Eufonia i parafonia jako kategorie teoretyczno-muzyczne
Journal Title: Teoria Muzyki. Studia, Interpretacje, Dokumentacje - Year 2017, Vol 11, Issue 11
Abstract
Studying some stylistically heterogeneous phenomena of the music of recent past, the author has concluded that there are good reasons to include the notion of euphony and its antonym, here termed ‘paraphony’, in the contemporary music-theoretical lexicon. Both notions can be useful as categories, characterizing something essential for an important part of new music and defying adequate description by means of more traditional methodology and terminology.
Authors and Affiliations
Levon Akopian (Hakobian)
Keywords
Related Articles
- EP ID EP328605
- DOI 10.26377/22998454tm.17.11.016
- Views 148
- Downloads 1
The Work of Music as an Impression, Reflection, Relic and Echo of its External Reality. A Reconnaissance
The author considers the work of art in cotext of its external reality, distinguishing four kinds of works, based on the work's response to it: work as an impression, reflection, relic and echo.
Ślady i echa idiomu kresowego w muzyce polskiej „wieku uniesień”
The subject of this reconnaissance is a quite particular situation that took place in the territory which in the old Poland used to be called “K r e s y ”, that is the lands situated to the east of the Bug River in the t...
O komponowaniu percepcji. Casus Witolda Lutosławskiego
The paper is an attempt to grasp and to portray certain perceptive procedures from the perspective of composing techniques (mostly those of the 20th century) in the context of the ever-growing present insights into these...
Pokolenie ’33 wobec Karola Szymanowskiego
Szymanowski’s presence – three attitudes in the 33 Generation · Krzysztof Penderecki’s attitude was negative for long years, and it resulted from the composer’s reaction to the image of Szymanowski (fabricated during So...
Komponowanie ciszy. Funkcje pauzy w muzyce baroku i klasycyzmu
This article explores the matter of role and significance of pause, considered as a peculiar manifestation of silence, in the music of Baroque and Classical periods. The starting point is the musical thought of the18th-c...