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Wyszukujesz frazę "improvisation" wg kryterium: Temat


Tytuł:
The Art of Stylish Organ Improvisation
Autorzy:
Szostak, Michał
Wydawca:
Musical Opinion Ltd, London
Cytata wydawnicza:
Szostak Michał, "The Art of Stylish Organ Improvisation", in: "The Organ”, No 390, Nov.2019-Jan.2020, Musical Opinion Ltd, London, ISSN 0030-4883, pp. 20-27.
Opis:
The spontaneous musical activity of a man was the main source from which the entire musical culture of humanity was born. Before the musicians started composing their repetitive works, improvised music was used both for entertainment and for the needs of worship. For centuries, along with the development of instruments, the development of playing techniques has continued. The adaptation of organ for the use of the Western Church implied a dynamic development of this wonderful instrument. The flexibility of the liturgy meant that improvisation was the most optimal way of implementing live music during worships. In principle, until the early second half of the 19th century, improvisation was the dominant form of organ playing. At that time, organs in concert halls were located (e.g. Albert Hall in Sheffield, The Royal Albert's Hall in London, Palais Trocadéro in Paris), and regular concerts were organized there, during which organ literature began to appear regularly. The subject of this article is the issue of showing the methodology of the performer's approach to the art of stylish organ improvisation, which after a period of stagnation at the turn of the 19th and 20th century, has been experiencing its renaissance in recent decades. Detailed analyses will be provided on the base of the 19th-century French symphonic era, but the same approach and methodology can be used for each epoch and each style.
Dostawca treści:
Repozytorium Centrum Otwartej Nauki
Artykuł
Tytuł:
The Essentials of Organ Improvisation
Autorzy:
Szostak, Michał
Wydawca:
Musical Opinion
Cytata wydawnicza:
Szostak, M. (2023) ‘The essential of organ improvisation’, The Organ, 405(August-October 2023), pp. 4–17.
Opis:
Organ improvisation is a practical, noble, respectable art with an intense history and remarkable achievements. Although the results of practising it are ephemeral, the theoretical descriptions and volumes written about it allow us to conclude that it is an essential phenomenon for humanity in music. Depending on the adopted optics, a look at organ improvisation will be characterised by issues and cognitive apparatus characteristic of a given discipline. Following and developing concepts presented in my article, ‘The Art of Stylish Organ Improvisation’ published in issue 390 of “The Organ” (Szostak, 2019) and my paper, ‘Creativity and Artistry in Organ Music’ from issue 391 (Szostak, 2020), in this current study I should like to look at the phenomenon in an interdisciplinary manner, from three seemingly distant perspectives: 1) instrumental studies – as the primary field, on which, from the practical side, every musical improvisation takes place; 2) aesthetics – as a theoretical science on art and beauty derived from philosophy, and 3) management – as a field both theoretical and practical, combining the components of science (knowledge) and art (skills), and dealing with the efficient implementation of goals. This article aims to answer the following research questions: first, How can aesthetic theory broaden our view of the improvisation process? And second, What is the difference between virtuosity, artistry and creativity in improvisational activities? The following research methods were applied to answer these questions: a critical analysis of the literature in the field of instrumental music, aesthetics and management, as well as the autoethnography of an organist with over 20 years of experience, a university professor and researcher in the field of management aesthetics, creation and creativity.
Dostawca treści:
Repozytorium Centrum Otwartej Nauki
Artykuł
Tytuł:
Instrument as a source of inspiration for the performer
Autorzy:
Szostak, Michał
Wydawca:
Musical Opinion Ltd, London
Cytata wydawnicza:
Szostak Michał, "Instrument as a source of inspiration for the performer”, in: "The Organ”, No 386, Fall 2018, Musical Opinion Ltd, London, ISSN 0030-4883, pp. 6-27
Opis:
From the point of view of aesthetics, as a science dealing with the so-called aesthetic situation, inspiration is an inseparable element of the initial phase of the aesthetic situation, which includes the artist (creator), creative process, work of art, the recipient, the process of art perception and aesthetic values . Inspiration (from Latin noun 'inspiratio' = inspiration and Latin verb 'inspirare' = blow in) is an encouragement to action, especially in man's creative work . It involves stimulating the creative process of the artist to perform a specific work of art. The opposite of inspiration is discouragement, demotivation, weakening the spirit . The phenomenon of inspiration (and “deinspiration”) can be considered as an ephemeral temporary situation (coincidence) and as a long-term process (e.g. an inspiring place). From the point of view of the performer, sources (factors) that can be an inspiration I divide into external (objective) to the performer and internal (subjective) to the performer. External sources of inspiration include: a) the instrument; b) interior acoustics; c) listeners (their number, their potential level of perception of a work of art); d) circumstances (concert, liturgical: great and solemn ceremony or modest morning service); e) history of the place and the characters with connected places; f) epoch-fashion-style; g) musical theme; h) musical form. I will now discuss each of these factors on the example of 19th-century French symphonic organs.
Dostawca treści:
Repozytorium Centrum Otwartej Nauki
Artykuł
Tytuł:
The Art of Stylish Organ Improvisation
Autorzy:
Szostak, Michał
Wydawca:
Musical Opinion Ltd, London
Cytata wydawnicza:
Szostak, M. (2019). The Art of Stylish Organ Improvisation. The Organ, 390, Nov.2019-Jan.2020.
Opis:
The spontaneous musical activity of a man was the main source from which the entire musical culture of humanity was born. Before the musicians started composing their repetitive works, improvised music was used both for entertainment and for the needs of worship. For centuries, along with the development of instruments, the development of playing techniques has continued. The adaptation of organ for the use of the Western Church implied a dynamic development of this wonderful instrument. The flexibility of the liturgy meant that improvisation was the most optimal way of implementing live music during worships. In principle, until the early second half of the 19th century, improvisation was the dominant form of organ playing. At that time, organs in concert halls were located (e.g. Albert Hall in Sheffield, The Royal Albert's Hall in London, Palais Trocadéro in Paris), and regular concerts were organized there, during which organ literature began to appear regularly. The subject of this article is the issue of showing the methodology of the performer's approach to the art of stylish organ improvisation, which after a period of stagnation at the turn of the 19th and 20th century, has been experiencing its renaissance in recent decades. Detailed analyses will be provided on the base of the 19th-century French symphonic era, but the same approach and methodology can be used for each epoch and each style.
Dostawca treści:
Repozytorium Centrum Otwartej Nauki
Artykuł
Tytuł:
Managing the process of organ improvisation
Autorzy:
Szostak, Michał
Wydawca:
Musical Opinion Ltd
Cytata wydawnicza:
Szostak, M. (2023) ‘Managing the process of organ improvisation’, The Organ, pp. 6–16.
Opis:
Continuing considerations about the noble and respectable art of organ improvisation (Szostak, 2019, 2020, 2023), I would like to answer the following questions in this work: 1) What are the components of the aesthetic situation in case of organ improvisation and what are the relations between these components? 2) How can an organ improviser manage the process of artistic improvisation in order to be efficient in his musical activities? An interdisciplinary approach must be applied from three perspectives (instrumental studies, aesthetics, and management) to find justified answers. All the time, we base on the concept of Maria Gołaszewska’s theory of the aesthetic situation, its components and mutual relations. Previously described three critical competencies of an organ improviser (virtuosity, artistry and creativity) allow us to analyse the phenomenon of managing the aesthetic situation of improvisation by the improviser, who – apart from virtuosity, artistry and creativity – should also take into account the motives for undertaking the improvisational activity, sources of inspiration with a particular emphasis on contextual inspiration, the role of the improviser’s identity and the role of commitment. The research methods exploited in this article are a critical analysis of the literature and autoethnography. In order to fully understand the phenomenon of improvisation, it is necessary to find a possibly comprehensive model that would allow us to coherently capture all the problems related to this form of creativity. Many aesthetic theories may refer to considerations in improvisation in particular areas, but the most capacious and flexible is the “aesthetic situation” theory by Maria Gołaszewska. Based on the achievements of Roman Ingarden’s phenomenology (Ingarden, 1970, pp. 18–41), Maria Gołaszewska translated her theory of the “axiological situation” (Gołaszewska, 1986b, pp. 23–38) to the area of aesthetics, calling it an “aesthetic situation”. The main components of the aesthetic situation theory are the creator, the work of art, the recipient, the real world and the world of values. The fundamental relationships between the listed components are as follows: the creator in the creative process creates a work of art; the recipient receives the work of art in the reception process; all these elements have connections and interactions with the world of values, but they happen in the real world. Let us briefly discuss these components and their relations with the imposed optics of improvisational creativity.
Dostawca treści:
Repozytorium Centrum Otwartej Nauki
Artykuł
Tytuł:
Contextual Inspiration and Motive in Persuasive Creativity: Lessons from Artistic Improvisation
Autorzy:
Szostak, Michał
Wydawca:
Społeczna Akademia Nauk
Cytata wydawnicza:
Szostak, M. (2022) ‘Contextual inspiration and motive in persuasive creativity: lessons from artistic improvisation’, Discourses on Culture, 17(1), pp. 101–131. doi: 10.36145/DoC2022.05.
Opis:
The article deals with the role of contextual inspiration and motive in persuasive creativity based on the theory and practice of performative art improvisation (Kaiser, 2018; Nisula, & Kianto, 2018). This framing and the theory of the aesthetic situation (Gołaszewska, 1984) enable us to arrive at the conclusion that being a persuasive creator requires having a solid and conscious motive and proper trigger in the form of inspiration driven by the environmental context. Furthermore, as the improvisation process does not entail the possibility of its correction or repetition, performative art improvisation offers meaningful insights into understanding persuasive creativity. Therefore, the creator can manage the process of persuasive artistic creativity to achieve goals by understanding the creative process and its phases, realising different motives and appropriate igniting inspirations towards specific audiences, and developing his/her identity as a conscious creator.
Dostawca treści:
Repozytorium Centrum Otwartej Nauki
Artykuł
Tytuł:
Impact of Learning Resources Improvisation on Biology Instruction in Senior Secondary Schools in Ondo South Senatorial District in Nigeria
Wpływ improwizacji zasobów kształcenia na kształcenie biologii w szkołach średnich starszych w południowym okręgu senatorskim Ondo w Nigerii
Autorzy:
Oluwafemi, Abanikannda Mutahir
Wydawca:
Instytut Spraw Społecznych Uniwersytetu Pedagogicznego im. Komisji Edukacji Narodowej w Krakowie
Cytata wydawnicza:
Abanikannda, M. (1970). Impact of Learning Resources Improvisation on Biology Instruction in Senior Secondary Schools in Ondo South Senatorial District in Nigeria. Labor et Educatio, 2021, 169-184. doi:https://doi.org/10.4467/25439561LE.21.011.15365
Opis:
This study examined the impact of improvisation of learning resources on biology instruction in senior secondary schools from Ondo South Senatorial District. The study sample was 350; and consisted of students randomly selected from 10 senior secondary schools in Ondo South Senatorial District of Ondo State in Nigeria. A self-developed inventory was designed and validated through pilot testing and administered to the sample for the data collection. The researcher personally visited the schools in Ondo South Senatorial District, thus 100% data were collected. The collected data were tabulated and analysed by using percentages, mean, standard deviation and t-test analysis. The major conclusions of this study were that the types of learning facilities that are available for teaching science are weighing balance, audio tape, textbooks, graphs, charts and maps; there is positive impact of improvisation of learning resources on the biology instruction in the senior secondary schools and there is no significant difference between male and female students in the impact of improvisation of learning resources on biology instruction. Based on the finding of this study, major recommendations were made.
Dostawca treści:
Repozytorium Centrum Otwartej Nauki
Artykuł
Tytuł:
What a musician-improviser can learn from a master of the martial arts?
Czego muzyk improwizator może się nauczyć od mistrza sztuk walki?
Autorzy:
Mazur, Rafał
Wydawca:
Jagiellonian University
Cytata wydawnicza:
R. Mazur, Czego muzyk improwizator może się nauczyć od mistrza sztuk walki?, Estetyka i Krytyka, Nr 29 (2/2013), ss. 153-167
Opis:
Dominika Czakon
In the Confucian cultural circle it is believed that the efficiency and quality of one’s actions is closely determined by the quality of one’s “work with qi.” This belief is found equally in philosophical writings, texts on aesthetics, and notes of masters of the martial arts, as well as within the so-called “folk/common wisdom.” The phenomenon of “working with qi” is related to working on one’s mind, and on closer examination seems adaptable and applicable in contexts other than that of Chinese culture. In this article I will try to explain what the “work with qi” consists in on the example of Taijiquan martial art, and then sketch a theoretical possibility of “working with qi” in the practice of free improvisation in contemporary music.
W konfucjańskim kręgu kulturowym uważa się, iż skuteczność i jakość działania jest ściśle determinowana jakością „pracy z qi”. To przekonanie znajdujemy zarówno w pismach filozoficznych, tekstach dotyczących estetyki, zapiskach mistrzów sztuk walki, jak i w tak zwanej mądrości ludowej. Fenomen „pracy z qi” związany jest z pracą z umysłem i przy bliższej obserwacji wydaje się możliwy do zaadaptowania na gruncie pozachińskim. W artykule postaram się wyjaśnić, czym jest „praca z qi” na przykładzie sztuki walki Taijiquqan oraz naszkicować teoretyczną możliwość zastosowania „pracy z qi” w praktyce swobodnej improwizacji w muzyce współczesnej.
Dostawca treści:
Repozytorium Centrum Otwartej Nauki
Artykuł
Tytuł:
What musician-improviser can learn from a master of the martial arts? Work with qi in the internal martial arts, and contemporary free improvisation
Czego muzyk-improwizator może nauczyć się od mistrza sztuk walki? Praca z qi w wewnętrznych sztukach walki oraz we współczesnej improwizacji swobodnej
Autorzy:
Mazur, Rafał
Wydawca:
Instytut Filozofii UJ
Cytata wydawnicza:
R. Mazur, Czego muzyk-improwizator może nauczyć się od mistrza sztuk walki? Praca z qi w wewnętrznych sztukach walki, oraz we współczesnej improwizacji swobodnej. w: Estetyka i Krytyka 29 (2/2013), Kraków 2013, ss. 153-167
Opis:
W konfucjańskim kręgu kutlurowym uważa się, iż skuteczność i jakość działania jest ściśle determinowana jakością "pracy z qi". To przekonanie znajdujemy zarówno w pismach filozoficznych, tekstach dotyczących estetyki, zapiskach mistrzów sztuk walki, jak i w tzw. "mądrości ludowej". Fenomen "pracy z qi" związany jest z pracą z umysłem i przy bliższej obserwacji wydaje się możliwy do zaadoptowania na gruncie pozachińskim. W artykule postaram się wyjaśnić czym jest "praca z qi" na przykładzie sztuki walki Taijiquqan, oraz naszkicować teoretyczną możliwość zastosowania "pracy z qi" w praktyce swobodnej improwizacji w muzyce współczesnej.
Rafał Mazur
In Confucian cultural circle it is believed that the efficiency and quality of one's actions is closely determined by the quality of one's "work with qi". This belief is found equally in the philosophical writings, texts on aesthetics, and notes of masters of martial arts, as well as in the so-called. "folk/common wisdom." The phenomenon of "work with qi" is related to working on one's mind, and on closer examination seems possible to adaptable and applicable in context other than of Chinese culture. In this article I will try to explain what the "work with qi" consist in on the example of Taijiquan martial art, and sketch a theoretical possibility of "working with qi" in the practice of free improvisation in contemporary music.
Dostawca treści:
Repozytorium Centrum Otwartej Nauki
Artykuł
Tytuł:
The Role of the Teacher in Music Education for Children in Early School Age: a Practical and Theoretical Analysis
Rola nauczyciela w edukacji muzycznej dzieci w młodszym wieku szkolnym: analiza praktyczna i teoretyczna
Autorzy:
Rutkowska, Agnieszka
Wydawca:
Akademia Nauk Stosowanych w Nowym Sączu
Cytata wydawnicza:
Rutkowska, A. (2025). Rola nauczyciela w edukacji muzycznej dzieci w młodszym wieku szkolnym: analiza praktyczna i teoretyczna. Eruditio et Ars, 11(2), 155–162.
Opis:
The article provides a comprehensive analysis of the teacher’s role in music education at the early school stage. Based on the attached source material (a sample lesson plan for a first-grade class) and selected theoretical frameworks, it discusses the teacher’s functions, key pedagogical competences, and teaching methods in music education for children aged 6–8. The paper refers to E.E. Gordon’s theory of music learning, humanistic and constructivist approaches, and practical didactic strategies. A detailed analysis of the lesson plan entitled “Musical sounds around us” is presented, including methodological guidelines, suggestions for improvement, and recommendations for practitioners. Pedagogical conclusions and further research directions are formulated at the end.
Artykuł stanowi kompleksowe opracowanie roli nauczyciela w edukacji muzycznej na etapie edukacji wczesnoszkolnej. Na podstawie załączonego materiału źródłowego (przykładowego scenariusza zajęć w klasie pierwszej) i wybranych podstaw teoretycznych omówiono funkcję nauczyciela, kluczowe kompetencje pedagogiczne oraz metodykę prowadzenia zajęć muzycznych z dziećmi w wieku 6-8 lat. Uwzględniono założenia teorii uczenia się muzyki E.E. Gordona, podejście humanistyczne, konstruktywistyczne oraz praktyczne rozwiązania dydaktyczne. Przedstawiono szczegółową analizę scenariusza lekcji pt. „Muzyczne dźwięki wokół nas”, wskazówki metodyczne, propozycje modyfikacji oraz rekomendacje dla praktyków. Na zakończenie sformułowano wnioski pedagogiczne oraz propozycje dalszych badań empirycznych.
Dostawca treści:
Repozytorium Centrum Otwartej Nauki
Artykuł

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