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    Wyświetlanie 1-3 z 3
    Tytuł:
    Pojęcia muzyczne w narracji teologicznej Hansa Ursa von Balthasara
    Musical Concepts in the Theological Narration of Hans Urs von Balthasar
    Autorzy:
    Guzek, Damian
    Powiązania:
    https://bibliotekanauki.pl/articles/607293.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Hans Urs von Balthasar
    musical concepts
    musical work
    aesthetics
    theology of music
    Opis:
    The article focuses on the role that musical terminology and musical masterpieces perform in the theological narration of Hans Urs von Balthasar. The author analyses the major musical terms present in Balthasar’s works and the various interpretations of those terms in the theologian’s thought. Next, he shows how Hans Urs von Balthasar uses the musical masterpieces to focus on the unspoken content of faith. The analysis confirms that Hans Urs von Balthasar treats music as an important theological source: a „locus theologicus”.
    Źródło:
    Poznańskie Studia Teologiczne; 2012, 26; 177-188
    0209-3472
    Pojawia się w:
    Poznańskie Studia Teologiczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    МУЗЫКАЛЬНЫЙ ТЕАТР АЛЕКСАНДРА КОЗАРЕНКО
    OLEXANDR KOZARENKO’S MUSICAL THEATER
    Autorzy:
    Коменда, Ольга
    Powiązania:
    https://bibliotekanauki.pl/articles/566620.pdf
    Data publikacji:
    2017
    Wydawca:
    Akademia Pomorska w Słupsku
    Tematy:
    музыкальный театр
    театральные концепции первого и второго планов
    вербальная и визуальная линии художественного текста
    интонационное родство и контраст
    трансформация жанровой модели
    musical theater
    theatrical concepts of first and second plans
    the verbal and visual lines of art text
    the intonation affinity and contrast
    transformation of genre model
    Opis:
    This paper proposes considerations regarding the content, genre and stylistic features of musical-theater works of famous modern Ukrainian composer Olexandr Kozarenko. Author made intonational and dramaturgical analysis of five music-theater works by O. Kozarenko: Don Juan of Kolomyia, Sinfonia Estravaganza, Piero Makes Loop the Loop Oresteia and Time of Repentance. Their results served as material for comparison and as arguments for general conclusions too. The author introduced the idea of two type of musical-theatre works by O. Kozarenko and named them theatrical concepts of first and second plans. The existence of visual line characterizes the theatrical concept of second plan, at that time as the interaction of visual line and verbal line – the theatrical concept of first plan. All composer’ works have similarities features – intonation symbols, allusions, features of themes. The study traced the intonation affinity and contrast between these works and the degree of transformation of genre model in each case. In general, author comes to the conclusion of huge role of musical theater for creative activity of O. Kozarenko and its impact on formation of his individuality.
    Źródło:
    Ars inter Culturas; 2016, 5; 91-106
    2083-1226
    Pojawia się w:
    Ars inter Culturas
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Die Vielfalt der musikpädagogischen Konzeptionen in der sowjetischen Ukraine in den 1920er und 1930er Jahren
    The Diversity of Concepts of Music Education in Soviet Ukraine in the 1920s and 1930s
    Autorzy:
    Kyyanovska, Luba
    Powiązania:
    https://bibliotekanauki.pl/articles/2159822.pdf
    Data publikacji:
    2020-12-13
    Wydawca:
    Akademia Pomorska w Słupsku
    Tematy:
    musikalische und pädagogische Konzepte
    ukrainische Musikpädagogik
    kreatives Potenzial eines Kindes
    Volkslieder und Tänze
    musical and pedagogical concepts
    Ukrainian musical pedagogy
    creative potential of a child
    folk songs and dances
    Opis:
    In this article, the music education systems of Central and Eastern Ukraine are presented. The historical background of the pedagogical concepts of Kyrylo Stetsenko, Mykola Leonto-wytsch, Jakiv Mamontow, Hnat Chotkewytsch and Wasyl Werchowynec are considered. In addition to the holistic development of children, music-pedagogical concepts were to cultivate their sense of national identity.The most important principles of Ukrainian music pedagogy are briefly characterized in the interwar periodThe first principle is the correspondence of the goals and methods with the leading music teaching systems in Europe – Karl Orff, Zoltan Kodai, Emil Jacques-Dalcroz and Leo Kesten-berg. The focus of all systems is the child and their creative potential, which must be developed not only through the art of music per se, but through the synthesis of all other forms of artistic activity.The second principle – the consistent introduction of national folk traditions and musical material – requires further explanation. As a stateless nation that urgently needed to make up for lost time quickly (since most of the formerly stateless peoples had already formed their identity markers, also in education), the Ukrainians developed musical and educational con-cepts that, in addition to the above-mentioned holistic development of the child, had to pre-serve a sense of national identity. In addition, the acquisition of national musical archetypes in early childhood seems indispensable, which is why all music-pedagogical systems clearly prefer folk songs, folk dances, customs and manners.
    Źródło:
    Ars inter Culturas; 2020, 9; 127-140
    2083-1226
    Pojawia się w:
    Ars inter Culturas
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-3 z 3

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