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    Wyświetlanie 1-7 z 7
    Tytuł:
    Muzyka i horror. "Lśnienie" Stanleya Kubricka
    The Kubrick Horror Show: making music in “The Shining”
    Autorzy:
    Kozłowski, Krzysztof
    Powiązania:
    https://bibliotekanauki.pl/articles/920354.pdf
    Data publikacji:
    2009-06-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    semantisation of music
    programme music
    instrumental music
    diabolus in musica
    music and horror
    Stanley Kubrick
    Lśnienie
    muzyka i horror
    Opis:
    This article will argue that in The Shining, Kubrick has constructed a radical semantisation of instrumental music, composed or adapted to the film. It could be argued that in this context Kubrick has produced such a sophisticated backdrop of fusion between music and film that this production can be considered one of the masterpieces in this field. In this light, the study shall discuss five aspects: the context of programme and instrumental music in respect to both conflicting and complementary tendencies of 19th c. esthetics, discussion of the simplest compositions used to demonstrate the film’s world of the inferno and finally, Kubrick’s complex semanticisation based on a clear labyrinth construction (catalysing fear in the labyrinth-trap).The study shall employ Carl Dahlhaus’ (1971) model of “method of interpretative analysis” used in respect to Richard Wagner as well as the notion of Wagners Konzeption des musikalischen Dramas. Further, the discussion shall be based on a complementary authorial methodology in three parts; a reading of non-musicological semantic markers of synchronically arranged fragments of instrumental composition used in film narration, a diachronic analysis of forms and their elements relating to the film score and last, an examination of the most functional of concepts relating to the esthetics of music.On the basis of the above mentioned issues, it shall be maintained that the music used as an overlay to the unfolding narrative of the film, though multifarious in construction, is powered by a dominant topos, diabolus in musica, which is realised in the form of “polyphony without cantus firmus”. This in turn supports the view that the role of music ought to be seen as one integral to film as a communicative medium, and not one simply of background, as some would argue.In conclusion, it shall be argued that in constructing a semantic framework of music in such a rich multi-level fashion, Kubrick has turned the role of music into an integral element of a highly complex artistic structure. This, it ought to be added, allows the score of this film to be placed at the same level as synthetic works of art (musical drama) and in terms of the genre horror, The Shining is the most “musicalised” of Kubrick’s films.This study may provide a basis for further research into the nature of Film, in particular, the work of Stanley Kubrick.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2009, 7, 13-14; 47-64
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Reference to the realm of nature in the theoretical reflections and the music of Ludomir Michał Rogowski
    Autorzy:
    Wójtowicz, Ewa
    Powiązania:
    https://bibliotekanauki.pl/articles/780321.pdf
    Data publikacji:
    2009
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Polish composer
    20th century music
    tonal crisis
    theory of scales
    musical form
    national music
    programme music
    Dionysus
    Dubrovnik
    Opis:
    Besides an abundant musical output, the rich legacy of Ludomir Michał Rogowski (1881-1954) also contains numerous writings, a special place among which is held by Muzyka przyszłości [The music of the future], written in 1919 and published three years later. In this work Rogowski asserted that the possibilities for composing music on the basis of the major, minor and chromatic scales were exhausted. He went on to propose an expansion of the repertoire of scales, giving two criteria for the choice of scales: ‘naturalness’ and ‘rhythmicity’. A ‘natural’ scale is one which can be read from the sequence of fifth steps of the twelve-note chromatic scale in equal temperament. The simplest example is the anhemitonic pentatonic scale. The concept of the renewal of tonal material is central to Muzyka przyszłości, but its author formulates an idea about the rhythmic essence of musical form as well. In his considerations on this subject, he proceeds from the nature-related phenomenon of symmetry. He treats the simplest symmetrical pattern, the ternary form ABA, as an elementary manifestation of rhythm expanded into form. References to nature also occur in Rogowski’s texts on national music. In this context, folk music represents such values connected with nature as simplicity, honesty and freshness; it is devoid of all artificiality or posture, free from all convention. In Rogowski’s musical output, a fascination with nature became a powerful source of inspiration, from which many symphonic works of a programmatic character emerged. The connection with nature and joy of life - the crucial values of Mediterranean culture - are conveyed by the music of Cortege de Dionysos and by the whole of composer’s oeuvre. Rogowski confirmed his belonging to the culture of the South not only with his music. When, in 1926, he left Warsaw for Dubrovnik, he confirmed it also with his life.
    Źródło:
    Interdisciplinary Studies in Musicology; 2009, 8; 81-92
    1734-2406
    Pojawia się w:
    Interdisciplinary Studies in Musicology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    “Od Chopina do ... Noskowskiego”? Zygmunt Noskowskis langer Weg zu Chopin
    Autorzy:
    Keym, Stefan
    Powiązania:
    https://bibliotekanauki.pl/articles/780123.pdf
    Data publikacji:
    2010
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Fryderyk Chopin
    Zygmunt Noskowski
    reception
    aesthetics
    analysis
    variation form
    national music
    programme music
    Opis:
    The aim of this text is to present the process whereby Zygmunt Noskowski grew closer to the music of Chopin, which he initially treated with considerable distance. In the first part of the article, the author analyses verbal testimony of Noskowski’s Chopin reception on the basis of extant columns written by him. Noskowski’s attention first focused on Chopin towards the end of the 1880s, the catalyst being the Chopin anniversaries celebrated in 1894 and 1899, for the purposes of which Noskowski arranged piano compositions by Chopin for orchestra and voice. The picture of Chopin sketched by Noskowski in his press writings contained Classicist components in which his sense of form and his affinities with the work of Bach were underlined; on the other hand, Noskowski stressed in Chopin’s music - as a specifically Polish characteristic - its links with nature. Both these factors influenced the shape of Noskowski’s own music. In the second part of the article, the author shows Chopin’s influence on Noskowski’s compositions, which initially found expression through the intermediary of the dramatic aspects of the Second Symphony of Ignacy Feliks Dobrzyński, and then in episodic links between Noskowski’s symphonic poem Step [The steppe] and Chopin’s Rondo ä la krakowiak, Op. 14. The climactic point of Noskowski’s dialogue with Chopin is defined by his programmatic-patriotic orchestral work Z życia... [narodu] [From the life... [of the nation]], in which Chopin’s Prelude in A major from opus 28 served as the basis for a set of variations; this work, despite a number of inconsistencies, is regarded by the author as an important work, both in its from and in its culturalhistorical significance.
    Źródło:
    Interdisciplinary Studies in Musicology; 2010, 9; 115-138
    1734-2406
    Pojawia się w:
    Interdisciplinary Studies in Musicology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    The ‘Faust’ or ’Lucifer’ Sonata? On Liszt’s idea of programme music as exemplified by his Piano Sonata in B minor
    Autorzy:
    Polony, Leszek
    Powiązania:
    https://bibliotekanauki.pl/articles/780369.pdf
    Data publikacji:
    2014
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Franz Liszt
    Piano Sonata in B minor
    programme music
    Tibor Szasz
    Marta Grabocz
    John Milton
    Paradise Lost
    Johann Wolfgang Goethe
    Faust
    Opis:
    The musicological tradition places Liszt’s Sonata in B minor within the sphere of compositions inspired by the Faustian myth. Its musical material, its structure and its narrative exhibit certain similarities to the ‘Faust’ Symphony. Yet there has appeared a different and, one may say, a rival interpretation of Sonata in B minor. What is more, it is well-documented from both a musical and a historical point of view. It has been presented by Hungarian pianist and musicologist Tibor Szasz. He proposes the thesis that the Sonata in B minor has been in fact inspired by Milton’s Paradise Lost, with its three protagonists: Adam, Satan and Christ. He finds their illustrations and even some key elements of the plot in the Sonata’s narrative. But yet Milton’s Paradise Lost and Goethe’s Faust are both stories of the Fall and Salvation, of the cosmic struggle between good and evil. The triads of their protagonists - Adam and Eve, Satan, and Christ; Faust, Mephisto and Gretchen - are homological. Thus both interpretations of the Sonata, the Goethean and the Miltonian, or, in other words, the Faustian and the Luciferian, are parallel and complementary rather than rival. It is also highly probable that both have had their impact on the genesis of the Sonata in B minor.
    Źródło:
    Interdisciplinary Studies in Musicology; 2014, 13; 17-28
    1734-2406
    Pojawia się w:
    Interdisciplinary Studies in Musicology
    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:
    A Collage-Like Work of Music. Aspects of Variation Technique in Maria Szymanowska’s Nocturne in B-flat Major
    Autorzy:
    Urbanowicz, Marta
    Powiązania:
    https://bibliotekanauki.pl/articles/2171399.pdf
    Data publikacji:
    2020
    Wydawca:
    Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
    Tematy:
    Maria Szymanowska
    nocturne
    John Field
    variation technique
    programme
    music
    Opis:
    The article aims to examine the way in which selected variation techniques are used in Maria Szymanowska’s Nocturne in B-flat Major, with the focus on both conventional thematic modifications and collage-like transformation of shorter motifs. By comparing the work to selected pieces by John Field and placing it within appropriate historical contexts, the author seeks to illustrate how such an approach to variation not only enriches the conventional form of the nocturne as a genre, but also highlights the possibility of programmatic intent being present.
    Źródło:
    Kwartalnik Młodych Muzykologów UJ; 2020, 3(46) ENG; 5-20
    2956-4107
    2353-7094
    Pojawia się w:
    Kwartalnik Młodych Muzykologów UJ
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Utwór w formie kolażu. Aspekty wariacyjności w Nokturnie B-dur Marii Szymanowskiej
    A Collage-Like Work of Music. Aspects of Variation Technique in Maria Szymanowska’s Nocturne in B-flat Major
    Autorzy:
    Urbanowicz, Marta
    Powiązania:
    https://bibliotekanauki.pl/articles/2159093.pdf
    Data publikacji:
    2020
    Wydawca:
    Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
    Tematy:
    Maria Szymanowska
    nocturne
    John Field
    variation technique
    programme
    music
    Opis:
    The article aims to examine the way in which selected variation techniques are used in Maria Szymanowska’s Nocturne in B-flat Major, with the focus on both conventional thematic modifications and collage-like transformation of shorter motifs. By comparing the work to selected pieces by John Field and placing it within appropriate historical contexts, the author seeks to illustrate how such an approach to variation not only enriches the conventional form of the nocturne as a genre, but also highlights the possibility of programmatic intent being present.
    Źródło:
    Kwartalnik Młodych Muzykologów UJ; 2020, 3(46); 5-21
    2956-4107
    2353-7094
    Pojawia się w:
    Kwartalnik Młodych Muzykologów UJ
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-7 z 7

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