Guitars

Dario Martinelli, The “All You Need is Love” Type: On the Process of “Universalization” of Protest Songs

Regina Maria Meirelles Santos, The Astonishing Voices of the Periphery: Funk, Rap and Hip Hop in Rio de Janeiro

Federico Montanari, Between avant-garde and popular music: the “sonic” breaking up of the song form. An example from Sonic Youth’s “Teenage Riot”

Brian Robison, “A Prayer From Your Secret God”. The “Sensitive Female Chord Progression” as a Veiled Symbol of Religiosity

Edward Venn, Interpreting “High” and “Popular” Cultures in Music

Nayden Yotov, The Work of Music as a Carrier of Value, Content and Meaning

V. Myth, Towards Roots

Stefano Carlucci, Orpheus and his Lyre. The Subversive Power of Music

Karolina Gołębiowska, L’artiste et son monde dans « Orphée » de Philip Glass et « Orphée » suite pour piano de Philip Glass/Paul Barnes. Entre tradition et modernité

Katarzyna Kaczmarczyk, The Myth of Narcissus in Karol Szymanowski’s Works. Between Ekphrasis and Transmedialisation

Maria Papapavlou and Kalliopi Stiga, Le ‘sacré’ et le ‘profane’ dans les musiques marocaines et kabyles

Julia Shpinitskaya, Sacred Temporal Model: Shaping Sound through Myth

VI. Correspondance des Arts

Ewa Czachorowska-Zygor, Music’s Function in Adding Value to the Time and Space of Film. Kawalerowicz’s Films with Music by Walaciński: Mother Joan of the Angels and Pharaoh

Gražina Daunoravičienė, A Man of Modernist Vision: M.K. Čiurlionis’ Palindromic and Chromatic Constructions

Tristian Evans, Existential Soundtracks? Examining the Semiotics of Post-Minimal Multimedia

Ivana Perković, Musical References in the Liturgical Poetry of Srbljak

Eufrasio Prates, Synolo Iketes (The Suppliants’ Game). A Creative Process Based on Semiotic Transductions of New Paradigm Notions into a Mythical Performative Comprovisation

Index to Volume 1

Volume 2

VII. Life and Work

Małgorzata Grajter, Written “in the aftermath of a crisis”. An Untimely Testament of Beethoven and its Echoes in His Oratorio Christus am Ölberge Op. 85

Joan Grimalt, “Spaces of lasting present” in Mahler’s Wunderhorn music

Julianne Lindberg, The Meaning of Childhood: Erik Satie’s Enfantines

VIII. Performing Arts

Aldo Barbieri, Dear Colleague – Non-functional Notes on Orchestral Parts

Tristan Ikor, L’improvisation, du fragment à la plénitude

Ewa Siemdaj, Vocal Acting in Giuseppe Verdi’s “Otello”

Alessia R. Vitale, Vocal Gestures: Elements of a Non-verbal Grammar. A Phenomenological, Semantic and Didactic Approach to the Transformation of the Voice into a Musical Instrument

IX. 16th-18th Century Music

Renata Borowiecka, Musical interpretations of the “Stabat Mater” sequence by Italian 18th-century composers – from the liturgical function to concert performances

Jeremy Grall, Generative Grammar and Sixteenth-Century Improvisation

Stefano Jacoviello, The Sound of Substance. Domenico Scarlatti and the Capriccio’s Painting Device

Marjorie Roth, The Magic in the Music: Sixteenth-Century Chromaticism in Context

Wojciech Stępień, Ockeghem’s Canon Deo Gratias – an Experimental Interpretation

Marjo Suominen, Signs and Messages of Love in Handel’s Opera Giulio Cesare in Egitto

X. 19th Century Music

Magdalena Chrenkoff, Moniuszko’s Threnodies – Between the Personal and National Dimensions

William P. Dougherty, “Ein unregelmäßiges Duett”: The Duet Settings of Nur wer die Sehnsucht kennt

Jonathan Guez, “You Hear What You Will; The Horns I Hear Them Still”: Surface Versus Structural Modulation in Act II, Scene 1 of Tristan und Isolde

Karolina Jarosz, Around the Four Elements and the Four Humours in the Polish Romantic Short Violin Piece. Fire

Jiří Kopecký, Piano Miniatures as Music for the Eyes

XI. Around Chopin

Ricardo Nogueira de Castro Monteiro, Chopin’s Ballade in G minor Op.23 in the Ballet Kameliendame, by John Neumeier: Intertextual and Intersemiotic Relations and their Role in the Process of the Generation of Meaning

Paulo C. Chagas, Sound, Temporality, and Affect in Chopin: Analyzing Nocturne Op. 27 No. 1 Through Spectral Semiotics

Andrew Davis, Mixed Genres and Narrativity in Chopin’s B-minor Sonata

Krzysztof Droba, Chopin Regained. The Presence of Chopin in the Reflexion of Contemporary Polish Composers

Małgorzata Gamrat, Trois Nocturnes Liebesträume de Franz Liszt. Entre l’idiome chopinien de nocturne et le langage rhétorique de Liszt

Zbigniew Granat, Chopin and Intertextuality

Jean Marie Hellner, When Fantasy is Narrative: A Case Study of Fryderyk Chopin’s Fantaisie in F Minor, Op. 49

William Michael Helmcke, Musical Meaning in Chopin: Markedness, Domain Separation, and the Signification of Polskość

Gabriele Jonté, Bohuslav Martinů and Frédéric Chopin

Ildar D. Khannanov, Existential Signification: The Abyss between Chopin’s Mazurkas Op. 6, No. 1 and Op. 68, No. 4

Magdalena Kubas and Francesco Galofaro, As Leaves Fall Down – On a Song by Chopin

Barbara Literska, The Concept of Trivialmusik and its influence on the Evaluation of the Nineteenth Century Transcriptions of Chopin’s Works

Vesna Mikić, A Short Survey of the Artist’s Theory with “One-minute’s Help” from Chopin – The Short Autobiography of Vladan Radovanović Revisited

Somangshu Mukherji, Against Musical Function: Formal Signification in Chopin

Max Noubel, … und Chopin ist auch dabei Approche axiologique de quelques oeuvres contemporaines pour piano

Anna Nowak, Chopin’s Mazurka as a Carrier of the Values and Meanings Conveyed in the Polish Piano Mazurkas

Marta Polańska, Frederic Chopin’s Allegro de Concert in A major Op. 46. The “art” or “bizarre interlude”?

Tijana Popović Mladjenović, Reminiscences on Ballad, Chopin and Transgression

Esti Sheinberg, Shostakovich’s Creative Defamiliarization of Chopin

Tiina Vainiomäki, Values of Rhythm as a Theory of Composition: Janáček’s Notions of Modernity in Chopin’s Music

Konstantin Zenkin, Genre as a Bearer of Meaning and Value in Chopin’s World

XII. 20th and 21st Century Music

Regina Chłopicka, Kadish by Krzysztof Penderecki. In the Sphere of Two Traditions – Judaic and Christian

Timothy B. Cochran, The Rhythm of Water: Modes of Interpretation in Messiaen’s Analyses of Debussy’s Music

John D. Cuciurean, Through the Looking Glass: Mimesis as Interpretive Discourse in György Ligeti’s Selbstportrait

Dagmara Dopierała, The experience of nature in Lied-Symphony Op. 66 by Flor Peeters

Agnieszka Draus, “Licht” by Karlheinz Stockhausen. Ambiguous Music Theatre of the World

Anna Granat-Janki, Valeurs et fonctions de la musique d’Alexandre Tansman

Ilona Iwańska, “Must a Song Always Be a Song!” On the Genre’s Antipodes or Charles Ives’s Songs

Małgorzata Janicka-Słysz, The Music of Karol Szymanowski from an Intertextual and Intersemiotic Perspective

Monika Karwaszewska, Passacaglia in the Output of Andrzej Dobrowolski. Interpretations of the “Palimpsest” Type

Violetta Kostka, Values of Paweł Szymański’s music

Andrzej Mądro, The Music of Repentance – El maale rahamim… by Krzysztof Knittel

Teresa Malecka, Genre as a Vehicle for Christian Values in Polish Music since 1956

Bogumiła Mika,  “Novelty” in Polish Music Avant-garde Discussions in the Late 1960s and Early 1970s

Ivana Miladinović Prica, Rethinking the Concept of Time in the Postwar American Experimental Music – Feldman’s Art of Immediacy

Violetta Przech, Zbigniew Bargielski’s Oratorio Im Niemandsland: In Search of Meaning

Igor Radeta, Gaspard de la Nuit: Leap Into a Universe of Signification

Paulo-de-Tarso Salles, National Identity, Modernity and Other Intertextual Relations in the Ninth String Quartet of Villa-Lobos

Marta Szoka, Intertextual Links of Graphic Notation in the Works of George Crumb

Natalia Szwab, Genre Model or its Transgression? Piano Concerto by Paweł Szymański

Krzysztof Szwajgier, The Reference of Pure Sonority

Eila Tarasti, The Impact of Sibelius on the Style of Helvi Leiviskä, Finnish Symphonist

Emil B. Wojtacki, Mykietyn’s unde malum?

Ewa Wójtowicz, Some Remarks on Crumb’s Dialogues with the Music of the Past in His Instrumental Compositions

Index to Volume 2