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Tytuł:
The muzykant as a product of nature and of culture
Autorzy:
Przerembski, Zbigniew Jerzy
Powiązania:
https://bibliotekanauki.pl/articles/780293.pdf
Data publikacji:
2009
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
music
folklore
folk music
traditional musician
folk musician
traditional rites
folk rites
nature
culture
magic
Opis:
The article considers of the relations between nature and culture in reference to the traditional (folk) musician (‘muzykant’). His functions went beyond the strictly musical. Historical and ethnographical sources mention his supernatural abilities, his sacred and magical activities. He has been ascribed magical power, allowing him to influence the forces of nature and people’s health. The powers of him were believed to derive from his metaphysical practices and connection to nature. Some times he was accused of having links with demonic creatures. His ritual function, possibly taken over from the priests or shamans of pagan cults, endured in folk rites. In the rites of passage (during some family and annual ceremonies), in times of transition, places of crossing, traditional (folk) musician can take part in making a ritual din, believed as an effective manner against to demonic powers. It was a music awry, parody of music, eyen its inversion - a sort of ‘anti-music’, performed on ‘antiinstruments’, or on simple instruments.
Źródło:
Interdisciplinary Studies in Musicology; 2009, 8; 119-136
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Pisarz o muzyce — kompozytor o literaturze. Związki muzyki i literatury w felietonach Stefana Kisielewskiego
The writer about the music — the composer about literature. The Kisielewski’s look on the connections between music and word
Autorzy:
Hawryszków, Kamila
Powiązania:
https://bibliotekanauki.pl/articles/649615.pdf
Data publikacji:
2012
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Stefan Kisielewski
polish musician
polish writer
music and literature
Opis:
The aim of my presentation would be to try to look on the critical and artistic achieve-ment of Stefan Kisielewski from the musical and literary perspectives. The ways of writ-ing about music, the musical and literary metaphors, and finally connections between musical and literary language are the key issues which occupy not only literary critics but also musicologists. In the context of Kisielewski's works they become especially inspir-ing. His Dzienniki prove that music and literature are two different areas of activity. Referring to chosen texts from the volumes: Muzyka i mózg, Z muzycznej międzyepoki, Z literackiego lamusa, I would like to think about the ways of writing about music and point the special features of the literary masterpiece, whose author is a writer, music critic, publicist and composer in one person..
Źródło:
Acta Universitatis Lodziensis. Folia Litteraria Polonica; 2012, 16, 2; 173-181
1505-9057
2353-1908
Pojawia się w:
Acta Universitatis Lodziensis. Folia Litteraria Polonica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Błogosławiony Herman z Reichenau w tysiąclecie urodzin
Blessed Herman of Reichenau. The millennium birthday
Autorzy:
Grajewski, Czesław
Powiązania:
https://bibliotekanauki.pl/articles/496244.pdf
Data publikacji:
2013
Wydawca:
Towarzystwo Naukowe Franciszka Salezego
Tematy:
Herman
Reichenau
Chronicler
Poet
musician
Opis:
The article was written on the occasion of the 1000th birthday of Blessed Herman of Reichenau. It features his brief biography and accomplishments. He is shown as a monk, chronicler, mathematician, astronomer and musician. The figure of this extremely talented and hard-working Benedictine, who struggled with many serious diseases all his life, is today a sign of contradiction to the phenomenon of euthanasia.
Źródło:
Seminare. Poszukiwania naukowe; 2013, 33; 293-298
1232-8766
Pojawia się w:
Seminare. Poszukiwania naukowe
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Chrześcijańska symbolika instrumentów muzycznych
Christian symbolism of musical instruments
Autorzy:
Towarek, Piotr
Powiązania:
https://bibliotekanauki.pl/articles/2154345.pdf
Data publikacji:
2014-12
Wydawca:
Wyższe Seminarium Duchowne Diecezji Elbląskiej w Elblągu
Tematy:
musical instruments
harp of the Cross
God the Ultimate Violin-Maker
Christ the Musician
Christ the Singing Logos
The Church Fathers
Opis:
The Christian symbolism of musical instruments presented in this article belongs to one of the most beautiful and the deepest layers of theology of church writers and it is based primarily on the so-called evolution of the divisions of music: musica mundana, musica humana and musica instrumentalis (Boecius; cf. Casiodoro). They directed their attention and allegorical theology primarily to the string instruments already known in the Bible (harp, lyre, zither, psalterium). And so, the harp was to signify the spiritual, whereas the zither – the corporal; sometimes also the two natures of Christ (harp – Divine nature; zither – the human nature). In many authors we encounter a comparison of zither to a suffering body of Christ and His passion, during which the tendons were strained to its limits, and the bones were numbered, and He himself sounded as a spiritual song of virtues due to his patience(Tertullian, Casiodoro, Venantius Fortunatus). Hence, there was born in the theology of the patristic period and the Middle Ages an allegory of the so-called „harp of the Cross” on which theSon of God hanged (Paulinus of Nola, Nicetas of Remesiana, Honorius of Autun, Bernard of Clairvaux, Bonaventura), who is a Logos Singing and playing a new song on this instrument. The Father God was compared to the Ultimate Violin-Maker who built Universum in a shape of a giant zither where the spirit and the matter, celestial choruses, heaven and hell, elements and all that the senses experience were the strings (Honorius of Autun, Clemens of Alexandria, Athanasius of Alexandria, Rupert of Deutz).
Źródło:
Studia Elbląskie; 2014, 15; 221-232
1507-9058
Pojawia się w:
Studia Elbląskie
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Osiemnastowieczny ormiański bard Zakaukazia
An eighteenth-century Armenian bard of Transcaucasia
Autorzy:
Szmurło, Zbigniew
Powiązania:
https://bibliotekanauki.pl/articles/902084.pdf
Data publikacji:
2014
Wydawca:
Gdańska Wyższa Szkoła Humanistyczna
Tematy:
Sayat-Nova
Transcaucasia
Armenia
poet
musician
bard
troubadourand
ashugh
Sajat-Nowa
Zakaukazie
muzyk
poeta
trubadur
Opis:
In the article is shown figure of Sayat-Nova – the outstanding an Armenian po-et, musician and ashugh who composed a number of languages, including Armeni-an, Georgian, Azeri, Persian who lived and created in Transcaucasia in 18-th cen-tury. Sayat-Nova was born as Harutyun Sayatayan in 1712 in Tiflis. His adopted name Sayat Nova meant „King of Songs”. He was skilled in writing poetry, singing, and playing the kamancheh. He performed in the court of Heraclius II King of Georgia. He lost his position at court when he fell in love with the king's sister, and the rest of the life, after the ordination, he spent on the province as the clergyman. In 1795 he was killed by the army of Agha Mohammed Khan, and is buried at the Cathedral of Saint George, Tbilisi. About 220 songs can be attributed to Sayat-Nova, although he may have written thousands more. A number of his songs are sung to this day.
Źródło:
Studia Gdańskie. Wizje i rzeczywistość; 2014, 11; 225-243
1731-8440
Pojawia się w:
Studia Gdańskie. Wizje i rzeczywistość
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The evaluation of motor skills of i-iv grade music-oriented male students in primary school complex no 2 in Szczecin
Autorzy:
Wilk, Krzysztof
Eider, Paweł
Powiązania:
https://bibliotekanauki.pl/articles/1055177.pdf
Data publikacji:
2014
Wydawca:
Uniwersytet Szczeciński. Wydawnictwo Naukowe Uniwersytetu Szczecińskiego
Tematy:
motor fitness
musician health and safety
physical fitness in musicians
Opis:
The aim of the research was to establish the motor efficiency of boys between the ages of 7 and 10 years, attending Grades 1-4 of music oriented and general education classes. The research material included 106 boys aged 7-10 of the Primary School Complex No. 2 in Szczecin. There were 50 children examined in the music oriented classes, and 56 in control group. The research was conducted twice in the school year 2006/2007, including the same research material – first in September 2006, second in June 2007 accordingly. To evaluate the level of motor skills the EUROFIT European Fitness Test was used. Test results were statistically analyzed. The Utenberger’s test resulted in statistically significant better results of boys from the Grade 1 of control group (C) compared to their peers from Grade 1 of music oriented classes. In research II, only boys of Grades 1-2 M had statistically significant results improvement in the Utenberger’s test in comparison with research I. In research II, male students of Grades 1, 2, 3 M acquired statistically significant better results in the speed test of the upper limb than their peers of Grades 1 C, 2 C, 4 C. Moreover, in study II the subjected individuals of Grades 1 M, 2 M, 4 M and 4 C obtained statistically significant increase in their results in comparison with study I. Trunk flexibility of male students from music-oriented classes and control group was in line; the same was true for the jump test. In study II, trunk flexibility and endurance in jumping insignificantly improved in all examined classes. In the study, boys from Grade 4 M, obtained statistically more significant average hand strength results compared to their peers from Grade 4 C. In study II, boys from Grades 1 and 2 M obtained statistically significantly lower average values in this test in comparison with boys from Grades 1 and 2 C. In study II, unlike in study 1, there was a statistically significant improvement in the test results only in boys from Grades 3 and 4 M. In contrary, there was a statistically significant improvement of hand strength results in all grades of control groups compared to study I. In trunk flexibility test, boys from Grade 1 M had statistically lower mean values than boys from Grade 1 C. In the same study, boys from grades 3 and 4 M had statistically significantly higher average values than their peers from Grades 3 and 4 C. In study II, statistically significant differences were found between Grades 3 M and 3 P as well as between 4 M and 4 P. In study II, in Grades 1 C and 2 M, there was a statistically significant results improvement compared to study I. Functional capacity of boys from all subjected classes was similar in both studies. In study II, statistically significant improvement in this test was found only in Grade 2 M. In agility fitness test, in study II, boys from Grade 4 M had statistically significantly better results opposed to Grade 4 C. It turned out that boys from grades 1 M, 2 M, and 3 C, had statistically significant results improvement in study II compared to study I. Based on the conducted studies, the following conclusions have been formulated: 1. Motor efficiency of boys from music-oriented as well as control classes was comparable. 2. Practicing musical instruments at the early education stage did not have any significant influence on the general motor efficiency of male pupils. 3. As part of preventive measures of degenerative overload changes of the motor system in music-oriented classes, the national curriculum program of study for PE should be modified and supplemented with exercises strengthening trunk muscles and increasing the range of motion in the shoulder and pelvic girdles.
Źródło:
Central European Journal of Sport Sciences and Medicine; 2014, 6, 2; 45-58
2300-9705
2353-2807
Pojawia się w:
Central European Journal of Sport Sciences and Medicine
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Wszechświat – Boska muzyka
Autorzy:
Maziarka, Tomasz
Powiązania:
https://bibliotekanauki.pl/articles/669311.pdf
Data publikacji:
2014
Wydawca:
Uniwersytet Papieski Jana Pawła II w Krakowie
Tematy:
philosophy of music
mathematicity of the music
cosmic fugue
God as the Great Musician
filozofia muzyki
matematyczność muzyki
kosmiczna fuga
Bóg jako Wielki Muzyk
Opis:
The nature of music and the nature of the universe reveals a lot of common features. Similarity of both was perceived in mythical era; the world of music and the world of astronomy was devoted under patronage of the sisters – the divine Muses. The discovery of the mathematical nature of the musical intervals, which was made by Pythagoras ordered him to base the harmony of the universe on the numerical relations and to recognize that music accompanies the revolution of the heavenly spheres. Plato gave the „music of the spheres” geometric form, and in the Middle Ages, when the Christianity assimilated the idea of the world as a rational structure, harmonia mundi was a model for the composers as well as for ascetic struggles. Modern times and characteristic development of natural sciences, very clearly supported the argument that the world is mathematical. Metaphorical approach of the modern String Theory, which describes the evolution of the first moments of the universe, permits to assign to God the role of the Great Musician who „playing on the strings” – creates the universe.
Źródło:
Tarnowskie Studia Teologiczne; 2014, 33, 2
2391-6826
0239-4472
Pojawia się w:
Tarnowskie Studia Teologiczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Miriam – zapomniana bohaterka Exodusu
Miriam: The Forgotten Heroine of the Exodus
Autorzy:
Jasiński, Mirosław
Powiązania:
https://bibliotekanauki.pl/articles/1622811.pdf
Data publikacji:
2015-08-29
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II
Tematy:
Miriam
prorokini
cierpienia proroka
Matka Jezusa
muzyk
Exodus
prophetess
prophet's suffering
Motber of Jesus Christ
musician
Opis:
Artykuł podejmuje próbę ukazania wkładu Miriam w proces, w trakcie którego biblijny Izrael wyłania się jako naród. Autor artykułu skupia się na dwóch tekstach: Wj 15,20-21 i Lb 12. Po zaprezentowaniu struktury literackiej wspomnianych perykop i ukazaniu ich powiązań z innymi tekstami ST, autor przedstawia Miriam jako pieśniarkę, prekursorkę liturgii uwielbienia, prorokinię i przewodniczkę ludu. Podkreślając jej cierpienia jako nieodzowny element charyzmatu proroka, autor podkreśla ich wagę dla stwierdzenia autentyczności władzy prorockiej Miriam. Według piszącego, charyzmat prorocki Miriam został przez hagiografa ukazany jako wpajający nadzieję i między innymi polegał na przeprowadzaniu jej rodaków ze świata widzialnego do niewidzialnego, z teraźniejszości w przyszłość i z czasowości w nieskończoność.
The study is an attempt to reveal the Miriam’s contribution into process of formation of biblical Israel as nation. Author of deliberations is focusing attention on two fundamental texts, that is Ex 15:20-21 and Num 12. After presentation of the literary structure of selected periscopes – making some important references to other biblical texts of the Old Testament – the author tries to portray Miriam as a singer, a precursor of worship, a prophetess and a guide of the people. Highlighting her suffering as an indispensable element of the prophetic charism, he underlines its importance for verification and authentication of Miriam’s prophetic authority. According to the author, the prophetic charism of Miriam, shown by the hagiographer for the service of hope, consisted, among others, in a “conveying” of her brethren from the visible into invisible world, from the present into the future, and from temporality toward eternity. 
Źródło:
Verbum Vitae; 2011, 19; 41-64
1644-8561
2451-280X
Pojawia się w:
Verbum Vitae
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Płytowe rejestracje kantat kościelnych Johanna Sebastiana Bacha
Autorzy:
Delimat, Wiesław
Powiązania:
https://bibliotekanauki.pl/articles/668827.pdf
Data publikacji:
2015
Wydawca:
Uniwersytet Papieski Jana Pawła II w Krakowie
Tematy:
Bach
Baroque
basso continuo
choir
conductor
discography
work
instrument
instrumentalist
interpretation
church cantata
musical piece
composer
musician
recording
orchestra
album
series
singing
singer
publisher
rendition
ensemble
Johann Sebastian Bach
barok
dyskografia
kantata kościelna
nagranie
płyta
wykonanie
Opis:
Johann Sebastian Bach’s church cantatas hold a special place among composer’s works. Although they were primarily intended for use in the Lutheran church liturgy in order to deepen the understanding of readings from the Bible, they are at the same time masterpieces of highest artistic value. The cantatas, accompanying Bach throughout his artistic career, became a kaleidoscope of all the forms, techniques, motifs and musical means he employed. Forgotten after the composer’s death, the works were rediscovered in the 20th century. The first chapter of this work is devoted to the description of the cantatas and their performance history. The popularization of Bach’s cantatas was connected with both their inclusion in the concert repertoire and the development of recording industry. The first, single recordings of cantatas come from 1950s. Recordings of cantata cycles began soon after. As around two hundred cantatas survive to this day, each project of recording the complete cycle excites interest among music lovers and professional critics. Until today, only a few recordings of the complete cycle of cantatas have been made, some of which deserve particular attention due to their high artistic value and cognitive significance. A detailed discussion of these selected renditions constitutes the second chapter. Apart from recordings of Bach’s complete cycle, there exists a number of recordings containing variously selected cantatas. Many of these have been internationally recognized as most important masterpieces of world phonography. These works are listed and compared in chapters two and three.
Kantaty kościelne Johanna Sebastiana Bacha zajmują szczególne miejsce wśród dzieł kompozytora. Będąc muzyką użytkową, przeznaczoną do wykonania w trakcie liturgii i służącą lepszemu zrozumieniu czytań biblijnych, są jednocześnie przykładem arcydzieł prezentujących najwyższe artystyczne walory. Towarzysząc Bachowi w trakcie całego twórczego życia, stały się kantaty kalejdoskopem wszelkich stosowanych przez niego form i technik, a także wykorzystywanych motywów i środków kompozytorskich. Zapomniane po śmierci kompozytora, dzieła te zostały na nowo odkryte w XX wieku. Charakterystyka i historia wykonawstwa kantat wypełnia I rozdział pracy.Upowszechnienie kantat Bacha związane było z wprowadzeniem ich do repertuaru koncertowego oraz z rozwojem światowej fonografii. Pierwsze pojedyncze nagrania płytowe kantat pochodzą z lat 50. XX wieku. Nieco później rozpoczęto cykliczne nagrywanie tych utworów. W związku z tym, że liczba zachowanych do dnia dzisiejszego kantat wynosi około 200, każdorazowy projekt nagraniowy cyklu wzbudza ogromne zainteresowanie słuchaczy, melomanów i krytyki muzycznej. Do chwili obecnej zarejestrowanych zostało zaledwie kilka kompletów kantat Bacha. Ze względu na wysokie walory artystyczne i poznawcze niektóre z tych nagrań zasługują na szczególną uwagę. Wszystkie one zostały szczegółowo opisane w rozdziale II.Oprócz kompletnych nagrań kantat Bacha istnieje szereg płyt zawierających ich większy lub mniejszy wybór. Wiele z tych nagrań uznane zostało przez muzyczną krytykę za najważniejsze osiągnięcia światowej fonografii. Ich zestawieniem i porównaniem zajmuje się autor w rozdziałach II i III.
Źródło:
Pro Musica Sacra; 2015, 13
2083-4039
Pojawia się w:
Pro Musica Sacra
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
POSTAĆ MUZYKA CYGAŃSKIEGO I ROMANTYCZNEGO WIRTUOZA. KRÓTKIE STUDIUM PODOBIEŃSTW I RÓŻNIC
THE FIGURE OF A GYPSY MUSICIAN AND A ROMANTIC VIRTUOSO. A BRIEF SKETCH OF SIMILARITIES AND DIFFERENCES
Autorzy:
Piotrowska, Anna G.
Powiązania:
https://bibliotekanauki.pl/articles/566614.pdf
Data publikacji:
2015
Wydawca:
Akademia Pomorska w Słupsku
Tematy:
cygański muzyk
Cyganie
wirtuoz
rapsod
improwizacja
Gypsy musician
Gypsies
virtuoso
rhapsode/rhapsodist
improvisation
Opis:
The paper discusses the identity of a Gypsy musician and explains the conditions under which this figure can be identified as a prototypical romantic virtuoso. Since improvising artists were heavily criticised in the early 19th century as those contaminating the true art, they soon became the objects of ambivalent perceptions: admired for their command of the instrument and, at the same time, eschewed by professional musicians. In the 1840s, Gypsy musicians became more appreciated as the their culture and history began gaining currency among scholars. Since Gypsy musicians relied heavily on oral tradition, they were often associated with the practice of improvisation. This common perception of the Gypsy musician – so deeply indebted in the romantic ideology of alienated genius – became one of the most stereotyped images of Gypsies in the European culture.
Źródło:
Ars inter Culturas; 2015, 4; 163-174
2083-1226
Pojawia się w:
Ars inter Culturas
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
ABSOLWENT SPECJALNOŚCI „MUZYKA KOŚCIELNA” WOBEC ZAWODOWEJ RZECZYWISTOŚCI
CHURCH MUSIC DEGREE PROGRAMME GRADUATES FACED WITH PROFESSIONAL REALITY
Autorzy:
Kierska - Witczak, Marta
Powiązania:
https://bibliotekanauki.pl/articles/946886.pdf
Data publikacji:
2016
Wydawca:
Stowarzyszenie Polskich Muzyków Kościelnych
Tematy:
specjalność muzyka kościelna
zatrudnienie absolwenta
funkcje muzyka w parafii
animacja muzyczna parafii
church music degree programme
the employment of a graduate music
animation of a parish
the role of a musician in a parish
Opis:
Each year an increasing interest in university studies leading to a degree in church music can be observed. Students of both Bachelor’s and Master’s programmes demonstrate profound knowledge and skills. Their music profile is characterized by four dispositions: an organist, a conductor, a cantor and a music animator. A question arises, however, whether these studies face up to the expectations of both the students themselves and their future employers. A survey carried out among seventeen graduates of the Karol Lipiński Academy of Music in Wrocław aims to provide an answer to questions concerning their professional paths. A few aspects have been analysed: terms of employment, working hours and working conditions, the graduates’ contribution into the cultural activity of the parish and, last but not least, the relevance of various elements of their education in their professional life. As well as that, the article also presents some observations regarding the solutions to the problems disclosed by the survey, focusing on broadly defined education, on promoting good standards and the necessity of cooperation between the Church and the laity. The Author of the article – inspired by the words of Pope John Paul II – is trying to outline a perspective which even individual musicians need to attempt to work towards. She proceeds to conclude that the “world we live in needs beauty so as not to slip into hopelessness. Beauty, just like truth, pours joy into human hearts.” (John Paul II “A Letter to Artists”)
Źródło:
Musica Ecclesiastica; 2016, 11; 109-126
2353-6985
Pojawia się w:
Musica Ecclesiastica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Alternatywny scenariusz biografii muzyka rockowego – o życiu i twórczości Jasona Beckera
Autorzy:
Kosek, Jakub
Powiązania:
https://bibliotekanauki.pl/articles/951765.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
rock culture
musician biographies
documentary film
narratives
Opis:
The article focuses on the analysis of the biography of an American rock guitarist, namely Jason Becker. The main object of this study was the documentary „Jason Becker. Not Dead Yet” (2012) and some selected press news and information available on social media. The original biography of the musician, who within a few years has become famous in the world of rock music and since the age of 19 has had to confront the incurable disease – amyotrophic lateral sclerosis – is an interesting example of the alternative model of a biography in popular culture. It is also an educational story that teaches fundamental values, such as altruism, love, respect and friendship.
Źródło:
Kultura-Społeczeństwo-Edukacja; 2016, 10, 2; 191-200
2300-0422
Pojawia się w:
Kultura-Społeczeństwo-Edukacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
MUZYKA LITURGICZNA W DEKANACIE KUŹNIA RACIBORSKA PO POWSTANIU DIECEZJI GLIWICKIEJ W 1992 R
LITURGICAL MUSIC IN THE DEANERY KUŹNIA RACIBORSKA AFTER THE FOUNDING OF THE DIOCESE OF GLIWICE IN 1992
Autorzy:
Kupczyk, Karina
Powiązania:
https://bibliotekanauki.pl/articles/947270.pdf
Data publikacji:
2017
Wydawca:
Stowarzyszenie Polskich Muzyków Kościelnych
Tematy:
muzyka liturgiczna
muzyk kościelny
zespoły śpiewacze
liturgia
organy
liturgical music
church musician
singing groups/choirs
liturgy
pipe organ
Opis:
For nearly 60 years, music in churches has been changing its form. Today’s way of celebration liturgy in Silesian churches, as well as in Church in overall, is mainly influenced by the teaching of the Second Vatican Council. Conciliar postulates referring to church music, which were included in the “Constitution on the Sacred Liturgy” became the impetus for a series of measures and actions aimed at enrichment and making the Silesian tradition of church singing more beautiful. The article is an attempt to describe to what extent the post-conciliar demands were reflected in the parishes of the deanery Kuźnia Raciborska, which belongs to the Diocese of Gliwice. Image of the liturgical music in the described deanery will be presented in three thematic groups: church musicians who are responsible for the shape of liturgical music, their musical and liturgical formation, the presence of choirs, as well as the technical condition and sound quality of organ. In addition to the above described issues, the author also makes an attempt to describe the overall picture of the musical life of the deanery Kuźnia Raciborska. Analysis of the theme and conclusions drawn in this article are based on the empirical data (surveys), and on the basis of own research.
Źródło:
Musica Ecclesiastica; 2017, 12; 135-149
2353-6985
Pojawia się w:
Musica Ecclesiastica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Wybrane zagadnienia dotyczące kompetencji pedagogicznych nauczyciela-muzyka
Selected Issues Related to Pedagogic Competence of a Musician-Teacher
Autorzy:
Hutek, Jakub
Powiązania:
https://bibliotekanauki.pl/articles/943969.pdf
Data publikacji:
2017-09-30
Wydawca:
Towarzystwo Naukowe Franciszka Salezego
Tematy:
nauczyciel-muzyk
osobowość
muzyka
dziecko
music
child
teacher-musician
personality
authority
Opis:
Niniejszy artykuł dotyczy wybranych zagadnień związanych z kompetencjami pedagogicznymi nauczyciela-muzyka. Każdy muzyk, który podejmuje pracę w szkolnictwie, napotyka na wiele problemów. Niezbędna jest wiedza teoretyczna dotycząca zarówno dziecka, jego rozwoju i możliwości, jak i osoby samego nauczyciela. Od dyspozycji osobowościowych pedagoga zależy w dużym stopniu dynamizacja potencjału dziecka. Wątki podejmowane w tym artykule dotyczą rozwoju osobowości nauczyciela, budowania przez niego autorytetu oraz dostrzegania sensu we własnej działalności pedagogicznej.
This article refers to selected issues related to the pedagogic competence of a musician-teacher. Every musician undertaking work in education comes across a lot of problems. It is essential to possess theoretical knowledge concerning both the child, his development and capabilities, as well as the very person of a pedagogue. Dynamization of the child’s capabilities and potential depends on the teacher’s personal qualities. The issues raised in this article concern the ways of developing teacher’s personality, his building of authority and the ability to discover the meaning of his pedagogic activity.
Źródło:
Seminare. Poszukiwania naukowe; 2017, 38, 3; 131-141
1232-8766
Pojawia się w:
Seminare. Poszukiwania naukowe
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
ПСИХОФИЗИОЛОГИЧЕСКИЕ ОСОБЕННОСТИ РЕАЛИЗАЦИИ ИСПОЛНИТЕЛЬСКИХ ФУНКЦИЙ МУЗЫКАНТОМ САКСОФОНИСТОМ В УСЛОВИЯХ ПЕРЕДАЧИ ОРИГИНАЛЬНОЙ АВТОРСКОЙ ИДЕИ
PSYCHOPHYSIOLOGICAL FEATURES OF PERFORMING FUNCTIONS REALIZATION BY THE MUSICIAN SAXOPHONIST IN THE CONDITIONS OF THE ORIGINAL AUTHOR’S IDEA TRANSFER
Autorzy:
Зотов, Денис Игоревич
Powiązania:
https://bibliotekanauki.pl/articles/566520.pdf
Data publikacji:
2017
Wydawca:
Akademia Pomorska w Słupsku
Tematy:
музыкальное искусство
саксофоновое исполнительство
интерпретационная деятельность
психология саксофониста
психофизиология музыканта
musical art
saxophone performance
interpretive activity
psychology of
saxophonist
psychophysiology of a musician
Opis:
The specificity of the study is to reveal the properties of the solo saxophonist psychophysiological activity, which is a symbiosis of many factors, from the stamina of the organism to the thoughtful lability, aimed at solving executive issues. It manifests first and foremost in solving problems of performing practice, aimed at expanding the possibilities of the instrument in the field of evolution of expressive capabilities, techniques of performance and acoustic qualities. This direction of artistic and psychological science sets the theoretical basis for understanding the deep physiological mechanisms aimed at the implementation of the mental processes of the development of performing arts. The conducted research is based on the analytical comparative and cognitive method of the artistic direction aimed at revealing the specifics of the creative process, which is a complex combination of physiognomic and psychic functions of the human body representing a unique symbiotic system aimed at fulfilling the set artistic tasks. The performance of the musical work as one of the most complex forms of manifestation of creative thought puts musicians with multistage tasks of creative interpretively, the quality of which depends on the degree of transmission of the artistic design of the author of the work, and the limit of perception by his audience. The scientific novelty of this work consists in an attempt to adapt existing theoretical postulates concerning psychophysiological activity of the musician to the conditions of practically-performing development of a professional saxophonist aimed at revealing the original author’s idea. Setting the task for revealing a certain work, the saxophonist raises several guidance goals in front of him and adheres to the process of artistic analysis, in particular: reopening the author's context of the work by filling it with new emotions and even changing partly or completely the general concept of the composition; Transferring to the content of the work his/her life-professional experience and personal experiences; If necessary, changes the technical and expressive composition plan. The result of this activity is the phenomenon of interpretation, which is one of the options for interpreting the author’s content of a musical work, based on the subjective relation of the performer to the artistic material.
Źródło:
Ars inter Culturas; 2017, 6; 155-166
2083-1226
Pojawia się w:
Ars inter Culturas
Dostawca treści:
Biblioteka Nauki
Artykuł
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