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Tytuł:
The Impact of Self-made Musical Instruments on Pupils’ Musical Abilities
Autorzy:
Janeková, Jana
Powiązania:
https://bibliotekanauki.pl/articles/30147315.pdf
Data publikacji:
2006-06-30
Wydawca:
Wydawnictwo Adam Marszałek
Tematy:
Self-made musical instruments
musical abilities
pedagogical experiment
Opis:
The contribution deals with progressively understood instrumental activities during the lessons of music education while using children’s self-made musical instruments and graphical expressions of the music elements. When effectively linked to other music activities, such a concept can be a way to complex personality development of pupils. The are partially presented research results that refer to the observation of the influence of music education drawn up in this way on pupils’ musical abilities in the 2nd and 4th grades of elementary schools.
Źródło:
The New Educational Review; 2006, 9; 129-141
1732-6729
Pojawia się w:
The New Educational Review
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„Jerozolimo, dla wszysytkich Twoich pieśni jestem harfą”. Pole semantyczne hebrajskiego rzeczownika רוֹנִּכּ (kinnôr)
“Jerusalem, for all your songs i am a «Harp»”. The semantic field of the Hebrew substantive נּוֹרִכּ (kinnôr)
Autorzy:
Grochowski, Zbigniew
Powiązania:
https://bibliotekanauki.pl/articles/2166011.pdf
Data publikacji:
2013-12
Wydawca:
Wyższe Seminarium Duchowne Diecezji Elbląskiej w Elblągu
Tematy:
kinnôr
biblical musical instruments
harp
lyre
zither
Opis:
What was the instrument played by the king David (cf. 1 Sam 16:16,23)? What kind of musical instrument did the exiles hang upon the willow in Babylon (cf. Ps 137,2)? Such a questions could be multiplied, and the first association which often comes on one’s mind is that very probably it was a “harp”. But the research done on the Hebrew substantive kinnôr (this is the original word expressing the musical instrument being in question) brings to a conclusion that also “zither”, “lyre” and “lute” should be taken in consideration. This substantive (rather frequent in the Old Testament: 42 occurrences in the Masoretic Text) inspired the translators of the Holy Scripture and the authors of the biblical lexicons, dictionaries and encyclopedias to a vast (and, consequently, sometimes quite complicated) interpretation of this word: it is not so easy to decide, which instrument actually represents the noun kinnôr. It seems to be rather sure that “zither” has not too high probability to be a designatum of this Hebrew word (and much more “lute” should be refused). A “lyre” is the most famous interpretation of kinnôr given by modern authors, but a “harp” which is also a very popular opinion is our favourite rendition, regarding kinnôr. That is why the title of this article is as follows: “«Jerusalem, for all your songs I am a harp». The semantic field of the Hebrew כִּנּוֹר (kinnôr).
Źródło:
Studia Elbląskie; 2013, 14; 253-269
1507-9058
Pojawia się w:
Studia Elbląskie
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Impact of Self-made Musical Instruments on Pupils’ Motivation
Autorzy:
Janeková, Jana
Powiązania:
https://bibliotekanauki.pl/articles/28765677.pdf
Data publikacji:
2005-12-31
Wydawca:
Wydawnictwo Adam Marszałek
Tematy:
Self-made musical instruments
motivation
pedagogical experiment
Opis:
The paper gives an account of research on the impact of progressively understood instrumental activities on the motivation of pupils during the lessons of music education in the 2nd and 4th grades elementary school. We present the results of research performed through a pedagogical experiment that included various methods of pupil motivation. As a part of it we used children’s self-making of simple musical instruments and playing them while also using graphical depicting of music elements in an organic conjunction with further music activities.
Źródło:
The New Educational Review; 2005, 7; 233-243
1732-6729
Pojawia się w:
The New Educational Review
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Effect of Transverse Acoustic Flow on the Input Impedance of Rapidly Flaring Horns
Autorzy:
Nederveen, C. J.
Powiązania:
https://bibliotekanauki.pl/articles/177015.pdf
Data publikacji:
2011
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
input impedance
horn
wind musical instruments
boundary conditions
Opis:
In slowly flaring horns the wave fronts can be considered approximately plane and the input impedance can be calculated with the transmission line method (short cones in series). In a rapidly flaring horn the kinetic energy of transverse flow adds to the local inertance, resulting in an effective increase in length when it is located in a pressure node. For low frequencies corrections are available. These fail at higher frequencies when cross-dimensions become comparable to the wavelength, causing resonances in the cross-direction. To investigate this, the pipe radiating in outer space is modelled with a finite difference method. The outer boundaries must be fully absorbing as the walls of an anechoic chamber. To achieve this, Berenger’s perfectly matched layer technique is applied. Results are presented for conical horns, they are compared with earlier published investigations on flanges. The input impedance changes when the largest cross-dimension (outer diameter of flange or diameter of the horn end) becomes comparable to half a wavelength. This effect shifts the position of higher modes in the pipe, influencing the conditions for mode locking, important for ease of playing, dynamic range and sound quality.
Źródło:
Archives of Acoustics; 2011, 36, 3; 533-544
0137-5075
Pojawia się w:
Archives of Acoustics
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
A Study on the Correlation between Wood Moisture and the Damping Behaviour of the Tonewood Spruce
Autorzy:
Göken, J.
Fayed, S.
Schäfer, H.
Enzenauer, J.
Powiązania:
https://bibliotekanauki.pl/articles/1030781.pdf
Data publikacji:
2018-05
Wydawca:
Polska Akademia Nauk. Instytut Fizyki PAN
Tematy:
spruce wood
musical instruments
wood moisture
damping measurement
Opis:
In acoustic musical instruments special attention needs to be paid to those particularly sensitive parts made of tonewood whose function is to respond to vibrations. One of the most important tonewoods is spruce because of its good resonance properties. Spruce is especially used for soundboards, these being the primary source of sound. Piano manufacturers dry their soundboards to approximately 6% wood moisture, at which drying stage they are glued into the instrument. Fluctuations of the moisture content in the wood affect the tone. With changing moisture content, the instrument can go out of tune, even cracks can appear at very low moisture content in the wood. In addition, the tone colour will change. This may result from changes in the hammer felt or from changes in the vibration properties of the soundboard. Strain- and frequency-dependent damping measurements were carried out on spruce wood at different wood moisture contents in order to investigate the effect of the moisture content on the vibration behaviour. Wood which is slowly dried in air for several years is preferably used for high-class pianos. Therefore, damping measurements on new and on more than 130-year old spruce wood samples were performed.
Źródło:
Acta Physica Polonica A; 2018, 133, 5; 1241-1260
0587-4246
1898-794X
Pojawia się w:
Acta Physica Polonica A
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:
Czego o portatywie i pozytywie historyk sztuki nie wie, a co wiedzieć powinien
What art historians do not know but should know about portative organ and positive organ
Autorzy:
Grajewski, Czesław
Powiązania:
https://bibliotekanauki.pl/articles/1068201.pdf
Data publikacji:
2019-10-01
Wydawca:
Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie
Tematy:
portatyw
pozytyw
instrumenty muzyczne
malarstwo
portative organ
musical instruments
painting
Opis:
Autor opisuje pokrótce historię i zastosowanie w muzyce dwóch instrumentów organowych: portatywu i pozytywu. Ukazuje różnicę w budowie między nimi i charakterystyczne cechy, które pozwalają zidentyfikować oba typy w dawnym malarstwie. Ważną cechą obu instrumentów jest ułożenie piszczałek. Na obrazach widzimy dwie możliwości: od lewej do prawej wysokość piszczałek może się zmniejszyć lub zwiększyć. Właściwe przedstawienie pokazałoby (zawsze) malejący rząd piszczałek od lewej do prawej.
The author briefly describes the history and use in music of two organ-type instruments: a portative organ and a positive organ. He shows the difference in construction between the two and the characteristic features that allow to identify both types in old painting. An important feature of both instruments is the arrangement of the pipes. In the paintings we can see two possibilities: from the left to the right side, the height of the pipes may decrease or increase. An accurate depiction would (always) show the pipe row decreasing from left to right.
Źródło:
Artifex Novus; 2019, 3; 130-143
2544-5014
Pojawia się w:
Artifex Novus
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Between the Silence of the Past and the Future
Autorzy:
Gruszczyńska-Ziółkowska, Anna
Powiązania:
https://bibliotekanauki.pl/articles/1774805.pdf
Data publikacji:
2019-12-29
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
archaeomusicology
idiophones
lithophones
musical instruments
rattles
reconstruction
3D modelling
Opis:
Archaeomusicological research currently con- ducted at the Institute of Musicology, University of Warsaw, institutionalised thanks to the financial support from the Ministry of Science and Higher Education (grant NPRH), gave the opportunity to develop a wider field of research. The project includes not only the documentation of musical instruments but first and foremost experimental studies. We started with completely new research on idiophones (e.g. on the sounds of lithophones and rattles), returned to previously closed topics (e.g. gusli from Opole), and developed reconstruction methods using state-of-the-art technology (e.g. the reconstruction of flutes).
Źródło:
Światowit; 2018, 57; 117-128
0082-044X
Pojawia się w:
Światowit
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Zachowane instrumentarium dawnego Gdańska — przyczynek do tematu
Extant musical instruments of old Gdańsk — a contribution to the topic
Autorzy:
Mądry, Alina
Powiązania:
https://bibliotekanauki.pl/articles/521908.pdf
Data publikacji:
2012
Wydawca:
Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
Tematy:
musical culture
musical instruments
lute-cittern
clavichord
Johann Goldberg
Johann Adolph Hass
Opis:
Gdańsk was an important centre shaping the musical culture of the Republic of Poland in past centuries. It is evidenced by, among others, preserved musical instruments which were built by the makers working in the city, or were used by city musicians. The Museum of Musical Instruments in Poznań has in possession two instruments which are associated with Danzig — the lute-cittern made by Johann Goldberg and the clavichord by Johann Adolph Hass. Both instruments provide a valid evidence of music-making in the old Gdańsk. Luthier and musician, Johann Goldberg was a promoter of Gdańsk’s musical life in the 18th century, and he especially valued domestic music making. He was on friendly terms with the most important musicians of the city. The fact that most probably Goldberg primarily produced lute-citterns may suggest that this kind of music-making among the inhabitants of the eighteenth-century Gdańsk was popular. The Hass’ clavichord in turn does not document the musical instruments making in Gdańsk, but it is a perfect example that instruments from the best European workshops were imported to the city. In eighteenth-century Germany one of the leading centres of the clavichords making was Hamburg. In that city worked the famous Hass family. It primarily consisted of father Hieronymus Albrecht Hass (1689–1752) and his son Johann Adolph (1713–1771). Their clavichords were among the best available at that time in Europe. To this day 27 instruments have survived from their workshop — 11 built by H. A. Hass and 16 by J. A. Hass. Instruments from Hass’ workshop were highly prized by the end of the eighteenth century. The content of article about Johann Adolph Hass’ clavichord and Johann Goldberg’s instruments is another small contribution to our knowledge about Gdańsk’s old instruments.
Źródło:
Aspekty Muzyki; 2012, 2; 39-51
2082-6044
Pojawia się w:
Aspekty Muzyki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
W poszukiwaniu dźwięków przeszłości. Zagadkowy przedmiot z Ostrowa Lednickiego
In the search for the sounds of the past. A mysterious object from Ostrów Lednicki
Autorzy:
Wrzesiński, Jacek
Powiązania:
https://bibliotekanauki.pl/articles/532340.pdf
Data publikacji:
2019
Wydawca:
Muzeum Pierwszych Piastów na Lednicy
Tematy:
Ostrów Lednicki
wczesne średniowiecze
drewniane instrumenty muzyczne
early Middle Ages
wooden musical instruments
Opis:
People devote almost all their life to ensure themselves and their family a proper standard of living. Their activities focus on acquiring food, organizing a safe living space and ensuring safety. However, if our activity was restricted only to the vital needs formulated in this way, it would not only be a far-reaching simplification but most of all a rejection of the greatest characteristics of a human being — their free will and their mind. These allow one to move to the spiritual realm, and search for social bonds without restricting oneself only to living functions. People need community integration not only through work, but also through entertainment, sensations and experiences, which result from various experiences in life from the moment of birth till death. In the 2nd half of the 10th century the land under the Piast reign was entering the Latin civilization circle. Western cultural trends started to permeate the local traditions. New settlements and cultural centres were developing and the existing ones were being remodeled. The residences of secular and church authorities came to be an indispensable and representative facility in new central places. One of the most important gord centres located in the centre of the Piast rulership is the area of Lednica lake. On the biggest island of the lake — Ostrów Lednicki — in the 1st half of 10th century a gord was established, around which a local settlement centred for several centuries. Just on Lednica gord a complex of residential-sacral buildings was created. For over 150 years research has been conducted on the island — both archaeological and the broadly understood interdisciplinary research connected with it. A gord, an open settlement on the island, settlements and burial grounds on the shores of the lake, as well as the waters of the lake were included in the study. One of the research places included the eastern shore of Lednica island, where at the turn of the 1980s and 1990s constructions and layerings connected with the abutment of the east bridge were uncovered (fi g. 1). This research, carried out by Mateusz Łastowiecki in excavation I/87, brought valuable information concerning the construction of the bridge, a point of contact between the bridge and the island, the character of the layerings, and a significant number of monuments, among which the objects made of organic raw material constituted a significant part. A tiny wooden object was one of them (inv. no. 103/91 – MPP/A/158). Unfortunately it was preserved fragmentarily (fi g. 2). It was made of foliaceous wood — beech (European beech Fagus sylvatica L) — and it has a clearly legible and neat form. It resembles a heart in shape (preserved roughly in half) with three holes — two wholly retained and one partially (fi g. 3). A straight broken back-end goes from the wider part of the “heart”. If we look at the object along its longer axis, it can be noticed that the holes do not align — vertically they mark three separate lines. The total length of the preserved piece is 11.6 cm, while the width in the widest place is 3.9 cm. The diameter of the holes, which were drilled slightly aslope with respect to the flat surface of an object, is around 0.6 cm. The “subcordate” part is 8.2 cm long and 0.8 cm thick. In the side plane of the object the “subcordate” part moves at a slight angle to the longitudinal one. There is a slight perpendicular protrusion, a convex — a kind of a threshold — at the point of contact of the two parts. Two transversal cuts around 0.8 cm away from one another are visible at this threshold. At the bottom ultimate longitudinal part, a clear perpendicular cut which creates a shallow (2 millimeter) step which goes to the edge of the fracture is visible (fi g. 5). At the upper part of the described piece, two small symmetrically placed indentations are distinguishable. The object was found in the excavation marked I/87, in quarter B, in the layer IIIa3. On the basis of the cultural material which appeared in the exposed layers and taking into consideration the dates of dendrochronological analysis, the chronology of the IIIa–d layers (in which the described object was found) can be dated to the 2nd–3rd quarter of the 11th century. The described piece of a distinctively formed object certainly comes from the damaged musical instrument. The broken piece is a peghead plate with a short neck. As already mentioned, it can come from a rebec — a stringed musical instrument. The origins of the rebec can be ambiguous. It is rooted in the Middle East, and it reached Europe through the Arabs. The name of the instrument derives from Arabic, in which it is known as rababu. It appears in a similar form from at least the 10th century, and the period between the 10th and 14th centuries is the time of its greatest splendour. Bowed string instruments — rebecs and vielles — were depicted in medieval iconography. On the basis of these sources, a classification of the instrument is possible. It shows that several kinds of these instruments were built in the Middle Ages (fi g. 6, 7). Pieces of diverse objects which are found during archaeological excavations, very often create a lot of problems during the identification of their original appearance and the reconstruction of the intended use of a particular piece. The above-mentioned team made an attempt to identify a piece of the find from Lednica. The initial examination, discussion over the details of the construction and the foregoing experience directed our search towards musical instruments — chordophones — i.e. wooden stringed instruments. The medieval iconography does not facilitate the identification. Information about the use of chordophones by the Slavs already comes from the end of the 6th century. According to the message of the Byzantine writer Theophylact Simocatta, in 591 soldiers from a personal unit of the emperor Maurice (Maurikios) captured three unarmed Slavs, who had come from the Baltic Sea (Sclaveni from the West Ocean). At the moment of their capture they were unarmed, but they were carrying musical instruments — kitharas. It is believed that this is the oldest written source which confirms that Slavs were familiar with musical practices, and the instruments described in it were κιθάραι (kitharas) and λύραι (lyres). It is thought that these names can refer to the plucked string instruments with a corpus-soundbox, to which the Proto-Slavic name gusles can refer. The oldest Cyril-Methodius’ Bible translation speaks in favour of equating the name κιθάραι with Slavic gusles. Interestingly, we can read twice about stringed instruments in Gallus Anonymus, who describes the reign of the first Piast rulers. So far, less than ten wooden chordophones from archaeological research in the area of the Piast reign, from the 10th–15thc., have been known. Lyres, vielles, a nyckelharpa and a gittern have been identified among those. Two wooden lyres come from the 10th–11th century cultural layerings of a gord in Opole. Another lyre, which comes from the 2nd half of the 13th century, was found during archaeological research in a fishing village in Gdańsk. A piece of a wooden outer board of an instrument — probably of a nyckelharpa — from Wolin, can be dated to the 3rd quarter of the 13th century. A gittern of a small size comes from the layerings of the 15th century Elbląg, whereas two other instruments classified as vielles were obtained in the course of archaeological research. One of them comes from 14th century Elbląg, the other one, dated to the 16th century, was found during excavation works in Płock. The greatest number of wooden instruments — from the areas which were in the closest vicinity to the Piast reign — was found on the territory of Ruthenia, especially in Veliky Novgorod. The shape of an object found at Ostrów Lednicki and its detailed examination supported by the material from excavation works permitted the suggestion that this is a part of a wooden stringed instrument. It could probably be a peghead headstock of a rebec’s neck, an instrument where the strings were rubbed with the bow. The reconstructed instrument from Lednica was built from two pieces of wood. The headstock plate, the neck and the corpus were made from one piece, and the soundbox, which was cut into the corpus, was covered with an outer board. During the reconstruction of the complete, probable original look of the instrument, several small but legible signals, visible on the described piece, were taken into consideration. The state of preservation fostered the moderately correct reconstruction of the upper part of the instrument. The fracture of the neck appeared just at the horizontal axis of an object, while the partially preserved upper part of a headstock allowed one to line out a line which gave it a full shape. A very small part of a neck survived, but it was long enough to adjust the proportions. Fortunately, the presence of a small transverse cut suggested the point of the fixing and glueing of the outer board. At the point of transition from a headstock into the neck there are traces which allow one to conclude where a fixing for hanging (?) an instrument was placed. Two holes and a fragment of a third one preserved in the subcordate part formed a basis for drawing conclusions about the number of strings and the arrangement of the string pegs. The traces of the cuts on a small transverse bump-fret (a nut) constituted a clue concerning the number of strings and their distance over the neck. The angle created by the headstock and the preserved piece of the neck, as well as the location of a fret, allowed one to roughly work the further part of an instrument out. A subtle but legible indentation at the neck, marked the fixing point of the outer board of a corpus. The reconstructed instrument was equipped with a flat bridge, and strings from sheep intestines were prepared. The rebec reached 46 cm in length, and at the widest point it was 10 cm wide. A bow (length of 67 cm) was made from willow switch, whereas the string from horsehair. What is the significance of the small piece of a wooden object — found during research at the Lednica bridge abutment — for the inhabitants of Lednica? Who was it for and what was its role? We will probably never find this out. However, as a result of the research and discussions we can state that this is a piece of a peghead of a wooden stringed instrument. It could be a part of a gusle (as generally understood, stringed instruments), maybe of a rebec, possibly of a gudok. The name of the find is certainly significant for musicologists, historians who focus on musical instruments, or music theorists; however, for those who conduct research at Ostrów Lednicki and study the gord which was established there, the identification of an instrument itself is the most relevant. It is important that we can say that at the time when the gord with sacred places was functioning at Ostrów Lednicki, there were musicians who were playing not only liturgical music but certainly secular music too.
Źródło:
Studia Lednickie; 2019, 18; 151-178
0860-7893
2353-7906
Pojawia się w:
Studia Lednickie
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Instrumenty muzyczne w Księdze Amosa
Musical Instruments in the Book of Amos
Autorzy:
Kubies, Grzegorz
Powiązania:
https://bibliotekanauki.pl/articles/1051430.pdf
Data publikacji:
2015-11-23
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II
Tematy:
Old Testament
Book of Amos
music
song
musical instruments
horn
lyre
king David
Opis:
References to music are common elements of prophetic literature, especiallyin the Books of the Major Prophets (Isaiah, Jeremiah and Ezekiel), indirectly indicating writers’ interests in that form of art. There are five musical terms mentioned in the Book of Amos: šôpär - horn (Am 2,2; 3,6), qînäh - lamentation, dirge (Am 5,1; 8,10), nëbel - probably lyre (Am 5,23; 6,5), šîr - song (Am 5,23; 6,5; 8,3.10) and Külê-šîr - instruments of song, string instruments (Am 6,5). The purpose of the article is to interpret the musical motifs excluding two related to singing in the biblical and archeomusicological contexts. Am 5,23 and 6,5 can be linked with real musical performance practices in sacred and secular environments in ancient Israel/Palestine. Am 2,2 confirms how important part in the Near East played signal aerophones, whereas Am 3,6 reflects characteristic aspects of Amos’s vocational narrative. The figure of Kind David in Am 6,5 is analyzed in the context of the origin of musical instruments. The comparative materials for Am 2,2; 3,6; 5,23 and 6,5 are mainly the prophetic Books.
Źródło:
The Biblical Annals; 2015, 5, 1; 81-94
2083-2222
2451-2168
Pojawia się w:
The Biblical Annals
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Musica non grata? Motywy i obrazy muzyczne w Księdze Izajasza
Autorzy:
Kubies, Grzegorz
Powiązania:
https://bibliotekanauki.pl/articles/950577.pdf
Data publikacji:
2014
Wydawca:
Polskie Towarzystwo Teologiczne
Tematy:
Biblia
Izajasz
muzyka
instrumenty muzyczne
starożytna kultura
Bible
Music
musical instruments
Isaiah
ancient culture
Opis:
In the article I interpret musical motifs and images in the Book of Isaiah. The main musicological part of the text precede comments on biblical prophecy, symbolic acts (among them acts connected with music) and Isaiah, the prophet living in the VIII century BC. The research material – eleven passages where musical instruments are mentioned (ḥālîl, šōpār, tōp, kinnôr, nēbel), has been divided into three groups. In the first one (2 passages) I discuss the topos of shofar as the signalling tool, in the second (6 passages) I undertake research into ancient music performance practice. In the last group I examine three passages where musical instruments form parts of the simile, a figure of speech. All musical motifs and images are presented in broad biblical, theological and cultural contexts. Although the music in the Book of Isaiah is linked with drunkenness (Isaiah 5, 12, 24, 10), prostitution (Isaiah 23, 16), associated with the hostile powers (Isaiah 14,  1, 30, 32), it „sounds” ad maiorem Dei gloriam (Isaiah 30, 29, 38, 20), it is not unwanted art (non grata). The negative image of the music can not be associated with the shofar (Isaiah 18: 3, 27, 13, 58, 1).
W prezentowanym artykule dokonuję interpretacji motywów i obrazów muzycznych w Księdze Izajasza, dziele zredagowanym w V wieku przed Chrystusem lub później, łączonym z imieniem wybitnego proroka z VIII wieku przed Chrystusem. Zasadnicze rozważania muzykologiczne poprzedzają uwagi na temat biblijnego profetyzmu, czynności symbolicznych, pośród nich muzyki oraz osoby samego proroka. Materiał badawczy – jedenaście fragmentów, w których wzmiankowane są instrumenty muzyczne (ḥālîl, šōpār, tōp, kinnôr, nēbel) został podzielony na trzy grupy. W pierwszej (2 fragmenty) omawiam topos rogu-narzędzia sygnalizacyjnego, w drugiej (6 fragmentów) podejmuję zagadnienia starożytnej praktyki wykonawczej. W ostatniej grupie (3 fragmenty) poddaję analizie fragmenty, w których instrumenty muzyczne pojawiają się w ramach konstrukcji semantyczno-stylistycznej, jaką jest porównanie. Wszystkie omawiane motywy i obrazy muzyczne zostały ukazane w szerokim kontekście biblijno-kulturowym. W rozważaniach nie zabrakło odniesień do innych ksiąg biblijnych. Tekst Biblii Tysiąclecia (wyd. 5, Poznań 2000), który został uzupełniony o nazwy hebrajskie, jest konfrontowany z innymi współczesnymi przekładami – Biblią Warszawską (1975) i Biblią Lubelską (1991–). Choć muzyka w Księdze Izajasza jest łączona z pijaństwem (Iz 5, 12; 24, 10), prostytucją (Iz 23, 16), kojarzona z wrogimi potęgami (Iz 14, 11; 30, 32), to – podkreślmy – „rozbrzmiewa” także ad maiorem Dei gloriam (Iz 30, 29; 38, 20), nie jest sztuką niechcianą (non grata). Z negatywnym obrazem muzyki nie można w żaden sposób łączyć rogu (Iz 18, 3; 27, 13; 58, 1).
Źródło:
Ruch Biblijny i Liturgiczny; 2014, 67, 4
2391-8497
0209-0872
Pojawia się w:
Ruch Biblijny i Liturgiczny
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Modelling and Measurement of Folk Guitar : Truss Rod and Strings in Numerical Analysis of Tone
Autorzy:
Bielski, Paweł Michał
Kujawa, Marcin
Lubowiecka, Izabela
Powiązania:
https://bibliotekanauki.pl/articles/176738.pdf
Data publikacji:
2019
Wydawca:
Polska Akademia Nauk. Czasopisma i Monografie PAN
Tematy:
sound quality
musical instruments
acoustic folk guitar
string tension
truss rod
non-linear modelling
Opis:
The study makes an attempt to model a complete vibrating guitar including its non-linear features, specifically the tension-compression of truss rod and tension of strings. The purpose of such a model is to examine the influence of design parameters on tone. Most experimental studies are flawed by uncertainties introduced by materials and assembly of an instrument. Since numerical modelling of instruments allows for deterministic control over design parameters, a detailed numerical model of folk guitar was analysed and an experimental study was performed in order to simulate the excitation and measurement of gitar vibration. The virtual guitar was set up like a real guitar in a series of geometrically non-linear analyses. Balancing of strings and truss rod tension resulted in a realistic initial state of deformation, which affected the subsequent spectral analyses carried out after dynamic simulations. Design parameters of the gitar were freely manipulated without introducing unwanted uncertainties typical for experimental studies. The study highlights the importance of acoustic medium in numerical models.
Źródło:
Archives of Acoustics; 2019, 44, 1; 35-49
0137-5075
Pojawia się w:
Archives of Acoustics
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Nyckelharpa z Wolina. Przyczynek do historii instrumentów strunowych w średniowiecznej Europie
Autorzy:
Janowski, Andrzej
Popławska, Dorota
Mazurek, Stanisław
Szychowska-Krąpiec, Elżbieta
Powiązania:
https://bibliotekanauki.pl/articles/1038321.pdf
Data publikacji:
2015-01-01
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Wolin
Middle Ages
musical string instruments
nyckelharpa
keyed fiddle
Opis:
The text presents the results of a functional analysis and interpretation of a wooden object discovered during archaeological works in Wolin. According to the authors of the article, it is the top plate of the soundboard of a stringed instrument called the nyckelharpa. The results of a radiocarbon test indicate that the Wolin instrument is now the oldest known instrument of this type.
Źródło:
Slavia Antiqua: rocznik poświęcony starożytnościom słowiańskim; 2015, 56; 215-230
0080-9993
Pojawia się w:
Slavia Antiqua: rocznik poświęcony starożytnościom słowiańskim
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Предмети на културата (музикални инструменти) и музиката в Библията. Към въпроса за музикалността на поетическото слово, за химнографията и лириката на Николай Лилиев
Autorzy:
Simeonova-Konach, Galia
Powiązania:
https://bibliotekanauki.pl/articles/677884.pdf
Data publikacji:
2016
Wydawca:
Polska Akademia Nauk. Instytut Slawistyki PAN
Tematy:
musical instruments in biblical texts
Byzantine and Bulgarian hymnography
Nikolay Liliev
symbolist poetry
rhythmic and metric structures
Opis:
Cultural artefacts (musical instruments) and music in the Bible: On the question of the music of poetry, hymnography and the lyric poetry of Nikolay LilievThe present paper is dedicated to the symbols of musical culture in semiotic and cultural discourse, as reflected by the category “cultural artefacts” (musical instruments) in the Bible. At the same time, it is as an attempt to demonstrate the literary critical and musicological potential of the problem. The category “musical instruments” in biblical texts has been discussed in a historical perspective. Another issue analysed in the paper are the rhythmic and metric structures of Byzantine and Bulgarian hymnography. Both these questions are viewed from the perspective of musical and poetical homology in Bulgarian symbolist poetry, specifically in the lyric poetry of Nikolay Liliev, and of the connections of Orthodox hymnography with broadly understood musicality of poetry. Artefakty (instrumenty muzyczne) i muzyka w Biblii. O muzyczności tekstu literackiego, hymnografii i liryki Nikołaja LiliewaArtykuł poświęcony jest roli symboli kultury muzycznej w dyskursie semiotycznym i kulturowym na podstawie kategorii artefaktów kulturowych (instrumentów muzycznych) w Biblii oraz stanowi próbę ukazania literacko-krytycznego i muzykologicznego potencjału zagadnienia. Kategoria „instrumenty muzyczne” w tekstach biblijnych została omówiona w perspektywie historycznej. Tekst analizuje również problematykę struktur rytmicznych i metrycznych hymnografii bizantyjskiej i bułgarskiej. W drugiej części artykułu oba zagadnienia rozpatrywane są w aspekcie muzycznej i poetyckiej homologii poezji symbolistów bułgarskich, na podstawie liryki Nikołaja Lilijewa. Inną kwestię podejmowaną w wyżej wymienionym kontekście są niektóre związki i relacje pomiędzy hymnografią prawosławną a szeroko rozumianą muzycznością poezji.
Źródło:
Slavia Meridionalis; 2016, 16
1233-6173
2392-2400
Pojawia się w:
Slavia Meridionalis
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 27

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