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EN
Rhythm is a concept, which is possible to employ in various contexts. This article imagines the normal understanding of rhythm as true structures and against which stand the understanding of the opposition of meter versus rhythm in the Czech versological tradition or the French ‘neoplatonic’ approach to rhythm with an emphasis on meaning and subject. This article is devoted as well to the rhythm of the spoken output of various languages and reminds on the division of languages by isochrony and isosyllabism. It will further examine the role of rhythmic language types in a selection of versifying systems and other circumstances, which influence these choices. The final part of the article will concern the rhythmical experiments of Otakar Theer and his drama Faëthón, perhaps one of the most expansive Czech texts written in accentual verse.
EN
Monosyllabic prepositions in Czech are known to attract the stress of the words following them (e.g., 'jedu 'do Prahy, I’m going to Prague, rather than 'jedu do 'Prahy). However, certain factors have been recognized which allow for the shift of stress from the preposition to the following word. This study examines these factors in two types of speech material, in read newscasts on Czech Radio and in spontaneous dialogues. The length (number of syllables) of the preceding word has a clear effect, with longer words attracting stress more than shorter ones. Stress also tends to be shifted less when the following word is a noun and more when it is an adjective modifying a noun. Perhaps most interestingly, a great majority of the instances when stress was shifted resulted in a more rhythmical configuration, in a more regular number of syllables in neighbouring stress groups.
EN
Music teaching is a compulsory subject in the curriculum of a basic artschool. For most pupils, however, this subject is not attractive. It is up to the teacher toraise the interest in pupils by appropriate didactic procedures and to point out the necessityof musical learning to develop musical abilities of the pupils.
PL
Výchovno-vzdelávací proces prešiel v 20. storočí zásadnými zmenami a vývojom. Už pri letmom pohľade na množstvo alternatív didaktických postu-pov a vyučovacích metód vidíme, že žiaden akokoľvek prepracovaný a dokonalý systém nie je univerzálny a jedine správny. Hudba a predmet hudobná náuka je pre žiaka v mladšom školskom veku predovšetkým hrou, v ktorej môže uplatňovať svoj poznávací a objaviteľský inštinkt. Vyjadruje ňou svoje pocity, zážitky, svoj vnútorný svet a spätne hudba obohacuje jeho osobnosť. Pomáha mu vytvárať životnú energiu a pocit radosti. Hudobné hry sú preto veľmi odporúčanou činnosťou. Môžeme ich realizovať v akejkoľvek etape vy-učovacej hodiny i v rámci všetkých hudobných činností.
EN
Hispano-American modernism, the period of the turn of the 19th and 20th centuries, brings about a major renewal of literary creation, which allows a self-confident and decisive input of this region’s literatures into modernity. The article briefly examines the key moments of this renewal, based on the search for beauty and harmony and the desire for a perfect rhythm of the language to reflect the rhythm of the universe; it also points out the connection with the incoming avant-garde.
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