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A STUDY ON THE IMPACT OF PLASTIC ARTS CLASS UPON THE PLASTIC SKILLS OF PRE-SCHOOLERS

A STUDY ON THE IMPACT OF PLASTIC ARTS CLASS UPON THE PLASTIC SKILLS OF PRE-SCHOOLERS

Author(s): Venera-Mihaela Cojocariu,Noemi NĂSTURAŞ / Language(s): English Issue: 2/2014

Preparing the child for adult life and socio-professional integration involves the complementary achievement of the desiderata of intellectual, socio-moral, technological, psycho-physical education and, in close connection with these, aesthetic education. The major objectives of aesthetic education at the preschool age imply both the creation of the premises for building aesthetic attitude and the identification and enhancement of the children’s creative skills in all the domains of art, from the literary to the musical, plastic, choreographic and theatrical. Through the experimental study, conducted during the 2013-2014 school year, we have tried to highlight a non-formal way of exploiting the plastic skills of 5-6 years old preschoolers (the Plastic Arts class) as well as its widely formative impact. Besides the results presented in the study, there was also found a series of collateral effects such as the enhancement of artistic sensitivity, improving relationships with classmates, the pre-school teacher and parents, relevant contributions to the socio-moral and intellectual formation.

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Pentatony as a vehicle of identity in Hungarian music
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Pentatony as a vehicle of identity in Hungarian music

Author(s): Katalin Paksa / Language(s): English Issue: 1/2010

Owing to its strong emotional effect, music plays a great role in experiencing and expressing self-identity. In Hungary, 19th century compilers of folksong collections consciously professed the national value of their work, while they were embarrassed by the tonality of genuine folksongs, having an aversion to pentatonic tunes. In the early 20th century, it was exactly this tonal world that attracted Bartók and Kodály and helped them to develop their own compositional style and create sovereign Hungarian music in opposition to German romanticism. Pentatony recognized in folk music aroused their interest in researching eastern, prehistoric connections and also inspired them to carry on the stylistic interpretation of the Hungarian folk music stock. Kodály based his music pedagogical conception on the acquisition of the musical mother tongue, fi rst of all pentatonic folksongs, which he meant as a remedy against the identity crisis of the society. The role of pentatony as a vehicle of identity has been verifi ed by new achievements of ethnomusicology which has explored the importance of the fi ve-tone scale in the history of Hungarian folk music more thoroughly.

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From a Musical Humanist’s Diaries. The Schreibkalenders of Elias Maior (1588–1669) as a Source for the History of Wrocław Musical Culture

From a Musical Humanist’s Diaries. The Schreibkalenders of Elias Maior (1588–1669) as a Source for the History of Wrocław Musical Culture

Author(s): Tomasz Jeż / Language(s): English Issue: 2/2017

The object of this article is the contents of the notes of Elias Maior, a rector of St. Elizabeth’s gymnasium in Wrocław, made in the consecutive 1640–1669 Schreibkalenders. They constitute a rich source documenting everyday life of Wrocław’s humanistic elite. Of particular interest, among the rector’s accounts, are numerous references to music performed, both in public and in private domain.

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Етномистецькі ренесанси моди ХХ століття

Author(s): Olga Shandrenko / Language(s): Ukrainian Issue: 1/2009

Fashion owns extraordinarily important signs: aesthetically beautiful, artistic or measurings of artistic creation. Horizon of folk culture is difficult reality, which contains folk sources as deep principles of culture of that people which is the subject of culture of creation. Folk culture ¬ it depth «vis-a-vis» which culture always speak to, designers, artists-designers. Presentation of virtual reality of fashion in a national context is an address to the national sources, to deep metaphysical principles of creation. Folk art renaissance in the fashion of ХХ age carried out as sporadic explosions, those created by separate artists or culture, of culture or were set party organs in totalitarian societies.

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Die ungarische Tanzhaus-Bewegung. Ein Beispiel für Volkskultur in der Moderne
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Die ungarische Tanzhaus-Bewegung. Ein Beispiel für Volkskultur in der Moderne

Author(s): Julia Hell / Language(s): German Issue: 2/2009

A typical dance house evening is characterized by an exuberant mood among young people, a sense of community and active participation in the reproduction of folk music and folk dance. Young intellectuals, in particular, were dissatisfied with the state-directed "socialist folklore" in their own way with Hungarian folk culture. Since the first event in 1973, the Hungarian dance house has evolved from a partially politically motivated movement to a dance scene, which is today firmly established in the Hungarian entertainment culture. In modernity characterized by progressive thinking and fast-moving modernity, Tanzhaus enthusiasts consciously draw on the goods of Hungarian folk culture. Thus, a novel, experimental exploration of traditional music and the corresponding dances is promoted. The Hungarian dance house as a retro-culture unites the traditional with the new and thus represents a form of folk culture care adapted to modern requirements. Thus, the special role of the Tanzhaus movement and of today's dance scene for popular culture in the modern age is that at the events Folk culture is not something past or perishing, but something present.

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Historic moments of Hungarian folk dance: From the Gyöngyösbokréta to the dance house movement

Author(s): László Diószegi / Language(s): English Issue: 1-2/2008

At the outset of the dance house movement, Sándor Csoóri, a prominent figure of contemporary Hungarian poetry, wrote that there were two outstanding events in the history of Hungarian folk dance. The first was when it got to the stage and the second when it got off the stage. This article expands on this poetically concise but pertinent thought, offers a short analyses of the defining periods of Hungarian folk dance, and gives some discussion of its main trends and representatives.

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The Hungarian state folk ensemble as a dynamic institution in Hungarian ethnography

Author(s): Lisa Overholser / Language(s): English Issue: 1-2/2008

Every year thousands of individuals come to know Hungarian folk culture through staged performance. From children’s ensembles to amateur ensembles to the most professionally organized groups, audiences in Hungary are treated to a wide variety of creatively reinterpreted Hungarian folk dance and folk music traditions. Staged folk dance has become a unique and powerful mode of cultural expression. This article attempts to illuminate staged folk dance’s potential for commentary, focusing on the choreographies and work of the Hungarian State Folk Ensemble (Magyar Állami Népi Együttes, or MÁNE as it is commonly referred to). Established in 1951, it is one of the oldest folk ensembles on the European continent and is the only professional ensemble in Hungary that is referenced as a State ensemble. Much more than a static or isolated organization that provides a pleasant evening’s entertainment, the Hungarian State Folk Ensemble is integrally woven into the fabric of social life, qualitatively shaping and contributing to an ongoing socio-cultural dialogue. It accomplishes this through its dependence on source folk genres presented in the amplified artistic frame of the stage.

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The Hungarian Folk Diva: Artist, advocate, businesswoman

Author(s): Barbara Rose Lange / Language(s): English Issue: 1-2/2008

In the 1980s, a single female performer, Márta Sebestyén, defined Hungarian folk singing. Sebestyén’s voice, with the heavy ornamentation and chest timbre of the Hungarian-Transylvanian sound, became popular worldwide. Even as Sebestyén’s voice was popularized via electronic dance mixes and film soundtracks, in live performances and interviews she emphasized the ethnic minority Hungarians in Transylvania who served as her musical sources. The 21st century has seen the ascent of several young female singers in Hungary. They have taken the advocate role in a different direction, dramatizing the experiences of other underprivileged groups and of women. They face additional challenges: currently in Hungary, every sphere of artistic life, including folk music, must demonstrate economic independence. The young folk divas front their own groups and develop high concepts for their albums and performances. It remains to be seen whether their forthrightness will gain the same success as the modest image of the classic singer of the Hungarian folk revival style.

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Performing the old world, embracing the new: Festivalization, the carnivalesque, and the creation and maintenance of community in North American Hungarian folk music and dance camps

Author(s): Lynn Hooker / Language(s): English Issue: 1-2/2008

Every summer devotees of Hungarian folk music and dance attend camps in idyllic rural settings in Hungary, Romania, and North America where they study “authentic” repertoire with expert instructors. At such camps, traditional material is elevated on the altar of authenticity through constant comparison to the “real thing.” These comparisons underline the fact that North American camps are far away from the “homeland.” In other ways, however, these North American camps are their own homeland: they are a powerful nexus connecting people from different regions, creating what some frequent participants call an “instant community.” The unique character of these events is clearest at after-parties, when the “authentic” repertoire of scheduled programs is often displaced by popular forms from Hungary and Romania as well as genres from beyond the region. As the days and nights wear on, the atmosphere transforms from sacred rite to carnival. Drawing on fieldwork at camps in Hungary, Romania, Pennsylvania, Maryland, Quebec, and Michigan, I discuss how camps organizers and participants canonize “authentic” folk repertoire through conscious festivalization strategies. I then examine how the carnivalesque atmosphere of these camps both undermines purified concepts of “authenticity” and creates a sense of connection unique to North American camps.

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„In der Gestalt von Bettlern wandelt Christus selbst mitten unter uns herum“ - Die sakrale Begründung des Bettelberufs in der christlichen Religion

Author(s): György Orosz / Language(s): German Issue: 2/2008

Singing mendicant beggars (kaliki perechozie), who, for the most part, were blind or crippled and could be found everywhere in Russia before the 1917 Bolshevik Revolution, were only later, i.e. secondary, carriers of Russian religious songs (duchovnye stichi). The primary composers and performers of Eastern-Slavic religious folk songs were mediators between the Orthodox Christian Church and the people. Mendicant pilgrim beggars in Old Russia regarded themselves as those among the few selected by God. They practised their vocation of begging alms with approval from Jesus Christ. They “were baptized into Christ and clothed themselves with Christ”. From this, it follows that treating beggars to a meal or giving them alms was the same as treating Christ and giving the alms to him. The holy beggars of Old Russia were pilgrims: mendicant icons of Christ. With their life, they were meant to encourage others to purify their own icon-like quality received from God, and thus become similar to Christ.

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Hogyan kap értelmet a zene a színházban: ábécéskönyv kezdőknek
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Hogyan kap értelmet a zene a színházban: ábécéskönyv kezdőknek

Author(s): Joseph Cermatori / Language(s): Hungarian Issue: 2/2017

In his essay How to Make Sense of Music in the Theatre: a Primer for Beginners (translated by Barzsi Szonja) Joseph Cermatori proposes at first the principle of music as gesture for the interpretation of audio materials, then, by enumerating basic guidelines and questions, he explains how it is worth listening to and interpreting the music of theatre performances. The essay can function as a perfect aid for theatre professionals and students of theatre who are not so knowledgeable about (classical) music.

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HUNGARIAN ART AND MUSIC IN CANADA

Author(s): John Miska / Language(s): English Issue: 2/2005

Hungarian-Canadian artists and musicians have shown distinguished accomplishments in the various disciplines. In the arts they have been honored amongst the nation’s very best in painting, sculpting, engraving, printmaking, etching, as well as in industrial graphics, photography, drawing and, above all, coin design. My bibliography, Canadian Studies on Hungarians (2nd vol., 1995) includes 87 citations and biographical summaries pertaining to 23 artists practicing in Canada on a professional basis. The reference book entitled Professional Hungarian Artists Outside Hungary, by Ernõ Gyimesy Kásás and László Könnyû (1977), introduces information on 48 Hungarian-Canadian artists. My own selection was based on the availability of literature on each individual artist published in the English and French languages, including the monumental Arts in Canada: A Union List of Artists’ Files / Artists au Canada…(1988), the two-volume Art and Architecture in Canada (1991), and the seven-volume A Dictionary of Canadian Artists.

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COMPTINES DE DENTELLIÈRES BRUGEOISES (1730–1850): ENTRE TRAVAIL, ÉCOLE ET JEU, COLÈRE ET PRIÈRE

Author(s): Isabelle Peere / Language(s): French Issue: 1-2/2002

The present contribution pursues our investigation of Lootens and Feys’s Chants populaires flamands, a published collection of Flemish popular songs transcribed in texts and music from the lips of a middle-class lady born in Bruges in 1795. Besides 161 „chants populaires“ of all categories (religious, mystical, tragic, comic, etc.), this corpus includes a minor portion of texts, particularly fragmented and without music, presented as „poésies populaires diverses“. These are lacemakers’ worksongs, learned in the lady’s early years as a pupil at one of the workshop-schools, then common throughout Flanders. Besides attesting the collectors and/or the editor’s modern folklore concept, the presence of these songs in the collection – the earliest sources for tellingen in Flemish tradition – allows a rare understanding of their meanings as a specific song category as well as of their interrelationships with the song tradition in local culture. Pervading their diversity of form and character, these 21 pieces demonstrate a dynamic network of meanings and functions in relation to the technical as well as socio-economic aspects of acemaking. These insider songs of the lacemakers of Bruges demonstrate how poetic rhythm and expression transformed the tedious reality of their work through play (aural, verbal and dramatic) providing for mental and spiritual development as well as for social and emotional re-creation on the job.

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Rock'n'roll - źródło młodości?

Rock'n'roll - źródło młodości?

Author(s): Agata Picheń / Language(s): Polish Issue: 26/2017

Main goal of the article is attempt to find the fountain of youth?. The author looks for non-obvious examples, mainly referring to rock'n'roll and lifestyle associated with this cultural phenomenon. The author discusses the way of life presented by musicians and the opinions of the geriatrics. The main argument of the article is that the source of youth will not be in a healthy diet or hygienic way of life. We need to find meaning in our actions, maintaining social bonds, fostering rebellion and indignation, sometimes doing something selfishly and enjoying life.

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Ikonografia muzyczna „Zwiastowania z Jednorożcem” na podstawie tryptyku erfurckiego

Ikonografia muzyczna „Zwiastowania z Jednorożcem” na podstawie tryptyku erfurckiego

Author(s): Norbert Mojżyn / Language(s): Polish Issue: 1/2008

W okresie późnego gotyku w malarstwie ołtarzowym oraz miniatorstwie w Europie Środkowej (Niemcy, Czechy, Śląsk) popularność zdobył temat Zwiastowania z motywami Polowania na Jednorożca. Gotycki tryptyk katedry erfurckiej (Turyngia) ze sceną Zwiastowania z Jednorożcem w kwaterze głównej (ok. 1420) anonimowego malarza górnoniemieckiego jest tego przykładem nawiązując przy tym do bogatej symboliki Ogrodu Zamknionego (Hortus conclusus).

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Музыкальный интерес в структуре эстетического сознания детей дошкольного возраста

Музыкальный интерес в структуре эстетического сознания детей дошкольного возраста

Author(s): Ekaterina Boyakova / Language(s): Russian Issue: 3/2015

The article deals the educational problems of the interest in music in early childhood. The structure of children’s interest includes the emotional and intellectual components. Emotional component in early childhood is a leader. Interest in music is part of the musical and aesthetic consciousness, influences on music lessons and aesthetic development. The game is the best method of interest’s development. The greatest effect is achieved in games based on synesthesia.

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Językowa kreacja anioła – dobrego ducha – w tekstach współczesnych polskich piosenek świeckich (na materiale z lat 1985–2012)

Językowa kreacja anioła – dobrego ducha – w tekstach współczesnych polskich piosenek świeckich (na materiale z lat 1985–2012)

Author(s): Joanna Ścibek / Language(s): Polish Issue: 13/2013

The article is devoted to the linguistic image of an angel – a good spirit – depicted in the lyrics of contemporary secular Polish songs. The analyzed research material included 70 lyrics of songs released in the period from 1985 to 2012. The songs represent different music styles: from pop and folk music to blues and sung poetry to hip-hop, various genres of rock and so-called gothic metal. The analysis of the linguistic image of those supernatural beings involved the following categories: 1) appearance, 2) location, 3) features, 4) functions, 5) emotions and behavior. Special attention was paid to the figure of a guardian angel and its unusual variant – a winged protector who no longer fulfill their duties, as well as ‘humanized’ angels, resembling humans in their physical and behavioral characteristics. It was stated that the figure of an angel in the analyzed lyrics is characterized by extensive functionality. The linguistic portrait of that spiritual being is an interesting combination of concepts present in the collective consciousness (to some extent originating in the Bible and angelic iconography) and individual ideas developed by the songwriters.

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Imaginacija i moderna audiovizualna forma

Imaginacija i moderna audiovizualna forma

Author(s): Ana Đurković,Sunčica Jergović / Language(s): Croatian Issue: 11/2017

Through three episodes Archetype of modern fairy tales, the mysterious world of fantasy and reality,tell as a serious story about archetypes, symbols, knowledge of good and evil.Rts editor: Natasa NeskovicWritten and directed by: Suncica JergovicEditing: Ana DjurkovicHow to illuminate concept of phantasy and affective factors in our imagination a priori something so imaginary, by their genetic provenance, such as a movie scene, or digital picture and sound.You can not always avoid the association to a valid phrase of arnhajm’s truth: mass age -massage: the medium is the message.In elementary and tersely definition of „the shot“ from Plaževsky film language there is term for „le cadre“, however these are selected bits of reality, immanent frame that contains the individual act of images divided of the continent’s view of reality, handling the specific code of semantic value, when its’s imaginative, of course, by aesthetic categories and evaluations.In this type of positive simulacrum, it can not be better segment for the current thinking about the limits of imagination and truth in contemporary media, and contemporary global environment, than the original audio-visual forms through whose prism we search throught a fairy tale in a same time myth and imagination as well as exploring its overall impact on the personality.Everything can be a fairy tale, even false, amoral platitudes politicized by political lobbies in a contemporary existing power sistems, but this is no fairy tale authenticity in it, or creative act, nor humanity and artificial and historical entity of a man that is always present in the ethical effort of a true artist.So, we are investigating the conditions of creative images, modalities of audiovisual media in film language,and it is the archetype of the fairy tale, which, with its psychodynamics still exists and which is removed when the modern man is tired of lies and simulations during his global existence. Effort of an artistic activity changes the boundaries of true and open portals between the different dimensions and shapes reality.The archetype of the modern fairy tale is perhaps the look on new forms of imagination, which can be present in a range of digital media world of modern man, and it can run it’s positive, imaginative, archetypal, creative psyche energy and preserve it from falsehood, consecrated the process of consumption of media content.Such an authentic experiment, we wanted to present in this form, hopefully clarify this concept and operation of the same in the collective unconscious of us all, and consumers - viewers as and creative team that has implemented this project.The archetype of the modern fairy tale performances media is sublime and modern, although archaic particles lifted our affective tone.

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DISA KARAKTERISTIKA TË VALLEVE TË KARADAKUT
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DISA KARAKTERISTIKA TË VALLEVE TË KARADAKUT

Author(s): Visar Munishi,Dilaver Kryeziu / Language(s): Albanian Issue: 47/2017

Despite indications of the disappearance of some of the folkloric values, that were inseparable part of the cultural and artistic life of our people, the same thing is not true of Karadak's folk dances. This province which is known for the diversity of popular dance remains one of the richest folk dance areas, inherited from generation to generation. During field research, developed in various local communities that make up this part, we have come to conclude that dancing as artistic activity satisfies the needs of society, for cultural and artistic consumption at the same time. This work, co-authored will bring the analysis of five men's dances of this region: "Deli Agushi," Ibrahim Hoxha", "Mahrama", "Gajdja "and "Gjilanka ". The author of analytical part on the dances is the ethno - coreologist Dilaver Kryeziu, while the author of the music analysis is the ethno - musicologist Visar Munishi. These dances, an integral part of a cycle of dances interpreted by the men of this province, will be analyzed from two angles, divided into two parts, from the ethno-coreological and ethno - musicological plan.

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Wokół idei ekologii akustycznej. Koncepcje i praktyki

Wokół idei ekologii akustycznej. Koncepcje i praktyki

Author(s): Robert Losiak / Language(s): Polish Issue: 17/2017

The idea of acoustic ecology emerged in the sixties of the twentieth century with the work of Raymond Murray Schafer and his school of soundscape studies. The starting point was the concern for the sound environment resulting from the sense of threat from progressive civilization changes and the increase of noise. In his project work, Schafer gave emphasis to education as well as to the development of ecological acoustic design. What was another important element of the program was the research activity aimed at, among others, documenting and analysing contemporary landscapes. The ecological importance of this research arises from increasing social awareness about the cultural value of the sound environment.

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