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Компетентностите на учителя по музика като отговорност на музикалнопедагогическото образование

Компетентностите на учителя по музика като отговорност на музикалнопедагогическото образование

Author(s): Teodor Dimitrov / Language(s): Bulgarian Issue: 1/2022

The subject of this study is the professional competence of music teachers, as well as the complex relation between the musical competencies acquired in different musical disciplines during musical and pedagogical education on the one hand, and the specific manner of their complex functioning in music lessons on the other hand, considering the goals and tasks of this subject in general education. The aim of the study is to consider the necessary competencies of the music teacher for the accomplishment of practical learning outcomes, as well as to compare them with some aspects of the training in professional music pedagogy that is subject-oriented. An extensive database and regulations were surveyed, analysed, and then compared to the peculiarities of teaching as part of general education. In the course of this study, we came to the conclusion that the goal of the professionally studied music disciplines and the purpose of music education in Bulgarian schools are generally different. At school, the competencies of the teacher should not be adapted. They should function in a different way and with a different purpose. The current study proposes two models that would be effective for future teacher training. The first one suggests that, during the training of future teachers, integrativity should be intentionally demanded between the subjects studied. The second model considers the possibility of introducing elective music disciplines that would comply with the competencies set out in the training curriculum in music.

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Символът като средство за реализация на интердисциплинарен подход в обучението по музика и български език и литература в начален образователен етап
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Символът като средство за реализация на интердисциплинарен подход в обучението по музика и български език и литература в начален образователен етап

Author(s): Penka Marcheva / Language(s): Bulgarian Issue: 6/2022

The possibilities of symbols as means of implementing an interdisciplinary approach in teaching music and literature in primary education is the topic examined in this publication. This is a topic that is developed relatively rarely in pedagogical literature. In the theoretical aspects of this publication, the main parameters of the interdisciplinary approach, applicable to the education of students in 1st – 4th grades, which can be realized through literary and musical symbolism, are examined. Arguments supporting statements regarding the essence of symbols and the possibility of them functioning as denotation for one of the criteria for the manifestation and functioning of linguistic and musical intelligence, included in H. Gardner's Theory of Multiple Intelligences, are brought forth. The focus is on the essence of the two types of symbols – literary and musical as means of forming and developing the respective types of intelligence. The publication also examines some practical and applied aspects, the main emphasis being fairy tales as a literary genre and program music, which are rich in symbolism. Specific approaches to pedagogical interaction are listed such as “building musical characterization of a literary symbol”, “making sense of a specific musical work with the help of literary symbols”, “using literary symbols to realize musical content”. In this way, it is proven that they are a real basis for the implementation of an interdisciplinary educational approach in the education of primary school students.

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Въздействие на различни типове сетивност върху музикалното възприятие

Въздействие на различни типове сетивност върху музикалното възприятие

Author(s): Dimitar Damyanov D. / Language(s): Bulgarian Issue: 1/2022

Imagery and emotionality – the foundations of artistic musical perception, have been in the focus of various research studies for decades now – empirical and theoretical, musical and psychological, neurophysiological, analytical, pedagogical and methodological, music-therapeutic. Perception and, in direct connection with it, apperception, are involved in the formation of imagery, they saturate it with semantic emotional substance and enrich the musical and artistic worldview. Under certain conditions, through the receipt of a purposefully selected information flow in the form of sensory influences, the musical perception could be influenced, while at the same time developing the continuously functioning process of musical thinking.

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Theatrical Activity as a Way of Developing Musical-Choreographic Competence in Future Preschool and Primary School Teachers

Theatrical Activity as a Way of Developing Musical-Choreographic Competence in Future Preschool and Primary School Teachers

Author(s): Larysa Pushkar,Olga Lobova,Nataliia Pavlushchenko,Svitlana Parfilova,Olha Vasko,Vita Butenko / Language(s): English Issue: 3/2022

The article highlights the possibilities of applying elements of theatre arts in the process of preschool and primary school teachers professional training. In particular, it reveals the issue of forming musical and choreographic competence in students by means of various forms, types and methods of drama. The main forms of musical and choreographic competence formation in preschool and primary school teachers are practical and laboratory classes (disciplines “Pedagogy”, “Fundamentals of pedagogical creativity”, “Fundamentals of stage and screen art with teaching methods”, “Organization of theater activity in preschool education institutions”, “Methods of music education”, “Musical art with methods of teaching”, etc.) and extracurricular forms of students’ theater activity (drama societies, drama studios, etc.).Important types of drama activities in the process of training future preschool and primary school teachers are staging and dramatization, within which it is advisable to use different methods of forming students’ musical and choreographic competence: music-motor and drama games, staging of fairytales and songs, improvisation on a given theme-image, sketches, etc. Their use contributes to the development of a holistic set of musical and choreographic abilities, formation of singing skills, stage and dance movements, upbringing of future teachers’ performance culture and so on.

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Peculiarities of Training Future Teachers of Music Art in Higher Educational Institutions in Terms of Distance Learning

Peculiarities of Training Future Teachers of Music Art in Higher Educational Institutions in Terms of Distance Learning

Author(s): Volodymyr Fomin,Alla Sokolova,Maksym Dzivaltivskyi,Oksana Vasylieva,Iryna Parfentieva,Ivan Martynenko / Language(s): English Issue: 4/2022

The article highlights the main aspects of distance learning in the context of training future teachers of musical art. The study identifies the main approaches to the implementation of distance learning, identifies the pedagogical features and the most effective technologies and methods of distance learning in higher education institutions. The article forms the objectives, providing for the implementation of conceptual foundations for the training of future teachers of musical art in higher education institutions. The study presents theoretical and methodological substantiation of the concept of distance education, the profession of music art teacher and pedagogical foundations for higher education based on the conclusions of researchers and scientists on the relevant problem.Distance learning is widespread in today's global development, especially in the pandemic. This type of learning is an alternative to traditional learning, because it simplifies the educational process and is available to more people, develops the individual traits of each person in an online learning environment. Distance learning encourages the creation of online platforms that involve individual tasks and build competencies in various fields and branches. The study used the integrative method of synthesis and analysis of the main trends of distance learning. Research, descriptive and scientific methods were also applied to study aspects of the training of future teachers of musical art. The results of the study identified effective foundations for teacher education that improve distance learning.

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Art Competitions as a Means of Students' Creative Growth

Art Competitions as a Means of Students' Creative Growth

Author(s): Iryna Kondratenko,Tamara Skoryk,Nataliya Drozhzhina,Iryna Tsurkanenko / Language(s): English Issue: 4 Sup.1/2022

The article presents a theoretical analysis of art competitions as a means of creative development of individual abilities, in particular in the process of obtaining professional education. The article reflects the main theoretical and methodological approaches to determine essential features of the art competition in the context of organization, functional characteristics, the formation of professional competence in students. The types of art as an aspect of creating a competitive task are studied. The results of the study form an idea of the historical and cultural phenomenon of the formation of arts and the formation of the worldview of mankind, which is reflected in works of art that develop during the evolution of man. The relevance of the study is due to innovative approaches in the process of creating and displaying a work of art, in the context of the modern information society. In the course of the research the importance of holding an art competition was determined, the concepts and structural components were specified. Scientific publications are analyzed and the characteristic features of the art competition are determined. The article establishes the functions of education in the field of art, identifies the impact of education on students, the formation of their professional competence and values of art. In the course of the research the method of abstraction was used in the study of artistic bases of creative interpretation, a descriptive and research method, the method of analysis and synthesis in theoretical substantiation of the topic, characteristics of music and game activity. To determine the results of the study, the method of generalization and systematization was used. The results confirmed the importance of the art competition in shaping the creative growth of students.

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„La difesa del ciel vince ogni sforza“ Symbolical Presentation of the Habsburgs’ Dynastic Situation in the Operas Il fuoco eterno custodito dalle Vestali (1674) and Costanza e Fortezza (1723)

„La difesa del ciel vince ogni sforza“ Symbolical Presentation of the Habsburgs’ Dynastic Situation in the Operas Il fuoco eterno custodito dalle Vestali (1674) and Costanza e Fortezza (1723)

Author(s): Irena Veselá / Language(s): English Issue: 2/2022

The subject of this study is a comparison of the symbolic messages of two festive court musical dramatic works. The first of these was performed in 1674 at the wedding of the Habsburg emperor Leopold I and his second wife Claudia Felicitas of Tyrol, and the second in 1723 at the Bohemian coronation of his son, Emperor Charles VI. The reason for the comparison of these two operas is the fact that both originated in times of an absence of male successors, when there was a real danger of the extinction of the Habsburg dynasty in the male line. The author believes that because of this fact, the two rulers abandoned the demonstration of strength and power and deliberately did not depict themselves on a symbolic level as gods of antiquity (Jupiter or Apollo) or as absolute rulers of the ancient Roman empire. On the contrary, the plot takes place in both operas in the period of the ancient Roman republic, which its citizens protect from enemy invasion. However, they can do this only through the intervention of the gods and the practice of virtues, not by force. The third common feature of both works is the rejection of offers of politically-motivated marriages between the Romans and enemy dynasties to maintain and protect the Roman state. Despite these common dynastic-political messages in both operas, each of the two monarchs presents a different solution to the unfavourable situation at a symbolic level: while Leopold I declares hope for the early arrival of male offspring, Charles VI, on the other hand, defends the Pragmatic Sanction.

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„Sonsten sind wir alle wohlauf und haben hauptschöne divertimenti.“ Mikulov jako dějiště oslav císařského dvora v 17. století

„Sonsten sind wir alle wohlauf und haben hauptschöne divertimenti.“ Mikulov jako dějiště oslav císařského dvora v 17. století

Author(s): Miroslav Lukáš,Christian Neuhuber / Language(s): Czech Issue: 2/2022

This study deals with three visits by members of the Habsburg family to the South Moravian town of Mikulov (Nikolsburg) in the second half of the 17th century. In 1672 Emperor Leopold I and his wife Margaret Theresa stayed here; in 1676 Archduchess Eleonore Maria, after a planned visit by the Emperor and his second wife Claudia Felicitas had been cancelled the previous year, and in 1691 the Emperor with his third wife Eleonore Magdalena. For these important visits Mikulov constituted an attractive place to stay not only because of its strategic location on the route from Vienna to Brno (Brünn), or because of the Habsburgs’ close ties with Dietrichstein, to whom the estate belonged, but above all because of the local pilgrimage tradition. All these visits were accompanied by lavish programmes of festivities. In the case of the imperial visits, musical-dramatic productions were also prepared. In 1672, the serenade Il nuovo Giardino delle Hesperidi was planned to be performed for the Empress’s name-day, and in 1691 the serenade Gli auguria veracemente interpretati, intended for the Emperor’s birthday, which made Mikulov the only Moravian town at that period to experience festivities of this kind.

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The Roman Catholic Liturgy and Its Role in the Composer's Missa Formation

The Roman Catholic Liturgy and Its Role in the Composer's Missa Formation

Author(s): Olena Georhiyivna Roshchenko,Nataliya Byelik-Zolotaryova / Language(s): English Issue: 1/2021

A number of interdependent problems was solved in this study: the missa concept meanings’ system definition in the context of the Roman Catholic liturgy; the order of the missa’s musical sections in the liturgy’s structure; the invariant-variant nature of the Gregorian Masses; the theological and musical preconditions for the composer’s mass genesis. The purpose of the study is the liturgical context of the composer's mass determination as a musical genre and a subject for a musicological analysis. It is stated that missa’s range of meanings extends from the word to the liturgy analogue and from the sequence of musical and verbal parts, divided by the rite actions, to the antiphonary where they are present without verbal sacred “insertions”; from the liturgy to the composer’s genre as an entire cyclical artistic phenomenon of authorial origin. The Roman Catholic liturgy equal to the missa, and the missa as an extra-liturgical phenomenon of the composer’s creativity have a different number of musical sections. In the Gregorian Mass, in the Antiphonary’s composition as an obligatory component of the liturgy, the imitation of the canon presented in eighteen musical versions of sacred monophonic singing dominates. In the composer's missa, the distancing from the liturgical source has led to its free interpretation, as well as to the changes in its purpose, location, target audience, words and music interaction. It is the place of the missa’s musical sections in the liturgical action that is determined here. While the church mass is not entirely musical, the composer's missa is based exclusively on a musical drama. The logic of a change from one section of the musical missa to the next is due to the development of the liturgical action. The cyclical nature as a principle of form and content formation is inherited by the composer's missa from the liturgical prototype.

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INSTRUIREA ON-LINE: AVANTAJE ȘI DEZAVANTAJE

Author(s): Claudia Crăciun / Language(s): Romanian Issue: 2 (43)/2022

The COVID-19 pandemic has influenced all areas of human activity, including the training process. We urgently resorted to forms of training that exclude direct contact between individuals. Thus, higher institutions switched to online training. In this article, we try to identify the advantages and disadvantages of this form of training within the Academy of Music, Theater and Fine Arts.

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CUMHURİYET DÖNEMİ MODERNLEŞME SÜRECİNDE TÜRK MÜZİĞİ POLİTİKALARI

CUMHURİYET DÖNEMİ MODERNLEŞME SÜRECİNDE TÜRK MÜZİĞİ POLİTİKALARI

Author(s): Pelin Demirçe Altintaş / Language(s): Turkish Issue: 98/2022

Culture is defined as all the material and spiritual values of a society from the past to the present and the transfer of these values from generation to generation, and it has changed and developed since human beings started to exist. This development and transformation describe a process of change arising from the geographical and social interactions that societies have experienced in their past. The process of modernization that had started in the Ottoman Empire gained momentum with the proclamation of the Republic. In this process, interventions were made in many social areas under the name of modernization. In Anatolia, which has a musical tradition from the Ottoman Empire to the Republican period, the biggest intervention for the modernization efforts that started with the Republic was in the field of music. Turkish society would find its own identity with a new type of music under the name of 'National Music' by collecting the melodies created by and existing in their own villages and their own people, not the music left over from the Ottoman Empire. As a result, compilation trips were organized to many parts of Turkey. At the same time, with the reforms made in the field of education, new educational institutions were opened and students were trained. With the return of the students sent abroad for education, the methods of Western Music were learned, and it was ensured that the National Music created in Turkey was made polyphonic by subjecting it to new arrangements with these methods.

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GÖRME ENGELLİ BİREYLER İÇİN TÜRK MÜZİĞİ MEŞK YÖNTEMİNİN DİGİTAL ORTAMDA UYGULANMASI

GÖRME ENGELLİ BİREYLER İÇİN TÜRK MÜZİĞİ MEŞK YÖNTEMİNİN DİGİTAL ORTAMDA UYGULANMASI

Author(s): Mücahit Yalçın ÖZTÜFEKCİ / Language(s): Turkish Issue: 102/2023

In this research, solutions are sought for the problems experienced by blind musicians in the process of learning a new piece. One of the problems faced by visually blind musicians in music education is the lack of technical equipment and documents. To date, the documentation has been provided by converting musical works to Braille alphabet. However, the conversion of the works to be taught into Braille notes, the high costs of educational materials and the time needed for these works create major obstacles to the education process. When the decrease in the number of visually impaired people who read Braille and the lack of interest are added to all these, the search for new methods becomes inevitable. At this point, the "meşk method", which is an ancient tradition, offers solutions for blind musicians who receive Turkish maqam music education and creates an alternative to the obstacles experienced in the education process. In this research, which is based on the experimental method, the “meşk method” was applied to the subjects with YouTube recording and the data were collected by getting their answers via Whatsapp. This research, which was concluded as a social responsibility project with the title of "Accessible Music" at Izmir Katip Çelebi University, presents the solutions offered by the “meşk method” for blind musicians, with examples and results.

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De la excelența designului la excelența interpretării, Giuseppe Guarneri del Gesù și Niccolò Paganini

De la excelența designului la excelența interpretării, Giuseppe Guarneri del Gesù și Niccolò Paganini

Author(s): Alexandru Mihai / Language(s): English,Romanian Issue: 10/2022

In the history of the violin, from design and construction to performance, two names stand out both for the value of the level of craftsmanship and for the fact that they are closely related even though the fields of activity are different. Giuseppe Guarneri del Gesù (1698 – 1744), one of the most famous masters of Italian luthiery, and Niccolò Paganini (1782-1840), perhaps the most famous violinist of all time. Analising the results of the two, we discover a common denominator that each time fuels the reputation of the two even more. The "Il Cannone" violin is the result of a complete creative process aimed at both the manufacturer and the customer, but wich projects a final result that serves the listener and all of mankind, opening new paths not only in innovation and design of the instrument, but also in the techniques and possibilities of interpretation, actively contributing to the process of continuous development and creation in the two fields. The violin “as an object, was and continues to be an extension of the hand, an ally of man, a precious help in solving some of his many problems of living, in support of activity, in support of the efficiency developed towards the goal and with the possibility of to shorten their path to reach it.”

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Romanian Repertoires in the Programmes of the Bucharest Philharmonic in the Interwar, World War II and Post-War Period. Case Study: Mihail Jora

Romanian Repertoires in the Programmes of the Bucharest Philharmonic in the Interwar, World War II and Post-War Period. Case Study: Mihail Jora

Author(s): Desiela Ion / Language(s): English Issue: 48/2021

The radical changes that the communist regime imposed on Romanian society since the end of the World War II also affected Bucharest institutions such as the Conservatory and the Philharmonic. In the light of these transformations, the analysis of the Romanian repertoires in the Philharmonic’s programmes reflects the trends and ideologies in Romanian musical composition and criticism. Moreover, the ideological directions of the World War II and post-war period would dictate the frequency, quantity and genres of Romanian music in the Philharmonic’s concert programmes (for example, the preponderance of Russian and Soviet music to the detriment of Romanian music until the early 1960s, when Romanian music became mandatory in the weekly concert programmes). In this study I propose a brief analysis of Mihail Jora’s post-war compositional and conducting career, in comparison with his musical presence in the interwar period, reflected in the musical life of the Bucharest Philharmonic.

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Elemente folclorice în repertoriul ansamblului vocal instrumental „Orizont”

Elemente folclorice în repertoriul ansamblului vocal instrumental „Orizont”

Author(s): Cristina Pintilie-Romanenco / Language(s): Romanian Issue: 1/2023

The purpose of this article is to identify the methods of interaction of national folklore with the idioms of pop music and jazz in the creation of the vocal-instrumental group “Orizont”, led by Oleg Milstein. Based on the detailed analysis of the compositions “La morișca”, „Leana”, „Moldovan tunes”, etc. the author reveals the most representative methods of involving Romanian folklore in the sound texture of the pieces performed by the band “Orizont”. Among them it is worth mentioning: quoting popular songs, composing contrapuntal lines to folk melodies, combining themes of folkloric origin with stylistic and genre elements of pop, rock and jazz music. Special attention is paid to the treatment of vocal jazz methods used by the members of the “Orizont” band.

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Implicarea deconstrucției filosofice în muzica lui John Zorn

Implicarea deconstrucției filosofice în muzica lui John Zorn

Author(s): Livia Georgeta Suciu / Language(s): Romanian Issue: 1/2023

We started from the challenge launched by the professor and musicologist Marcel Cobussen in his doctoral thesis “Deconstruction in Music” (2002) and we investigated how the philosophical deconstruction promoted by Jacques Derrida is articulated in the context of avant-garde music promoted intensively in recent decades by artist John Zorn. Given that Derrida challenged us to understand that deconstruction applies to not only written texts and discourses, but also to other non-discursive ways of writing such as works of art, cinematography, architecture or music, we tried to explain first what is specific to Derridean deconstruction and philosophical writing and what we mean, in this context, by architectural writing or musical writing. We then followed a concrete example of involvement of deconstruction in architecture in the project of Bernard Tschumi in order to compare and follow more easily the way in which deconstruction is involved in the musical practice of the artist John Zorn. Thus, our challenge was to verify if we can identify, in the compositional and performative musical practice of the artist John Zorn, the same levers of deconstruction that we identified in the analysis of Derridean philosophy and deconstructive architecture. We have therefore identified several ways in which the artist John Zorn deconstructs music in the context of avant-garde music. For example, by transgressing all the boundaries between musical styles and currents, he created a lot of new and surprising musical fusion experiments: very diverse musical styles were hybridized, jazz music, classical music or traditional klezmer music, merged with the extremes of rock, heavy metal, hardcore, noise, atonal music, film music or improvisational experiments. All these musical fusion experiments challenged the artistic community and our way of perceiving music. John Zorn uses practices specific to Derridean deconstruction: he decontextualizes and recontextualizes musical styles and currents, musical pieces and fragments; he resorts to the practice of grafting, hybridization and fusion, building a heterogeneous, fragmented, discontinuous, mobile musical spatiality; he invented a personalized way of composition based on the practice of combinatorial transformations, of combining blocks of sounds that can be disassembled, multiplied, repeated, reconstructed and reassembled into unique musical compositions (they can be deconstructed and reconstructed in the style of Derridean deconstruction, or they can be deterritorialized and reterritorialized like the rhizomatic system of Deleuze and Guattari); he dissolved the classic distinction and hierarchy between composition / improvisation / interpretation by challenging the artists to become co-composers and discover their improvisational potential in a live process of collective musical creation; he transgressed the boundary between music and everything outside of music, between music and noise, given that noise was integrated as another form of sound. We draw the obvious conclusion: just like the philosopher Jacques Derrida, the musician John Zorn transgresses the boundaries of the musical field, the boundaries between musical styles and currents and looks for what escapes our usual frames of composition or reception of music. John Zorn looks for what is completely different in music, looks for the other beyond all musical styles, in the same way that Derrida looks for the other who escapes to philosophical discourses and languages.

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FROM NOVEL TO FILM: THE ROLE OF MUSICAL INSERTS IN TOMASI DI LAMPEDUSA’S THE LEOPARD

FROM NOVEL TO FILM: THE ROLE OF MUSICAL INSERTS IN TOMASI DI LAMPEDUSA’S THE LEOPARD

Author(s): Anamaria Milonean / Language(s): Romanian Issue: 16/2019

If we can talk about additional significance in the case of a filmic text as compared to that of a novel, this is mainly due to the former’s multi-code nature. There are various codes-ranging from visual-iconic to linguistic and sound representations-that underpin the meaning of a filmic text, as form of a complex creative expression, conferring it a highly synergic character in comparison with the verbal text. The written text does indeed feature references to signifying structures belonging to codes other than the linguistic one; however, these are also textually updated by means of words. While the reading of a verbal text involves a syntagmatic reception of messages originating from various semiotic systems, the audio-visual flow of the filmic text allows for a simultaneous reception similar to a real-life situation. In light of these premises, our article emphasizes the importance of musical structures in Giuseppe Tomasi di Lampedusaʼs ʽThe Leopardʼ, as well as in the homonymous film directed by Luchino Visconti. After a concise presentation of the typology of sounds and their support in shaping the specificity of cinematographic language, we will highlight the role of musical inserts in both novels and films. Thus, we will compare their functions and valences in outlining the overall textual meaning for two distinct signifying objects which nevertheless interact through a fruitful intertextual dialogue.

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A STUDY ON THE CHARACTERISTICS AND INHERITANCE OF CHINESE YAZHENG

A STUDY ON THE CHARACTERISTICS AND INHERITANCE OF CHINESE YAZHENG

Author(s): Xiaohong Zhong / Language(s): English Issue: 1/2023

Why do the yazheng have different shapes and production processes in different places? What is the effect of the reformation of yazheng in modern times? Based on the survived real yazheng in modern time and historical documents, this study gives an overview of the similarities and differences of yazheng found in different places and discusses its contemporary inheritance and development. Using the theoretical lens of ethnomusicology and perspectives including the origin of musical instruments and playing methods, this study investigates the development of the yazheng in the same historical context and crosscontexts. I believe the strategy for the survival of the yazheng originated from the influence of the strong culture at that time and was also driven by the social power hierarchy and historical environment.

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Le français « sauvage » dans les chansons d’Édith Piaf – un aperçu didactique

Le français « sauvage » dans les chansons d’Édith Piaf – un aperçu didactique

Author(s): Mieczysław Gajos / Language(s): French Issue: 2/2022

Édith Giovanna Gassion, known as Édith Piaf recorded more than three hundred songs. Her repertoire is as rich as her biography. Often, in the texts of Piaf’s songs, we can find some traces of her life, stories that she had told to her lyricists, who made use of them by suggesting that her songs qualified as realistic. While analysing the texts of Édith Piaf’s songs created between 1935 and 1963, we can identify the vocabulary belonging to the slang register. In the linguistic part of our article, we will try to present this lexicon. In the didactic part of our article we will look at the problem of pedagogical exploitation of the slang vocabulary contained in the songs of Édith Piaf.

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Cătălin Alin Cernătescu. Tradiția muzicală a irmoaselor calofonice în limba română între secolele XVIII și XXI [The Musical Tradition of the Romanian-Language Kalophonic Heirmoi Between the 18th and 21st Centuries]
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Cătălin Alin Cernătescu. Tradiția muzicală a irmoaselor calofonice în limba română între secolele XVIII și XXI [The Musical Tradition of the Romanian-Language Kalophonic Heirmoi Between the 18th and 21st Centuries]

Author(s): Nicolae Gheorghiță / Language(s): English Issue: 2/2021

Review of: Cătălin Alin Cernătescu Tradiția muzicală a irmoaselor calofonice în limba română între secolele XVIII și XXI [The Musical Tradition of the Romanian-Language Kalophonic Heirmoi Between the 18th and 21st Centuries] Bucharest: National University of Music Bucharest Publishing House, 2021, 432 Pages ISBN 978-606-659-130-0 ISMN 979-0-707661-23-3

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