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2 Chęćka-Gotkowicz A.

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Muzyka jako utopia języka idealnego. Kilka spojrzeń na twórczość Pascala Quignarda

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Chęćka-Gotkowicz A.

nr 9(16)

222-232

The works of Pascal Quignard include numerous references to visual arts and music. His stories often originate in images which constitute a source of writer’s inspiration. One of the author’s aims is based on paradox: he tries to reveal the invisible through the visible. It is music that shows him the way of touching the mystery of invisible. Its universal link with human origins can be understood as a place of memory for writings. Quignard follows up the secrets of music via its mythical origins. One of Quignard’s most significant and controversial attempts is his interpretation of the myth of Ulysses, presented in his book The Hatred of Music.

Czy rozumienie muzyki zależy od świadomego śledzenia struktur formalnych utworu? Jerrold Levinson i Peter Kivy wobec problemu doświadczenia muzycznego

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Chęćka-Gotkowicz A.

tom 2

11-23

Does musical understanding depend upon refl ective awareness of large-scale musical structure? Jerrold Levinson, in his brilliant book Music in the Moment, rejects this notion and defends the view that musical comprehension is fundamentally a matter of individual momentary impressions. In other words, understanding music is a matter of moment-by-moment absorption of individual bits of music. Levinson calls this perspective ‘concatenationism’. This perspective helps to defend music lovers who are passionate and attentive, yet structurally unconcerned. On the other hand, Peter Kivy, in his distinctively elegant style, defends the structuralist position, as it contributes a substantial part of the satisfaction derived from classical music. My aim in this article is to present the main strands of that passionate controversy between Kivy and Levinson.