Hypothetico-Deductive Method

2017

Performance Practice Review, 2012

2019

Saryn, 2024

The article presents a new look at music history from the versatility of the musician’s creative activity point of view, which manifests itself in the diversity of his talent, the multiplicity and cultural breadth of his creative interests. In the field of creative activity, versatility was an integral property of professional musicians both in various cultural traditions and in Western European music until the 18th century. The research methodology is based on a combination of a comprehensive value method and comparative analysis, which helps to form a holistic idea of the creative versatility in a broad aesthetic, cultural, social, historical and scientific context. The phenomenon of combining the activities of a composer and a pianist in a modern context encourages the study from the standpoint of musical sociology. The exploration of piano style justifies the use of the provisions and approaches of the performance interpretation theory. In modern conditions, the musician’s self-realization in various traits is once again becoming relevant, which allows for the expansion of the field of creative self-expression and stimulates innovative thinking. Versatility of a creative person is influenced by the aspects of the ethnic worldview and is closely connected with oral proficiency, in which the original syncretism of creativity serves as the foundation for combining functions and expressing diversity. A long process of separating different musical types of activity was influenced by various historical, sociocultural and aesthetic factors. It is associated with two specialization sources – the authorship personification of the oral tradition bearer and the standardization of the sacred music performance, which subsequently led to the emergence of notation. The article also proposes a typology of the versatility of creative activity, due to the differences in psychological and cognitive-behavioral aspects: the syncretic type (oral tradition bearer), in which the roles of the composer and performer closely bound and can’t be separated, and the synthetic type associated with personal desires and motives (musicians of the written traditions). The results of the conducted study have shown that the final separation of the musical activity functions has not been fully achieved, and probably will not happen in the future due to the psychological nature of the musical process and creativity.

Music and Knowledge: A Performer's Perspective, 2017

Invenzione musicale (Musical invention) is a book by Renata Zatti (1932-2003) that will be published posthumous [1]. Invenzione musicale is an unusual manuscript that may be read as an unconventional handbook for young composers and a novel as well. The contents of this article establish the type of musical education that should be used in a teacher-pupil relationship, as outlined by Renata Zatti. Musical creativity should be an interplay between the two poles of the complete liberty based on inner competences and a guided technical learning. It has been said that composition cannot be taught and the most the teacher can do is to guide the student in his/her work [2]. Musician and self-taught composer Renata Zatti [3] wrote a book in the ‘80s trying to show this vision. The book is staged as a Plato’s dialogue, and it is based on two characters: the teacher (R. Zatti) and the pupil (Carlo). This character really existed: Carlo was born in 1970 and took very pleasant musical lessons, as he recalls, with his aunt during the first half of the ‘80s. The materials they produced became materials for the book. The narration follows the progression of creative exercises in musical simple compositions, in terms of musical theory, forms, traditional and modern harmony (examples are taken from XVII to XX Century). The dialogue follows the interwoven and dynamic act of creating, planning, doing, and readjusting. The research I am presenting can be located in the framework of musicological research, philological research (all known sources pertaining the generative process of this book were gathered: working documents, letters, memos, and sketches) and, more specifically, in the teaching of music to young students. This paper presents the main findings of the study of this book and its writing, with competences and issues from which music teachers could benefit.

Artistic Research in Music: Discipline and Resistance

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Philosophy in Review, 2013

The handbook/companion genre has become a fixture of academic libraries. In the pursuit of marketing niches, enterprising acquisitions editors have commissioned anthologies devoted to an extraordinarily rich diversity of philosophical topics, historical eras, and key thinkers. Perhaps surprisingly, The Routledge Companion to Philosophy and Music is unique in its attempt to cover the entire expanse of how philosophers think about music. While the Oxford Handbook of Philosophy in Music Education offers an oblique account somewhat related to the book reviewed here, and Cambridge has specialized collections devoted to topics such as music theory and analysis and has assembled over 200 Companion volumes devoted to more specialized music subjects (e.g., conducting, musical instruments, all the Western musical categories, and major composers ranging from Bach to the Beatles and Monteverdi to Cage), no other edited text attempts the overview presented by Gracyk and Kania.