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Wyszukujesz frazę "national music" wg kryterium: Wszystkie pola


Tytuł:
Liszt and the issue of so called Gypsy music
Autorzy:
Piotrowska, Anna G.
Powiązania:
https://bibliotekanauki.pl/articles/780221.pdf
Data publikacji:
2014
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Franz Liszt
Gypsy music
Hungary
Hungarian music
national music
Bela Bartok
Opis:
The article attempts to shed light on Liszt’s connections with so called Gypsy music, with particular emphasis on the sources and manifestations of the composer’s interest in the subject. The paper also shows the effects of Liszt’s thought on his academic successors. Liszt’s fascination with Gypsy music and culture is discussed by outlining his childhood memories as well as indicating numerous personal contacts he had with renowned Gypsy musicians. The author of the paper also links Liszt’s enchantment with Gypsy culture with his readiness to identify his travelling virtuoso status with that of a Gypsy-wanderer. Special attention in the article is put on Liszt’s book Des Bohemiens et de leur musique en Hongrie (1859). The author of the article claims that Liszt’s cosmopolitanism may be a key factor while explaining the composer’s predilection to Gypsy culture and music. While focusing on the reception of Liszt’s views on so called Gypsy music by the posterity Bartok’s interpretation of Liszt’s ideas is reminded. Discussed are also their repercussions in the second half of the twentieth century and early twenty first century.
Źródło:
Interdisciplinary Studies in Musicology; 2014, 13; 127-140
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
“Od Chopina do ... Noskowskiego”? Zygmunt Noskowskis langer Weg zu Chopin
Autorzy:
Keym, Stefan
Powiązania:
https://bibliotekanauki.pl/articles/780123.pdf
Data publikacji:
2010
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Fryderyk Chopin
Zygmunt Noskowski
reception
aesthetics
analysis
variation form
national music
programme music
Opis:
The aim of this text is to present the process whereby Zygmunt Noskowski grew closer to the music of Chopin, which he initially treated with considerable distance. In the first part of the article, the author analyses verbal testimony of Noskowski’s Chopin reception on the basis of extant columns written by him. Noskowski’s attention first focused on Chopin towards the end of the 1880s, the catalyst being the Chopin anniversaries celebrated in 1894 and 1899, for the purposes of which Noskowski arranged piano compositions by Chopin for orchestra and voice. The picture of Chopin sketched by Noskowski in his press writings contained Classicist components in which his sense of form and his affinities with the work of Bach were underlined; on the other hand, Noskowski stressed in Chopin’s music - as a specifically Polish characteristic - its links with nature. Both these factors influenced the shape of Noskowski’s own music. In the second part of the article, the author shows Chopin’s influence on Noskowski’s compositions, which initially found expression through the intermediary of the dramatic aspects of the Second Symphony of Ignacy Feliks Dobrzyński, and then in episodic links between Noskowski’s symphonic poem Step [The steppe] and Chopin’s Rondo ä la krakowiak, Op. 14. The climactic point of Noskowski’s dialogue with Chopin is defined by his programmatic-patriotic orchestral work Z życia... [narodu] [From the life... [of the nation]], in which Chopin’s Prelude in A major from opus 28 served as the basis for a set of variations; this work, despite a number of inconsistencies, is regarded by the author as an important work, both in its from and in its culturalhistorical significance.
Źródło:
Interdisciplinary Studies in Musicology; 2010, 9; 115-138
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
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
Artykuł
Tytuł:
Narodowo-religijna muzyka Wojciecha Kilara w edukacji polonistycznej
Wojciech Kilar’s national-religious music during Polish language lessons
Autorzy:
Kucharska-Babuła, Agata
Powiązania:
https://bibliotekanauki.pl/articles/32083704.pdf
Data publikacji:
2022
Wydawca:
Uniwersytet Gdański. Wydział Filologiczny
Tematy:
literature
music
religion
Wojciech Kilar
music during Polish language lessons
literatura
muzyka
religia
muzyka na lekcjach języka polskiego
Opis:
The author of the article discussed selected vocal-instrumental pieces and soundtracks to the films of the outstanding composer of the turn of the 20th and 21st centuries – Wojciech Kilar, from the national-religious period in his work. The text recalls the genesis and musical specificity of the works. The compositions included in the study are linked by the fact that they refer to important events in Polish history, fragments of the Old Testament, prayers or literature. These works are contemporary, but refer to the tradition and culture of the nation, so it is worth presenting them to young people. During Polish language lessons, they can provide a valuable interpretative context.
Źródło:
Język - Szkoła - Religia; 2022, 17; 226-238
2080-3400
Pojawia się w:
Język - Szkoła - Religia
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Jim Samson, Music in the Balkans, Leiden 2013 Brill (= Balkan Studies Library 8), ss. 729. ISBN 978-90-04-25037-6
Autorzy:
Guzy-Pasiak, Jolanta
Powiązania:
https://bibliotekanauki.pl/articles/28408910.pdf
Data publikacji:
2018
Wydawca:
Polska Akademia Nauk. Instytut Sztuki PAN
Tematy:
muzyka Bałkanów
historia Bałkanów
muzyka ludowa
muzyka narodowa
muzyka i polityka
Europa Południowo-Wschodnia
music of Balkans
history of Balkans
folk music
national music
music and politics
South-Eastern Europe
Źródło:
Muzyka; 2018, 63, 1; 121-125
0027-5344
2720-7021
Pojawia się w:
Muzyka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Коменда Ольга Іванівна: Універсальна творча особистість в yкраїнській музичній культурі [Twórcza uniwersalna osobowość w ukraińskiej kulturze muzycznej] (Національна музична академія України імені П.І. Чайковського Kijów 2020)
Коmenda Olga Ivanivna – Universal Creative Personality in Ukrainian Musical Culture – Petro Tchaikovsky National Music Academy of Ukraine, Kyiv 2020
Autorzy:
Chaciński, Jarosław
Powiązania:
https://bibliotekanauki.pl/articles/2159833.pdf
Data publikacji:
2020-12-13
Wydawca:
Akademia Pomorska w Słupsku
Tematy:
osobowość twórcza
ukraińska kultura muzyczna
Mykoła Łysenko
Oleksandr Kozarenko
creative personality
Ukrainian musical culture
Mykola Lysenko
Opis:
The main theme of the reviewed work is an attempt to define the concept of active universa-lism of the creative personality based on the available literature in the field of many sciences, its characteristics in the confrontation with the achievements mainly in the field of psycho-logy, historically oriented culturology and musicology. The most important issue is to pre-sent the richness of Ukrainian musical culture, ranging from representatives of its national canon (Mykola Lysenko) to contemporary composers, most of whom are attention was paid to Oleksandr Kozarenko.
Źródło:
Ars inter Culturas; 2020, 9; 393-398
2083-1226
Pojawia się w:
Ars inter Culturas
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The symphonic music of the national schools in 20th century Europe in the repertoire of the Philharmonic of Cluj (1955-1989). Creative perspectives of C. Silvestri’s Chants Nostalgiques op. 27 no. 1
Autorzy:
Spiridon, Simona
Powiązania:
https://bibliotekanauki.pl/articles/628592.pdf
Data publikacji:
2015
Wydawca:
Fundacja Pro Scientia Publica
Tematy:
music, cultures, national schools, composers, conductors, artists
Opis:
The present work focuses on the national cultures of the early 20th century in several European countries, such as Czechoslovakia, Poland, Hungary, Spain, Russia and Romania. Since my PhD thesis analyses the evolution of the Philharmonic “Transilvania”of Cluj between 1955-1989, there will be a thorough statistic of the concerts which were held during that period in which the orchestra performed musical pieces of the composers mentioned in this essay. For some concerts, there will also be stated the date when the concert took place, as well as the conductor who was invited to Cluj. There will also be an analysis of a piano work of the Romanian composer Constantin Silvestri (Chants Nostalgiques op. 27 no. 1) which I personally played a few years ago. The study will contain a musical bibliography, as well as several footnotes stating the documents found in the archives of the Philharmonic of Cluj.
Źródło:
Journal of Education Culture and Society; 2015, 6, 1; 143-152
2081-1640
Pojawia się w:
Journal of Education Culture and Society
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Opera narodowa w orbicie wpływów Wagnera na przykładzie Libuszy Bedřicha Smetany
National Opera under Wagner’s Influence as Exemplified by Libuše by Bedřich Smetana
Autorzy:
Andrzejewski, Mateusz
Powiązania:
https://bibliotekanauki.pl/articles/521885.pdf
Data publikacji:
2011
Wydawca:
Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
Tematy:
Smetana
Wagner
national opera
musical drama
national character in music
myth
Slavonic legends
Opis:
The article focuses on the influence of Wagnerian ideas on the concept of 19th-century Czech national opera. This can be partly explained by the fact that Czech culture was strongly connected with German culture. However, early Czech operas, and even some of Smetana’s, were quite influenced by the German singspiel — a genre with predominantly lyrical and comic elements. Their national character was manifested mainly by folk elements within the action and the music (countryside scenery, national dances, adaptations of folk melodies). The ideal of this type of national opera is Smetana’s The Bartered Bride. The same composer created a work that presents a completely different understanding of the national style and opera. In Libuše, he tried to use the Wagnerian idea of musical drama for transforming the concept of the Czech national opera. In the article, there are quotations of the composer’s statements about Libuše as a work that has a “unique importance in our [Czech] history”. Wagner’s influences are apparent on a few levels in this operatic work. The libretto is based on the mythical story about Queen Libuše, the legendary founder of Prague, and in the opera she is a symbol of the Czech nation. Wagnerian influences are found in the formal structure (unendliche Melodie), as well as in the musical language of Libuše. Smetana used a system of leitmotifs consequently, connecting them with the characters (Libuše, Přemysl) and ideas (motifs of the nation, motif of authority). Perhaps it was under the influence of the idea of Bühnenfestpiel that Smetana designed Libuše as a slavnostni zpěvohra for special celebrations in the life of the Czech nation.
Źródło:
Aspekty Muzyki; 2011, 1; 11-34
2082-6044
Pojawia się w:
Aspekty Muzyki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
O roli polskiej muzyki w kształtowaniu tożsamości narodowej
On the influence of Polish music on national identity
Autorzy:
Zaniewicz, Joanna Ewa
Powiązania:
https://bibliotekanauki.pl/articles/678034.pdf
Data publikacji:
2014-12-31
Wydawca:
Polska Akademia Nauk. Instytut Slawistyki PAN
Tematy:
national identity
music
patriotism
patriotic songs
national culture
national symbols
Opis:
The article deals with the role of patriotic songs in shaping national identity of the Polish. The discourse is divided into three matters. The first part is introductory and treats about the most essential issues and research problems, regarding the key topic. I attempt to answer the raised questions in the last part of the work. The middle part of a historical character presents crucial research assumptions, along with all the transformations that have taken place over the years, and have been influencing our comprehending of national songs and strengthening the feeling of national identity. The final part sums the discourse up and is critical to the key topic. I strive to foresee possible consequences of the described phenomena. I derive my conclusions from the analysis, presented in the second part of the article, and from my personal experience, which has been gained due to long years of participating and organizing patriotic concerts and performances.
W poniższym artykule zajmuję się rozważaniami na temat współczesnej roli pieśni patriotycznej w kształtowaniu tożsamości narodowej Polaków. Artykuł został podzielony na trzy części. Pierwsza z nich ma charakter wprowadzający i przedstawia najważniejsze problemy badawcze dotyczące tematu. Druga część ma charakter historyczny, przedstawia najistotniejsze założenia badaczy oraz przemiany na przestrzeni lat naszego rozumienia znaczenia pieśni patriotycznych w kształtowaniu i umacnianiu polskiej tożsamości narodowej. Ostatnia część stanowi próbę przewidzenia przyszłych następstw analizowanego problemu. Przedstawione wnioski opierają się na analizie oraz obserwacjach własnych wynikających z wielu lat uczestniczenia, organizowania i tworzenia koncertów o charakterze patriotycznym.
Źródło:
Sprawy Narodowościowe; 2014, 45; 137-148
2392-2427
Pojawia się w:
Sprawy Narodowościowe
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Demon Antona Rubinsteina - między tradycją zachodnią i rosyjską (analiza wybranych zagadnień)
Autorzy:
Lisecka, Małgorzata
Powiązania:
https://bibliotekanauki.pl/articles/962169.pdf
Data publikacji:
2017
Wydawca:
Polskie Towarzystwo Ludoznawcze
Tematy:
demon, Anton Rubinstein, Russian music, Russian national school, opera
demon
Anton Rubinstein
muzyka rosyjska
rosyjska szkoła narodowa
opera
Opis:
The article proposes an analysis of The Demon (1875), the only preserved opera by Anton Rubinstein, in two contexts. Firstly, it is a universal story based on fairy tales and related to the Byronic hero and the Western Romantic tradition. Secondly, it is a manifestation of the influence of the Russian national school (Moguczaja Kuczka). Therefore, the article elaborates in detail on the sacred opera (the influence of the French tradition), the function and structure of selected leitmotifs in the construction of the characters (the influence of the German tradition), and the later impact of the opera on Eugene Onegin (1879) by Pyotr Tchaikovsky. 
Artykuł stanowi analizę jedynej zachowanej opery Antona Rubinsteina Demon (1875) w dwóch kontekstach: po pierwsze, jako uniwersalnej opowieści o baśniowym podłożu, reprezentowanej przez bohatera bajronicznego, odniesionej do romantycznej tradycji Zachodu; oraz, po drugie, jako przejawu wpływów rosyjskiej szkoły narodowej (Moguczaja Kuczka) na twórczość Rubinsteina. W tym celu szczegółowo opracowane zostaną w tekście wątki opery sakralnej (wpływ tradycji francuskiej), funkcji i struktury wybranych motywów przewodnich w kreowaniu postaci (wpływ tradycji niemieckiej) oraz późniejszego oddziaływania opery na Eugeniusza Oniegina (1879) Piotra Czajkowskiego.
Źródło:
Literatura Ludowa; 2017, 4-5
2544-2872
0024-4708
Pojawia się w:
Literatura Ludowa
Dostawca treści:
Biblioteka Nauki
Artykuł

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