<abstract xmlns="http://www.w3.org/1999/xhtml"><p> The problem associated with the musical “language” of a particular composer can be understood either literally, i.e. with some possible analogies to natural language, or metaphorically, as a substitute of style, technique, or manner. I try to combine both usages. In fact, my approach to composing music is not so much - to develop a consistent language ready for use in multiple instances and thus to attain a recognisable personal style, but rather - to try to build a tool for use in one particular composition on many levels of musical “grammar”. Another basic problem is the proportion between impulse and design as defined in a well-known book by Andrzej Panufnik.</p><p>The examples discussed illustrate some core problems of the music creation process, such as the deliberately incomplete ‘‘monadic’’ form (Gamma from String Quartet No. 3); the evolution of style in the process of composition and its dependence on the medium (Rondeau for wind quintet); and purely intuitive composition (Con tenerezza from Cinque pezzi diversi).</p></abstract>

The problem associated with the musical “language” of a particular composer can be understood either literally, i.e. with some possible analogies to natural language, or metaphorically, as a substitute of style, technique, or manner. I try to combine both usages. In fact, my approach to composing music is not so much - to develop a consistent language ready for use in multiple instances and thus to attain a recognisable personal style, but rather - to try to build a tool for use in one particular composition on many levels of musical “grammar”. Another basic problem is the proportion between impulse and design as defined in a well-known book by Andrzej Panufnik.The examples discussed illustrate some core problems of the music creation process, such as the deliberately incomplete ‘‘monadic’’ form (Gamma from String Quartet No. 3); the evolution of style in the process of composition and its dependence on the medium (Rondeau for wind quintet); and purely intuitive composition (Con tenerezza from Cinque pezzi diversi).

“My” “Musical” “Language” ?

Musicology Today

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License.

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The problem associated with the musical “language” of a particular composer can be understood either literally, i.e. with some possible analogies to natural...

“My” “Musical” “Language” ?

Publié en ligne: 31 déc. 2015

Pages: 3 - 17

DOI: https://doi.org/10.1515/muso-2015-0002

Mots clés
Polish contemporary music, composers‘ self-analysis, language of music, music analysis, Rafał Augustyn

© 2016

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License.

“My” “Musical” “Language” ?

Publié en ligne: 31 déc. 2015

Pages: 3 - 17

DOI: https://doi.org/10.1515/muso-2015-0002

Mots clésPolish contemporary music, composers‘ self-analysis, language of music, music analysis, Rafał Augustyn

© 2016

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License.

Mots clés
Polish contemporary music, composers‘ self-analysis, language of music, music analysis, Rafał Augustyn