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    Wyświetlanie 1-8 z 8
    Tytuł:
    Music by the Gabrielis in the Levoča and Bardejov Collections
    Autorzy:
    Kalinayová-Bartová, Jana
    Powiązania:
    https://bibliotekanauki.pl/articles/473828.pdf
    Data publikacji:
    2017
    Wydawca:
    Uniwersytet Jagielloński. Musica Iagiellonica
    Tematy:
    Levoča Music Collection, Bardejov Music Collection, organ tablatures,
    contrafactum
    Opis:
    Current research into the adoption of Andrea Gabrieli’s and Giovanni Gabrieli’s oeuvres in former Upper-Hungarian music centres (situated mainly in the Spiš and Šariš regions of present-day Slovakia) is based on examinations of the music sources that have been preserved in two extensive music collections: the Levoča Music Collection and the Bardejov Music Collection. They demonstrate the importance of the late 16th- and early 17th-century anthologies, compiled by German editors, in the dissemination of Gabrielis’ compositions — and Italian music in general — into the Spiš-Šariš regions. Anthologies had become the main source of transcriptions and further spreading of both authors’ pieces. On the other hand, in its content they were a source of limitation for further choice options. Among the known local composers, the most significant interest in Gabrielis’ works had been recognized by the Bardejov organist Zachariáš Zarewutius in his transcription of 13 units. Further transcriptions of Gabrielis’ pieces have survived in the manuscripts of unknown origin. The time of their creation and the names of intavolators are also unclear or unknown. The study therefore contains also information on the current research proceedings in these questions and hypothetical thoughts on the genesis and possible sources of these transcriptions as well as the routes of their transferring and their connections to the musical life of the Spiš-Šariš centres. Special attention is dedicated to the local version of the contrafactum of Lieto godea sedendo madrigal by Giovanni Gabrieli.
    Źródło:
    Musica Iagellonica; 2017, 8; 95-116
    1233-9679
    2545-0360
    Pojawia się w:
    Musica Iagellonica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Digitally Remastered (DR) with bonus tracks! Skutki utrwalenia się digitalnej centrali muzycznej w informacji o muzykaliach i ich funkcjonowaniu w digitalnej rzeczywistości
    Autorzy:
    Nowak, Adam
    Powiązania:
    https://bibliotekanauki.pl/articles/681317.pdf
    Data publikacji:
    2009
    Wydawca:
    Uniwersytet Marii Curie-Skłodowskiej. Wydawnictwo Uniwersytetu Marii Curie-Skłodowskiej
    Tematy:
    Zbiory muzyczne
    Digitalizacja
    Informacja
    Music collection
    Digitizing
    Information
    Źródło:
    Folia Bibliologica; 2009, 51; 107-120
    2449-8246
    1230-2376
    Pojawia się w:
    Folia Bibliologica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Tomasz Jeż, Danielis Sartorii Musicalia Wratislaviensia, Warszawa 2017 (= Fontes Musicae in Polonia A/I) Wydawnictwo Naukowe Sub lupa, ss. 628. ISBN 978-83-65886-11-8
    Autorzy:
    Scott, Allen
    Powiązania:
    https://bibliotekanauki.pl/articles/28408907.pdf
    Data publikacji:
    2018
    Wydawca:
    Polska Akademia Nauk. Instytut Sztuki PAN
    Tematy:
    Daniel Sartorius
    Ambrosius Profe
    Wrocław
    kolekcja muzyczna
    muzyka XVI wieku
    Wrocłąw
    music collection
    sixteenth-century music
    Źródło:
    Muzyka; 2018, 63, 1; 137-139
    0027-5344
    2720-7021
    Pojawia się w:
    Muzyka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Muzyczne dokumenty dźwiękowe w bibliotekach lubelskich
    Autorzy:
    Zieliński, Piotr G.
    Powiązania:
    https://bibliotekanauki.pl/articles/681086.pdf
    Data publikacji:
    2009
    Wydawca:
    Uniwersytet Marii Curie-Skłodowskiej. Wydawnictwo Uniwersytetu Marii Curie-Skłodowskiej
    Tematy:
    Dokumenty dźwiękowe
    Zbiory muzyczne
    Fonografia
    Biblioteki
    Lublin
    Audio documents
    Music collection
    Phonography
    Libraries
    Źródło:
    Folia Bibliologica; 2009, 51; 121-129
    2449-8246
    1230-2376
    Pojawia się w:
    Folia Bibliologica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Kultura muzyczna w klasztorze Klarysek w Starym Sączu
    Autorzy:
    Garnczarski, Stanisław
    Powiązania:
    https://bibliotekanauki.pl/articles/669321.pdf
    Data publikacji:
    2014
    Wydawca:
    Uniwersytet Papieski Jana Pawła II w Krakowie
    Tematy:
    Poor Clares Monastery
    life music
    music collection
    band
    organist
    klaryski
    klasztor
    życie muzyczne
    zbiory muzyczne
    kapela
    organista
    Opis:
    Big impact on the life of Church and on the public and cultural sphere has the formation of the new forms of religious life in Europe of the twelfth and thirteenth-century. So it was in Poland in the case of the monasteries of Poor Clares, especially Poor Clares in Stary Sacz which developed the rich musical life. Helpful in this regard were the structure of monastic life with various functions and ministries. Among them we find many serving liturgical music and not only and assigned to sisters of a special musical abilities. Moreover, sisters have led regular singing practice; learned new songs and even composed themselves. Inside the monastery acted religious band, for which the instruments were purchased; in a different period the monastic band functioned, employing also secular musicians, in addition to constantly employed organists. Sisters maintained also close contacts with the clergy who visiting the monastery brought ordered by Sisters liturgical books, among them a musical. In this way library of the monastery enriched by the book, which today are relics of the highest quality and sources of the specialized research on the culture of the monastery of Stary Sacz.
    Źródło:
    Tarnowskie Studia Teologiczne; 2014, 33, 2
    2391-6826
    0239-4472
    Pojawia się w:
    Tarnowskie Studia Teologiczne
    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
    Tytuł:
    The motets of Andrea and Giovanni Gabrieli in the Rokycany Music Collection
    Autorzy:
    Maýrová, Kateřina
    Powiązania:
    https://bibliotekanauki.pl/articles/473820.pdf
    Data publikacji:
    2017
    Wydawca:
    Uniwersytet Jagielloński. Musica Iagiellonica
    Tematy:
    Rokycany Music Collection, Bardejov [Bartfeld / Bártfa] and Levoča
    [Leutschau / Löcse] Music Collections, Rokycany litterati brotherhood, polychoral
    motets of Andrea and Giovanni Gabrieli, anonymous polychoral motets on Czech
    texts
    Opis:
    The Rokycany Music Collection (RMC) consists of altogether 15 items: 10 mss., 2 printed items and 3 mss. with additional printed scores attached to them. There are 901 handwritten compositions, and 236 contemporary printed items (including additional scores). 665 compositions survived in the form of part-books. Twenty-one per cent of the repertoire consists of polychoral masses and motets. From the preserved musical prints we can identify six individual collections from the period 1557 until 1607 and two anthologies from the years 1564 and 1590. As far as the sacred music of Andrea Gabrieli, there are preserved: I. Five parts of 4 handwritten records of his motets in ROk A V 20a-e, firstly published in Venice in the year 1587 in the print of Concerti. II. In ROk A V 40, which consists of the Bassus part of the print of Corollarium cantionum sacrarum from the year 1590 and a handwritten part of 21 compositions, there are published 6 Andrea Gabrieli’s motets in the cited printed source. As far as the sacred music of Giovanni Gabrieli is concerned, the RMC has: I. Five (uncompletely) preserved handwritten parts of the 8-part motet in ROK A V 20 a-e: namely Iubilate Deo omnis terra, servite Domino in laetitia for 2 choirs, No. 7. Firstly published in 1597 in the famous print of Sacrae symphoniae on pp. 12–13. II. In ROk A V 40, in the cited Bassus part of Corollarium one Giovanni Gabrieli’s motet has been published, namely the 10-parts motet Deus, Deus meus ad te de luce vigilo for 2 choirs, No. LXIV. In this context there should be mentioned seven not completely preserved anonymous polychoral motets with Czech texts and one motet attributed to three different composers, all from ROK A V 20 a-e. The analysis shows that in general, the Bohemian compositions have the same features as those of Europe — differing in the case of the number and quality of use of the cori-spezzati technique. The Bohemian polychoral works are approximately on the level of the early works by Andrea and Giovanni Gabrieli. While the two most important music collections from the 16th and 17th centuries surviving in the territory of the historic Hungarian Lands, i. e. the Bardejov (BMC) and the Levoča (LMC) music collections, originated from the local German evangelical communities, the Rokycany litterati brotherhood, from the late 16th century up to the 1630s, came mainly from the Czech, humanistically educated bourgeoisie. In their denomination, the members of the Rokycany litterati brotherhood were mainly Utraquist Protestants. Comparing the BMC and LMC collections with the RMC collection, there are two important differences — the minimal number of organ tablatures in the RMC (only one fragment of a new German tablature) and, especially, the strictly sacred repertoire. In comparison with BMC and LMC, the RMC repertoire consists of relatively early music, plus new polychoral concertante music up to c. 1640. The repertoire, common to all three collections compared here represents all three basic compositional strands of the time: the earliest (music of the 16th century Low Countries composers and their followers), the middle (reflecting the late 16th century repertoire: Jakob Handl-Gallus, Orlando di Lasso, and others), and the last and most extensive, which includes works by composers living in the first three decades of the 17th century. Music was mainly imported via the main Nuremberg trade and diplomatic road.
    Źródło:
    Musica Iagellonica; 2017, 8; 65-93
    1233-9679
    2545-0360
    Pojawia się w:
    Musica Iagellonica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Kongres AMMLA 2017 w Londynie
    AMMLA Congress 2017 in London
    Autorzy:
    Grażyńska, Iuliana
    Powiązania:
    https://bibliotekanauki.pl/articles/912373.pdf
    Data publikacji:
    2018-12-15
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    AMMLA Congress 2017
    Freemasonry
    Freemason’s Hall
    The Library and Museum of Freemasonry
    Chiswick House
    The Freemason Music Collection of the Poznań University Library
    Wolnomularskie Zbiory Muzyczne w Bibliotece Uniwersyteckiej w Poznaniu.
    Opis:
    Artykuł podsumowuje 27. kongres naukowy AMMLA (Europejskiego Stowarzyszenia Muzeów, Bibliotek i Archiwów Wolnomularskich) zorganizowany w Londynie z okazji 300. rocznicy powstania masonerii angielskiej.
    This article summarizes the celebration of the 27th AMMLA (European Association of Museums, Libraries and Freemasonry Archive) scientific congress organized in London on the occasion of the 300th anniversary of the rise of the British Freemasonry.
    Źródło:
    Biblioteka; 2018, 22(31); 191-203
    1506-3615
    2391-5838
    Pojawia się w:
    Biblioteka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-8 z 8

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