Search results

1

Vittoria agli Assasini! Jak brzmi sukces w grze komputerowej?

100%

Bajew M.

Conversatoria Linguistica

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2021

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issue 13

7-24

PL

The paper addresses the issue of the success of the sound of computer game success. To realise this, the author undertook a study of sound samples selected by him, which he considered to be the auditory representation of success in a computer game. The study was carried out with the help of the Reaper computer program and included 9 different sound characters. In the article, the author also reflects on the source and essence of success in a computer game and the game-player-success relationship.

2

Wybór systemów nagłośnienia pomieszczeń sakralnych

88%

Rosiński A.

Colloquia Theologica Ottoniana

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2013

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issue 2

165-183

EN

The author of the following publication, aware of the shortage of specific literature concerning links between acoustics, architecture and building’s design, sets himself an aim: to depict general problems relevant to architect design of sacred interior reflecting acoustic qualities of each room and to convey useful and basic knowledge to architects, acousticians and clerics referring to the church’s building stage. In the following thesis the most important factors of church’s interior acoustic design are shown because through centuries the discipline caused numerous problems, being difficult to research, recount and neglected. Additional ideas of using natural acoustics of different sacred objects or electro acoustic equipment cause that the following subject area can be adapted in houses of prayer built throughout the years. Therefore the subject of the following article seems to be vitally important and up-to-date because it refers to a specialized field of knowledge of which thorough cognoscence broadens versatility and workshops of the architects, acousticians and clerics, not without influence upon high quality results.

3

Językowy obraz dźwięku (na materiale polsko- i rosyjskojęzycznych recenzji muzycznych)

88%

Dzienisiewicz M.

Studia Rossica Posnaniensia

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2021

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vol. 46

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issue 2

243-255

EN

The aim of the article is to present the ways of conceptualization of sound in Polish and Russian musical critical texts. For the purpose of the article 145 examples in Polish and 145 examples in Russian were analyzed. The material has been divided into three groups based on the type of sense: a visual approach to sound impressions, a tactile approach to sound impressions and a tastebased approach to sound impressions. The analyzed research material was presented with the use of the linguistic worldview methodology, and grouped into categories. The results of the comparative analysis showed a multiplicity of similarities in the types of categories, as well as in the types of synaesthetic metaphors. The largest groups of conceptualizations are those with Aristotelian origin: QUALITY, SUBSTANCE and SHAPE. Synaesthetic metaphors based on the visual approach to sound impressions proved to be the most widespread. The analyzed texts have provided a huge variety of conceptualizations and synaesthetic metaphors in Polish and Russian musical critical texts which constitute a part of the linguistic worldview of sound.

4

The spectralism of Gerard Grisey: from the nature of the sound to the nature of listening

88%

Humięcka-Jakubowska J.

Interdisciplinary Studies in Musicology

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2009

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issue 8

227-252

PL

The paper is an attempt to consider Grisey’s music from an ontological perspective, not only as a cultural product, but above all as an entity derived from the order of nature. The spectral music, as an entity derived from the order of nature, may be studied primarily as mental reality that refers directly to the composer’s stance, physical reality, that refers to the material from which the music is produced, and psychological reality of relating to its perception. In Grisey’s creative attitude, one distinguishes several tendencies. The article describes treating sound as a living organism in time, replacing the idea of timbrematière, from the traditional art of orchestration, with timbre-son, based on the science of acoustics, a processual approach to time and form, taking account in the creative process of human perceptual abilities and seeking a musical language based on scientific premises. These tendencies are described in the context of the composer's statements and examples of his work. Taking the nature of sounds as his starting point, Grisey headed towards the nature of listening, and the effects of this journey are his clearly specified views and their manifestation in composed musical works.

5

L’animalità nella poesia di Jolanda Insana

87%

Malicka P.

Studia Romanica Posnaniensia

|

2018

|

vol. 45

|

issue 3

35-47

EN

The scope of the article is to reflect upon the argument of animality in the work of the Sicilian poet Jolanda Insana (1937-2016) which represents one of the possible interpretive keys of her works. The analytical part of the paper contains an analysis from the anti-anthropocentric perspective of some fragments of the section Bestia clandestina included in the volume Turbativa d’incanto (2012).

6

Phonetic Archaisms in the Dialect of the Bulaeshty Village of the Republic of Moldova: The Consonant System

75%

Гороф’янюк, Інна

Slavia Orientalis

|

2020

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vol. LXIX

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issue 3

7

Joanna Nowińska, Co słyszysz poza słowem? «Sound design» Apokalipsy św. Jana (Rozprawy i Studia Biblijne 47; Warszawa: Vocatio 2016)

75%

Szymik S.

Verbum Vitae

|

2018

|

vol. 34

511-518

EN

Book review: Joanna Nowińska, Co słyszysz poza słowem? «Sound design» Apokalipsy św. Jana (Rozprawy i Studia Biblijne 47; Warszawa: Vocatio 2016). Ss. 214. 65 PLN. ISBN: 978-83-7829-217-3

PL

Recenzja książki: Joanna Nowińska, Co słyszysz poza słowem? «Sound design» Apokalipsy św. Jana (Rozprawy i Studia Biblijne 47; Warszawa: Vocatio 2016). Ss. 214. 65 PLN. ISBN: 978-83-7829-217-3

8

Brzmienie a relacje interinstrumentalne w fakturze kameralnej na przykładzie wybranych polskich sonat skrzypcowych XX wieku

75%

Renat M.

Edukacja Muzyczna

|

2014

|

issue 9

89–111

PL

Artykuł przedstawia relacje pomiędzy partiami dwóch instrumentów i ich wpływ na brzmienie. Zagadnienie to jest ukazane na przykładzie 4 sonat skrzypcowych polskich kompozytorów, powstałych w różnych latach XX wieku. A są to: — Sonata G-dur na skrzypce i fortepian Henryka Melcera (1907), — Sonata na skrzypce i fortepian Romana Maciejewskiego (1938), — IV Sonata na skrzypce i fortepian Grażyny Bacewicz (1949), — Sonata na skrzypce i fortepian (1971). Rozważania o brzmieniu poprzedzone są metodologicznym wstępem, zatytułowanym „Brzmienie jako problem badawczy”. Ukazuje on uwagi Carla Dahlhausa, Igora Strawińskiego, Ryszarda Daniela Golianka i Józefa Michała Chomińskiego. Analizy utworów poprzedzają uwagi dotyczące relacji interinstrumentalnej i jej definicje. W pierwszej sonacie Henryka Melcera relacje przyjmują postać dialogu sukcesywnego i symultatywnego, w którym istnieją różne rodzaje brzmienia: selektywne, eufoniczne, złożone, kontrastowe. Druga kompozycja, Sonata Romana Maciejewskiego, przedstawia rodzaj dialogu symultatywnego o brzmieniu topliwym. IV Sonata Grażyny Bacewicz reprezentuje dialog symultatywny o brzmieniu kontrastowym. Sonata Eugeniusza Knapika reprezentuje model płaszczyznowy, który tworzy układ formy brzmieniowej tarasowej. Artykuł zamyka podsumowanie, w którym wysunięto wnioski nadrzędne: w każdym utworze istnieją trzy warstwy relacji kształtujących brzmienie: — dobór instrumentów a brzmienie, — rdzeń dźwiękowy a brzmienie, — ukształtowanie interinstrumentalne a brzmienie.

EN

Issues concerning relations between the parts for two instruments and is effect on the tone form in the course of development of the form are discussed in the article. The authoress performs exemplification of the issue on the grounds of case studies of four violin sonatas written by Polish composers in different periods of the 20th century. They are: — Sonata in G-major for violin and piano by Henryk Melcer (1907), — Sonata for violin and piano by Roman Maciejewski (1938), — Sonata No 4 for violin and piano by Grażyna Bacewicz (1949), — Sonata for violin and piano by Eugeniusz Knapik (1971). Deliberations on the texture-tone phenomena in these compositions are preceded by a methodo- logical introduction, entitled “Tone as a Research Problem”. Opinions expressed by, among others, Carl Dalhaus, Igor Stravińsky, Ryszard D. Golianek, Józef M. Chomiński are also discussed. Analyses of subsequent works lead to conclusions on types of the applied texture, methods of operating instrumental registers and variations of inter-instrumental relations. In each sonata, the conclusions are different. In the Sonata in G-major by Henryk Melcer, there are relations of a successive dialogue, giving a selective tone and simultative cooperation (parallel narration) forming three tone variants: uniform, complementary and contrasting. The second composition, Sonata by Roman Maciejewski, shows aspiration to the texture-tone combination. Sonata No. 4 by Grażyna Bacewicz achieves a high degree of variability with a majority of contrasting simultative cooperation. The last Sonata by Eugeniusz Knapik, assuming the plane model with strong con- trasts in planning tone arrangements, creates a “terrace tone form”. Each sonata presents its own model (also stylistic) of shaping tone and texture, and the final shape of the tone is affected by its idiolect form, resulting from, above all, the individual style of a given composer.

9

Vnímanie hraníc v čase

75%

Šterbáková D.

Filosofický časopis (Philosophical Journal)

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2016

|

vol. 64

|

issue 1

23-43

EN

When we see an object, we see it as bounded and separated from other objects in space. When we hear a sound, we are capable of discerning its beginning, its continuing flow, and its end in time. Despite this, the bounds of sound are not firm, but flow with the sound in time and cannot be fixed. We can perceive other sounds and events synchronously. Do we then perceive the bounds of acustic events on the basis of time, as is commonly supposed? How could the bounds in time not be real, but only notional (conventional), and on the basis of what do we distinguish sounds and silence? This article investigates (i) how we are able to perceive (distinguish) bounds, that is change in the context of a continous perception of sounds; and (ii) whether time enables us to distinguish the perceived event as a delineated whole, or rather as part of the continuous flow of sounds. The first question is developed from Leibniz’s thoughts about the emergence of consciousness, in so far as they issue from the aural model of perception. The second question is put into the context of Husserl’s analysis of the percept of melody and asks whether Husserl’s understanding of aural events (melody) as a whole is compatible with the fact that melodies occur in time gradually.

10

Dźwiękowe osobliwości

75%

Schreiber E.

Didaskalia. Gazeta Teatralna

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2022

|

issue 167

187-208

EN

The article introduces the most important philosophical and musicological contexts of Jakub Momro’s book The ear has no eyelid. Sonic primordial scenes. The author of the book places the music and sonic practices of late modernity into an extensive network of philosophical concepts, especially those related to the philosophy of deconstruction and psychoanalysis. In this way he shows the relationship between music and the issues of time, voice, materiality and corporeality, sound and vision, freedom and determinism, trauma and desire. The text also includes a reconstruction of some theses on the ephemeral and performative nature of sound and on listening as the domain of freedom. At the end conclusions are presented about the importance of the book in the context of contemporary musical thought.

11

Metoda Petera Hessa. Studium percepcji dźwięku w profilaktyce i terapii rodzinnej

75%

Kataryńczuk-Mania L.

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2020

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vol. XXIII

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issue (2/2020)

157-166

EN

Introduction. The method of relaxation by Peter Hess, not particularly popular in Poland, is used by doctors, therapists, psychotherapists, and teacher-therapists working with people with disabilities in occupational therapy workshops, social welfare centres, hospices, and hospitals. Objective. The aim of the article is to present selected assumptions of the Peter Hess method and the possibilities of its use in prophylaxis and family therapy. Materials and methods. The work uses a description of individual cases of people benefiting from family therapy at the “Arka” Social Welfare Centre in Zielona Góra. Results. The observations show that the Peter Hess method creates wide preventive and therapeutic possibilities in working with adults and family members.

PL

Wprowadzenie. Mało jeszcze rozpowszechniona w Polsce metoda odprężenia i relaksacji Petera Hessa jest wykorzystywana przez lekarzy, terapeutów, psychoterapeutów, nauczycieli-terapeutów pracujących z osobami z niepełnosprawnością na warsztatach terapii zajęciowej, w ośrodkach pomocy społecznej, hospicjach, szpitalach. Cel. Celem artykułu jest ukazanie wybranych założeń metody Petera Hessa i możliwości jej wykorzystania w profilaktyce i terapii rodzinnej. Materiały i metody. W pracy wykorzystano opis indywidualnych przypadków osób korzystających z terapii rodzinnej w Ośrodku Pomocy Społecznej „Arka” w Zielonej Górze. Wyniki. Z obserwacji wynika, że metoda Petera Hessa stwarza szerokie możliwości profilaktyczno-terapeutyczne w pracy z dorosłymi, z członkami rodzin.

12

Binaural and Ambisonic Sound as the Future Standard of Digital Games

75%

Farkaš T.

|

2018

|

vol. 1

|

issue 2

34-46

EN

The author of this study suggests an idea that the auditive element of digital games is soon going to be one of the most important factors influencing their overall success, popularity, and originality. He analyses the phenomenon of binaural and ambisonic sound, its evolution and uses in the context of modern audio-visual work, primarily focusing on games. The auditive component and its increasingly important role are analyzed in connection with the graphic design of games, virtual reality, as well as the popularity of specific games. This paper also focuses on audio-games, the use of binaural sound (which was first used on a large scale in Hellblade: Senua’s Sacrifice) and various hybrid digital games, which are balancing between classic games and audio-games. Argumentation is based on an assumption that binaural sound is the way to ambisonic sound, which (within the context of the immersive and interactive character of digital games) predestines the new standard and shows an entirely new way of creating and using digital games at the same time. All of this is reflected in the context of the graphic design of digital games and their future.

13

Teksty Polaków pisane grażdanką w syberyjskiej wsi Wierszyna

75%

Ananiewa [Ананьева, Anan’eva] N. Н. N.

Acta Baltico-Slavica

|

2013

|

vol. 37

EN

Polish texts in Cyrillic alphabet used by the speakers of the Polish dialect in the village of VershinaThe article analyzes Polish texts in Cyrillic alphabet used by the speakers of the Polish dialect in the village of Vershina, Bokhan Region near Irkutsk. The dialect was brought to Siberia by the Polish who moved there from the Dombrovsky coal basen in the aftermath of Pyotr Stolypin’s reforms. The dialect has retained the characteristic features of the southwestern variety of Polish until the present day.There two types of Cyrillic Polish texts in the Vershina dialect: handwritten songs performed by the local choir and religious texts in print. Some language peculiarities of the dialect can be found in the songs. The present paper provides a comparison of the differences in how the Polish speech sounds are rendered in song lyrics and in prayers. For example, in texts of prayers there are a variety of ways of writing the affricate ć, and some inconsistencies in the use of some of Cyrillic characters. Tексты, писанные «гражданкой», у поляков сибирской деревни ВершинаПредметом анализа в статье являются кириллические польские тексты, функционирующие у носителей польского диалекта деревни Вершина Боханского района Иркутской области. Этот островной польский говор появился в Сибири в результате переселения сюда поляков из Домбровского бассейна в ходе реформ П. Столыпина и до настоящего времени сохраняет особенности, свойственные говорам юго-западной Польши. У носителей польского диалекта представлены 2 вида польских текстов, написанных «гражданкой»: записи польских песен, исполняемых участниками местного хора и печатные литургические тексты. В записях песен отражены некоторые диалектные особенности местного польского говора. В статье сопоставляются способы передачи «гражданкой» польского языкового материала в записях песен и в текстах молитв. В частности, в текстах молитв отмечаются разнообразие способов передачи аффрикаты ć и случаи непоследовательного использования в них тех или иных кириллических букв.

14

Językowe zabawy w wierszach Małgorzaty Strzałkowskiej

63%

Kaptur E.

Poznańskie Studia Polonistyczne. Seria Językoznawcza

|

2021

|

vol. 28

|

issue 2

241-258

EN

The article presents the linguistic games in selected poems by Małgorzata Strzałkowska. The subject of the research were 300 works from ten volumes that have been published over the last twenty-five years. The text examines these verbal games, which are mainly based on the sound layer of the utterance, i.e. sounds / sounds, onomatopoeia, rhymes, and rhythm. It was found that Strzałkowska’s poems can be ready-made lesson plans that can be used in Polish lessons, in phonetics, in voice emission as well as during speech diagnosis or therapy.

15

Wpływ zaburzeń słuchu u dzieci w wieku szkolnym na pracę aparatu artykulacyjnego

63%

Zeszyty Naukowe Zbliżenia Cywilizacyjne

|

2015

|

vol. 11

41-55

PL

Prawidłowe słyszenie warunkuje psychofizyczny rozwój dziecka; umożliwia poprawne nadawanie i rozumienie mowy, czyli satysfakcjonującą komunikację z otoczeniem. Właściwa higiena narządu słuchu, ochrona przed czynnikami atmosferycznymi pośrednio wpływają na stan narządów mowy, a te odpowiedzialne są za emisję głosu, jakość wymawianych dźwięków. W artykule uzasadniono potrzebę dbania i promowania zdrowia przez nauczycieli i uświadamiania jej dzieciom od najwcześniejszych lat edukacji.

EN

Correct hearing determinates a child’s psycho-physical development; it enables correct speech transmission and comprehension’ in other words satisfactory communication with its surroundings. Correct hygiene of the hearing apparatus and protection from atmospheric factors indirectly influence the state of the speech apparatus, and these elements are responsible for voice emission, spoken sound quality. I justify the need of healthcare and its promotion by teachers and Healthcare education for children from the early school years.

16

“Sounds that Create the Image.” On Polish and Russian Translations of Alliteration in Pnin by Vladimir Nabokov

63%

Letka-Spychała O.

Półrocznik Językoznawczy Tertium

|

2019

|

vol. 4

|

issue 1

EN

The article explores procedures used for the rendition of alliteration in the novel Pnin written by Vladimir Nabokov (1957). Two target texts will be compared. The first one is the Polish translation prepared by Anna Kołyszko (1987), the second one is the Russian version done by Sergey Ilyin (1993). The analysis of the texts will draw on research into three major thematic areas: proper names, appearance and feelings/emotions where an accumulation of alliteration is distinctly noticeable. These fields are linked by the focal character, a Russian émigré who comes to America after the Russian Revolution. His oddness and eccentricity are constantly emphasized by the unreliable narrator, whose speech abounds in alliterations. In the original this device not only reinforces the narrator’s orality but also structures the image of the focal character. In the target texts alliteration is subject to various formal modifications. In many cases it is substituted by onomatopoeias, consonances, descriptive equivalents or it is simply abandoned. As a result, the translators do not always preserve the alliterative effect (especially when it comes to proper names, feelings and emotions). Translation procedures applied by the translators allow them to achieve partial equivalence on the semantic level. Inaccuracies in this field are visible in examples referring to Pnin’s feelings and emotions in which alliterative word strings are omitted and semantically distant counterparts are used.

17

Usłyszeć antropocen. O dźwiękowych reprezentacjach zmiany klimatu

63%

Tańczuk R.

Prace Kulturoznawcze

|

2018

|

vol. 22

|

issue 1-2

69-82

EN

Taking up the problem of climate change, Nicholas Mirzoef, in his book How to See the World, argued that we should make it less abstract and that we need a new mode of visual thinking, adequate to the Anthropocene. The Anthropocene can also be heard and the anthropogenic impacts can have an audible dimension as well. This article provides reasons for using sounds as a medium communicating the ongoing changes and lays out different kinds of sound representations of the anthropocene demonstrated by practitioners and theoreticians of acoustic ecology and sound artists (B. Krause, D. Dunn). Recordings of the environment and works by sound artists are given consideration with respect to their affective potential, their ability to influence us and our emotions, to shape a more responsible attitude to the environment that we inhabit together with the nonhuman agents.

18

Звуковой мир поэмы Михаила Юрьевича Лермонтова Демон

63%

Hodanen L.

Slavica Wratislaviensia

|

2014

|

vol. 158

41 - 48

EN

The article concerns about the sonosphere in M. Lermontov’s works. The earlier poet’s epistolary legacy, in which the main ways of sound perception are reflected, is analyzed. It is noted that in Lermontov’s literary works this perception became the foundation of a distinct theme in lyrics and paradigm of motifs which appeared in his poems (Sounds, Yest rechi — znachenye). The phonic world of the poem Demon is described in detail (1841 edition). The types of Demon’s and Tamara’s sonospheres which by means of phonic images diversify the main conflict are defined; the artistic functions of the musical images are brought to light.

19

Dźwięk jako element produktu turystycznego na wybranych przykładach

63%

Rypiński M.

Turystyka Kulturowa

|

2013

|

issue 8

24-37

PL

Dźwięk powiązany z przestrzenią i czasem towarzyszy człowiekowi od zawsze. Odgłosy natury i cywilizacji, które towarzyszą codziennym obowiązkom, oraz muzyka, która może mieć moc łagodzenia obyczajów – to wrażenia słuchowe tak mocno związane z naszym życiem, iż przestają być zauważalne. Dźwięk kształtuje otoczenie, środowisko, a także nas samych. Turystyka trwale związana jest z dźwiękiem. Istnieje wiele rodzajów turystyki, która opiera się na dźwięku. Turystyka festiwalowa, religijna, obserwacja ptaków czy podróże po całym świecie w celu poznawania innych kultur, folkloru – to elementy, które kreuje, a także inspiruje, jako efekt wtórny dźwięk. W artykule przedstawiono wyniki badań przeprowadzonych wśród respondentów o wykształceniu muzycznym oraz wśród przyszłych touroperatorów. Podstawowym celem badań była próba ustalenia, czym dla ankietowanych jest dźwięk w aktywności turystycznej, a także jak kojarzony jest z turystyką oraz z produktem turystycznym. Realizacja badań pozwoliła na określenie dwóch perspektyw odniesienia – muzycznej oraz turystycznej. Owe badania były swoistą konfrontacją osób pojmujących dźwięk w turystyce w sposób stricte muzykologiczny z respondentami nastawionymi przede wszystkim na turystykę i rekreację.

EN

Sound connected with space and time has been accompanying a man since the beginning of mankind. Noises of nature and civilization which accompany our daily activities, and music which is said to have the power of making people more benevolent towards each other – are auditory impressions so strongly connected with our lives that they have become imperceptible. Sound shapes our surroundings and environment, and also ourselves. Tourism has been abidingly connected with sound. There are many types of tourism which are based on sound. Festival tourism, religious tourism, bird watching or traveling around the world in order to become familiar with different cultures and folklore – are all the elements which are created and also inspired by sound as secondary effect. Tourism product and sound are the elements which are very close to each other due to the fact that they create one inextricable symbiosis providing us with recreation, strength recovery, as well as aesthetic experiences. This paper presents the results of study conducted among the respondents with music education and prospective tour operators. The main objective of the research was the attempt to determine what sound in tourism activity is for the respondents, and how it is associated with tourism and with tourism product. Completion of the study made it possible to determine two reference perspectives – music and tourist. This research is also a specific confrontation of individuals understanding sound in tourism in a stricte musicological way, with the respondents who are primarily oriented towards tourism and recreation.

20

Dźwięk i krajobraz dźwiękowy w nagraniach historii mówionej – zagadnienia techniczne i badawcze

63%

MACIĄG A., LIPIŃSKI S.

Edukacja-Technika-Informatyka

|

2019

|

vol. 10

|

issue 2

176-182

PL

Celem artykułu jest analiza dźwięku w nagraniach historii mówionej w trzech aspektach. W pierwszej i drugiej części przyjrzymy się temu, co wpływa na jakość nagrań audio, o co osoba nagrywająca może zadbać, aby nagranie miało jak najlepszą jakość, a co wymyka się naszej kontroli. Poruszone zostaną tu kwestie techniczne dotyczące sprzętu oraz kontroli dźwięku podczas nagrania. W trzeciej części opracowania przyjrzymy się temu, co tworzy tzw. krajobraz dźwiękowy nagrania i jakie możliwości interpretacyjne on przed nami otwiera.

EN

The work aim is to describe and reflect on the sound in the oral history recording in three aspects. First, we discuss what affects the quality of audio recordings, and what we can take care of to ensure to get best quality. It will also be discussed what escapes our control. The technical issues regarding equipment and sound control during the recording will be discussed here. In the third part of the work, we will look at what creates the so-called ‘soundscape’ of the recording and what interpretation possibilities it opens for us.

Refine search results

Vittoria agli Assasini! Jak brzmi sukces w grze komputerowej?

Wybór systemów nagłośnienia pomieszczeń sakralnych

Językowy obraz dźwięku (na materiale polsko- i rosyjskojęzycznych recenzji muzycznych)

The spectralism of Gerard Grisey: from the nature of the sound to the nature of listening

L’animalità nella poesia di Jolanda Insana

Phonetic Archaisms in the Dialect of the Bulaeshty Village of the Republic of Moldova: The Consonant System

Joanna Nowińska, Co słyszysz poza słowem? «Sound design» Apokalipsy św. Jana (Rozprawy i Studia Biblijne 47; Warszawa: Vocatio 2016)

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