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Tytuł:
Contributions of Ethnography to Gendered Sociology: the French Jazz World
Autorzy:
Buscatto, Marie
Powiązania:
https://bibliotekanauki.pl/articles/2138421.pdf
Data publikacji:
2007-12-30
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Ethnography
Gender
Art
Jazz
Music
Work
Epistemology
Opis:
In the last few years a number of studies have explored the epistemological uses of the ethnographer’s gender in sociological research and the effects of gender on research results. These studies aim either to analyze how ethnographers can use their “gender” to open up observational possibilities, or to analyze observations made while maintaining as much control as possible over the conditions of their sociological interpretation. But relatively few papers discuss using ethnography to study gendered social relations. This article applies that approach to the observations made in our field study of the “world” of French jazz. We present here three of the main ways that the epistemological enrichment offered by ethnography may in turn enrich analysis of gender relations: access to “invisible” practices, analysis in terms of “the arrangement between the sexes", the possibility of generalization.
Źródło:
Qualitative Sociology Review; 2007, 3, 3; 46-58
1733-8077
Pojawia się w:
Qualitative Sociology Review
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Wariacje jazzowe w kinie "młodych gniewnych"
Jazz variations in “angry young men” cinema
Autorzy:
Śliwińska, Anna
Powiązania:
https://bibliotekanauki.pl/articles/920293.pdf
Data publikacji:
2009-06-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
cinema
“angry young men”
jazz music
rebellion
improvisation
jazz
jazz w filmie
kino młodych gniewnych
improwizacja
Opis:
Jazz music and the vision of the world depicted by the “angry young men” are connected by a mysterious bond, its basis being not a simple citation of musical pieces, but functioning based on the identicalness of conveyed feelings and thoughts. Rarely can one find an example of correspondence of arts characterised by such extraordinary cohesion of thought and outlook on life. The objective of the present text is not to show the way jazz music functions in the “angry young men’s” films, but to take a closer look at this tangent point, this place where two worlds meet – worlds which are completely different, and yet, in consequence, alike. It transpires, after all, that there is only one way to self-cognition (whether in jazz or “angry young men’s” cinema) – the one leading through daring steps, rebellion and improvisation.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2009, 7, 13-14; 205-210
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Chopin and jazz. The case of Andrzej Jagodziński’s arrangement ofthe Prelude in E minor
Autorzy:
Madeła, Patrycja
Powiązania:
https://bibliotekanauki.pl/articles/780377.pdf
Data publikacji:
2010
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Fryderyk Chopin
jazz
jazz arrangements
Andrzej Jagodziński
Opis:
The current of jazz interpretations of Chopin’s music appeared in Polish jazz in the early 1990s. On the one hand, it is the most original and native stylistic trend of all trends influencing jazz in Poland. On the other, it is an exceptional phenomenon internationally, since no works of classical music have received so many jazz arrangements worldwide. The achievements of Polish jazz pianists in this regard have become most representative, since piano texture and the process of improvisation on a given theme show the most obvious references - not only musically, but also emotionally- to the musical language of Chopin. The recording of the award-winning album Chopin by the Andrzej Jagodziński Trio in December 1993 triggered a host of artistic arrangements of Chopin works by Polish jazz pianists, each of which constitutes an individual approach to the Chopin material, reflected in basic factors such as the criteria for the selection of compositions or themes and the process of the original’s transformation. Most jazz arrangements of Chopin’s music involve the piano miniatures that dominate the composer’s oeuvre. This is due to the clarity of the melodic lines, which inspire artists to turn them into themes for jazz standards. The Prelude in E minor, Op. 28 No. 4 has become the most frequently arranged piece of Chopin’s music in the field of jazz. The numerous arrangements are also stylistically diverse. Jagodziński’s arrangement is an example of this pattern being adapted for use in a jazz context. For him, the themes and mood of Chopin’s music have become a pretext for the creation of his own jazz compositions largely inspired by Chopin’s melodies and harmonies, but also by symmetrical form. Arrangements of Chopin’s music have been continually criticised by purists, who regard such procedures as a sort of profanation (any patriotic content in Chopin’s original compositions seems to vanish in the chaos of jazz improvisation, which disturbs the integral form of the originals). The basic problem here seems to be ignorance of the fact that Chopin’s music is essentially only a pretext, a kind of external emblem, for the creation of entirely new compositions, carrying different content, characterised by the author’s individuality.
Źródło:
Interdisciplinary Studies in Musicology; 2010, 9; 371-382
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Jazzowe infiltracje w literaturze czeskiej w latach 20. XX wieku
Jazz infiltrations in Czech literature in the 1920s of the 20th century
Autorzy:
Novak, Radomil
Powiązania:
https://bibliotekanauki.pl/articles/650089.pdf
Data publikacji:
2012
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
czech literature
analysis
musical inspiration
jazz
1920s
Opis:
The article is concentrated on jazz inspiration in the Czech culture of the 1920s, espe-cially its infiltration to the Czech poetry. Contemporary manifests, anthologies, essays and critics has been researched so as to detect the influence of this new musical phe-nomenon over the Czech avant-garde art. The inspiration by jazz music then have been discovered in concrete books of poetry by E. F. Burian, V. Nezval, J. Seifert, J. Voskovec and J. Werich. The jazz motives as ‘jazz-band, black, saxophone etc.’ as well as imitation of a blues form were found there. In conclusion, the author points to the fact that the jazz music has become the symbol of the new revolutionary art, identified with the left-wing avant-garde, and it has brought a new view of reality, methods and functions of art.
Źródło:
Acta Universitatis Lodziensis. Folia Litteraria Polonica; 2012, 16, 2; 54-67
1505-9057
2353-1908
Pojawia się w:
Acta Universitatis Lodziensis. Folia Litteraria Polonica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Jazzowość filmu - filmowość jazzu. O muzyce Krzysztofa Komedy w filmach krótkometrażowych Romana Polańskiego
The Jazziness of a Film – the Filmicness of Jazz. About the Music of Krzysztof Komeda in the Short Films of Roman Polański
Autorzy:
Pomostowski, Piotr
Powiązania:
https://bibliotekanauki.pl/articles/920007.pdf
Data publikacji:
2012-01-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
film music
jazz music
composer of the film soundtrack
jazz composer
film director
short films
shaping of the style
element of improvisation
Opis:
The relationship between a film director and the composer of the film soundtrack is an exceptionally interesting research subject. Even more so in the context of Krzysztof Komeda’s music in Roman Polański’s film etudes. It is a rare case for the influence of music on a film and for the influence of the film on the music to be so significant in the shaping of the styles of two artists on the threshold of their careers, one of whom is a composer, the other one being a film director.In the article, the author attempts to prove that creating a film using directing solutions that refer to jazz music elements is just as possible as the transformation of a jazz composer (in the context of a film) into an author of music which also becomes a film soundtrack. What is more, the mutual inspirations translate into the artistic development of both artists which is noticeable in their subsequent joined works. Those are: Two Men and a Wardrobe (1958), The Fat and the Lean (1961) and Mammals (1961).The author performs a film study-musicological analysis of the films mentioned above on the basis of the works of Marek Hendrykowski, Alicja Helman, Zofia Lissa, and Emilia Batura; he also uses the opinions of the authors themselves on their shared films which are the subject of the analysis mentioned. Examining the role of Krzysztof Komeda’s music in Roman Polański’s short films proved that apart from functionalizing the basic element of a music piece (melodics, agogic, rhytmics, and meter), the element of improvisation – characteristic of jazz – can also occur in a film, present both in its visual as well as in the sound layer. Thus, the use (on both levels) of elements of two kinds of art different from each other (in an ontological sense) has a significant influence on the shaping of the unique style of both artists.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2012, 10, 19; 95-103
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Między kulturą wysoką a kulturą popularną. O muzyce George'a Gershwina w „Manhattanie” Woody'ego Allena
Between high culture and popular culture. The music of George Gershwin in Manhattan by Woody Allen
Autorzy:
Pomostowski, Piotr
Powiązania:
https://bibliotekanauki.pl/articles/920083.pdf
Data publikacji:
2013-01-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
high culture
popular culture
film music
Woody Allen
George Gershwin
Manhattan
symphonic jazz
identity
New York City
composer
director
Opis:
The article focuses on the relationships between high culture and popular culture in relation to film music. To this end, the author conducted a thorough analysis of the works of George Gershwin used in Woody Allen’s film Manhattan. The article consists of two parts and a conclusion. In the first part, the author presents a brief history of the continuous grinding together of high and popular culture in music, resulting in symphonic jazz, which came about in the 1920s, and whose precursor was George Gershwin. The second part is a cinematic and musicological analysis of all the works of Gershwin appearing on the soundtrack of Manhattan, and an attempt to find associations between the director and composer. In conclusion, the author notes that the phenomenon of mixing of popular culture and mass culture (both on the music, as well as its use in the work of the film) is subordinated in both George Gershwin and Woody Allen’s work to attempts to find their own identity, and one of the sources of inspiration of both artists is the same New York City, which is a city-myth.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2013, 12, 21; 243-255
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Zakopiańska metamorfoza "Balu w operze"
Metamorphosis of Tuwim’s Ball in the Opera in Witkacy’s theatre
Autorzy:
Łubieniewska, Ewa
Powiązania:
https://bibliotekanauki.pl/articles/520949.pdf
Data publikacji:
2013
Wydawca:
Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie
Tematy:
transformation
dance floor area
six-arm carrousel
language of jazz
Apocalypse
diagnosis of reality
Opis:
Witkacy’s team adapted the poem Ball in the Opera and – without losing the beauty of the poetic word – performed its stage transformation. Theatrical signs, though far from an illustrative character, conveyed the metaphoric sense of Tuwim’s message. The set design was brought to a minimum: consisting of a little cabaret curtain at the actors’ entry and a simple six-arm carrousel, standing on a little podium of an empty dance floor area. Someinstrumentalists, with their specific musical language of jazz, expressed the tensions of the stage action, demarcated by the composition order of the poem, while actors’ actions were subordinated to the choreographic scheme. Figures derived from the poetic narrative, and using its text, built the world of the play, where the ten-person team underwent numerous rapid metamorphoses, evoking an impression of a large crowd. A key role was played by two figures: a grotesque prophet of the oncoming Apocalypse and an evangelical indecent woman, embodied into a final revue heroine. Apart from the stage situations derived from the poem, the spectacle also accommodated some episodes that did not take place in the author’s plan of events, but in a metaphoric nutshell, typical of Tuwim, they diagnosed the presented reality.
Źródło:
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura; 2013, 5, 1; 7-16
2083-7275
Pojawia się w:
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Freedom now! Radykalny jazz i ruchy społeczne
Freedom Now! Radical Jazz and Social Movements
Autorzy:
Pluciński, Przemysław
Powiązania:
https://bibliotekanauki.pl/articles/1013292.pdf
Data publikacji:
2014-01-01
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
(free) jazz
music in social context
radicalism
social movements
black power
społeczny kontekst muzyki
radykalizm
ruchy społeczne
Opis:
Muzyka, co oczywiste, nie jest zjawiskiem wyłącznie estetycznym. Osadzona jest w sieci relacji społecznych, jednakowoż jej społeczne uwikłanie nie jest jednoznaczne, szczególnie od drugiej połowy dwudziestego wieku. Z jednej strony stanowi ona współcześnie jeden z głównych elementów kapitalizmu kulturowego, jest zatem częścią systemu dominacji. Z drugiej jednak, muzyka prowokuje i współwytwarza lub ewentualnie wzmacnia i koegzystuje z licznymi (kontr)dyskursami i projektami społecznymi o antyhegemonicznym charakterze. Z tak nakreślonej perspektywy rozpatruję wzajemne relacje między rewolucyjnym formalnie i społecznie jazzem a ruchami społecznymi, zarówno ruchami konstytuującymi civil rights movement, przede wszystkim jednak radykalnymi, odwołującymi się do idei black power. Interesowały mnie szczególnie kwestie samoorganizacji i praktyk społecznych oraz alternatywy wypracowywane przez radykalizujące środowiska jazzowe w rozmaitych przestrzeniach, na przykład gospodarczej, ale i symbolicznej.
Music is obviously not only an aesthetic phenomenon. It is embedded in a dense network of social relations. However, its social involvement is rather ambiguous, particularly since the second half of the twentieth century. On the one hand, music is one of the main elements of cultural capitalism and a part of the system of domination. On the other hand, music provokes, (co)produces or possibly strengthens and coexists with a number of counter discourses and social projects of counter hegemonic character.The main objective of the paper is to examine relationships between both, revolutionary jazz and revolutionary social movements, namely the civil rights movement, but above all radical movements, especially black power movement. The crucial questions I am interested in are problems of self organization, performative social practices, as well as alternatives elaborated by radical-oriented jazz circles in various social dimensions, for instance economic or symbolic.
Źródło:
Praktyka Teoretyczna; 2014, 14, 4; 37-80
2081-8130
Pojawia się w:
Praktyka Teoretyczna
Dostawca treści:
Biblioteka Nauki
Artykuł
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