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Wyświetlanie 1-11 z 11
Tytuł:
Granie solowe vs granie zespołowe
Autorzy:
Marchwiński, Jerzy
Mroczek-Szlezer, Danuta
Powiązania:
https://bibliotekanauki.pl/chapters/1070334.pdf
Data publikacji:
2019
Wydawca:
Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
Opis:
Solo Playing Versus Ensemble Playing Synopsis. In my opinion, there are only two kinds of performance activity: solo and in a group. A musician performs any given musical work either alone or with one or more colleagues. There is no other alternative. When performing a piece of music by himself, solo, a musician takes full responsibility for bringing all of its elements to life; when performing together with other musicians, he handles only certain elements, sharing the responsibility for the final artistic outcome with other performers. The basis for ensemble performance lies in the duet. Duet-playing provides all the most important rules and performance practice suggestions, both professional and psychological ones. In my opinion, the principal relationship between performers is that of partnership rather than that of a soloist and an accompanist. In a partnership musicians are free and responsible for themselves and the outcome of the entire performance. Relations between them vary depending on the structure of the piece, its leading and accompanying elements. The traditional, still-existing distinction between chamber music and accompaniment seems anachronistic and misleading, especially when it is based on the absurd notion that chamber music begins with a trio. If that were true, would Dichterliebe still be an accompaniment or already chamber music; would the Kreutzer Sonata already classify as chamber music or still as mere accompaniment? I find that perceiving the act of performance as solo or in a group based on the fundamental partnership between musicians is the simplest, most realistic and most effective way both professionally and psychologically.
Źródło:
MUZYKA KAMERALNA – WARTOŚCI ARTYSTYCZNE, DYDAKTYCZNE I SPOŁECZNE; 18-24
9788364615399
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Chęć poznania jako niezbędna cecha kameralisty. Rozważania inspirowane życiem i twórczością kameralną Szymona Laksa
Autorzy:
Glapiak, Dominika
Mroczek-Szlezer, Danuta
Powiązania:
https://bibliotekanauki.pl/chapters/1070474.pdf
Data publikacji:
2019
Wydawca:
Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
Opis:
The Desire to Learn as the Essential Feature of a Chamber Musician – in the Context on Szymon Laks‘s Chamber Music. The music of the Polish composer Szymon Laks (1901-1983), despite its undisputed artistic merits, currently remains outside the musical mainstream performed works. Because of the unfortunate times he lived in, Szymon Laks, a Jewish composer, is not a musician whose name is frequently mentioned in the history of Polish music, in spite of the fact that his works, especially chamber pieces, surely deserve to be acknowledged. The chamber pieces I discuss in my paper display the composer‘s artistry, his creative style as well as the individual musical language characteristic for his works. The French environment, in which he spent the most fruitful years of his career, shaped him as a musician, although he was also inspired by Polish folklore, jazz, French silent film music and by the shining stars of the music scene of the time: Maurice Ravel and Karol Szymanowski. Chamber music, apart from its undisputed pedagogical and artistic value, has also social values, being a platform of communication both between the performer and the recipient and among the musicians, members of the chamber ensemble. In this context the desire to get to know another musician or to learn new repertoire and to gain new experiences is, in my opinion, an incredibly important feature of an esteemed chamber musician. The process of getting familiar with Szymon Laks‘s repertoire, which does not belong to the category of well-known, mainstream music, resulted in my observations on the issue of the desire to learn and stepping out of one‘s personal comfort zone as the process essential to the complete and profound development of a musician.
Źródło:
MUZYKA KAMERALNA – WARTOŚCI ARTYSTYCZNE, DYDAKTYCZNE I SPOŁECZNE; 57-64
9788364615399
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
MUZYKA KAMERALNA – WARTOŚCI ARTYSTYCZNE, DYDAKTYCZNE I SPOŁECZNE
Autorzy:
Karwaszewska, Monika
Mroczek-Szlezer, Danuta
Data publikacji:
2019
Wydawca:
Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
Opis:
Kameralistyki nie sposób pominąć w życiu czy w edukacji muzycznej. Jest ona tą dziedziną, która w obecnej dobie poparta musi być właściwą wiedzą. Kanonem tej wiedzy jest poprawne, w myśl założeń kameralnych, odczytanie partytury dzieła a efektem artystycznym muzycznego spełnienia, partnerstwo w oparciu o tę wiedzę. Wszechstronność zagadnień związanych z wykonawstwem w zespołach kameralnych jest inspiracją do ciągłych poszukiwań istoty wspólnego muzykowania. Zainteresowanie graniem zespołowym w naszej Akademii Muzycznej przekłada się na działania Katedry Kameralistyki, która skupia zespoły wszystkich specjalności, osiągając wspaniałe ilościowo i jakościowo sukcesy studenckich zespołów kameralnych. Dowodem tegoż zainteresowania jest powołany w 1997 roku, co trzy lata odbywający się Międzynarodowy Konkurs Muzyki Kameralnej im. Johannesa Brahmsa (osiem edycji), trzy edycje Międzynarodowego Festiwalu Duetów Fortepianowych oraz powołanie, co ważne – przez studentów – w 2018 roku Międzywydziałowego Koła Młodych Kameralistów. Niniejsza publikacja wprowadza nas w zagadnienia kameralistyki z różnych punktów widzenia, przybliża aspekty wspólnego muzykowania w różnych formacjach zespołowych, uwypukla tak ważny element w dydaktyce, jak gra a’vista, interesuje nowopowstałymi dziełami na różne składy instrumentalne, a także zbliża nas do dzieł kameralnych uznanych już wybitnych twórców. Nie brakuje również pytań o wszechstronność czy przyszłość kameralistyki. Jedno należy stwierdzić bezsprzecznie – kameralistyka to dziedzina, która w kształceniu młodych muzyków stanowi niezbędny element i ma już swoje stałe miejsce w siatkach godzin uczelni muzycznych, w konkursach oraz programach koncertowych. Poszerzanie repertuaru jest jednym z etapów rozwoju zespołu kameralnego. Ideałem byłoby sięgać także po powstałe a zapomniane dzieła kompozytorów polskich, których wiele jeszcze pozostaje do odkrycia. Życzę Państwu i sobie, aby miłość do kameralistyki nigdy się nie skończyła, aby wartości artystyczne, dydaktyczne i społeczne kameralistyki były podstawą wiedzy, której w życiu każdego muzyka nie powinno zabraknąć.
Dostawca treści:
Biblioteka Nauki
Książka
Tytuł:
Rozważania o muzyce kameralnej w aspekcie dydaktycznym
Autorzy:
Bożek-Wota, Grażyna
Mroczek-Szlezer, Danuta
Powiązania:
https://bibliotekanauki.pl/chapters/1070337.pdf
Data publikacji:
2019
Wydawca:
Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
Opis:
Deliberations on Performing Chamber Music in the Didactic Aspect. Many papers have been written on specific issued related to performing chamber music. My text is a compilation of observations and reflections based on my professional experience. I am aware of the fact that I discuss the issues which are obvious and familiar to the music professionals. My primary aim was to systematize the factors conditioning the performance of chamber music as well as to highlight the strengths of playing music together. I would like the conclusions formulated in my paper to serve as food for thought for the readers. I started my lecture from emphasising a major educational role of the assembly performance and, first and foremost, what exactly the assembly performance requires from a musician. Next I discussed the sense of social responsibility that chamber music entails and the resulting impact of performing such music on human interrelations. In the subsequent part of my work I mention the underlying factors of performing chamber music, such as the richness of music literature and the possibility to be the co-author of the artistic work thanks to the cooperation with other musicians: instrumentalists or vocalists. I devoted quite a lot of space to the issue which is strongly integrated with music, namely, the psychological predispositions of particular partners–musicians. Further on, I briefly discuss the phenomenon of stage freight, so frequently negatively affecting the performers. Another part of my work is an overview of our education system, which does not quite provide the full preparation to the profession of a chamber musician. Last, but not least, I discuss the stages in the work of the student chamber ensemble, emphasising the importance of self–discipline, apart from a number of important factors such as: getting to know performance techniques of variously formed ensembles, being aware of specific techniques and forms of musical pieces, variety of parts performed by particular musicians, command of the text, articulation, tempo, potential problems, the set-up of instrumentalists during rehearsals or the interpretation of the musical piece. Self-discipline is the most essential factor, without it there can be no true development in terms of interpretation – the synthesis of technical and musical aspects of a given work. The last aspect I discuss is the number of measurable benefits which chamber music performance brings about, since it results in the development and formation of an individual personality and sensitivity of a student, in motivating an individual to master his/her technical, musical and interpretative skills. In the course of frequent meetings – rehearsals, the personal features of musicians are shaped in the process of mutual diffusion of personality traits, a phenomenon frequently occurring during the cooperation between musicians. This, in turn brings with it many social and education-related benefits such as: sense of discipline, mastering the art of compromise, sense of responsibility for oneself and others as well as interaction and co-existence in the act of creation.
Źródło:
MUZYKA KAMERALNA – WARTOŚCI ARTYSTYCZNE, DYDAKTYCZNE I SPOŁECZNE; 8-16
9788364615399
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Gitara w twórczości kameralnej Mario Castelnuovo-Tedesco (1895-1968)
Autorzy:
Dżuła-Radkiewicz, Monika
Mroczek-Szlezer, Danuta
Powiązania:
https://bibliotekanauki.pl/chapters/1070468.pdf
Data publikacji:
2019
Wydawca:
Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
Opis:
The Guitar in the Chamber Works of Mario Castelnuovo-Tedesco (1895-1968) Mario Castelnuovo-Tedesco (1895-1968) was a composer and a pianist of Italian origin, whose works feature prominently in the canon of guitar literature. Thanks to Andrés Segovia’s advocacy, and, subsequently, his acquaintances – other guitarists, the guitar repertoire gained a variety of musical forms, both in the domain of solo and chamber music. In the article I focus on Castelnuovo-Tedesco’s chamber works featuring the guitar. Among them we can find a collection of pieces arranged for voice/voices and the guitar (e.g.: The Divan of Moses – Ibn – Ezra op. 207, Romancero Gitano op. 152), compositions for guitar duet related to a famous duet of Ida Presti and Alexander Lagoya and other pieces arranged for various instrumental ensembles, the most acknowledged being Quintette op. 143 for string quartet and the guitar. Castelnuovo-Tedesco’s open-mindedness, innovative ideas, unusual performing ensembles, abundance of extra-musical inspirations and his timeless compositional style make his works so alluring and universal.
Źródło:
MUZYKA KAMERALNA – WARTOŚCI ARTYSTYCZNE, DYDAKTYCZNE I SPOŁECZNE; 97-106
9788364615399
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Sztuka słuchania – niezbędny czynnik kształcenia muzyka–kameralisty
Autorzy:
Furmanowicz-Kurzyńska, Helena
Mroczek-Szlezer, Danuta
Powiązania:
https://bibliotekanauki.pl/chapters/1070181.pdf
Data publikacji:
2019
Wydawca:
Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
Opis:
The Art of Listening as an Indispensable Element of Chamber Music Education. In this paper, I focus on the problem of “listening to oneself” in chamber music education. As a chamber musician with years of performing and teaching experience, I argue that “listening to oneself” is one of the primary skills to be acquired by students in their musical training. Following Leonid Barenbojm, I underscore the importance of “inner hearing,” i.e. the ability to hear and comprehend music when it is not physically present in the outside world. “Listening to oneself” is crucial for a successful musical performance, given that the latter depends largely on the musician’s auditory sensitivity, his imagination, intelligence and will, which all participate in the creation of sound image of a musical piece. I argue, therefore, that it is necessary for chamber music teachers to develop their students’ hearing alertness as well as the ability to associate auditory sensations with the activity of fingers and hands. As Nikolaus Harnoncourt put it, “music is the speech of sounds,” and the purpose of speech is to attain mutual understanding. Chamber music based on “listening to oneself” will facilitate a meeting of various personalities, imaginations and, as a consequence, a constructive musical dialogue.
Źródło:
MUZYKA KAMERALNA – WARTOŚCI ARTYSTYCZNE, DYDAKTYCZNE I SPOŁECZNE; 32-41
9788364615399
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Praca nad umiejętnością gry a’vista na fortepianie metodą maksymalnej komplikacji obrazu graficznego
Autorzy:
Ochlik-Jankowska, Magdalena
Mroczek-Szlezer, Danuta
Powiązania:
https://bibliotekanauki.pl/chapters/1070416.pdf
Data publikacji:
2019
Wydawca:
Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
Opis:
Increasing Pianists Skills in Sight-Reading with the Use of the Method of Maximum Complexity of Musical Notation. A few years ago the author wrote doctoral dissertation entitled „Sight-Reading in the Work of a Chamber Pianist. […]” The dissertation was based on the author’s experience gained during many years of striving to achieve her own proficiency in sight-reading and when working with pupils during their piano or accompaniment lessons. The author works as a collaborative pianist at the Music Academy in Gdańsk. She believes no one needs to be convinced of the usefulness of efficient sight reading. Proficiency in sight reading has an impact on building and managing the repertoire or learning musical pieces quickly. It is also a kind of assurance, which gives a musician self-confidence and earns him or her respect among pupils or students. The dissertation was written for musicians who want to improve their skills in the discussed domain. The author opposes the popular view, which makes proficiency in sight-reading dependent only on its frequent practice. She wishes to convince the pianists (who need it) to practice, based on the individual self-recognition of the main problem conditioning the appropriate selection of exercises. Thanks to systematic training, every musician has a chance to play while sight reading at a level closer and closer to the current technical proficiency. This article is a summary of excerpts from the dissertation in which the author dealt with a particular method of working on the very process of reading a musical text and understanding its content. The method is based on original exercises presented in the article. These little studies are very easy to listen to and understand, but extremely difficult to read and play from the score due to the maximum complexity of the musical notation. For example, by using enharmonic equivalent sounds, the composer obtains an unusual notation of simple intervals or a tonal melody line. The author also proposes this method to practice perception of accidental signs, rhythm, time signature changes, key signature changes, etc. The aim of this article is to popularize the method. In this way, the author wishes to help pupils and students prepare for future professions.
Źródło:
MUZYKA KAMERALNA – WARTOŚCI ARTYSTYCZNE, DYDAKTYCZNE I SPOŁECZNE; 65-96
9788364615399
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Aneks. Katarzyna Ewa Sokołowska. Wykaz dzieł polskiej XIX-wiecznej literatury fortepianowej na cztery ręce
Autorzy:
Sokołowska, Katarzyna Ewa
Mroczek-Szlezer, Danuta
Powiązania:
https://bibliotekanauki.pl/chapters/1070500.pdf
Data publikacji:
2019
Wydawca:
Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
Źródło:
MUZYKA KAMERALNA – WARTOŚCI ARTYSTYCZNE, DYDAKTYCZNE I SPOŁECZNE
9788364615399
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Korzyści gry w duecie fortepianowym dla ogólnego rozwoju pianisty
Autorzy:
Czerwińska-Szymula, Bogna
Mroczek-Szlezer, Danuta
Powiązania:
https://bibliotekanauki.pl/chapters/1070507.pdf
Data publikacji:
2019
Wydawca:
Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
Opis:
The Benefits of Playing in a Piano Duet for the General Development of a Pianist. Performing chamber music offers an invaluable opportunity in terms of musician’s professional development. The author considers the ability to hear the preformed music in a real, objective manner as the most significant advantage of such form of performance. By learning to hear the partner, to accompany him/her, seize his musical concept one opens up to a whole new domain of auditory perception. In a piano duet, in pieces for four hands, the main benefit for a pianist experiencing such a form of musical performance may be the chance to acknowledge the importance of the accompanying part. The musician performing the secondo part may fully focus only on accompanying the partner in an exemplary way. The pianist performing primo part develops his/her skills in building the musical phrase, shaping the sound, constructing a musical narrative. The musicians, while playing pieces for four hands, also raise their own awareness of the specific piano registers – and the related co-dependencies of the sound layers in a musical piece. Playing the piece with the use of two pianos enhances the pianist’s experience with new sound categories put forward by the partner and offers an opportunity to verify the quality of his/her performance thanks to the fact that the same or similar extracts of the musical piece are performed alternately by the two musicians. Chamber music requires the naturalness of the phrase – the creation of music and its course in the manner which is comprehensible for the partner is the specific indicator of the legitimacy of a given musical work. The optimal equalization of the sound differences resulting from the various quality of pianos available in concert halls is a gauge of being able to hear oneself, the partner and the entire sound made by the two instruments. It is an acid test of the ability of consecutive and instant response to ongoing changes in the sound content, articulation or dynamics. The attention and the actions of pianists performing as a piano duet focus on the importance of the pedal work and its significant role in the ultimate quality of performance. This experience helps in playing more and more selectively, in sensible and justified use of the pedal and, as a result, in the transparency of performance. Apart from the aforementioned advantages, the article describes other elements of playing in a piano duet which are beneficial for the pianist’s development.
Źródło:
MUZYKA KAMERALNA – WARTOŚCI ARTYSTYCZNE, DYDAKTYCZNE I SPOŁECZNE; 42-47
9788364615399
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Polski repertuar fortepianowy na cztery ręce w XIX wieku
Autorzy:
Sokołowska, Katarzyna Ewa
Mroczek-Szlezer, Danuta
Powiązania:
https://bibliotekanauki.pl/chapters/1075494.pdf
Data publikacji:
2019
Wydawca:
Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
Opis:
Polish 19th Century Piano Repertoire for Four Hands. The article presents the 19th century Polish piano repertoire written for 4 hands. The features and functions of the repertoire, as well as its genre-stylistic diversity are discussed in the context of the era. An integral part of the article is the list of the collected works representing this genre. The author treats the article and the list as a starting point for further research, being aware of the incompleteness of the gathered information and the sheet music obtained. The aim of the article is to develop a broader interest in this part of piano literature in terms of performance, education, research and publishing.
Źródło:
MUZYKA KAMERALNA – WARTOŚCI ARTYSTYCZNE, DYDAKTYCZNE I SPOŁECZNE; 48-56
9788364615399
Dostawca treści:
Biblioteka Nauki
Artykuł
    Wyświetlanie 1-11 z 11

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