Paris IV: Sorbonne University
Superiority of the Thought upon the Matter: the Form of composing
The main problem of Music composing and analyzing is to find for its real place in middle of competitive and progressive disciplines, like architecture, neurosciences, natural sciences and even cosmology. In our epoch, the intellectual capacity of musician is considered as useless so that causes the isolation and poverty of some superior brains, considered as eccentric and even dangerous.
Problematic: In Analyze of musical masterpieces, it is absurd to separate the parts from the all. Like in painting or in sculpture, synthetic conception of the whole architecture decides for importance and resonance of the harmony, interval, melody, theme, and gives them its true signification.
Thematic: The new perspective for musical composing in our century requires complete freedom. The superiority of Thought upon musical Matter and Technique, like Wagner did for Tristan.. . Contrary contemporary scientific reason, musical composing gives priority to the pioneer Thought, without verification immediate or near. It is a jump towards complete Unknown .
Hypothesis and Application: First step is the Form, the second: Structure, the third: musical Matter.
Conclusion: The most important is the Form that gives to the Structure, Signification, and to the Musical Matter, Soul. Our Hypothesis supposes that Music must possess Soul, that is the First quality of Human being and that this Soul is the most intelligent instrument of Research in every scientific and artistic domain.
Consequences: Soul and Composition in our time; The first Principle of creation is the New; The second Principle is the Infinite; The third Principle is the Freedom.
Keyword: Soul Infinite
Dominique Quasnik-Porebska, born in Paris. Studies of Musicology at the Sorbonne: Master “Marian Porebski, Wagnerian tenor. Career and Pedagogical work”, 1976; Doctorate “Voice in the orchestra of Wagner, Verdi, Puccini and Richard Strauss”; Habilitation for supervise Research (Doctorat ès Lettres et Sciences Humaines)” Vocal style of Polish Opera at the XVIII and XIX centuries” (University of Lille III, Musicology- 1991). 1993, Maître de Conférences, CNU/18 and 22; 2009, Professeur, CNU/22. 1994-2013: Professor-Researcher at Polish Universities ; 2013-2016 : scientific collaboration as Professor ; 2016-2018 : Independent Researcher in activity. Lectures and Illustrated Conferences at the Universities of Sorbonne, Nancy, Poitiers, Warsaw. Numerous vocal performances (1971-2018, as soloist, dramatic and Wagnerian soprano). In parallel: studies of Vocal Technique und World Lyric Repertoire with the dramatic and Wagnerian Tenor, Marian Porebski (1967-2008). Numerous vocal performances (1971-2018), as soloist, dramatic and Wagnerian soprano. . Author of 21 books, hundred articles in French, Polish and English. Participated in 57 scientific conferences on the worldwide. Specialty: Decrypting and interpretation of vocal music. Semantic and semiotic content. Sources, tradition and modernity. Hidden message, codified language. Comparative analyze between French, German (Wagnerian) and Polish Opera. Symbolic and Technique of composition. New conception of contemporary Opera.