Musical Analysis. Historia – Theoria – Praxis (tom 6)
red. Anna Granat-Janki i inni, Wrocław 2021

ISBN: 978-83-65473-31-8

Cena: 50 zł

This publication belongs to the series entitled Musical Analysis. Historia – Theoria – Praxis devoted to the analysis of a musical work, encompassing both the description of the structure and form of a composition, and the interpretation of music, which enables its understanding. Discovering meanings in music is an ever-present subject of interest for scholars all over the world. It is also part of a long-standing research tradition at the Chair of Music Theory and History of Silesian Musical Culture of the Karol Lipiński Academy of Music in Wrocław, where the series has been originated. The book contains texts by musicologists, music theoreticians, composers, conductors and music therapists from Poland and abroad. The research problems they examine include meaning and significance in music, narratology and music rhetoric, intertextuality and wordmusic relations, representation in music, genre-related issues, the style of musical works, the usefulness of analysis in studying musical sources, and the concepts and methods of analysis. It is our belief that the book will arouse interest of a wide range of readers and enrich the knowledge of musical analysis and interpretation.



Sense and Signification in Music

Nicolas Meeùs
Intrinsic and Extrinsic Meaning in Verbal Language and in Music

Clive McClelland
Terrifying Trees and Frightening Forests: Signifying the Supernatural in Nature in German Romantic Music

Siglind Bruhn
The Dies irae of Respectful Remembrance and the Twelve-Tone Rows of Death in Shostakovich’s Symphony No. 14

Narratology, Rhetoric

Joan Grimalt
Mozart’s String Quartet K. 421: A Topical-Rhetorical Narrative Analysis

Andrzej Tuchowski
Tonality and Shaping of the Thematic Material: Beethoven’s Piano Sonatas in C Minor as a Potential Source of Inspiration for ‘Futuristic’ Integrative Techniques in Sonata in B-flat Minor, Op. 35 by Chopin

Intertextuality, Word–Music Relations

Anna Nowak
Inter-Compositional Relationships as a Research Problem in the Works of Contemporary Composers

Aleksandra Ferenc
Intertextual and Intersemiotic Relations in Rafał Augustyn’s Miroirs

Beata Bolesławska-Lewandowska
Between the Poet and the Composer: On Nowy lirnik mazowiecki [New Mazovian lyrist] by Paweł Hertz and Zygmunt Mycielski

Agnieszka Zwierzycka
Pieśni Gabryelli [The Songs of Gabryella], Op. 25 by Władysław Żeleński – From Genesis to Resonance

Representation in Music

Katarzyna Szymańska-Stułka
Nebular Structures in Lithaniae by Aleksander Kościów

Katarzyna Bartos
On a Sacred Scarab’s Trail – Reportage II ‘Figures on the Sand’ by Grażyna Pstrokońska-Nawratil


Anna Granat-Janki
Agata Zubel’s Experiments with the Opera – Towards Genre Variety

Tomasz Kienik
The Magnificat – Instrumental Compositions. Exploration: Arrangements – Quotes – Inspirations


Julie Walker
Chopin’s Last Style: Toward a Definition

Wojciech Stępień
Modernist Approach to Musical Form in Edvard Grieg’s Op. 54

Aleksandra Pijarowska
The Stylistic Idiom of Ahmed Adnan Saygun’s Music as Exemplified by His String Quartets

Analysis and Interpretation of Sources 

Stephan Lewandowski
Friedrich Kalkbrenner’s Traité d’harmonie du pianiste as a Source for Musical Analysis. Theoretical Reflections on the Art of Preluding in the Mid-19th Century

Clara Maria Bauer
Louise Farrenc’s Symphonies Between Beethoven Reception, Reicha’s Traité de haute composition musicale and Genre References. A Study on the Adhesion of Musical Analysis and Historical Contextualisation

Concepts and Methods of Musical Analysis

Małgorzata Grajter
The Concept of Intersemiotic Translation and Its Application to the Analysis of a Musical Work. ‘Translating’ Fryderyk Chopin’s Preludes

Gesine Schröder
When Igor Went West. An Outline of Music-Theoretical Approaches to Orchestral Performances

Agnieszka Draus
Performance Studies – Possibilities of Interpretation of Contemporary Music

Klaudia Kukiełczyńska-Krawczyk
The Perception of Film Music – Discussed on the Example of the Piece My Name Is Nobody by Ennio Morricone

Certyfikat MusiQuE