Music

Danuta Mirka

Primary position:
Reader in Music

Background

The University of Southampton

I am the Head of Research in Music, and Research Fellow of the Leverhulme Trust. Due to my current research fellowship I do not offer any courses in the academic years 2014/15 and 2015/16. In the past I taught the first-year core music history survey (Antique Music Roadshow 2: Materials of Music History, 1750–1900) and elective second- and third-year courses in theory and analysis of eighteenth-century music (Music and Rhetoric, Musical Topics of the Eighteenth Century). I also taught analytical techniques to master’s students, and served as their academic advisor and personal tutor in my capacity as the MMus Programme Co-ordinator.

Apart from classroom teaching I have supervised undergraduate and graduate dissertations in my areas of interest and expertise, which include music theory and analysis, music semiotics, eighteenth-century music and Polish music since 1950. These interests are reflected in my publications, including the award-winning Metric Manipulations in Haydn and Mozart and The Oxford Handbook of Topic Theory. I welcome master’s and PhD candidates interested in theory and analysis of eighteenth-century music, topic theory, and analysis of meter and rhythm.

Dr Danuta Mirka's photo

Publications

Books

Metric Manipulations in Haydn and Mozart: Chamber Music for Strings, 1787-1791. New York: Oxford University Press, 2009.

The Sonoristic Structuralism of Krzysztof Penderecki. Katowice: Akademia Muzyczna, 1997. http://eprints.soton.ac.uk/71829/

 

Edited Books

The Oxford Handbook of Topic Theory. New York: Oxford University Press, 2014. http://www.oxfordhandbooks.com/view/10.1093/oxfordhb/9780199841578.001.0001/oxfordhb-9780199841578?rskey=RRip0b&result=21

(Ed. with Kofi Agawu), Communication in Eighteenth-Century Music. Cambridge: Cambridge University Press, 2008.

 

Articles in Peer-Reviewed Journals

‘Absent Cadences.’ Eighteenth-Century Music 9/2 (2012): 213–35.

‘Punctuation and Sense in Late-Eighteenth-Century Music.’ Journal of Music Theory 54/2 (2010): 235–282.

‘The Cadence of Mozart’s Cadenzas.’ The Journal of Musicology 22/2 (2005): 292–325.

‘Das Spiel mit der Kadenz.’ Die Musikforschung 57/1 (2005): 18–35.

‘Górecki's Musica geometrica.’ The Musical Quarterly 87/2 (2004): 305–332.

‘To Cut the Gordian Knot: The Timbre System of Krzysztof Penderecki.’ Journal of Music Theory 45 (2003): 433–454.

‘Texture in Penderecki’s Sonoristic Style.’ Music Theory Online 6/1 (2000): online access.

‘Colors of a Mystic Fire: Light and Sound in Scriabin’s Prometheus.’ In Signs in Musical Hermeneutics, ed. Siglind Bruhn, special issue of The American Journal of Semiotics 13 (1996 [1998]): 227–248.

 

Articles in Collections

‘Introduction.’ In The Oxford Handbook of Topic Theory, ed. Danuta Mirka. New York: Oxford University Press, 2014. 1–57.

‘Topics and Meter.’ In The Oxford Handbook of Topic Theory, ed. Danuta Mirka. New York: Oxford University Press, 2014. 357–380.

‘Meter, Phrase Structure and Manipulations of Musical Beginnings.’ In Communication in Eighteenth-Century Music, ed. Danuta Mirka and Kofi Agawu. Cambridge: Cambridge University Press, 2008. 83–111.

‘Penderecki’s Sonorism against Serialism.’ In Studies in Penderecki 2: Penderecki and the Avant Garde, ed. Ray Robinson and Regina Chlopicka. Princeton: Prestige Publications, 2003. 199–209.

‘The Passion According to Penderecki.’ In Voicing the Ineffable, ed. Siglind Bruhn. Hillsdale, NY: Pendragon Press, 2002. 189–230.

‘Species, Theories, Styles.’ In Commentationes in Honorem Thomas A. Sebeok Octogenarii, ed. Eero Tarasti. Imatra: International Semiotics Institute, 2000. 92–104.

‘Dodekatonikos grozis’ [The Beauty of Dodekatonika] (Postscript to the Study ‘Dodekatonika’ by Osvaldas Balakauskas). In Osvaldas Balakauskas: Muzika ir Mintys, ed. Ruta Gaidamaviciute. Vilnius: Baltos Lankos, 2000. 202–206.

‘Young Penderecki and Fuzzy Sets.’ In Music and Signs: Semiotic and Cognitive Studies in Music (Systematica Musicologica 2), ed. Iannis Zannos. Berlin and Bratislava: ARCO Art and Science, 1999. 503–514.

‘Idea korespondencji w poemacie symfonicznym Morze Mikalojusa Konstantinasa Ciurlionisa’ [The Idea of Correspondences in the Symphonic Poem The Sea by Ciurlionis]. In W kregu muzyki litewskiej, ed. Krzysztof Droba. Cracow: Akademia Muzyczna, 1997. 13–27.

‘Piekno Dodekatoniki’ [The Beauty of Dodekatonika] (Postscript to the Study ‘Dodekatonika’ by Osvaldas Balakauskas). In W kregu muzyki litewskiej, ed. Krzystof Droba. Cracow: Akademia Muzyczna, 1997. 161–5.

‘Some Semiotic Problems of Penderecki’s Sonoristic Style.’ In Musical Semiotics in Growth (Acta Semiotica Fennica 4), ed. Eero Tarasti. Imatra and Bloomington: International Semiotic Institute & Indiana University Press, 1996. 73–82.

 

Articles in Conference Proceedings

‘Tonal Function and Metrical Accent Revisited.’ In Proceedings of the 13th International Congress of the German Musicological Society, Weimar, 16–21 September 2004 [forthcoming].

‘Vorwärts hören - rückwärts hören: Zur Wahrnehmung metrischer Irregularitäten in Streichquartetten Joseph Haydns.’ In Musiktheorie an ihren Grenzen: Neue und Alte Musik. 3. Internationaler Kongress für Musiktheorie, ed. Angelika Moths. Bern: Peter Lang, 2009. 409–18.

‘Komunikacja muzyczna w stylu póznym: Reguly i strategie’ [Musical Communication in Late Style: Rules and Strategies]. In Styl pózny w muzyce, literaturze i kulturze (proceedings of the interdisciplinary conference under the same title, Katowice, 6–8 December, 2000), ed. Wojciech Kalaga and Eugeniusz Knapik. Katowice: Slask, 2002. 131–137.

‘Musical Style: A System and a Game.’ In Proceedings of the Seventh Congress of the International Association for Semiotic Studies, Dresden, 1999, ed. Walter Schmitz. Dresden: Dresden University Press, 2001.

‘Theosophical Hieroglyph: On the Symphonic Poem Prometheus by Alexander Scriabin.’ In Musical Signification: Between Rhetorics and Pragmatics (proceedings of the Sixth Congress of Musical Signification, Bologna, November 1996), ed. Gino Stefani, Eero Tarasti and Luca Marconi. Bologna: Cooperativa Libreria Universitaria, 1998.

‘Sonorystyczny strukturalizm Krzysztofa Pendereckiego’ [The Sonoristic Structuralism of Krzysztof Penderecki]. In Muzyka polska 1945–95 (proceedings of the conference ‘Muzyka polska 1945–95’, Cracow, 12–16 December 1995), ed. Krzysztof Droba, Teresa Malecka and Krzysztof Szwajgier. Cracow: Akademia Muzyczna, 1996. 235–47.

 

Other Articles

‘Co kazdy kompozytor wiedziec powinien: Fizjologia i ekologia sluchacza w zarysie’ [What Every Composer Should Know: Physiology and Ecology of the Listener]. Ruch Muzyczny 44/14 (2000): 11–18; and 44/15 (2000): 10–14.

‘Semiotines Krzysztofo Pendereckio sonoristinio stiliaus problemos’ [Semiotic Problems of Krzysztof Penderecki’s Sonoristic Style]. Baltos lankos 9 (1998): 151–163.

‘Przeciac wezel gordyjski: System kolorystyczny Krzysztofa Pendereckiego’ [To Cut the Gordian Knot: The Timbre System of Krzysztof Penderecki]. Dysonanse 3 (1998): 2–11.

‘Góreckiego musica geometrica’ [Musica geometrica of Górecki]. Dysonanse 1 (1998): 20–30.

‘Atitikimo Ciurlionio Simfonineje Poemoje Jura’ [The Idea of Correspondences in the Symphonic Poem The Sea by Ciurlionis]. Kulturos barai 8–9 (1995): 63–66.

‘Teozofia, muzyka i swiatlo: O funkcji swiatla w poemacie symfonicznym Prometeusz Aleksandra Skriabina’ [Theosophy, Music and Light: On the Light Function in Scriabin’s Prometheus]. Zeszyt Naukowy 4 (1993): 71–90.

 

Reviews and Review Articles

Review of Stephen Rumph, Mozart and Enlightenment Semiotics. Journal of Music Theory 58/1 (2014): 67–77.

‘Analyzing Haydn's Quartets.’ Review of Floyd Grave and Margaret Grave, The String Quartets of Joseph Haydn. Early Music 35/1 (2007): 122–125.

‘Toward a Theory of Metrical Consonance.’ Review article of Justin London, Hearing in Time: Psychological Aspects of Musical Meter. Journal of Music Theory 48/1 (2004 [2007]): 293–304.

Review article of Naomi Cummings, The Sonic Self: Musical Subjectivity and Signification. Semiotica 142 (2002): 433–446.

‘Czy istnieje muzyczna ekphrasis?’ [Is There a Musical Ekphrasis?]. Review article of Siglind Bruhn, Musical Ekphrasis and Musical Ekphrasis in Rilke's Marien-Leben. Ruch Muzyczny 15 (2001): 21–22.

 

Research

Research Interests

My early research focused on Polish contemporary music. It originated in my undergraduate study of music theory at the Szymanowski Academy of Music in Katowice and doctoral studies in the areas of music semiotics and structuralism at the University of Helsinki. In my dissertation/book, The Sonoristic Structuralism of Krzysztof Penderecki (1997), I challenged the common view of Penderecki’s compositional procedures by reconstructing the technique employed in the composer’s ‘sound mass’ compositions of the early 1960s.

From Polish contemporary music, I moved to the study of musical communication in the eighteenth century. Thanks to a Fulbright Research Grant, I began pursuing this line of research at Indiana University, Bloomington, and continued to do so during my research fellowships at the University of Freiburg, Germany. In 2005 I organised the workshop ‘Communicative Strategies in Music of the Late Eighteenth Century’, which brought together Anglo-American and German music theorists and historians interested in diverse aspects of musical communication from its cognitive bases to social and cultural contexts. The collection of articles Communication in Eighteenth-Century Music (2008), which I edited together with Kofi Agawu, is based upon papers presented at that workshop. Building upon this event and involving some of its participants, I designed and edited The Oxford Handbook of Topic Theory (2014). The volume defines musical topics as cross-references between styles and genres. Grounding this concept in eighteenth-century music theory, aesthetics and criticism, it relates topical analysis to other methods of music analysis conducted from the perspectives of composers, performers and listeners.

In my own study of musical communication I am particularly interested in integrating aspects of historical music theory with those of contemporary music-theoretical research, including cognitively-oriented music theory and cognitive musicology. In my book Metric Manipulations in Haydn and Mozart: Chamber Music for Strings, 1787–1791 (2009), which won the 2011 Wallace Berry Award from the Society for Music Theory, I apply this approach to the study of meter and rhythm. The subsequent book will be a study of hypermeter and phrase structure in late eighteenth-century music and feature a similar integration of perspectives from historical and contemporary music theory. My current research toward this book is supported by the Leverhulme Trust.

Affiliate research group:  Musicology and Ethnomusicology

Biography

I studied music theory in Poland and earned a PhD in musicology at the University of Helsinki, Finland. In 2001–2 I was Senior Fulbright Fellow at Indiana University, Bloomington, and in 2002–6 Humboldt Fellow and Research Fellow of the DFG (Deutsche Forschungsgemeinschaft) at the University of Freiburg, Germany, where I obtained my further qualification (Habilitation). Before coming to the University of Southampton, I taught at the Szymanowski Academy of Music in Katowice, Poland.

I am the co-editor, with Kofi Agawu, of Communication in Eighteenth-Century Music (2008) and the editor of The Oxford Handbook of Topic Theory (2014). My books include The Sonoristic Structuralism of Krzysztof Penderecki (1997) and Metric Manipulations in Haydn and Mozart: Chamber Music for Strings, 1787–1791 (2009), which won the 2011 Wallace Berry Award of the Society for Music Theory. My articles have appeared in such scholarly journals as The Journal of Musicology, Journal of Music Theory, Music Theory Online, Eighteenth-Century Music, The American Journal of Semiotics, Semiotica, and The Musical Quarterly. A former vice president of the Society for Music Analysis, I serve on the editorial boards of the Journal of Music Theory, Music Theory Spectrum, Music Theory and Analysis and Eighteenth-Century Music.

Contact

Dr Danuta Mirka
Building 2
Department of Music
University of Southampton
Highfield
Southampton
SO17 1BJ
UK

During academic years 2014–15 and 2015–16, please use the following address:
Sundgauallee 39
79114 Freiburg
Germany

Room Number: 2/2005

Telephone: (023) 8059 3721
Facsimile: (023) 8059 3197
Email: D.Mirka@soton.ac.uk