W jaki sposób forma muzyczna staje się gatunkiem literackim
Streszczenie
The aim of the article is to look at the problem of complicated relationships between musical
forms and literary genres, as well as the process of transformation of one form into another.
The main thesis of the text is the observation that musical forms affect literary works in two
basic ways: they affect either the meaning (semantic integration) or the form (structural and
compositional integration) of works. These processes can be accompanied by various creative
motivations: transformational (intersemiotic translation, literary score) or metaformal
(formal mimicry, metaform). The result of these operations is either works that translate the
structure of a musical form into a poetic work, or works that merely imitate these forms,
using musical motifs more freely. Separately, it is also worth distinguishing such a thematization
of musical forms that leads to their use as a color metaphor or an object of description.
An important problem raised in the article is also the issue of including musical poetic genres
in the logic of the historical-literary process and considering them as forms undergoing development.
A scherzo, a prelude or a nocturne written by representatives of positivist, modernist
or interwar period literature should be considered in a completely different way. Musical
literary forms were brought to life in the mid-nineteenth century, and over the next decades
they were subject to historical, social, and cultural changes. Undoubtedly, cultural and ideological
factors, and not only formal and compositional factors, contributed to their creation.
Musical genres in poetry develop slightly differently for this reason, and their genesis allows
for broadening the context enabling their proper interpretation.
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