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    Wyświetlanie 1-6 z 6
    Tytuł:
    An unknown collection of music manuscripts from Otyń (Wartenberg)
    Autorzy:
    Frankowski, Patryk
    Mądry, Alina
    Powiązania:
    https://bibliotekanauki.pl/articles/780133.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Otyń
    Wartenberg
    musical culture
    Jesuit music
    musical manuscript
    Karol Reinach
    Opis:
    The Museum of Musical Instruments in Poznan (a branch of the National Museum) is in possession of a very important collection of music manuscripts from the former Jesuit monastery in Otyń (Ger. Wartenberg), which was dissolved in 1776. The activities of this centre were associated primarily with the figure of Karol Reinach, the monastery’s last superior (from 1753). Reinach maintained friendly relations with Frederick II the Great, who was an ardent flautist, as we know, and visited Otyń from time to time. The Otyń manuscripts were bequeathed to the museum in 1947, along with three preserved instruments: a pair of kettledrums and a bass viola da gamba. At present, the collection of manuscripts from the Jesuit ensemble of Otyń contains fifty-six compositions, written between 1753 and 1768. Thirty-one pieces have fully certified provenance, reflected on the title pages of the manuscripts in the form of inscriptions, such as ‘pro Choro Residentiae Wartenbergensis’, and in the names of the Otyń transcribers. Twenty-two compositions were classified as belonging to the Jesuit collection on the basis of its inventory number, placed in the top right corner. Seventeen of the preserved manuscripts were provided with exact dates of origin (ten compositions were dated to the day, the other seven to a particular year). In these manuscripts, one can find compositions of the following types: offertoria, antiphons, Marian hymns (mostly arias), litanies, carols, a cantata, a dialogue and a sequence. All of them are vocal-instrumental. The lyrics were written in Latin and German, and their subject matter is mostly connected with the Marian cult (the antiphons Ave Regina Caelorum, Alma Redemptoris Mater and Regina Coeli Laetare\ the hymn Ave Maris Stella), Jesuit themes (a litany of St John Nepomucen, a prayer of St Francis Xavier, O Deus Amo ego te) and Christmas (carols). The well-known composers include Frantisek Xaver Brixi (1732-1771), Carl Ditters von Dittersdorf (1739-1799), Carl Heinrich Graun (1704-1759), Johann Adolph Hasse (1699-1783) and Karel Loos (1724-1772), and there are also the less well-known or nearly unknown, such as Carolus Gaebel [Gebel], F. Passelt [?], Joseph Rhodigez, Antonio Josepho Ronge (or Runge [?]), Francisco Rudolph and Wollmann. The continued examination of the collection will certainly reveal more details that are unknown or as yet barely identified. The research is due to be capped with the publication of a thematic catalogue of Otyń’s music manuscripts and their registration in the RISM database.
    Źródło:
    Interdisciplinary Studies in Musicology; 2012, 11; 67-80
    1734-2406
    Pojawia się w:
    Interdisciplinary Studies in Musicology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    The musical practice of the Sandomierz Benedictine nuns during the eighteenth century
    Autorzy:
    Walter-Mazur, Magdalena
    Powiązania:
    https://bibliotekanauki.pl/articles/780139.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    musical culture
    eighteenth century
    Benedictine nuns
    Sandomierz
    musical sources
    musical instruments
    performance practice
    Opis:
    The congregation of the Benedictine nuns of Sandomierz, active between 1615 and 1903, belonged to wealthy magnatial foundations, which allowed the convent to foster cultural activities. Special emphasis was placed on musical performance of various types - the musical adornment of the liturgy. The ‘Glory of God’, as Benedictine nuns referred to it, constituted the essence of their congregational life. On weekdays, the celebration of the Liturgy of the Hours, Masses and - occasionally - other services in choir took six hours, and on numerous feast days of the liturgical year, when the Liturgy of the Hours was sung, not read, it required even more time. The higher the rank of the feast day, the greater was the effort to stress its importance by providing it with a proper musical setting, which led to the cultivation of musical practices of various kinds on special occasions. The musical repertory of the Sandomierz Benedictine nuns comprised plainchant without instrumental accompaniment, plainchant with organ accompaniment, polyphonic a cappella singing (referred to as ‘figure’), vocal instrumental music (‘fractus’) and instrumental music. A picture of religious musical practice emerges primarily from extant musical sources, and also from a ‘choir agenda’ from 1749, a convent chronicle of the years 1762-1780, ‘treasury records’ from 1739-1806 and convent registers. Eighteenth-century sources document the musical activity of twenty-four nuns of the Sandomierz convent, some of them considered to be ‘professional’ musicians and referred to as ‘singers and players’. The most interesting, but also most problematic, areas are vocal instrumental practice and the likely consitution of the nuns’ music chapel. We find information about nuns playing keyboard instruments, violin, viola da gamba, tromba marina and horn.
    Źródło:
    Interdisciplinary Studies in Musicology; 2012, 11; 187-198
    1734-2406
    Pojawia się w:
    Interdisciplinary Studies in Musicology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Musical life in Slutsk during the years 1733-1760 in the light of archive materials
    Autorzy:
    Bieńkowska, Irena
    Powiązania:
    https://bibliotekanauki.pl/articles/780177.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Slutsk
    musical culture
    1733-1760
    Hieronim Florian Radziwiłł
    Jesuit music boarding school
    Jesuit school theatre
    aristocratic theatre
    Opis:
    This article represents the very first attempt at reconstructing musical life in Slutsk (Pol. Sluck) during the first half of the eighteenth century, and it merely outlines the issues involved. Slutsk was a typical private town - a multicultural centre inhabited by Jews, Orthodox Ruthenians, Lithuanians and Poles of the Protestant and Roman-Catholic faiths. Among the representatives of the Roman-Catholic faith, the Jesuits were the main animators of the town’s cultural and educational life, alongside the court of Prince Hieronim Florian Radziwiłł. A medium-sized music boarding school attached to the Jesuit College in Slutsk existed from around 1713. Musical instruments were purchased for the school quite regularly, often in faraway Koenigsberg. The contacts between the boarding school and the prince’s court were relatively frequent and good, and some school leavers found jobs at the court, chiefly in the garrison or janissary band, and sporadically also in Prince Radziwill’s music ensemble. The court was the main centre of the town’s cultural life. Among its numerous artistic ventures, stage shows seem to have been the most spectacular. For the purposes of such performances, a free-standing theatre was built in the centre of Slutsk at the turn of 1753. This building is worth mentioning because of the rarity of such projects in the Commonwealth of Poland-Lithuania during the 1750s. The repertoire of the Slutsk theatre was initially dominated by commedia dell’arte in German and the occasional dramma per música, but during the second half of the 1750s, one-act ballets began to dominate. Among the instrumental works performed in Slutsk were compositions by Carl Heinrich and Johann Gottlieb Graun, Georg Christoph Wagenseil, and musicians active at the Radziwiłł court (Andreas Wappler, Joseph Kohaut and Johannes Battista Hochbrucker), as well as improvisations by Georg Noelli. The town’s artistic heyday ended with the death of Prince Hieronim Florian Radziwiłł, in 1760, and the dissolution of the Society of Jesus, a decade or so later.
    Źródło:
    Interdisciplinary Studies in Musicology; 2012, 11; 235-248
    1734-2406
    Pojawia się w:
    Interdisciplinary Studies in Musicology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Kolportaż druków muzycznych przez Drukarnię W. Deckera w świetle anonsów prasowych i jego wpływ na kształtowanie kultury muzycznej Wielkopolan
    The distribution system of musical prints and scores in W. Decker printing shop in view of the press advertisements at the time and its influence upon the shaping process of musical culture of the inhabitants of Greater Poland
    Autorzy:
    Jazdon, Artur
    Jazdon, Andrzej
    Powiązania:
    https://bibliotekanauki.pl/articles/910757.pdf
    Data publikacji:
    2013-01-01
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    book trade in the 19th c.
    W. Decker printing shop
    musical culture in Poznań of the first half of the 19th c.
    sheet music trade
    księgarstwo XIX wiek
    Drukarnia W. Deckera
    kultura muzyczna Poznania w pierwszej połowie XIX wieku
    handel muzykaliami
    Opis:
    Drukarnia W. Deckera była bardzo znanym zakładem typograficznym w Poznaniu okresu zaborów. W artykule omówiono pomijaną dotychczas jej działalność księgarską. Obejmowała ona kolportaż druków muzycznych sprowadzanych głównie z Lipska. Badając ten problem, przeprowadzono kwerendę prasową, która dała dość zaskakujące wyniki. Odkryto nieznane do tej pory, samoistne, obszerne katalogi księgarskie. Zawierają one informacje o drukach muzycznych dostępnych w sprzedaży. Zestaw oferowanych nut był bardzo duży. Począwszy od druków pedagogicznych, poprzez nuty przeznaczone dla amatorów, po partytury dla zespołów zawodowych. Wśród proponowanych utworów przeważają dzieła najnowsze, skomponowane po roku 1800. Mimo iż większość nazwisk występujących w katalogach nie jest dzisiaj znana publiczności, poszczególne spisy przekazują informacje o muzyce wartościowej. Wiele dzieł odegrało rolę w rozwoju muzyki i kształtowaniu gustów muzycznych Wielkopolan.
    The W. Decker printing shop was a well-known typographical establishment in Poznań at the time of the partitions. The article discusses the book trade of the output of this private press, an issue that hitherto has not been addressed adequately. This activity involved circulation of musical prints imported mainly from Leipzig. While investigating this particular issue and following a press query, the authors came to a quite a surprising conclusion. The press query has made it possible to discover autonomous and extensive book trade catalogues so far unknown. The catalogues in question provide us with information on musical prints available at the time. The wide variety of music styles offered by the printing shop was extensive and covered educational material, sheet music for the exclusive non-professional use and, finally, musical scores for professional ensembles. The offered musical pieces include in the main the then latest works, i.e., those composed after the year 1800. Though the majority of the names represented in the catalogues is not known to the general public today, individual catalogues provide us with much valuable information on music of some merit. Many of these compositions have been forgotten irrevocably, but they undoubtedly had their share in the general development of music and the development of musical tastes of the inhabitants of the Wielkopolska region.
    Źródło:
    Biblioteka; 2013, 17(26); 103-117
    1506-3615
    2391-5838
    Pojawia się w:
    Biblioteka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Rys historyczny Teatru Muzycznego Takarazuka – w poszukiwaniu nowego „teatru narodowego”
    Autorzy:
    Lecińska-Ruchniewicz, Monika
    Powiązania:
    https://bibliotekanauki.pl/articles/777183.pdf
    Data publikacji:
    2017
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Takarazuka Revue
    Japanese theatre
    entertainment
    musical
    mass culture
    modernization
    Opis:
    The Takarazuka Revue (Takarazuka Kagekidan) occupies an important place among Japanese modern theatres and enjoys unwavering popularity both in Japan and abroad. Both the artistic and commercial character of the idea that brought the first Japanese all-female revue to life in 1914 determined its further development and process of conversion from a simple choir to a full scale musical theater. Kobayashi – the founder of the Takarazuka Revue, an opera aficionado and theater critic – was driven by the need to create a new, affordable and easily understandable national theater that would meet the needs of modern Japanese society. Currently, the Takarazuka Revue is one of the most active and successful modern Japanese theaters. Its harmonious combinationof trends in mass culture and Japanese and Western theatrical traditions is fascinating. The highly characteristic fusion of simplicity and splendour, kitsch and sophistication that can be seen in the revue’s works, creates a unique, albeit somewhat controversial style, complemented by musumeyaku (female emploi) i otokoyaku (male emploi) played by actresses taught in a special school affiliated to the Takarazuka Revue.
    Źródło:
    Slavia Occidentalis; 2017, 74/2; 51-64
    0081-0002
    Pojawia się w:
    Slavia Occidentalis
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    On the tenors of the symphony of nature-culture
    Autorzy:
    Dahlig, Piotr
    Powiązania:
    https://bibliotekanauki.pl/articles/780325.pdf
    Data publikacji:
    2009
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    music behaviour
    culture
    nature
    dance
    transition
    ritual
    culture change
    stability
    musical system
    emotion
    expression
    Opis:
    The question of nature-culture and music is approached in the text from several perspectives as points of gravity and profiles, as the ‘tenors’ of considerations of the nature-culture relationship within the context of musical behaviours: 1) the biological tenor - culture as the simulation or imitation of nature (the dominant feature of the art of the Palaeolithic and the rituals of the Neolithic; derivatives in agrarian cultures); in this context, all musical behaviours, the kinetic, verbal, social and symbolic were centred around obtaining and celebrating crops - the results of purposeful activity, patient waiting and the benevolence of supernatural powers. The joy from a powerful hope in the survival of a community through abundant harvests seems to have been the source of the synergy (mutual stimulation) of all the components of socio-musical events, collective rituals and free individual expression. 2) the social tenor, where verbal-dance-musical behaviours (generally speaking - amusement) serve to ‘hew off and distinguish an individual within a group (‘nature’). Thus the nature-culture relationship is translated or reflected in the interplay between the collective and the individual. The dance itself is a play between the (‘natural’) group action and the (‘cultural’) individualised performance. The oscillation between the action of a group and the display of an individual also occur in whirling dances of couples interspersed with individual sung ditties. The social tenor, the transition from collective nature to a culture that is also individual, also concerns the practising of song repertoire, and it is an important factor in understanding cultural change. 3) the conscious-psychological tenor, in which music and musical behaviour are conscious manifestations of culture within historical processes, without necessary references to nature. The fundamental question in this aspect of discussion is the relative extent to which culture is given or created. There is no doubt that nature is given to man, whilst culture needs time. Reflection on the link between music and the social environment leads to the conclusion that nature tightens, while culture loosens, music’s bond with the situational-social context that is strictly ascribed to it. 4) the structural tenor of the musical work/behaviour, which highlights the microworld of nature-culture, particularly the oscillation of openness/change and closedness/ constancy of musical works or behaviours. The nature-culture model can be referred to the logic of development or stylistic change in musical output itself. Following that quartet of tenors, it is worth posing the question as to whether there exists a fifth, linking all the previous four, a ‘cosmic’, theological tenor in the symphony of nature-culture; in other words, whether there exists a ‘school’ of tenors.
    Źródło:
    Interdisciplinary Studies in Musicology; 2009, 8; 109-118
    1734-2406
    Pojawia się w:
    Interdisciplinary Studies in Musicology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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