Informacja

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

Wyszukujesz frazę "music parameters" wg kryterium: Temat


Wyświetlanie 1-2 z 2
Tytuł:
Martin Straus, ein europäischer Musikpädagoge aus Luxemburg
Martin Straus, a European Music Pedagogue from Luxembourg
Autorzy:
Sagrillo, Damien
Brusniak, Friedhelm
Powiązania:
https://bibliotekanauki.pl/articles/566518.pdf
Data publikacji:
2020-01-10
Wydawca:
Akademia Pomorska w Słupsku
Tematy:
musikpädagogik in Luxemburg europäische musikpädagogen musikpädagogische konzepte musikalische parameter
music pedagogy in Luxembourg european music pedagogues
music pedagogic concepts
music parameters
Opis:
Martin Straus (1946-2019) was one of the music educators of the last decades who attracted attention beyond Luxembourg with his new creative and innovative ideas. His work “Music – Playing with Sound“ which was developed in cooperation with a teacher and a second teacher, is based on a “parameter concept“, in which the six musical parameters – tone color, form, rhythm, dynamics, melody and harmony – are connected to the six activities of singing, playing, moving, composing, listening, recording/understanding so that it results in 36 points of contact for didactic-methodical considerations. The visual symbol is the “Klangmännchen“ (« little sound man“), a cephalopod figure, which, much as a soap bubble, you can see, but which you cannot hear. From this elementary direction of thinking, the “Luxembourg Model“ works well for both non-specialist teachers in the elementary field and for advanced music lessons in general education schools. The first scientific studies have shown that it is also of practical use in special needs education programs. The concept “Music – Playing with Sound“ is suitable for multi-perspective lessons using examples of music from the past and the present as well as for pedagogical challenges in the areas of inclusion and integration.
Źródło:
Ars inter Culturas; 2019, 8; 203-216
2083-1226
Pojawia się w:
Ars inter Culturas
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Apparebit repentina dies: Hindemith’s musical panorama of Judgment Day
Autorzy:
Bruhn, Siglind
Powiązania:
https://bibliotekanauki.pl/articles/780153.pdf
Data publikacji:
2015
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Paul Hindemith
The Last Judgment
20th-century choral music
musical hermeneutics
musical parameters interpreting text
Opis:
In 1947, while teaching at Yale University, the German composer Paul Hindemith (1895-1963) wrote a composition for mixed chorus and brass ensemble based on an anonymous Latin hymn believed to date from the 8th century or before. This text, which he had discovered in The Oxford Book of Medieval Latin Verse, tells in a poetic rewording of New T estament passages of the events to be expected on Judgment Day. Below a deceptively simple surface with regular trochaic tetrameters organized in 23 couplets that are launched by the consecutive letters of the alphabet, the hymn hides various dramatic perspectives. These include a narrator announcing what is to come and later describing what he witnesses in a vision, direct-speech dialogues between Christ as the Judge of the World and the two groups of the chosen and the damned, and a concluding moral admonishment addressed by the pious author to his contemporary listeners or latter-day readers. As the analysis of the musical structure and texture, meter and rhythm, thematic material and tonal organization shows, Hindemith achieves a semiotic rendering of these aspects and many finer nuances. Just as the medieval text ostensibly uses only one mode throughout without depriving the message of any of its colorful expressiveness, so Hindemith’s music uses only one constellation of sound colors - choral singing against or in alternation with ten brass instruments - to bring the multifaceted scene to life. This music is both text setting and scenic painting, replete with refined allusions as well as onomatopoeic depiction, weaving a web of signification with which the composer at once heightens and deepens the early poet’s message.
Źródło:
Interdisciplinary Studies in Musicology; 2015, 14; 34-47
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
    Wyświetlanie 1-2 z 2

    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