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Wyszukujesz frazę "sound aesthetics" wg kryterium: Temat


Wyświetlanie 1-4 z 4
Tytuł:
Dyspozycja organów Josepha Goebla w Archikatedrze Oliwskiej jako odzwierciedlenie XX-wiecznych nurtów w europejskiej muzyce organowej
Disposition of Joseph Goebel’s organs in Gdańsk Oliwa Archcathedral as a reflection of the 20th century currents in European organ music
Autorzy:
Kukla, Jerzy
Powiązania:
https://bibliotekanauki.pl/articles/521950.pdf
Data publikacji:
2017
Wydawca:
Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
Tematy:
the organ
the Oliwa organ
Joseph Goebel
Johann Wulff
Orgelbewegung
sound aesthetics
Opis:
The subject of this article is the sound aesthetics of the great organs in the Holy Trinity and Blessed Virgin Mary Archcathedral in Gdańsk-Oliwa, reconstructed in 1935 by Joseph Goebel, a Gdańsk organ builder. This was the most fundamental reconstruction of the famous instrument built in 1763–1788 by Johann Wilhelm Wulff and completed in 1790–1793 by Friedrich Rudolf Dalitz. Initially, it had 83 stops, 3 manuals and a pedal, and until 1855–1856, when Eberhard Fried-rich Walcker and Henry Willis built the 100-stop organs in the cathedral in Ulm and the cathedral in Liverpool, respectively, this was the biggest organ instrument in Europe. Archived expert opinions prove that the instrument was faulty by design whilst its size, in-adequate for the space behind the design, not only made it impossible for the mechanics to work properly, but significantly hindered the adjustment of the mechanism and tuning. In 1967 in his book Theorie und Praxis des Orgelpfeifenklanges: Intonieren und Stimmen Joseph Goebel described the normative foundations laid when developing the plans of the Oliwa organ reconstruction. This was to be an instrument harking back to its Wulff’s prototype, however taking into consideration the contemporary trends in organ building. Goebel was closer to the spirit of Albert Schweitzer than Christian Mahrenholz. Both in his earlier instrument in St. Cross Church in Poznań and in his biggest work — the great organ of the Oliwa Archcathedral — he strived for a synthesis of the most characteristic sound qualities of the instruments of each era and aesthetic circle to enable the performance of a wide spectrum of organ music with as little sound compromise as possible, which distinguished him from other organ builders of the German circle in the first half of the 20th century who followed exclusively Baroque standards.
Źródło:
Aspekty Muzyki; 2017, 7; 257-273
2082-6044
Pojawia się w:
Aspekty Muzyki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Ontoestetyka dźwięku i kultura słuchania. Dyskurs metateoretyczny sound studies
Onto-aesthetics of Sound and Auditory Culture. Metatheoretical Discourse in Sound Studies
Autorzy:
Lniak, Agnieszka
Powiązania:
https://bibliotekanauki.pl/articles/1068813.pdf
Data publikacji:
2021-03-11
Wydawca:
Łódzkie Towarzystwo Naukowe
Tematy:
sound studies
onto-aesthetics
auditory culture
sound culture studies
sound machineries
Opis:
The article presents a critical approach to the sound studies debate, concerning its metatheoretical aspects. The point of departure is a paper by Brian Kane that opens the first issue of “Sound Studies: An Interdisciplinary Journal”. Kane criticizes the ontoaesthetic perspective within the discipline. My aim is to introduce sound studies both as an interdisciplinary and transdisciplinary field of humanities, dominated by two — instead of one referred by Kane — research strategies: audio-antropological and onto-aesthetical. By focusing on the latter, where the works by Christoph Cox and Salomé Voegelin are situated, I want to propose a different, affective-materialistic approach to sound studies, based not on the opposition between signification and sound/vibration, but on the relationship between the Deleuzoguattarian machinic concepts and the musical avant-garde. Referring to excerpts from articles and manifestos by Luigi Russolo, Edgar Varèse, Pierre Schaeffer and Pauline Oliveros, I show that the machinic sound imagination once accompanied the historical avantgarde and neo-avant-garde movements. It is the key to break with the anti-post-structural approach in sound studies in favor of a more relational perspective. This perspective, within the onesthetic paradigm, would allow for the interpretation of sound machinery as elements of the machine system (aesthetic, social, cultural) in which sound operates.
Źródło:
Zagadnienia Rodzajów Literackich; 2020, 63, 4; 27-39
0084-4446
Pojawia się w:
Zagadnienia Rodzajów Literackich
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Przemiany języka muzyki – hałas jako norma estetyczna XX wieku
Autorzy:
Kopčáková, Slávka
Powiązania:
https://bibliotekanauki.pl/articles/2131558.pdf
Data publikacji:
2015
Wydawca:
Instytut Studiów Międzynarodowych i Edukacji Humanum
Tematy:
Audial culture
Musical culture
Aesthetics of Music
Tone
Sound
Noise and Silence
Opis:
In the course of 20th century, aestheticians of music considered not only increasing difference between art music and popular music but also the opposite processes. The languages of both spheres started to be overlapping so much that to tag whatever musical expression had lost its importance. The typical feature of some contemporary musical expressions or recent avant-garde works of art is its noise attribute. We mean tolerance for presence of noise sound includ-ing high intensity noise. In the contribution we consider the changes of musical phenomena, simultaneously respecting the fact that in the sound democracy” of the 20th century almost every sound is able to be employed. The purpose is to extend the potential aesthetic qualities of music.
Źródło:
Humanum. Międzynarodowe Studia Społeczno-Humanistyczne; 2015, 2(17); 53-62
1898-8431
Pojawia się w:
Humanum. Międzynarodowe Studia Społeczno-Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Etiudy Andrzeja Brzozowskiego
Andrzej Brzozowski’s Film Etudes
Autorzy:
Hendrykowski, Marek
Powiązania:
https://bibliotekanauki.pl/articles/919841.pdf
Data publikacji:
2011-01-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
excersise
student film
student étude
image
sound
composition
music
film direction
cinematography
film style
film poetics
film art
documentary
fiction
35 mm tape
experiment
laboratory work
aesthetics
artistic values
the art of the short
Opis:
 Marek Hendrykowski presents in his study the earliest fiction and documentary films made by Andrzej Brzozowski (1932-2005), excellent Polish filmmaker, 1971-2005 professor of the famous Film School in Łódź (PWSFTviT). “Sunflowers” (1953), “Escape” (1954/55), “Legend” (1957), “Jazz Talks” (1957) – these short films, preserved in the collection of Film School Archive, are almost unknown for wider audience in Poland and abroad. In the second part of his study Hendrykowski gives also an accessible overview of the historical evolution of the filmmaker through the close examination of another two outstanding short films made by him: By the Railway Track (1963) and Medallions (1966). Last two were adaptations of short stories written in 1945 by Zofia Nałkowska, a masterpiece of antinazi world lterature. The article deals with the most important values and close-reading thematic and stylistic areas of Brzozowski’s early works: those developing in the 1950’s and early 1960’s but having deep impact in the poetics of academic short film in Poland, whose form and course they have fundamentally redirected.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2011, 9, 17-18; 137-158
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
    Wyświetlanie 1-4 z 4

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