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Tytuł:
Idealne miejsce do mieszkania; La cité internationale w Lyonie
An ideal dwelling place; La cité internationale in Lyon
Autorzy:
Kantarek, A. A.
Powiązania:
https://bibliotekanauki.pl/articles/345276.pdf
Data publikacji:
2009
Wydawca:
Politechnika Krakowska im. Tadeusza Kościuszki. Wydział Architektury. Katedra Kształtowania Środowiska Mieszkaniowego
Tematy:
Renzo Piano
Corajoud Michel
centrum kongresowe
Congress Centre
Michel Corajoud
Źródło:
Środowisko Mieszkaniowe; 2009, 7; 58-61
1731-2442
2543-8700
Pojawia się w:
Środowisko Mieszkaniowe
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:
Wprowadzenie w problematykę techniki gry i środków techniki kompozytorskiej w etiudach fortepianowych kompozytorów polskich w latach 1916-2006
An introduction to the problems of performance technique and compositional devices in piano etudes by polish composers (1916-2006)
Autorzy:
Łukaszewski, Marcin Tadeusz
Powiązania:
https://bibliotekanauki.pl/articles/495574.pdf
Data publikacji:
2010
Wydawca:
Towarzystwo Naukowe Franciszka Salezego
Tematy:
Diadochokinesis
Etude
Figuration
Piano
minimal music
neo-classicism
composing technique
Opis:
The article covers the years 1916 to 2006, i.e. from Karol Szymanowski’s Twelve Etudes Op. 33 (1916) to Krzysztof Baculewski’s Twelve Etudes (2006). During the period under examination piano etudes were written by many Polish composers. Those by Szymanowski, Witold Lutosławski, Andrzej Panufnik, Grażyna Bacewicz and Bolesław Woytowicz are considered to be most representative. In the twentieth century and at the beginning of the twenty first century, the etude has not been an anachronic genre, as evidenced by the constant flow of new works penned by composers. These include both works in which the organization of the musical material draws on tradition and those which explore the techniques of twentieth century-music. The neo-classical trend exerted a far-reaching influence on the character and stylistic features of Polish piano etudes of the first half of the twentieth century. Works by Lutosławski, Bacewicz, Woytowicz, Szeligowski, and to some extent by Panufnik can serve as examples. The etudes by Lutosławski and Bacewicz are beyond doubt of the most outstanding artistic merit. They are part of the concert repertoire and are among the most frequently performed Polish 20th-century etudes. The etudes of Norbert Mateusz Kuźnik, Andrzej Hundziak and Franciszek Woźniak employ the techniques typical of new music, such as a new type of notation, and therefore belong to the avantgarde and post-avantgarde group. Post-modernist Two Etudes by Paweł Szymański also belongs to this group. The work is a good example of ‘sur-conventionality’, a style that is characteristic of Szymański’s music. The etudes by Polish composers, particularly contemporary ones, are used all too rarely as instruction pieces in Polish music schools. They are also rarely included in recital programmes. The reasons should be looked for in the lack of adequate preparation of both the students and teachers, as well as in an insufficient knowledge and understanding of 20th-century music. All this results in a reluctance to explore this part of the Polish musical heritage.
Źródło:
Seminare. Poszukiwania naukowe; 2010, 27; 233-247
1232-8766
Pojawia się w:
Seminare. Poszukiwania naukowe
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
An Accent-Based Approach to Automatic Rendering of Piano Performance: Preliminary Auditory Evaluation
Autorzy:
Bisesi, E.
Parncutt, R.
Powiązania:
https://bibliotekanauki.pl/articles/177339.pdf
Data publikacji:
2011
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
piano performance
expression
accents
musical analysis
Director Musices
Opis:
We are exploring the relationship between accents and expression in piano performance. Accents are local events that attract a listener’s attention and are either evident from the score (immanent) or added by the performer (performed). Immanent accents are associated with grouping (phrasing), metre, melody and harmony. In piano music, performed accents involve changes in timing, dynamics, articulation, and pedalling; they vary in amplitude, form, and duration. We analyzed the first eight bars of Chopin Prelude op. 28 n. 6. In a separate study, music theorists had marked grouping, melodic and harmonic accents on the score and estimated the importance (salience) of each. Here, we mathematically modeled timing and dynamics in the prelude in two ways using Director Musices (DM) – a software package for automatic rendering of expressive performance. The first rendering focused on phrasing following existing and tested procedures in DM. The second focused on accents – timing and dynamics in the vicinity of the accents identified by the theorists. In an informal listening test, 10 out of 12 participants (5 of 6 musicians and 5 of 6 non-musicians) preferred the accent-based formulation, and several stated that it had more variation of timing and dynamics from one phrase to the next.
Źródło:
Archives of Acoustics; 2011, 36, 2; 283-296
0137-5075
Pojawia się w:
Archives of Acoustics
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
III Sonata „da camera” na fortepian Romana Bergera w kontekście jego teorii o teorii
Roman Berger’s Sonata No. 3 „da camera” for Piano in the Context of the Composer’s Theory of the Theory
Autorzy:
Błaszkiewicz, Teresa
Powiązania:
https://bibliotekanauki.pl/articles/943019.pdf
Data publikacji:
2011
Wydawca:
Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
Tematy:
Roman Berger
piano sonata
theory
ntegrum-shape
substance
expression
Opis:
The article attempts to confront Roman Berger’s concepts of music theory, in particular the theory of musical analysis, using one of his works: Sonata No. 3 „da camera” for piano (1971). In its most general aspect, the confrontation focuses on the overriding idea in Berger’s theory, which defines a piece of music as a specific integral combination of shape (form) and movement of substance (musical material), aimed at achieving a desired expressive message. In terms of SHAPE, the sonata builds an image of an integrated, almost concentric musical piece generated from a single structural idea. Its individual levels and stages demonstrate features analogous to the sonata model, both in the composition of the 4-movement cycle, and the generic solutions applied in individual segments. This frame, which accounts for the outermost quality of the work’s structure, is filled with SUBSTANCE, or the musical content, the “movement” of which builds the genre-specific and microformal levels of the development process. The structural idea, or motif, which is the essential element of the substance, is subject to the structural programme, which — pursuant to Berger’s concept of movement of substance — takes various forms, ranging from associative to almost dissociative. Adopting the criterion of the degree of association, three basic form classes are arrived at (A, B, and C). The combinations of the classes, correlated with the agogical norm, determine the formal structure of the sonata. This is how Berger’s concept of inteThe article attempts to confront Roman Berger’s concepts of music theory, in particular the theory of musical analysis, using one of his works: Sonata No. 3 „da camera” for piano (1971). In its most general aspect, the confrontation focuses on the overriding idea in Berger’s theory, which defi nes a piece of music as a specifi c integral combination of shape (form) and movement of substance (musical material), aimed at achieving a desired expressive message. In terms of SHAPE, the sonata builds an image of an integrated, almost concentric musical piece generated from a single structural idea. Its individual levels and stages demonstrate features analogous to the sonata model, both in the composition of the 4-movement cycle, and the generic solutions applied in individual segments. This frame, which accounts for the outermost quality of the work’s structure, is fi lled with SUBSTANCE, or the musical content, the “movement” of which builds the genre-specifi c and microformal levels of the development process. The structural idea, or motif, which is the essential element of the substance, is subject to the structural programme, which — pursuant to Berger’s concept of movement of substance — takes various forms, ranging from associative to almost dissociative. Adopting the criterion of the degree of association, three basic form classes are arrived at (A, B, and C). The combinations of the classes, correlated with the agogical norm, determine the formal structure of the sonata. This is how Berger’s concept of integrity and building the shape through substance is generally carried through. The purpose of the piece, which is its expressive message, is basically determined in the sonata dedication: in memoriam Frico Kafenda (the composer’s teacher and friend). The dedication governs the moods of the music, as well as the distribution and intensity of tensions, coordinated with the genre-essence of the form. On this level, naturally for a musical piece in a sense, the intertextual, symbolic contexts are embedded.grity and building the shape through substance is generally carried through. The purpose of the piece, which is its expressive message, is basically determined in the sonata dedication: in memoriam Frico Kafenda (the composer’s teacher and friend). The dedication governs the moods of the music, as well as the distribution and intensity of tensions, coordinated with the genre-essence of the form. On this level, naturally for a musical piece in a sense, the intertextual, symbolic contexts are embedded.
Źródło:
Aspekty Muzyki; 2011, 1; 35-46
2082-6044
Pojawia się w:
Aspekty Muzyki
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:
Twórczość fortepianowa Mariana Sawy
Marian Sawa’s piano music
Autorzy:
Łukaszewski, Marcin Tadeusz
Powiązania:
https://bibliotekanauki.pl/articles/495044.pdf
Data publikacji:
2011
Wydawca:
Towarzystwo Naukowe Franciszka Salezego
Tematy:
Marian Sawa
Mazurka
Study
piano music
carol
neoclassicism
sacred music
folklore
Opis:
Marian Sawa (1937-2005), composer, organist, improviser and pedagogue, owes his reputation primarily to his prolific organ output (over 200 works for organ solo, including five concertos), choral music (several dozen compositions) and vocal-instrumental sacred music. Pride of place goes to Droga Krzyżowa (The Way of the Cross), Missa claromontana and works for organ: Witraże (Stained-glass), Ecce lignum crucis and Hymnus in honorem sancti Petri et Pauli. Works for piano are modest in number, less known and rather rarely performed but they are hardly of a marginal character. Marian Sawa’s piano output comprises a dozen or so pieces of diverse genres and styles. The earliest compositions, dating from Sawa’s studies at the State Higher School of Music in Warsaw, include Four Etudes, a cycle of Variations and the Prelude and Fugue, all in the neo-Classical style (1966-67). In the etudes the composer explored several problems, such as the technique of double stops and octaves. The later Toccata (1970) and Stylized Prelude (1975) are, by and large, the continuation of the same style. In the Toccata one can notice the genre’s characteristic features including the motoric drive, a sense of mobility and the repetitiveness of notes (similar effects can be found in toccatas by such composers as Bolesław Woytowicz and Sławomir Czarnecki). Sawa’s most interesting piano works date from the 1980s and 1990s, Scherzino (1983) and Four Mazurkas (1993/94) being the most frequently-performed pieces. Sawa’s output also includes compositions which draw freely on the sonata form: Sonatę Ha-Fis (Sonata B-Fsharp) for keyboard instruments (1995, the title refers to the two opening notes), Sonatina for harpsichord, piano or organ (1995) and arrangements of Polish Christmas carols. One of Sawa’s most spectacular pieces is the Fugue-Bolero for two pianos (1996), which is an arrangement of his earlier, highly popular version for organ. Three idioms can be distinguished in Sawa’s piano music: dance/folk, motoric/toccata and sacred. The first employs the dance forms popular in Polish folk music (mazurek, oberek, krakowiak), the rhythm pattern of the ‘mazur’ and bourdon fifths. The main features of the second idiom are the figurative texture, virtuosity, a sense of mobility and, in the majority of works (including those from the 1990s), references to the neo-Classical style. The sacred idiom manifests itself in the use of quotations from church songs. For example, in the Third Mazurka (1993) it is a quotation from the Polish church song to St Joseph, while the musical material of the Three Elegies (1995) is based on the religious song Ja wiem, w kogo ja wierzę / I know in whom I believe. These works are also renowned for their specific mood of meditation and contemplation, creating an aura of spiritual music. The arrangements of Polish Christmas carols also belong to this group (Four Christmas Carols for piano / four hands, 2003; Kolędowe granie / Playing the carols, 2004).
Źródło:
Seminare. Poszukiwania naukowe; 2011, 29; 317-335
1232-8766
Pojawia się w:
Seminare. Poszukiwania naukowe
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
A CONTRIBUTION TO MUSIC EDUCATIONAL WORK WITH CHILDREN OF AN EARLY SCHOOL AGE
Autorzy:
Jiřičková, Jiřina
Powiązania:
https://bibliotekanauki.pl/articles/566415.pdf
Data publikacji:
2013
Wydawca:
Akademia Pomorska w Słupsku
Tematy:
music education
early school age
piano
model situations
rhyme
Opis:
This article discusses the role of piano as a didactic aid in early education. The piano is a great aid to motivate, sparks creativity, and effectively engages children in the learning proces. A case study conducted by the author proposes different techniques of integrating the piano in the context of music lessons. The study contains a variety of musical activities and proposes specific teaching instructions to work with rhymes.
Źródło:
Ars inter Culturas; 2013, 2; 139-145
2083-1226
Pojawia się w:
Ars inter Culturas
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Rodzaje faktury w utworach dla dwóch pianistów w twórczoci współczesnych kompozytorów śląskich
Kinds of Texture in Pieces for Two Pianists in the Works of Contemporary Silesian Composers
Autorzy:
Renat, Maryla
Powiązania:
https://bibliotekanauki.pl/articles/454114.pdf
Data publikacji:
2013
Wydawca:
Uniwersytet Humanistyczno-Przyrodniczy im. Jana Długosza w Częstochowie. Wydawnictwo Uczelniane
Tematy:
Silesian composers
Polish contemporary piano music
piano 4 hands pieces
pieces for 2 pianos
instrumental texture
Śląski kompozytor
polska współczesna muzyka fortepianowa
utwory fortepianowe na 4 ręce
utwory na 2 fortepiany
Opis:
The issues of texture in piano pieces of Silesian composers, written from 1953 to 2008. The object of the study were 6 compositions for 2 grand pianos or four hands of the following compos- ers: Józef wider, Allegro. Moderato for 2 pianos (1953); Henryk Mikoaj Górecki, Toccata for 2 pianos (1955) and Five pieces, Moderato for 2 pianos op. 13 (1959); Jan Wincenty Hawel, Capriccio-Fantasia for 2 pianos (1975); Aleksander Glinkowski, Dialogos for the piano for 4 hands (1976); Andrzej Dziadek, Klavierstücke for 4 hands (2008). The purpose of the conducted analyses is an attempt to answer the questions concerning models of instrumental texture. The purpose of the conducted analyses is an attempt to answer questions concerning models of instrumental texture. What are the relations designed for the co-performers in a given composition for two performers? How does cooperation proceed between two parts making up one piece of music? What texture model results from the mutual relations between the co-performers? What are the conditions and assumptions of such relations set by the composer? The authoress precedes the solution of the main issues with presentation of an outline of the Silesian school of composition. Then, she makes a separate review and assessment of piano music against the background of the entire set of works of each composer. When answering the main research problem, she states that the relations between the parts of the two performers determine the texture of the musical piece - they arise from different stylistic conditions and assumptions set by the composer. The final conclusions are presented in a Table. The following models of instrumental textures can be identified in the discussed works: 1) layered complemented texture (wider), 2) euphonic texture (H.M. Górecki, Toccata ), 3) pointillistic, complemented texture (H.M. Górecki, Pi Utworów), 4) diversified texture: euphonic, dialogic (J.W. Hawel), 5) two-dimensional dialogic texture (A. Glinkowski), 6) dialogic-complemented texture (A. Dziadek).
Źródło:
Edukacja Muzyczna; 2013, 8; 27-46
2545-3068
Pojawia się w:
Edukacja Muzyczna
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:
‘Petrarchs Sonnets’ by Liszt
Autorzy:
Nowik, Wojciech
Powiązania:
https://bibliotekanauki.pl/articles/780349.pdf
Data publikacji:
2014
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Franz Liszt
Années de Pèlerinage
Dèuxieme Année - Italie
piano music
Sonetto 47 del Petrarca
Sonetto 104 del Petrarca
Sonetto 123 del Petrarca
Opis:
The article ‘Petrarch’s Sonnets’ by Liszt revolves around the phenomenon of transformation, which dominated F. Liszt’s works. His impressive composing achievements made Liszt an unequalled author of all types of elaborations, paraphrases, adaptations, transcripts of both his own and other composer’s works, representing various styles and epochs. What is more, the transformation techniques employed by Liszt, different from the commonly applied evolutionary ones, coupled with extended tonality and harmony as well as new textures, resulted in an extremely broad scale of expression and subtly diverse expressive effects. Three of Petrarch’s Sonnets from the Rerum vulgarium fragmenta collection are dedicated to Laura and represent this article’s major area of interest. The Hungarian composer worked on them three times: twice he composed them as songs and once as a piano triptych included in the Années de Pèlerinage. Dèuxieme Année: Italie series. His interpretation of the Sonnets, as well as the remaining works in the series, was inspired by the art of the old Italian masters married with the Romantic idea of correspondence des artes. While it is a part of artistic tradition to turn poetic works into songs (resulting in the vocal lyrics so typical of Romanticism), adding a musical dimension to a sonnet, a piece of poetry with a specific organisation of its content, a unique form and verse discipline, seems risky. It is extremely difficult to successfully transfer equivalent themes and structures onto a different medium i.e. piano music. By turning to Petrarch’s Sonnets, Liszt created congenial palimpsests, reflecting the syntactical and formal rudiments of the verse but, first and foremost, managing to portray Laura in new incarnations, subtly changing in the eternal search for the ideal of femininity, the so-called “Ewig-weibliche”. Especially in the piano version, Liszt seems to have accomplished the esoteric subtlety of the “Sprache über Sprache” available to and understood solely by poets and those in the know.
Źródło:
Interdisciplinary Studies in Musicology; 2014, 13; 43-56
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
BEITRAG ZUR MOTIVATION VON KINDERN IM GRUNDSCHULALTER IN DER MUSIKERZIEHUNG
CONTRIBUTION TO THE QUESTION OF MOTIVATION IN MUSIC EDUCATION OF YOUNGER SCHOOL AGED CHILDREN
Autorzy:
Jiřičková, Jiřina
Powiązania:
https://bibliotekanauki.pl/articles/566492.pdf
Data publikacji:
2014
Wydawca:
Akademia Pomorska w Słupsku
Tematy:
Musikerziehung
Motivation
Klavier
Frühes Schulatter
music education
motivation
piano
early school age
Opis:
Piano is one of the most important motivators in music education for the early age children. It motivates them to different musical activities in music education. The piano teacher demonstrating his/her practical abilities can be an effective stimulus for their own piano playing. This paper proposes specific exercises enabling children to gain an active knowledge of the keyboard; it also discusses different starting points for further activities in music education.
Źródło:
Ars inter Culturas; 2014, 3; 107-115
2083-1226
Pojawia się w:
Ars inter Culturas
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
From the reprise overture to Liszt’s B minor Sonata. Romantic creations in an eighteenth century formal ‘corset’?
Autorzy:
Ryszka-Komarnicka, Anna
Powiązania:
https://bibliotekanauki.pl/articles/780357.pdf
Data publikacji:
2014
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
reprise overture
Italian operatic overture
double-function form
sonata forms
romantic piano fantasies
symphonic poems
Opis:
The present paper summarises the general affinities that link the great romantic piano fantasies (Schubert’s Op. 15, Schumann’s Op. 17, Chopin’s Op. 49 and Liszt’s B minor Sonata) by means of the presence of dual structures of various kinds, including the tonal, formal and an extramusical, interpretational ‘false bottom’, the latest often of autobiographical nature. One of the most prominent dual structures present in all the above mentioned fantasies is a so-called ‘duble-function form’ (apart from far-reaching individualism in detailed solutions) which have no roots in the tradition of keyboard fantasia written by predecessors. As possible source of inspiration some oeuvres of Beethoven are often evoked. However, the paper juxtaposes them with the tradition of the so-called reprise overture, a particular kind of sonata form (called also ‘interpolated sonata form’ as its key element consists in an intrusion of slow movement within the course of sonata form) that emerged in the circles of Italian 18th century opera, widespread often in conjunction with the scope to link an operatic sinfonia with the rest of the drama. Examples by Salieri, Mozart and Haydn are briefly analyzed to show the variety of solutions and posing the hypothesis that reprise overture might be (as transferred well into the 19th century by many operatic composers and ‘kleine Meisters’ that used it in purely instrumental pieces) one of the possible - and unexpected - roots of the formal design of the greatest oeuvres in piano literature ever composed.
Źródło:
Interdisciplinary Studies in Musicology; 2014, 13; 29-42
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Gaetano Donizetti by Franz Liszt, the piano in the service of the opera
Autorzy:
Krzywoszyński, Przemysław
Powiązania:
https://bibliotekanauki.pl/articles/780187.pdf
Data publikacji:
2014
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Liszt
piano interpretation
transcription
reminiscence
Donizetti
bel canto
opera
Opis:
The aim of the paper is to analyze Franz Liszt's piano interpretations that constitute excellent operatic transcriptions and reminiscences from the operas of Gaetano Donizetti. There are seven piano works based on six of Donizetti’s operas, among them bar-for-bar transcriptions of particular fragments as well as masterly syntheses of many musical themes. We try to argue that Donizetti was an inspiration for Liszt and that the Hungarian composer was not only an eminent connoisseur and admirer of bel canto, but also made an important contribution to the rediscovery of Italian opera. These transcriptions are an excellent example of a sincere tribute from one great composer to another; they highlight some of the treasures among Donizetti’s compositions, as well as the talent of the author of the transcriptions.
Źródło:
Interdisciplinary Studies in Musicology; 2014, 13; 141-154
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
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
Wyświetlanie 1-15 z 85

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