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    Wyświetlanie 1-11 z 11
    Tytuł:
    Muzyka organowa Ruth Zechlin (1926–2007)
    Organ music composed by Ruth Zechlin (1926–2007)
    Autorzy:
    Kazana-Burczyk, Stefania
    Powiązania:
    https://bibliotekanauki.pl/articles/2170579.pdf
    Data publikacji:
    2022-12-20
    Wydawca:
    Uniwersytet Opolski. Diecezjalny Instytut Muzyki Kościelnej. Katedra Muzykologii Uniwersytetu Opolskiego
    Tematy:
    Ruth Zechlin
    composer
    organist
    organ music
    modern music
    Opis:
    The title of this work is Ruth Zechlin’s organ music. The aim of this paper is to present the biography of the German composer and her achievements in the field of organ composition. Ruth Zechlin was born in 1926, she studied composition with J. N. David, K. Straube and G. Ramin at the Music Academy in Leipzig. Then she worked as a music teacher and gave many concerts as harpsichordist and organist. She created music that has attributes of modern, but is inspired by the music of J. S. Bach. Among over 300 sacred and secular pieces, 26 are written for organ. The intention of the author was to give a rise to begin scientific research on life and works of Ruth Zechlin.
    Źródło:
    Folia Organologica. International yearbook of organ and organ music; 2022, 5; 108-126
    2657-6082
    2719-3284
    Pojawia się w:
    Folia Organologica. International yearbook of organ and organ music
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    The Organ +
    Autorzy:
    Smilianić-Radić, Maja
    Powiązania:
    https://bibliotekanauki.pl/articles/570357.pdf
    Data publikacji:
    2020
    Wydawca:
    Uniwersytet Opolski. Diecezjalny Instytut Muzyki Kościelnej. Katedra Muzykologii Uniwersytetu Opolskiego
    Tematy:
    The Organ
    Recital
    Modern music
    International Review of Composers
    Opis:
    On October the 5th of 2019 I was honored with an organ recital, named THE ORGAN +, at the International Review of Composers festival. Each piece I played was chosen by Jury from a selection of eighty works made by international authors. Of course, all five pieces I`ve played, were premiered. For me, it was a truly exciting journey exploring the whole meaning of contemporary music and interpretation. Performing two compositions with nonstandard chamber ensembles was a particular challenge - the main problem was how to harmonize the sounds of different instruments to support and create musical thoughts. In addition, modern musical language requires unusual playing tools to produce specific sound effects: the most unusual type of clusters, the effect of pushing back relevant stops, switching off the whole instrument, the effect of crescendo and decrescendo, impressive "harmonic chords" (held in the pressed position by small pegs), effects of whistling, ringing and much more... Professionally, I dared to embark on that artistic adventure that challenged me to explore and learn more about my instrument, the endless possibilities of performing organ music. With a great pleasure. This review presents you with five pieces I performed at my recital in Belgrade with a discreet intention, but a warm recommendation to indulge in the world of modern sound.
    Źródło:
    Folia Organologica. International yearbook of organ and organ music; 2020, 3; 31-41
    2657-6082
    2719-3284
    Pojawia się w:
    Folia Organologica. International yearbook of organ and organ music
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Penderecki między sacrum a profanum
    Autorzy:
    Tomaszewski, Mieczysław
    Powiązania:
    https://bibliotekanauki.pl/articles/668989.pdf
    Data publikacji:
    2013
    Wydawca:
    Uniwersytet Papieski Jana Pawła II w Krakowie
    Tematy:
    Krzysztof Penderecki
    modern European music
    music of 20th c.
    współczesna muzyka europejska
    muzyka XX wieku
    Opis:
    Krzysztof Penderecki summed up his aesthetic and philosophical attitude stating wittily: „I am tempted by both the sacrum and the profanum, God and the devil, the sublime and its violation”. Amongst over a hundred compositions he has created over the last half-century a considerable majority are of profanic nature. Some of them, of significant importance, became known world-wide, e.g. Threnody to the Victims of Hiroshima. His sacred compositions, albeit not so numerous, also won general acclaim and recognition from professionals and public, almost equal to profanic ones. They gained their well-deserved place in the canon of the 20th-century sacred music, as well as in the history of the modern Europe, as organically linked to the time and place of the earth. St. Luke’s Passion, Paradise Lost and Polish Requiem – even those three compositions resonated with exceptional intensity not only due to the value of the sacred music, but also as an expression of the composer’s involvement in the higher matters, above technicalities in which the art of the time was largely and programmatically engrossed. Their additional and peculiar value lied in the fact that they formed a series of compositions, by which Krzysztof Penderecki – as the first composer of the communist-regimented countries – broke the ban on composing the higher music on sacred themes. At the same time, he was brave enough to renounce his sonoristic, up to that time, way of expression – which brought him fame and success among the western avantgarde – as not sufficient enough to realise his own visions in the sphere of sacred art. Therefore he created his compositions with full commitment, with full awareness of his mission: „My art – as he confessed – with its deep Christian roots, aims at re-building the metaphysical space of human being, shattered by the cataclysms of the 20th century. To restore the sacred dimension of reality is one way of saving man“.The sacred compositions of Krzysztof Penderecki outstand the contemporary European music – due to their unique features. Their distinct ecumenical character can be revealed even in the very selection of genres: Catholic Stabat Mater, Magnificat, Te Deum, Polish Requiem, Credo, Veni Creator, Hymn to St. Adalbert and Missa brevis, Catholic and Evangelical Passion, Orthodox – both Matins, as well as Song Cherubins and Hymn to St. Danilov, the Old-Testamental Psalms of David and Canticum canticorum i.e. Sir ha sirim, based not only on psalms – Seven Gates of Jerusalem, the Hebrew Kaddish. Yet the universal, by nature, sacrum is often tinted with Polish intonations. These are usually Polish religious songs, sometimes plainly patriotic, which are incorporated into compositions based on Latin lyrics: Boże, coś Polskę [God Thou Hast Poland] (in Te Deum), Święty Boże /The Trisagion/ (in Passion and in Polish Requiem), Ludu mój ludu /People of My People/ and Któryś cierpiał za nas rany /You who s u f f e r e d wounds for us/ (in Credo).The sacred music of Krzysztof Penderecki in a single way tune up, into one, coherent, and completed whole, the elements of music tradition and modernity. According to the composer, huge emotions triggered out by everlasting issues, when bringing lofty ideas – in grand-scale music forms – must be founded on tradition. Krzysztof Penderecki has always been convinced that “n o artistic creativity can survive w i t h o u t r o o t s ”. The psychological structure of the composer has also encompassed a closing thought, a moral, a humanistic message. All his compositions aim at the final reflection. In this sense, the creator of Passion, Dies irae, Polish Requiem, as well as The Devils of Loudun, The Black Mask or Song of Passing (Symphony No. 8) and Song of Reverie and Nostalgia – can be ranked amongst the music moralist.Penderecki’s compositions are permeated with existential awareness of the existence of death in modern civilisation and an acute feeling of the deep crisis of culture. As a creator, by nature and in effect of the experiences of his time, “the time of Apocalypse and hope”, he could not stay aloof, living behind the curtain of alibi offered by the idea of artistic autotelism. On the contrary, he belongs to the group of fully involved composers. Those to whom a work of art is a reaction to history, life and the world. The art which takes place within the area of values and takes their side. In his public declaration he explicitly stated his viewpoint: “One more time, in man’s history, it has been proved that every attempt to turn away from God, especially a bold wish to equal Him, invariably ends with a pathetic fall. His antidote has always been “the double rootedness of art – in the earth and in the air”.
    Krzysztof Penderecki summed up his aesthetic and philosophical attitude stating wittily: „I am tempted by both the sacrum and the profanum, God and the devil, the sublime and its violation”. Amongst over a hundred compositions he has created over the last half-century a considerable majority are of profanic nature. Some of them, of significant importance, became known world-wide, e.g. Threnody to the Victims of Hiroshima. His sacred compositions, albeit not so numerous, also won general acclaim and recognition from professionals and public, almost equal to profanic ones. They gained their well-deserved place in the canon of the 20th-century sacred music, as well as in the history of the modern Europe, as organically linked to the time and place of the earth. St. Luke’s Passion, Paradise Lost and Polish Requiem – even those three compositions resonated with exceptional intensity not only due to the value of the sacred music, but also as an expression of the composer’s involvement in the higher matters, above technicalities in which the art of the time was largely and programmatically engrossed. Their additional and peculiar value lied in the fact that they formed a series of compositions, by which Krzysztof Penderecki – as the first composer of the communist-regimented countries – broke the ban on composing the higher music on sacred themes. At the same time, he was brave enough to renounce his sonoristic, up to that time, way of expression – which brought him fame and success among the western avantgarde – as not sufficient enough to realise his own visions in the sphere of sacred art. Therefore he created his compositions with full commitment, with full awareness of his mission: „My art – as he confessed – with its deep Christian roots, aims at re-building the metaphysical space of human being, shattered by the cataclysms of the 20th century. To restore the sacred dimension of reality is one way of saving man“.The sacred compositions of Krzysztof Penderecki outstand the contemporary European music – due to their unique features. Their distinct ecumenical character can be revealed even in the very selection of genres: Catholic Stabat Mater, Magnificat, Te Deum, Polish Requiem, Credo, Veni Creator, Hymn to St. Adalbert and Missa brevis, Catholic and Evangelical Passion, Orthodox – both Matins, as well as Song Cherubins and Hymn to St. Danilov, the Old-Testamental Psalms of David and Canticum canticorum i.e. Sir ha sirim, based not only on psalms – Seven Gates of Jerusalem, the Hebrew Kaddish. Yet the universal, by nature, sacrum is often tinted with Polish intonations. These are usually Polish religious songs, sometimes plainly patriotic, which are incorporated into compositions based on Latin lyrics: Boże, coś Polskę [God Thou Hast Poland] (in Te Deum), Święty Boże /The Trisagion/ (in Passion and in Polish Requiem), Ludu mój ludu /People of My People/ and Któryś cierpiał za nas rany /You who s u f f e r e d wounds for us/ (in Credo).The sacred music of Krzysztof Penderecki in a single way tune up, into one, coherent, and completed whole, the elements of music tradition and modernity. According to the composer, huge emotions triggered out by everlasting issues, when bringing lofty ideas – in grand-scale music forms – must be founded on tradition. Krzysztof Penderecki has always been convinced that “n o artistic creativity can survive w i t h o u t r o o t s ”. The psychological structure of the composer has also encompassed a closing thought, a moral, a humanistic message. All his compositions aim at the final reflection. In this sense, the creator of Passion, Dies irae, Polish Requiem, as well as The Devils of Loudun, The Black Mask or Song of Passing (Symphony No. 8) and Song of Reverie and Nostalgia – can be ranked amongst the music moralist.Penderecki’s compositions are permeated with existential awareness of the existence of death in modern civilisation and an acute feeling of the deep crisis of culture. As a creator, by nature and in effect of the experiences of his time, “the time of Apocalypse and hope”, he could not stay aloof, living behind the curtain of alibi offered by the idea of artistic autotelism. On the contrary, he belongs to the group of fully involved composers. Those to whom a work of art is a reaction to history, life and the world. The art which takes place within the area of values and takes their side. In his public declaration he explicitly stated his viewpoint: “One more time, in man’s history, it has been proved that every attempt to turn away from God, especially a bold wish to equal Him, invariably ends with a pathetic fall. His antidote has always been “the double rootedness of art – in the earth and in the air”.
    Źródło:
    Pro Musica Sacra; 2013, 11
    2083-4039
    Pojawia się w:
    Pro Musica Sacra
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Music education for social change in the United States: towards artistic citizenship through Little Kids Rock
    Autorzy:
    Dylan, Smith, Gareth
    Warren, Gramm,
    Kenrick, Wagner,
    Powiązania:
    https://bibliotekanauki.pl/articles/890331.pdf
    Data publikacji:
    2019-01-15
    Wydawca:
    Akademia Pedagogiki Specjalnej im. Marii Grzegorzewskiej. Wydawnictwo APS
    Tematy:
    Music education
    social change
    Little Kids Rock
    modern band
    music as a second language
    artistic citizenship
    Opis:
    Public education in the United States is often woefully under-funded, especially in the arts, despite a federal mandate to provide music education for all. Where music programs exist in US schools, they tend to focus on teacher-directed large ensembles that afford students little agency or creative opportunity, playing music that alienates a majority of young people. Faced with the volume of evidence pointing to the benefits of including music in a well-rounded education, philanthropy-funded nonprofit companies such as Little Kids Rock step in to fill the vacuum in state provision. This paper is a descriptive, intrinsic case study that describes how Little Kids Rock provides culturally relevant music making experiences for young people in schools, through a learning approach called music as a second language and alternative music classes termed modern band. Little Kids Rock builds a nationwide community of innovative music pedagogues by training teachers, donating musical instruments and sharing original curricular resources. This paper includes examples of two modern band teachers – one working in a rock band context, and the other a hip hop facilitator. The work of these and other teachers is ever more urgent in an era in which the U.S. perpetuates an intense neoliberal capitalism that oppresses and marginalizes vast numbers of its own people. Little Kids Rock aims to foster artistic citizenship wherein music makers recognize social and emancipatory responsibilities with the aim of transforming lives for the better.
    Źródło:
    International Journal of Pedagogy, Innovation and New Technologies; 2018, 5(2); 11-21
    2392-0092
    Pojawia się w:
    International Journal of Pedagogy, Innovation and New Technologies
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Shaman or Showman? The Myths of Jim Morrison From an Aesthetic Anthropological Perspective
    Autorzy:
    Papp, Richard
    Powiązania:
    https://bibliotekanauki.pl/articles/2154941.pdf
    Data publikacji:
    2022-03-31
    Wydawca:
    Akademia Górniczo-Hutnicza im. Stanisława Staszica w Krakowie
    Tematy:
    Jim Morrison
    The Doors
    art
    modern myths
    shamanism
    show business
    rock music
    Opis:
    The study deals with the concepts of Jim Morrison’s art from the perspective of Jim Morrison’s myth especially his “self-made shamanism”. Jim Morrison created a “personal shamanism” that basically determined his art and image. The study explores how and why Jim Morrison created his own myth and built shamanistic elements in his songs, poems, and performances. Besides, the paper touches on the connections and between Jim Morrison’s ideas and show business. Whit this in mind, the study brings up examples of the “Jim Morrison myth” after his death and tries to place this myth in the meanings of modernity’s mythology.
    Źródło:
    Studia Humanistyczne AGH; 2022, 21, 1; 75-87
    2084-3364
    Pojawia się w:
    Studia Humanistyczne AGH
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Refleksja egzystencjalna i patriotyczna w twórczości Augustyna Blocha
    Existential and patriotic reflection in the works of Augustyn Bloch
    Autorzy:
    Schiller-Rydzewska, Joanna
    Powiązania:
    https://bibliotekanauki.pl/articles/454036.pdf
    Data publikacji:
    2018
    Wydawca:
    Uniwersytet Humanistyczno-Przyrodniczy im. Jana Długosza w Częstochowie. Wydawnictwo Uczelniane
    Tematy:
    Augustyn Bloch,
    twórczość Augustyna Blocha,
    refleksja egzystencjalna,
    refleksja patriotyczna,
    twórczość kompozytorów polskich XX wieku,
    współczesna muzyka polska,
    twórczość muzyczna za żelazną kurtyną
    Augustyn Bloch’s achievement,
    existential reflection,
    patriotic issues in music,
    the work of Polish composers of the 20th century, modern Polish music,
    musical creativity behind the Iron Curtain.
    Opis:
    Twórczość Augustyna Blocha nosi piętno swoistej dychotomii. Z jednej strony pojawiają się w niej wątki żartobliwe, podszyte autoironią i humorem, z drugiej zaś głęboko refleksyjne, naznaczone piętnem lęku przed śmiercią, poruszające problematykę sensu ludzkiej egzystencji. W tym nurcie muzyki na wskroś poważnej kompozytor podejmuje także próbę rozliczenia się z traumatycznymi przeżyciami czasu wojny, zaznacza swój sprzeciw wobec zakłamania komunistycznego reżimu. Dotyka tak istotnych wątków, jak nienaruszalność godności jednostki ludzkiej oraz prawa narodu do samostanowienia. Tematyka utworów Blocha sytuujących się w tym nurcie ma dwojakie źródło. Z jednej strony są to przemyślenia wyrastające z tradycji religijnej, tu kompozytor wprost odwołuje się do istoty Boga, wykorzystując teksty modlitewne i biblijne – np. Ajelet córka Jeftego, Albowiem nadejdzie światłość Twoja, Nie zabijaj! Z drugiej zaś refleksje twórcy podążają ścieżką na wskroś świecką, bazującą na poezji i filozofii egzystencjalnej – np. Espressioni, Wordsworth Songs. Oba zakresy tematyczne przemyśleń kompozytora, które odwołują się do sensu istnienia jednostki uwikłanej w sytuację graniczną, uzupełnia tematyka patriotyczna w takich utworach, jak: Poemat o Warszawie, Oratorium, czy wspomniane już wcześniej Nie zabijaj! Te trzy dzieła dobitnie komentują dramatyczne wydarzenia historyczne: tragedię osamotnionych w walce powstańców warszawskich, wprowadzenie stanu wojennego oraz zabójstwo księdza Jerzego Popiełuszki. Te osobiste doświadczenia mają swój szerszy wymiar w kontekście pokoleniowym. Niszczące działanie wojennej traumy, kolejne lata spędzone w zawłaszczającym wszelką indywidualność reżimie, stały się udziałem całej generacji.
    The works of Augustyn Bloch bear the mark of a specific dichotomy. On the one hand, there appear humorous themes, lined with self-irony and humour, and on the other hand deeply reflective, marked by the stigma of fear of death, touching the issue of the sense of human existence. In this trend of thoroughly composing music, the composer also attempts to account for the traumatic experiences of wartime, he points out his opposition to the deception of the communist regime. The themes of Bloch’s works in this trend have a double source. On the one hand, these are thoughts arising from the religious tradition. Here the composer simply refers to the essence of God by using prayer and biblical texts – e.g. Ajelet, daughter of Jephthah, For Your light will come, Do not kill! On the other hand, the creator’s reflections follow a completely secular path, based on existential poetry and philosophy – for example, Espressioni, Wordsworth Songs. Both thematic areas of the composer’s reflections that refer to the meaning of an individual entangled in the border situation are complemented by the patriotic theme in such works as: Poem about Warsaw, Oratory, or the already mentioned Do not kill! These three works emphatically comment on dramatic historical events: the tragedy of the Warsaw Insurgents who were alone in the fight, the introduction of martial law and the murder of Father Jerzy Popiełuszko.
    Źródło:
    Edukacja Muzyczna; 2018, 13; 37-52
    2545-3068
    Pojawia się w:
    Edukacja Muzyczna
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Recreating “Holy Simplicity”'. Romanian Renditions of Jacques Prévert's Alicante
    Autorzy:
    MĂCIUCĂ, GINA
    Powiązania:
    https://bibliotekanauki.pl/articles/954182.pdf
    Data publikacji:
    2009
    Wydawca:
    Uniwersytet Opolski
    Tematy:
    style simplicity
    French modern poetry
    sexuality vs. spirituality
    translation
    Romanian
    true-to-genius-of-target-language rendition
    setting poetry to music
    Opis:
    While still under the spell of Jacąues Prevert’s intriguingly unsophisticated Alicante, and in relentless pursuit of uncovering novel strategies for creating literary beauty, I decided to subject the poem to a minutę scrutiny in the hope of ferreting out the secret stuff “holy simplicity” is madę of. Much to my surprise, “lurking” behind this sancta simplicitas I fo- und a fine network of complex pattems, each carefully designed to interact with the rema- inder in a flawless manner, thus considerably enhancing the potency of the ensemble. The following are several of the major pattems involved: dichotomous partition into sexuality and spirituality; colour-related symbolism; word play; dual-nature semantic pattem of keywords (signalling interweaving of libido-related and spirit-related zones); interplay of inherent and non-inherent readings of adjectives, of regular and irregular rhymes, or of verses with different-numbered feet (even and odd); effective intermingling of lexemes which synergetically appeal to four human senses.In the second phase, my research was steered away from fathoming the miracle of creating “holy simplicity” towards investigating the sustained toil of recreating it in a diffe- rent language: Romanian. The two subsections devoted to the topie in question submit to the reader Gellu Naum’s translation of Alicante, and the one originating with nonę other than the author of this contribution respectively. A brief comparison of the two renditions has yielded the following points of dissimilarity: a) Naum’s is a true-to-spirit translation, whereas minę has been created with the genius of the target language in mind. Herefrom stem the main contrasts listed below. b) Naum keeps on the fruit (Fr signifier orange, Rom signifierportocala), while I madę so bold as to replace it by the equally exotic mango for reasons specified under 111.2 below (s. also substitution of noptiera (= bedside ta- ble) and dormitory (= bedroom) for masa (Fr table) and pat (Fr lit) respectively. c) Naum completely disregards the pun in linę 4, whereas I did not think twice about slightly modi- fying the rhythmic pattem in order to be able to render the former into Romanian.d) Likewise, Naum translates in utter defiance of the rhyming pattem, whereas to me ob- serving it is a matter of prime importance.Needless to say, I am quite willing to take both the blame and the credit - if any — for the vast array of meanings I took the liberty to read into Prevert’s poem, as well as for the translational licences resorted to in the hope of successfully putting these unique connota- tions across to the reader.The concluding section discusses still a further possibility of recreating Prevert’s Alicante, namely by setting it to musie. In this respect, Chuck Perrin’s rendition has the ad- ded advantage of enhancing its lyricism, while concurrently taking the poem to that ma- gical space hovering above the spiritual.
    Źródło:
    Stylistyka; 2009, 18; 301-321
    1230-2287
    2545-1669
    Pojawia się w:
    Stylistyka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    ZJAWISKO MIĘDZYKULTUROWYCH INSPIRACJI W TWÓRCZOŚCI WSPÓŁCZESNYCH KOMPOZYTORÓW ŚRODOWISKA GDAŃSKIEGO
    THE PHENOMENON OF MULTICULTURAL INSPIRATIONS IN WORKS OF MODERN GDAŃSK COMPOSERS
    Autorzy:
    Schiller-Rydzewska, Joanna
    Powiązania:
    https://bibliotekanauki.pl/articles/566602.pdf
    Data publikacji:
    2015
    Wydawca:
    Akademia Pomorska w Słupsku
    Tematy:
    Gdańsk
    kompozytorzy współcześni międzykulturowe inspiracje
    muzyka gdańska
    środowisko kompozytorów gdańskich
    muzyka Trójmiasta i regionu Pomorza
    modern composers
    multicultural inspirations
    music in Gdańsk
    Gdańsk’s composers milieu
    artistic milieu
    music in Tricity and Pomerania
    Region
    Opis:
    Multicultural inspirations in the works of modern composers from Gdańsk are phenomena that became a part of tradition, social structure, geographical situation, and the history of Gdańsk. In the diversified musical environment of the post-war Gdańsk, the three groups of composers active in the city are recognized. The first group includes the native- born composers; the second group consists of composers who came from different parts of Poland and settled in Gdańsk; the third group (the most difficult to compartmen talize) includes composers temporarily living in the city. The examination of artistic achievements of Gdańsk composers after the Second War World reveals three distinct domains of multicultural inspirations. The first involves cultural fascination with remote places of Europe and the world. The second draws on inspiration from the native folk culture, including the Kashubian folklore. The third domain borrows from the mass culture that aspires to the rank of sophisticated art.
    Źródło:
    Ars inter Culturas; 2015, 4; 121-140
    2083-1226
    Pojawia się w:
    Ars inter Culturas
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Działalność artystyczna Eduarda Steuermanna do 1936 roku
    The artistic activity of Eduard Steuermann until 1936
    Autorzy:
    Dziadek, Magdalena
    Powiązania:
    https://bibliotekanauki.pl/articles/942644.pdf
    Data publikacji:
    2018
    Wydawca:
    Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
    Tematy:
    Eduard Steuermann
    II Szkoła Wiedeńska
    Arnold Schönberg
    pianistyka nowoczesna
    muzyka XX-lecia międzywojennego
    Second Viennese School
    modern piano playing
    music of the inter-war period
    Opis:
    Artykuł jest poświęcony działalności Edwarda Steuermanna — pianisty, publicysty i kompozytora rodem z Sambora w Galicji, który jest dziś głównie znany jako współtwórca i promotor II Szkoły Wiedeńskiej, uczeń Arnolda Schönberga, autor prawykonań i opracowań szeregu jego dzieł. Odtworzone zostaną dzieje kariery pianistycznej Steuermanna począwszy od debiutu we Lwowie w 1903 roku do momentu opuszczenia Wiednia w 1936 roku. Zrekonstruowane zostaną trasy koncertowe artysty, jak również wykonywany przez niego repertuar, obejmujący nie tylko muzykę modernistyczną, ale i szereg sztandarowych dzieł klasyczno-romantycznej literatury fortepianowej. Kwerenda polskich, austriackich, czechosłowackich i niemieckich źródeł prasowych na temat koncertów Steuermanna pozwoliła na rozpoznanie roli, jaką odegrał artysta w życiu muzycznym pierwszych dekad XX wieku jako jeden ze znaczących wirtuozów działających w kręgu środkowoeuropejskim.
    The paper is devoted to the activity of Eduard Steuermann — the pianist, music critic and composer born in Sambor in former Galicia (now Ukraine) who is nowadays known as the co-creator and promoter of the Second Viennese School, the student of Arnold Schönberg, as well as the author of the world premieres nad transcriptions of many Schönberg’s works. The paper describes the history of Steuermann’s pianistic career from the beginning — when he made his debut in Lwów (now Lviv, Ukraine) in 1903, until the year 1936 when he emigrated from Austria. The aim of the paper is to reconstruct Steuermann’s concert tours as well as his repertoire, including not only modern music but also works from the classical piano repertoire. The search query of Polish, Austrian, Czechoslovakian and German press allowed to recognize Steuermann’s role in the first decades of the 20. century as one of the leading pianists active in the Central European circle.
    Źródło:
    Aspekty Muzyki; 2018, 8; s. 309-333
    2082-6044
    Pojawia się w:
    Aspekty Muzyki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Muzy w intymnym świetle. O przemianach w sztuce Odwilży i Października
    Muses in the intimate light. Transformation of Arts in the Years of “Thaw” and “Polish October 56”
    Autorzy:
    Hendrykowski, Marek
    Powiązania:
    https://bibliotekanauki.pl/articles/920315.pdf
    Data publikacji:
    2009-06-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    history of modern art
    aesthetics
    poetics
    Polish art of the 1950s.
    literature
    poetry
    drama
    novel
    film
    music
    peinture
    sculpture
    Man
    existentialism
    individual
    intimacy
    interdisciplinary
    comparative reflexion on arts
    socialist realism
    Październik '56
    odwilż
    socrealizm
    Opis:
    The study assesses the changing nature of the Polish art in the period of liberalization after Stalin’s death. It includes detailed analysis of various (social, political, philosophical and especially aesthetic) implications for important issues such as: poetry, drama, cinema, peinture, sculpture, song, popular culture etc.Marek Hendrykowski provides case studies that lead to alternative ways of viewing current conceptual frameworks of aesthetics and its consequences for interdisciplinary reflexion on arts.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2009, 7, 13-14; 169-179
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Znaczenie muzyki kościelnej w historii Kościoła
    The Importance of Church Music in the History of the Church
    Autorzy:
    Tyrała, Robert
    Powiązania:
    https://bibliotekanauki.pl/articles/1038515.pdf
    Data publikacji:
    2020-02-11
    Wydawca:
    Akademia Ignatianum w Krakowie
    Tematy:
    muzyka kościelna
    liturgia
    znaczenie w historii
    Kościół
    chorał gregoriański
    polifonia dawna i współczesna
    śpiew wiernych
    instrumenty muzyczne w celebrowanej liturgii
    Church music
    liturgy
    historical importance
    the Church
    Gregorian chant
    past and modern polyphony
    singing at church
    musical instruments in liturgy
    Opis:
    Jeśli spojrzymy na wieki istnienia Kościoła, to od samego początku dostrzeżemy prawdę o tym, że on nie mówił, ale śpiewał swoją modlitwę – najpierw psalmami, następnie usystematyzował ją w doskonały sposób w chorale gregoriańskim, kolejno pojawiła się polifonia. W pewnym momencie dopuszczono do liturgii organy oraz inne instrumenty. Dopiero w XX w. do liturgii wprowadzono w sposób oficjalny śpiew wiernych podczas liturgicznych celebracji. Przez przeszło 2000 lat istnienia chrześcijaństwa ten muzyczny język był niezwykle bogaty i różnorodny, jak to zostało przedstawione w poniższym artykule. Zawsze też należy się wszystkim zatroskanym o kształt i jakość muzycznej szaty liturgii wdzięczność. Dlatego słowa na zakończenie nowej instrukcji Episkopatu Polski o muzyce są bardzo wymownym sygnałem do dbałości o jej jakość: „biskupi wyrażają wdzięczność wszystkim zatroskanym o wysoki poziom muzyki kościelnej. Zobowiązują do zapoznania się z treścią instrukcji oraz starannego jej przestrzegania wszystkich odpowiedzialnych za muzykę kościelną w Polsce, w tym szczególnie duszpasterzy, organistów, katechetów, dyrygentów zespołów śpiewaczych i instrumentalnych, członków chórów kościelnych, kompozytorów. Równocześnie zachęcają do twórczej współpracy wszystkich, dla których piękno liturgii jest nadrzędną ideą artystycznej działalności” (II IEP 65). Ważne jest zatem nie tylko oddziaływanie i znaczenie muzyki w Kościele dzisiaj i w historii, stanowi ono także wyzwanie dla przyszłych pokoleń chrześcijan.
    If we take a look at the centuries-long history of the Church, we will see the truth that she did not speak, but sang her prayer from the very beginning. First, there were psalms, then systematized in a perfect way in the Gregorian chanting, succeeded by polyphony. At one point, organs were admitted to the liturgy by Church authorities along with other instruments. It was only in the twentieth century that singing of the faithful was officially introduced to the liturgy. For more than 2000 years of its existence, the Christian musical language was extremely rich and diverse, as shown in this article. Moreover, we should be eternally grateful to all those who care about the shape and quality of the musical liturgical garment. Therefore, the final words of the new Polish Episcopate Instruction on music are a very meaningful signal of care for its high level: “the bishops express their gratitude to all those concerned about the high quality of church music. They oblige all those responsible for church music in Poland, especially priests, organists, catechists, conductors of singing and instrumental ensembles, members of church choirs, and composers to familiarize themselves with the contents of the Instruction and to carefully observe it. At the same time they encourage creative cooperation of all those for whom the beauty of the liturgy is the overriding idea of artistic activity” (II IEP 65). So not only is the impact and significance of music in the Church important today and throughout history, but it is also a challenge for future generations of Christians.
    Źródło:
    Perspektywy Kultury; 2019, 24, 1; 71-104
    2081-1446
    2719-8014
    Pojawia się w:
    Perspektywy Kultury
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-11 z 11

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