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Muzyka
|
2004
|
vol. 49
|
issue 4(195)
63-85
EN
The author discusses the question of instrumental colouring in the orchestral works of Tadeusz Baird. In the first section he analyses configurations of parts and their potential influence on the timbre of the composition, while in the second he considers the ways in which the composer makes use of the tone palette offered by a symphony orchestra. Baird's youthful symphonic compositions, influenced by the neostylistic trend understood in a wider sense, is based on the idea of a universal tone and that is why it is difficult to distinguish, at that early stage, any characteristic repeating configurations of colour, or to define clear preferences in the selection of instruments chosen to realise the main thematic concepts. Here the composer does not venture beyond the classical standards of using orchestral colour. Only in some fragments of 'Sinfonietta' and 'Symfonia II' do we find more sophisticated solutions, where the selection of instruments and special articulatory effects provide evidence of attempts to create a more definite colour aura. In the nineteen-sixties this state of affairs underwent a change. The palette was enriched by a number of additional pigments (although still within the framework of the traditional instrumentarium), and the selective use of the orchestral apparatus in search of original juxtapositions of timbres, made colour one of the main elements of Baird's world of sound. It was so important that it had a significant influence on emphasising the components of form. This can be seen most clearly in 'Eseje' (Essays) - a cycle of four colouristically separate miniatures, and also in 'Wariacje bez tematu' (Variations without a theme), in which contrasting the colours over the space of short segments, numbering a few measures, constitutes one of the equivalents of the traditional variation techniques, operating mainly in the area of sound structure. Thus, it would not be controversial to describe the timbre layer of 'Wariacje' as one of the methods of adapting the Mahler-Schönberg idea of Klangfarbenmelodie.
PL
Celem badań była ocena dwóch grup gospodarstw specjalizujących się w produkcji roślinnej w zależności od salda emisji gazów cieplarnianych z gleby. Pierwszą grupę gospodarstw stanowiły gospodarstwa z ujemnym saldem emisji gazów cieplarnianych z gleby, natomiast drugą grupę gospodarstwa z saldem dodatnim. Następnie analizie porównawczej poddano ich potencjał produkcyjny, strukturę produkcji, efektywność ekonomiczną oraz nasilenie inwestycyjne. Do realizacji tak rozumianego celu wykorzystano dane empiryczne z gospodarstw specjalizujących się w produkcji roślinnej, które prowadziły nieprzerwanie rachunkowość rolną dla potrzeb Polskiego FADN w latach 2005-2010. Stwierdzono, że gospodarstwa z ujemnym saldem emisji gazów cieplarnianych z gleby w porównaniu z gospodarstwami z saldem dodatnim były w lepszej sytuacji ekonomicznej i charakteryzowały się większym nasileniem inwestycyjnym.
EN
The aim of analysis was attempt assessment two groups farms with field crops depending on balance of emission warming gases from soil. First group contained farms with negative balance of emission warming gases from soil while second group of farms contained farms with positive balance of emission warming gases from soil. Comparative analysis concerned their production potential and structure, economic effectiveness and intensification of investment. In this purpose used empirical data from farms with field crops which collect accountancy data for Polish FADN. It has been found that farms with negative balance of emission warming gases achieve better economic situation and larger intensification of investment than other farms.
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