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To, czym jest fenomenologia muzyki oraz w jaki sposób rozpoznajemy fenomenologiczną dziedzinę studiów nad muzyką, stanowi pytanie leżące u podstaw prezentowanego tekstu. Odpowiedź na nie, zakłada autor, leży w eksplorowaniu różnych sposobów opisu, analizy oraz rozważania muzyki, charakteryzujących się ciągłością, oparte na doświadczaniu oraz osobistym oglądzie. Elementy te, jak sugeruje autor, mówią nam najwięcej na temat fenomenologicznych sposobów badania muzyki. Autor podąża badawczymi ścieżkami wyznaczonymi w pismach przez autorów takich jak Roman Ingarden, Maurice Merleau-Ponty, Jean-François Lyotard, Arnold Berleant, rozważając te różne, ale równie inspirujące sposoby rozumienia muzyki. What is the phenomenology of music and how one distinguishes it from all other domains of studying music is the silent question that drives this text. The author assumes that the answer lies in pondering different ways of describing and analyzing music that is circular and continuous, based on experience and close, personal examination. Those elements, as the author suggests, are the most telling for recognizing the phenomenological studies on music. The author explores pathways to the experience of music as well as pathways into an understanding of music, presenting certain examples of meandering ways of philosophying on music. Roman Ingarden, Maurice Merleau-Ponty, Jean-Francois, Arnold Berleant’s writings on music are mentioned to provide examples of very different and yet quite possibly deeply experiential ways of providing an understanding of music. Praca powstała w wyniku realizacji projektu badawczego zatytułowanego Filozofia muzyki. Metafizyczne, fenomenologiczne i dekonstruktywistyczne ścieżki badań nad muzyką, jej praktyką i teorią o nr 2016/23/B/HS1/02325 finansowanego ze środków Narodowego Centrum Nauki.

Tekst dotyczy dwóch utworów Hektora Berlioza składających się na opus 14: op. 14a – Symphonie fantastique. Épisode de la vie d’un artiste oraz op. 14b – monodram liryczny na głos recytujący, tenor, baryton, chór, fortepian i orkiestrę zatytułowany Lélio, ou le retour à la vie. Szczególny nacisk został położony na elementy dotyczące życia artysty i sztuki widoczne na poziomie literackiej treści i rozwiązań kompozytorskich. Aby dokładniej zrozumieć to złożone dzieło, do jego analizy włączono teorię semiotyki egzystencjalnej Eero Tarastiego, której wybrane aspekty zostały szerzej omówione i zastosowane w badaniu dzieła Berlioza (m.in. model zemiczny, relacje moi i soi, wybrane typy znaków: przed-, post-, endo-, egzo-znaki). The article refers to two pieces by Hector Berlioz, which make up the opus 14: Symphonie fantastique. Épisode de la vie d’un artiste and opus 14b – the lyric monodrama for a voice recitante, tenor, baryton, choir, grand piano and orchestra entitled Lélio, ou le retour à la vie. The main stress was placed on the aspects of the life of the artist and art. visible on the level of literary content and compositional solutions. To better understand this opus the theory of existential semiotics by Eero Tarasti was incorporated into analytical work, and its chosen aspects used, were more fully presented (e.g., zemic model, relations of moi and soi, selected sign types: before-, post-, endo-, egzo-signs). Praca powstała w wyniku realizacji projektu badawczego zatytułowanego Filozofia muzyki. Metafizyczne, fenomenologiczne i dekonstruktywistyczne ścieżki badań nad muzyką, jej praktyką i teorią o nr 2016/23/B/HS1/02325 finansowanego ze środków Narodowego Centrum Nauki.

Recenzja książki: Lutosławski’s Worlds, red. Lisa Jakelski, Nicholas Reyland. Woodbridge 2018

Tekst został poświęcony muzyce i osobie Karola Szymanowskiego obecnej w refleksji Aleksandra Tansmana. Podstawę rozważań stanowi obszerny tekst Tansmana, opublikowany w „La Revue musicale” w 1922 roku. Ponadto ukazane zostały inne teksty publicystyczne tego twórcy, w których pojawia się Karol Szymanowski. Dodatkowe źródło informacji stanowią wspomnienia i dzienniki Aleksandra Tansmana oraz korespondencja i pisma Karola Szymanowskiego, które rzucają światło na relacje między tymi artystami. The article is devoted to the music and figure of Karol Szymanowski in Alexandre Tansman’s writings. It is based on Tansman’s extensive article published in La Revue musicale in 1922. In addition, the author refers to other publications by Tansman concerning Karol Szymanowski. Another source of information is Alexandre Tansman’s memoirs and diaries as well as Karol Szymanowski’s correspondence and writings, which shed light on the relations between the two artists.

The notions of solitude and a bandit were very popular as a literary theme during Romanticism. Those two literary topoi were connected with the image of a romantic hero, and successively a romantic artist. This paper analyzes two very different works: a monodrama Lélio by Hector Berlioz and the short story Le contrebandier by George Sand, where a bandit is presented as a representation of a romantic artist.

Rozdział poświęcony został twórczości zaolziańskiego poety, Pawła Kubisza, która przeanalizowana została z perspektywy zastosowanych przez artystę strategii kształtowania tożsamości regionalnej. Podstawę rozważań stanowią jego utwory zebrane w następujących zbiorkach: Kajdany i róże (1927), Przednówek (1937), Opowieści wydziedziczonych (1949), Rapsod o Oszeldzie (1953), Zaszuwierzóny świat (1972) oraz wydany pośmiertnie zbiorek Dukaty z rulonu cierpkich lat (2004). In the following chapter, author presents Zaolzian poet Paweł Kubisz’s literary work at the specific point of view – his oeuvre is analysed from the perspective of his strategy for constructing regional identity of Cieszyn people. The author examins followed Kubisz’s works: Kajdany i róże (1927), Przednówek (1937), Opowieści wydziedziczonych (1949), Rapsod o Oszeldzie (1953), Zaszuwierzóny świat (1972) and published posthumously Dukaty z rulonu cierpkich lat (2004). Publikace vznikla v rámci grantového projektu: Česko-polské fórum – Forum Polsko-Czeskie při Ministerstvu zahraničních věcí ČR (registrační číslo projektu: 92783/2018-OVD). Řešitel: Libor Martinek, ÚBK FPF SU v Opavě (ČR). Spoluřešitel z partnerské instituce: Małgorzata Gamrat, IM UW w Warszawie (Polska).

Powojenny strukturalizm silnie oddziałał nie tylko na literaturoznawstwo czy antropologię, ale także na muzykologię, w której swój oddźwięk znalazła wywodząca się z francuskiego strukturalizmu narratologia. W latach 80. XX wieku dwóch znakomitych muzykologów – Eero Tarasti i Daniel Charles – zafascynowanych ideami metodologicznymi Greimasa zainicjowało w Paryżu pierwsze międzynarodowe sympozjum poświęcone znaczeniu strukturalizmu w muzyce. Idee znalezienia uniwersalnych praw rządzących dyskursem muzycznym (gramatyki muzycznej na wzór gramatyki narracji) zakorzenione w strukturalizmie i jego założeniach metodologicznych inspirują muzykologów na całym świecie. Spotykają się oni co dwa lata w różnych miejscach globu, prezentując wyniki swoich badań w trakcie kolejnych International Congress on Musical Signification. W poniższej krótkiej historii strukturalizmu w muzyce, jako przykład analizy muzycznej zainspirowanej założeniami narratologicznymi przedstawiam Die Lorelei II Franza Liszta. The post-war structuralism strongly influenced not only literature and anthropology, but also musicology, which drew some of its inspirations from narratology, derived from French structuralism. In the 1980s, two prominent musicologists – Eero Tarasti and Daniel Charles – inspired by Greimas’ methodological ideas, initiated in Paris the first international symposium on musical meaning. The idea of finding universal laws of musical discourse (a musical grammar resembling a narration gram mar) was rooted in structuralism, and its methodological assumptions still inspire musicologists around the world. They meet every two years in different parts of the globe, presenting the results of their research during the International Congress on Musical Signification. This chapter presents Franz Liszt’s Die Lorelei II as an example of analysis inspired by narratological assumptions. Publikace vznikla v rámci Interního grantového projektu Slezské univerzity v Opavě (IGS/15/2015)

In the following paper I present certain aesthetic ideas from one of the best-known Senancour’s novel – Obermann (1804) which was one of the most important lectures of Franz Liszt during his formative years. Senancour appears in Liszt’s correspondence both as an admired person and as a writer. Liszt often quoted and commented on fragments of Obermann in his letters and writings, and in his musical works. The latter one is most interesting because Liszt created a new genre of music – “a poetic music” which is inspired by poetry and preceded by a literary quotation. I show Senancour’s influence on Liszt’s writings, and particularly on his music on the example of Vallée d’Obermann and Le mal du pays.

Liszt’s aspiration to create his own musical language and to fi nd new tools of musical expression was unusually strong almost from the very beginning of his artistic career. Not only did the artist gladly spend his time among writers and read numerous texts, but he also turned to the technical and expressive means originating in literature. Among the most important attempts to work out new musical means on the basis of literary devices we may list: a strong emphasis on the sound factor, formal freedom and mixing of genres, composing a musical cycle on the basis of a poetic one (a narrative whole, leitmotifs), appealing to emotions by means of the appropriate selection of an oeuvre’s parameters, in particular articulation and dynamics, poetic quotations preceding the score, transposition of literary genres into the fi eld of music, or synthesis of poetry and music in songs, symphony choruses, and piano transcriptions of songs. Album d’un voyageur is an excellent example of Liszt’s borrowings from literature and a very individual cycle with literary value. It is a story of a voyage across a small part of Europe in search of self-understanding; it is also a history of rebellion and the doubts which come as its consequence, as well as fi nding peace through contact with nature and through searching for God. Liszt created here an unusual oeuvre that combines poetic images and sounds. In 1884 Liszt declared that the most perfect form of synthesis of poetry and music is transcription of songs. It is here that music interprets poetry with its own means, which are often invented for the purposes of this synthesis. On the basis of the transcription of the song Ich liebe dich from 1860 we may observe how music becomes a language capable of imitating the intonation of the human voice, expressing emotions and, symbolically, relying on a programme, also expressing ideas.

In France the 1820s and 1830s brought about enormous changes in the perception of literature and art as a whole. Young poets, encouraged by the success and novelty of Méditations poétiques by Alphonse de Lamartine, started seeking new possibilities of expression and ways of breaking with the several-centuries-old tradition. They met with a strong protest from conservative milieu, especially those linked to Académie française, and this made them fi ght for a new paradigm in literature. They eagerly experimented with language as sound (Lamartine, Sainte-Beuve) and graphic (Nodier) matter. They published their texts in the press (Le Globe) and presented them during meetings in artistic salons, which functioned as a kind of laboratory. Thanks to the support of Charles Nodier they could publish their poems in the best publishing houses, which largely contributed to their success. The fi nal victory of the romantics was the premiere of Hernani by Victor Hugo in February 1830. Franz Liszt, who came to Paris in 1823, was an active participant in the artistic and intellectual life there. Moreover, he was also a friend of many prominent artists of the epoch, which can be seen in his letters, writings, and piano music from the early 1830s. A particular example of the relationship between the composer’s music and literary avant-garde is the piece Harmonies poétiques et religieuses of 1835. We fi nd there the domination of the sound element, formal freedom, the intertwining of poetical techniques, experiments with structure, and a strong stress on the word aspect of the oeuvre, for example through very precise notation of tempo markings.

Franz Liszt is one of the greatest artists of the 19th century. He has attended the most important artistic and social events, providing comments on their literature and musical aspects. In his articles published in ‘Gazette Musicale’ (1835—1841) he treats the artist, their place in the society till in his correspondence he reflects the life condition of the workers. This social sensibility can be observed in Lyon (1837) in the cycle Impressions et poesies. The literature was one of his main interests. All his life he kept reading and commenting in his correspondence the works he had read and most importantly he tried to implement it in his musical works. The result of these attempts was the creation of the program music, a music inspired very often by the literature or preceded by a literature piece. In my article, I am presenting the music of Liszt that has inspired literature deeds. My research is directed towards two works — the novel entitled Mefisto-Walc by Jarosław Iwaszkiewicz and the poem by Paweł Kubisz entitled Rapsod o Oszeldzie. Both are very different. In the first work it is the music (Erster Mephisto-Walzer) one of the main actors, equal to the others, the composer is just mentioned. In the work of Kubisz, Liszt is a principle actor who inspires the struggle of the workers and leads towards liberty and his music occupies secondary place (Lyon, Mazeppa, Mephisto-Walz). Both the works have one common point — Franz Liszt and his music. They both also refer to Faust. Ein Gedicht of Nikolas Lenau that has preceded Erster Mephisto-Walzer. They both have not only a common musical intertext but also a literature intertext though the musical work, what I have called intertext of second degree. This is proof that Liszt was right that it is possible to implement the ideas in the music. Publikacja dofinansowana przez Wydział Filologiczny UŁ

Franz Liszt was a Romantic musician: a virtuoso pianist, music critic, an admirer of literature and philosophy, and a rebel, who could not accept the ways of the world. As a composer he took a lot from the richness of the music, the literature, the fine arts, and the philosophy of the 19th century. In his compositions he transformed his ideas into a new musical language (using all compositional means, such as the construction of a musical motive, tonality, instrumentation, articulation, volume or musical form) and opened new ways for the development of music. Literature was very important in Liszt’s life, as evidenced by his collections of books in Weimar and Budapest and by his letters, in which he commented on the works he had read. Throughout his life, Liszt read a lot, but some of the great number (more than 240 titles) of the works he was familiar with were more important than the other. The books which had the greatest influence on his work include The Divine Comedy by Dante and Faust by J.W. Goethe. Two of Liszt’s works (Après une lecture de Dante, fantasia quasi sonata and Eine Faust-Symphonie) show two aspects of the influence literature can have on music: “narration” and “psychology”. Both works show how dominant literary themes may become in music, especially by a composer who saw literature as a source of a revival of music. An analysis of these works may help us see how Liszt changed the contemporary language of music, introducing such phenomena as atonality, impressionism or hybrid forms. It should be emphasized that Liszt understood a programme as an inspiration influencing the entire work, rather than a literary pretext for music – an accusation often made against works representing the idea of programme music, such as those by Hanslick or Brahms. The programme is considered another dimension of a musical work, which can be analysed in terms of absolute music. The changes in Liszt’s musical language are rooted in literature and agree with the Romantic idea of the correspondence of arts, understood as intertwining and mutual inspiration of the arts.