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Wyszukujesz frazę "piano," wg kryterium: Temat


Tytuł:
Organmistrzowski rodowód fortepianmistrzów
Organ builder’s lineage of piano makers
Autorzy:
Vogel, Beniamin
Powiązania:
https://bibliotekanauki.pl/articles/521852.pdf
Data publikacji:
2017
Wydawca:
Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
Tematy:
organ builder
piano maker
organ
clavichord
harpsichord, piano
Opis:
For centuries all kinds of keyboard instruments such as organs, clavichords, harpsichords and pianos were made by organ builders, with pianos being additional by-products. The gradual specialization in manufacture came along with a growing demand for stringed keyboard instruments. Already in the 18th century, some organ builders in larger musical centers began making more harpsichords than pipe organs. At the turn of the 18th and 19th centuries, one could clearly notice the trade specialization of makers originally educated as organ builders, of whom only few spent the rest of their lives manufacturing and repairing organs. Making harpsichords or pianos did not demand continuous journey in search for places or churches in need of new organs, where the maker had to stay for at least a few months, first to build the instrument and then to place it at the proper location within a given church. It did not demand adaptation to the architecture and acoustics of the sacral building. Instead, one could build these newly popular instruments in a stationary workshop or manufacture, and using a similar structural and artistic form, which in time simply gave way to serial production. This specialization process, first within the framework of a single trade, and later splitting in two different ones, will be shown on the examples of both European makers (such as Bartolomeo Cristofori in Florence or Gottfried Silbermann in Freiberg), and Polish builders from the 18th–20th centuries — working in a variety of locations: from magnates’ mansions and small towns, like Sandomierz, through larger manufacture centers as Warsaw, Cracow, Gdańsk or Lvov.
Źródło:
Aspekty Muzyki; 2017, 7; 177-193
2082-6044
Pojawia się w:
Aspekty Muzyki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Sketch for a portrait of Kalkbrenner and Chopin
Autorzy:
Jasińska, Danuta
Powiązania:
https://bibliotekanauki.pl/articles/780113.pdf
Data publikacji:
2010
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Friedrich Kalkbrenner
Fryderyk Chopin
piano
virtuosity
style brillant
variations
piano concerto
piano playing method
Opis:
In this article, the author sketches a portrait of Kalkbrenner and Chopin against the background of musical practice during the 1830s. On the basis of sources, including Chopin’s correspondence and the opinions of his contemporaries and of Chopin scholars, an attempt is made to distinguish characteristic features of the two composers in their mutual relations. Their contacts are outlined, as well as their artistic activities, with particular emphasis on Chopin’s first concert in Paris and the role of pianistic virtuosity linked with the style brillant. Attention is drawn to the properties of the Pleyel piano which Kalkbrenner and Chopin both preferred and to the differing playing aesthetics and artistic images of the two composer-virtuosos. Chosen for the purposes of stylistic comparison are their methods of piano playing, with the accent on the schematic nature of Kalkbrenner’s “finger technique”, whilst most crucial for Chopin was to bring out the beautiful quality of the sound. In the closing remarks, it is stated that the two musicians, in their pianistic, compositional and pedagogic activities, represented the distinct antithesis of one another and two different schools. Prominent in the portrait of Kalkbrenner are distinct connections with the convention of the style brillant, whilst the portrait of Chopin, who broke through those conventions, is marked by features more profound and individualised.
Źródło:
Interdisciplinary Studies in Musicology; 2010, 9; 83-100
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Fizjologia i ergonomia gry na fortepianie
Physiology and Ergonomics of Piano Playing
Autorzy:
Tworko, Paulina
Powiązania:
https://bibliotekanauki.pl/articles/2176091.pdf
Data publikacji:
2020
Wydawca:
Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
Tematy:
piano playing technique
piano workshop
pianist’s hand
Opis:
Much has been said about performance, styles and interpretation. However, we should ask ourselves where they come from, what they depend on, and what factors influence them. The answer is much more complex. This article deals with the problem of piano technique as an element on which interpretation, sound and expression depend to a large extent. The piano is an instrument with incredible tonal possibilities, but it requires fingering skills, the ability to “feel” the key and certain physical strength which is directly related to the technique we use. Achieving a high level in playing requires years of diligent work, perseverance and determination. Technical proficiency, in turn, facilitates the expression and appropriate interpretation, in line with the style of a given musical period and the feelings of the pianist-performer. So we are talking about two things that inexorably influence each other – the workshop and its result, the shape of latter depends largely on the first. This article deepens the knowledge of piano workshop so that in the end nothing comes in the way between performers, listeners and music.
Źródło:
Kwartalnik Młodych Muzykologów UJ; 2020, 4(47); 229-254
2956-4107
2353-7094
Pojawia się w:
Kwartalnik Młodych Muzykologów UJ
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Physiology and Ergonomics of Piano Playing
Autorzy:
Tworko, Paulina
Powiązania:
https://bibliotekanauki.pl/articles/2176270.pdf
Data publikacji:
2020
Wydawca:
Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
Tematy:
Piano-playing technique
piano skills
pianist’s hand
On
Opis:
Much has been said about performance, styles, and interpretation. However, we should ask ourselves where they come from, what they depend on, and what factors influence them. The answer proves very complex.This article deals with the problem of piano technique as an element on which interpretation, sound and expression depend to a large extent. The piano is an instrument with incredible tonal possibilities, but it requires fingering skills, the ability to ‘feel’ the keys and a certain physical strength which is directly related to the technique we use. Achieving a high level in playing requires years of diligent work, perseverance, and determination. Technical proficiency, in turn, facilitates expression and appropriate interpretation, in line with the style of a given musical period and the feelings of the pianist-performer. We are thus talking about two things that inexorably influence each other: technique and its results. The latter depend largely on the former. This article explores the knowledge of piano technique which needs to be acquired so that in the end nothing comes in the way of communication between performers, listeners, and the music.
Źródło:
Kwartalnik Młodych Muzykologów UJ; 2020, 4(47) ENG; 229-253
2956-4107
2353-7094
Pojawia się w:
Kwartalnik Młodych Muzykologów UJ
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The optimal piano teacher: Sosniak’s model versus Polish teachers from public music schools
Autorzy:
Chmurzyńska, Małgorzata
Powiązania:
https://bibliotekanauki.pl/articles/780233.pdf
Data publikacji:
2011
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
piano teacher
piano-playing
musical
technical development
achievements
development stages
Opis:
The author deals with the relationship between a piano teacher and her/his pupil/student at different stages of development. The relationship is defined in the literature as one of the most important features determining musical-artistic achievements. She describes the American research into the nurturing of pianists’ talent, and presents the optimal model of piano teacher devised by L. Sosniak, based on interviews with 20 young American pianists with high and significant achievements. The model indicates that the best conditions for artistic development are the sequence of three different teachers, or three different pedagogical strategies, adjusted to the stages of development of young musicians: (1) music teacher for the youngest pupils, whose task is to arouse interest and provide intrinsic motivation and passion for music and piano-playing; (2) instructor teacher (for teenagers), whose task is to help students to build a solid métier, acquire the necessary motor skills and piano technique, and to improve their artistic performance; (3) master teacher for young adult pianists, whose task is to help them to integrate the skills gained previously, to shape their artistic personality. This sequence turned out to be extremely favourable for the later achievements of the interviewed pianists. The author then provides an analysis of statements by Polish pianists from the older generation, and an observation of the behaviour of piano teachers from Polish public music schools. These show that in our piano pedagogy there exists only one type of teacher, the instructor teacher who, compared to Sosniak‘s model, places the greatest emphasis on technical skills and avoids the issue of expression.
Źródło:
Interdisciplinary Studies in Musicology; 2011, 10; 111-130
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Piano practice in music teacher education:
Praktyka fortepianowa w kształceniu nauczycieli muzyki:
Autorzy:
Blum, Reinhard
Powiązania:
https://bibliotekanauki.pl/articles/2143782.pdf
Data publikacji:
2022-06-30
Wydawca:
Wydawnictwo Naukowe Dolnośląskiej Szkoły Wyższej
Tematy:
fortepian
pedagogika fortepianu
praktyka fortepianowa
profesjonalizacja
kształcenie nauczycieli muzyki
piano
piano pedagogy
practical piano
professionalisation
music teachers training
Opis:
The aim of this article is to present and to discuss a specific model of self-similar cyclical practical piano learning in music teacher education. For this purpose, a spiral, hierarchical development model based on Bruner (1960/1977) and Kraler & Schratz (2012), didactically specified in Blum (2019), is implemented in the field of piano pedagogy. The findings will be used to infer measures for the teaching of practical piano in the context of initial music teacher education. From this, innovative longer-term perspectives are derived for the specific role and function of the “practical piano” within the framework of the further development and professionalisation of music teacher training.
Celem niniejszego artykułu jest przedstawienie i omówienie specyficznego modelu samopodobieństwa cyklicznej praktycznej nauki gry na fortepianie w kształceniu nauczycieli muzyki. W tym celu do pedagogiki fortepianu wdrożono spiralny, hierarchiczny model rozwoju oparty na ujęciu Brunera (1960/1977) i Kraler & Schratz (2012) a dydaktycznie sprecyzowanego przez Bluma (2019). Wyniki badań zostaną wykorzystane do opracowania środków dla nauczania praktycznego fortepianu w kontekście wstępnego kształcenia nauczycieli muzyki. Z tego wynikają innowacyjne, długoterminowe perspektywy dla specyficznej roli i funkcji „praktycznego fortepianu” w ramach dalszego rozwoju i profesjonalizacji kształcenia nauczycieli muzyki.
Źródło:
Forum Oświatowe; 2022, 34, 1(67); 137-151
0867-0323
2450-3452
Pojawia się w:
Forum Oświatowe
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
DIE KLAVIERMINIATUR ALS EIN AUSGANGSPUNKT FÜR MUSIKALISCHE AKTIVITÄTEN VON KINDERN IM GRUNDSCHULALTER
PIANO MINIATURE AS A STARTING POINT TO MUSICAL ACTIVITIES WITH CHILDREN OF AN EARLY SCHOOL AGE
Autorzy:
Jiřičková, Jiřina
Powiązania:
https://bibliotekanauki.pl/articles/566314.pdf
Data publikacji:
2015
Wydawca:
Akademia Pomorska w Słupsku
Tematy:
Musikerziehung
Frűherziehung
Klavier
Modellsituationen
Klavierminiatur
music education
early school age
piano
model situations
piano miniature
Opis:
This paper discusses the role of the piano as a didactic instrument for children. The piano offers a great motivational aid in music education and provides an important aid in specific musical activities designed for children. A model scenario, developed by the author, presents a wide array of piano exercises that can be adopted during music lessons. They contain progressively structured musical activities, which are playful in character as well as suggest a specific teaching pedagogy.
Źródło:
Ars inter Culturas; 2015, 4; 109-118
2083-1226
Pojawia się w:
Ars inter Culturas
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Twórczość fortepianowa kompozytorów polskich w latach 2000-2017 na przykładzie wybranych utworów
Piano Works of Polish Composers in the Years 2000-2017 at the Example of Selected Works
Autorzy:
Łukaszewski, Marcin Tadeusz
Powiązania:
https://bibliotekanauki.pl/articles/494878.pdf
Data publikacji:
2018-03-31
Wydawca:
Towarzystwo Naukowe Franciszka Salezego
Tematy:
fortepian
generacja
muzyka fortepianowa
postmodernizm
styl
technika kompozytorska
composer technique
generation
piano
piano music
postmodernism
style
Opis:
Artykuł dotyczy polskiej muzyki fortepianowej w latach 2000-2017. W XXI wieku nastąpił wzrost zainteresowania twórców fortepianem. Wśród kilkuset napisanych utworów można wyróżnić gatunki i formy tradycyjne (jak mazurek, toccata, sonata, wariacje, preludium, etiuda, nokturn), jak i o innej formie i tytule. Utwory te można ułożyć w cztery grupy: nurt postmodernistyczny, nurt modernistyczny, nurt neomodernistyczny, nurt antymodernistyczny oraz ujęcia hybrydowe, czyli takie, w których kompozytorzy stosują dwudziestowieczne i dawniejsze (romantyczne) środki techniki kompozytorskiej. Do analiz wybrano utwory przedstawicieli nurtów: postmodernizm: Krzysztof Baculewski i Andrzej Dziadek, neomodernizm: Paweł Kwapiński, antymodernizm: Paweł Michał Chmielnicki, Tomasz Kamieniak, ujęcia hybrydowe: Maciej Zieliński i Piotr Gryska. Tematyka nie doczekała się dotychczas naukowego opracowania.
The article deals with Polish piano music composed in the years 2000-2017. In the 21st century, there was an increasing interest of musicians in the piano. Among the hundreds of works written at that time, we can distinguish genres and traditional forms (such as mazurka, toccata, sonata, variations, preludes, etude, nocturnes), as well as other forms and titles. These compositions can be divided into four groups: postmodern current, modernist current, neomodernist current, antimodern current, and hybrid approaches, in which composers use both the twentieth century and former (romantic) compositional techniques. Postmodernism: Krzysztof Baculewski and Andrzej Dziadek, neomodernist current: Paweł Kwapiński, antimodern current: Paweł Michał Chmielnicki, Tomasz Kamieniak, hybrid approaches: Maciej Zieliński and Piotr Gryska. The subject has not yet been elaborated scientifically.
Źródło:
Seminare. Poszukiwania naukowe; 2018, 39, 1; 181-198
1232-8766
Pojawia się w:
Seminare. Poszukiwania naukowe
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
History of a cultural conquest: The Piano in Japan
Autorzy:
Gaspar, Veronica
Powiązania:
https://bibliotekanauki.pl/articles/599817.pdf
Data publikacji:
2014
Wydawca:
Polska Akademia Nauk. Instytut Kultur Śródziemnomorskich i Orientalnych PAN
Tematy:
Piano
Japan
Acculturation
Europeanization
synchronic comparison
Opis:
Any short review of the penetration of European music into Japan and its enthusiastic appropriation calls for a different approach to the controversial question of acculturation. The rapid growth in the pianos popularity in Japan, together with the implicit musical revolution, could also occasion a parallel with the similar process of acculturation which occurred in Eastern Europe (for instance the Romanian Principalities). Musical Westernization (including the institutional and educational reform) might, in contradicting the traditional local musical concepts, mirror a different perspective on intercultural communication and contemporary cultural education.
Źródło:
Acta Asiatica Varsoviensia; 2014, 27; 83-99
0860-6102
Pojawia się w:
Acta Asiatica Varsoviensia
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
РАЗВИТИЕ УКРАИНСКОЙ ФОРТЕПИАННОЙ ШКОЛЫ В ХХ СТ. МУЗЫКАЛЬНО-ПРОСВЕТИТЕЛЬСКИЕ ТРАДИЦИИ И МЕТОДИЧЕСКИЕ ОРИЕНТИРЫ
DEVELOPMENT OF UKRAINIAN PIANO SCHOOL IN 20TH CENTURY: MUSICAL AND EDUCATIONAL TRADITIONS AND METHODOLOGICAL GUIDELINES
Autorzy:
Гуральник, Наталія Павлівна
Powiązania:
https://bibliotekanauki.pl/articles/566490.pdf
Data publikacji:
2013
Wydawca:
Akademia Pomorska w Słupsku
Tematy:
украинская фортепианная школа концертно-исполнительская практика пианистов
фортепианная методика
Ukrainian piano school
pianists’ performance practice
piano methodology
Opis:
Rapid development of Ukrainian piano school is an inseparable part of European piano school’s evolution in the 20th century. The article is aimed at describing pianists’ perform- ance practice and its role in the development of national culture as well as at surveying the genesis of musical educational tradition and establishment of piano methodology. Ukrain- ian piano school is defined as a phenomenon of cultural and the 20th century 6 periods are singled out. Special attention in the structure of piano school is drawn to musical educative activities, its development having facilitated reconceptualization of the content of piano education and teaching methodology throughout different periods. The author emphasizes that piano schools leaders and their followers realized their intellectual and creative poten- tial in various performing activities and original teaching techniques. Piano class is consid- ered as a special musical and creative space at an arts educational establishment where tra- ditions are kept and transformed, new ideas emerge, creative views of young music teach- ers, who are the followers of mother piano schools, come to life and develop.
Źródło:
Ars inter Culturas; 2013, 2; 43-59
2083-1226
Pojawia się w:
Ars inter Culturas
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Concerto for Piano and Orchestra by Henryk Wars: Discovering a Masterpiece
Autorzy:
Żebrowski, Marek
Powiązania:
https://bibliotekanauki.pl/articles/473818.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Jagielloński. Musica Iagiellonica
Tematy:
piano concerto form, Richard Addinsell, Henryk Wars
Opis:
Henryk Wars has been long known for many film soundtracks and countless hit songs composed in Poland during the inter-war period and in the United States in the 1950s and the 1960s. But he was also a classically trained composer who left a substantial legacy of finely crafted, large-scale orchestral works. They were written soon after he settled in California in 1947, and quite a few years before he had a chance to redefine himself as a film composer in Hollywood. During his early years in America Wars devoted most of his passion and energy to completing among others such large scale works as Symphony No. 1 (1948–1949), Piano Concerto (1950), City Sketches – Orchestral Suite (1951/1969–1974), and Sonatina for Orchestra. Aim of this study is to present Wars’s Piano Concerto – a skillfully designed one-movement work completed in 1950, with a strongly neo-romantic character, sparkling virtuoso solo part, and richly-scored orchestral accompaniment. The author of the study analyzes in detail the formal layout of the work, indicates the composer’s inspirations (mostly Schumann and Addinsell, also Chopin, Gershwin and Rachmaninov) and shows that using the traditional sonata allegro layout, Wars effectively introduces several very attractive melodic ideas and skillfully shapes them in into a successful one-movement formal design. Wars’s one-movement Piano Concerto is an excellent addition to the repertoire of shorter works for piano and orchestra. Whilst it offers some technical challenges for the performers, it is also a very effective work that easily finds favor with the audiences.
Źródło:
Musica Iagellonica; 2018, 9; 101-126
1233-9679
2545-0360
Pojawia się w:
Musica Iagellonica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Tonality and Neoclassicism in Stravinsky’s Sonata for Piano, Mvt. 2 (1924)
Autorzy:
Ballengee, Christopher
Powiązania:
https://bibliotekanauki.pl/articles/2122170.pdf
Data publikacji:
2021-11-01
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Neoclassicism
modernism
20 th century
piano
tonality
Opis:
Igor Stravinsky’s Sonata for Piano is an often overlooked yet important artifact of the composer’s neoclassicism. his treatment of tonality in the second movement is both literally and aurally more conventional than one might first guess. Stravinsky’s reliance on convention points to an ideology of continuity, one that honors the legacy of beethoven and other heroes. In doing so, Stravinsky’s Sonata brings forward old ideas wrought in new ways for a modern era. This essay examines ways of thinking about Stravinsky’s neoclassic style through analysis of the second movement of the Sonata focusing on the use of post-tonal techniques to create surprisingly tonal music.
Źródło:
Interdisciplinary Studies in Musicology; 2021, 21; 9-21
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Aspekty religijne w polskiej muzyce fortepianowej XX i XXI wieku
Religious aspects of Polish piano music of the 20th and 21st century
Autorzy:
Łukaszewski, Marcin Tadeusz
Powiązania:
https://bibliotekanauki.pl/articles/521922.pdf
Data publikacji:
2015
Wydawca:
Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
Tematy:
church hymn
Gregorian chant
inspiration, intertextuality
piano concerto
piano music
Polish music
postmodernism
religious music
the sacred
sonata
suite.
Opis:
This article discusses the works for solo piano and for piano and orchestra, in which reli- gious inspiration associated with Christianity was found. The fact that such “sacral” inspiration was pre-sent in piano music may be confirmed by many works of Ferenc Liszt and Olivier Messiaen, to name but a few evident examples. One can also add selected works of Frederic Chopin, not only Scherzo in B minor, op. 20, which includes a citation of the Polish carol “Lulajże, Jezu- niu (“Lullaby, Little Baby Jesus”), but also a number of motifs from other Polish church hymns found in Chopin’s music by Jan Węcowski. There are several categories of works with references to the sacred in the Polish piano music of the 20th and 21st century: works with religious inspiration suggested in their very title or in the musical material, and works with a widely understood religious context, but without any direct references to the sacred. Religious themes can be found in the works for piano and orchestra, for instance by Wojciech Kilar, Paweł Łukaszewski, Bogusław Madey, and Józef Świder. These themes appear in solo works for piano, e.g. by Mirosław Bukowski, Irena Garztecka, Leszek Mateusz Gorecki, Tomasz Kamieniak, Juliusz Łuciuk, Władysława Markiewi- czówna, Witold Rudziński, Marian Sawa, Sebastian Szymanski or Aleksander Tansman. The piano music with religious inspiration written in the 20th and 21st centuries has not yet been the subject of a comprehensive research. However, some authors did point to such motifs, for example Stanisław Będkowski, Bogumiła Mika, Violetta Przech, and Janina Tatarska. Still, they only men- tioned them while writing about other, non-religious issues related to Polish piano music.
Źródło:
Aspekty Muzyki; 2015, 5; 27-58
2082-6044
Pojawia się w:
Aspekty Muzyki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Frédéric Chopin: „Trois Fugues de Luigi Cherubini mises en partition de piano”. Fac-similé et transcription présentés par Jean-Jacques Eigeldinger, Paris 2017 Société française de musicologie, ss. 67. ISBN 978-2-85357-259-0
Autorzy:
Śnieżek, Barbara
Powiązania:
https://bibliotekanauki.pl/articles/28411994.pdf
Data publikacji:
2018
Wydawca:
Polska Akademia Nauk. Instytut Sztuki PAN
Tematy:
edycja krytyczna
muzyka fortepianowa
critical edition
piano music
Źródło:
Muzyka; 2018, 63, 4; 136-139
0027-5344
2720-7021
Pojawia się w:
Muzyka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Frédéric Chopin, entre exacerbation romantique du modèle vocal et innovations percussives : une mixité dynamique
Frédéric Chopin, Between Romantic Exacerbation of the Vocal Model and Percussive Innovations: a Dynamic Mix
Autorzy:
Laliberté, Martin
Powiązania:
https://bibliotekanauki.pl/articles/2038306.pdf
Data publikacji:
2021-12-29
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Chopin
musical models
piano music
organology
musical analysis
Opis:
After some in-depth analysis, for instance, of the first Ballade in G minor (1836), Frédéric Chopin’s music reveals itself as a striking case of a musical equilibrium between two major musical tendencies. On the one hand, his music brings the reaching towards an idealised voice to a full and very convincing development. His musical themes sing most of the time while all the main characteristics of his writing explore continuous spaces, to the extent the piano can achieve. He uses many melodic chromaticisms and broad gestures, very voice-like phrasings ranging from the most delicate pianissimi to the extremely dramatic fortissimo, and other vocal features. On the other hand, his music is unavoidably written for a percussion instrument (the piano), makes much use of rhythms and often dances as well, while his accompaniments are thick with vertical features, accents and other percussive traits. In reality, Chopin’s music is in a striking state of equilibrium between the vocal and the percussive and constitutes a rich case of a mixed status between the two poles. Perhaps for one of the last times in Western music, Chopin is precisely at the point of equilibrium, before the rise of the percussive that gave birth to much of the twentieth century’s music. Chopin’s music will remain a true and much beloved monument of equilibrium.
Źródło:
Poznańskie Studia Polonistyczne. Seria Literacka; 2021, 41; 107-123
1233-8680
2450-4947
Pojawia się w:
Poznańskie Studia Polonistyczne. Seria Literacka
Dostawca treści:
Biblioteka Nauki
Artykuł

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