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 "music" wg kryterium: Temat

  Lista filtrów
Wyrównaj
    Wyświetlanie 1-5 z 5
    Tytuł:
    Nelle mani dell’editore. Intorno alle due edizioni dei Ricercari d’intavolatura d’organo, libro primo di Claudio Merulo (1567, 1605)
    Autorzy:
    Collarile, Luigi
    Powiązania:
    https://bibliotekanauki.pl/articles/473824.pdf
    Data publikacji:
    2018
    Wydawca:
    Uniwersytet Jagielloński. Musica Iagiellonica
    Tematy:
    Claudio Merulo, Angelo Gardano, organ music, music printing and publishing,
    Venice
    Opis:
    The aim of this study is to reconsider the nature of the relationship between the two editions of Claudio Merulo’s Ricercari d’intavolatura d’organo, libro primo (Venice, 1567; ibid., 1605). On the basis of a careful bibliographic analysis it is possibile to highlight the probable derivation of the posthumous reprint produced by Angelo Gardano in 1605 from the original edition published by the same Merulo in 1567 and, more generally, various aspects related to the materiality of the editorial work concerning the publishing of a music book at the time.
    Źródło:
    Musica Iagellonica; 2018, 9; 5-29
    1233-9679
    2545-0360
    Pojawia się w:
    Musica Iagellonica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Trascrizione e traduzione: esperienze parallele in musica e poesia
    Autorzy:
    Masi, Leonardo
    Powiązania:
    https://bibliotekanauki.pl/articles/2081248.pdf
    Data publikacji:
    2017
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    translation
    poetry
    transcription
    Polish literature
    music and literature
    Opis:
    Transcription and translation: parallel experiences in music and poetry – Referring to some personal experiences and some statements by Norman Davies, Umberto Eco and Fabio Scotto, the author tries to find analogies between translating poetry and transcribing music. Before and behind the performer’s work, the translator and the transcriber deal with important issues such as timbre and tone, which are not less important than parameters easier to define and more debated (rhythm, phonics). The translator of poetry should “think for poetry”, paraphrasing the title of Leibowitz’s book about transcription Thinking for orchestra.
    Źródło:
    Kwartalnik Neofilologiczny; 2017, 4; 467-476
    0023-5911
    Pojawia się w:
    Kwartalnik Neofilologiczny
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Τὸ καλόν as a Criterion for Evaluating Innovation (τὸ καινόν) in Greek Theory of Musical Education: “Ancient” versus “New” Music in Ps. Plut. De musica
    Τὸ καλόν as a Criterion for Evaluating Innovation (τὸ καινόν) in Greek Theory of Musical Education: “Ancient” versus “New” Music in Ps. Plut. De musica
    Autorzy:
    Gostoli, Antonietta
    Powiązania:
    https://bibliotekanauki.pl/articles/633569.pdf
    Data publikacji:
    2017
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Ps. Plut. De musica
    ancient and new music
    Greek musical education
    Opis:
    The Pseudo-Plutarchan De musica provides us with the oldest history of Greek lyric poetry from the pre-Homeric epic poetry to the lyric poetry of the fourth century B.C. Importantly, the work contains also an evaluation of the role of music in the process of educating and training the citizens. Ps. Plutarch (Aristoxenus) considers the καλόν in the aesthetic and ethical sense, which makes it incompatible with the καινόν dictated by the new poetic and musical season.
    The Pseudo-Plutarchan De musica provides us with the oldest history of Greek lyric poetry from the pre-Homeric epic poetry to the lyric poetry of the fourth century B.C. Importantly, the work contains also an evaluation of the role of music in the process of educating and training the citizens. Ps. Plutarch (Aristoxenus) considers the καλόν in the aesthetic and ethical sense, which makes it incompatible with the καινόν dictated by the new poetic and musical season.
    Źródło:
    Peitho. Examina Antiqua; 2017, 8, 1; 379-390
    2082-7539
    Pojawia się w:
    Peitho. Examina Antiqua
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Il teatro delle e per le monache (Napoli, secolo XVIII)
    The Theatre of and for the Nuns (Naples, 18 th century)
    Autorzy:
    Novi Chavarria, Elisa
    Powiązania:
    https://bibliotekanauki.pl/articles/446324.pdf
    Data publikacji:
    2019-11-30
    Wydawca:
    Wydawnictwo Adam Marszałek
    Tematy:
    theatre
    music
    female monasteries
    Naples
    18 th century
    secolo XVIII
    teatro
    musica
    monasteri femminili
    Napoli
    Opis:
    Recent studies have focused on the musical environment and the theatre in female monasteries of many Italian cities between the 16 th and 18 th centuries. These art forms became famous as forms of entertainment in travel literature and in the chronicles of the time but were forbidden in the age of the Counter-Reformation. However, the theatrical performances, both in prose and in music, enjoyed enormous success and spread in male and female monasteries. As of the 17 th century, if not even earlier, travellers from half of Europe arrived in Naples, attracted by the excellence of the musical and theatrical performances that they could enjoy in the monasteries of the city. This essay aims to reconstruct the times, the modalities, and the contents of the theatrical offerings in the female monasteries of Naples at the beginning of the 18 th century, all of which are still unknown today. In particular, the case of the Franciscan monastery of St Chiara will be examined. Through the patronage of Queen Maria Amalia, musical and theatrical performances played an active leading role in the configuration of a specific theatrical type and taste and increased the education of the nuns and young women who were educated in the monastery, representing and legitimising new feelings and sensibilities. The religious women found a way to talk of their feelings and concerns together; they forged relationships even with the environments outside of the monastery and especially with the Queen’s court and with the courts of the aristocratic palaces of their families of origin.
    Studi recenti hanno fatto luce sull’ambiente musicale e sul teatro monastico femminile di molte città italiane tra Cinque e Settecento, conferendo spessore documentario alla fama di cui tali forme di spettacolo godevano nella letteratura da viaggio e nella memorialistica cittadine dell’epoca. Si trattava di pratiche culturali vietate dalla normativa post-tridentina, eppure spettacoli teatrali, sia in prosa che in musica, ebbero una enorme fortuna e diffusione nei monasteri maschili e femminili. Napoli, in particolare, sin dal secolo XVII, se non da addirittura prima, richiamò viaggiatori provenienti da mezza Europa anche in virtù della eccellenza delle esecuzioni musicali e teatrali di cui era possibile fruire nei monasteri della città. Il saggio prova a far luce su tempi, modalità e contenuti dell’offerta teatrale dei monasteri femminili napoletani agli inizi del secolo XVIII, in particolare del monastero delle francescane di S. Chiara che, grazie al patronage della regina Maria Amalia, pare abbia avuto un ruolo attivo e trainante nella configurazione di uno specifico genere e gusto teatrali volto a incrementare l’istruzione delle religiose e delle giovani che venivano educate nel monastero, ma anche a rappresentare e legittimare sentimenti e nuove sensibilità. Le religiose vi trovarono un modo per raccontarsi, fare affiorare e comunicare i propri sentimenti e inquietudini, attivare forme di sociabilità e di relazioni sociali dentro e fuori il monastero, tra i monasteri e le corti, quella della Regina e le corti dei palazzi aristocratici delle loro famiglie di origine.
    Źródło:
    Italica Wratislaviensia; 2019, 10.2; 119-133
    2084-4514
    Pojawia się w:
    Italica Wratislaviensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Aspetti semioforici della Bibliotheca Sartoriana
    Semiophoric aspects of the Bibliotheca Sartoriana
    Autorzy:
    Jeż, Tomasz
    Powiązania:
    https://bibliotekanauki.pl/articles/1929906.pdf
    Data publikacji:
    2021-06-30
    Wydawca:
    Wydawnictwo Adam Marszałek
    Tematy:
    Wrocław
    Italian Seicento
    music collection
    St. Elizabeth’s church
    Daniel Sartorius
    Breslavia
    Seicento
    collezione musicale
    chiesa di S. Elisabetta
    Opis:
    The Wrocław patrician Thomas Rehdiger (1540-1576), during his Wanderjahre, amassed a rich collection of books, manuscripts, coins, precious stones, and works of art. In his will, he bequeathed this collection—gathered mainly during his stays in Padua, Bologna, and Venice—to his hometown, thus giving rise to the first public library in the Wrocław metropolis. In 1589, the Bibliotheca Rhedigeriana was established in the Auditorium Theologicum of St. Elizabeth’s Church. In his youth, Rehdiger was educated in the school operating at the church; almost 100 years later, the school’s teacher, Daniel Sartorius (1612-1671), gathered a large collection of music prints, which were published in that period in Venetian publishing houses. This unique collection, stored together along with the Rhedigeriana Library, was later merged with the library’s content. What was the significance of this collection in the culture of 17th-century Wrocław? This collection, undoubtedly, was assembled based upon inspiration from the Humanistic period, which had been promoted in that Elizabethan school at least as of the times of Laurentius Corvinus. It was supposed to serve the teaching at the Elisabethanum and shape the artistic tastes of its students, who performed state-of-the-art Italian music during school activities or afternoon recess. Attempts were made to introduce the carefully collected repertoire into the liturgical practice of a nearby church, using the technique of contrafactum that was popular at the time. The Sartorian Library’s semiophoric function, however, was to define a new form of cultural memory for the Wrocław elites and to outline the original profile of their identity, which was oriented by the same ideals that guided the composers of the Italian Seicento.
    Durante i suoi Wanderjahre, il patrizio di Breslavia Thomas Rehdiger (1540-1576) raccolse una ricca collezione di libri, manoscritti, monete, pietre preziose e opere d’arte. Nel suo testamento decise di destinare questa collezione, messa insieme soprattutto nei soggiorni a Padova, Bologna e Venezia, alla propria città natale, dando così inizio alla prima biblioteca pubblica della metropoli sull’Oder. Nel 1589 la Bibliotheca Rhedigeriana fu collocata nella sala dell’Auditorium Theologicum nella chiesa di Santa Elisabetta a Breslavia. Nel ginnasio che funzionava presso questa chiesa Rehdiger aveva studiato da giovane; quasi cento anni più tardi in quella scuola si trovò ad insegnare Daniel Sartorius (1612-1671), che raccolse un’imponente collezione di stampe musicali, pubblicate all’epoca nelle officine veneziane. Questa collezione, unica nel suo genere, conservata insieme alla Biblioteca Rhedigeriana, è stata successivamente fusa con il suo contenuto. Quale significato ebbe questa collezione per la cultura di Breslavia nel Seicento? Fu messa insieme senza dubbio su ispirazione dell’umanesimo, coltivato fra le mura della scuola elisabettiana almeno fin dai tempi di Laurentius Corvinus. Doveva servire sicuramente alla didattica condotta nell’Elisabethanum e alla formazione dei gusti artistici degli allievi di quel centro, i quali nel corso delle lezioni o delle ricreazioni pomeridiane eseguivano la musica italiana più nuova. Si provò ad Aspetti semioforici della Bibliotheca Sartoriana 121 inserire questo repertorio, raccolto con accuratezza, anche durante la pratica liturgica della chiesa adiacente, sfruttando volentieri la tecnica allora in voga della contraffazione. La funzione semioforica della Biblioteca Sartoriana doveva tuttavia definire in primo luogo una nuova forma di memoria culturale per le élite di Breslavia e caratterizzarne il profilo originale dell’identità, un profilo orientato da quegli stessi ideali che guidavano i compositori dell’Italia settentrionale nel Seicento.
    Źródło:
    Italica Wratislaviensia; 2021, 12.1; 107-121
    2084-4514
    Pojawia się w:
    Italica Wratislaviensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-5 z 5

      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