Musicology Today 2012 100 Years of Polish Musicology

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146 Zbigniew Skowron the text ‘O komizmie muzycznym’ from 1938, quoted earlier, it was finally left without a response. Lissa’s mature output comprises studies devoted to such subjects as the temporal aspects of a musical composition, the character of being a process, and the perception and understanding of music. These works reflect the aesthetic views of this Polish scholar on key problems of music understood primarily as a social and historical phenomenon, in the perspective of its deep connections to culture in general. Alongside the main issues of modern music aesthetics, such as the essence of a work of music and value in music, Lissa also turned her attention to historical questions, with particularly close consideration of German musical thought from the romantic period — the views of A.W. Schlegel and J.G. Herder. A different area of interest from her mature period is represented by articles on film music. Also here Lissa conducted interdisciplinary research, as evidenced by the text on ‘Film a opera. Z zagadnień krzyżowania konwencji gatunkowych w sztuce’ [Film and Opera. On the Issues of Crossing Genre Conventions in Art] (Lissa 1963). The first of Lissa’s collections of writings on music and aesthetics bearing the title Szkice z estetyki muzycznej [Essays in Music Aesthetics] appeared in 1965 (Lissa 1965). It contained the following texts: ‘O komizmie muzycznym’ [On Comicality in Music] (1937); ‘Rola kojarzeń w percepcji dzieł muzycznych’ [The Role of Associations in the Perception of Musical Compositions] (1954); ‘O ewolucji percepcji muzycznej’ [On the Evolution of Music Perception] (1959); ‘O wielowarstwowości kultury muzycznej’ [On the Multilayered Nature of Musical Culture] (1959); ‘O stylu narodowym w muzyce’ [On National Style in Music] (1960); ‘Estetyczne funkcje ciszy i pauzy w muzyce’ [Aesthetic Functions of Silence and Rest in Music] (1961); ‘Teoriopoznawcza analiza struktury czasowej gatunków muzycznych’ [Epistemological Analysis of Temporal Structure in Musical Genres] (1964); ‘Romantyzm w muzyce: definicja, kryteria, periodyzacja’ [Romanticism in Music: Definition, Criteria, Periodisation] (1967); ‘O cytacie w muzyce”[On Quotations in Music] (1966); ‘O procesualnym charakterze dzieła muzycznego” [On the Character of the Musical Composition as a Process] (1965).
On Zofia Lissa’s Musical and Aesthetic Explorations 147 In 1975 Lissa published Nowe szkice z estetyki muzycznej [New Essays on Music Aesthetics] (Lissa 1975), which contained seven studies in two parts: I — ‘O istocie dzieła muzycznego’ [On the Essence of a Work of Music] (1968); ‘O tzw. rozumieniu muzyki’ [On the So-Called Understanding of Music] (1974); ‘O wartości w muzyce’ [On Value in Music] (1969); II — ‘Świadomość historyczna w muzyce i jej rola we współczesnej kulturze muzycznej’ [Historical Awareness in Music and its Role in Contemporary Musical Culture] (1972); ‘Recepcja muzyczna jako współczynnik historii muzyki’ [Reception of Music as a Factor in the History of Music] (1971); ‘Prolegomena do teorii tradycji w muzyce’ [Prolegomenon to the Theory of Tradition in Music] (1970); ‘Muzyka a rewolucja’ [Music and Revolution] (1974). The same year also saw the publication of a collection of Lissa’s writings in German, under the title Neue Aufsätze zur Musikästhetik (Lissa 1975a), which included: ‘Über das Wesen des Musikwerkes’ (1968); ‘Ebenen des musikalischen Verstehens’ (1974); ‘Zur Theorie der musikalischen Rezeption’ (1974), ‘Musikalisches Gechichtsbewusstsein — Segen oder Fluch’ (1973); ‘Einige kritische Bemerkungen zur Ingardenschen Theorie des musikalischen Werkes’ (1972); ‘Prolegomena zur Theorie der Tradition in der Musik’ (1970); ‘Musik und Revolution’ (1974). It is significant that none of the collections referred to above contained Lissa’s works adhering to the Marxist-Leninist and socialist realism doctrine. That decision clearly indicates that she did not regard them as part of the core of her achievement, in a sense bracketing them out, excluding this group of texts from her academic biography and, at the same time, bringing closer to the core the works written before the war and those written after 1956. The areas of research initiated by Zofia Lissa during the interwar period, and developed by her after the October “thaw” of 1956, in an atmosphere free of ideological pressures, allow us to recognise in her an outstanding representative of twentieth-century aesthetics of music, although by now her achievements in that field are acquiring more of a historical value. This results, on the one hand, from the methodological orientation she adopted, i.e. the links to gestalt psychology, historicism and structuralism and, on the other, references to manifestations of musical life which were current
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Musicology Today ⋄ 2012 Volume 9
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Contents 1 From the Editor page 5 2
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6 Sławomira Żerańska-Kominek Emp
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8 Małgorzata Woźna-Stankiewicz Th
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10 Małgorzata Woźna-Stankiewicz s
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12 Małgorzata Woźna-Stankiewicz T
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14 Małgorzata Woźna-Stankiewicz g
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16 Małgorzata Woźna-Stankiewicz e
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18 Małgorzata Woźna-Stankiewicz T
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20 Małgorzata Woźna-Stankiewicz d
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22 Małgorzata Woźna-Stankiewicz A
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24 Małgorzata Woźna-Stankiewicz t
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26 Małgorzata Woźna-Stankiewicz A
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28 Małgorzata Woźna-Stankiewicz f
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32 Małgorzata Woźna-Stankiewicz J
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34 Małgorzata Woźna-Stankiewicz I
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3 Prof. Adolf Chybiński (1880-1952
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40 Michał Piekarski and Grieg (Chy
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42 Michał Piekarski Lvov and Its U
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44 Michał Piekarski The Beginnings
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46 Michał Piekarski Figure 3.1 “
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48 Michał Piekarski Note that as a
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50 Michał Piekarski Musicology at
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52 Michał Piekarski Figure 3.2 Ann
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54 Michał Piekarski centuries). Al
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56 Michał Piekarski sicology. In 1
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58 Michał Piekarski Commander’s
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60 Michał Piekarski with a one-yea
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62 Michał Piekarski Chybiński Ado
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64 Michał Piekarski Winowicz Kryst
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66 Piotr Dahlig Julian Pulikowski (
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68 Piotr Dahlig Doctor Pulikowski r
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70 Piotr Dahlig tation (nearly 5.00
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72 Piotr Dahlig musicology. His res
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5 Bronisława Wójcik-Keuprulian (1
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76 Piotr Dahlig Doctor Wójcik-Keup
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78 Piotr Dahlig Mersmann. Being a p
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80 Piotr Dahlig Rhythms in Chopin
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82 Bożena Muszkalska Maria Klement
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84 Bożena Muszkalska Our priest ha
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86 Bożena Muszkalska and functions
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88 Bożena Muszkalska the Lvov peri
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90 Bożena Muszkalska very desirabl
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92 Bożena Muszkalska In March 1959
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7 Łucjan Kamieński (1885-1964) as
Page 96 and 97: 96 Bożena Muszkalska near”, “M
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Page 100 and 101: 100 Bożena Muszkalska many visits
Page 102 and 103: 102 Bożena Muszkalska Figure 7.3 T
Page 104 and 105: 104 Bożena Muszkalska was foreign,
Page 106 and 107: 106 Bożena Muszkalska As for the W
Page 108 and 109: 108 Bożena Muszkalska To begin wit
Page 110 and 111: 110 Bożena Muszkalska the house at
Page 112 and 113: 112 Bożena Muszkalska Your letter
Page 114 and 115: 114 Bożena Muszkalska Like his Ber
Page 116 and 117: 116 Bożena Muszkalska cal archives
Page 118 and 119: 118 Bożena Muszkalska the incipits
Page 120 and 121: 120 Bożena Muszkalska Both inventi
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Page 124 and 125: 124 Bożena Muszkalska It was for c
Page 126 and 127: 126 Bożena Muszkalska Figure 7.8 C
Page 128 and 129: 128 Bożena Muszkalska Poland, whic
Page 130 and 131: 130 Bożena Muszkalska Kamieński
Page 132 and 133: 8 On Zofia Lissa’s (1908-1980) Mu
Page 134 and 135: 134 Zbigniew Skowron Lissa became a
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Page 138 and 139: 138 Zbigniew Skowron nearly 30 year
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Page 142 and 143: 142 Zbigniew Skowron lation to them
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Page 148 and 149: 148 Zbigniew Skowron at the time an
Page 150 and 151: 150 Zbigniew Skowron Lissa Zofia (1
Page 152 and 153: 152 Zbigniew Skowron Lissa Zofia (1
Page 154 and 155: 9 The Double Centenary of Polish Mu
Page 156 and 157: 156 Irena Poniatowska At the Univer
Page 158 and 159: 158 Irena Poniatowska proach and to
Page 160 and 161: 160 Irena Poniatowska 1760, then cl
Page 162 and 163: 162 Irena Poniatowska logical order
Page 164 and 165: 164 Irena Poniatowska historical tr
Page 166 and 167: 166 Irena Poniatowska In Musical Fo
Page 168 and 169: 168 Irena Poniatowska qualities —
Page 170 and 171: 170 Irena Poniatowska preludes into
Page 172 and 173: 172 Irena Poniatowska chromaticism,
Page 174 and 175: 174 Irena Poniatowska to inconsiste
Page 176 and 177: 176 Irena Poniatowska exclusively o
Page 178 and 179: 178 Irena Poniatowska Chomiński J
Page 180 and 181: 10 The Rev. Prof. Hieronim Feicht,
Page 182 and 183: 182 Elżbieta Zwolińska 2008: 3-4)
Page 184 and 185: 184 Elżbieta Zwolińska request, I
Page 186 and 187: 186 Elżbieta Zwolińska work (Perz
Page 188 and 189: 188 Elżbieta Zwolińska Some music
Page 190 and 191: 190 Elżbieta Zwolińska Feicht Hie
Page 192 and 193: 192 Contributors Michał Piekarski
Page 194: 194 Contributors Elżbieta Zwolińs
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Musicology Today 2012 100 Years of Polish Musicology

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