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Wyświetlanie 1-5 z 5
Tytuł:
Польские образы Бориса Лятошинского
Polish Visions of Boris Lyatoshinsky
Autorzy:
Новакович, Мирослава
Powiązania:
https://bibliotekanauki.pl/articles/2159819.pdf
Data publikacji:
2020-12-13
Wydawca:
Akademia Pomorska w Słupsku
Tematy:
симфоническая музыка
польская культура
мемориальный жанр
symphonic music
Polish culture
“memorial” genre
Opis:
This article examines the connections of the outstanding Ukrainian composer Boris Lyato-shinsky with Polish culture of the 20th century. These connections can be traced at the genetic level and in the context of his music from the 1950s and 1960s. It is argued that the Polish theme forms a kind of supercycle in the composer’s work, which symbolizes the memory of culture and unites a number of his works with Polish themes. These include the piano “Slavic Concerto” by B.Lyatoshinsky, the symphonic poems “Grazhina” and “On the Banks of the Vistula,” and the “Polish Suite” for a symphony orchestra. This supercycle is associated with the “memorial” genre, which actualizes the “memory” mechanism. In this case, we are talking about the “Polish memory” of B. Lyatoszynski, a characteristic feature of which is the connec-tion with the Polish musical culture, which is present in his works at the intonation, genre, and conceptual level.
Źródło:
Ars inter Culturas; 2020, 9; 49-62
2083-1226
Pojawia się w:
Ars inter Culturas
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
К ВОПРОСУ О МУЗЫКАЛЬНОЙ КУЛЬТУРЕ ПШЕМЫСЛЯ ПЕРВОЙ ПОЛОВИНЫ ХІХ ВЕКА
Autorzy:
Новакович, Мирослава
Powiązania:
https://bibliotekanauki.pl/articles/566612.pdf
Data publikacji:
2016
Wydawca:
Akademia Pomorska w Słupsku
Tematy:
композиторская школа
церковная музыка
культурное пограничье
Литургия
school of composition
church music
cultural borderlands
liturgy
Opis:
The article is devoted to the musical life of Przemysl, which in the first half of the nineteenth century was the area of cultural borderland, where different cultural identities were constructed, particularly Ukrainian. In the Greek Catholic Church the singing school was established, and in 1829 the choir, headed by wellknown Czech composer Alois Nankе was formed. An example for Nankе and his students, among whom was the famous Ukrainian composer subsequently M. Verbitsky, were spiritual choral concerts of the famous Ukrainian composer D. Bortniansky. The music by Bortniansky became an excellent example of creativity for Ukrainian composers of the nineteenth century in Galicia.
Źródło:
Ars inter Culturas; 2016, 5; 305-316
2083-1226
Pojawia się w:
Ars inter Culturas
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
МУЗЫКАЛЬНЫЕ ПРЕДПОЧТЕНИЯ КАК ЭЛЕМЕНТ ЖИЗНЕННОГО МИРА МОЛОДЕЖИ
MUSICAL PREFERENCES AS AN ELEMENT OF THE LIFEWORLD OF YOUTH
Autorzy:
Surina, Iryna
Powiązania:
https://bibliotekanauki.pl/articles/566403.pdf
Data publikacji:
2017
Wydawca:
Akademia Pomorska w Słupsku
Tematy:
музыкальные предпочтения
молодежные субкультуры
музыкальные стили
музыкальный вкус
музыка
молодежь
жизненный мир
musical preferences
youth subcultures
musical styles
musical taste
music
youth
Lifeworld
Opis:
The article discusses the problem of youth’s musical preferences and shaping their musical taste as a part of the lifeworld. Using the definition of lifeworld and musical socialization, the article demonstrates that the lifeworld of youth performs compensatory and stabilizing functions and also alleviates their behavior. It is mainly these functions make that social reality become their “own world”. In the lifeworld, the musical preferences of young people are very important, and quite often turn out to be a means of communication. It should be noted that the music does not only affect the shaping of the lifeworld of young people, thus allowing them to be identified but, above all, separates the “youth world” from the “adult world”. Musical styles begin to serve as a kind of social language, being the stratification criterion for youth subcultures. Musical preferences as part of the process of youth socialization are one of the main manifestations of limiting the living space of young people.
Źródło:
Ars inter Culturas; 2017, 6; 239-250
2083-1226
Pojawia się w:
Ars inter Culturas
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Концерт для слушателя с оркестром. Пути развития партиципаторного музыкального искусства
Concert for the Listener with an Orchestra. Ways for the Development of Participatory Musical Art
Autorzy:
Цветковская, Татьяна
Powiązania:
https://bibliotekanauki.pl/articles/2147704.pdf
Data publikacji:
2020-12-22
Wydawca:
Akademia Pomorska w Słupsku
Tematy:
классическая музыка партиципаторное искусство Фредерик Ржевски
Александр Радвилович
Тод Маковер
Пол Риссман
classical music
Alexander Radvilovich
participatory art
Frederic Rzewski
Tod Machover
Paul Rissmann
Opis:
The article is devoted to participatory musical works created in collaboration with the pub-lic. Listeners act as a composer’s creative partners – co-authors and performers. Comparative analysis of different interpretations of the concepts of “musical participation” and “partici-patory music” allows us to highlight the key characteristics of this phenomenon. In addition, the author believes that it is important to substantiate the legitimacy of using the term “partici-patory art” outside of any specific genre, stylistic, or time frames.The study of participatory works leads to understanding of the various tasks that are achie-ved in the process of collective creation. The interaction between the composer and the audien-ce strengthens interpersonal relationships. Listeners are meant to receive a role through which they could show their individuality most clearly; and this condition stimulates the search for new expressive means. As a result, peculiar genre forms emerge. At the same time, listeners comprehend the inner logic of musical art themselves.It is noted that composers retain the traditional genre classification, not deeming it ne-cessary to emphasize audience participation. However, compositions with the participation of the public are becoming a noticeable phenomenon of modern musical life. This generates a pressing challenge – to establish the correspondence of the techniques used in working with the audience to the artistic concept, and to propose a typology of participatory works. Some compositions emerge as an artistic experiment. Others are part of educational projects. Some works are aimed at studying the benefits of cooperation between the composer and the public. Along with the practices considered in the article, there are a number of prospective opportuni-ties that can ensure the fruitful involvement of the public in the creative process. All this allows us to hope that participatory musical art will enjoy further successful development
Źródło:
Ars inter Culturas; 2020, 9; 111-124
2083-1226
Pojawia się w:
Ars inter Culturas
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Итальянские капельмейстеры в российской империи второй половины ХVІІІ века и православная церковная музыка
Italian Bandmasters in the Russian Empire of the Second Half of the XVIIIth Century and Orthodox Church Music
Autorzy:
Шумилина, Oльга
Powiązania:
https://bibliotekanauki.pl/articles/2159815.pdf
Data publikacji:
2020-12-13
Wydawca:
Akademia Pomorska w Słupsku
Tematy:
православная церковная музыка
вторая половина ХVIII века итальянские капельмейстеры
хоровые концерты
церковнославянский текст
Orthodox church music
second half of the eighteenth century Italian bandmasters
choral concerts
Church Slavonic text
Opis:
The article examines the Orthodox church music of Italian composers of the second half of the eighteenth century, who were invited to the capital of the Russian Empire for the post of first court bandmaster. The main duties of the Italian bandmasters were to compose secular music, especially operas for the court theater. The creation of choral concerts for the court choir that took part in church services with the participation of the first persons of the Russian Empire was not included in the contractual obligations. The main purpose of the appeal of Italian ban-dmasters to this area of creativity was to create a new church repertoire, which was closer in style to the European one. The domestic choir directors, brought up on the traditions of the old church singing art, did not cope with this task. The article contains an overview of the hand-written sources in which the sacred music of the Italian bandmasters was discovered.
Źródło:
Ars inter Culturas; 2020, 9; 35-47
2083-1226
Pojawia się w:
Ars inter Culturas
Dostawca treści:
Biblioteka Nauki
Artykuł
    Wyświetlanie 1-5 z 5

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