Music and poetry: a call for interpretation

AD ALTA: 13/01-XXXII.

The article shows that poetics as a musicological category, poetics of a composer, largely by analogy with the poetics of a writer, poet, covers the whole complex of individual philosophical attitudes and artistic techniques demanded by the creator to embody the idea and create a work of art. Understood as a set of specific methods and substantive principles, priorities and grounds, according to which the text is organized and shaped, poetics appears in the unity of the semantic and stylistic aspects of creativity. Different traditions are analyzed concerning consideration of the category of poetics and its interpretation in many literary studies, which created a solid basis for the application of this concept in musicology, that in many respects follows literature. At the same time, in comparison with other scientific branches of art studies, precisely in musicology a wide range of its application and more in-depth development is presented.

Revue de philosophie Ancienne, 2016

The origins of the reflection on music in ancient Greece lie not in philosophy but in the poetic tradition. Starting from the reconstruction of the fundamental functions of music and the different aesthetic values assigned to singing in Homer's poems, this article reconstructs the development of aesthetic ideas, themes and concepts in the poets' reflection on their own art and composing method and style, in a philosophical journey that goes from Hesiod to Lasus of Hermione and Pratinas. The subsequent reflection on music by philosophers does not come out of the blue, but, as several specific examples show, factually presupposes these complex, rich, and, so to speak, preliminary stages. RÉSUMÉ Les origines de la réflexion sur la musique dans la Grèce ancienne sont à chercher non dans la philosophie, mais dans la tradition poétique. Partant de la reconstruction des fonctions fondamentales de la musique et des différentes valeurs esthétiques assignées au chant dans les poèmes homériques, cet article reconstruit le développement des idées, thèmes et concepts esthétiques dans la réflexion des poètes sur leur propre art, leur méthode et leur style de composition, au fil d'un itiné-raire philosophique qui va d'Hésiode à Lasos d'Hermione et à Prati-nas. La réflexion ultérieure des philosophes sur la musique ne naît pas de nulle part, mais, comme le montrent plusieurs exemples spéci-fiques, présuppose ces étapes complexes, riches et pour ainsi dire pré-liminaires.

Artes. Journal of Musicology, 2018

Musicology, viewed as a general science regarding all the defining elements of music, can approach compositions using hermeneutical methods, both through a critical view on the interpretation, the stage performance of the creative act, and through the subsequent musicological writings, becoming a “meta-interpretation” that requires a thorough exegesis. The couplet hermeneutics-interpretation together with that of compositional concept versus stage production are the ones underlying our research, while hermeneutics is the very art of performing that penetrates the most cryptic elements present in the musical act, viewed from the perspective of the triad creation-interpretation-reception. In an attempt to emphasize the ways in which the composer suggests to the performer certain indications for stage performance, through writing, agogics, dynamics and special sound effects, we intend to study, from the standpoint of the musicologist, the piece 5 tablouri cu umbre(le) 1 by Constantin R...

Rocznik Komparatystyczny, 2019

1 "Some people like poetry," wrote Wisława Szymborska (Szymborska: 325). The same can be said about music. But do these 'some people' who like music like poetry, too? And vice versa, do poetry lovers like music? As we know, the relationship between musicological discourse and literature-specialist discourse can be a complex, even contentious, one. Now and again, this dispute is eased due to various concepts corresponding to the spirit of the times and the specific qualities of the artistic material-the idea of the correspondence of the arts, intersemiotic, interdisciplinary or intermedia research, or performative, communicative, cognitivist or rhetoric approaches (to name but a few). However, there is no denying that this dispute is genetic and derives from the very essence of SPEAKING about music. The special place occupied by literature results from the fact that the reception and interpretation of most artistic activities is brought to its own territory-the territory of the word. Like the visual arts, music's non-verbal nature means that it is usually transcribed; this is clearly denoted by the fact that musicology as a science uses the written word rather than sound. Of course, it is possible to comment on music through music. This possibility was signalled, among others, by George Steiner, who added that such #0#

Artes. Journal of Musicology

We have been perceiving ever more acutely for the past two decades a major change in the vision and musicological style in the Romanian language: language analysis and historiographic research have slid onto a secondary plane, while the commentary of the work, of its interpretation and the characterisation of the style, determined by the social, political, biographical, artistic factors, by the means of expression of the time focus researchers’ interest increasingly. The history of contemporary musicology recognises the moment of change of the thinking paradigm in the 1980s writings belonging to Joseph Kerman: the article How we got into Analysis, and How to Get Out and the volume Contemplating Music. The author criticises the formalism and positivism which define musicology, identified with musical analysis, reveals its ideological nature, as the relation between analysis and organicity is the leading ideology. The American musicologist pleads for a more cultural form of musical cr...

2004

The article deals with the text-music relationship in the Italian Trecento focusing on the case of the madrigal 'Non al so amante'; set in music by Jacopo da Bologna on a text by Francesco Petrarca. Some passages about text and music in Dante Alighieri's De vulgari eloquentia are also discussed.

Studi di estetica, 2016

Programme and abstracts of the Conference Music and Space. My paper is about Mahler's "Klangraum"