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 "music history" wg kryterium: Temat

  Lista filtrów
Wyrównaj
Wyświetlanie 1-15 z 63
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:
The notion of nature in modern music theory and history as seen hy Carl Dahlhaus and Karol Berger
Autorzy:
Jarzębska, Alicja
Powiązania:
https://bibliotekanauki.pl/articles/780323.pdf
Data publikacji:
2009
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
music theory
music history
aesthetics of music
theory of art
the notion of nature
Opis:
Modern music theory, ignoring the problems connected with the subject’s auditive experience but referring to the objective laws of nature, was criticised by Carl Dahlhaus, although he accepted - to a certain extent - the hypothesis of historical determinism. Dahlhaus links this turning point in the history of reflection on music with the transition from the ‘ontological contemplation’ of the Tonsystem to the ‘aesthetic contemplation’ of the Tonkunstwerk, the fundamental characteristic of which is the idea of ‘wholeness’ (die Idee der Ganzheit). The new conception of the discourse on the theory and history of modern music proposed by Karol Berger in his book A Theory of Art (2000) bears testimony to crucial changes in the contemporary humanities linked to the so-called ‘cognitive revolution’. According to Berger, the fundamental characteristic distinguishing modern art from premodern art is its autonomy. Berger distances himself from the modern tradition of theoretic- aesthetic discourse treating the work of art, including the work of music, as an axiologically neutral entity independent of ‘human nature’, that is, of the functioning of our memory, imagination and cognitive mechanisms, and also not having a specific social function. At the centre of Berger’s theoretical interests is aesthetics, as broadly understood, coupled with ethics and history, poetics and hermeneutics. He is not interested - like Dahlhaus - in considering ‘what art is’ or ‘what music is’ , but poses the question: ‘What should the function of art be, if art is to have a value for us ?’
Źródło:
Interdisciplinary Studies in Musicology; 2009, 8; 93-108
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Kompozytorzy polscy 1918-2000 – kontynuacja
Polish composers 1918-2000 – continuation
Autorzy:
Podhajski, Marek
Powiązania:
https://bibliotekanauki.pl/articles/496099.pdf
Data publikacji:
2011
Wydawca:
Towarzystwo Naukowe Franciszka Salezego
Tematy:
XX century
Polish history
Polish Culture
Polish Music
Polish Composers
Opis:
The author discusses his inspirations and premises behind Polish Composers 1918-2000, which appeared in print in 2005, jointly published by the Warsaw and Gdańsk Academies of Music. It consists of two volumes – Essays and Biographical Entries. The former presents a wide panorama of social, political and cultural phenomena, which influenced the development of Polish music in the 20th century. The second volume consists of around 1300 biographical entries. This paper contains remarks about the contents planned for the English version of the book. Two complementary sources of inspiration determined the book’s coming into being. The first, a belief that the accomplishments of Polish composers of the 20th century are just as outstanding as they are little-known. The second inspiration comes from an observation that the list of the finest musical compositions of the 20th century (289 items), compiled in 1992 by Leo Gerhartz from the European Radio Union, ranks Polish music as no. 12. It is represented by 10 compositions by 4 composers: Witold Lutosławski (5 compositions), Karol Szymanowski (2 compositions), Krzysztof Penderecki (2 compositions), and Ignacy Jan Paderewski (1 composition). At the outset of the research, two seemingly simple but essential questions had to be answered. The first one being who do we call a composer, and the other, who do we consider to be a Polish composer. In the author’s view, a composer is a person who has composed at least one musical composition, a piece which became known as an artistic fact. Here, “become known” means primarily a public performance of a piece. The author’s attention focused on the lives and works of the so-called classical composers. While searching for an answer to the question as to who can be considered a Polish composer, the author analyses statements made by outstanding Polish researchers. He shares their view that ‘Polishness’ should not be determined by nationality or language, but by participation in Polish culture, and an affiliation to it. The last part of the paper concerns the structure and contents of the English version of the book. It will be published jointly by the John Paul II Catholic University of Lublin and Stanisław Moniuszko Academy of Music in Gdańsk. The book will not be a simple and direct translation of the Polish version. The contents of the Essays volume will be different, and the Biographical Entries volume will include, first of all, the following entries: winners of Polish and international composition competitions, composers who have rendered great services to Polish musical culture, priests-composers or other persons, whose creative activities are closely linked to the music of the Catholic Church, and representatives of the younger generation of composers, who have become known after the year 2000. The goal of the planned book is an attempt at proving the thesis that the contribution of Polish composers to the European cultural achievements, their outstanding accomplishments in the area of culture, are of the highest value.
Źródło:
Seminare. Poszukiwania naukowe; 2011, 30; 283-293
1232-8766
Pojawia się w:
Seminare. Poszukiwania naukowe
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Partimento po polsku? Nauka realizacji basso continuo i improwizacji organowej w przemyskim klasztorze benedyktynek
Polish partimento? The teaching of basso continuo realization and organ improvisation in Benedictine monastery in Przemyśl
Autorzy:
Walter-Mazur, Magdalena
Powiązania:
https://bibliotekanauki.pl/articles/521912.pdf
Data publikacji:
2012
Wydawca:
Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
Tematy:
partimento
organ manuscripts
sources to the polish music history of 18th century
the musical culture of Benedictine nuns
Przemyśl
Opis:
The article is devoted to the fragment of manuscript ms 10 stored in the Archive of the Benedictine Sisters in Przemyśl. The manuscript consists of 70 cards and comes probably from the mid-eighteenth century. The book, intended for the organist, consists of liturgical chants written in the soprano key with an accompanying bass line, exercises based on the bass line and 77 organ works. In addition, on the cards 64V-69V of this manuscript some observations about organ teaching are written. Those observations are subject for this very considerations and the text in the original grammatical and spelling form is attached to this article. The teaching notes from ms 10 are titled Understanding of good and bad consonances and consist of 29 unnumbered points illustrated with musical examples. They provide guidance on the implementation of basso continuo, organ accompaniment for plainchant and polyphonic singing and composing or organ improvisation. It is so far the only known text of this kind in the Polish language dating the eighteenth century. Author and copyist of this text remain unknown, but we can assume that it has been prescribed from another source by a nun-organist, and only in a small part reformulated. Its relationship to a female religious community is indicated by, apart from place of preservation, the endings of verbs appearing in the teaching notes. From the course of argument it can be concluded that the method of teaching included in the Understanding of good and bad consonances refers to the partimento tradition that began in the late seventeenth century in the Italian conservatories, and later, in the eighteenth century and early nineteenth, has been popularized in many parts of Europe through published books. The term partimento determined bassline, with or without numbering, which is the basis for improvising or creating self-composition. While dealing with the bass lines, a student learned at the beginning about the construction of intervals and chords and the way of conducting voices. When it was no longer a problem, he could expand the bass to the accompaniment or to the solo piece.
Źródło:
Aspekty Muzyki; 2012, 2; 99-118
2082-6044
Pojawia się w:
Aspekty Muzyki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Piosenki Jacka Kaczmarskiego w aspekcie zagadnienia melosemii
Jacek Kaczmarski’s songs in the aspect of ‘melosemia’
Autorzy:
Dźwinel, Kamil
Powiązania:
https://bibliotekanauki.pl/articles/650093.pdf
Data publikacji:
2012
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
polish song
polish music
polish poetry
history of polish song
melosemia
Opis:
The article presents the phenomenon named by the author melosemy. Melosemy is a sensible additions of the poetic text by the connection of his semantic structures with the melody or with vocal and instrumental techniques. The exemplary material for the presentation of this phenomenon from the borderline of music and text are songs of a contemporary polish poet singing own texts with the accompaniment of a guitar — Jacek Kaczmarski (1957—2004). Melosemy is treated as an important aesthetic catego-ry in the creativeness of the bard. The conclusion of the text opens a wider research area: it is possible to find melosemy both in the creative output of other authors from the range of the poetic song, as well as in soundtracks and folk music.
Źródło:
Acta Universitatis Lodziensis. Folia Litteraria Polonica; 2012, 16, 2; 110-120
1505-9057
2353-1908
Pojawia się w:
Acta Universitatis Lodziensis. Folia Litteraria Polonica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„Talent to dobro powierzone...” – etyka chrześcijańska w postawie twórczej i życiowej Witolda Lutosławskiego
Autorzy:
Bolesławska-Lewandowska, Beata
Powiązania:
https://bibliotekanauki.pl/articles/668977.pdf
Data publikacji:
2013
Wydawca:
Uniwersytet Papieski Jana Pawła II w Krakowie
Tematy:
Witold Lutosławski
history of Polish music
WWII
Martial Law in Poland
folk songs
Christmas carols
Opis:
„Talent is a form of wealth entrusted to us” – these words may serve as Witold Lutosławski’s motto. He repeated them often and at many occasions, emphasising that each creative artist is obliged to treat his talent carefully and develop it to produce great results for public consumption. This corresponds well with Biblical parable on talents but does it mean that Lutosławski was a religious man? Was Christian ethic important to him? In his music there is no much connection with religion – only his youthful Lacrimosa for soprano, choir and orchestra, and the arrangements of traditional Polish Christmas carols, composed shortly after the Second World War, present his direct relations to religious inspirations. However, he did not like to talk about his beliefs and worldview, especially in the context of his own music, which for him always was abstract and free from any extra-musical features. But his attitude to composing, as well as to the public activity, reveals many connections with Christianity values. He was brought up in the family of strongly catholic and patriotic beliefs, connected with high moral principles. An atmosphere of Lutosławskis’ family, which belonged to the intellectual elites of pre-war Poland, made strong influence on young Witold. For the rest of his life he felt obliged to pay his duties both as a composer and as a man of a high moral standards. He not only concentrated on his creative work (though it was his main life obligation) but searched for public weal in his social activity, always aiming „to behave decently”. This corresponds perfectly with Christian ethic and indeed in one of his interviews Lutosławski openly admitted that not only his worldview was formed by Catholicism, towards which he remained faithful, but also that in his opinion Christian ethic remains pre-eminent among all ethic systems formed by the humanity.
„Talent is a form of wealth entrusted to us” – these words may serve as Witold Lutosławski’s motto. He repeated them often and at many occasions, emphasising that each creative artist is obliged to treat his talent carefully and develop it to produce great results for public consumption. This corresponds well with Biblical parable on talents but does it mean that Lutosławski was a religious man? Was Christian ethic important to him? In his music there is no much connection with religion – only his youthful Lacrimosa for soprano, choir and orchestra, and the arrangements of traditional Polish Christmas carols, composed shortly after the Second World War, present his direct relations to religious inspirations. However, he did not like to talk about his beliefs and worldview, especially in the context of his own music, which for him always was abstract and free from any extra-musical features. But his attitude to composing, as well as to the public activity, reveals many connections with Christianity values. He was brought up in the family of strongly catholic and patriotic beliefs, connected with high moral principles. An atmosphere of Lutosławskis’ family, which belonged to the intellectual elites of pre-war Poland, made strong influence on young Witold. For the rest of his life he felt obliged to pay his duties both as a composer and as a man of a high moral standards. He not only concentrated on his creative work (though it was his main life obligation) but searched for public weal in his social activity, always aiming „to behave decently”. This corresponds perfectly with Christian ethic and indeed in one of his interviews Lutosławski openly admitted that not only his worldview was formed by Catholicism, towards which he remained faithful, but also that in his opinion Christian ethic remains pre-eminent among all ethic systems formed by the humanity.
Źródło:
Pro Musica Sacra; 2013, 11
2083-4039
Pojawia się w:
Pro Musica Sacra
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„Tam, gdzie podążał Szymanowski, zmierzam i ja”
Autorzy:
Malecka, Teresa
Powiązania:
https://bibliotekanauki.pl/articles/668987.pdf
Data publikacji:
2013
Wydawca:
Uniwersytet Papieski Jana Pawła II w Krakowie
Tematy:
Karol Szymanowski
Henryk Mikołaj Górecki
history of Polish music
artistic activities
inspirations
intertextuality
historia muzyki polskiej
twórczość
inspiracje
intertekstualność
Opis:
There has been no greater contrast of personality, biography, worldview, and lifestyle. And yet there is no end to similarities, proximities, even kinship; great was Górecki’s fascination with Szymanowski.First was the score of Beethoven’s Ninth, bought for the money earned by selling a ping-pong racket; but Górecki then spent his first savings on Chopin’s Impromptus and Szymanowski’s Mazurkas. He would recount later: “I still have these scores, and that is how my strange story begins: Beethoven’s Ninth Symphony, Chopin’s Impromptus and Szymanowski’s Mazurkas.”28 Yet apart from Górecki’s fascination with Szymanowski music and oeuvre, there is another link still. Both artists fell in love with Podhale, the Tatra Mountains and the culture of the region; so much that its main spa, Zakopane, became their second home. This went hand in hand with their fascination with the music of Podhale.The focal point for Szymanowski’s impact on Górecki brings together two masterpieces of sacred music: Stabat Mater and Symphony of Sorrowful Songs.Stabat Mater is one of Szymanowski’s few religious works; Górecki’s Sorrowful Songs are one of the many sacred works written both before and after the Symphony. Yet they are both instances of the highest artistry, of the apogee in their author’s creative achievements.Outside explicit examples of correlation between the work of Szymanowski and Górecki, there is an analogy between them of a more general nature. Taking into account the historical situation in which the two composers lived and worked, and the meanders of Polish music of the 20th centuries, the stylistic breakthrough that took place both in Szymanowski – before his Stabat Mater – and in Górecki – before his Third Symphony – was of tantamount import to establish their rank and their position in the history of Polish music.
There has been no greater contrast of personality, biography, worldview, and lifestyle. And yet there is no end to similarities, proximities, even kinship; great was Górecki’s fascination with Szymanowski.First was the score of Beethoven’s Ninth, bought for the money earned by selling a ping-pong racket; but Górecki then spent his first savings on Chopin’s Impromptus and Szymanowski’s Mazurkas. He would recount later: “I still have these scores, and that is how my strange story begins: Beethoven’s Ninth Symphony, Chopin’s Impromptus and Szymanowski’s Mazurkas.”28 Yet apart from Górecki’s fascination with Szymanowski music and oeuvre, there is another link still. Both artists fell in love with Podhale, the Tatra Mountains and the culture of the region; so much that its main spa, Zakopane, became their second home. This went hand in hand with their fascination with the music of Podhale.The focal point for Szymanowski’s impact on Górecki brings together two masterpieces of sacred music: Stabat Mater and Symphony of Sorrowful Songs.Stabat Mater is one of Szymanowski’s few religious works; Górecki’s Sorrowful Songs are one of the many sacred works written both before and after the Symphony. Yet they are both instances of the highest artistry, of the apogee in their author’s creative achievements.Outside explicit examples of correlation between the work of Szymanowski and Górecki, there is an analogy between them of a more general nature. Taking into account the historical situation in which the two composers lived and worked, and the meanders of Polish music of the 20th centuries, the stylistic breakthrough that took place both in Szymanowski – before his Stabat Mater – and in Górecki – before his Third Symphony – was of tantamount import to establish their rank and their position in the history of Polish music.
Źródło:
Pro Musica Sacra; 2013, 11
2083-4039
Pojawia się w:
Pro Musica Sacra
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
MUZYKA W SZKOLE POLSKI MIĘDZYWOJENNEJ – IMPLIKACJE KULTURY LUDOWEJ, NARODOWEJ I UNIWERSALNEJ
MUSIC AT POLISH SCHOOL IN THE INTER-WAR PERIOD – THE IMPLICATIONS OF TRADITIONAL, NATIONAL AND UNIVERSAL CULTUR
Autorzy:
Przerembska, Violetta
Powiązania:
https://bibliotekanauki.pl/articles/566634.pdf
Data publikacji:
2013
Wydawca:
Akademia Pomorska w Słupsku
Tematy:
edukacja kulturalna
szkoła muzyczna
nauczanie muzyki
historia edukacji muzycznej
muzyka w okresie międzywojennym w Polsce (1918-1939)
cultural education
school music
music teaching
history of music education
music in the Inter-War period in Poland (1918-1939)
Opis:
One of the biggest challenges in Poland (1918-1939) was the establishment of a new Polish school. The main goal of the newly created Polish school was to educate a generation as patriots and responsible citizens, and unite compatriots from three ex-partitions. The first school curriculum in the independent Poland focused on teaching social knowledge, Polish and European cultures, and, above all, providing pupils with moral and aesthetic experience. Music education played a key role in bringing various ideological objectives to fruition. Music compositions with national themes – both from concert and folk traditions – were worshipped and seen as the rebirth of the national culture. The goal of music instruction was to educate the young generation, bring it closer to the ideas embedded in the masterpieces of art, and deepen their love of music.
Źródło:
Ars inter Culturas; 2013, 2; 11-22
2083-1226
Pojawia się w:
Ars inter Culturas
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Sakralność religijnej kontrafaktury świeckich utworów
Autorzy:
Kałamarz, Wojciech
Powiązania:
https://bibliotekanauki.pl/articles/668991.pdf
Data publikacji:
2013
Wydawca:
Uniwersytet Papieski Jana Pawła II w Krakowie
Tematy:
contrafactum
types of contrafacta
history of Christian music
folk melodies
choral
Christmas carol
liturgical chants
Protestant music
kontrafaktura
rodzaje kontrafaktur
historia muzyki chrześcijańskiej
melodie ludowe
chorał
kolęda
pieśni liturgiczne
muzyka protestancka
Opis:
The phenomenon of contrafactum, that is giving new lyrics to the melody that already functioned with different words, is an old and common practice which occurred in many forms. Most often the term is associated with giving religious lyrics to a melody that previously possessed secular words. But this is only one of many possibilities. For centuries valuable melodies were used with both secular and religious words, regardless of original interrelationships of a particular melody.Today, in society sensitive to copyrights, the practice of contrafactum raises a lot of emotions. Also, it often evokes mixed feelings in the milieus which are involved in sacred music. This is because melodies, to some extent, convey with them the meaning of the words to which they are related, especially in the minds of the people who know these words. The secularity of melody can therefore be present not only in purely musical characteristics of a particular melody (e.g., dance rhythm, chromatization, great variety of emotions and emotional intensity), but also with secular context with which it is identified by the people who use this melody, for example, the intention which lead to the creation of a particular melody or with its original meaning. On the other hand, sacred music is the music created to participate in a sacred reality (an integral part of liturgy) and in some sense also to co-create this reality by praising the glory of God and sanctifying the faithful.When giving a secular melody to religious lyrics it is important to make sure that during liturgy their potential users should not associate this melody with anything secular. It should be composed in a perfect manner, in accordance with the rules of counterpoint. It should be a melody containing diatonic sounds, without unnecessary tension, alterations, and with dignified rhythm so that it lent itself to being performed by a large number of people. Moreover, it should simply be beautiful and its proportionally selected components should create internal unity of music and highlight the meaning of the lyrics to which it is to be added. Finally, the melody along with the words should be approved by the appropriate authority of the Church. Only then can we begin to consider it as a sacred, i.e., a liturgical song.
Źródło:
Pro Musica Sacra; 2013, 11
2083-4039
Pojawia się w:
Pro Musica Sacra
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Historia muzyki oczyma metodologa
Music from the Methodological Point of View
Autorzy:
Brożek, Anna
Powiązania:
https://bibliotekanauki.pl/articles/577883.pdf
Data publikacji:
2014
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
historia muzyki
metodologia
ontologia muzyki
history of music
methodology
ontology of music
Opis:
Są co najmniej dwa powody, dla których historia muzyki jest dyscypliną szczególną: pierwszy natury ontologicznej, drugi – aksjologicznej. Po pierwsze, historia muzyki jest, w najistotniejszym sensie tego słowa, historią utworów muzycznych, a więc pewnych ustrukturyzowanych przedmiotów intencjonalnych. Historia muzyki, która skupia się wyłącznie na tych strukturach – to autonomiczna historia muzyki. Jednakże historycy mogą także skupiać się na pewnych innych przedmiotach, które należą do „sfery muzycznej” – na wydarzeniach muzycznych, życiu kompozytorów, zjawiskach społecznych, recepcji muzyki czy też muzycznych gatunkach. Historia muzyki wygląda różnie z tych różnych punktów widzenia. Po drugie, historia muzyki jest de facto historią muzycznego kanonu, tj. utworów wybranych ze względu na pewne wartości. Zazwyczaj kanon składa się z utworów muzycznych o szczególnej wartości estetycznej i artystycznej. Jednakże jeśli odmówimy pierwszeństwa tym wartościom – obraz historii muzyki zmieni się radykalnie.
There are two reasons of the fact that history of music is a peculiar discipline: ontological and axiological reasons. Firstly, in the most genuine sense, history of music is the history of musical compositions, i.e. certain structured intentional objects. History of music which concentrates only on these structures is usually called “autonomic history of music”. However, the historian may also concentrate on some other objects which belong to the “musical area”: on musical events, on composers’ life, on social phenomena, on musical reception and on musical genres styles. History of music looks differently from all these points of view. Secondly, the history of music is de facto the history of musical canon, i.e. of the compositions chosen for the sake of various values. Typically, canon is composed of the musical works of the unique aesthetic and artistic values. However, by rejecting these values, the shape of the history of music changes dramatically.
Źródło:
Zagadnienia Naukoznawstwa; 2014, 50, 4(202); 313-319
0044-1619
Pojawia się w:
Zagadnienia Naukoznawstwa
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Medical - muses and music: an historical "medical-orchestra".Dedicated to Maestro Nachum Pereferkowich and "The Second Round Jazz Octet
Autorzy:
Ohry, A.
Powiązania:
https://bibliotekanauki.pl/articles/1916705.pdf
Data publikacji:
2014
Wydawca:
Uniwersytet Medyczny w Białymstoku
Tematy:
Music
medicine
history
Opis:
Paracelsus said that : "Medicine is not only a science; it is also an art. It does not consist of compounding pills and plasters; it deals with the very processes of life, which must be understood before they may be guided." The meeting points of music and medicine, both art and science, are many: the stories of physicians who became musicians; diseases or infirmaries of famous composers; musical use while performing medical, surgical or psychological procedures; and music as a mean of therapy. Along history, many physicians were deeply involved in music: medical practitioners may well improve their everyday skills of the patients-physicians interrelationship, being more humane, more patient to their clients and much more happier.
Źródło:
Progress in Health Sciences; 2014, 4, 2; 172-180
2083-1617
Pojawia się w:
Progress in Health Sciences
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Talent w teatrze zazdrości
Talent in a Theater of Envy
Autorzy:
Ignaczak, Lidia
Powiązania:
https://bibliotekanauki.pl/articles/690219.pdf
Data publikacji:
2014
Wydawca:
Łódzkie Towarzystwo Naukowe
Tematy:
dramat XX wieku
teatr XX wieku
historia muzyki
historia teatru
Paul Barz
Peter Shaffer
Spiró Gyōrgy
20th Century drama
20th Century theater
history of music
history of theater
Opis:
This article concerns three selected works of the 20th Century drama: Peter Shaffer’s Amadeus (which had its first-night performance in the Oliver Theatre in London on 11.02.1979), The Impostor Gyorgy Spiró (staged before the Budapest audience in the theatre Katona József Szinhaz on 28.10.1983), and the drama The Four Hand Dinner of Paul Barz (included in the repertoire of European theaters after its first-night performance at the Deutsche Oper in Berlin on 27.01.1987). These dramas present the very thorough, and at the same time subtle analysis of the relationships between artists talented in varying degrees: their mutual curiosity, excessive admiration, cautious distance, small mutual malice or resulting from complexes passionate jealousy. It is interesting that the three so different playwrights used in these dramas the same structural scheme: reaching into the history of theater or music, on the canvas of real artistic biography they created their own tale about desire of unattainable fame, about creative solitude and social exclusion of talented misfits.
Źródło:
Prace Polonistyczne; 2014, 69; 65-82
0079-4791
Pojawia się w:
Prace Polonistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Kategoria felicitas w świetle twórczości polskich kompozytorek
Autorzy:
Fabiańska-Jelińska, Ewa
Powiązania:
https://bibliotekanauki.pl/articles/514932.pdf
Data publikacji:
2015
Wydawca:
Fundacja dzień dobry! kolektyw kultury
Tematy:
polskie kompozytorki
muzyka
nierówność płci
historia muzyki
biografia
Polish composers
music
gender inequality
history of music
biography
Opis:
Category of felicitas in the light of Polish composers
Źródło:
Amor Fati; 2015, 1; 171-184
2449-7819
Pojawia się w:
Amor Fati
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Kondycja socjologii muzyki w Polsce. Przeszłość, teraźniejszość i perspektywy
The Condition of the Sociology of Music in Poland. Past, Present and Perspectives
Autorzy:
Socha, Ziemowit
Powiązania:
https://bibliotekanauki.pl/articles/413666.pdf
Data publikacji:
2015
Wydawca:
Łódzkie Towarzystwo Naukowe
Tematy:
socjologia muzyki
socjologia w Polsce
historia socjologii
socjologia wiedzy
metasocjologia
sociology of music
sociology in Poland
actor-network theory (ANT)
sociology of knowledge
new history of sociology
anthropology of science
Opis:
Podstawowym celem tekstu jest prezentacja i próba klasyfikacji dorobku socjologii muzyki w Polsce na tle socjologii. Ponadto tekst ma na celu przyjrzenie się prawidłowościom jej rozwoju oraz podjęcie próby wyjaśnienia przyczyn aktualnego stanu rzeczy. Omówione zostały zastane w literaturze diagnozy kondycji socjologii muzyki, kontakty i obecność międzynarodowa badaczy, ich więzi i platformy dyskusji oraz prowadzenie dydaktyki. Informacje zawarte w niniejszym tekście są efektem ponad dwuletnich badań, na które złożyły się pogłębione kwerendy biblioteczne, analizy zebranych tekstów oraz seria wywiadów z badaczami. Do podsumowania sytuacji socjologii muzyki w Polsce wykorzystano krążeniowy model B. Latoura.
First aim of a text is to present the state of sociology of music in Poland in the context of development of sociology in Poland. Second, is to interpret it in sociological terms and attempt to explain mentioned underdevelopment’s reasons. The text is summary of library queries, publication analysis and conducted by the author interviews with 25 researchers. There has been applied a model of idea circulation in science from Bruno Latour’s work to review and explain the situation of sociology of music in Poland.
Źródło:
Przegląd Socjologiczny; 2015, 64, 3; 85-111
0033-2356
Pojawia się w:
Przegląd Socjologiczny
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
O możliwościach czytania dzieła operowego
Autorzy:
Wypych-Gawrońska, Anna
Powiązania:
https://bibliotekanauki.pl/articles/1391830.pdf
Data publikacji:
2015-12-01
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Opera
libretto
music
theatre
history of culture
muzyka
teatr
historia kultury
Opis:
Elżbieta Nowicka’s book Zapisane w operze. Studia z historii i estetyki opery (Wydawnictwo Poznańskie 2012) [Written in opera. The studies from history and aesthetics of opera] is an attempt to read the ideas, myths and idioms of culture enshrined in works of opera from the 17th to the 20th century. This process of registering takes place on several levels of operatic works: in the librettos, the music and in their staging. It is thanks to these that operas often prove to be the most interesting expression of the presence of myths and ideas in culture, and Elżbieta Nowicka’s book encourages the reader to return to such works.
Źródło:
Przestrzenie Teorii; 2015, 24; 377-389
2450-5765
Pojawia się w:
Przestrzenie Teorii
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 63

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