Karol Szymanowski (1882-1937) Masques Op. 34: Une lecture des états expressifs à l’aune de la pratique de la danse et de l’héritage de la tragédie antique
Bibliographic record
Abstract
The purpose of this thesis is to examine the work Masques, Op. 34, in consideration of the influence of Hellenic culture on Karol Szymanowski’s creative imagination. Through a harmonic analysis, then through the interpretative description of representative musical moments, the aim is to highlight the similarities that are established between the antique theatre and the musical poetics of this pianistic work, interpreted through the relationship of the two universal archetypes forming the essence of Greek tragedy: Apollo and Dionysus. After a short biographical introduction describing the aesthetic universe that influenced Szymanowski's second period, I consider Greek theatre and its practice at the time of Aeschylus, as well as the complex symbolism of the mask on an expressive and spiritual level. This perspective on ancient drama is always linked to Nietzsche’s philosophical exegesis in "The Birth of Tragedy," which was particularly important to Szymanowski. Following a description of the principles governing the harmonic structure of Masques, the narrative aspect of the work is examined through the prism of a unifying element that resides at the very foundation of ancient theatre: dance. I refer to dance as a means of expressing the multiple emotional attitudes of the triptych, which are identified and categorized through a selection of characteristic moments within the work. More globally, this thesis refers to the specific expressive states of the ancient theatre in order to give a clearer topography to the musical continuum of Masques. This is a personal proposal based on both my pianistic experience and on the research carried out during my studies which, through concrete examples consisting of a constant back and forth between analytical evidence and musical expressivity, between the achievements of ancient tragedy and the reality of discourse, aims to show how Szymanowski’s piano writing relates to an ancient Greek dramaturgy and how an exploration of its theatrical elements can inform an interpretation of the work and, at a broader level, give it a narrative meaning.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.001 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.002 | 0.001 |
| Science and technology studies | 0.002 | 0.003 |
| Scholarly communication | 0.002 | 0.003 |
| Open science | 0.000 | 0.001 |
| Research integrity | 0.001 | 0.003 |
| Insufficient payload (model declined to judge) | 0.014 | 0.008 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".