Informacja

Drogi użytkowniku, aplikacja do prawidłowego działania wymaga obsługi JavaScript. Proszę włącz obsługę JavaScript w Twojej przeglądarce.

English (EN)·Polski (PL)·Yкраїнський (UK)
Przejdź do strony domowej biblioteki Centralna Biblioteka Wojskowa Link otwiera się w nowym oknie Logo biblioteki Prolib Integro - strona głównaCentralna Biblioteka Wojskowa

Wyszukujesz frazę "MUZYKA" wg kryterium: Temat

  Lista filtrów
Wyrównaj
    Wyświetlanie 1-7 z 7
    Tytuł:
    Z problemów repertuaru klawesynowego muzyki włoskiej. Muzyka z przełomu XVI i XVII wieku
    Autorzy:
    Bartkiewicz, Urszula
    Łakomska, Bogna
    Piasecka, Ewa
    Banaszkiewicz-Bryła, Maria
    Powiązania:
    https://bibliotekanauki.pl/chapters/1118883.pdf
    Data publikacji:
    2019
    Wydawca:
    Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
    Tematy:
    muzyka dawna
    muzyka włoska
    muzyka klawesynowa
    klawesyn
    Opis:
    The harpsichord Italian music repertoire at the turn of the 16th and 17th century. The aim of this text is to present the basic issues of the harpsichord performance practice of the Italian music at the turn of the 16th and 17th century. The article contains a lot of advice on how to study a piece of music, starting with research of source materials, instruments, aspects of compositions and performance practice, including issues of musical expression and ornamentation. The article also provides compendious information about the repertoire of the discussed music, its authors, musical forms and types.
    Źródło:
    SZTUKA WŁOSKIEGO BAROKU; 8-32
    9788364615382
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    „…by pomóc organistom” – Fiori musicali Girolama Frescobaldiego
    Autorzy:
    Wyrwa, Ireneusz
    Łakomska, Bogna
    Piasecka, Ewa
    Banaszkiewicz-Bryła, Maria
    Powiązania:
    https://bibliotekanauki.pl/chapters/1117737.pdf
    Data publikacji:
    2019
    Wydawca:
    Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
    Tematy:
    Fiori musicali
    muzyka dawna
    muzyka organowa
    Frescobaldi
    Opis:
    „…to help the organists” – Fiori musicali by Girolam Frescobaldi. The subject of the article is the famous collection of organ pieces of Girolam Frescobaldi, entitled Fiori musicali, which since its publication in 1635 has been continuously generating great interest of musicians and listeners. The text presents a wide context of this work’s creation and focuses on the composer’s original concept, which was obliterated as a result of the Second Vatican Council reforms. The reforms removed the music created for the purpose of The Roman Rite from the liturgy and now such music mainly serves the concert and pedagogical purposes. Frescobaldi’s intentions become clear thanks to the confrontation of the content of Musical flowers with the regulations from the times before the Second Vatican Council governing the use of organs during liturgy. The preface, written by the composer himself, quoted in full, is also the source of valuable information, as well as his intriguing comments to several pieces in the collection discussed in the article. In spite of all that, there are many questions that still remain unanswered, which opens the way to further speculations and interpretations.
    Źródło:
    SZTUKA WŁOSKIEGO BAROKU; 140-148
    9788364615382
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    O come chiare e belle (Olinto pastor), HWV 143 – rzymska serenata Georga Friedricha Haendla w służbie europejskiej polityki
    Autorzy:
    Markuszewska, Aneta
    Łakomska, Bogna
    Piasecka, Ewa
    Banaszkiewicz-Bryła, Maria
    Powiązania:
    https://bibliotekanauki.pl/chapters/1117956.pdf
    Data publikacji:
    2019
    Wydawca:
    Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
    Tematy:
    Georg Friedrich Haendel
    o come chiare e belle (olinto pastor)
    muzyka włoska
    muzyka dawna
    rzymska serenata
    Opis:
    O come chiare e belle (Olinto pastor), HWV 143 – Roman serenata of Georg Friedrich Haendel in the service of European politics. Georg Friedrich Haendel came to Italy in 1706 and spent there almost four years. He made splendid acquaintances with the best musicians active then in Italian cities, such as Domenico Scarlatti, Antonia Caldara, Arcangelo Corelli and many others. In Rome, the most powerful people such as marquis Francesco Maria Ruspoli, cardinal Pietro Ottoboni or cardinal Benedetto Pamphili became his patrons. For them he composed circa 100 cantatas, two oratorios and other religious works. Because opera was prohibited at that time in Rome, he agreed to write operas for Florence and Venice. In 1708 Haendel composed a cantata/ a serenata for marquis Ruspoli entitled (HWV 143) to a libretto by unknown poet (by Ruspoli himself?). It was performed on 9th September 1708 in Ruspoli’s garden during a decisive phase of the War of the Spanish Succession. The main goal of this paper is to shortly present Haendel’s Italian period and to demonstrate how a musical composition was used for the political purposes in the Baroque Rome. will serve as a case study to show how Haendel, through his music, emphasized political allusions hidden in the libretto.
    Źródło:
    SZTUKA WŁOSKIEGO BAROKU; 33-53
    9788364615382
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Domenico Scarlatti’s Sonatas: a multifaceted world ready to be rediscovered
    Autorzy:
    Dellarole, Giorgio
    Łakomska, Bogna
    Piasecka, Ewa
    Banaszkiewicz-Bryła, Maria
    Powiązania:
    https://bibliotekanauki.pl/chapters/1117296.pdf
    Data publikacji:
    2019
    Wydawca:
    Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
    Tematy:
    Domenico Scarlatti
    sonaty
    muzyka dawna
    klawesyn
    Opis:
    Le Sonate di Domenico Scarlatti: un universo multiforme pronto ad essere riscoperto. Enrico Baiano, clavicembalista, docente e musicologo, scrive che, secondo un luogo comune affermatosi nell’Ottocento, Scarlatti è “autore di Sonate brillanti”. Tradotto: “Scarlatti ha scritto pezzi brillanti e di grande utilità tecnica, ma ovviamente privi dell’espressività, della profondità e della complessità di opere dei suoi contemporanei. Le Sonate sono buone da suonarsi all’inizio del concerto per sgranchirsi le dita – in modo che i ritardatari non perdano niente di veramente importante – o come bis, per suonare ‘col pilota automatico’ senza stancarsi ulteriormente”. Ci capita così un’esperienza surreale: un meraviglioso musicista che ci trasporta in paradiso suonando Beethoven, Brahms, Prokofiev, allo scoccare della prima nota di Scarlatti si trasforma in un bravo allievo di onestissima serie B, studioso ma privo di immaginazione. Si scelgono solo sonate ‘brillanti’, trasformate in una corsa contro il tempo, senza respiro e senza logica; nel rarissimo caso di una sonata in tempo moderato, la si esegue con un’espressività scialba e un po’ stolida, priva di qualsiasi ‘esagerazione’, altrimenti ‘è romantica’. È una lettura fuorviante, una vera ingiustizia per Mimo (come era chiamato in famiglia), compositore grande e poliedrico, capace di un’organizzazione della forma e di una profondità di espressione non inferiori a quelle di Bach e Händel. Il mondo scarlattiano è pieno di “affetti”, di suggestioni. Troviamo ritmi di danza, “cantabilità” italiana, influenze andaluse, la polifonia appresa dal padre Alessandro e molti altri caratteri. L’interprete moderno deve riuscire ad identificare e ad interpretare correttamente i diversi “affetti” per rendere giustizia a quei piccoli capolavori che sono le Sonate.
    Źródło:
    SZTUKA WŁOSKIEGO BAROKU; 77-100
    9788364615382
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Rekonstrukcje oper barokowych – blaski, cienie, dylematy – Antonio Vivaldi – Farnace
    Autorzy:
    Radziejewska, Anna
    Łakomska, Bogna
    Piasecka, Ewa
    Banaszkiewicz-Bryła, Maria
    Powiązania:
    https://bibliotekanauki.pl/chapters/1117182.pdf
    Data publikacji:
    2019
    Wydawca:
    Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
    Tematy:
    opery barokowe
    Antonio Vivaldi
    Farnace
    muzyka dawna
    Opis:
    Reconstructing Baroque operas -the pros and cons, dilemmas – Antonio Vivaldi – Farnace. Is it enough to find a manuscript to perform the Baroque opera? Where to find Vivaldi’s manuscripts and what do we have to know to prepare a performing score? What to do if we have several versions of the manuscript? What do we know about Vivaldi’s singers and how they affected his music? What was the way of Giordano-Foa collection? Preparing the performing score of Warsaw premiere of Vivaldi’s Farnace in 2017 I was trying to reply to all these questions and in this article I show the way of thinking behind our reconstruction.
    Źródło:
    SZTUKA WŁOSKIEGO BAROKU; 54-76
    9788364615382
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Antonio Vivaldi – Koncerty fagotowe – historyczna praktyka wykonawcza. Narzędzia podstawowe
    Autorzy:
    Wesołowski, Tomasz
    Łakomska, Bogna
    Piasecka, Ewa
    Banaszkiewicz-Bryła, Maria
    Powiązania:
    https://bibliotekanauki.pl/chapters/1116429.pdf
    Data publikacji:
    2019
    Wydawca:
    Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
    Tematy:
    Antonio Vivaldi
    koncerty fagotowe
    praktyka wykonawcza
    muzyka dawna
    historyczne instrumenty
    Opis:
    Antonio Vivaldi – Bassoon Concertos – historical performance practice. Basic tools. The present article provides basic information how to perform Antonio Vivaldi’s bassoon concertos. Author from a perspective of a performer and teacher of historical bassoons proposes to use the historical performance practice as a guide. Invites students to explore the idea of historical performance by giving a set of basic tools for young bassoonists. Those basic tools are divided i two groups: basic and additional. He speaks about importance of appropriate sources (manusripts, urtext editions with commentary), exploring 18th cent. tempo, understanding a character of a piece and 18th cent. bassoon itself, articulation, ornamentation. Additionaly recommends reading according literature and searching media for inspiring performances of various 17th and 18th cent. music. Author gives also a historical background of the bassoon concertos. Speaks about possible premiere performers and about the bassoon from Vivaldi’s time. Author hopes that the lecture and article will encourage young bassoon players to explore not only the Vivaldi bassoon concertos or 18th cent. music written for bassoon but most of all will wake the curiousity up for the wide and marvelous repertoire of 17th and 18th cent. music.
    Źródło:
    SZTUKA WŁOSKIEGO BAROKU; 101-107
    9788364615382
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Włosi we Wrocławiu – muzyczne skarby Wrocławskiej Biblioteki Uniwersyteckiej
    Autorzy:
    Rupocińska, Aleksandra
    Łakomska, Bogna
    Piasecka, Ewa
    Banaszkiewicz-Bryła, Maria
    Powiązania:
    https://bibliotekanauki.pl/chapters/1115453.pdf
    Data publikacji:
    2019
    Wydawca:
    Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
    Tematy:
    Wrocławska Biblioteka Uniwersytecka
    Włosi we Wrocławiu
    Emil Bohn
    muzyczne zabytki
    muzyka włoska
    Opis:
    Italians in Wrocław – musical treasures of the University Library. The article focuses on the exceptional story of the unique collection of the musical prints from the University Library in Wrocław. The text briefly presents the most valuable examples of prints of early Italian music. The special attention is given to the unique items that can be called the real musical treasures (works of D. Castello, G.B. Fontana, M. Uccellini, Cl. Monteverdi). This particular collection could only be created thanks to the outstanding figures active in the16th and 17th century Wrocław, with their special interest and passion for art and culture. The author of the article wishes to encourage especially young musicians interested in historical musical practice to visit the Library and study these unique resources. It is worth mentioning that this unique collection is currently being digitalized. The opportunity of the actual “hands on” contact with the original first editions of famous musical works is the best way to do the research work, but, above all, it offers a chance to feel and experience the spirit of 17th century Italian music.
    Źródło:
    SZTUKA WŁOSKIEGO BAROKU; 149-156
    9788364615382
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-7 z 7

      Ta witryna wykorzystuje pliki cookies do przechowywania informacji na Twoim komputerze. Pliki cookies stosujemy w celu świadczenia usług na najwyższym poziomie, w tym w sposób dostosowany do indywidualnych potrzeb. Korzystanie z witryny bez zmiany ustawień dotyczących cookies oznacza, że będą one zamieszczane w Twoim komputerze. W każdym momencie możesz dokonać zmiany ustawień dotyczących cookies