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    Wyświetlanie 1-5 z 5
    Tytuł:
    Samuel Besler (1574–1625) – zarys życia i twórczości1
    Samuel Besler (1574–1625): The Introduction to Life and Art
    Autorzy:
    Wróblewska, Aleksandra
    Powiązania:
    https://bibliotekanauki.pl/articles/513876.pdf
    Data publikacji:
    2018
    Wydawca:
    Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
    Tematy:
    church music
    Protestantism
    Samuel Besler
    17th century
    Wrocław
    Opis:
    Samuel Besler (1574–1625) was born in Brzeg, Lower Silesia. He spent a major part of his life in Wrocław as a cantor at St Bernardine’s Church and then a headmaster of the Holy Spirit school, which belonged to St. Bernardine’s parish. The article presents a biography of the composer including the latest discoveries of the author, made in Wrocław University Library and the State Archive in Wrocław. Biographical information is followed by the short description of Besler’s artistic work in which both symptoms of changes in the music of the early 17th century and manifestation of the composer’s fascination with Gregorian chant are present.
    Źródło:
    Kwartalnik Młodych Muzykologów UJ; 2018, 4(39); 5-19
    2956-4107
    2353-7094
    Pojawia się w:
    Kwartalnik Młodych Muzykologów UJ
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Samuel Besler (1574–1625): The Introduction to Life and Art1
    Autorzy:
    Wróblewska, Aleksandra
    Powiązania:
    https://bibliotekanauki.pl/articles/514022.pdf
    Data publikacji:
    2018
    Wydawca:
    Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
    Tematy:
    church music
    Protestantism
    Samuel Besler
    17th century
    Wrocław
    Opis:
    Samuel Besler (1574–1625) was born in Brzeg, Lower Silesia. He spent a major part of his life in Wrocław as a cantor at St Bernardine’s Church and then a headmaster of the Holy Spirit school, which belonged to St Bernardine’s parish. The article presents a biography of the composer including the latest discoveries of the author, made in Wrocław University Library and the State Archive in Wrocław. Biographical information is followed by the short description of Besler’s artistic work in which both symptoms of changes in the music of the early 17th century and manifestation of the composer’s fascination with Gregorian chant are present.
    Źródło:
    Kwartalnik Młodych Muzykologów UJ; 2018, 4(39) Eng; 5-19
    2956-4107
    2353-7094
    Pojawia się w:
    Kwartalnik Młodych Muzykologów UJ
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Tabulatura z historią. O mało znanym XVII-wiecznym rękopisie z Biblioteki Uniwersyteckiej w Poznaniu
    Tablature with History: About a Little-known Seventeenth-century Music Manuscript from the University Library in Poznań
    Autorzy:
    Kowal, Marianna
    Powiązania:
    https://bibliotekanauki.pl/articles/21378575.pdf
    Data publikacji:
    2021
    Wydawca:
    Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
    Tematy:
    17th-century French lute music
    University Library in Poznań
    music manuscript
    lute tablature
    Opis:
    Research on French lute music is currently a rather rarely discussed topic among Polish musicologists. The reason for this is probably the fact that most manuscripts with lute tablatures have already been described and the repertoire is quite wellknown. However, it turns out that Polish libraries still store little-known manuscripts, which are interesting not only because of the music, but also because of the non-musical material they contain. The copy of 17th-century French lute music stored by the University Library in Poznań, where apart from music, there are also non-musical elements showing its fascinating history, is an example of this. The article presents the preliminary results of the research into the structure, content, provenance and dating of this manuscript. In the first part, the author focuses on the physical features of the tablature source, and then she characterises its musical and non-musical content. The work is also accompanied by photographs of the manuscript and tables presenting its structure and repertoire concordances.
    Źródło:
    Kwartalnik Młodych Muzykologów UJ; 2021, 4(51); 5-57
    2956-4107
    2353-7094
    Pojawia się w:
    Kwartalnik Młodych Muzykologów UJ
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Funkcje skordatury na przykładzie wybranych utworów ze zbiorów z kościoła św. Anny na Piasku we Wrocławiu (1679–1686)
    Functions of Scordatura on the Example of Selected Compositions from the Collection of St Anne’s Church on Piasek Island in Wrocław’s Chapel (1679–1686)
    Autorzy:
    Stopczańska, Dominika
    Powiązania:
    https://bibliotekanauki.pl/articles/513960.pdf
    Data publikacji:
    2018
    Wydawca:
    Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
    Tematy:
    scordatura
    violin technique
    17th-century music
    performance practice
    Canonesses Regular of St Augustine in Wrocław
    vocal-instrumental chapel
    Opis:
    Scordatura is a tuning of a string instrument, which is different than the standard one. It has been used for both plucked and string instruments since the 16th century and it was quite popular in the Baroque era, especially in the case of violins. Because of their specific tuning – based on the same intervals – it is possible to distinguish two types of violin scordatura. The first one relates to the situation when all strings are tuned up or down in the same interval relations. Such tuning is still based on fifths, but the pitches are different than using standard tuning, so it is called transpose scordatura. In the second one, each string is tuned up or down in different interval relation, in another direction or even only some of them are tuned in the unusual way. In this case, violin tuning is based on different intervals than fifths, usually on thirds and/or fourths, although sometimes there are three dissimilar intervals (thirds, fourths and fifths). The second type of scordatura was a very popular technique in the Baroque era and its functions were variable. The main of them were allowing to perform figures, which are impossible in standard tuning, especially double-notes and chords (technical aspect), and changing sound qualities of the instrument (sound aspect). It does not mean that scordatura was used only to achieve these goals. For example, it was sometimes used to imitate other instrument. There are certain examples of such a usage of this playing technique in the oldest (1679–1686) part of the collection of manuscripts connected with activity of Canonesses Regular of St Augustine in Wrocław (provenance St Anna in Arena). The scordatura can be found there in seven manuscripts, and in four of them it is possible that composers (or com¬poser?) tried to assimilate the violin sound and/or technique with other instruments, such as viola, lute or trumpet.
    Źródło:
    Kwartalnik Młodych Muzykologów UJ; 2018, 2(37); 5-26
    2956-4107
    2353-7094
    Pojawia się w:
    Kwartalnik Młodych Muzykologów UJ
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Functions of Scordatura on the Example of Selected Compositions from the Collection of St Anne’s Church on Piasek Island in Wrocław’s Chapel (1679–1686)
    Autorzy:
    Stopczańska, Dominika
    Powiązania:
    https://bibliotekanauki.pl/articles/514075.pdf
    Data publikacji:
    2018
    Wydawca:
    Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
    Tematy:
    scordatura
    violin technique
    17th-century music
    performance practice
    Canonesses Regular of St Augustine in Wrocław
    vocal-instrumental chapel
    Opis:
    Scordatura is a tuning of a string instrument, which is different than the standard one. It has been used for both plucked and string instruments since the 16th century and it was quite popular in the Baroque era, especially in the case of violins. Because of their specific tuning—based on the same intervals—it is possible to distinguish two types of violin scordatura. The first one relates to the situation when all strings are tuned up or down in the same interval relations. Such tuning is still based on fifths, but the pitches are different than using standard tuning, so it is called transpose scordatura. In the second one, each string is tuned up or down in different interval relation, in another direction or even only some of them are tuned in the unusual way. In this case, violin tuning is based on different intervals than fifths, usually on thirds and/or fourths, although sometimes there are three dissimilar intervals (thirds, fourths and fifths). The second type of scordatura was a very popular technique in the Baroque era and its functions were variable. The main of them were allowing to perform figures, which are impossible in standard tuning, especially double-notes and chords (technical aspect), and changing sound qualities of the instrument (sound aspect). It does not mean that scordatura was used only to achieve these goals. For example, it was sometimes used to imitate other instrument. There are certain examples of such a usage of this playing technique in the oldest (1679–1686) part of the collection of manuscripts connected with activity of Canonesses Regular of St Augustine in Wrocław (provenance St Anna in Arena). The scordatura can be found there in seven manuscripts, and in four of them it is possible that composers (or composer?) tried to assimilate the violin sound and/or technique with other instruments, such as viola, lute or trumpet.
    Źródło:
    Kwartalnik Młodych Muzykologów UJ; 2018, 2(37) Eng; 5-25
    2956-4107
    2353-7094
    Pojawia się w:
    Kwartalnik Młodych Muzykologów UJ
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-5 z 5

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