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    Wyświetlanie 1-4 z 4
    Tytuł:
    Patent na piosenki. Wincentego Pola śpiew nie tylko z mogiły
    A patent for songs. Wincenty Pols singing - not only from the grave
    Autorzy:
    Łoboz, Małgorzata
    Powiązania:
    https://bibliotekanauki.pl/articles/938386.pdf
    Data publikacji:
    2018
    Wydawca:
    Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie
    Tematy:
    Wincenty Pol
    Pieśni Janusza
    romantic song
    patriotic song
    Opis:
    This paper is an attempt at interpreting Wincenty Pol’s poetry, popularised in the form songs. Like most Romantic writers, the author of Pieśń o ziemi naszej regarded music as a unique dis-cipline of asemantic art, i.e. the one which goes beyond popular means of communication and capturing reality in a much deeper way than linguistic articulation. He believed that music is capable of expressing the essence of irrational and abstract phenomena: idealism, spirituality and transcendence; but – as a Romantic writer – he was also aware that art should, above all, reflect emotions accompanying human existence: love, loneliness, closeness, separation, suffering, joy and tears - as an emotional reaction to being moved. Some of his poems were included in Polish culture thanks to compositions by Fryderyk Chopin (performed, among others, by Delfina Potocka), Ignacy Komorowski, Julian Kapliński, Bolesław Dembiński, Adam Mũnchheimer and other composers. The popularity of those songs is the evidence that both folklore inspirations and accompanying historical circumstances recorded them in the na-tional song-book. They represent a typical model of ‘Romantic thinking’ and prove that the ‘Lied’ genre is treated as a return to the origins of culture, thus being an excellent example of lyrical miniatures, which can be fully interpreted by means of vocal realisation.  
    Źródło:
    Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria; 2018, 18; 3-18
    2081-1853
    Pojawia się w:
    Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Liszt’s experiments with literature
    Autorzy:
    Gamrat, Małgorzata
    Powiązania:
    https://bibliotekanauki.pl/articles/780217.pdf
    Data publikacji:
    2014
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Franz Liszt
    Album d’un voyageur
    Ich liebe dich
    Friedrich Riickert
    poetic music
    musical epic
    piano transcription
    romantic song
    Opis:
    Liszt’s aspiration to create his own musical language and to find new tools of musical expression was unusually strong almost from the very beginning of his artistic career. Not only did the artist gladly spend his time among writers and read numerous texts, but he also turned to the technical and expressive means originating in literature. Among the most important attempts to work out new musical means on the basis of literary devices we may list: a strong emphasis on the sound factor, formal freedom and mixing of genres, composing a musical cycle on the basis of a poetic one (a narrative whole, leitmotifs), appealing to emotions by means of the appropriate selection of an oeuvre’s parameters, in particular articulation and dynamics, poetic quotations preceding the score, transposition of literary genres into the field of music, or synthesis of poetry and music in songs, symphony choruses, and piano transcriptions of songs. Album d’un voyageur is an excellent example of Liszt’s borrowings from literature and a very individual cycle with literary value. It is a story of a voyage across a small part of Europe in search of self-understanding; it is also a history of rebellion and the doubts which come as its consequence, as well as finding peace through contact with nature and through searching for God. Liszt created here an unusual oeuvre that combines poetic images and sounds. In 1884 Liszt declared that the most perfect form of synthesis of poetry and music is transcription of songs. It is here that music interprets poetry with its own means, which are often invented for the purposes of this synthesis. On the basis of the transcription of the song Ich liebe dich from 1860 we may observe how music becomes a language capable of imitating the intonation of the human voice, expressing emotions and, symbolically, relying on a programme, also expressing ideas.
    Źródło:
    Interdisciplinary Studies in Musicology; 2014, 13; 107-126
    1734-2406
    Pojawia się w:
    Interdisciplinary Studies in Musicology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    („Ich grolle nicht” w „Cudzoziemce” Marii Kuncewiczowej. O pieśni z perspektywy interdyscyplinarnej
    Autorzy:
    Sokalska, Małgorzata
    Powiązania:
    https://bibliotekanauki.pl/articles/630877.pdf
    Data publikacji:
    2014
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    SONG
    ROMANTIC LIED
    ROMANTIC LYRIC
    MUSICAL MOTIFS IN PROSE
    PSYCHOLOGICAL NOVEL
    LITERARY-MUSICAL STUDIES
    Opis:
    The paper focuses on the song as a syncretic, literary-musical genre. The appearance of song quotes in a novel (Cudzoziemka by Maria Kuncewiczowa) represents an interesting case, which may nevertheless be examined from purely literary perspective. However, a more profound interdisciplinary reading, which combines the elements of analysis of a piece of prose and a piece of music, enables a better interpretation of this particular motif in the novel.  
    Źródło:
    Studia Europaea Gnesnensia; 2014, 9; 23-42
    2082-5951
    Pojawia się w:
    Studia Europaea Gnesnensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Napłakać się z Chopinem. Stefana Witwickiego śpiew przez łzy
    Crying with Chopin. The sorrowful songs of Stefan Witwicki
    Autorzy:
    Łoboz, Małgorzata
    Powiązania:
    https://bibliotekanauki.pl/articles/2012712.pdf
    Data publikacji:
    2017-06-01
    Wydawca:
    Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
    Tematy:
    Stefan Witwicki
    Fryderyk Chopin
    pieśń
    romantyzm w muzyce
    muzyczność literatury
    song
    the Romantic trend in music
    musicality in literature
    Opis:
    The article focuses on the artistic collaboration of the Romantic poet Stefan Witwicki with Frederic Chopin. Chopin’s compositions called Polish Songs  (op.74) are the most noteworthy example of the correspondence of music and literature in Polish Romanticism. The first seven songs inspired by Witwicki’s lyrics were created between 1828 and 1831 (the composer, however, had never played them during his concerts). The fact that Chopin’s songs combine both the sentimental and the insurgent tradition is essential for the understanding of the compositions. The interpretation of the selected poems of Witwicki shows that one can distinguish at least three types of nostalgia present in his works. They are as follows: nostalgic love, the nostalgic feeling connected with the collapse of the November Uprising and nostalgia caused by parting with family. It was observed that  Chopin and Witwicki easily succumbed to the feeling of nostalgia. Witwicki dedicated his Pastoral Songs to Chopin in 1830 and the composer began to write music for ten of Witwicki’s songs. His first composition was called The Wish. After leaving Warsaw, Chopin continued his work and composed A Fickle Maid, The Messenger, The Warrior, Drinking Song, Witchcraft. Other songs such as Troubled Waters, The Bridesgroom Return, The Ring, and Spring were written in Paris in the years 1838 – 1840. Witwicki’s death in 1847 came as a great shock for Chopin, he often complained about his loneliness. The close relationship of Chopin and Witwicki manifested itself not only in their artistic collaboration but also in their private lives.
    Źródło:
    Prace Filologiczne. Literaturoznawstwo; 2017, 7(10); 363-379
    2084-6045
    2658-2503
    Pojawia się w:
    Prace Filologiczne. Literaturoznawstwo
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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