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Tytuł:
Jan Sebastian Bach w poezji Konstantego Ildefonsa Gałczyńskiego
Johann Sebastian Bach in the poetry of Konstanty Ildefons Gałczyński
Autorzy:
Nowak, Monika
Opis:
Niniejsza praca licencjacka stanowi studium nad postacią Jana Sebastiana Bacha w poezji Konstantego Ildefonsa Gałczyńskiego. Zostały w niej przywołane niemal wszystkie poetyckie utwory tego autora dotyczące niemieckiego kompozytora. Oprócz analizy i interpretacji wspomnianych wierszy, praca zawiera szereg odwołań do biografii zarówno Bacha, jak i Gałczyńskiego. Przedstawia także różne ujęcia tematu, które zebrane są w typologii stworzonej na potrzeby pracy.
This thesis is the dissertation of the person of Johann Sebastian Bach in the poetry of Konstanty Ildefons Gałczyński. It includes almost all the poems relating to this German composer out of Gałczyński’s poetry. Moreover, it involves analyses and interpretations of the productions, as well as quite high amount of biographical mentions. The thesis also contains a typology depicting various ways of the topic.
Dostawca treści:
Repozytorium Uniwersytetu Jagiellońskiego
Inne
Tytuł:
Wirtualna harfa Bacha. Baroque.me Alexandra Chena między net artem a mitem wielkiego kompozytora
Virtual Harp of Bach. Baroque.me by Alexander Chen between Net Art and Myth of the Great Composer
Autorzy:
Kretkowska, Adriana
Tematy:
Johann Sebastian Bach
Alexander Chen
net art
reception of Bach
Pokaż więcej
Wydawca:
Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
Powiązania:
https://bibliotekanauki.pl/articles/514041.pdf  Link otwiera się w nowym oknie
Opis:
In his projects, Alexander Chen (b. 1981) unites experiences as a programmer, designer, violist and indie rock musician. His Baroque.me is a virtual, audiovisual interpretation of canonical Prelude from Cello Suite No. 1 BWV 1007 by Johann Sebastian Bach. Like most of Chen’s projects, it is based on the code which he wrote in 2011. The fruit of the code is – in his own words – “a virtual string instrument”, “an interactive plucked instrument” or “an impossible harp” that is out of classification in terms of traditional typology of musical instruments. Grounded in mathematical fundamentals of musical string, it presents them in an attractive manner and unveils hidden geometrical beauty of well-known items. Baroque.me could seem to be too traditional, nostalgic and naive, lacking in deeply critical approach towards postmodern society and deeply attached to premodern understanding of beauty. Its user friendly interface, appearance typical for contemporary websites and elements of gaming suggest that Chen’s work is made just for entertainment. However, it is exquisitely interesting as an example of contemporary phenomenon, which Paul Elie called “reinventing Bach”. Baroque.me merges various layers of Bach reception: romantic, modern, and finally postmodern, which connects intimacy, entertainment and – characteristic for Bach himself – fascination of science and new technology. Two possible modes of contact with the Chen’s work, that is passive contemplation of the old masterpiece and/or (inter)active disruption of its harmony, can be associated with the ethos of the net artist who uses new technology to entertain people and provide intellectual reflection at the same time.
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Rhetoric and music : Johann Sebastian Bach’s cantata "Christ lag in Todesbanden"
Związki retoryki i muzyki : kantata "Christ lag in Todesbanden" Jana Sebastiana Bacha
Autorzy:
Górny, Tomasz
Opis:
The first part of the article outlines the tradition which gave shape to the Baroque musical rhetoric. Among its constitutive elements were the style of the Florentine Camerata with its insistence on the role of speech in musical composition; Athanasius Kircher’s doctrine of the affects (Affektenlehre); Johann Mattheson’s model of the aria and Joachim Burmeister’s idea of musical figures. The second part of the article contains a rhetorical interpretation of Johann Sebastian Bach’s Cantata No.4 BWV "Christ lag in Todesbanden". The interrelationship between the words and the musical structure of the cantata is described and analyzed with the help of concepts from the field of musical rhetoric. The summary considers the significance of this interpretation of Bach’s composition for contemporary musical life.
Dostawca treści:
Repozytorium Uniwersytetu Jagiellońskiego
Artykuł
Tytuł:
Virtual Harp of Bach. Baroque.me by Alexander Chen between Net Art and Myth of the Great Composer
Autorzy:
Kretkowska, Adriana
Tematy:
Johann Sebastian Bach
Alexander Chen
net art
reception of Bach
Pokaż więcej
Wydawca:
Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
Powiązania:
https://bibliotekanauki.pl/articles/513944.pdf  Link otwiera się w nowym oknie
Opis:
In his projects, Alexander Chen (b. 1981) unites experiences as a programmer, designer, violist and indie rock musician. His Baroque.me is a virtual, audiovisual interpretation of canonical Prelude from Cello Suite No. 1 BWV 1007 by Johann Sebastian Bach. Like most of Chen’s projects, it is based on the code which he wrote in 2011. The fruit of the code is—in his own words—“a virtual string instrument”, “an interactive plucked instrument” or “an impossible harp” that is out of classification in terms of traditional typology of musical instruments. Grounded in mathematical fundamentals of musical string, it presents them in an attractive manner and unveils hidden geometrical beauty of well-known items. Baroque.me could seem to be too traditional, nostalgic and naive, lacking in deeply critical approach towards postmodern society and deeply attached to premodern understanding of beauty. Its user-friendly interface, appearance typical for contemporary websites and elements of gaming suggest that Chen’s work is made just for entertainment. However, it is exquisitely interesting as an example of contemporary phenomenon, which Paul Elie called “reinventing Bach”. Baroque.me merges various layers of Bach reception: romantic, modern, and finally postmodern, which connects intimacy, entertainment and—characteristic for Bach himself—fascination of science and new technology. Two possible modes of contact with the Chen’s work, that is passive contemplation of the old masterpiece and/or (inter)active disruption of its harmony, can be associated with the ethos of the net artist who uses new technology to entertain people and provide intellectual reflection at the same time.
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Virtual Harp of Bach : "Baroque.me" by Alexander Chen between net art and myth of the great composer
Wirtualna harfa Bacha : "Baroque.me" Alexandra Chena między net artem a mitem wielkiego kompozytora
Autorzy:
Kretkowska, Adriana
Opis:
In his projects, Alexander Chen (b. 1981) unites experiences as a programmer, designer, violist and indie rock musician. His Baroque.me is a virtual, audiovisual interpretation of canonical Prelude from Cello Suite No. 1 BWV 1007 by Johann Sebastian Bach. Like most of Chen’s projects, it is based on the code which he wrote in 2011. The fruit of the code is - in his own words - "a virtual string instrument", "an interactive plucked instru-ment" or "an impossible harp” that is out of classification in terms of traditional typology of musical instru-ments. Grounded in mathematical fundamentals of musical string, it presents them in an attractive manner and unveils hidden geometrical beauty of well-known items. Baroque.me could seem to be too traditional, nostalgic and naive, lacking in deeply critical approach towards postmodern society and deeply attached to premodern understanding of beauty. Its user-friendly interface, ap-pearance typical for contemporary websites and elements of gaming suggest that Chen’s work is made just for entertainment. However, it is exquisitely interesting as an example of contemporary phenomenon, which Paul Elie called "reinventing Bach". Baroque.me merges various layers of Bach reception: romantic, modern, and finally postmodern, which connects intimacy, entertainment and - characteristic for Bach himself - fascination of science and new technology. Two possible modes of contact with the Chen’s work, that is passive contempla-tion of the old masterpiece and/or (inter)active disruption of its harmony, can be associated with the ethos of the net artist who uses new technology to entertain people and provide intellectual reflection at the same time.
Dostawca treści:
Repozytorium Uniwersytetu Jagiellońskiego
Artykuł
Tytuł:
Wirtualna harfa Bacha : "Baroque.me" Alexandra Chena między net artem a mitem wielkiego kompozytora
Virtual Harp of Bach : "Baroque.me" by Alexander Chen between net art and myth of the great composer
Autorzy:
Kretkowska, Adriana
Opis:
n his projects, Alexander Chen (b. 1981) unites experiences as a programmer, designer, violist and indie rock musician. His Baroque.me is a virtual, audiovisual interpretation of canonical Prelude from Cello Suite No. 1 BWV 1007 by Johann Sebastian Bach. Like most of Chen’s projects, it is based on the code which he wrote in 2011. The fruit of the code is - in his own words - "a virtual string instrument", "an interactive plucked instru-ment" or "an impossible harp” that is out of classification in terms of traditional typology of musical instru-ments. Grounded in mathematical fundamentals of musical string, it presents them in an attractive manner and unveils hidden geometrical beauty of well-known items. Baroque.me could seem to be too traditional, nostalgic and naive, lacking in deeply critical approach towards postmodern society and deeply attached to premodern understanding of beauty. Its user-friendly interface, ap-pearance typical for contemporary websites and elements of gaming suggest that Chen’s work is made just for entertainment. However, it is exquisitely interesting as an example of contemporary phenomenon, which Paul Elie called "reinventing Bach". Baroque.me merges various layers of Bach reception: romantic, modern, and finally postmodern, which connects intimacy, entertainment and - characteristic for Bach himself - fascination of science and new technology. Two possible modes of contact with the Chen’s work, that is passive contempla-tion of the old masterpiece and/or (inter)active disruption of its harmony, can be associated with the ethos of the net artist who uses new technology to entertain people and provide intellectual reflection at the same time.
Dostawca treści:
Repozytorium Uniwersytetu Jagiellońskiego
Artykuł
Tytuł:
Velké svatohorské varhany ‒ ideální nástroj pro interpretaci hudby J. S. Bacha v českých zemích
The great Svatá Hora organ – the ideal instrument for interpreting the music of J.S. Bach in the Czech Republic
Autorzy:
Tůma, Jaroslav
Tematy:
Svatá Hora
J.S. Bach skladatel
interpretace
J.S. Bach composer
interpretation
Pokaż więcej
Wydawca:
Uniwersytet Opolski. Diecezjalny Instytut Muzyki Kościelnej. Katedra Muzykologii Uniwersytetu Opolskiego
Powiązania:
https://bibliotekanauki.pl/articles/570457.pdf  Link otwiera się w nowym oknie
Opis:
Vladimír Šlajch’s organ at Svatá Hora in Příbram draws to a close an important stage of his life. Having had equal success building other organs, the most important and largest of which is in the German town Bruchsal, this instrument represents a unique achievement. These days we usually encounter organs that conform to the wishes of organists and organ experts that every new instrument be built primarily with the convenience of the performer in mind. The organ at the Basilica of Our Lady of Svatá Hora is different. Instead, it embodies a synthesis of original solutions and tried-and-true traditions. Vladimír Šlajch built it as a sort of tribute to the organ builders who once worked in Bohemia. The decorating of the prospect pipes makes reference to Abraham Starck from Loket, Ondřej Kokštejn from Příbram, and the organ builder Bedřich Semrád from the Central Povltaví Region. The tracker action for the manuals and registration is mechanical. Because of this tracker action constructed strictly in accordance with Baroque models, the organ makes an audible clicking sound when played, and in addition, because of differing distances for individual connections, the clicking is not equally loud for each note. The clicking bothers many organists, but the organ builder insists that the design is justified, using centuries of organ building tradition as his argument. In my opinion, playing the great Svatá Hora organ successfully depends upon approaching it with a great deal of humility and upon the ability to adapt oneself to the instrument, along with having a deep understanding of the features specific to the organ. It is true that the level of disruptive clacking noise reveals the organist’s particular style of playing, but it is also true that the attempt to make less noise forces each of us not only to depress, but also to release the keys as carefully as possible, and with this kind of tracker action, moving one’s fingers in this way naturally also influences the sound of legato passages and the smoothness of the phrasing. While the attempt to play without making noise is entirely futile, especially when using quieter registration, it has an absolutely fundamental influence over the quality of the melodic lines within the context of the polyphony, and that influence is clearly for the better. From the layout of the instrument, we clearly see the wealth of sonic possibilities at our disposal. The many colours of the registers can be combined into an almost inexhaustible quantity of shadings. While the organ is intended for playing older music, mainly of the Renaissance, Baroque, and Classical eras, neither Romantic nor contemporary compositions are out of the question. One must simply consider which ones to choose and which ones would be less appropriate, because although the tuning is set at a' = 440 Hz at 18 degrees Celsius, the temperament is slightly unequal, reminiscent of Valotti tuning. The spatial layout of the individual divisions of the Svatá Hora is quite unusual, but it still respects longstanding tradition. The manuals have a chromatic range from C to f'''. The Great division (manual II) takes up the two most spacious parts of the organ case. It is divided into a C and C sharp side. A smaller division called the Positiv, placed in front above the organist’s head, is connected to a third manual. The first manual plays the Unterwerk or Choir division, which is divided into bass and discant. Each register of the Unterwerk is activated separately for the bass and discant on the left and right sides of the console. The organ builder placed the Unterwerk right behind the console in the pedestal of the organ. Like the Great division, the Pedal is divided into a C and C sharp side, and each takes one of the adjacent loft areas on the sides. On the other hand, a three-rank pedal Cornet plays from the Crown Positiv or Kronwerk located at the top just under the vault. Representing a peculiar feature are the two sets of chimes (Zimbelstern), which are located on the pedal cases on opposite sides. A noteworthy property of the organ at Svatá Hora is its sonic versatility, perhaps even universality to a certain extent. If you listen to it, you soon get the impression that you are hearing a Czech or south-German Baroque sound, then it suddenly seems that you have found yourself listening to a Silberman organ in nearby Saxony, until finally you notice a passage that seems to come from the Baltic, with sounds of the ideal organ of Bach’s forerunners of the north-German school. Then the combination of the Principal on the Great manual and the Bifara stop tuned to create vibrato makes us wonder, might we perhaps be in Italy? And at the same time, although the organ is in a Catholic church, the instrument seems to the organist to be in perfect accord with the music of Johann Sebastian Bach. The acoustics and reverberation here are exceedingly suited to the spirit of Bach’s Protestantism. The Svatá Hora organ is indispensable for the successful interpretation of Bach’s music within the context of this region. Notwithstanding all of their beauty, the Baroque organs of Bohemia have a small range of tones, with a lack of the needed keys, pedals, and registers, while the later organs are oriented towards the Romantic musical style, and even newer organs usually suffer from insufficient artistic quality caused mainly by mass production methods. By contrast, the new Svatá Hora organ is of great artistic worth; it even fits the basilica perfectly from a visual perspective. Once the organ was finished, we could hardly imagine that not long beforehand the instrument had not yet been installed. These days, an organ is very rarely so perfectly matched to the place for which it is intended.
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
"The Art of Fugue" by Johann Sebastian Bach as an artistic expression of the juncture of beyng in Martin Heidegger’s philosophy
Autorzy:
Krawiec, Andrzej
Opis:
Listening and polyphony lead us directly to reflection on the musical form of the fugue. Starting with M. Heidegger’s considerations about the juncture of beyng, we will phe-nomenologically ask about the essence of the fugue, and the musical work put under analysis will be "The Art of Fugue" by J.S. Bach. The article aims to show the convergence between Heidegger’s philosophy and the essence of the musical form of fugue as an artis-tic mode of the essential occurrence of beyng as an event.
Dostawca treści:
Repozytorium Uniwersytetu Jagiellońskiego
Artykuł
Wyświetlanie 1-10 z 80

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