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'THE OTHER' IN MUSIC. BASED ON THE EXAMPLE OF GYPSY MUSIC

100%

Piotrowska A. G.

2007

tom 51

nr 4

173-186

Since the publication of Franz Liszt's book 'Des Bohemiens et de leur musique en Hongrie' in 1859 Gypsy music has become the constant cause of academic disputes. In European culture Gypsy music was described as an emanation of the concept of 'Others'. In musicological literature two dominant codes of presenting Gypsy music can be distinguished: the racial discourse - drawing heavily on Darwinian theory practices and national perspective resulting from the 19th century tendencies. Consequently Gypsy music was proclaimed the only real source of Hungarian national music. The writings on Gypsy music are also characterized by the evident fascination with non-European cultures and the exotic features of Gypsy music. The aim of the article is to outline how European authors undertaking the problem of Gypsy music (Franz. Liszt and Bela Bartok) mitigated between the two approaches depending on the historical context within which they wrote their works.

LISZT’S INVOLVEMENT IN MANET’S GYPSY IMAGES

86%

Ewing C.

ARS

2012

tom 45

nr 2

108 – 125

Edouard Manet began his professional career with works reflecting bohemian street life in Paris and music. The most intriguing of these feature “Gypsy” subjects. The artist drew upon prevailing discourses about Gypsies and in particular he was responding to a book by Franz Liszt Des Bohemiens et de leur musique en Hongrie which was published in Paris in 1859. A number of Manet’s innovations take their cue from the Gypsy’s revolutionary approach to music-making described in that book. Through the evocation of sound, music and other non-visual experiences he was pointing the way to a redefinition of art’s referential function.