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Barok Dönem Eserlerinde Piyano Tekniklerinin İncelenmesi

Barok Dönem Eserlerinde Piyano Tekniklerinin İncelenmesi

Author(s): Olcay Korkmaz,Ersan Çiftci / Language(s): Turkish Issue: 66/2020

In the history of music, each period had its own characteristic features and pioneered and laid the foundations for the next period. In this respect, the Baroque period had similar characteristics in plastic arts, architecture, literature, painting and music, and it profoundly affected the subsequent periods technically and structurally. The Baroque period included important elements such as structural developments in instruments, innovations in the sound system, the formation of new forms of music, and advances in vocalization styles arising from technical and mechanical innovations in instruments. The invention of the mechanics of the first piano again took place in this period, completing the technical evolution of the "clavichord" and "harpsichord" instruments, which can be considered as the ancestors of today's piano. The research is a descriptive study conducted by scanning the literature. In this research, the general features of the Baroque period and the structural development process of the piano are mentioned, and the basic techniques used to reflect the harpsichord and the clavichord effect in order to help feel the period style while playing the works written in this period were determined and explained. As a result of the research, performing the works in a lively, clear and bright manner and improvising the commonly used ornaments, using the pedal as little as possible, using the portato, non legato, portamento techniques of articulation in place and correctly, a flamboyant form of performance suitable for the magnificence of the period, providing good hand and finger balance for the prominent playing of the melodies which support the counterpointal harmony were found to be significant in terms of reflecting the playing style of the baroque period.

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GÓRALSKIE MUZYCZKI I MUZYKANTKI – KOBIETY W KULTURZE MUZYCZNEJ WSPÓŁCZESNEGO SKALNEGO PODHALA

GÓRALSKIE MUZYCZKI I MUZYKANTKI – KOBIETY W KULTURZE MUZYCZNEJ WSPÓŁCZESNEGO SKALNEGO PODHALA

Author(s): Maria Małanicz-Przybylska / Language(s): Polish Issue: 1/2014

The contemporary musical space of the Podhale region seems to be dominated by men, who usually play in taverns, restaurants, dance halls as well as during weddings and shows organized for tourists. Women, of course, also appear in the highlanders’ music world but their participation is limited and is subject to many different rules. Analyzing the results of my own research, I try to asses why the participation of women in the music of the region is so indiscernible. Referring to the gender literature and to research made in the Podhale region by Frances Pine, I consider the role of tradition in highlanders’ communities from the anthropological point of view. I divided the musical space of Podhale into three areas: private, commercial and professional, in order to show how and to what extent women participate in each of them. I came to the conclusion that economy and tradition are two factors, two fundamental values which determine women’s participation in musical spheres. Securing the livelihood, working for the well-being of the family and home, as well as maintaining and promoting highlanders’ tradition – these are the arguments which justify departure from common standards and rules.

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IRINA UTENKOVA - ŠALAPAK, „NASLEDIE OSKARA KOL’BERGA V ISTORII SLAVÂNSKOJ ÈTNOMUZYKOLOGII. K 200-LETIÛ SO DN ROŽDENI“

IRINA UTENKOVA - ŠALAPAK, „NASLEDIE OSKARA KOL’BERGA V ISTORII SLAVÂNSKOJ ÈTNOMUZYKOLOGII. K 200-LETIÛ SO DN ROŽDENI“

Author(s): Zbigniew Jasiewicz / Language(s): Polish Issue: 1/2014

Review of: Irina Utenkova - Šalapak, Nasledie Oskara Kol’berga v istorii slavânskoj ètnomuzykologii. K 200-letiû so dnâ roždeniâ, Sankt-Peterburg: Severnaâ zwezda 2014, ss. 145, ISBN 978-5-905042-32-4. Review by: Zbigniew Jasiewicz

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Dziesięć lat Międzyuczelnianego Instytutu Muzyki Kościelnej w Krakowie

Dziesięć lat Międzyuczelnianego Instytutu Muzyki Kościelnej w Krakowie

Author(s): Robert Tyrała / Language(s): Polish Issue: 16/2018

W tym roku mija właśnie 10 lat od historycznego wydarzenia, kiedy to prof. Stanisław Krawczyński, rektor Akademii Muzycznej w Krakowie, i ks. prof. Jan Maciej Dyduch, rektor Papieskiej Akademii Teologicznej w Krakowie (dzisiaj UPJPII), dokładnie 19 listopada 2008 roku w Domu Arcybiskupów Krakowskich podpisali w obecności Wielkiego Kanclerza UPJPII kard. Stanisława Dziwisza umowę o współpracy obu uczelni w prowadzeniu wspólnie kierunku muzyka kościelna. Stworzyli też wówczas Międzyuczelniany Instytut Muzyki Kościelnej w Krakowie. To pierwszy i jedyny jak dotąd taki instytut naukowo-dydaktyczny w Polsce. Jak więc nie dziękować dzisiaj Bogu i ludziom, którzy uczestniczyli w przygotowaniu tego wydarzenia i tworzeniu fundamentów dla ośrodka, który do dziś dba o muzykę kościelną.

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Odnowione pojmowanie roli chórów w liturgii

Odnowione pojmowanie roli chórów w liturgii

Author(s): Marius Linnenborn / Language(s): Polish Issue: 16/2018

The author indicates a few crucially significant issues arisen after the Second Vatican Council, namely the revival of music and singing in liturgy, particularly the role of a choir, and the questions of a repertoire, choir composition and voice arrangement during liturgy entailing the problem of women’s inclusion into the choir. Through his most exhaustive, against the paper limitations, historical analysis, the author demonstrates how the role of the choir in liturgy was understood at the beginning and how this understanding has evolved over the years. The author emphasizes as well a vital role of children choirs in liturgy, advocated by the liturgical movement which originally assumed children’s singing in a schola or a choir as a “pioneering function for singing of the faithful”. One of the main propagator of the above pioneering function of children’s singing was Pius Parsch, founder of the Volksliturgiche Bewegung. Pope Paul VI used beautiful words to describe the role of singing children when addressing Pueri Cantores: “We trust that you will become co-participants or even the pioneers of a concrete and practical liturgy revival of our liturgical assembly. Wherever children sing, the faithful pray and wherever children are silent, the faithful reluctantly open their mouths to sing”. Just like sacred music plays a servicing role in liturgy (cf. CL 112) “the primary and the most essential function of a choir or of a cantor is to serve the faithful in their singing during liturgy, not to replace them. The secondary function is to perform by the choir the singing parts which the faithful are not capable of performing on their own and on a high artistic level” (the Austrian liturgist Philipp Harnoncourt). In his letter celebrating the 100th anniversary of publishing motu proprio by Pius X on 22 November 1903, Pope John Paul II highlighted the double role of a choir: “The task of the schola has not decreased: it indeed develops in the assembly the role of guide and support and, at certain moments of the Liturgy, has its own specific role“. Pope Benedict XVI defied the exclusive singing of the faithful and of liturgical music, ascribing to the choir singing an equivalent value: „there are a good number of people who can sing better «with their heart» than «with their mouths», but their hearts are really stimulated to sing through the singing of those who have the gift of singing «with their mouths». It is as if they themsleves actually sing in the others; thankful listening is united with the voices oft he singers in the one worship of God”.

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Śpiew wiernych w liturgii w świetle watykańskiej instrukcji Musicam sacram

Śpiew wiernych w liturgii w świetle watykańskiej instrukcji Musicam sacram

Author(s): Wojciech Kałamarz / Language(s): Polish Issue: 16/2018

In light of the Vatican’s 1967 instruction, entitled Musicam sacram, not only Gregorian choirs may be performed during liturgy, but also songs. These should be approved by the appropriate ecclesiastical authority. They should have arisen for the glory of God, have no relation to secularity (i.e. be holy) and be perfect in form. It would be good if the songwriters were also inspired by the Gregorian chant in their creation. An important role in the proper liturgical experience is silence. The Church also encourages the faithful to practice singing the Officium as well as become familiar with Gregorian chants.

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Muzyczna ilustracja tekstu w XVIII-wiecznych cyklach nieszpornych... kompozytorów jasnogórskich

Muzyczna ilustracja tekstu w XVIII-wiecznych cyklach nieszpornych... kompozytorów jasnogórskich

Author(s): Dawid Ślusarczyk / Language(s): Polish Issue: 16/2018

The Vespers attracted the interest of many church composers and were – apart from the Mass – the second most frequently chosen service text. The musical setting of this part of officium divinum became richer in the course of time, especially in the monastic rite. The Vespers of Jasna Góra were of special nature since the prayer of the monks was accompanied by the Pauline monastery music ensemble. Its repertoire included works by composers connected with Częstochowa, who were instrumentalists or kapellmeisters in the monastery. The article presents seven composers connected with Jasna Góra in the 1700’s. The material was analyzed in terms of the relationship between the liturgical text and the musical setting, which was the very core of the 18th century art of composition. The musical works studied show features characteristic for the music of early Classical period, at the same time retaining some elements typical of the Baroque rhetoric. The Vespers of Jasna Góra are valuable evidence of Polish cultural heritage – one of the few preserved works of this kind.

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Śpiew Vere, vere hodierna dies z rękopisu akkk 241 (1447–1456) Archiwum Krakowskiej Kapituły Katedralnej na Wawelu

Śpiew Vere, vere hodierna dies z rękopisu akkk 241 (1447–1456) Archiwum Krakowskiej Kapituły Katedralnej na Wawelu

Author(s): Anita Pyrek-Nąckiewicz / Language(s): Polish Issue: 16/2018

Krakowskie archiwum kapitulne jest miejscem przechowywania niezwykle cennych rękopisów liturgiczno-muzycznych, które przypominają o świetności średniowiecznej katedry wawelskiej. Zawierają one bogaty repertuar śpiewu gregoriańskiego – w tym zarówno melodie powszechnie znane w Europie, jak i utwory związane z kultem lokalnych świętych oraz tradycją rodzimą.

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Recenzja płyty Missa est

Recenzja płyty Missa est

Author(s): Kama Hawryszków / Language(s): Polish Issue: 16/2018

Płyta Missa est to efekt końcowy inicjatywy podjętej przez wykładowców i studentów Międzyuczelnianego Instytutu Muzyki Kościelnej w Krakowie pod przewodnictwem prof. Wiesława Delimata, której celem było odtworzenie śpiewów uroczystej mszy wykonywanej w kościele Świętego Marka w Krakowie przed II Soborem Watykańskim. Projekt rozpoczął się w 2016 roku, samo zaś nagranie miało miejsce w maju w 2017 roku, również w kościele Świętego Marka, który jest obecnie kościołem akademickim Uniwersytetu Papieskiego Jana Pawła II w Krakowie.

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Znaczenie Słowa w liturgii

Znaczenie Słowa w liturgii

Author(s): Dominik Jurczak / Language(s): Polish Issue: 17/2019

There is no wordless liturgy, a celebration employing solely gestures or thoughts. Even if a liturgy of that sort could materialize, it would necessarily prove demeaning to man’s very humanity by eliminating the proper human “tools” which elevate him above all other creatures. In addition to this, a wordless liturgy would also clearly contradict the nature of the Creator himself who, especially in the liturgy, uses the Word to perform and to bring to completion the work of creation and redemption. In this article I would like to move closer towards the mystery of a word, or rather, towards the mystery of the Word and words, in the liturgy, so that eventually the full significance of words in Christian celebrations may be brought out. To achieve this goal I suggest a wide perspective, both historical and theological, which hopefully will allow for a better understanding of liturgy.

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Kodeks Hartkera (CH-SGs 390/391) – genialna szkoła retoryki w służbie teologii liturgicznej

Kodeks Hartkera (CH-SGs 390/391) – genialna szkoła retoryki w służbie teologii liturgicznej

Author(s): Franz Karl Praßl / Language(s): Polish Issue: 17/2019

Liturgical music in the first millennium was first of all cantillation, reciting liturgical texts with musical formulae and phrases to express structure and meanings of a text. With the means of spoken language a cantor had to give all informations of reading or prayer. Two elements are basic for a good recitation: Accent and articulation. All the types of cadences are acoustic punctuation marks. The oldest neumes had to serve for these rules of language. The monk Hartker was according to the tradition the scribe of a prominent antiphoner about the year 1000. In reality this manuscript had four main scribes and a lot of additional hands. All of them have followed the principle of expressing liturgical theology by means of music like accent and articulation. The examples presented show, how the scribes have understood the texts, which words in an antiphon served as key words, which theological aspects were important for them. This is a school of prayer according to the principle of logiké latreia, praying with intellect and spirit and emotion. Hartker is the aggiornamento of the bible in the 10th century.

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Restytucja melodii śpiewów gregoriańskich na przykładzie nowego wydania Graduale Novum

Restytucja melodii śpiewów gregoriańskich na przykładzie nowego wydania Graduale Novum

Author(s): Johannes Berchmans Göschl / Language(s): Polish Issue: 17/2019

Without any doubt the Graduale Romanum of 1908 (GR 1908) was a pioneer work of the highest order. Concerning the quality of its melodies this edition transcends by far the level of all previous editions. On the other hand the GR 1908 is far from being a perfect book. Especially if one examines the GR 1908 from the perspective of semiology, one will be faced with many discrepancies between the melodic version of the GR 1908 (and consequently of the Graduale Triplex) and the paleographical data and their semiological findings. So, for instance, a look at the introit Si iniquitates has shown, that the question of whether a piece in the third mode appears with tenor si (according to the oldest manuscripts and the Graduale Novum) or with tenor do (according to the GR 1908) is not insignificant for the expressive substance of this piece. Furthermore, the necessity of a correction of the melodic version of the the GR 1908 is not measured by the number of notes in need of correction, as it may be observed for example in several passages of the introit Resurrexi of Easter Sunday. Quite often a single altered note is enough to change completely the modal structure and the expressive substance. Even if someone examines in the Gregorian chants the connection between word and note at a semantic level can not avoid the question of whether the melodic version of the GR 1908 corresponds to an older or a more recent tradition, as it may be shown for example by a comparison between two correspondent passages of the introits Spiritus Domini and Victricem. Consequently, the restitution of the melodies of the GR 1908, as it has been realized by an international workgroup „Melodierestitution“ and published in the two volumes of Graduale Novum (Regensburg–Città del Vaticano 2011 and 2018), was necessary. Concerning the methodology of the melodic restitution, the fundamental principle was from the beginning the following one: The starting point and the highest authority for any work on the restitution of Gregorian melodies are the oldest adiastematic manuscripts of the tenth century, especially Cantatorium St. Gall 359, Laon 239 and Einsiedeln 121. And the most important task consisted in the search for as close as possible a melodic correspondence to the data of the adiastematic manuscripts. For this, the consultation and study of the most important diastematic sources, above all of Benevent 34 and Paris B.N. lat. 776 (Albi), is necessary. The total number of all the manuscripts consulted by the workgroup up to our days comes to about one hundred fifty. For other themes concerning the question of the melodic revision of the GR 1908, please, see: Johannes Berchmans GÖSCHL, Graduale Novum. Editio magis critica iuxta SC 117 – Kommentar, Regensburg 2018.

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Życie i działalność Stefana Korzeniowskiego (1907–1993) – organisty w Rudzicy

Życie i działalność Stefana Korzeniowskiego (1907–1993) – organisty w Rudzicy

Author(s): Krzysztof Kurnik / Language(s): Polish Issue: 17/2019

The article refers life and activity of Stefan Korzeniowski, who was an organist in Rudzica near Bielsko-Biała more than seventy years. Based on archival materials (few, unfortunaltely) and interview with Jadwiga Szychowska, the daughter of Stefan Korzeniowski, after short historic introduction, the article describes music education of Stefan Korzeniowski and the most important elements that characterize his activity in the post of organist of parish in Rudzica.

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Przekształcenia melodyczne w notacji rękopisu nr 44 Archiwum Krakowskiej Kapituły Katedralnej na przykładzie introitu Introduxit vos

Przekształcenia melodyczne w notacji rękopisu nr 44 Archiwum Krakowskiej Kapituły Katedralnej na przykładzie introitu Introduxit vos

Author(s): Tomasz Głuchowski / Language(s): Polish Issue: 17/2019

The article discusses the melodic transformations of the introit of Introduxit vos originating from the Krakow gradual of Jan Olbracht (1499–1506). For this purpose, a comparison was made between the work recorded in the line notation and the records of adiastematic notations (Sanktgallen and Metzene) and diastematic notation (Aquitaine notation). When analyzing the Krakow version of the introit, were also taken into account the historical-liturgical background, the text context with its literary structure, the melodic-rhythmic and melodic-verbal layers. The melodic identity of the introit and its modifications have been described in both cases. The article uses source materials (4) and other bibliographic items.

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Zabytkowe organy w Polsce na znaczkach Poczty Polskiej

Zabytkowe organy w Polsce na znaczkach Poczty Polskiej

Author(s): Jan Józef Janicki / Language(s): Polish Issue: 17/2019

Dzisiejsza Bazylika katedralna św. Jana Chrzciciela i św. Jana Ewangelisty w Toruniu w okresie średniowiecza była miejscem wyboru władz miasta i pochówku patrycjatu oraz miejscem najważniejszych uroczystości miejskich, w tym związanych między innymi z wizytami królów polskich w Toruniu. Do końca XX wieku tradycyjnie określana była jako kościół Świętego Jana, który od roku 1935 nosi tytuł bazyliki mniejszej, a od 1992 roku jest katedrą diecezji toruńskiej.

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Sprawozdanie z działalności Koła Naukowego Congaudeant Międzyuczelnianego Instytutu Muzyki Kościelnej w roku akademickim 2018/2019

Sprawozdanie z działalności Koła Naukowego Congaudeant Międzyuczelnianego Instytutu Muzyki Kościelnej w roku akademickim 2018/2019

Author(s): Michał Piechnik / Language(s): Polish Issue: 17/2019

Inauguracja odbyła się 2 października. Ten dzień jest szczególny dla całej społeczności Instytutu, ponieważ zawsze na początku roku akademickiego przeprowadzane są wybory do samorządu Koła Naukowego. Opiekunem Koła pozostała s. dr hab. Susi Ferfoglia, prof. UPJPII, przewodniczącym został wybrany Michał Piechnik, zastępcą s. Sylwia Marciniak, a skarbnikiem – Krzysztof Ligocki

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Komunikat z XIV Dni Muzyki Kościelnej w Archidiecezji Krakowskiej

Komunikat z XIV Dni Muzyki Kościelnej w Archidiecezji Krakowskiej

Author(s): Dawid Kusz / Language(s): Polish Issue: 17/2019

XIV Dni Muzyki Kościelnej odbyły się w dniach 18–25 listopada 2018 roku. Zbiegły się one z dwoma – ważnymi dla archidiecezji oraz muzyki kościelnej – jubileuszami: 10-leciem powstania Międzyuczelnianego Instytutu Muzyki Kościelnej w Krakowie oraz 20-leciem Archidiecezjalnej Szkoły Muzycznej II st. im. ks. Kardynała Franciszka Macharskiego w Krakowie.

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A Brief Outline of Issues Related to the Democratisation of Culture: A Contemporary Perspective

A Brief Outline of Issues Related to the Democratisation of Culture: A Contemporary Perspective

Author(s): Marek Czyżewski / Language(s): English Issue: 26 (3)/2018

The aim of this paper is to outline the range of issues related to the democratisation of culture in light of modern cultural phenomena. The starting point is Karl Mannheim's concept of the democratisation of culture. A more specific picture appears in the course of an evaluative examination of the standpoints represented by Max Weber and Niklas Luhmann against the reality of contemporary culture, but also influenced by the Foucauldian approach to processes of securitisation (provision of security in social life). Another important thread within this paper is the objection to the unchallenged affirmation predominating over social studies of the processes of the democratisation of culture.

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Muzyka bez nośnika? Powietrze, chmury i strumienie oraz cyfry, taśmy i winyle w walce o pierwosłuch lub zapomnienie

Muzyka bez nośnika? Powietrze, chmury i strumienie oraz cyfry, taśmy i winyle w walce o pierwosłuch lub zapomnienie

Author(s): Marek Okólski,Szymon Nożyński / Language(s): Polish Issue: 1/2019

In the article the authors try to build a research reflection by means of a logical description of the result of self and technology – sound carriers/media, up to the extreme form, that is their disappearance, or distance from the listener/user. The authors show the influence of media on the organization of musical expression in the field of semiotics, technology and aesthetics. The starting point of the article is a reflection on a fragment of the lyrics, which suggests a return of music to the air. The authors reconstruct the evolutionary path of sound carriers and reach the place where the air was the primary carrier. At the same time they analyze the contemporary face of technologically entangled air (as a carrier), which is no longer the air from the pre-industrial era, but rather a symbolic place where one can find wireless communication, the Internet or Bluetooth.

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Bunt i nostalgia. Filmy dokumentalne o festiwalu w Jarocinie

Bunt i nostalgia. Filmy dokumentalne o festiwalu w Jarocinie

Author(s): Stanisław Bitka / Language(s): Polish Issue: 35/2019

The aim of the article is to present and attempt to classify documentary films about the Jarocin music festival. The films are conventionally divided into those shot during the 1980s editions and those created in our century, which describe them festival in retrospect. By analyzing selected works, the author draws attention to whether and how the approach to the subject and the form of the film change over the years.

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