Skocz do pozycji: 1.

Tytuł:

Research on the Application of E.E. Gordon’s Theory of Music Learning in the Music Education in Poland

Autorzy:

Bonna, Beata

Powiązania:

https://bibliotekanauki.pl/articles/25806586.pdf

Data publikacji:

2013-12-31

Wydawca:

Wydawnictwo Adam Marszałek

Tematy:

E.E. Gordon’s Theory of Music Learning
audiation
music aptitudes
musical achievements
effectiveness of music stimulation in prenatal period
effectiveness of music education of children at pre-school and early-school age
instrument timbre preference and the achievements in playing

Opis:

The purpose of this article is the presentation of the results of the research conducted in Poland on the effectiveness of music education realised in accordance with the assumptions of Edwin Elias Gordon’s Theory of Music Learning, which holds an important place in the existing systems of common music education. Gordon pays attention to the need of undertaking the earliest possible music interactions when it comes to children. Some observations conducted among pregnant women and infants during music activities being realised in accordance with the assumptions of Gordon’s theory showed that infants display some reactions indicating the recognition of the music presented before the birth. They also demonstrated that these children reacted to music earlier than the infants who were not musically stimulated in their prenatal period. The experimental research conducted among children at pre-school age and early-school age proved greater, compared to the traditional methods, effectiveness of the interactions resulting from Gordon’s Theory of Music Learning in the development of their music aptitudes and musical achievements. Moreover, they also proved that the stimulation of music aptitudes contributes to the development of children’s perceptive-motor functions especially in the context of developmental shortages compensation. Other research confirmed the validity of E.E. Gordon’s thesis about the existing relation between instrument timbre preference and the achievements in playing them.

Źródło:

Kultura i Edukacja; 2013, 6(99); 66-87
1230-266X

Pojawia się w:

Kultura i Edukacja

Dostawca treści:

Biblioteka Nauki

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Tytuł:

„Głos” Karola Szymanowskiego w muzyce Henryka Mikołaja Góreckiego, Zbigniewa Bujarskiego i Grażyny Pstrokońskiej-Nawratil. Muzyka w muzyce – muzyka z muzyki – muzyka o muzyce. Rekonesans

Autorzy:

Stojewska, Agata

Powiązania:

https://bibliotekanauki.pl/articles/668951.pdf

Data publikacji:

2016

Wydawca:

Uniwersytet Papieski Jana Pawła II w Krakowie

Tematy:

Grażyna Pstrokońska-Nawratil
Henryk Mikołaj Górecki
Karol Szymanowski
Magnificat
Mieczysław Tomaszewski
music about the music
religious music
music in the music
music from the music
Stabat Mater
The III Symphony
topos Marii
Zbigniew Bujarski
muzyka o muzyce
muzyka religijna
muzyka w muzyce
muzyka z muzyki
III Symfonia
Maria’s topos

Opis:

In the text „Vioce” of Karol Szymanowski in the music of Henryk Mikołaj Górecki, Zbigniew Bujarski and Grażyna Pstrokońska-Nawratil. Music in the music – music from the music – music about the music. Reconnaissance, the author attempts to hear voices of Karol Szymanowski, manifesting at various levels of musical work (a methodological base: intertextuality suggested by Mieczysław Tomaszewski, understood as music in the music – music from the music – music about the music). She presents three chosen musical pieces with the messages of religious, where the influence of the attitude of the composer is most significant. These are: Symphony no. 3 Symphony of sorrowful songs Opus 36 – H. M. Górecki (1976), Stabat Mater to a mixed choir and symphony orchestra – Z. Bujarski (2000) and Magnificat to the soprano vioce, a mixed choir and a symphony orchestra – G. Pstrokońska-Nawratil (2004).
W tekście pt. „Głos” Karola Szymanowskiego w muzyce Henryka Mikołaja Góreckiego, Zbigniewa Bujarskiego i Grażyny Pstrokońskiej-Nawratil. Muzyka w muzyce – muzyka z muzyki – muzyka o muzyce. Rekonesans autorka podejmuję próbę wysłyszenia głosów Karola Szymanowskiego, przejawiających się na różnych poziomach dzieła muzycznego (podstawa metodologiczna: intertekstualność zaproponowana przez Mieczysława Tomaszewskiego, rozumiana jako muzyka w muzyce – muzyka z muzyki – muzyka o muzyce). Przedstawia trzy wybrane utwory o przesłaniach religijnych, w których wpływ postawy kompozytora jest najbardziej znaczący. Są to: III Symfonia „Pieśni żałosnych” op. 36 H. M. Góreckiego (1976), Stabat Mater na chór mieszany i orkiestrę symfoniczną Z. Bujarskiego (2000) oraz Magnificat na sopran, chór mieszany i orkiestrę symfoniczną G. Pstrokońskiej-Nawratil (2004).

Źródło:

Pro Musica Sacra; 2016, 14
2083-4039

Pojawia się w:

Pro Musica Sacra

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 3.

Tytuł:

Music vs. Truth: Illustrative Music in the Context of Musical Aesthetics

Autorzy:

Barska, Joanna
Bednarek, Stefan
Rabiej, Stanisław

Powiązania:

https://bibliotekanauki.pl/chapters/1030899.pdf

Data publikacji:

2020-04-10

Wydawca:

Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego

Tematy:

musical rhetoric
representation in music
aesthetics of music

Opis:

The paper discusses the problem of musical rhetoric in the Renaissance and the Baroque. In the 16th century, the imitative qualities of music were developed through the concept of imitazione della natura. The relationship between word and music stabilized. Representation was a major function and was inspired by the ancient concept of merging words, harmony, and rhythm. In ancient times, music had become a key to metaphysics and an important educational tool. Thus, specific compositions were related directly to a specific state of the soul, characters and emotions. The author presents the aforementioned concept in later times, i.e. in the Renaissance, when not only theorists but also composers, performers and listeners assigned musical-rhetorical figures to specific meanings. The paper extensively discusses examples of the musical application of different musical-rhetorical figures and how they are used. The author underlines, however, that despite the universalization of musical language, the rhetorical system in music is highly diverse and is subject to individual contextual interpretations.

Źródło:

Truth and Falsehood in Science and the Arts; 221-232
9788323542209

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 4.

Tytuł:

Preferencje muzyczne w dobie popularności strumieniowego słuchania muzyki
Music preferences in the age of music streaming

Autorzy:

Parus-Jankowska, Magdalena
Nożyński, Szymon

Powiązania:

https://bibliotekanauki.pl/articles/2034607.pdf

Data publikacji:

2020-03-30

Wydawca:

Akademia Górniczo-Hutnicza im. Stanisława Staszica w Krakowie

Tematy:

algorytm
preferencje muzyczne
wszystkożerność muzyczna
radio
platformy streamingowe
algorithm
musical preferences
musical omnivore
streaming platforms

Opis:

Autorzy zastanawiają się, jak w sytuacji coraz powszechniejszego użytkowania i dostępu do usług strumieniowych, sprawdzają się badania preferencji muzycznych. Dzisiaj, kiedy każdy słuchacz pozostawia bardzo szczegółowe informacje o sobie – tylko korzystając z nowych form dystrybucji muzyki – być może badania preferencji nie są konieczne. Z drugiej strony jednak, tego rodzaju badania mogą odpowiedzieć na pytanie „dlaczego” słucha się konkretnej muzyki, co stanowić będzie jakościowe wskazanie, bardziej precyzyjne niż mapa stworzona przez algorytm. Słuchając strumieniowo, użytkownik tworzy swój własny profil, często nieświadomie, a wszechmocne algorytmy przekształcają go w odpowiednie sugestie muzyczne. Robią to w sposób „dyplomatyczny”, dzięki czemu słuchacz ma poczucie dokonywania autonomicznych wyborów. Warto zatem przyjrzeć się działaniu algorytmów i zagrożeniom jakie ze sobą niosą.
The authors wonder how, in a situation of increasing use and access to streaming services, music preference research works. Today, when every listener leaves very detailed information about themselves - only using new forms of music distribution - it may not be necessary to study preferences. On the other hand, such research can answer the question "why" the consumer listens to a particular music, which will be a qualitative indication, more precise than the map created by the algorithm. By streaming, the user creates his or her own profile, often unconsciously, and the omnipotent algorithms transform it into appropriate music suggestions. They do this in a "diplomatic" way, making the listener feel like making autonomous choices. It is therefore worthwhile to look at the operation of the algorithms and the risks they pose.

Źródło:

Studia Humanistyczne AGH; 2020, 19, 1; 71-84
2084-3364

Pojawia się w:

Studia Humanistyczne AGH

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 5.

Tytuł:

Soundscapes

Autorzy:

Olszewska, Marta

Powiązania:

https://bibliotekanauki.pl/articles/628351.pdf

Data publikacji:

2010

Wydawca:

Fundacja Pro Scientia Publica

Tematy:

soundscape/ high-fidelity soundscape, city heteroglossy, musical graphic, graphical music, melosphere, acoustic ecology, ambient music, interspace, music-in-the-city, audibility

Opis:

This article examines the issues of soundscape construction and reception and states that a city is a construction built from private sonic narrations that both shape and are shaped by spatial structures. The analysis of three audio-visual practices: Playtime,a film by Jacques Tati;Infrasonic Soundscape, an interactive online artwork by Hidekazu Minami; and Dialtones (A Telesymphony) by Golan Levin, a concert performance whose sounds were produced by theaudience’s mobile phones reveals the polyphonic character of space. These examples necessitate verifying the way one perceives the understanding of the concepts of sound and space as well as their interactions. The phenomenon of soundscapes requires transgressing the dichotomies of space/place, seeing/listening (sound/image), and listener (recipient)/creative subject (sender of a specific message), in favour of the intermediate categories. The core of the interspace which arises on this ground constitutes a dialog anyone might enter if they afford a gesture addressed to the other (various forms of space embodiment).

Źródło:

Journal of Education Culture and Society; 2010, 1, 1; 84-94
2081-1640

Pojawia się w:

Journal of Education Culture and Society

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 6.

Tytuł:

Muzyczne dedykacje organowe w muzyce francuskiej XX wieku
Organ music dedications in French music of the 20th century

Autorzy:

Kotłowska, Beata

Powiązania:

https://bibliotekanauki.pl/articles/521856.pdf

Data publikacji:

2017

Wydawca:

Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku

Tematy:

dedications
French music
organ music of the 20th century

Opis:

Music dedication is an additional source not only of biographical curiosities or testimonies of friendship ties but also of real knowledge of composers. The French composers of the last centu-ry who were placing dedications in their organ works were guided by various reasons. The dedica-tions create a peculiar kind of map of the music in the 20th-century France. The author is analyzing the pieces in which either the concrete person is being called in the title e.g. Suite pour…, Hom-mage à…, à la memoire de…, or their names are placed in the subtitle. The aim of this paper is not a detective research of the relations that connect the composer with the addressee of dedication, though sometimes by tracking the mentioned persons one may complete or explain many biograph-ical details (just like in the organ series of e.g. Joseph Bonnet, Gaston Litaize, or Louis Vierne). Because of the great number of dedications (presented in the table provided), the author has tried to divide them into some groups and to make a classification: (1) dedications referring to the past that are the expression of the homage paid to the composers especially important for the French religious or organ music (e.g. Jean Titelouze, Girolamo Frescobaldi, Jean-Phillippe Rameau, César Franck, or Gabriel Fauré); (2) works addressed by the grateful disciples to their master, not only to the teachers of playing the organ — owing to them we can find out about the educational experience of the organists, who at that time were very often composers, too; (3) dedications reflecting the disciple-master relation, but also the one of predecessor-successor in case of the titular organists in Paris churches — it turns out to be the confirmation of the “organist to organist” relation and the relation of friendship, as well; (4) wish to commemorate the organist having died prematurely (e.g. Jehan Alain or Jean-Claude Touche); (5) works offered as a gift to the personages from the circle of the art and culture creators (organ masters, music critics, poets), as well as to the very closest persons among the friends and family.

Źródło:

Aspekty Muzyki; 2017, 7; 275-291
2082-6044

Pojawia się w:

Aspekty Muzyki

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 7.

Tytuł:

Kto jest „autorem The Dark Side Of The Moon? O nadawcy rockowym
Who is "the author" "The Dark Of The Moon"? About the sender in rock music

Autorzy:

Rychlewski, Marcin

Powiązania:

https://bibliotekanauki.pl/articles/1390245.pdf

Data publikacji:

2007-06-15

Wydawca:

Uniwersytet im. Adama Mickiewicza w Poznaniu

Opis:

The essay deals with the status of the sender in rock music. The rock music sender is invariably a collective entity (the musicians, the producer, the lyricist, the cover sleeve designer). A work of art in rock music (a song, an album) is always the sum total of various creative personalities as well as the end result of numerous compromises. In effect, it is often difficult to pinpoint a single intention behind a given message, which is why interpretations of such a message should disregard any commentary from the artists in question. The author draws an analogy between the rock music sender and the subject of literary creativity. Another characteristic of the rock music sender consists in their being both the "author" and the "performer" of the works within their repertoire (inasmuch as rock music cancels the oppositon: score/performance).

Źródło:

Przestrzenie Teorii; 2004, 3-4; 325-335
2450-5765

Pojawia się w:

Przestrzenie Teorii

Dostawca treści:

Biblioteka Nauki

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Skocz do pozycji: 8.

Tytuł:

Entomologia rock and rolla. Owady i rewolucja elektroniczna w muzyce popularnej
Entomology of rock and roll. Insects and the electronic revolution in popular music

Autorzy:

Brzostek, Dariusz

Powiązania:

https://bibliotekanauki.pl/articles/1944368.pdf

Data publikacji:

2021-06-30

Wydawca:

Narodowe Centrum Kultury

Tematy:

rock
bioakustyka
technologia
muzyka elektroniczna
owady
bioacoustics
technology
electronic music
insects

Opis:

The aim of this article is to analyse the relationship between bioacoustics, electronic sound production, and popular music. The electronic revolution in music production in the mid-1960s, inspired by the invention of electronic musical instruments for sound synthesis (Moog, Buchla, ARP Odyssey), was given a prominent place not only in the academic avant-garde laboratories but also in the popular music market, resulting in the emergence of new musical genres and challenging the classical instruments of rock music (guitar, bass, drums). However, abstract electronic sounds and sound-objects ‘discovered’ by rock and roll artists inevitably required new points of reference transcending beyond the existing canon (blues – classical music). One of them was to imitate (through synthesisers) or employ (through bioacoustic recordings) the sounds of insects as adequate equivalents of the ‘sound masses’ generated by electronic instruments and commonly used sound effects. It resulted in a significant re-evaluation of music production and the relationship between popular culture and avant-garde art.

Źródło:

Kultura Współczesna. Teoria. Interpretacje. Praktyka; 2021, 114, 2; 120-133
1230-4808

Pojawia się w:

Kultura Współczesna. Teoria. Interpretacje. Praktyka

Dostawca treści:

Biblioteka Nauki

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Skocz do pozycji: 9.

Tytuł:

Twórcze wykorzystanie serwisu internetowego YouTube w edukacji muzycznej dzieci
Creative Use of the YouTube Website in Music Education of Children

Autorzy:

ROGOZIŃSKA, KATARZYNA

Powiązania:

https://bibliotekanauki.pl/articles/455992.pdf

Data publikacji:

2018

Wydawca:

Uniwersytet Rzeszowski

Tematy:

edukacja muzyczna
piosenki dla dzieci
YouTube
wychowanie przedszkolne
music education
children's songs
pre-school education

Opis:

Muzyka jest sztuką, która wprowadza w życiu harmonię, poczucie estetyki. Sprzyja ogólne-mu rozwojowi, daje możliwość wielostronnego twórczego działania. Owe działania możemy zaobserwować już u dzieci w wieku przedszkolnym. Sprzyja im również powszechny rozwój nowych mediów. W ekspresji muzycznej dzieci przejawem tej symbiozy muzyki i mediów jest własne wykonywanie ulubionych piosenek. Często ma ono zabarwienie autentycznego artyzmu i dużego zaangażowania w czasie prezentacji utworu. Wykorzystywanie przez nauczycieli w twórczy sposób serwisu YouTube przyczynia się do licznych kontaktów dzieci z muzyką. Z kolei obecność muzyki w programach nauczania stymuluje nauczycieli do własnych twórczych działań.
Music is an art that introduces harmony and sense of aesthetics in life. It favors general de-velopment, gives the possibility of multilateral creative activity. We can observe these activities already in pre-school children. They are also favored by the widespread development of new media. In the musical expression of children, the manifestation of this symbiosis of music and the media, is the own performance of your favorite songs. It often has a tinge of authentic artistry and a lot of commitment during the presentation of the work. The use of YouTube by creators in a creative way contributes to the numerous contacts of children with music. In turn, the presence of music in curricula stimulates teachers to their own creative activities.

Źródło:

Edukacja-Technika-Informatyka; 2018, 9, 2; 104-108
2080-9069

Pojawia się w:

Edukacja-Technika-Informatyka

Dostawca treści:

Biblioteka Nauki

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Skocz do pozycji: 10.

Tytuł:

Publicystyka z zakresu muzyki poważnej w polskich mediach ogólnopolskich i regionalnych
Commentary on classical music in the Polish national and regional media

Autorzy:

Sasin, Magdalena

Powiązania:

https://bibliotekanauki.pl/articles/649892.pdf

Data publikacji:

2012

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

commentary
musical journalism
press
classical music
musical knowledge
journalistic genres
specialized journalism

Opis:

The author analyses commentaries on classical music in the Polish media. She indicates that this kind of journalism appears rarely in the broad-range press, on the radio and on television, but that it plays an important role in culture and music press. As far as the broadcast media are concerned, it appears mainly in the public media. The author analy-ses selected press titles, their genres and content. She observes that the functions of press are more and more often adopted by the Internet (the Internet fora or musical blogs). The restricted number of commentary genres is transparent in press articles, while reviews and interviews are most frequent. The authors of these texts are often inexperienced and lack appropriate education. One of the reasons of the limitations of the music commen-tary is that the articles and programmes seem interesting only to a small group of receiv-ers, and the senders are subject to conditions of the free market and conform to the most common tastes. Therefore, when analysing this issue, the receiver’s perspective seems very important. Media interest in music commentary depends on the receivers’ cultural activity, and this activity depends on the level of general education and music culture in the country. Polish music tradition is much weaker than in many other countries, such as Germany. The abandonment of musical commentary would be unfavourable, because such journalism plays many important functions, such as culture- and opinion-making functions.

Źródło:

Acta Universitatis Lodziensis. Folia Litteraria Polonica; 2012, 17, 3; 136-146
1505-9057
2353-1908

Pojawia się w:

Acta Universitatis Lodziensis. Folia Litteraria Polonica

Dostawca treści:

Biblioteka Nauki

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Skocz do pozycji: 11.

Tytuł:

Znaczenie ciszy w muzykoterapii
The meaning of silence in music therapy

Autorzy:

Konopacka, Anna

Powiązania:

https://bibliotekanauki.pl/articles/26443790.pdf

Data publikacji:

2023-09-30

Wydawca:

Wydawnictwo Adam Marszałek

Tematy:

cisza
milczenie
muzykoterapia
muzykoterapeuta
dźwięk
silence
muteness
music therapy
music therapist
sound

Opis:

In this paper, the author attempts to provide a comprehensive description of the complex phenomenon of silence and sheds light on its significance within the context of music therapy. By considering various definitions of silence, as well as ways of approaching the phenomenon of silence, in both the domain of interpersonal communication and the abundant realm of sound, the author aims to highlight the multifaceted nature of the matter. The author discusses the distinction between the silence and the muteness, draws attention to an interdisciplinary character of the field, enumerates diverse angles of considering the issue, and examines the role of silence within a larger perspective of fields of psychotherapy and music therapy. In the presented cases of music therapy work, silence is a kind of a therapist’s tool. Owing to an insufficient amount of research papers on silence in music therapy, it is impossible to produce pioneering findings in the very field. In this paper the author ventures to summarise latest data, points out the urgency of delving deeper into the issue, and discloses novel prospects for music therapy to be discovered in pursuit of investigation of the ambiguous notion of silence.
Celem artykułu jest próba opisania złożonego zjawiska, jakim jest cisza, ze szczególnym uwzględnieniem jej znaczenia w kontekście muzykoterapii. Autorka skupia się na podkreśleniu wielowymiarowości tematu, przedstawiając różne definicje i postawy wobec fenomenu ciszy w obrębie komunikacji interpersonalnej i szeroko rozumianej przestrzeni dźwiękowej. Omówiona zostaje różnica między ciszą a milczeniem, podkreślony jest także interdyscyplinarny charakter problematyki. Autorka wymienia obszary, w których zjawisko może być rozpatrywane, a następnie szerzej przygląda się ciszy w obrębie dziedzin mających związek z oddziaływaniem terapeutycznym, w tym: psychoterapii i muzykoterapii. W przedstawionych przypadkach pracy muzykoterapeutycznej cisza stanowi rodzaj narzędzia pracy terapeuty. Zaprezentowane zostają również wypowiedzi muzykoterapeutów na temat ich własnych doświadczeń związanych z ciszą podczas sesji muzykoterapeutycznych. Niewielka liczba badań dotyczących ciszy w muzykoterapii stanowi powód, dla którego niemożliwe jest przedstawienie przełomowych wniosków w tym obszarze. Artykuł stanowi próbę podsumowania aktualnych danych, podkreśla potrzebę szerszego przyjrzenia się problematyce oraz ma na celu wskazanie muzykoterapeutycznych potencjałów tkwiących w niejednoznacznie brzmiącym pojęciu ciszy.

Źródło:

Kultura i Edukacja; 2023, 3(141); 43-59
1230-266X

Pojawia się w:

Kultura i Edukacja

Dostawca treści:

Biblioteka Nauki

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Skocz do pozycji: 12.

Tytuł:

Muzyka w dawnym Żywcu. Unikatowa wartość „Chronografii” Andrzeja Komonieckiego
Music in historical Żywiec. The unique significance of Andrzej Komoniecki’s 'Chronography'

Autorzy:

Rajman, Jerzy

Powiązania:

https://bibliotekanauki.pl/articles/28014225.pdf

Data publikacji:

2020

Wydawca:

Polska Akademia Nauk. Instytut Sztuki PAN

Tematy:

kościół w Żywcu
muzyka ludowa
organy
muzyka dworska
msze śpiewane
pieśni religijne
muzyka góralska
Żywiec church
folk music
organs
court music
sung masses
religious songs
highlander music

Opis:

Głównym celem badawczym, jaki postawił autor, była analiza dzieła Andrzeja Komonieckiego, wójta miasta Żywiec w Małopolsce zatytułowanego Chronografia albo Dziejopis Żywiecki. Kronika ta została doprowadzona do 1728 r. i stanowi niezwykle cenne źródło do badań nad kulturą miejską Żywca w okresie staropolskim. Dokładna analiza dzieła ujawniła bardzo liczne i cenne informacje, opatrzone zazwyczaj konkretnymi datami rocznymi, dotyczące muzyki. Stanowią one uzasadnienie dla podjęcia tematu muzyki w dawnym Żywcu. W artykule zebrano wszystkie informacje o muzyce, prezentując je w trzech grupach – muzyka ludowa, kościelna i dworska. W pierwszej grupie informacji jest relatywnie mało, ale na podkreślenie zasługują wzmianki o tańcach i muzyce w karczmie, o pieśni śpiewanej przez skazańca, zaś najcenniejszy jest stosunkowo dokładny opis tańca i muzyki góralskiej z 1716 roku. O żywo się rozwijającej muzyce kościelnej świadczą liczne wzmianki o altarystach, kantorach, nauczycielach szkoły parafialnej (niekiedy bywali oni instrumentalistami) i organistach. Dzieło Komonieckiego dostarcza niezwykle szczegółowych wiadomości na temat organów w kościele parafialnym. Do bardzo cennych należy także opis nieistniejącego już fresku z 1542 r. przedstawiającego postacie grające na różnych instrumentach. Fresk ten dowodzi ścisłych związków właścicieli miasta z kościołem parafialnym. Prawdopodobnie już w XVI w. istniała kapela dworska na zamku żywieckim. W artykule zebrano wszystkie informacje na temat muzyki dworskiej w Żywcu. Na szczególne podkreślenie zasługują wzmianki o koncertach w kościele, w których muzykami byli członkowie rodziny właścicieli miasta, jak również wielokrotnie odnotowywana muzyka grana przez trębaczy dworskich z wieży kościoła.
The author’s main research aim was to analyse a work by Andrzej Komoniecki, alderman of the town of Żywiec, in Lesser Poland, entitled Chronografia albo Dziejopis Żywiecki [Chronography, or Żywiec chronicle]. This chronicle, covering the period up to 1728, is an extremely valuable source for the study of the urban culture of Żywiec during the Old Poland period. Detailed analysis has revealed very numerous and valuable information concerning music, in most cases entered under specific year dates, which provides a point of departure for the study of music in old Żywiec. All the music-related information from Chronography is presented under three headings: folk, church and court music. The first of these groups is relatively small, but there are notable mentions of dancing and music-making in an inn, a song sung by a convict, and, most interestingly, a relatively detailed description of highlander dances and music from the year 1716. The lively development of sacred music is evidenced by numerous mentions of altarists, cantors, parish school teachers (some of whom were instrumentalists) and organists. Especially detailed is the information concerning the organ in the parish church. Another extremely valuable item is the description of a fresco from 1542, no longer existing, which depicted figures playing various instruments. This description proves that the town’s owners enjoyed very close links to the parish church. As for court music, an ensemble probably existed at Żywiec Castle as early as the sixteenth century. Collected in this article is all the available information concerning court music in Żywiec. Of special interest are the mentions of concerts held in the church during which family members of the town’s owners performed. There are also multiple mentions of music played from the church tower by the court trumpeters.

Źródło:

Muzyka; 2020, 65, 1; 19-37
0027-5344
2720-7021

Pojawia się w:

Muzyka

Dostawca treści:

Biblioteka Nauki

/5

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Tytuł:

Znaczenie muzyki w domach rodzinnych studentów pedagogiki przedszkolnej i wczesnoszkolnej
The importance of music in the family homes of pre-school and early childhood students

Autorzy:

Szczyrba-Poroszewska, Joanna

Powiązania:

https://bibliotekanauki.pl/articles/2134250.pdf

Data publikacji:

2022

Wydawca:

Uniwersytet Wrocławski. Wydział Nauk Historycznych i Pedagogicznych. Instytut Pedagogiki. Zakład Historii Edukacji

Tematy:

akulturacja
studenci pedagogiki przedszkolnej i wczesnoszkolnej
kompetencje muzyczne
pedagogiczne wyzwania współczesności
edukacja muzyczna
kultura muzyczna domu rodzinnego nauczycieli
acculturation
students of preschool and early childhood
music education
pedagogical challenges of the present day
musical competences
music culture of teachers’ family homes

Opis:

Cel. Doniosłość bogatego muzycznie środowiska została wyeksponowana w wielu badaniach, które dotyczyły dzieci i wybitnych muzyków. Pominięci zostali w nich przyszli nauczyciele pedagogiki przedszkolnej i wczesnoszkolnej. Niniejsze badania stanowią zatem próbę udzielenia odpowiedzi na pytanie: jakie jest znaczenie muzyki w domach rodzinnych studentów pedagogiki przedszkolnej i wczesnoszkolnej? Materiały i metoda. Przebadano 91 studentek pedagogiki przedszkolnej i wczesnoszkolnej. W ramach sondażu diagnostycznego poproszono je o pisemne dokończenie zdania otwartego: „W moim domu rodzinnym muzyka…”. Narracje poddano analizie jakościowej. Wnioski. Badania pokazały m.in., że większość rodzin nie zapewnia bogatych doświadczeń muzycznych ani w zakresie wykonywania muzyki, ani w zakresie uczestnictwa w koncertach muzycznych. Funkcjonowanie muzyki w domu rodzinnym respondentek zostało w większości negatywnie ocenione przez dorosłe dzieci. Z tego względu w moim przekonaniu misją uniwersytetów kształcących pedagogów powinno być uświadamianie studentom, jak doniosłą rolę pełnią rodzice w rozwoju muzycznym dziecka.
Aim. The importance of a musically rich environment has been displayed in many studies concerning children and outstanding musicians. Future teachers of pre-school and early childhood education have been omitted. This research is therefore an attempt to answer the research question: what is the meaning of music for the families of preschool and early childhood students? Materials and methods. The study group consisted of 91 pre-school and early childhood students. The main research method was a diagnostic survey. The students were asked to complete the open sentence in writing: „In my family home, a music ...”. The narratives were analyzed qualitatively. Conclusion. Research has shown, among other things. that most families do not provide a rich musical experience, either in performing music or in attending music concerts. The functioning of music in the respondents’ family homes was mostly negatively assessed by adult children. For this reason, in my opinion, the mission of universities in educating teachers should be to make students aware of the importance of parents in the musical development of a child.

Źródło:

Wychowanie w Rodzinie; 2021, XXV, (2/2021); 321-330
2082-9019

Pojawia się w:

Wychowanie w Rodzinie

Dostawca treści:

Biblioteka Nauki

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Skocz do pozycji: 14.

Tytuł:

Instrumenty i księgi muzyczne w dokumentach kanoników regularnych laterańskich (1781-1861)
Musical Instruments and Liturgical Books in the Documents of the Canons Regular of the Lateran (1781-1861)

Autorzy:

Grajewski, Czesław

Powiązania:

https://bibliotekanauki.pl/articles/944259.pdf

Data publikacji:

2019-03-31

Wydawca:

Towarzystwo Naukowe Franciszka Salezego

Tematy:

muzyka liturgiczna
klasztor
kanonicy regularni laterańscy
liturgical music
monastery
Canons Regular of the Lateran

Opis:

The author of the article has analyzed protocols (files) of the general chapters as well as protocols from visitations to monasteries of the Canons Regular of the Lateran (CRL) in the Kraków Province between 1781 and 1861. The protocols are currently in the archives of the Pauline Fathers in Częstochowa (ms. 253 and ms. 254), where they were placed after the dissolution of monasteries ordered by the Russian authorities following the January Uprising. This article centers on topics related to music which are present in the documents mentioned above. The author identified the following four topics: A) music books serving in the liturgy, B) music instruments, especially organs and bells. Several dozen notes in both manuscripts demonstrate concern of the Canons Regular for the quality of music in their monasteries.
Autor zanalizował protokoły (akta) kapituł generalnych i protokoły wizytacji klasztorów kanoników regularnych laterańskich (CRL) prepozytury krakowskiej z lat 1781-1861. Protokoły te znajdują się w archiwum oo. paulinów w Częstochowie (ms. 253 i ms. 254), a trafiły tam po likwidacji klasztorów na mocy zarządzenia władz rosyjskich po powstaniu styczniowym. Artykuł dotyczy problematyki muzycznej, która poruszana jest w powyższych dokumentach. Autor wyodrębnił dwa zagadnienia: A) księgi muzyczne służące liturgii, B) instrumenty muzyczne, zwłaszcza organy i dzwony. Kilkadziesiąt takich notatek w obu rękopisach jest świadectwem zatroskania zakonu o stan muzyki w klasztorach CRL.

Źródło:

Seminare. Poszukiwania naukowe; 2019, 40, 1; 189-208
1232-8766

Pojawia się w:

Seminare. Poszukiwania naukowe

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 15.

Tytuł:

Muzyka klasyczna w Imperium Osmańskim
European Classical Music in the Ottoman Empire

Autorzy:

Pawlina, Agata

Powiązania:

https://bibliotekanauki.pl/articles/578010.pdf

Data publikacji:

2014

Wydawca:

Polskie Towarzystwo Orientalistyczne

Tematy:

music
Ottoman music
Turkish music
westernization (Turkey)

Opis:

This paper aims to present a historical overview of the westernization process in music culture of the Ottoman Empire. Contrary to what is generally believed, the transformation of Ottoman music from the monophonic system based on melodic and rhythmic patterns (makams and usuls) to the European polyphony was not the idea of the newly formed Turkish state of the early 20th century. In the beginning of the 19th century, the Ottoman Empire faced decline. Under the threat of European domination, remaining sultans tried to balance the level of development in science and technology between the West and their own country by great reforms. In the 19th century, for the Ottoman court the adaptation of the western music system was a symbol of acculturation and modernization. In the last decades of the Ottoman Empire, with the help of European musicans and theoreticians, the first institutions of western style music education were established. Thus, surprisingly, music culture seems to be a shared heritage of the Ottoman Empire and the Republic of Turkey.

Źródło:

Przegląd Orientalistyczny; 2014, 1-2; 61-76
0033-2283

Pojawia się w:

Przegląd Orientalistyczny

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 16.

Tytuł:

Obraz współczesnego społeczeństwa w utworach muzycznych Doroty Masłowskiej – Mister D.
The depiction of contemporary society in Dorota Masłowska’s music – Mister D.

Autorzy:

Wrzochul-Stawinoga, Justyna

Powiązania:

https://bibliotekanauki.pl/articles/644826.pdf

Data publikacji:

2018

Wydawca:

Uniwersytet im. Adama Mickiewicza w Poznaniu

Tematy:

Generation Z
Mister D
music video
video
visual culture
Masłowska

Opis:

Changes resulting from the development of the Internet have a significant impact on the shape of popular culture. Music, particularly the message that it conveys, constitutes an important element of culture. Music, which is a part of a wider cultural context, has a significant influence on the shaping of the world view of contemporary people and serves as an important element of its description. According to Jacek Bernasiewicz, music often becomes the building block of the young generation. “It is primarily about music, and particularly its content, that always served as a generational bond and carried ideology – rock music for flower children, punk rock for neglected children, rap music for hip hoppers…” (Bernasiewicz, 2009: 4). Music always carries a message and combined with a music video, it becomes a story. This paper and deliberations contained herein are devoted to the works of Mr D, also known as Dorota Masłowska, which is a mirage – on the one hand of pop culture, entertainment and fun, and on the other, a depiction of the contemporary Polish society, in which the Generation Y plays a major role. The aim of the paper is to show how the Internet, being a place where narratives about the world play out, using the convergence of media, contributes to the construction of a certain reality, the elements of which, emphasised by Dorota Masłowska and elevated above the everyday life of the global teenager “Made in Poland,” make up the determinants of contemporary youth culture. Music videos by Mr D. and the content of songs from the album Społeczeństwo jest niemiłe will serve as the subject of this analysis. The narrative appearing in these songs will be examined, and the broader context of the meanings contained in the songs in relation to the entirety of popular culture and the way of functioning of society in it will be pointed out. Dorota Masłowska’s songs are not narratives of the author herself, but of protagonists presented in her music videos: the girl presented in the music video undergoes a kind of metamorphosis, and the viewer looks at the world through the eyes of her imagination. The protagonists in her music videos and songs are representatives of certain social groups with specific, clear characteristics that allow them to be individually identified. I assume that lyrics of songs listened to and music videos watched by youth and young adults are among the most important ways of learning and participating in culture by giving meaning to oneself, one’s life and the world. A musical work that is an “immature form” of culture, making use of the wide range of possibilities available to it for conveying messages, full of symbols and metaphors, demands its recipients to read and discover the meaning.

Źródło:

Kultura-Społeczeństwo-Edukacja; 2018, 13, 1; 254-273
2300-0422

Pojawia się w:

Kultura-Społeczeństwo-Edukacja

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 17.

Tytuł:

Muzyka i horror. "Lśnienie" Stanleya Kubricka
The Kubrick Horror Show: making music in “The Shining”

Autorzy:

Kozłowski, Krzysztof

Powiązania:

https://bibliotekanauki.pl/articles/920354.pdf

Data publikacji:

2009-06-13

Wydawca:

Uniwersytet im. Adama Mickiewicza w Poznaniu

Tematy:

semantisation of music
programme music
instrumental music
diabolus in musica
music and horror
Stanley Kubrick
Lśnienie
muzyka i horror

Opis:

This article will argue that in The Shining, Kubrick has constructed a radical semantisation of instrumental music, composed or adapted to the film. It could be argued that in this context Kubrick has produced such a sophisticated backdrop of fusion between music and film that this production can be considered one of the masterpieces in this field. In this light, the study shall discuss five aspects: the context of programme and instrumental music in respect to both conflicting and complementary tendencies of 19th c. esthetics, discussion of the simplest compositions used to demonstrate the film’s world of the inferno and finally, Kubrick’s complex semanticisation based on a clear labyrinth construction (catalysing fear in the labyrinth-trap).The study shall employ Carl Dahlhaus’ (1971) model of “method of interpretative analysis” used in respect to Richard Wagner as well as the notion of Wagners Konzeption des musikalischen Dramas. Further, the discussion shall be based on a complementary authorial methodology in three parts; a reading of non-musicological semantic markers of synchronically arranged fragments of instrumental composition used in film narration, a diachronic analysis of forms and their elements relating to the film score and last, an examination of the most functional of concepts relating to the esthetics of music.On the basis of the above mentioned issues, it shall be maintained that the music used as an overlay to the unfolding narrative of the film, though multifarious in construction, is powered by a dominant topos, diabolus in musica, which is realised in the form of “polyphony without cantus firmus”. This in turn supports the view that the role of music ought to be seen as one integral to film as a communicative medium, and not one simply of background, as some would argue.In conclusion, it shall be argued that in constructing a semantic framework of music in such a rich multi-level fashion, Kubrick has turned the role of music into an integral element of a highly complex artistic structure. This, it ought to be added, allows the score of this film to be placed at the same level as synthetic works of art (musical drama) and in terms of the genre horror, The Shining is the most “musicalised” of Kubrick’s films.This study may provide a basis for further research into the nature of Film, in particular, the work of Stanley Kubrick.

Źródło:

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2009, 7, 13-14; 47-64
1731-450X

Pojawia się w:

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 18.

Tytuł:

The Music Traditions of the Ashkenazi Jews and Radical Jewish Culture: A Brief Outline of the Definitions and Content of Jewish Music in the Past and Nowadays

Autorzy:

Zapiór, Luiza

Powiązania:

https://bibliotekanauki.pl/articles/2176271.pdf

Data publikacji:

2020

Wydawca:

Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ

Tematy:

Jewish music
instrumental music
John Zorn
Radical Jewish Culture
contemporary music

Opis:

The main purpose of this paper is to describe John Zorn’s approach to klezmer music and Jewish music tradition in general. The text has been divided into shorter sections. The first part of the article is dedicated to providing an overview of problems concerning the definition of Jewish music. The second part focuses on analysing klezmer motifs in John Zorn’s selected works and Jewish symbols present in the visual component of his recording projects. The last section contains a summary and conclusions.

Źródło:

Kwartalnik Młodych Muzykologów UJ; 2020, 4(47) ENG; 215-227
2956-4107
2353-7094

Pojawia się w:

Kwartalnik Młodych Muzykologów UJ

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 19.

Tytuł:

The Functional Role of Music in Communicating Death through/in YouTube Videos

Autorzy:

Pentaris, Panagiotis
Yerosimou, Maria

Powiązania:

https://bibliotekanauki.pl/articles/628305.pdf

Data publikacji:

2014

Wydawca:

Fundacja Pro Scientia Publica

Tematy:

death, media, music, YouTube, background music

Opis:

Since the establishment of thanatology, the science of death, in the early 20th century, death has not only been considered a controversial subject, but it has also been regarded as a taboo topic. Various ways of communicating death have developed over the last few decades. With the advent of different mass and social media and their increasing impact on everyday life in the 21st century, death can now be communicated via a number of media platforms, such as television, radio, and online videos. This type of communication is underpinned by a series of dimensions, in particular music, that shape the conveyed message. Music has been extensively used in the dissemination of information in the wider media outlet. It is widely seen as a means of evoking emotions and of facilitating the process of assimilating information that is communicated via media. This paper seeks to discuss the functional role of music in communicating death in online video platforms. In particular, the example of the YouTube platform is used to identify the links between death, music and video platforms. This paper is part of a large-scale study on the functional role of music in communicating death through YouTube videos. It is suggested that music may serve as a link between media and death. The conclusions that are drawn in this paper are supported by the authors’ current and ongoing study and critical analysis of the deployment of music in the communication of death.

Źródło:

Journal of Education Culture and Society; 2014, 5, 1; 206-217
2081-1640

Pojawia się w:

Journal of Education Culture and Society

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 20.

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

/5

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Skocz do pozycji: 21.

Tytuł:

Bangla Rock: exploring the counterculture and dissidence in post-colonial Bengali popular music

Autorzy:

Kamalini, Mukherjee,

Powiązania:

https://bibliotekanauki.pl/articles/890511.pdf

Data publikacji:

2018-02-27

Wydawca:

Akademia Pedagogiki Specjalnej im. Marii Grzegorzewskiej. Wydawnictwo APS

Tematy:

counterculture
alternative music
bangla rock
vernacular music

Opis:

This paper is an attempt to explore the politics and the poetics of vernacular music in modern Bengal. Drawn from extensive and in-depth research into the current “scene” (as popularly referred to in the musician and music lover circles), this paper delves into the living histories of musical and linguistic revolutions in a part of India where the vernacular literature has been historically rich, and vastly influenced by the post-colonial heritage. The popular music that grew from these political and cultural foundations reflected its own pathos, and consecutively inspired its own form of oral tradition. The linguistic and musical inspirations for Bangla Rock and the eventual establishment of this genre in a rigidly curated culture is not only a remarkable anthropological case study, but also crucial in creating discourse on the impact of this music in the creation of oral histories. This paper will discuss both the musical and the lyrical journey of Bengali counterculture in music, thus in turn exploring the scope of Bangla – as in the colloquial for Bengali, and Rock – the Western musical expression which began during the 50’s and the 60’s (also populist and political in its roots). The inception of this particular political populist narrative driven through songs and music, is rooted in the Civil Rights movement, and comparisons can be drawn in the ‘soul’ of the movements, though removed both geographically and by time. Thus this paper engages with the poetics of Bangla Rock, to understand the marginal political voices surfacing through alternative means of expression.

Źródło:

International Journal of Pedagogy, Innovation and New Technologies; 2017, 4(2); 35-47
2392-0092

Pojawia się w:

International Journal of Pedagogy, Innovation and New Technologies

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 22.

Tytuł:

MUSIC IN THE FIELD OF POLITICAL SCIENCE RESEARCH QUESTIONS AND TRENDS

Autorzy:

Massaka, Iwona

Powiązania:

https://bibliotekanauki.pl/articles/594783.pdf

Data publikacji:

2013

Wydawca:

Wydawnictwo Adam Marszałek

Tematy:

music
music and politics
theory of politics
sounds
democracy

Opis:

Research on relations between art and politics has its tradition. However, it mainly refers to literature, whose part, as far as its authors’ intentions are concerned, is of a political character, in a lesser degree – of a picture. Sound, especially if it is not linked to a text and/or a picture, is considerably more seldom analyzed from the point of view of its importance in politics. As long as a word and a picture happen to convey unequivocal political meaning, qualified as such by most recipients, sound cannot be obviously considered a political message. It is questionable whether music can convey any meaning in whatever sense. If one can manage to suppress this doubt, it will result in a question how to construe the senses conveyed through the medium of melodic – rhythmic structures. However, the findings in the field of widely understood humanities affirm that music serves as a creator’s message directed to both individual and collective receivers. Political science studies often bring up a matter of communication between authorities and the subjects (in authoritarian regimes), and also between representatives of a nation or people claiming their role and electorate (in democratic regimes). At the end of the 1960s, American and Canadian scientists made room for music, one of the most widespread communicators, i. a. in political sphere. At that time, interdisciplinary teams including American sociologists, political scientists, culture and media experts undertook.

Źródło:

Polish Political Science Yearbook; 2013, 42; 317-330
0208-7375

Pojawia się w:

Polish Political Science Yearbook

Dostawca treści:

Biblioteka Nauki

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Skocz do pozycji: 23.

Tytuł:

Music emotions and associations in film music listening: The example of leitmotifs from The Lord of the Rings movies

Autorzy:

Chełkowska-Zacharewicz, Maria
Paliga, Mateusz

Powiązania:

https://bibliotekanauki.pl/articles/2125137.pdf

Data publikacji:

2020-01-10

Wydawca:

Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL

Tematy:

film music
leitmotif
music-induced emotions
affect
The Lord of the Rings

Opis:

The aim of the present study was to investigate which musical emotions and associations appeared while listening to leitmotifs in film music. A sample of 157 participants took part in the study, in which musical associations and emotions were analysed in relation to seven groups of musical themes from The Lord of the Rings films (LOTR). The LOTR soundtrack is a good example of the use of symbols in music to represent ideas, characters, etc. The results show that both the respondents’ associations and the musical emotions they experienced were related to the characteristics of musical motifs. The results are discussed in relation to the assumed features of musical motifs composed by Howard Shore.

Źródło:

Roczniki Psychologiczne; 2019, 22, 2; 151-175
1507-7888

Pojawia się w:

Roczniki Psychologiczne

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 24.

Tytuł:

Archives and blank spots: scholarly perspectives for recovering Polish music (1794–1945)

Autorzy:

Gmys, Marcin

Powiązania:

https://bibliotekanauki.pl/articles/780407.pdf

Data publikacji:

2019

Wydawca:

Uniwersytet im. Adama Mickiewicza w Poznaniu

Tematy:

blank spot in the history of music
Polish music in the nineteenth century and in the early twentieth century
the music of Józef Nowakowski
Józef Elsner
Karol Kurpiński
Ignacy Feliks Dobrzyński
Stanisław Moniuszko
Eugeniusz Morawski
Feliks Nowowiejski
Adolf Gużewski
national style in music

Opis:

In this article, the author tries to present the issue of blank spots in the history of Polishmusic since 1794 (the world premiere of Cud mniemany, czyli Krakowiacy i Górale [The supposedmirtacle, or Cracovians and highlanders] composed by Jan Stefani to the libretto of Wojciech Bogusławski is regarded as a symbolic beginning of national style in Polish music) up to the end of the SecondWorld War. It was a great period in history when Poland twice did not exist as a state (between1795 and 1918 and between 1939 and 1945).At the beginning the attention is drawn to the Polish music in the nineteenth century. Author describes new discoveries such as the Second Piano Quintet in E flat Major (with double bassinstead of second cello) by Józef Nowakowski (Chopin’s friend), and String Quartets op. 1 and monumentaloratorio Passio Domini Nostri Jesu Christi by Józef Elsner who was Chopin’s teacher in the Conservatory of Music in Warsaw (Elsner’s Passio discovered at the end of the twentieth century isregarded now as the most outstanding religious piece in the history of Polish music in the nineteenth century). Among other works author also mentions romantic opera Monbar (1838) by Ignacy Feliks Dobrzyński and first opera of Stanisław Moniuszko Die Schweitzerhütte (about 1839) written to the German libretto during composer’s studies at Singakademie Berlin.  Addressing the issue of Polish music of the first half of the twentieth century author draws attention to the composer Eugeniusz Morawski regarded as the leading Polish author of programme music next to Mieczysław Karłowicz (unfortunately Morawski is still forgotten figure in the Polish musical life).  Among others the importance of symphonic heritage of Feliks Nowowiejski, an author ofextremely popular in Europe during the second decade of twentieth century oratorio Quo vadis, is mentioned. At the end of article, the author takes up the problem of the enigmatic figure of Adolf Gużewski.The whole musical output of Gużewski, whose opera Dziewica lodowców [The Ice Maiden] was applauded in Warsaw and Russian opera houses in the second decade of the twentieth century, is now considered lost.

Źródło:

Interdisciplinary Studies in Musicology; 2019, 19; 95-105
1734-2406

Pojawia się w:

Interdisciplinary Studies in Musicology

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 25.

Tytuł:

Muzyka soul – geneza, historia, uwarunkowania społeczno-kulturowe oraz rodzaje inspiracji tym stylem w twórczości rodzimej
Soul music – the origins, history, socio-cultural base and the kinds of soul inspiration in the Polish music

Autorzy:

Jaczyński, Michał

Powiązania:

https://bibliotekanauki.pl/articles/513904.pdf

Data publikacji:

2015-01-01

Wydawca:

Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ

Tematy:

soul music
popular music
American culture
Polish music
Czesław Niemen

Opis:

The theme of this study is a historical reconnaissance of soul music, taking into account the global context, with all the social and historical conditions that accompanied the development of the style. The main aim that the author set himself is to find sources of Polish musicians’ inspirations that can be found in American music from the 60s of the twentieth century. The main section of this paper is an attempt to define soul music and the characteristic of the style in a variety of shots – strictly musical, social, political, historical, racial and the general-culture one. The final chapter undertakes the task of showing the results of analysis of native music in terms of its membership to the style. In this section, a very broad meaning of the term ’soul’ has been assumed, which in this context is merely a reflection of the original phenomenon. The author hopes that this study will contribute to the dissemination of knowledge that soul music – both worldwide and in Poland – is an original and valuable style.

Źródło:

Kwartalnik Młodych Muzykologów UJ; 2015, 1(24); 46-69
2956-4107
2353-7094

Pojawia się w:

Kwartalnik Młodych Muzykologów UJ

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 26.

Tytuł:

The notion of nature in modern music theory and history as seen hy Carl Dahlhaus and Karol Berger

Autorzy:

Jarzębska, Alicja

Powiązania:

https://bibliotekanauki.pl/articles/780323.pdf

Data publikacji:

2009

Wydawca:

Uniwersytet im. Adama Mickiewicza w Poznaniu

Tematy:

music theory
music history
aesthetics of music
theory of art
the notion of nature

Opis:

Modern music theory, ignoring the problems connected with the subject’s auditive experience but referring to the objective laws of nature, was criticised by Carl Dahlhaus, although he accepted - to a certain extent - the hypothesis of historical determinism. Dahlhaus links this turning point in the history of reflection on music with the transition from the ‘ontological contemplation’ of the Tonsystem to the ‘aesthetic contemplation’ of the Tonkunstwerk, the fundamental characteristic of which is the idea of ‘wholeness’ (die Idee der Ganzheit). The new conception of the discourse on the theory and history of modern music proposed by Karol Berger in his book A Theory of Art (2000) bears testimony to crucial changes in the contemporary humanities linked to the so-called ‘cognitive revolution’. According to Berger, the fundamental characteristic distinguishing modern art from premodern art is its autonomy. Berger distances himself from the modern tradition of theoretic- aesthetic discourse treating the work of art, including the work of music, as an axiologically neutral entity independent of ‘human nature’, that is, of the functioning of our memory, imagination and cognitive mechanisms, and also not having a specific social function. At the centre of Berger’s theoretical interests is aesthetics, as broadly understood, coupled with ethics and history, poetics and hermeneutics. He is not interested - like Dahlhaus - in considering ‘what art is’ or ‘what music is’ , but poses the question: ‘What should the function of art be, if art is to have a value for us ?’

Źródło:

Interdisciplinary Studies in Musicology; 2009, 8; 93-108
1734-2406

Pojawia się w:

Interdisciplinary Studies in Musicology

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 27.

Tytuł:

Muzyka w serialu animowanym Krecik
Music in the animated series Krtek

Autorzy:

Babulewicz, Katarzyna

Powiązania:

https://bibliotekanauki.pl/articles/522004.pdf

Data publikacji:

2016

Wydawca:

Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku

Tematy:

The Mole
Krtek
music in animated movies
music in the animated series The Mole
Jaroslav Křička
William Bukový
Miloš Vacek
Vadim Petrov

Opis:

The Mole (Krtek) was produced in the years 1957–2002 by Czech studio Bratři v triku. All episodes were directed by Zdeněk Miler (1921–2011), creator of the title character. The series achieved a global success (it was presented in eighty-five countries), and the title character found its permanent place not only in the children’s culture, but also in pop culture in general. This article presents the observations about the music in Krtek which were gathered by the analysis of The Mole episodes produced before 1991 (Perestroika) — the essay is a part of a wider research on music in children’s animated films produced in the Central and Eastern Europe in the era of the USSR. The musical analysis is carried out using the descriptive method. The author describes the selected, representative parts of the film including the accompanying soundtrack, to present the most interesting solutions applied in the films developed by the four composers: Jaroslav Křička (1882–1969), William Bukový (1932–1968), Miloš Vacek (1928–2012) and Vadim Petrov (1932–). They have created the soundtracks rich in grasping musical ideas, at the same time referring more than once to a variety of styles and genres. However, the most common is the neoclassical aesthetics, and manifested in its two variants popular in the communist Europe — i.e. the archaic and folklore-like. The music of each composer varies in respect of the dependence on the movie itself — it is often marked by a desire to give music its autonomy (while still taking the film narration into account).

Źródło:

Aspekty Muzyki; 2016, 6; 85-110
2082-6044

Pojawia się w:

Aspekty Muzyki

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 28.

Tytuł:

The change in the synchronization between heartbeat and music

Autorzy:

Fukumoto, M.
Nomura, S.

Powiązania:

https://bibliotekanauki.pl/articles/333149.pdf

Data publikacji:

2009

Wydawca:

Uniwersytet Śląski. Wydział Informatyki i Nauki o Materiałach. Instytut Informatyki. Zakład Systemów Komputerowych

Tematy:

synchronizacja
muzyka
synchrogram sercowo-muzyczny
synchronization
music
musical beat
heartbeat
cardio-music synchrogram

Opis:

In this study, the change in the synchronization between heartbeat and music was investigated. The phenomena of the synchronization between human heartbeat and musical tempo has been reported in several previous studies, however, it has not yet been fully investigated including the effect of changing the tempo of musical piece on the synchronization. In the experiment, the subjects were exposed to musical pieces in which the tempo was manipulated to gradually increasing (named “Up” condition), decreasing (“Down”) and constant (“Flat”). Through the analysis by our developed software, Cardio-Music Synchrogram, the shortest length of the total synchronization periods was observed in Flat condition. Furthermore, the temporal change in the synchronization was investigated.

Źródło:

Journal of Medical Informatics & Technologies; 2009, 13; 229-234
1642-6037

Pojawia się w:

Journal of Medical Informatics & Technologies

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 29.

Tytuł:

Edukacja muzyczna w dwudziestoleciu midzywojennym na amach miesicznika Muzyka w Szkole
Music Education during the Interwar Period in the Magazine Muzyka w Szkole (Music at School)

Autorzy:

Rogozińska, Katarzyna

Powiązania:

https://bibliotekanauki.pl/articles/454032.pdf

Data publikacji:

2017

Wydawca:

Uniwersytet Humanistyczno-Przyrodniczy im. Jana Długosza w Częstochowie. Wydawnictwo Uczelniane

Tematy:

muzyka,
edukacja muzyczna,
dwudziestolecie międzywojenne,
prasa muzyczna.
music,
music education,
interwar period,
music press.

Opis:

Rozwój życia muzycznego w dwudziestoleciu międzywojennym, wzrost zainteresowania sztuką muzyczną wśród ogółu społeczeństwa, upowszechnianie muzyki w ramach m.in. wychowania muzycznego w szkołach, a także znacząca rola muzyki polskiej, spowodowały szerokie dyskusje na tematy związane z edukacją muzyczną Jednym z forów toczącej się dyskusji były polskie czasopisma, a wśród nich miesięcznik pedagogiczno-muzyczny pt. „Muzyka w Szkole”. Artykuły publikowane w tym czasopiśmie w dwudziestoleciu międzywojennym stanowią obecnie wielką wartość historyczną, są źródłem wiedzy o polskiej edukacji muzycznej tego okresu. Analiza materiału źródłowego wykazała, że muzyka była przedmiotem wielu cennych dyskusji prowadzonych na łamach tego periodyku. Poruszana problematyka dotyczyła m.in. znaczenia rozwoju muzycznego dziecka i jego wszechstronnej edukacji muzycznej, jak też kompetencji ówczesnych nauczycieli muzyki. Zamieszczane w czasopiśmie artykuły miały przyczynić się do większego zaintereso- wania i motywacji do uczenia się muzyki.
The interwar period was a period of a dramatically decreasing interest of the Polish society in music. The reaction to this state of affairs was its broad promotion as part of, inter alia, musical education in schools. At the time when Poland regained its independence, it was not only a pioneering activity on our soil, but also was it very important for deepening national and cultural awareness. This time also saw an increase in the importance of Polish music. A wide range of musical issues of that period were the subject of numerous discussions, which took place on many levels. One of the forums consisted of Polish magazines, including the pedagogical and musical monthly magazine “Muzyka w Szkole” (“Music at the School”). The articles published in this periodical, being now of great historical value, are a source of knowledge about Polish musical education during the interwar period.

Źródło:

Edukacja Muzyczna; 2017, 12; 169-186
2545-3068

Pojawia się w:

Edukacja Muzyczna

Dostawca treści:

Biblioteka Nauki

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Skocz do pozycji: 30.

Tytuł:

Muzyka w Cudzoziemce Marii Kuncewiczowej
The music in The Stranger by Maria Kuncewiczowa

Autorzy:

Babulewicz, Katarzyna

Powiązania:

https://bibliotekanauki.pl/articles/514047.pdf

Data publikacji:

2014-04-01

Wydawca:

Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ

Tematy:

The Stranger
Kuncewiczowa
music in The Stranger

Opis:

Cudzoziemka (The Stranger) is the most famous novel of Maria Kuncewiczowa (1895–1989) and one of the most outstanding examples of Polish interwar prose. It tells the story of Róża Żabczyńska – an unhappy wife, mother and above all – abandoned once loved and a would-be violinist. The main part of the book is a presentation of the last day in the Róża’s life, when the character recalls the most important events and memories, especially from her early youth. The narrative is not linear. Individual episodes are compiled on the basis of associations, not in the chronological order. Cudzoziemka is usually interpreted as a psychological novel. In the foreground there is a story of a great, unrequited love from the school days, which can not be forgotten during for a lifetime. However there is also another element which is omnipresent on the pages of the novel. It is the music. It is present at all levels of the piece – from layers of language (use of terms related to the execution of music and onomatopeic words, especially to present specific moods, and moreover: overall sensitivity to sound and recalling diverse titles of music pieces), through the narrative: the selection of the key events and making the main character violinist; probably up to the more general conclusions about the nature of music. The structure of the novel suggests some analogies with musical form. What is more, there are many interesting examples of intertextual narrative as a consequence of invoking vocal pieces with a corresponding subject (the most important seems to be Schumann’s Dichterliebe). Music is everywhere, appears not only as a natural (yet attractive) backdrop for stories of wounded feelings of the vengeful violinist. Repeatedly, it is used to convey different types of information to the reader. It becomes often an expression of belief. It also reveals the true face of the main character. Finally, the attitude to music has a major impact on the relationships of other characters with Róża.

Źródło:

Kwartalnik Młodych Muzykologów UJ; 2014, 2(21); 98-117
2956-4107
2353-7094

Pojawia się w:

Kwartalnik Młodych Muzykologów UJ

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 31.

Tytuł:

Reference to the realm of nature in the theoretical reflections and the music of Ludomir Michał Rogowski

Autorzy:

Wójtowicz, Ewa

Powiązania:

https://bibliotekanauki.pl/articles/780321.pdf

Data publikacji:

2009

Wydawca:

Uniwersytet im. Adama Mickiewicza w Poznaniu

Tematy:

Polish composer
20th century music
tonal crisis
theory of scales
musical form
national music
programme music
Dionysus
Dubrovnik

Opis:

Besides an abundant musical output, the rich legacy of Ludomir Michał Rogowski (1881-1954) also contains numerous writings, a special place among which is held by Muzyka przyszłości [The music of the future], written in 1919 and published three years later. In this work Rogowski asserted that the possibilities for composing music on the basis of the major, minor and chromatic scales were exhausted. He went on to propose an expansion of the repertoire of scales, giving two criteria for the choice of scales: ‘naturalness’ and ‘rhythmicity’. A ‘natural’ scale is one which can be read from the sequence of fifth steps of the twelve-note chromatic scale in equal temperament. The simplest example is the anhemitonic pentatonic scale. The concept of the renewal of tonal material is central to Muzyka przyszłości, but its author formulates an idea about the rhythmic essence of musical form as well. In his considerations on this subject, he proceeds from the nature-related phenomenon of symmetry. He treats the simplest symmetrical pattern, the ternary form ABA, as an elementary manifestation of rhythm expanded into form. References to nature also occur in Rogowski’s texts on national music. In this context, folk music represents such values connected with nature as simplicity, honesty and freshness; it is devoid of all artificiality or posture, free from all convention. In Rogowski’s musical output, a fascination with nature became a powerful source of inspiration, from which many symphonic works of a programmatic character emerged. The connection with nature and joy of life - the crucial values of Mediterranean culture - are conveyed by the music of Cortege de Dionysos and by the whole of composer’s oeuvre. Rogowski confirmed his belonging to the culture of the South not only with his music. When, in 1926, he left Warsaw for Dubrovnik, he confirmed it also with his life.

Źródło:

Interdisciplinary Studies in Musicology; 2009, 8; 81-92
1734-2406

Pojawia się w:

Interdisciplinary Studies in Musicology

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 32.

Tytuł:

Henryk Mikołaj Górecki’s Chamber Music Works in the Context of the Transformations of the Composer’s Style: Selected Examples

Autorzy:

Sucharska, Weronika

Powiązania:

https://bibliotekanauki.pl/articles/2171384.pdf

Data publikacji:

2020

Wydawca:

Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ

Tematy:

Henryk Mikołaj Górecki
twentieth-century music
chamber music
Polish music
composition techniques
Aria (‘operatic scene’)
Concerto for Five
Instruments and String Quartet
Quartettino
Little Music 4

Opis:

The aim of this paper is to analyse stylistic changes in Henryk Mikołaj Górecki’s output on the example of four selected chamber music works: Quartettino, Op. 5, Concerto for Five Instruments and String Quartet, Op. 11, Little Music 4, Op. 28 and Aria (‘operatic scene’), Op. 59. By applying the methods of structural and auditory analysis as well as style criticism, I discuss the diversity of composition techniques found in these compositions. Additionally, my methodology has allowed me to represent the idiomatic, idiosyncratic features of Górecki’s style and study the ways in which Górecki approached chamber music.

Źródło:

Kwartalnik Młodych Muzykologów UJ; 2020, 3(46) ENG; 87-108
2956-4107
2353-7094

Pojawia się w:

Kwartalnik Młodych Muzykologów UJ

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 33.

Tytuł:

Waste paper as a music source: fragments preserved with the incunabula at the University Library in Wroclaw

Autorzy:

Gancarczyk, Paweł

Powiązania:

https://bibliotekanauki.pl/articles/780107.pdf

Data publikacji:

2012

Wydawca:

Uniwersytet im. Adama Mickiewicza w Poznaniu

Tematy:

University Library in Wroclaw
music manuscripts
fragmentary sources
chant music
fifteenth-century polyphony

Opis:

Preserved with the incunabula at the University Library in Wroclaw are eighty-five fragments of music manuscripts. Alongside numerous antiphonaries, notated breviaries and missals, they also include a fragment with polyphonic music (PL-WRu XV Q1066). This contains three compositions typical of fifteenth-century Central European repertory. There are grounds for supposing that this fragment was written in Silesia during the second quarter of that century. Research into the music fragments from the University Library in Wroclaw has provided the author with a point of departure for discussing methodological issues. Questions are raised regarding the nature of fragmentary sources, with reference to the classification of historical sources proposed by Jerzy Topolski. The status of fragments differs from that of sources preserved intact, and this should be reflected in research procedures, such as the method of establishing provenance. The adoption of new methodological principles requires a critical re-examination of the interpretation of some musical fragments, including the sources preserved in Poland.

Źródło:

Interdisciplinary Studies in Musicology; 2012, 11; 41-52
1734-2406

Pojawia się w:

Interdisciplinary Studies in Musicology

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 34.

Tytuł:

Wybrane aspekty działalności Galicyjskiego Towarzystwa Muzycznego we Lwowie
Selected Aspects of the Activity of the Galician Music Society in Lviv

Autorzy:

Lebiedziewicz, Paweł

Powiązania:

https://bibliotekanauki.pl/articles/2189502.pdf

Data publikacji:

2022

Wydawca:

Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ

Tematy:

Galician Music Society
Music Societies in Lviv
musical activity
musical institutions

Opis:

The aim of this article is to present the scattered information on the significant undertakings of the Galician Music Society. The scope of the paper covers the period from the founding of this institution in the context of life and musical activity in Lviv at the time, reaching also to the period before its establishment. The author draws attention to the role of the rules and regulations present in the statutes of this institution, which concern the Society's ways of financing its activity.

Źródło:

Kwartalnik Młodych Muzykologów UJ; 2022, 3(54); 5-18
2956-4107
2353-7094

Pojawia się w:

Kwartalnik Młodych Muzykologów UJ

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 35.

Tytuł:

Музыкальный интерес в структуре эстетического сознания детей дошкольного возраста
Interest in Music as a Part of the Young Children’s Aesthetic Consciousness Structure

Autorzy:

Boyakova, Ekaterina

Powiązania:

https://bibliotekanauki.pl/articles/461625.pdf

Data publikacji:

2015

Wydawca:

Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie. Instytut Spraw Społecznych

Tematy:

early childhood
interest in music
the structure of interest
musical and aesthetic consciousness
music lessons
music game

Opis:

The article deals the educational problems of the interest in music in early childhood. The structure of children’s interest includes the emotional and intellectual components. Emotional component in early childhood is a leader. Interest in music is part of the musical and aesthetic consciousness, influences on music lessons and aesthetic development. The game is the best method of interest’s development. The greatest effect is achieved in games based on synesthesia.

Źródło:

Labor et Educatio; 2015, 3; 337-354
2353-4745
2544-0179

Pojawia się w:

Labor et Educatio

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 36.

Tytuł:

An unknown source concerning Esaias Reusner Junior from the Music Collection Department of Wroclaw University Library

Autorzy:

Joachimiak, Grzegorz

Powiązania:

https://bibliotekanauki.pl/articles/780135.pdf

Data publikacji:

2012

Wydawca:

Uniwersytet im. Adama Mickiewicza w Poznaniu

Tematy:

lute in Silesia
Esaias Reusner Junior
Reusner autograph
Johann Kessel
music in Oleśnica (Ols)
music in Brzeg (Brieg)
music at the court of the Brandenburg Elector in Berlin
Piast dynasty of Silesia
tautogram

Opis:

The Music Collection Department of Wroclaw University Library is in possession of an old print that contains the following inscription: ‘Esaias Reusner | furste Brigischer | Lautenist’. This explicitly indicates the lutenist Esaias Reusner junior (1636-1679), who was born in Lwówek Śląski (Ger. Lówenberg). A comparative analysis of the duct of the handwriting in this inscription and in signatures on letters from 1667 and 1668 shows some convergences between the main elements of the script. However, there are also elements that could exclude the possibility that all the autographs were made by the same person. Consequently, it cannot be confirmed or unequivocally refuted that the inscription is an autograph signature of the lutenist to the court in Brzeg (Ger. Brieg). The old print itself contains a great deal of interesting information, which, in the context of Silesian musical culture of the second half of the seventeenth century and biographical information relating to the lutenist, enable us to become better acquainted with the specific character of this region, including the functioning of music in general, and lute music in particular. The print contains a work by Johann Kessel, a composer and organist from Oleśnica (Ger. Ols), who dedicated it to three brothers of the Piast dynasty: Georg III of Brzeg, Ludwig IV of Legnica and Christian of Legnica. It is a ‘Paean to brotherly unity”, which explains the reference to Psalm 133. Published in Brzeg, for the New Year of 1663, by Christoff Tschorn, the print also includes two poetic texts: a sophisticated elegiac distich in the form of a tautogram and a New Year’s ode. It is beneath these texts that we find the above-mentioned inscription relating to Esaias Reusner Jnr. Regardless of whether the autograph on the print is ascribed to Reusner or not, it does indicate his connection with this print, and probably with Kessel’s composition as well. Consequently, we can discover what kind of repertoire the Silesian lutenist played besides familiar lute pieces by his teachers, his own works, and arrangements of his works for chamber ensemble.

Źródło:

Interdisciplinary Studies in Musicology; 2012, 11; 83-102
1734-2406

Pojawia się w:

Interdisciplinary Studies in Musicology

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 37.

Tytuł:

Działalność Raula Koczalskiego w Niemczech w latach 30. XX wieku
Raul Koczalski’s activity in German in the 1930s

Autorzy:

Dziadek, Magdalena

Powiązania:

https://bibliotekanauki.pl/articles/521998.pdf

Data publikacji:

2015

Wydawca:

Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku

Tematy:

Chopin’s music
Raul Koczalski
Polish Chopin performers
music in the Third Reich
Polish music in the interwar period

Opis:

The article describes a quite obscure period of the activity of Raul Koczalski, the outstanding Polish performer of Chopin’s works, which took place in the 1930s. At the time, the artist, living in Berlin, was pursuing his mission of propagating Chopin’s music by giving concerts, lectures and master classes, as well as publishing his own book devoted to Chopin’s music and its rendition. The aim of the article is to compare this activity with Koczalski’s other undertakings – those resulting from the political conditions of those days. As a result, we get to know the artist who must have combined his Polish patriotism with the gestures of admiration towards German cultural heritage, which was possible thanks to the support of both Polish and German authorities. The pursuing of the “mission of conciliation” in the way that included the current interests of the Third Reich was paradoxically enabled by Chopin’s music itself, considered by the authorities in Berlin as a pan- European value.

Źródło:

Aspekty Muzyki; 2015, 5; 11-25
2082-6044

Pojawia się w:

Aspekty Muzyki

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 38.

Tytuł:

Music by Andrea and Giovanni Gabrieli in the library of the Polish Academy of Sciences in Gdańsk

Autorzy:

Szombara, Justyna

Powiązania:

https://bibliotekanauki.pl/articles/473814.pdf

Data publikacji:

2017

Wydawca:

Uniwersytet Jagielloński. Musica Iagiellonica

Tematy:

Library collections, Biblioteka Gdańska Polskiej Akademii Nauk, Andrea
Gabrieli, Giovanni Gabrieli, music manuscripts,vocal music

Opis:

The library of the Polish Academy of Sciences in Gdańsk holds a wealth of materials that give insight into the reception of Italian music in northern Europe. Sources from the last decades of the 16th and early 17th century that constitute the evidences of Andrea and Giovanni Gabrielis reception in Gdańsk are presented. The sources in question originated from St Bartholomew’s and St Mary’s church libraries, and also from the private music collection of the Gdańsk patrician Georg Knoff. Among music prints there are examples of secular and sacred vocal music, while the repertoire of the manuscripts is limited to religious compositions. The article presents past research conducted by different scholars and published in a variety of places, as well as makes a number of small contributions to the research in its field.

Źródło:

Musica Iagellonica; 2017, 8; 117-137
1233-9679
2545-0360

Pojawia się w:

Musica Iagellonica

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 39.

Tytuł:

MEMORIZING SONG LYRICS IN PRIMARY EDUCATION DURING THE MUSIC LESSON

Autorzy:

Stramkale, Ligita

Powiązania:

https://bibliotekanauki.pl/articles/628087.pdf

Data publikacji:

2020

Wydawca:

Fundacja Pro Scientia Publica

Tematy:

song lyrics
memorizing
music lesson
primary education

Opis:

Aim. The aim of the study is to identify what techniques students use to memorise song lyrics, how much time is needed to do that, and whether and in what way their parents help them learn the song. The theoretical part of the study analyses previous researches on memorisation in the context of general psychology, age-related psychology, and music psychology. Method. The empirical study involved 47 (N=47) second-grade students of the comprehensive school (25 girls and 22 boys). Three study questions are raised in this paper: what techniques do students use to learn how to memorise song lyrics? How much time does a student need to learn singing a song by heart? Do parents help students memorise the song lyrics and in what way? To answer these questions, after having sung a song by memory each student was asked to write an essay about his/her thoughts on how he/she had learned this song at home. The content analysis was used in order to process the information contained in the essays and thus obtain a concise and detailed description of the song memorising techniques.  Results. As a result of the obtained data analysis, it was determined that the most commonly used memorising techniques were: reading the song lyrics, singing the lyrics, and repeating them several times. The study also revealed that slightly more than half of the students did not get any parental assistance to learn a song by heart. Conclusion. The students who learn to sing a part of a song by heart during music lessons need less time to learn the whole song at home when compared with those students who do not learn parts of the songs in class.

Źródło:

Journal of Education Culture and Society; 2020, 11, 1; 273-280
2081-1640

Pojawia się w:

Journal of Education Culture and Society

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 40.

Tytuł:

Electronic music in the perspective of semiotics

Autorzy:

Humięcka-Jakubowska, Justyna

Powiązania:

https://bibliotekanauki.pl/articles/780311.pdf

Data publikacji:

2015

Wydawca:

Uniwersytet im. Adama Mickiewicza w Poznaniu

Tematy:

electronic music
sign
meaning
semantic level
perception
cognitive process

Opis:

The aim of the present article is to describe the unique idiom of electronic music in the perspective of semiotics. The starting point of this reflection is an attempt at a definition of what electronic music is. It then moves on to questions concerning the explanation of the two main concepts of semiotics, sign and meaning. Here, the goal is to outline the general tendencies in interpreting these concepts in the context of Pierce’s theory of sign and in the context of other concepts utilized in the field of narratology, i.e. diegesis and mimesis; with the aim of transferring these interpretations to the field of electronic music. The important nodes of this reflection are illustrated with specific examples of electronic musical works. The article also explores the semantic and cognitive attributes of electronic music and the relationships between them. The understanding of meaning in electronic music is explained in terms of analogies between the characteristics of cognitive processing of the sounds of everyday life and sounds utilized in electronic music.

Źródło:

Interdisciplinary Studies in Musicology; 2015, 14; 259-273
1734-2406

Pojawia się w:

Interdisciplinary Studies in Musicology

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 41.

Tytuł:

Polska twórczość organowa zainspirowana pieśnią kościelną w liturgii Kościoła rzymskokatolickiego, cz. I

Autorzy:

Zalewski, Witold

Powiązania:

https://bibliotekanauki.pl/articles/668897.pdf

Data publikacji:

2014

Wydawca:

Uniwersytet Papieski Jana Pawła II w Krakowie

Tematy:

music
organ music
music in the liturgy
organ preludes
liturgical music
muzyka polska
muzyka organowa
muzyka w liturgii
preludia organowe
muzyka liturgiczna

Opis:

The knowledge of organ literature devoted to native composers leaves much to be desired. If they even perform solo organ music at liturgy, contemporary church organists often reach for the works of grand European masters, forgetting about the Polish reservoir of sacral pieces. An old proverb “the grass is greener on the other side of the fence” is an accurate description of the state of knowledge of young (and the older) organists on Polish organ music.Why is therefore Polish sacral organ literature so important for the contemporary church musician? Most importantly because, in the Roman Catholic church liturgy, “compositions based on church songs shall (i.e. are) desirable”.As early as in the 16th century, church song was used by the Polish composers as the melodic material for the organ pieces they composed. The first church compositions were created through adapting vocal pieces to the purposes of key music. Some of the most prominent examples include e.g. 16th-century Polish music monuments – John of Lublin Tabulator of 1540, The Saint Ghost Monastery Tabulator of 1548 and the Warsaw Music Society Tabulator from approx. 1580. The turn of the 18th and the 19th century in Europe and in Poland displays a secularization of organ music, influenced by the spread of the Naples school. Secular and opera elements influence church music, which gradually develops utilitarian properties.It is worth to remember that the Polish religious oeuvre is the contribution of Polish organists-virtuosos, often great improvisers, with extensive professional practice. The first creators of this literature were church organists, active on many a musical platform, composers, organizers of music life and university professors. This family of authors includes: Władysław Żeleński, Stefan Surzyński, Mieczysław Surzyński, Feliks Nowowiejski, Walenty Dec, Wincenty Rychling, Kazimierz Garbusiński, Feliks Rączkowski, Józef Furmanik, as well as the following priests: Gustaw Roguski, Józef Surzyński, Franciszek Walczyński, Antoni Chlondowski, or Idzi Ogierman-Mański. Also contemporary organists, such as Marian Sawa, Tadeusz Machl, or Jan Janca have been composing in this spirit. The author of this publication attempts at presenting the Polish organ music oeuvre, to be applied in the Roman Catholic church liturgy. Performing a division into applied music (as presented in the 1st part of the article) and concert music, the artist is aware that “we cannot make a precise classification into applied music (both didactic and church music) and concert music, since applied pieces contain numerous elaborate forms with grand artistic ambitions, played both in church and in the concert room”.Due to the specific character and sometimes not the top-notch artistic rank, organ music surely has as many advocates as it has opponents. Most of all, it will surely be found useful by church musicians who are less advanced in organ play and the art of improvisation, who seek support in the form of short, non-complex pieces applied in the post-council Roman Catholic liturgy.
Znajomość literatury organowej rodzimych kompozytorów nadal pozostawia wiele do życzenia. Współcześni organiści kościelni, jeśli już wykonują solową muzykę organową w liturgii, sięgają często po utwory wielkich mistrzów europejskich, zapominając o polskim skarbcu muzyki religijnej. Trafnym spostrzeżeniem ujmującym istotę stanu wiedzy większości młodych (i nie tylko młodych) organistów na temat polskiej muzyki organowej wydaje się znane powiedzenie „cudze chwalicie, swego nie znacie…”.Dlaczego polska religijna literatura organowa jest tak ważna dla współczesnego muzyka kościelnego? Z pewnością dlatego, że w liturgii Kościoła rzymskokatolickiego „bardzo pożądane będą (czytaj: są, przyp. W. Z.) kompozycje oparte na motywach pieśni kościelnych”.Pieśń kościelna już od XVI wieku wykorzystywana była przez kompozytorów polskich jako materiał melodyczny komponowanych przez nich utworów organowych. Pierwsze z takich kompozycji powstawały poprzez adaptację utworów wokalnych na instrument klawiszowy. Należy tu wymienić m.in.: XVI-wieczne zabytki muzyki polskiej – Tabulaturę Jana z Lublina z roku 1540, Tabulaturę klasztoru Św. Ducha z roku 1548 oraz Tabulaturę Warszawskiego Towarzystwa Muzycznego z ok. 1580 roku. Pod koniec wieku XVIII i w wieku XIX zauważalne staje się w Europie, a także w Polsce, zeświecczenie muzyki organowej spowodowane m.in. wpływem szkoły neapolitańskiej. Elementy świeckie i operowe przenikają także do muzyki kościelnej o charakterze użytkowym.Warto pamiętać, że polska twórczość religijna to dorobek wybitnych polskich organistów-wirtuozów, nierzadko świetnych improwizatorów, posiadających wieloletnią praktykę zawodową. Twórcami tej literatury byli w pierwszym rzędzie działający na wielu płaszczyznach muzycznych organiści kościelni, kompozytorzy, organizatorzy życia muzycznego i profesorowie wyższych uczelni. Do tego kręgu postaci zaliczyć należy: Władysława Żeleńskiego, Stefana Surzyńskiego, Mieczysława Surzyńskiego, Feliksa Nowowiejskiego, Walentego Deca, Wincentego Rychlinga, Kazimierza Garbusińskiego, Feliksa Rączkowskiego, Józefa Furmanika oraz duchownych: ks. Gustawa Roguskiego, ks. Józefa Surzyńskiego, ks. Franciszka Walczyńskiego, ks. Antoniego Chlondowskiego czy ks. Idziego Ogiermana Mańskiego. W tym duchu tworzyli także organiści naszych czasów jak Marian Sawa, Tadeusz Machl czy Jan Janca.Autor niniejszej publikacji podejmuje się prezentacji polskiej twórczości organowej możliwej do zastosowania w liturgii Kościoła rzymskokatolickiego. Dokonując podziału na muzykę użytkową (stanowi ona pierwszą część całego artykułu) i koncertową, ma jednak świadomość, że "nie można przeprowadzić całkiem ściśle podziału na muzykę użytkową (dydaktyczną i kościelną) oraz koncertową, ponieważ wśród utworów użytkowych spotykamy większe formy o dużych ambicjach artystycznych, grywane zarówno w kościele, jak i na sali koncertowej".Ze względu na swój specyficzny charakter i nie zawsze najwyższą rangę artystyczną użytkowa muzyka organowa ma zapewne tylu zwolenników, co przeciwników. Na pewno będzie ona przydatna przede wszystkim dla muzyków kościelnych mniej zaawansowanych w grze na organach i sztuce improwizacji, którzy poszukują wsparcia w postaci krótkich, nieskomplikowanych utworów mających zastosowanie w posoborowej liturgii Kościoła rzymskokatolickiego.

Źródło:

Pro Musica Sacra; 2014, 12
2083-4039

Pojawia się w:

Pro Musica Sacra

Dostawca treści:

Biblioteka Nauki

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Skocz do pozycji: 42.

Tytuł:

The (Idiomatic) Piano in the Structure and as a Structural Element in (My) Music

Autorzy:

Reis, Jaime

Powiązania:

https://bibliotekanauki.pl/articles/2144046.pdf

Data publikacji:

2020

Wydawca:

Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku

Tematy:

Reis Jaime
piano
structure
structural
contemporary music
idiomatic

Opis:

Is there a difference between structure and a structural element in a musical work or practice? How can one tackle such a question methodologically? Are these concepts part of an abstract construct or are they perceivable to the ear? And about whose ear would one be talking about? When does one speak about an idiomatic style (for the piano) and how much of this idea is materialized in music? Is such reflection useful to understand a musical practice? In this text, I propose a view of the piano playing the main role in the structure and as a structural element by describing compositional situations and giving a counterpoint on them. This paper is organized as follows: a short theoretical framework where the first questions are challenged, along with paradigmatic examples on how the piano has been used in the structure and as a structural element in western art music, mainly from the second half of the 20th century and nowadays, including short considerations on how and the rationale why I have used it in some of my music compositions.

Źródło:

Aspekty Muzyki; 2020, 10; 265-285
2082-6044

Pojawia się w:

Aspekty Muzyki

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 43.

Tytuł:

Topoi umuzycznione. Przegląd koncepcji toposu w muzyce
Musical topoi. The chosen perspectives of topos in music

Autorzy:

Sołtysik, Michał

Powiązania:

https://bibliotekanauki.pl/articles/1358073.pdf

Data publikacji:

2019

Wydawca:

Uniwersytet Humanistyczno-Przyrodniczy im. Jana Długosza w Częstochowie. Wydawnictwo Uczelniane

Tematy:

filozofia muzyki
historia muzyki
retoryka muzyczna
topos w muzyce
topos transkulturowy
philosophy of music
history of music
musical rhetoric
topos in music
transcultural topos

Opis:

This article studies topos as a concept and its influence in Western Music. For this end, the history of how the understanding of topos developed, as well as how it manifested itself, shall be presented. This term, one which originates from the Ancient Greek’s study of Rhetoric, quickly gained acceptance in many cultural contexts. It is thanks to this growth that it was promptly incorporated into ars musica. During the Middleages, this concept from the Antique era was revived, notably influencing the illustrative nature of this era’s music. The concept continued throughout the Common era proceeding, especially in reinforcing the role of affects in music. The 20th century witnessed the progression of many unique understandings of topos coindependently. The contemporary thought of this era has presented numerous propositions of one is to understand the term that oscillates between the fields of musicology, literature studies, and philosophy. It can be said, that defining topos in the field of music will be closely tied with the emerging „transcultural” phenomenon; an appropriate paradigm with which to observe the variables shaping European culture, such as globalization and orientalism.
Treść artykułu ma ukazać różne ujęcia topoi w sztuce muzycznej. W tym celu zostaje przedstawiona historia pojęcia toposu. Ten termin z antycznej retoryki dość szybko stał się pojęciem używanym w szerszym kontekście kulturowym, dzięki czemu połączono go również z ars musica. W okresie średniowiecza dokonała się adaptacja starożytnych koncepcji oraz rozwinięcie ich w stronę ilustracyjności, w epokach nowożytnych nastąpiło zaś wzmocnienie roli afektów. W XX stuleciu wiele ujęć umuzycznionego topoi zaczęło funkcjonować równolegle. Współczesna myśl w omawianym zakresie dostarcza licznych propozycji oscylujących między muzykologią, literaturoznawstwem a filozofią. Można przypuszczać, że pojmowanie toposu w muzyce będzie się w przyszłości wiązało z perspektywą transkulturową, która wydaje się odpowiednim paradygma- tem badawczym wobec zachodzących w kulturze europejskiej procesów, takich jak globalizacja i orientalizacja.

Źródło:

Edukacja Muzyczna; 2019, 14; 199-228
2545-3068

Pojawia się w:

Edukacja Muzyczna

Dostawca treści:

Biblioteka Nauki

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Skocz do pozycji: 44.

Tytuł:

Muzyka kościelna w czasie Oświecenia
Church Music in the Period of the Polish Enlightenment

Autorzy:

Hinz, Edward

Powiązania:

https://bibliotekanauki.pl/articles/551408.pdf

Data publikacji:

2013

Wydawca:

Wydawnictwo Bernardinum

Tematy:

music
the Church
hymns of the Enlightenment
culture

Opis:

The period of the Enlightenment within the context of the Polish cultural history commenced as late as in the 2nd half of the 18th century and corresponds with the time of the reign of king Stanislaus August Poniatowski (1764-1795). His patronage created favourable conditions for the development of literature and arts, including the music. There are three genres of music characteristic of this period: vocals (religious, secular, patriotic, festive and idyllic songs), vocal-instrumental pieces (operas, cantatas, oratories, church sonatas, solo sonatas with accompaniment) and instrumentals (symphonies, chamber music and piano concertos). When it comes to the style of the Polish Enlightenment music, it drew from the early Classicism and the native musical folklore. In those days there was a tendency to render the home art more ‘national’. The church music from the Polish Enlightenment period does not match in its artistic value that of Baroque. However, it has earned a prominent place in the history of the sacred music in Poland.

Źródło:

Studia Pelplińskie; 2013, 46; 71-82
0239-4456

Pojawia się w:

Studia Pelplińskie

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 45.

Tytuł:

Scholarship in Cyberspace : Music Research in the Digital Age

Autorzy:

Rothfarb, Lee

Powiązania:

https://bibliotekanauki.pl/articles/555004.pdf

Data publikacji:

2014

Wydawca:

Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie

Tematy:

digital scholarship
digital archives
digital library
open-access scholarship
music bibliography
music theory
Anton Bruckner
Johannes Brahm
Eduard Hanslick
Heinrich Schenker

Opis:

Digital resources for humanistic research have expanded dramatically in the last two decades. Scholars can browse libraries and archives located around the world and read digitized documents on networked computers in the comfort of their university offices and private homes. This essay identifies and discusses several electronically accessible archives and bibliographic sources in the field of music theory, and goes on to briefly describe the usefulness of digitized resources in research on the reception of composer Anton Bruckner's symphonies and music theorist Heinrich Schenker's early education.

Źródło:

Biblioteka i Edukacja; 2014, 6
2299-565X

Pojawia się w:

Biblioteka i Edukacja

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 46.

Tytuł:

MUZYKA W SZKOLE POLSKI MIĘDZYWOJENNEJ – IMPLIKACJE KULTURY LUDOWEJ, NARODOWEJ I UNIWERSALNEJ
MUSIC AT POLISH SCHOOL IN THE INTER-WAR PERIOD – THE IMPLICATIONS OF TRADITIONAL, NATIONAL AND UNIVERSAL CULTUR

Autorzy:

Przerembska, Violetta

Powiązania:

https://bibliotekanauki.pl/articles/566634.pdf

Data publikacji:

2013

Wydawca:

Akademia Pomorska w Słupsku

Tematy:

edukacja kulturalna
szkoła muzyczna
nauczanie muzyki
historia edukacji muzycznej
muzyka w okresie międzywojennym w Polsce (1918-1939)
cultural education
school music
music teaching
history of music education
music in the Inter-War period in Poland (1918-1939)

Opis:

One of the biggest challenges in Poland (1918-1939) was the establishment of a new Polish school. The main goal of the newly created Polish school was to educate a generation as patriots and responsible citizens, and unite compatriots from three ex-partitions. The first school curriculum in the independent Poland focused on teaching social knowledge, Polish and European cultures, and, above all, providing pupils with moral and aesthetic experience. Music education played a key role in bringing various ideological objectives to fruition. Music compositions with national themes – both from concert and folk traditions – were worshipped and seen as the rebirth of the national culture. The goal of music instruction was to educate the young generation, bring it closer to the ideas embedded in the masterpieces of art, and deepen their love of music.

Źródło:

Ars inter Culturas; 2013, 2; 11-22
2083-1226

Pojawia się w:

Ars inter Culturas

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 47.

Tytuł:

Tradycje muzyczne Żydów aszkenazyjskich a Radical Jewish Culture: definicje i treści dawnej i współczesnej muzyki żydowskiej
The Music Traditions of the Ashkenazi Jews and Radical Jewish Culture: A Brief Outline of the Definitions and Content of Jewish Music in the Past and Nowadays

Autorzy:

Zapiór, Luiza

Powiązania:

https://bibliotekanauki.pl/articles/2176092.pdf

Data publikacji:

2020

Wydawca:

Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ

Tematy:

Jewish music
instrumental music
John Zorn
Radical Jewish Culture
contemporary music

Opis:

The main purpose of the article is to describe John Zorn’s approach to klezmer music and Jewish music tradition in general. The text was split into shorter paragraphs. The first part of the article is dedicated to providing an overview of the problems concerning the definition of Jewish music. The second part focuses on analysing klezmer motifs in John Zorn’s selected works and Jewish symbols present in the visual layer connected with his works. The last paragraph contains a summary and conclusions.

Źródło:

Kwartalnik Młodych Muzykologów UJ; 2020, 4(47); 215-228
2956-4107
2353-7094

Pojawia się w:

Kwartalnik Młodych Muzykologów UJ

Dostawca treści:

Biblioteka Nauki

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Skocz do pozycji: 48.

Tytuł:

Przyczynek do charakterystyki języka muzyki
Features of the Language of Music in Brief

Autorzy:

Trzaskawka, Paula

Powiązania:

https://bibliotekanauki.pl/articles/916622.pdf

Data publikacji:

2014-01-01

Wydawca:

Uniwersytet im. Adama Mickiewicza w Poznaniu

Tematy:

language of music
język muzyki

Opis:

Artykuł porusza zagadnienie cech języka muzyki. Celem pracy jest omówienie wybranych cech języka muzyki takich jak polisemia, neologizmy, zapożyczenia, skróty i skrótowce, eponimy w tym toponimy i internacjonalizmy. Dodatkowo, dokonano próby zaklasyfikowania języka muzyki jako jednego z języków specjalistycznych. Język muzyki, jeżeli jest znany, może być zrozumiały prawie w każdym języku świata, ponieważ terminologia muzyczna jest w wielu przypadkach terminologią internacjonalną. Struktura artykułu została podzielona na dwie części – teoretyczną i praktyczną (wraz z przykładami omawianych cech). Nie wszystkie cechy języka muzyki zostały wzięte pod uwagę, a ich poszerzenie powinno mieć miejsce w dalszych badaniach dotyczących omawianej tematyki.
This article is to show the features of language of music. The presented examples were taken from Polish and some other languages, because the language of music is versatile throughout the world. The aim of the paper is to prove that the language of music is the language for special purposes and also can be understood in almost every country. The structure of the article is divided into theoretical and practical parts in which we have many explanatory examples. Not all features were described, in the nearest future such description should be broadened.

Źródło:

Investigationes Linguisticae; 2014, 31; 57-70
1426-188X
1733-1757

Pojawia się w:

Investigationes Linguisticae

Dostawca treści:

Biblioteka Nauki

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Skocz do pozycji: 49.

Tytuł:

Tema con variazioni Romualda Twardowskiego. Przyczynek do dziejów muzyki organowej w PRL
Tema con variazioni by Romuald Twardowski — a contribution to the history of organ music in the Polish People’s Republic

Autorzy:

Babnis, Maciej

Powiązania:

https://bibliotekanauki.pl/articles/521887.pdf

Data publikacji:

2017

Wydawca:

Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku

Tematy:

Romuald Twardowski
Polish music
organ music in the 20th century
organ music in the People Republic of Poland (PRL)
organ variation

Opis:

This paper discusses Tema con variazioni by Romuald Twardowski, composed in 1981, which deserves special attention as an example of breaking with the main stream of organ music of the era. Polish organ music history has largely remained unexamined, mainly due to the shortage of sources — handwritten pieces have either been destroyed or hard to find, whereas the number of printed works is quite small. More organ pieces appeared at the end of the 19th century, thanks to Stefan and Mieczysław Surzyński. The interwar period did not bring significant interest in or-gan music — the major composers were Feliks Nowowiejski and Aleksander Karczyński living in America; the only younger composer of achievement was Kazimierz Jurdziński. A quite large number of important organ works appeared during the Nazi occupation. The paper is divided into two parts. In the first part the author discusses the condition and typical features of organ music in the years of the Polish People’s Republic, i.e. after the 2nd World War, when professional organ music was separated from its natural background, i.e. performance in the church. As a symptomatic example Zbiór preludiów na organy bez pedału by Feliks Rączkowski is indicated — one of the only two books published then containing church cere-mony organ music. The article also provides information on R. Twardowski — a leading Polish composer of the 2nd half of the 20th century, born in 1930 in Wilno, with critical attitude towards the avant-garde trends. The main part of the paper deals with Tema con variazioni. After the presentation of its sec-tions, devices used by the composer are discussed. Special attention is paid to the harmony deriving from the late-Romantic tradition. Finally, the author tries the “economical” approach to the organ concert repertoire and under-lines the advantages of the piece which, although short and simple, deserves attention.

Źródło:

Aspekty Muzyki; 2017, 7; 293-319
2082-6044

Pojawia się w:

Aspekty Muzyki

Dostawca treści:

Biblioteka Nauki

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Skocz do pozycji: 50.

Tytuł:

Sinfonietta for String Orchestra by Weronika Ratusińska in the Context of the Issue of (Sub)Genre

Autorzy:

Krymska, Martyna

Powiązania:

https://bibliotekanauki.pl/articles/2159097.pdf

Data publikacji:

2020

Wydawca:

Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ

Tematy:

sinfonietta
chamber music
Polish music

Opis:

The purpose of the article is to focus on certain terminological and historical aspects related to the genre of sinfonietta in the Polish music of the 20th and 21st century. In the introduction, the author presents the definition and general characteristics, listing the sources and the most representative works in the Polish music. Additionally, she presents numerical statistics and classification of the sinfonietta in Polish music and on this basis she analyses one of the most interesting works representing the type of sinfonietta-transcription – Sinfonietta for string orchestra by Weronika Ratusińska from 2009. The author analyses the use and manner of modification of musical motifs, the way in which the sound layer is shaped and the relation between Ratusińska’s work and tradition of the genre.

Źródło:

Kwartalnik Młodych Muzykologów UJ; 2020, 2(45) ENG; 59-84
2956-4107
2353-7094

Pojawia się w:

Kwartalnik Młodych Muzykologów UJ

Dostawca treści:

Biblioteka Nauki

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