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Muzička pedagogija u Bihaću u predškolskim ustanovama – analiza i preporuka odgajateljima

Muzička pedagogija u Bihaću u predškolskim ustanovama – analiza i preporuka odgajateljima

Author(s): Jasmin Hošić / Language(s): Bosnian Issue: 1/2011

Music has always been an integral part of education. It affects the general and spiritual growth of a man as personality and as initiator of all changes in the society. The music educators direct the efforts of those who spend some time learning and acquiring knowledge: as lovers of music, reproductive artists, music educators and music makers. Music educators are likely to foster, develop and enrich the spiritual growth of their students and the community in which they operate. In Bihac, as the center of this part of Bosnia and Herzegovina, we record the earliest beginnings of preschool education on the basis of archival data of the parish office and the chronicles of the nuns in Bihac. In 1893, the Kolster building owned by Catholic church was built in Bihac, where the nuns, in addition to other kinds of work, organized the first kindergarten for preschool children who began to receive a regular music training. The organizer of the first kindergarten was a nun Ida Keller, who played the piano. The kindergarten was led by Ms. Kaller for ten years and in 1903 she was replaced by a nun Grace Futterer. Until the mid-fifties the Catholic Church was the only kindergarten for preschool children where the music was one of the most important subjects. The education of the youngest plays an important role in the development of music pedagogy, therefore, the development of music pedagogy primarily begins in the kindergarten and nursery school, where the children are, for the first time, given an opportunity to develop musical abilities.

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Piszczałki organowe i strój organów według traktatu Arnolta Schlic-ka „Spiegel der Orgelmacher und Organisten” z 1511 roku

Piszczałki organowe i strój organów według traktatu Arnolta Schlic-ka „Spiegel der Orgelmacher und Organisten” z 1511 roku

Author(s): Piotr Towarek / Language(s): Polish Issue: 13/2018

Analysis of Spiegel der Orgelmacher und Organisten (1511) has proven that in Schlick’s time organ pipes were most often constructed of tin, lead, an alloy of both of wood. A. Schlick, confirms also that attempts had been made to create pipes out of paper, cloth (silk) and glass. He refers to the size and voicing of the pipes. Regarding the scaling Schlick sees the following relation: the larger the diameter of the pipes, the shorter the corpus (especially in comparison with a narrower corpus of a pipe sounding at the same pitch). He also points that narrow-scaled pipes hat a sweeter tone (süsser) that wider pipes. He also makes a proposal of to dividing the octave into smaller intervals (different than in the Pythagorean system). Schlick’s system is in the modern theory called the meantone temperament (Mitteltönigkeit).

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Informacje o organach w inwentarzach diecezji przemyskiej sporządzonych na podstawie instrukcji z 1933 roku

Informacje o organach w inwentarzach diecezji przemyskiej sporządzonych na podstawie instrukcji z 1933 roku

Author(s): Andrzej Widak / Language(s): Polish Issue: 13/2018

Parish inventories are an important source of information about the organs. They were written during the visit of bishops or deans as well as made for clear command of diocesan supervisor. In 1927, 1928, „przemyskie 3 instrukcje” 1933 were published in the diocese of Przemyśl. The instruction of 1933 concerned the preparation of inventories. In the Archdiocese Archive in Przemyśl there are 58 inventories written in the years 1933-1945 according to this instruction. These instructions were described in this article and then on the basis of survived inventories, information about the organs was analysed. The information about the organ are in 49 inventories. Information about 50 instruments was obtained and they relate to their location, outward appearance, builders, date of building, size of the instruments, state of surviving and their value. The annexe contains the source extracts concerning the organs. Collected information, apart from details about the instruments, is an evidence of the way the organs were described their outward appearance, size, mechanisms or the state of surviving.

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Sztuka „akompaniamentu” klawesynowego w XVIII-wiecznej Francji Zasady realizacji basse continuë według anonimowego rękopisu Traité d’accompagnement du clavecin et abrégé de composition (c. 1700)

Sztuka „akompaniamentu” klawesynowego w XVIII-wiecznej Francji Zasady realizacji basse continuë według anonimowego rękopisu Traité d’accompagnement du clavecin et abrégé de composition (c. 1700)

Author(s): Miłosz Aleksandrowicz / Language(s): Polish Issue: 13/2018

This article concerns the performance practice of harpsichord-playing in 18th century France. The starting-point for reflection is anonymous manuscript ‘Traité d’accompagnement du clavecin et abrégé de composition’ (ca.1700) written in the times when the French harpsichordists and organists begin to open up to the style of keyboard playing developed in 17th century Italy. In this manuscript we can find the explanation of the system of abbreviation utilized to mark chordal relationships and the remarks on harpsichord ‘accompaniment’, ie the rules of playing a multi-voice harpsichord part based on the marks written above the bass line (the so-called ‘basse continuë’).

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Franciszkanizm w twórczości kompozytorskiej Charles’a Tourne-mire’a

Franciszkanizm w twórczości kompozytorskiej Charles’a Tourne-mire’a

Author(s): Bogusław Raba / Language(s): Polish Issue: 13/2018

On the basis of source research on one of the most important, still undiscovered composers of French music modernism – Charles Tournemire, the author describes the Franciscan topos in his work. In the general perspective of the fascination with the figure of the Saint from Assisi, intensified especially in the art and music of the turn of the 19th and 20th centuries, Tournemire’s Franciscanism appears as one of the main inspirations in the art and worldview of the author of L’orgue mystique and his great successor – Olivier Messiaen. The article is a part of a research project analyzing the relationship between ideological inspirations, the semantic layer and aesthetics of Tournemire’s works, as a contribution to first monograph of his music.

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Właściwości formalne sonat Debussy’ego w kontekście idei powrotu do tradycji muzyki francuskiej

Właściwości formalne sonat Debussy’ego w kontekście idei powrotu do tradycji muzyki francuskiej

Author(s): Agnieszka Schulz-Brzyska / Language(s): Polish Issue: 13/2018

The article concerns the late works by Claude Debussy – three of Six sonates pour instruments divers (the only three he had finished before his death). The analysis, particularly analysis of their form, is the main topic of this paper. The author considers the form of the sonatas in the context of the political and sociological tendency to return to the “real” French music. This idea, very popular in France in the late 19th and at the beginning of the 20th century, could have had some impact on Debussy’s last works. The aim of this paper is to describe the influence of these tendencies on the form of Debussy’s sonatas and to prove that they imposed the change of his creative attitude.

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Wydatki zakrystii krakowskiego kościoła Bożego Ciała (I poł. XVII w.) jako świadectwo kultury muzycznej Kanoników Regularnych Laterańskich

Wydatki zakrystii krakowskiego kościoła Bożego Ciała (I poł. XVII w.) jako świadectwo kultury muzycznej Kanoników Regularnych Laterańskich

Author(s): Czesław Grajewski / Language(s): Polish Issue: 13/2018

In the archives of the Corpus Christi Church in Kraków there is a ledger (Expensa pecuniae) that was maintained by the sacristans during the years 1616-1676. The author or this paper analyzed the entries which reflect music-related expenses. The monks paid the singers or instrumentalists for enhancing the liturgy. The first part of the ledger refers to the period between 1616 and 1652. The Swedish invasion interrupted the process of maintaining the ledger. The document proves a high-level music culture cultivated in the monastery in Kraków.

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INFLUENCE OF THE ANIME CULTURE UPON THE FILM INDUSTRY

INFLUENCE OF THE ANIME CULTURE UPON THE FILM INDUSTRY

Author(s): Adrian Nicolae Cazacu / Language(s): Romanian Issue: 10/2017

Since the '80s, the anime culture begins to have strong roots in the United States. Since the discovery of the profitability of its localization in the '70s, anime has gained increasingly more popularity among the American public. In this context, it is hardly surprising that the anime began to exert a strong influence on the film industry, especially the Hollywood. This was done gradually since the mid 80s, reaching currently close to its peak. Anime influence on film productions is achieved in two ways: as a source of inspiration, or as direct film adaptations after animes. Now we can talk about a symbiosis of two types of collaborations between anime and the film industry, one direct and one indirect. In the present study, we will see how the two industries reinforce each other and progress together.

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U čeljustima afektivne ambivalencije

U čeljustima afektivne ambivalencije

Author(s): Venita Popović / Language(s): Croatian Issue: 21/2015

Odmah na početku valjalo bi se kloniti simplificirajućeg šegačenja s Derridaovom dosjetkom pa je olako odbaciti, baš u času kad zanijekani subjekti, muškarac i žena, promovirani u efekte, namjerno i/li nenadno zakažu, pa ih nominirati za defekte. Tomu iskušenju su odoljele i autorice Eleni Varikas, Ewelyne Pisier i Françoise Colin u minuciozno preglednoj kritičkoj antologiji filozofskih nepravdi, kako mizoginih tako i ginofobnih, pod simptomatičnim nazivom Žene od Platona do Derride, razobličujući prve rodno-spolne metafore u opusu francuskog mislioca. Pogotovo to da svako može reći „ja sam žena” jer navodno „žensko načelo ne pripada niti muškarcima niti ženama,” već, naprosto, kako stoji u Derridaovom ogledu „Dvostruko mjesto,” unatoč diskutabilnosti, „prethodi i prevazilazi tu opoziciju”, kao i sve pripadajuće binarne konflikte i antagonizme koji inače tako lako ovladavaju i jednim i drugim spolom.

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Velik kao Ritz

Velik kao Ritz

Author(s): Adam Gopnik / Language(s): Bosnian Issue: 21/2015

F. Scott Fitzgerald jednom je napisao kako u američkim životima ne postoji drugi čin – što možda samo dokazuje da nema drugog čina u američkim aforizmima. Rečenicu su toliko često ponavljali da je izgubila svoju implicitnu poantu, koja nije bila u tome da se u ovoj zemlji stvari okončaju ubrzo nakon početka, nego da nema prostora za suptilan središnji razvoj teme prije no što uslijedi katastrofa. U klasičnoj pozorišnoj strukturi, što je Fitzgerald znao, u drugom činu se odvija spori dio radnje.

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Metafizički palimpsest

Metafizički palimpsest

Author(s): Ivana Seletković / Language(s): Croatian Issue: 22/2015

U Mannovoj Smrti u Veneciji pratimo glavnog lika, književnika Aschenbacha. U Viscontijevoj filmskoj verziji gledamo glazbenika kroz put krajnosti i zanosa retrospekcije i introspekcije (!). I, ponovo je tu zadivljenost, ljepota, prolaznost i smrtnost.

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The Gypsy Baron (1885) as a musical monument remembering Maria Theresa? Facts, issues, controversies

The Gypsy Baron (1885) as a musical monument remembering Maria Theresa? Facts, issues, controversies

Author(s): Anna G. Piotrowska / Language(s): English Issue: 55/2018

The paper shows how Maria Theresa’s legacy was remembered and highlighted already in the late 19th century within the realm of musical culture. Focusing on the genre of operetta and taking The Gypsy Baron (1885) by Johann Strauss II (1825-1899) as an example the paper touches upon the issues of propaganda and collective memory as conjured up by musical theatre. Considered ‘a musical monument to the Austro-Hungarian Empire’ The Gypsy Baron (originally Der Zigeunerbaron) ultimately reveals the position the “King” Maria Theresia cherished in the 19th century Empire, being at the same time a fine example of the legacy of her politics. The pillars of the operetta’s plot are wars fought by Austrians: the Austro–Turkish War and the War of the Austrian Succession (1740-1748). The operetta is clearly the work inscribed into the specific political situation of the late 19th century and constituted a musical response to concrete needs stimulated by civil attitudes. Hence the situation depicted in The Gypsy Baron reflects the multi-ethnic diversity of Habsburg Empire and the operetta’s overall message is to glorify the cooperation between various nations as (supposedly) facilitated under Maria Theresa’s reign.

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Odnos tradicijske glazbe i zakona o autorskom pravu u Hrvatskoj

Odnos tradicijske glazbe i zakona o autorskom pravu u Hrvatskoj

Author(s): Jelka Vukobratović / Language(s): Croatian Issue: 33/2010

The relationship between traditional music as a collective notion and copyright, which implies the property of an individual, an author, is a global topic. In Croatia this relationship reflects the issues similar to those around the world, as well as some specificities. Regardless of some problematic elements of the Copyright and Related Rights Law, which includes the renditions of traditional music but also the original folklore performances, as well as the activities of ZAMP (Croatian Composers’ Society, Collecting Society) as the principal organization for the implementation of these rights in the area of music, it has become evident that those who profit most from the exploitation of traditional music are its arrangers and producers and that, on the other hand, they are closely connected to the music they exploit.

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Część monograficzna. Perspektywy edukacji małego dziecka w kontekście zmian oświatowych (pod redakcją Aliny Budniak): Perspektywa edukacji muzycznej małego dziecka w kontekście współczesnej zmiany oświatowej

Część monograficzna. Perspektywy edukacji małego dziecka w kontekście zmian oświatowych (pod redakcją Aliny Budniak): Perspektywa edukacji muzycznej małego dziecka w kontekście współczesnej zmiany oświatowej

Author(s): Mirosław Kisiel / Language(s): Polish Issue: 50 (1)/2018

An article examines early childhood music education viewed through the lens of the transformation the pedagogical field is currently undergoing. Our approach addresses both positive and negative aspects of the observed changes, as well as their potential future outcomes. The investigation principally explores children in preschool and primary grade stages, and the role of the childhood education professional both in providing music instruction and in utilising music as a tool for facilitating other aspects of education. The chief objective of early childhood music education, however, remains aimed at fostering the child’s joy in music making.

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Щрихи от идеологическата цензура в областта на музикалното творчество в България (1945 – 1959). Мрежата от музикални институции

Щрихи от идеологическата цензура в областта на музикалното творчество в България (1945 – 1959). Мрежата от музикални институции

Author(s): Angelina Petrova / Language(s): Bulgarian Issue: 9/2018

These musings have to do with the suppression of certain processes related to the New music, in the legitimately regulated space of “official” culture, all part of the history of Communist era music administration and government. Main “heroes” of this study are the Committee for Science, Art and Culture (CSAC) and the Union of Composers, Musicologists and Concert Artists (UCMCA) renamed Union of Bulgarian Composers (UBC) in 1954. The authors, initially exposed to a “sharp critique”, are the first ones that turn modern art into a new, enclosed territory, also in the field of Bulgarian music. The emerging twelve-tone composition poetics is alien to the spirit of the “cultural flourishing” of social realism. It is an important subject not only to said organizations, that actually represent the censure. It is an important “subject”, provoking power and territorial claims of art. In addition to the official reactions towards twelve-tone music representatives as an object of censure, we must also add reactions to the music of Dimitar Nenov, partially Marin Goleminov and Boyan Ikonomov. After 1952, in party and official documents, including those of CSAC and UCMCA, two areas are outlined distinctly: social realism and “hostile” formalism. The entire power apparatus (CSAC, UCMCA, music institution government, professional committees attached to them, party organizations) persecute formalism. This change, which turns UCMCA and CSAC) into a “administrative network” structure, a unified mechanism, comes out as a result of a radical move. This is the change of the bylines of the Art Union in 1952; its work gets reorganized. The objects most discussed, as being an alien formalist art, leading do decisions of censure, are the works of Konstantin Iliev (First and Second Symphony) and Lazar Nikolov (Concerto for Orchestra, First Symphony and Violin Concerto). The “critics’” and “self-critics’” scenarios acquire a unique nuance in discussion of Bulgarian music. “Self-critique” even appears as an official feature, i.e., it is a natural continuation of totalitarian devices used to affirm social realism. On the other hand, various composers like Marin Goleminov and Boyan Ikonomov resent accusations of unreliability. As a highest form of resistance we must note the “refusal to self-criticize” of composers like Konstantin Iliev and Lazar Nikolov. This type of behavior bears witness to the authenticity of their protest.

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Государственный социальный заказ в СССР как система организации социокультурной деятельности в 1930-е годы

Государственный социальный заказ в СССР как система организации социокультурной деятельности в 1930-е годы

Author(s): Irina Reznik / Language(s): Russian Issue: 9/2018

Soviet art during the 30s of the 20th century is an object of numerous studies, related to different types of art, as well as to the system analysis of state’s cultural situation. In that time the Soviet Union is a totalitarian country, where all form of art and cultural activity are defined by state ideology. A natural necessity emerges to name and define this phenomenon, also its characteristics. Researchers aim to systematize and classify Soviet art and cultural events of the 30s. State social order placement is a special, specific kind of social order, related to the state’s needs as a governing organ, thus forming the political system. This order must be understood as being a sum total of social unit’s aims, methods, and formation measures to spread state ideology. In this article state order and social order differences are being surveyed, noting differences of geographical, political, economical and other nature. Interaction between placing the two “orders” and possible ways of development are being researched, based upon the example of art and cultural events during the 30s of 20th century, taking into account the new genre, thematic and stylistic trends.

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Dalmatinsko klapsko pjevanje, promjena konteksta

Dalmatinsko klapsko pjevanje, promjena konteksta

Author(s): Maja Povrzanović / Language(s): Croatian Issue: 12/1989

The paper concerns klapa singing, an urban vocal style of the Dalmatian coast and islands. Today it is still characterized by a performing context which traditionally emphasizes a dose relationship between the group of male singers (klapa) and listeners, but at the same time it exists as a form of organised folk music amateurism presented by mass media, at concerts and festivals. The forms, functions and meanings of klapa singing are analysed with regard to changes of its performing contexts in the last three decades. In the context of discussing folklore in the historical process, the concept of folklorisation of folklorism is being introduced as the most appropriate explanation of a contemporary trend.

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ОД КОМАДА С ПЕВАЊЕМ И ПУЦАЊЕМ ДО ПРВЕ СРПСКЕ ОПЕРЕ

ОД КОМАДА С ПЕВАЊЕМ И ПУЦАЊЕМ ДО ПРВЕ СРПСКЕ ОПЕРЕ

Author(s): Milorad Smokin / Language(s): Serbian Issue: 184-185/2018

Србија друге половине 19. века била је поприште ужурбаног развоја кључних пора грађанског друштва. У таквој клими позориште је имало једну од пресудних улога, имајући не само културни и социјални, већ и политички утицај. Позоришним репертоаром снажила се идеја ослобођења крајева који су још увек били под влашћу Отоманске империје, профилисао национални идентитет у земљи која је вековима била под туђинском влашћу, али и уздизале заслуге владајућих династија. Уколико искључимо поменуте функције, позориште је имало водећу улогу и по питању креирања културног укуса публике, док је доминантни жанр „комада са певањем“ припремао публику за знатно сложенији позоришни жанр - оперу.

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Усъвършенстване на библиотечно-информационното обслужване на висшето музикално образование

Усъвършенстване на библиотечно-информационното обслужване на висшето музикално образование

Author(s): Ina Pavlova / Language(s): Bulgarian Issue: 7/2016

This article discusses the Automated Library Information System and its abilities to improve libraries’ function as information centers, preserving important musical heritage and information distribution. This system, existing at the NMA “Professor Pancho Vladigerov”, is presented here, detailing its components, function and capabilities, in relation to acquisition, description, cataloging, and reader services.

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Музикален пазар и потребителски нагласи в условия на дигитална медиатизация

Музикален пазар и потребителски нагласи в условия на дигитална медиатизация

Author(s): Anna Nikolova / Language(s): Bulgarian Issue: 4/2018

The digital media and the music promotion (in all its genres) are invariably connected through the new means of communication between composers, performers, producers, marketers, PR specialists and audiences. The social actors are in a continuous and immediate symbiosis that is possible through and evoked by the expansion of new technologies. The contemporary digitization sets new rules of the media game, which is bi-directional – it is formed and depends on the attitudes of the consumers. On the one hand, the new media produces musical creations, and on the other, music finds new ways (through digitization) of expression through the channels that distribute it, and depends on them, as well as on the preferences of the audience. The convergence between the impact of and through the new media and the promotion of music can be explained by following the main processes that cause the customer to „like“ and / or pay to listen to a certain song. Some perspectives can be pointed out regarding the relationship between the media and the music market by understanding the deep alliance of consumer-artist-media and current statistics on the industry’s profit from digital sales.

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