Temat: improvisation - Prolib Integro

Skocz do pozycji: 1.

Tytuł:: Improwizacja
Improvisation
Autorzy:: Puchalska, Iwona
Wydawca:: Wydawnictwo Naukowe Uniwersytetu Mikołaja Kopernika w Toruniu
Dostawca treści:: Repozytorium Uniwersytetu Jagiellońskiego

Artykuł

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Skocz do pozycji: 2.

Tytuł:: Organy jako źródło inspiracji: odrodzenie giganta (Paryż - Watykan - Licheń)
The Organ as a Source of Inspiration: The Rebirth of a Giant (Paris - Vatican - Licheń)
Autorzy:: Szostak, Michał
Wydawca:: Sindruk-DIMK
Cytata wydawnicza:: Szostak, Michal. (2021). The Organ as a Source of Inspiration: The Rebirth of a Giant (Paris - Vatican - Licheń). Sindruk-DIMK
Dostawca treści:: Repozytorium Centrum Otwartej Nauki

Książka

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Skocz do pozycji: 3.

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

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Skocz do pozycji: 4.

Tytuł:: Текстово-образна універсалія як мовноструюпурний засіб імпровізаційного творення українських народиш дум
Text-Shaped Universal as a Structural-Language Means o f the Improvisational Designing of Texts on Ukrainian National Thoughts
Autorzy:: БЕПЕНКО, ТЕТЯНА П.
Tematy:: improvisation
thought
text-shaped universal; Pokaż więcej
Wydawca:: Uniwersytet Opolski
Powiązania:: https://bibliotekanauki.pl/articles/953428.pdf Link otwiera się w nowym oknie
Opis:: This article belongs to the area of linguistic stud> ot folklore. The author considers the naturę o f folklore improvisation as integral linę of folksong creativity ffom the position of the linguistic structurization o f the orał text. As a result of the research, a conclusion is drawn on the existence o f constructive elements, which provide complete preservation and an improvisadonal reconstruction o f epic texts, text-shaped universal. Detailed classification of named units, including their exhaustive characteri nic, is also offered.
Dostawca treści:: Biblioteka Nauki

Artykuł

na półce

Skocz do pozycji: 5.

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

na półce

Skocz do pozycji: 6.

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

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Skocz do pozycji: 7.

Tytuł:: Partimento – praktyka czy sztuka?1
Partimento – Practice or Art?
Autorzy:: Solecka, Joanna
Tematy:: partimento
basso continuo
Italian music
improvisation; Pokaż więcej
Wydawca:: Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
Powiązania:: https://bibliotekanauki.pl/articles/514012.pdf Link otwiera się w nowym oknie
Opis:: Partimento practice originated in Italy and the most important centre of this art was Naples. In general, partimento is a kind of an abbreviated form of musical notation. It uses the notation of basso continuo: it provides one voice, which in most cases is the bass part supported with figures of b.c. notation. The figures may be neglected if the performer is supposed to follow the so-called rule of the octave. Practicing partimento was a way to master compositional skills: thorough bass, harmony, counterpoint, form, texture, motivic coherence. Practicing this art was rewarded with an unparalleled fluency in improvisation on keyboard instruments. It was the basic method of composition teaching at the famous conservatories in Naples. The conservatories were founded in the 16th century as orphanages but from the 17th century onward they turned into important professional schools of music. The students of the conservatories attained the highest degree of musical knowledge enabling them to pursue great careers as composers and performers (both in the vocal and instrumental realm) in Italy and abroad. Besides Naples the art of partimento was taught in other Italian cities, e.g. Rome and Bologna. Its influence was also seen in other countries, mostly in Germany. Besides being exercises, the partimento notation was also included in pieces of music not necessarily intended for teaching purposes. Bernardo Pasquini (1637–1710) was one of the very first composers to write partimenti; however, he did not use the word “partimento”. His works for one or two keyboards, written as b.c., were called by him for example “basso”, “basso continuo”, “sonata”, “versetto”. An interesting question nowadays is if partimento is an old-fashion method of teaching or an inspiration for artists seeking for individual ways of own expression.
Dostawca treści:: Biblioteka Nauki

Artykuł

na półce

Skocz do pozycji: 8.

Tytuł:: Improvisation cabaret, the role of the performance studies and viewer.
Improwizacja kabaretowa, rola performatyki i widza.
Autorzy:: Adamiec, Urszula
Opis:: The purpose of this paper is to show the big picture of improvisation as a performative act, in particular improvisation cabaret. This paper was presented her story as well as other types of improvisation (music, theater). An important element of the work is a chapter on the discourse which he uses improvisation cabaret. The study was based on an American and Polish cabaret.
Celem niniejszej pracy jest pokazanie szerokiego obrazu improwizacji jako aktu performatywnego, w szczególności improwizacji kabaretowej. W pracy została przedstawiona jej historia a także inne rodzaje improwizowania (muzyczna, teatralna). Ważnym elementem pracy jest rozdział dotyczący dyskursu jakim improwizacja kabaretowa się posługuje. Badania zostały oparte na kabarecie amerykańskim a także polskim.
Dostawca treści:: Repozytorium Uniwersytetu Jagiellońskiego

Inne

na półce

Skocz do pozycji: 9.

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

na półce

Skocz do pozycji: 10.

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

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