Search results

1

Muzyka ocalona, muzyka ocalająca. O Traktacie o łuskaniu fasoli Wiesława Myśliwskiego

100%

Czyżak A.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2012

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vol. 15

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issue 1

257-266

EN

Article focuses on interpretation of the last novel written by Wiesław Myśliwski Traktat o łuskaniu fasoli. The author presents biography of hero — musician and homo viator. Novel describes his life and its connections with Polish history in XXth century. Above all, it presents a reflections on the role of music in culture after II World War. In his Traktat... Myśliwski performs anti-logocentric turn — music is created as a sphere of art which has power of salvation: it could save human being life from destruction and could stop destruction of rudimental senses formed European culture.

2

OPPORTUNITIES FOR TALENT DEVELOPMENT IN CHILDREN WITH GENERAL INTELLECTUAL GIFTEDNESS

100%

Hudáková J.

Ars inter Culturas

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2015

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issue 4

77-88

EN

The aim of the study was to verify the problem of intellectually gifted children, terminologically referred to as pupils with general intellectual giftedness. The other partial aim was to point to the lacking musical development of one kind of talent in the pupils. Finally we focused on indication of the new possibilities of how to develop the intellectually gifted pupils in the sense of the musicality with cognitive, psychomotor, and also relaxing effect. The research sample consisted of the pupils from three kinds of schools, aged from 12 to 13 years. We observed the pupils with musical talent (schools of music), pupils who were intellectually gifted (special schools) and pupils from comprehensive classes (without classification of giftedness). In the last group there were excluded the pupils who attended comprehensive elementary school and also music of art. Methods: Based on existing tests of musicality the overview of which we constructed for this study, we elaborated the test of musicality and realised research probe. The evaluation was realised by means of qualitative analysis, observation and questionnaire. Results: The study summarises briefly the knowledge of the intellectually gifted pupils and it shows the possibilities of their education by means of music with the respect to harmonious balance between intellectual and emotional intelligence of the pupils.

3

A study on the relationship between musical ability and EFL pronunciation proficiency

100%

Kaszycka M.

Linguistics Beyond and Within

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2021

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vol. 7

58-67

EN

This study investigates the relationship between musical ability and pronunciation proficiency of English as a foreign language [EFL] of university students of English philology. English pronunciation of the participants is evaluated by academic teachers of English in three categories: the general impression of the foreign or native accent, the accuracy of production of English sounds and the use of word stress and intonation. This experiment was conducted entirely online. Participants’ musical ability was tested using Gordon’s Advanced Measure of Music Audiation [AMMA]. The results of this study demonstrate a moderately positive correlation between musicality and FL pronunciation proficiency. The more musical students, the higher marks from the judges. The present findings seem to be consistent with other studies which suggest that musical skills may positively affect the acquisition of foreign language pronunciation.

4

E. A. Poe: the music of the word as (un) translated into the music of the sound

86%

Dorobek A.

Społeczeństwo. Edukacja. Język

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2015

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vol. 3

101-106

EN

Having briefly reviewed various criteria of the musicality of a literary text, identified by Polish scholars, such as Szulc, Zgorzelski, Błoński, or Makowiecki, the author proceeds to approach selected works by Edgar Allan Poe, such as „The Raven”, or „The Fall of the House of Usher”, whose musicality is based, to a considerable extent, upon the techniques of ostinato and crescendo as well as on the prosodic orchestration. Consequently, he tries to establish to what degree and for what reasons this quality has been preserved in selected musical adaptations of these works (Peter Hammill, The Alan Parsons Project, Lou Reed).

5

A Peircean approach to musicality

86%

Ojala J.

Interdisciplinary Studies in Musicology

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2015

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issue 14

175-191

PL

Musicality is central to musical processes and music research. Yet, there is no consensus of what is understood by the term. It can be assumed that in large populations musicality is distributed according to a bell curve - just as any trait of personality. It is also clear that musical skills can be improved, regardless of a possible stigma of unmusicality. Depending on the conception of musicality, musicality research confronts issues and trade-offs relating to ecological validity of the concept (how musicality connects to actual music), methodology (which methods of study yield valid and reliable results), epistemology (how the gain knowledge of musicality), and ontology of music (what processes pertain to music, what not, and what is possible shared). These issues are reflected in the primarily psychological theories and tests of musicality. This article makes an attempt at a Peircean analysis of musicality. It has been suggested that the traditional psychometric approach to musicality is followed by a semiotic approach, and assuming musicality has to do with how subjects make sense in musical processes, the semiotic analysis of musicality is critical. This analysis applies Peirce’s notion of thought-sign and his tenfold classification of the sign (suggesting a three-dimensional exemplification of Peirce’s trichotomous, three dimensional model). The ten classes are differentiated by six transitions, that seem to have their correlates in the psychological understanding of cognition: manifestation, definition, filtering, binding, associating and understanding of the sign. The six transitions appear useful in analyzing the concept of musicality. Correspondingly, the conditions for musical signification extend from ability of auditory sensation to those of dynamical memory, auditory filtering, auditory structuring, association sound objects and ability to understand and manage communicational situations in music. In order to understand musicality, all these aspects should be studied with good ecological and methodological validity in mind.

6

„Nowa muzyczność”? Fonostylistyka awangardowa i jej współczesne kontynuacje

86%

Śniecikowska B.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2012

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vol. 15

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issue 1

121-140

EN

The article presents detailed analyses of the irregular sound organisation of the two wings of Polish interwar avant-garde poetry: futurism and the constructivist group Awangarda Krakowska. The starting point of the research is the ‘musicality’ of symbolist poetry, expanded and overcome by the avant-gardists. Members of both groups paid special attention to the acoustics of poetry creatively employing devices such as paro-nomasia, onomatopoeia, alliteration, anaphora etc. However, the futurist practice proved more complicated, more diverse and less consistent (sometimes even dada-like). The phonostylistics of Awangarda Krakowska, although still highly innovative, was more ‘disciplined’, logical and focused on motivating the metaphors by sounds. The experi-ments of both groups were revived in the Polish post-war poetry (especially in the cur-rents such as poezja lingwistyczna and the present neolingwizm). It is usually impossible to discriminate between the futurist and constructivist inspirations in the post-war works: sound concepts typical of futurism tend to be used in a more logical, consistent and metaphor-centred way. Hence, the author introduces the term “new musicality” refer-ring to the specific and still vivid poetics of sound, first employed by the Polish avant-gardists.

7

„Śpiewaj! – Już niknę... Twoją pieśnią żyję”. O młodopolskich kreacjach kobiety-muzyki

72%

Kamińska L.

Pamiętnik Literacki

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2021

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vol. 112

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issue 4

111-130

PL

Celem artykułu jest analiza związków między kobiecością a muzycznością w młodopolskich tekstach stworzonych przez męskich autorów. Kategorie te w literaturze epoki nader często wchodzą ze sobą w relacje semantyczne. Do analizy kreacji kobiety-muzyki wykorzystane zostały założenia krytyki feministycznej. Główne problemy, jakie pojawiają się w związku z wprowadzeniem wspomnianego motywu, to: kobieta jako upostaciowienie muzyki, procesy nabywania i utraty muzyczności, narzucanie muzyczności, związki pieśniowych kreacji kobiecych ze sferą sacrum, demoniczne aspekty muzyczności. Analizie poddane zostały m.in. teksty Jana Augusta Kisielewskiego, Kazimierza Przerwy-Tetmajera, Stanisława Przybyszewskiego, Władysława Reymonta, Jerzego Żuławskiego. Wykorzystanie motywów muzycznych w kreacjach kobiecych w większości przypadków pozwala na autonomizację bohaterek.

EN

The purpose of the paper is an analysis of the connections between femininity and musicality in Young Poland’s texts composed by male authors. The two aforementioned categories in the epoch’s literature quite frequently enter into reciprocal semantic relationships. To analyse the creation of woman-music the authoress employs the assumptions of feminist criticism. The main problems that one encounters when introducing the motif in question are woman as personification of music, the processes of gaining and losing musicality, imposing musicality, the relationships between female song creation with the sacred sphere, demonic aspects of musicality. Texts by Jan August Kisielewski, Kazimierz Przerwa-Tetmajer, Stanisław Przybyszewski, Władysław Reymont, and Jerzy Żuławski are analysed in this respect. Employing musical motifs in women creations in majority of cases allows for the heroines’ autonomisation.

8

„Krucha piana”, porcelana. O wierszu Czesława Miłosza

72%

Kłosowski M.

Pamiętnik Literacki

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2021

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vol. 112

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issue 4

165-184

PL

Artykuł dotyczy interpretacji wiersza Czesława Miłosza „Piosenka o porcelanie” z tomu „Światło dzienne”, który ukazał się w 1953 roku. Motywem przewodnim studium jest porcelana. Analizie poddana zostaje obecność tego wątku w tradycji literackiej, co wiąże się z funkcjonalnym wykorzystaniem znaczeń białego złota w utworach poety. Ważnym aspektem jest również budowa „Piosenki” ze szczególnym uwzględnieniem problemów muzyczności, piosenkowości, a także kreacji podmiotu lirycznego. Wśród kontekstów wyróżniony oraz omówiony został antropologiczny zwrot ku rzeczom.

EN

The paper refers to an interpretation of Czesław Miłosz’s poem „Piosenka o porcelanie” („Song on Porcelain”) from the collection „Światło dzienne” („Daylight”) published in 1953. The leading motif of the study is the porcelain. Presence of this motif in the literary tradition, linked to functional use of the meanings of white gold in the poet’s pieces, is made subject of analysis. An important aspect is also the structure of the poem in question with special consideration given to the issues of musicality, songability, and creation of the speaking subject. Among the contexts, highlighted and discussed is the anthropological turn to materiality.

9

Tłumaczenie wiersza "klišej kliše" Josipa Severa a zagadnienie muzyczności

72%

Ruttar A.

Przekłady Literatur Słowiańskich

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2009

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vol. 1

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issue 1

92-101

HR

Rad pod naslovom "Prijevod Severove pjesme „klišej kiše”: fenomen muzičnosti" bavi se Severovom glazbenošću i zvukovnošću te pokušajima njenih realizacija u prevođenom tekstu. Povezanost književnosti i glazbe (riječi i tona) vrlo je složen i slojevit problem, pa se proučavanje tog fenomena u pjesništvu nužno temelji na načelu kombiniranja raznih komplementarnih metoda. Predložene interpretacije muzičnosti Severove pjesme uglavnom se temelje na postavkama poljskog istraživača Andrzeja Hejmeja, no i na gledištu autorice ovog rada. Opisana u kontekstu zanimanja za zvuk-zvukovnost i glazbenu terminologiju pjesma "klišej kiše" razlog je razmatranjima o traganju za mogućim i nemogućim varijantama ekvivalentizacije muzičnosti u umjeću prevođenja.

EN

Does the musicality of the Josip Sever`s poem "klišej kiše" come through in the translation? The text "Has the music gone from Josip Sever`s work?" illustrates the influence of the translation process on textual levels of musicality: the sound sphere (consciously formed in relation to music) and making music a theme. It is mainly based on Polish post-war musico-literary studies, especially Andrzej Hejmej’s theory from the book "Musicality of a literary work".

10

Musical aptitude. Concepts and definitions

72%

Panasiuk B.

Zamojskie Studia i Materiały – Seria Pedagogika

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2014

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vol. 16

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issue 1

17-24

EN

The structure of musical aptitude comprises many musical talents, which may coexist and create various mutual systems. Musical aptitude is one of the factors conditioning appropriate musical activity, which also has influence on the general development of students. This article presents issues connected with various methods of understanding and defining musical aptitude in the context of other major predispositions.

PL

Na strukturę uzdolnienia muzycznego składa się wiele zdolności muzycznych, które mogą współwystępować i tworzyć różnorodne wzajemne układy. Zdolności muzyczne są jedynym z czynników warunkujących prawidłową aktywność muzyczną wpływającą również na ogólny rozwój uczniów. W artykule przedstawiono zagadnienia związane z różnorodnym sposobami pojmowania i definiowania uzdolnień muzycznych w kontekście innych predyspozycji kierunkowych.

11

Słuchać i pisać. O muzyczności wybranych utworów Ryszarda Kapuścińskiego

72%

Wiśniewska Z.

Jednak Książki. Gdańskie Czasopismo Humanistyczne

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2016

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issue 5 "Reportaż literacki. Pogranicza"

121-140

EN

The subject of this article is musicality in selected reportages and one poem by Ryszard Kapuściński. In the introduction there are few words about history of coexistence between music and literature. I stick to the point of view represented by Michał Głowiński, based on his article: „Literary music – musicality of literature”. Then I do a detailed analysis of selected works, where the musicality is clearly visible. The first of these reportages – Wymarsz piątej kolumny – treats about two German women looking for their home after war. Kapuściński presents them with accompaniment of unpleasant, war music, which is the main substance in his reportage. Lumumba is a text about the African leader Patrice Lumumba. He became famous, because he fought with the Belgian regime. In this reportage the musicality is visible in a description of a reconstruction of the recording, in which the politician gives a speech. I also describe a poem about Louis Armstrong trumpet. This poem tells about Kapuściński’s impressions after the Armstrong concert in Chartum in 1960. At the end of my article, I sum up my interpretations.

12

Muzyczność (w) poezji. W kręgu Mickiewiczowskim i Moniuszkowskim

72%

Tryksza A.

Studia Wschodniosłowiańskie

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2022

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vol. 22

131-150

EN

Andrzej Hejmej, in one of his books devoted to the relationship between literature and music, poses important questions, namely “How does literature seduce music? And at the same time, how does music use literature? Why music pieces adapt works of literature? How do they coexist?”. The author also adds that “these questions only seem to be easy, but there is no universal answer.” The abovementioned issues are the subject of the present article. The research is conducted from the perspective of literary studies, including genological and, most importantly, versificational issues. The notions of musicality and vocality, which stem from linguistic order and are present in the work of the poets from the circle of Mickiewicz, which were adopted by Stanisław Moniuszko in his music, also seem to be important in this context. The article focuses on texts by poets who are not frequently analysed from this perspective, such as Jan Czeczot, Aleksander Chodźko, Antoni Kolankowski, Teofil Lenartowicz, Józef Massalski, Wincenty Pol, Jan Prusinowski, Władysław Syrokomla, Stefan Witwicki, Jan Zachariasiewicz, Józef Bohdan Zaleski.

13

Podstawy rozwijania muzykalności dziecka — implikacje dla edukacji

58%

Suświłło M.

Aspekty Muzyki

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2018

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vol. 8

39-65

PL

Celem niniejszego opracowania jest prezentacja podstaw rozwijania muzykalności dziecka. W tekście wychodzę od omówienia głównych cech rozwojowych muzykalności, po czym omawiam najnowsze opisane w literaturze badania nad mózgiem, wyznaczające działania edukacyjne i przechodzę do prezentacji implikacji dla rozwijania muzykalności dziecka w okresie wczesnego i średniego dzieciństwa. Opis cech muzykalności dziecka uporządkowany jest tu według poszczególnych sfer rozwoju muzycznego uznanych jako główne składowe zdolności muzycznych (tu: muzykalności), a zatem cechy rozwoju percepcyjnego, cechy rozwoju pojęciowego, cechy rozwoju afektywnego oraz cechy rozwoju wokalnego i motorycznego. W tym fragmencie prezentuję też narzędzie badawcze Joanne Rutkowski: Miarę Rozwoju Głosu Śpiewaczego (Singing Voice Development Measure). W części pt. Z badań nad mózgiem przedstawiam wybrane, ważne dla edukacji muzycznej doniesienia z badań nad mózgiem, zwracając przy tym uwagę na funkcjonujące mity o roli mózgu oraz nieporozumienia wśród badaczy dotyczące błędnego rozumienia terminów okres krytyczny i okres optymalny w rozwoju. W ostatnim fragmencie koncentruję się na implikacjach płynących z badań dla kierowania aktywnością muzycznej dziecka w zakresie: słuchania, gry na instrumencie, śpiewania i ruchu przy muzyce. Tekst kończy się konkluzją na temat roli mózgu i nauczyciela w edukacji muzycznej i rozwoju muzykalności dziecka.

EN

This paper aims to present the key issues for developing children’s musicality. First, the main developmental characteristics of musicality are discussed. Then, the brain research results are presented, specifically those that have been most recently published and that specify the educational activities. What is discussed next are the implications for developing children’s musicality in the early and mid-childhood. The characteristics of children’s musicality are described here in accordance with the particular musical development domains known as the main components of musical skills (here: musicality), i.e.: the perception development characteristics, the ones of the conceptual development, as well as those of affective, vocal, and motor development. This is where the Singing Voice Development Measure by Joanne Rutkowski is also presented. The part of this paper entitled The brain research results focuses on the selected studies essential for musical education. It points to certain myths concerning the role of the brain as well as to the two concepts frequently misinterpreted even by academic experts, namely the critical period and the optimal period of the development. The third part of this paper concentrates on the implications of the research results as to directing children’s musical activity as far as listening, playing an instrument, singing, and moving to music are concerned. To conclude, this paper indicates the role of both the brain and the teacher in terms of musical education and children’s musicality development.

14

„Doświadczenie podmiotu” i „muzyczna melancholia” – o dwóch wierszach Witolda Wirpszy

51%

Mizerkiewicz M.

Ogrody Nauk i Sztuk

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2015

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issue 5

594-600

PL

„Doświadczenie podmiotu” i „muzyczna melancholia” to dwa najważniejsze aspekty wczesnej twórczości Witolda Wirpszy. Powstałe w 1945 r. wiersze – Rytm i Koncert, należy interpretować w kontekście innego tekstu z tomiku Mały gatunek – Wierszopisarstwo. Poeta szuka odpowiednich środków, by wyrazić swoje uczucia. Dwa najważniejsze elementy dzieła muzycznego, czyli rytm i melodia, są dla Wirpszy paradygmatem. Traktuje je w sposób nowatorski, z ich pomocą podmiot uzewnętrznia się. Próba opisu doświadczeń pozwala osobie mówiącej uwolnić się od strachu. Podmiot odnajduje wewnętrzną równowagę, ale traumatyczne doświadczenia sprawiają, że pozostaje mu muzyczna melancholia.

EN

"Experience of the subject" and "musical melancholy" are the two most important aspects of Witold Wirpsza's early creativity. Poems from 1945 – Rytm and Koncert, should be interpreted in the context of another poem from the volume Mały gatunek – Wierszopisarstwo, in which the poet searches for suitable means to express his emotions. The most important elements of musical work - rhythm and melody - are a paradigm for Wirpsza. He treats them in an innovative way - an individual can externalize their emotions with their help. An attempt to describe feelings allows an indivudual to free themself from fear. The individual finds internal balance, but traumatic experiences mean that melancholy music remains.

Refine search results

Muzyka ocalona, muzyka ocalająca. O Traktacie o łuskaniu fasoli Wiesława Myśliwskiego

OPPORTUNITIES FOR TALENT DEVELOPMENT IN CHILDREN WITH GENERAL INTELLECTUAL GIFTEDNESS

A study on the relationship between musical ability and EFL pronunciation proficiency

E. A. Poe: the music of the word as (un) translated into the music of the sound

A Peircean approach to musicality

„Nowa muzyczność”? Fonostylistyka awangardowa i jej współczesne kontynuacje

„Śpiewaj! – Już niknę... Twoją pieśnią żyję”. O młodopolskich kreacjach kobiety-muzyki

„Krucha piana”, porcelana. O wierszu Czesława Miłosza

Tłumaczenie wiersza "klišej kliše" Josipa Severa a zagadnienie muzyczności

Musical aptitude. Concepts and definitions

Słuchać i pisać. O muzyczności wybranych utworów Ryszarda Kapuścińskiego

Muzyczność (w) poezji. W kręgu Mickiewiczowskim i Moniuszkowskim

Podstawy rozwijania muzykalności dziecka — implikacje dla edukacji

„Doświadczenie podmiotu” i „muzyczna melancholia” – o dwóch wierszach Witolda Wirpszy