Papers by Małgorzata Rusak-Mietlińska
Pomajda Paulina, Mołdoch-Mendoń Izabela (red.): Interdyscyplinarne spojrzenie na sztukę i kulturę – inspiracje i badania, 2023
The article presents the main research trends in the process of effective comparative analysis of... more The article presents the main research trends in the process of effective comparative analysis of the verbalization of sound, discovering the relationship between language and (musical) culture. In correspondence to the "linguistic image of the world", in the text the term “linguistic image of music” have been used. It isunderstood as a verbalized interpretation of music, contained in the language as a set of grammatical and lexicalregularities, showing various ways of reading music. The text points to the need for an interdisciplinary approach to research on the scientific discourse of musicology. The article includes proposal of classification framework for the analysis of empirical material. The second part of this article is to present the results of a comparative analysis of the verbalization of piano music in the Polish and Russian discourses based on "Fryderyk Chopin. Wskazówki interpretacyjne" by Raul Koczalski and "Об искусстве фортепианной игры. Записки педагога" (pol. "Sztuka pianistyczna. Notatki pedagoga") by Henryk Neuhaus. The analysis shows that discourse of the Polish and Russian pianist was obtained as a result of specific cultural elements of the nation. Each of the pianists interprets the piece, referring to the extra-musical reality, culturally attached to the reader from the area of a given piano school. The organization of the linguistic musical material assumes the use of emoticons and epithets in each of the analyzed languages
Aksiologičeskaâ paradigma muzykalʹnogo proizvedeniâ
HETEROGLOSSIA - STUDIA KULTUROZNAWCZO-FILOLOGICZNE, 2021
The main purpose of the article is to analyse the phenomenon of axiologization of a musical work ... more The main purpose of the article is to analyse the phenomenon of axiologization of a musical work and the process of creation and perception of music. The aim of the study is to identify the correlation between the cognitive functions of music and the way in which its values are conveyed by the composer, the work itself, the performer/musicologist and the listener. The object of the research was the evaluative components of the interaction between participants in the scheme given above and responses to the theme of music, contained in the scientific monograph of the musicologist Heinrich Neuhaus Тhe Art of Piano Playing. The relevance of the study manifested the need for expand the knowledge base about the cognitive processes of music perception. The analysis revealed that the axiological component is present at every stage of the perception of a musical work and is associated with the cognitive sphere of human activity. The concept of performing a musical work requires the use of special means of expression, including metaphors, comparisons and associations. Moreover, social and philosophical functions of axiologization of music have been revealed in the article. They were investigated from an anthropocentric perspective in the terms of value interaction between musical art and human world and vice versa.
Kultury Wschodniosłowiańskie - Oblicza i Dialog, 2020
The primary purpose of this article is to analyze the short story The Queen of Spades by Alexande... more The primary purpose of this article is to analyze the short story The Queen of Spades by Alexander Pushkin and the same titled opera by Pyotr Tchaikovsky in the context of the musical transformation of the original text. The main goal is to answer the question whether the composer managed to creatively deepen the psychological overtones of the short story, or, on the contrary, he made the characters more schematic while putting a stronger focus on the compositional tasks. For both Pushkin and Tchaikovsky, the main criterion for choosing the story was the richness of inner life of the character. The individual style and musical expression used by Tchaikovsky had a significant impact on the final version of the opera. The libretto and the specificity of this genre were emphasized, allowing for changes in the story. Tchaikovsky managed to create an “open” work and gave the possibility of multiple interpretations. The composer furthermore achieved the same degree of story dynamics and accumulation of actions as in the work of Pushkin. At the same time, Tchaikovsky significantly changed Hermann’s characteristics and intensified his tragedy. Moreover, dramatic plot twists and the psychological development of characters are expressed and emphasized by the music itself.
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Papers by Małgorzata Rusak-Mietlińska