Books by Monika Karwaszewska
Organy i muzyka organowa XVI / Organ and organ music XVI, 2022
The subject of this article is Dariusz Przybylski's work for two soloists (organ/positive) and ch... more The subject of this article is Dariusz Przybylski's work for two soloists (organ/positive) and chamber ensemble, or Concerto Festivo for organ for two performers and chamber orchestra op. 46, specially commissioned for the second edition of the 'Per Arte ad Astra' Organ Music Festival in Krasnobród. The point of departure for critical considerations is an analysis of the composition that would reveal any references to tradition as well as any patterns etablished by the latter. Within the scope of its large-scale structure, the composition draws on the Baroque chamber concerto model (concerto da camera) whose cycle order resembles that of a suite. This justifies the small selection, in the tutti, of such instruments as the strings and the flute. Such simplification, however, does not apply to the solo parts which, engaged in a dialogue with one another, demonstrate their virtuoso and expressive performance capability. For the soloists were entrusted with developing the musical narrative. The concertante and showpiece role of the solo instruments, a determinant of the Classical concerto, accompanies Przybylski's own creative ideas. For a better understanding of the means of musical expression used by the composer, applied was the concept of stylization, one of the intertextual strategies borrowed from the Polish literary scholar Stanisław Balbus.
Musica Vocale. Sacrum i profanum w muzyce wokalnej - studium przypadku, Wydawnictwo Akademii Muzycznej im. Stanisława Moniuszki w Gdańsku, s. 155-169, ISBN 978-83-64615-03-0, 2014
Zygmunt Krauze's Five Songs for baritone and piano is a song cycle written in 2000. It is a setti... more Zygmunt Krauze's Five Songs for baritone and piano is a song cycle written in 2000. It is a setting of Tadeusz Różewicz's poetry form his existential period. Detailed analysis of the lyrics in relation to existentalist philosophy provides the basis for describing these songs and demonstrating their way of combining the musical an the verbal. Music that accompanies the poetry harmonizes perfectly with Różewicz's poetic texts, which are deeply imbued with symbols and metaphors. The texts of the songs, catastrophic in their overtones, allow the listener to experience trouh them the extreme emotions which are characteristic of the Impressionist and Neo-Romantic style in music that ranges from the light, peaceful, quiet and lyrical to the turbulent, dynamic and expressive.
XXIII GENERATIVE ART 2020 procedings of XXIII GA conference edited by Celestino Soddu and Enrica Colabella, Nov 15, 2020
The musical piece AdNaan by the contemporary Polish composer Jacek Grudzień was written in 2002 f... more The musical piece AdNaan by the contemporary Polish composer Jacek Grudzień was written in 2002 for solo cello and tape, specially commissioned by the accomplished cellist Andrzej Bauer.
The composer’s intent was to create a work that would be a certain reflection on the sound landscape surrounding us. AdNAAN thus belongs in the so-called ecological music and related concept of soundscape formulated by Raymond Murray Schafer. Besides the sound signal, the main musical information carrier, an essential role in this work is fulfilled by the space from which the sounds come. The elements of the soundscape (a recited excerpt from Prospero’s monologue from Shakespeare’s Tempest and passages from Lenten songs recorded in a church in Warsaw) and cello sounds have been recorded on audio tape and digitally manipulated. The piece received a recommendation by the UNESCO International Composers’ Tribune in Vienna, gaining world renown as a result.
Currently, new interpretations of this piece are being made, e.g. with solo accordion. The accordion variant of this composition is recorded in the 5.1 surround sound system. To create this version of the work, the tape part was processed by a sound engineer in a recording studio. The instrumentalist recorded the accordion part, to which the sound engineer added several layers of live electronics. The sound engineer used special sound effects that caused the accordion tone colour to blend with tape for a uniform sound of the whole.
The subject of studies and analyses will be the electro-acoustic work AdNaan in both its versions.
The composition in its original version, in turn, has become the inspiration for an intermedia performance art.
XXV Generative Art 2022 procedings of XXV GA conference edited by Celestino Soddu and Enrica Colabella; ISBN 978-88-96610-44-2 , 2022
The composition To See the Invisible for the six performers by Katarzyna
Kwiecień-Długosz selec... more The composition To See the Invisible for the six performers by Katarzyna
Kwiecień-Długosz selected for discussion is an artistic inphrasis showing an artistic representation of the content and emotions previously existing in the philosophy and photography of Georg Shiras, and later in the painting of Aneta Kublik. The resulting artistic artefact is an emotional reference to the work of art from which the painter, and then the composer, drew inspiration. The modification of one code to another
occurs in a s ymbolic space, which is related to the phenomenon of the mutual permeation of arts and the expression of a non-verbal work. The subject of Aneta Kublik's paintings is the feeling of anxiety and suffering caused by frightened roe deer. The original painting technique used, based on t he clash between light and black oil paint applied in a sculptural manner, caused the symbolic meaning to
cross its original boundaries: the calm of the deer in the forest. The aesthetic experience at hand i s about lyrical abstraction hidden in philosophy and inspiration drawn from another work of art. Inside the painter, at the moment of this experience, the vision develops of the artistic work.The emotions contained in these
paintings by Kublik were later reflected in the audio-visual composition by
Katarzyna Kwiecień-Długosz. During the playback of the music material, the paintings are displayed that complete the narrative, creating an i ntermedial composition. The musical work contains various intermedial references; it uses and is inspired by three sources: photographic, painterly and philosophical. Yet the symbolic structure of the composition refers to the painting, and the music material suggests to the audience a transition from darkness to lightness with changing moods and colours.
XXIV GENERATIVE ART 2021 procedings of XXIV GA conference edited by Celestino Soddu and Enrica Colabella, 2021
The subject of this article is the discussion of the intermedial work In eDanzig by Kamil Cieślik... more The subject of this article is the discussion of the intermedial work In eDanzig by Kamil Cieślik, a contemporary composer of Polish origin, created in 2021 as a result of the process of precomposition of the earlier piece In Danzig. However, the resulting composition (the electroacoustic layer) cannot be viewed as a separate piece by Cieślik; it is only an outcome, an extension of the original composition. This intermedial variant was created to meet the need for a choreographer and a visual artist to create performance art In eDanzig. The composer added to the vocal parts a layer of electroacoustic media (sound tracks generated by synthesizers and musique concrète recorded on tape), thus creating an intermedial work with an integrated artistic message.
The paradigm of interdisciplinarity thus entails the performance of a multi-aspect analysis of the work, not only within the scope of building the form continuum and defining the musical style, but also within the scope of defining the relationship between the media which participate in the signifying process. The In eDanzig project is an example of the so-called choreographic inphrasis, an artistic (choreographic) representation of literary text and music, including synthetically generated occurrences, in the musical work by Kamil Cieślik. Hence, the article conveys the essence of the precomposition process of the piece In Danzig, including Cieślik’s idea for generating sounds by different media. For this purpose, the term intermediality, fundamental for this issue, has been carefully defined, as has been, as part of the terminological network, the phenomena of artistic ekphrasis and inphrasis.
Keywords: intermediality, Polish contemporary art and music, virtual reality, generative music, electro-acoustic music, ekphrasis, inphrasis
XXII Generative Art Conference - GA2019 edited by Celestino Soddu and Enrica Colabella, 2019
Musical score since the beginning of the 20th century has been the object of study in other scien... more Musical score since the beginning of the 20th century has been the object of study in other scientific and artistic areas. Its phenomenon lies in the synergy of acoustic and visual domain of perception.
The object of study is the selection of works making up a specific type of intermedial score, which is created as a result of structural filiations in the context of music-literature relations as well as musical and visual relations. Contemporary literary works may contain elements of notation or music- related technology and their structure may resemble that of a musical piece. Musical composition may be based on literary text or created in connection with visual arts.
Such works manifest signs of the existence of musical composition in literary text or the visual elements in musical pieces. This gives birth to an artefact generated live in the shape of "poem-score", "verbal score", "visual poetry", "musical graphic work", "animated score" or "musical installation art". Such cross-references in works using different media go beyond the traditional scope of study, therefore the analysis and interpretation of selected works will be presented in the context of Werner Wolf's theoretical reflection.
The works selected for analysis were fugues, whose baroque genre, indicated in the title, serves as an intermedial substitute. Preludio e Fughe by Umberto Saba, a literary work, is an example of artistic interpretation of the fugue musical form, where literary text may function autonomously without encompassing the musical intertext. The method of text inscription, referring to baroque music genre, determines its intermedial nature.
Another work, Fuge in The HeartPiece – Double Opera, a composition by Krzysztof Knittel is an example of intermedial
optophonetic poem, written in the form of
graphic score, where the text by H. Müller is recited according to the principles reflecting the structure of a polyphonic form.
Additional aspect discussed in the presentation will be the sphere of vision and sound in the poem entitled Is that wool hat my hat? by Jackson Mac Low, which represents the kind of score to be performed for two, three or four voices without the use of metronome.
The composition by Katarzyna Kwiecień-
Długosz entitled Paplanina. Four serigraphies for tape is an example of musical installation art, in which sound layer was combined with visual layer, making up a kind of animated score. One of its parts (Runy rearranged as Soliloquium) became an inspiration for Beata Oryl to create live performance (movement interpretation – parallel co-existence of physical body and interactive visualisation, related to the body in a specific manner within the frame of the sounds of music).
The aim of the presentation will be the analysis of selected literary and musical works, whose transcript is not conventional and whose intersemiotic features are manifested in the act of perception.
Papers by Monika Karwaszewska
International review of the aesthetics and sociology of music, 2023
The sonnets selected for discussion in the article (both literary and musical) create a particula... more The sonnets selected for discussion in the article (both literary and musical) create a particular kind of intermedial score that emerges as a result of structural musical-literary filiations, showing intersemiotic connections between music and poetry. The sonnets from Cezary Sikorski’s collection of poems Fifty Four Sonnets show both implicit (Bach’s Kunst der Fuge) and explicit references to music. Also presented is a musical analysis and interpretation of Sonnet 5 from ‘Shakespeare’s Sonnets’, musicalised in two versions: Paweł Mykietyn’s, with references to the Baroque style, and Stanisław Sojka’s, as an example of correspondence with trivial (popular) music. Intermedijalnost, fenomen postmoderne kulture, tvori umjetničku gestu temeljenu na sinergiji različitih sredstava prijenosa informacija, pri čemu različiti mediji konstruiraju novo integriranu poruku. Soneti (literarni i glazbeni), odabrani za raspravu u ovome članku, stvaraju posebnu vrstu intermedijalne partiture koja se pojavljuje kao rezultat strukturnih glazbeno-literarnih spajanja, očitujući intersemiotičke veze između glazbe i pjesništva. Soneti iz zbirke pjesama Pedeset i četiri soneta (Pięćdziesiąt Cztery Sonaty) Cezaryja Sikorskog očituju implicitne (Bachova Umjetnost fuge) i eksplicitne reference na glazbu. Tako se djelo može smatrati intermedijalno zamišljenom pjesmovnom partiturom. Donosi se i glazbena analiza i interpretacija soneta br. 5 iz Shakespearovih soneta (Shakespeare’s Sonnets), uglazbljenih u dvije verzije: verziji Paweła Mykietyna s referencama na barokni stil i verziji Stanisława Sojke kao primjera za podudarnost s trivijalnom (popularnom) glazbom. Odnosi među pojedinim medijima (intermedijalna fuzija), koji ne mogu biti izolirani i navedeni u svojim izvedbenim ulogama, stvaraju kohezijski intermedijalni diskurs. Kako reference jednoga na drugi medij unutar istoga djela leže izvan dosega tradicionalnog istraživanja, analiza i interpretacija odabranih djela i određivanje literarno-glazbenih spojeva zahtijeva širi kontekst teorijskog promišljanja Wernera Wolfa i pojam ‘glazbenog ekphrasisa’, koji je na područjima umjetnosti razvila muzikologinja Siglind Bruhn.
Nova Contemporary Music Journal, Volume 3, Issue I, 2023
The paradigm of intermediality entails the performance of a multi-aspect analysis of the work, no... more The paradigm of intermediality entails the performance of a multi-aspect analysis of the work, not only within the scope of building the form continuum and defining the musical style but also within the scope of defining the relationship between the media which participate in the signifying process. The notion of ekphrasis is growing in importance in the research on the intermedial work of art. The term ekphrasis functions in literature as a dialectic of word and image. Over the years, the concept ekphrasis has been addressed by many scholars in their research, especially in the fields of rhetoric, literature, art, and media. American researcher Siglind Bruhn has proposed a definition of musical ekphrasis to describe musical works that are musical representations of something previously represented in words or image form. In Polish studies on choreography, Stefan Drajewski introduced the notion of choreographic ekphrasis for works that use movement and dance to represent emotions contained in a musical work. The essence of the concept ekphrasis is the verbal interpretation of music or another work of art (the use of the verbal medium to represent the non-verbal medium), while inphrasis is the communication of emotions arising from the content encoded in the verbal medium (the plastic, musical, visual, choreographic realization of the verbal text). Exploring the relationship between particular verbal and non-verbal media, the author's definition of ekphrasis and artistic inphrasis has been formulated. The proposed analytical concepts were applied to the interpretation of selected contemporary intermedia works, made on the emotional and symbolic levels.
„Edukacja Muzyczna” 2023, t. 18, 2023
„Edukacja Muzyczna” 2023, vol. 18, 2023
International Review of the Aesthetics and Sociology of Music , 2023
The sonnets selected for discussion in the article (both literary and musical) create a particula... more The sonnets selected for discussion in the article (both literary and musical) create a particular kind of intermedial score that emerges as a result of structural musical-literary filiations, showing intersemiotic connections between music and poetry. The sonnets from Cezary Sikorski’s collection of poems Fifty Four Sonnets show both implicit (Bach’s Kunst der Fuge) and explicit references to music. Also presented is a musical analysis and interpretation of Sonnet 5 from ‘Shakespeare’s Sonnets’, musicalised in two versions: Paweł Mykietyn’s, with references to the Baroque style, and Stanisław Sojka’s, as an example of correspondence with trivial (popular) music. Intermedijalnost, fenomen postmoderne kulture, tvori umjetničku gestu temeljenu na sinergiji različitih sredstava prijenosa informacija, pri čemu različiti mediji konstruiraju novo integriranu poruku. Soneti (literarni i glazbeni), odabrani za raspravu u ovome članku, stvaraju posebnu vrstu intermedijalne partiture koja se pojavljuje kao rezultat strukturnih glazbeno-literarnih spajanja, očitujući intersemiotičke veze između glazbe i pjesništva. Soneti iz zbirke pjesama Pedeset i četiri soneta (Pięćdziesiąt Cztery Sonaty) Cezaryja Sikorskog očituju implicitne (Bachova Umjetnost fuge) i eksplicitne reference na glazbu. Tako se djelo može smatrati intermedijalno zamišljenom pjesmovnom partiturom. Donosi se i glazbena analiza i interpretacija soneta br. 5 iz Shakespearovih soneta (Shakespeare’s Sonnets), uglazbljenih u dvije verzije: verziji Paweła Mykietyna s referencama na barokni stil i verziji Stanisława Sojke kao primjera za podudarnost s trivijalnom (popularnom) glazbom. Odnosi među pojedinim medijima (intermedijalna fuzija), koji ne mogu biti izolirani i navedeni u svojim izvedbenim ulogama, stvaraju kohezijski intermedijalni diskurs. Kako reference jednoga na drugi medij unutar istoga djela leže izvan dosega tradicionalnog istraživanja, analiza i interpretacija odabranih djela i određivanje literarno-glazbenih spojeva zahtijeva širi kontekst teorijskog promišljanja Wernera Wolfa i pojam ‘glazbenog ekphrasisa’, koji je na područjima umjetnosti razvila muzikologinja Siglind Bruhn.
ShodhKosh: Journal of Visual and Performing Arts
The aim of the article is to consider the question: what do technological innovations bring to cr... more The aim of the article is to consider the question: what do technological innovations bring to creative activities, so that we can see in them a new way of creating, and how does a work of multivariate nature affect the viewer, evoking in him/her a peculiar perceptio sensatio.The article presents an intermedia project based on distributed authorship, resulting from the collaboration of a music choreographer, a visual artist and a music theorist. Each of these people brings a different perspective and creation to the project, which integrates the guiding idea of "hearing and seeing" music, and even experiencing it multisensorially.Syncretic activities on the borderline of composition, improvisation and interpretation of music and its choreography, as well as the conscious use of audiovisual objects, expand the fields of artistic activity to reach the audience through multiple channels of sensory perception. The spectator does not perceive isolated fields, because the sensor...
ShodhKosh: Journal of Visual and Performing Arts, 2023
The aim of the article is to consider the question: what do technological innovations bring to cr... more The aim of the article is to consider the question: what do technological innovations bring to creative activities, so that we can see in them a new way of creating, and how does a work of multivariate nature affect the viewer, evoking in him/her a peculiar perceptio sensatio.
The article presents an intermedia project based on distributed authorship, resulting from the collaboration of a music choreographer, a visual artist and a music theorist. Each of these people brings a different perspective and creation to the project, which integrates the guiding idea of "hearing and seeing" music, and even experiencing it multisensorially.
Syncretic activities on the borderline of composition, improvisation and interpretation of music and its choreography, as well as the conscious use of audiovisual objects, expand the fields of artistic activity to reach the audience through multiple channels of sensory perception. The spectator does not perceive isolated fields, because the sensory world is a synthesis of different fields of perception. The same object that we see, we can touch, can be a source of sound and smell. In this constellation, the intermedia narration of the work is not only an experiment that influences the attractiveness of the musical choreography presented, but also an object of research into a new language, the use of which expands the concept of thinking about the form of the composition presented. The
amplified dimensions of the work's reception make it an attractive form of expression, which at the same time becomes an artistic-cognitive hybrid.
Zbornik Akademije umetnosti, 2022
The subject of analysis is the contemporary opera Madame Curie (2010) by the Polish composer Elżb... more The subject of analysis is the contemporary opera Madame Curie (2010) by the Polish composer Elżbieta Sikora, premiered in 2011 in Paris. In an extremely emotional way, using innovative techniques for expression, the composer tells the story of the scientist Maria Skłodowska-Curie in the form of a script for the opera, with anxiety as the main idea of the libretto. This dramatic work is an example of an intermedia work in which the composer uses electronic media alongside traditional instruments. The composition is an intermedia spectacle revealing the symbolic significance of the sound emission interacting with the libretto, choreography, lighting, ancient Greek theatre form and an electronic medium. Despite being divided into scenes, the piece was directed using a single set representing the laboratory of the Polish Nobel Prize winner. The director patterned the staging of this opera after Greek theatre: for action on stage, the whole proscenium was used, and the orchestra was sea...
Edukacja Muzyczna, 2022
Krzysztof Knittel, a composer who has been writing at the turn of the 20th and 21st century, is f... more Krzysztof Knittel, a composer who has been writing at the turn of the 20th and 21st century, is faithful to his artistic vision that bears testimony to his affiliation to the transavantgarde aimed at synthesizing the codes of modernity and tradition. One of its manifestations is the phenomenon of intermediality, picturing the relationships emerging between a given object (action) and media. Novelty in Knit- tel’s works is based on composing intuitive music, described as free improvised music, and recycled, or ecological, music. The 1970s saw increased interest in the sacred and the spiritual in Polish music. The song cycle Z głębokości wołam do Ciebie, Panie... (‘Out of the depths I cry to thee, O LORD!’, 2000) for choir and electronic media, the first religious composition by Knittel, was written, as the composer claims, ‘to express the truth and the strength of faith’. The songs were written to texts of the Psalter of King David from Biblia Tysiąclecia (‘The Millenium Bible’). ...
Edukacja Muzyczna, 2022
Krzysztof Knittel – kompozytor tworzący na przełomie XX i XXI wieku – jest wierny założeniom arty... more Krzysztof Knittel – kompozytor tworzący na przełomie XX i XXI wieku – jest wierny założeniom artystycznym, które świadczą o jego przynależności do nurtu
transawangardy , który stawia sobie za cel syntezę kodów nowoczesności i tradycji. Jednym z tego przejawów jest fenomen intermedialności, obrazujący relacje, w jakie dany obiekt (działanie) wchodzi z mediami. Nowatorstwo w twórczości Knittla polega na komponowaniu muzyki intuicyjnej, określanej jako free improvised music, oraz
muzyki recyklingowej czy ekologicznej. Lata 70. ubiegłego wieku przyniosły wzmożone zainteresowanie sferami sacrum i duchowości w muzyce polskiej. Cykl pieśni Z głębokości wołam do Ciebie, Panie…, napisany w 2000 roku na chór i media elektroniczne, będąc pierwszą religijną kompozycją Knittla, miał, jak twierdzi kompozytor, „wyrazić prawdę i siłę wiary”. Pieśni napisane zostały do tekstów Psałterza Dawidowego
z Biblii Tysiąclecia. Celem artykułu jest próba oceny, w jaki sposób źródło inspiracji wpłynęło na konstrukcję i estetykę omawianego dzieła intermedialnego.
Since the end of the 20th century, experimental techniques of sound generation have become the ba... more Since the end of the 20th century, experimental techniques of sound generation have become the basis for composing the new intermedial creative music. A musical work in which the composer, in order to create the artefact, includes computer systems as an additional medium of distribution may be recognised as an artistic product of generative music. Computer software and specialised electronic devices enable the creation of a composition which is not only a strictly musical one but also an intermedial one, constituting a so-called "media hybrid". The analysis and interpretation of a conceptual work of art requires, on the one hand, a study of the software and, on the other, an assessment of its axiological values. The speech will focus on presentation of partly improvised compositions by contemporary Polish composers – Krzysztof Knittel and Agnieszka Stulgińska – in which the sound is generated live from various media and is transformed by the computer. For the work free for...
Zbornik Akademije umetnosti, 2021
This essay analyses and interprets the scores, recordings, and media used in Knittel and King'... more This essay analyses and interprets the scores, recordings, and media used in Knittel and King's The Heart Piece - Double Opera (1999) and Stulgińska's Three Women for three women and ten instruments (2017), two semi-improvised Polish operas using performance art and interaction between sound, text, choreography, lighting, theatrical form and electronic medium. In Stuglińska's modern music theatre, the listener follows different sound sources and the setting: choreography, performers' and speakers' arrangement on stage, props and lighting, whose intensity dictates the form. The Heart Piece chamber opera is a two - Polish and American - composers' take on Müller's play Herzstück, with separate movements in their native languages. Music and text create an interactive setting, and their notation and semantics make music both seen and heard. These works use the concept of hybridization and, in Wolf's terminology, intracompositional intermediality, where di...
Prace Naukowe Akademii im. Jana Długosza w Częstochowie. Edukacja Muzyczna, 2015
A long awaited in the world, H.M. Górecki’s Symphony No. 4 ‘Tansman’s Episodes’ for grand orchest... more A long awaited in the world, H.M. Górecki’s Symphony No. 4 ‘Tansman’s Episodes’ for grand orchestra with obbligato organ and piano was written in 2006, as a tribute to a Slav composer, Aleksander Tansman. Górecki left the short score manuscript for his son, Mikołaj Górecki, to orchestrate. The composition was commissioned by four institutions, including the Tansman International Festival of Music Personalities in Łódź, represented by the Festival director, Andrzej Wendland. After the composer’s death, the work was completed by Mikołaj Górecki and has had four premieres (London, Los Angeles, Amsterdam, Łódź). The world premiere of the composition took place on April 12, 2014 in London, performed by London Philharmonic Orchestra directed by Andrey Borejko. The four-episode symphony is not a continuation of its “predecessor” – ‘Symphony of Sorrowful Songs’, and the title of the piece misleadingly directs the audience towards the works of Tansman. The composer’s name, included in the title, becomes a musical anagram which is the building material for the symphony’s main theme. The aim of the presentation is to show the work from an intertextual perspective, as a manifestation of inclusive music in the artistic output of H.M. Górecki.
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Books by Monika Karwaszewska
The composer’s intent was to create a work that would be a certain reflection on the sound landscape surrounding us. AdNAAN thus belongs in the so-called ecological music and related concept of soundscape formulated by Raymond Murray Schafer. Besides the sound signal, the main musical information carrier, an essential role in this work is fulfilled by the space from which the sounds come. The elements of the soundscape (a recited excerpt from Prospero’s monologue from Shakespeare’s Tempest and passages from Lenten songs recorded in a church in Warsaw) and cello sounds have been recorded on audio tape and digitally manipulated. The piece received a recommendation by the UNESCO International Composers’ Tribune in Vienna, gaining world renown as a result.
Currently, new interpretations of this piece are being made, e.g. with solo accordion. The accordion variant of this composition is recorded in the 5.1 surround sound system. To create this version of the work, the tape part was processed by a sound engineer in a recording studio. The instrumentalist recorded the accordion part, to which the sound engineer added several layers of live electronics. The sound engineer used special sound effects that caused the accordion tone colour to blend with tape for a uniform sound of the whole.
The subject of studies and analyses will be the electro-acoustic work AdNaan in both its versions.
The composition in its original version, in turn, has become the inspiration for an intermedia performance art.
Kwiecień-Długosz selected for discussion is an artistic inphrasis showing an artistic representation of the content and emotions previously existing in the philosophy and photography of Georg Shiras, and later in the painting of Aneta Kublik. The resulting artistic artefact is an emotional reference to the work of art from which the painter, and then the composer, drew inspiration. The modification of one code to another
occurs in a s ymbolic space, which is related to the phenomenon of the mutual permeation of arts and the expression of a non-verbal work. The subject of Aneta Kublik's paintings is the feeling of anxiety and suffering caused by frightened roe deer. The original painting technique used, based on t he clash between light and black oil paint applied in a sculptural manner, caused the symbolic meaning to
cross its original boundaries: the calm of the deer in the forest. The aesthetic experience at hand i s about lyrical abstraction hidden in philosophy and inspiration drawn from another work of art. Inside the painter, at the moment of this experience, the vision develops of the artistic work.The emotions contained in these
paintings by Kublik were later reflected in the audio-visual composition by
Katarzyna Kwiecień-Długosz. During the playback of the music material, the paintings are displayed that complete the narrative, creating an i ntermedial composition. The musical work contains various intermedial references; it uses and is inspired by three sources: photographic, painterly and philosophical. Yet the symbolic structure of the composition refers to the painting, and the music material suggests to the audience a transition from darkness to lightness with changing moods and colours.
The paradigm of interdisciplinarity thus entails the performance of a multi-aspect analysis of the work, not only within the scope of building the form continuum and defining the musical style, but also within the scope of defining the relationship between the media which participate in the signifying process. The In eDanzig project is an example of the so-called choreographic inphrasis, an artistic (choreographic) representation of literary text and music, including synthetically generated occurrences, in the musical work by Kamil Cieślik. Hence, the article conveys the essence of the precomposition process of the piece In Danzig, including Cieślik’s idea for generating sounds by different media. For this purpose, the term intermediality, fundamental for this issue, has been carefully defined, as has been, as part of the terminological network, the phenomena of artistic ekphrasis and inphrasis.
Keywords: intermediality, Polish contemporary art and music, virtual reality, generative music, electro-acoustic music, ekphrasis, inphrasis
The object of study is the selection of works making up a specific type of intermedial score, which is created as a result of structural filiations in the context of music-literature relations as well as musical and visual relations. Contemporary literary works may contain elements of notation or music- related technology and their structure may resemble that of a musical piece. Musical composition may be based on literary text or created in connection with visual arts.
Such works manifest signs of the existence of musical composition in literary text or the visual elements in musical pieces. This gives birth to an artefact generated live in the shape of "poem-score", "verbal score", "visual poetry", "musical graphic work", "animated score" or "musical installation art". Such cross-references in works using different media go beyond the traditional scope of study, therefore the analysis and interpretation of selected works will be presented in the context of Werner Wolf's theoretical reflection.
The works selected for analysis were fugues, whose baroque genre, indicated in the title, serves as an intermedial substitute. Preludio e Fughe by Umberto Saba, a literary work, is an example of artistic interpretation of the fugue musical form, where literary text may function autonomously without encompassing the musical intertext. The method of text inscription, referring to baroque music genre, determines its intermedial nature.
Another work, Fuge in The HeartPiece – Double Opera, a composition by Krzysztof Knittel is an example of intermedial
optophonetic poem, written in the form of
graphic score, where the text by H. Müller is recited according to the principles reflecting the structure of a polyphonic form.
Additional aspect discussed in the presentation will be the sphere of vision and sound in the poem entitled Is that wool hat my hat? by Jackson Mac Low, which represents the kind of score to be performed for two, three or four voices without the use of metronome.
The composition by Katarzyna Kwiecień-
Długosz entitled Paplanina. Four serigraphies for tape is an example of musical installation art, in which sound layer was combined with visual layer, making up a kind of animated score. One of its parts (Runy rearranged as Soliloquium) became an inspiration for Beata Oryl to create live performance (movement interpretation – parallel co-existence of physical body and interactive visualisation, related to the body in a specific manner within the frame of the sounds of music).
The aim of the presentation will be the analysis of selected literary and musical works, whose transcript is not conventional and whose intersemiotic features are manifested in the act of perception.
Papers by Monika Karwaszewska
The article presents an intermedia project based on distributed authorship, resulting from the collaboration of a music choreographer, a visual artist and a music theorist. Each of these people brings a different perspective and creation to the project, which integrates the guiding idea of "hearing and seeing" music, and even experiencing it multisensorially.
Syncretic activities on the borderline of composition, improvisation and interpretation of music and its choreography, as well as the conscious use of audiovisual objects, expand the fields of artistic activity to reach the audience through multiple channels of sensory perception. The spectator does not perceive isolated fields, because the sensory world is a synthesis of different fields of perception. The same object that we see, we can touch, can be a source of sound and smell. In this constellation, the intermedia narration of the work is not only an experiment that influences the attractiveness of the musical choreography presented, but also an object of research into a new language, the use of which expands the concept of thinking about the form of the composition presented. The
amplified dimensions of the work's reception make it an attractive form of expression, which at the same time becomes an artistic-cognitive hybrid.
transawangardy , który stawia sobie za cel syntezę kodów nowoczesności i tradycji. Jednym z tego przejawów jest fenomen intermedialności, obrazujący relacje, w jakie dany obiekt (działanie) wchodzi z mediami. Nowatorstwo w twórczości Knittla polega na komponowaniu muzyki intuicyjnej, określanej jako free improvised music, oraz
muzyki recyklingowej czy ekologicznej. Lata 70. ubiegłego wieku przyniosły wzmożone zainteresowanie sferami sacrum i duchowości w muzyce polskiej. Cykl pieśni Z głębokości wołam do Ciebie, Panie…, napisany w 2000 roku na chór i media elektroniczne, będąc pierwszą religijną kompozycją Knittla, miał, jak twierdzi kompozytor, „wyrazić prawdę i siłę wiary”. Pieśni napisane zostały do tekstów Psałterza Dawidowego
z Biblii Tysiąclecia. Celem artykułu jest próba oceny, w jaki sposób źródło inspiracji wpłynęło na konstrukcję i estetykę omawianego dzieła intermedialnego.
The composer’s intent was to create a work that would be a certain reflection on the sound landscape surrounding us. AdNAAN thus belongs in the so-called ecological music and related concept of soundscape formulated by Raymond Murray Schafer. Besides the sound signal, the main musical information carrier, an essential role in this work is fulfilled by the space from which the sounds come. The elements of the soundscape (a recited excerpt from Prospero’s monologue from Shakespeare’s Tempest and passages from Lenten songs recorded in a church in Warsaw) and cello sounds have been recorded on audio tape and digitally manipulated. The piece received a recommendation by the UNESCO International Composers’ Tribune in Vienna, gaining world renown as a result.
Currently, new interpretations of this piece are being made, e.g. with solo accordion. The accordion variant of this composition is recorded in the 5.1 surround sound system. To create this version of the work, the tape part was processed by a sound engineer in a recording studio. The instrumentalist recorded the accordion part, to which the sound engineer added several layers of live electronics. The sound engineer used special sound effects that caused the accordion tone colour to blend with tape for a uniform sound of the whole.
The subject of studies and analyses will be the electro-acoustic work AdNaan in both its versions.
The composition in its original version, in turn, has become the inspiration for an intermedia performance art.
Kwiecień-Długosz selected for discussion is an artistic inphrasis showing an artistic representation of the content and emotions previously existing in the philosophy and photography of Georg Shiras, and later in the painting of Aneta Kublik. The resulting artistic artefact is an emotional reference to the work of art from which the painter, and then the composer, drew inspiration. The modification of one code to another
occurs in a s ymbolic space, which is related to the phenomenon of the mutual permeation of arts and the expression of a non-verbal work. The subject of Aneta Kublik's paintings is the feeling of anxiety and suffering caused by frightened roe deer. The original painting technique used, based on t he clash between light and black oil paint applied in a sculptural manner, caused the symbolic meaning to
cross its original boundaries: the calm of the deer in the forest. The aesthetic experience at hand i s about lyrical abstraction hidden in philosophy and inspiration drawn from another work of art. Inside the painter, at the moment of this experience, the vision develops of the artistic work.The emotions contained in these
paintings by Kublik were later reflected in the audio-visual composition by
Katarzyna Kwiecień-Długosz. During the playback of the music material, the paintings are displayed that complete the narrative, creating an i ntermedial composition. The musical work contains various intermedial references; it uses and is inspired by three sources: photographic, painterly and philosophical. Yet the symbolic structure of the composition refers to the painting, and the music material suggests to the audience a transition from darkness to lightness with changing moods and colours.
The paradigm of interdisciplinarity thus entails the performance of a multi-aspect analysis of the work, not only within the scope of building the form continuum and defining the musical style, but also within the scope of defining the relationship between the media which participate in the signifying process. The In eDanzig project is an example of the so-called choreographic inphrasis, an artistic (choreographic) representation of literary text and music, including synthetically generated occurrences, in the musical work by Kamil Cieślik. Hence, the article conveys the essence of the precomposition process of the piece In Danzig, including Cieślik’s idea for generating sounds by different media. For this purpose, the term intermediality, fundamental for this issue, has been carefully defined, as has been, as part of the terminological network, the phenomena of artistic ekphrasis and inphrasis.
Keywords: intermediality, Polish contemporary art and music, virtual reality, generative music, electro-acoustic music, ekphrasis, inphrasis
The object of study is the selection of works making up a specific type of intermedial score, which is created as a result of structural filiations in the context of music-literature relations as well as musical and visual relations. Contemporary literary works may contain elements of notation or music- related technology and their structure may resemble that of a musical piece. Musical composition may be based on literary text or created in connection with visual arts.
Such works manifest signs of the existence of musical composition in literary text or the visual elements in musical pieces. This gives birth to an artefact generated live in the shape of "poem-score", "verbal score", "visual poetry", "musical graphic work", "animated score" or "musical installation art". Such cross-references in works using different media go beyond the traditional scope of study, therefore the analysis and interpretation of selected works will be presented in the context of Werner Wolf's theoretical reflection.
The works selected for analysis were fugues, whose baroque genre, indicated in the title, serves as an intermedial substitute. Preludio e Fughe by Umberto Saba, a literary work, is an example of artistic interpretation of the fugue musical form, where literary text may function autonomously without encompassing the musical intertext. The method of text inscription, referring to baroque music genre, determines its intermedial nature.
Another work, Fuge in The HeartPiece – Double Opera, a composition by Krzysztof Knittel is an example of intermedial
optophonetic poem, written in the form of
graphic score, where the text by H. Müller is recited according to the principles reflecting the structure of a polyphonic form.
Additional aspect discussed in the presentation will be the sphere of vision and sound in the poem entitled Is that wool hat my hat? by Jackson Mac Low, which represents the kind of score to be performed for two, three or four voices without the use of metronome.
The composition by Katarzyna Kwiecień-
Długosz entitled Paplanina. Four serigraphies for tape is an example of musical installation art, in which sound layer was combined with visual layer, making up a kind of animated score. One of its parts (Runy rearranged as Soliloquium) became an inspiration for Beata Oryl to create live performance (movement interpretation – parallel co-existence of physical body and interactive visualisation, related to the body in a specific manner within the frame of the sounds of music).
The aim of the presentation will be the analysis of selected literary and musical works, whose transcript is not conventional and whose intersemiotic features are manifested in the act of perception.
The article presents an intermedia project based on distributed authorship, resulting from the collaboration of a music choreographer, a visual artist and a music theorist. Each of these people brings a different perspective and creation to the project, which integrates the guiding idea of "hearing and seeing" music, and even experiencing it multisensorially.
Syncretic activities on the borderline of composition, improvisation and interpretation of music and its choreography, as well as the conscious use of audiovisual objects, expand the fields of artistic activity to reach the audience through multiple channels of sensory perception. The spectator does not perceive isolated fields, because the sensory world is a synthesis of different fields of perception. The same object that we see, we can touch, can be a source of sound and smell. In this constellation, the intermedia narration of the work is not only an experiment that influences the attractiveness of the musical choreography presented, but also an object of research into a new language, the use of which expands the concept of thinking about the form of the composition presented. The
amplified dimensions of the work's reception make it an attractive form of expression, which at the same time becomes an artistic-cognitive hybrid.
transawangardy , który stawia sobie za cel syntezę kodów nowoczesności i tradycji. Jednym z tego przejawów jest fenomen intermedialności, obrazujący relacje, w jakie dany obiekt (działanie) wchodzi z mediami. Nowatorstwo w twórczości Knittla polega na komponowaniu muzyki intuicyjnej, określanej jako free improvised music, oraz
muzyki recyklingowej czy ekologicznej. Lata 70. ubiegłego wieku przyniosły wzmożone zainteresowanie sferami sacrum i duchowości w muzyce polskiej. Cykl pieśni Z głębokości wołam do Ciebie, Panie…, napisany w 2000 roku na chór i media elektroniczne, będąc pierwszą religijną kompozycją Knittla, miał, jak twierdzi kompozytor, „wyrazić prawdę i siłę wiary”. Pieśni napisane zostały do tekstów Psałterza Dawidowego
z Biblii Tysiąclecia. Celem artykułu jest próba oceny, w jaki sposób źródło inspiracji wpłynęło na konstrukcję i estetykę omawianego dzieła intermedialnego.