Informacja

Drogi użytkowniku, aplikacja do prawidłowego działania wymaga obsługi JavaScript. Proszę włącz obsługę JavaScript w Twojej przeglądarce.

English (EN)·Polski (PL)·Yкраїнський (UK)
Przejdź do strony domowej biblioteki Centralna Biblioteka Wojskowa Link otwiera się w nowym oknie Logo biblioteki Prolib Integro - strona głównaCentralna Biblioteka Wojskowa

Wyszukujesz frazę "Levoča" wg kryterium: Temat

  Lista filtrów
Wyrównaj
    Wyświetlanie 1-3 z 3
    Tytuł:
    Music by the Gabrielis in the Levoča and Bardejov Collections
    Autorzy:
    Kalinayová-Bartová, Jana
    Powiązania:
    https://bibliotekanauki.pl/articles/473828.pdf
    Data publikacji:
    2017
    Wydawca:
    Uniwersytet Jagielloński. Musica Iagiellonica
    Tematy:
    Levoča Music Collection, Bardejov Music Collection, organ tablatures,
    contrafactum
    Opis:
    Current research into the adoption of Andrea Gabrieli’s and Giovanni Gabrieli’s oeuvres in former Upper-Hungarian music centres (situated mainly in the Spiš and Šariš regions of present-day Slovakia) is based on examinations of the music sources that have been preserved in two extensive music collections: the Levoča Music Collection and the Bardejov Music Collection. They demonstrate the importance of the late 16th- and early 17th-century anthologies, compiled by German editors, in the dissemination of Gabrielis’ compositions — and Italian music in general — into the Spiš-Šariš regions. Anthologies had become the main source of transcriptions and further spreading of both authors’ pieces. On the other hand, in its content they were a source of limitation for further choice options. Among the known local composers, the most significant interest in Gabrielis’ works had been recognized by the Bardejov organist Zachariáš Zarewutius in his transcription of 13 units. Further transcriptions of Gabrielis’ pieces have survived in the manuscripts of unknown origin. The time of their creation and the names of intavolators are also unclear or unknown. The study therefore contains also information on the current research proceedings in these questions and hypothetical thoughts on the genesis and possible sources of these transcriptions as well as the routes of their transferring and their connections to the musical life of the Spiš-Šariš centres. Special attention is dedicated to the local version of the contrafactum of Lieto godea sedendo madrigal by Giovanni Gabrieli.
    Źródło:
    Musica Iagellonica; 2017, 8; 95-116
    1233-9679
    2545-0360
    Pojawia się w:
    Musica Iagellonica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Spatial Planning in Localities with Special Historic Values on Examples of Poland and Slovakia
    Planowanie przestrzenne w miejscowościach o szczególnych walorach zabytkowych na przykładzie Polski i Słowacji
    Autorzy:
    Bieda, A.
    Pukanská, K.
    Sala, B.
    Powiązania:
    https://bibliotekanauki.pl/articles/386034.pdf
    Data publikacji:
    2018
    Wydawca:
    Akademia Górniczo-Hutnicza im. Stanisława Staszica w Krakowie. Wydawnictwo AGH
    Tematy:
    Lanckorona
    Lewocza
    miejscowy plan zagospodarowania przestrzennego
    ochrona wartości kulturowych
    ochrona zabytków
    UNESCO
    Levoča
    local development plan
    protection of cultural values
    protection of monuments
    Opis:
    Jednym z celów planowania przestrzennego jest ochrona dziedzictwa kulturowego i zabytków. Konieczność uwzględnienia go w opracowaniach planistycznych powoduje, że w procedury planowania przestrzennego włączane są działania związane ze świadomym kształtowaniem krajobrazów kulturowych oraz opieką nad obiektami historycznymi. Mimo to uważa się, że w tworzonych w Polsce dokumentach planistycznych możliwości te są wykorzystywane niedostatecznie. Celem artykułu jest porównanie systemów planowania przestrzennego w Polsce i na Słowacji ze szczególnym uwzględnieniem uwarunkowań, jakie muszą zostać wzięte pod uwagę przy tworzeniu dokumentów planistycznych w miejscowościach z architekturą zabytkową. Analiza przykładowej dokumentacji stworzonej dla miast o walorach historycznych (Lanckorony w Polsce oraz Lewoczy na Słowacji) pozwoliła autorom na stwierdzenie, że miejscowe plany zagospodarowania przestrzennego na Słowacji zawierają mniej szczegółów związanych z ochroną wartości kulturowych i zabytków niż plany uchwalane w Polsce. Jest tak, ponieważ jedyną instytucją, która posiada w tym zakresie na Słowacji kompetencje, jest wojewódzki konserwator zabytków.
    One of the objectives of spatial planning policy is the protection of cultural heritage and historical monuments. Since this objective is necessary to be included it in planning documents, it means that spatial planning procedures shall comprise actions associated with the conscious shaping of cultural landscapes and protection of historical objects. Nevertheless, it is believed that these possibilities are not sufficiently used in Polish planning documents. This paper aims to compare the spatial planning systems found in Poland and Slovakia, with a particular emphasis on the conditions that must be taken into account when creating planning documents in historic localities. An analysis of sample documentation prepared for localities with special historical values (Lanckorona in Poland and Levoča in Slovakia) allowed the authors to conclude that local development plans in Slovakia contain fewer details related to the protection of cultural values and monuments than those adopted in Poland. This is a consequence of the fact that the only institution to evaluate this issue in Slovakia is the provincial conservator.
    Źródło:
    Geomatics and Environmental Engineering; 2018, 12, 1; 5-27
    1898-1135
    Pojawia się w:
    Geomatics and Environmental Engineering
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    The motets of Andrea and Giovanni Gabrieli in the Rokycany Music Collection
    Autorzy:
    Maýrová, Kateřina
    Powiązania:
    https://bibliotekanauki.pl/articles/473820.pdf
    Data publikacji:
    2017
    Wydawca:
    Uniwersytet Jagielloński. Musica Iagiellonica
    Tematy:
    Rokycany Music Collection, Bardejov [Bartfeld / Bártfa] and Levoča
    [Leutschau / Löcse] Music Collections, Rokycany litterati brotherhood, polychoral
    motets of Andrea and Giovanni Gabrieli, anonymous polychoral motets on Czech
    texts
    Opis:
    The Rokycany Music Collection (RMC) consists of altogether 15 items: 10 mss., 2 printed items and 3 mss. with additional printed scores attached to them. There are 901 handwritten compositions, and 236 contemporary printed items (including additional scores). 665 compositions survived in the form of part-books. Twenty-one per cent of the repertoire consists of polychoral masses and motets. From the preserved musical prints we can identify six individual collections from the period 1557 until 1607 and two anthologies from the years 1564 and 1590. As far as the sacred music of Andrea Gabrieli, there are preserved: I. Five parts of 4 handwritten records of his motets in ROk A V 20a-e, firstly published in Venice in the year 1587 in the print of Concerti. II. In ROk A V 40, which consists of the Bassus part of the print of Corollarium cantionum sacrarum from the year 1590 and a handwritten part of 21 compositions, there are published 6 Andrea Gabrieli’s motets in the cited printed source. As far as the sacred music of Giovanni Gabrieli is concerned, the RMC has: I. Five (uncompletely) preserved handwritten parts of the 8-part motet in ROK A V 20 a-e: namely Iubilate Deo omnis terra, servite Domino in laetitia for 2 choirs, No. 7. Firstly published in 1597 in the famous print of Sacrae symphoniae on pp. 12–13. II. In ROk A V 40, in the cited Bassus part of Corollarium one Giovanni Gabrieli’s motet has been published, namely the 10-parts motet Deus, Deus meus ad te de luce vigilo for 2 choirs, No. LXIV. In this context there should be mentioned seven not completely preserved anonymous polychoral motets with Czech texts and one motet attributed to three different composers, all from ROK A V 20 a-e. The analysis shows that in general, the Bohemian compositions have the same features as those of Europe — differing in the case of the number and quality of use of the cori-spezzati technique. The Bohemian polychoral works are approximately on the level of the early works by Andrea and Giovanni Gabrieli. While the two most important music collections from the 16th and 17th centuries surviving in the territory of the historic Hungarian Lands, i. e. the Bardejov (BMC) and the Levoča (LMC) music collections, originated from the local German evangelical communities, the Rokycany litterati brotherhood, from the late 16th century up to the 1630s, came mainly from the Czech, humanistically educated bourgeoisie. In their denomination, the members of the Rokycany litterati brotherhood were mainly Utraquist Protestants. Comparing the BMC and LMC collections with the RMC collection, there are two important differences — the minimal number of organ tablatures in the RMC (only one fragment of a new German tablature) and, especially, the strictly sacred repertoire. In comparison with BMC and LMC, the RMC repertoire consists of relatively early music, plus new polychoral concertante music up to c. 1640. The repertoire, common to all three collections compared here represents all three basic compositional strands of the time: the earliest (music of the 16th century Low Countries composers and their followers), the middle (reflecting the late 16th century repertoire: Jakob Handl-Gallus, Orlando di Lasso, and others), and the last and most extensive, which includes works by composers living in the first three decades of the 17th century. Music was mainly imported via the main Nuremberg trade and diplomatic road.
    Źródło:
    Musica Iagellonica; 2017, 8; 65-93
    1233-9679
    2545-0360
    Pojawia się w:
    Musica Iagellonica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-3 z 3

      Ta witryna wykorzystuje pliki cookies do przechowywania informacji na Twoim komputerze. Pliki cookies stosujemy w celu świadczenia usług na najwyższym poziomie, w tym w sposób dostosowany do indywidualnych potrzeb. Korzystanie z witryny bez zmiany ustawień dotyczących cookies oznacza, że będą one zamieszczane w Twoim komputerze. W każdym momencie możesz dokonać zmiany ustawień dotyczących cookies