Search results

1

Bohemian Notation in the Medieval Slovakia

100%

Veselovská E.

Hudební věda (Musicology)

|

2012

|

vol. 49

|

issue 4

337-376

EN

Recent research of Slovakian medieval notated codices and manuscript fragments raised an important fact: the written culture of the late 14th and 15th centuries in Slovakia was strongly influenced by education from Czech lands. Particularly between 1370 and 1520, the direct impact of the scribal notation tradition from Czech lands to Slovak area can be detected in a number of Slovakian music sources. Codices and dozens of manuscript fragments documenting Bohemian notation in the Slovak geographical area have become the subject of research, along with the systematization, analysis and evaluation of all currently known and edited medieval notated sources from Slovakia. The main purpose of this research is to organise the information gained from these sources, and to determine the general structural features of Bohemian notation in Slovakia.

2

Apologia partytury

100%

Meeùs N.

Estetyka i Krytyka

|

2009

|

issue 15-16

264-271

3

The Musical Language of Kazimierz Serocki in the Light of the Composer’s Self-Reflection

88%

Lindstedt I.

Musicology Today

|

2015

|

vol. 12

|

issue 1

63-73

EN

The article is an attempt to reconstruct the fundamental elements of Kazimierz Serocki’s musical language on the basis of his own statements concerning his music. Those statements come first and foremost from his lectures prepared for the Meisterkurs für Komposition at the Musik-Akademie in Basel (1976), whose manuscripts are now held in the Polish Composers’ Archive of the University of Warsaw Library. The lecture texts (Notations- und Realisationsprobleme, Klangfarben als Kompositionsmaterial, Chance der offenen Form) present a whole set of problems which Serocki considered as the most important for his method of composition. The central place among these problems is occupied by the idea of “composing with sound colour” (“mit Klangfarben komponieren”). Sound colour plays a decisive role in the creative process, as it constitutes self-sufficient material for composition. Sound colour has a form-shaping role in the musical work, since it can build sequences of sound structures in various configurations, which perform various functions in the piece. The idea of composing with sound colour is presented by the composer in the context of an adequate way of notating sound phenomena and the possibility of performing music from such notation. This idea was also related in the lectures to the principles of constructing polyvalent open forms (mehrdeutige Form) out of small- and large-scale components. Pitch organisation, on the other hand, remains of secondary interest in the composer’s commentaries. Serocki’s self-reflection provides us with original and innovative answers to the most important problems that contemporary composers have had to face in their work. It also provides significant and hitherto frequently little-known insights into the components of the unique style of the author of Pianophonie, and these insights can be effectively utilised in the course of future research on Serocki’s work.

4

(Gesichts)züge, Notation and Graphicness of Signs. Deconstruction in Wittgenstein’s Tractatus

75%

Piekarski M.

Studia Philosophiae Christianae

|

2022

|

vol. 58

|

issue 2

145-160

EN

In this paper, I attempt to address some of the themes of Ludwig Wittgenstein’s Tractatus logico-philosophicus with the aim of their deconstructionist interpretation. My analysis is based on David Gunkel’s book Deconstruction (MIT Press 2021). Based on some of its findings, I show how the Tractatus allows deconstruction and its practice to be thought. I show that the graphic structure of signs is crucial for the young Wittgenstein’s analysis and that it justifies the metaphysical findings in favor of which he argues.

5

informacje dla autorów

63%

Errgo R.

ER(R)GO: Teoria – Literatura – Kultura

|

2019

|

issue 39

247-253

EN

Information and guidelines for potential Contributors.

PL

Informacje i wskazówki dla Autorów.

6

Notované pergamenové vazby v Nostické knihovně

63%

Štefancová D.

Knihy a dějiny (Books and history)

|

2021

|

vol. 28

|

issue 1-2

123-154

EN

The Family Library of the noblemen Nostitz and Rieneck has been housed in the Nostitz Palace in Prague since the 1770s, now administered by National Museum Library. Some of the 14,000 copies reused a parchment book binding which had been originally used in liturgical books from the 14th and 15th centuries. The article dissects sixty-six parchment book bindings with notations: the key part of the study provides a list of these book bindings with details about each book: the musical content of fragments, their notation, and dating. This list is introduced by a text on the history of the Nostitz Library, paying special attention to the incorporated Castle library of Otto Jr. of Nostitz (1608–1665), originally from Jawor in Lower Silesia. Since the vast majority of the notated bindings were detected on books signed by Otto Jr. of Nostitz, the musical-palaeographical analysis of the fragments also examines possible influences of the Polish notation tradition.

7

Strategies in Interpreting. Issues, Controversies, Solutions

63%

Tryuk M.

Lingwistyka Stosowana / Applied Linguistics / Angewandte Linguistik

|

2010

|

issue 2

181-194

EN

It is extremely difficult to defie the concept of interpreting strategies from a theoretical (description of interpreting process), practical (performing interpreting task) or didactic point of view (teaching how to solve interpreting problems). We are as yet unable to explicitly distinguish the features of such strategies that are characteristic of interpreting. In many studies strategies are commonly referred to as methods, tactics, competences or norms in interpreting. The aim of the article is to present different classifications and taxonomies of interpreting strategies and to propose three strategies specific in interpreting, i.e. anticipation strategy which allows the interpreter to achieve simultaneous listening and speaking, condensation strategy which facilitates working under time pressure, while conveying complete information, and notation strategy which supports the interpreter's short-term memory.

8

Blade kłosy na odłogu… – an unknown poem by Norwid

51%

Chlebowska E., Chlebowski P.

Studia Norwidiana

|

2016

|

vol. 34 English Version

101-124

EN

This article is a republication of an unknown poem by Norwid, entitled Blade kłosy na odłogu [Pale ears on the fallow...]. The text is taken from the sheet music edition of two songs published by Kazimierz Lubomirski (the latter song is authored by Lucjan Siemieński), developed for voice and piano. Most probably, the score was published in the spring of 1851. The article attempts to unveil the circumstances of how the work came into being and it settles the problem of its unclear authorship and roots. Moreover, it shows a story of a musical piece that has for long remained unknown, and which was well-recognized in the realm of household musical culture at the turn of the 20th century.

9

„Visitatio Sepulchri” w XV-wiecznej katedrze wawelskiej na podstawie AKKK 47

51%

Przybysz P., Karcz B., Tyrała R., Zając A., Delimat W., Janicki J. J., Malik J., Sterczewska L., UPJPII i., Pasek W., Karcz B., Malik J., Sterczewska L., UPJPII i., Pasek W.

Pro Musica Sacra

|

2016

|

vol. 14

EN

“Music in the Cathedral of Wawel in the Middle Ages” is a series of publications showing a rich heritage of music and liturgy stored in the Wawel archive. Transcriptions of old melodies, often written down in letters and notations difficult to decipher, are about re-writhing those melodies into square notation (so called Vatican Notation) and by doing so, to encourage a wider group of performers to base on it.We give you transcriptions of Lamentatione Iheremiae Prophete, being part of Matutinum tenebrarum and a liturgical drama Visitaio sepulcri, playing out on a Easter morning at the empty grave. Each of the presented transcriptions has been preceded with a description of the manuscript and notations used in it, presentation of the problems occurred during transcription, pointing out the liturgical provenance (specific service of the Holy Week) and Polish translations of the texts.

PL

„Muzyka w katedrze na Wawelu w epoce średniowiecza” to cykl publikacji mających na celu ukazanie bogatego dziedzictwa liturgiczno-muzycznego, które przechowywane jest w wawelskim archiwum. Transkrypcje dawnych melodii, które są często zapisane notacją i tekstem mało czytelnym, mają na celu przepisanie tych melodii do notacji kwadratowej (tak zwanej watykańskiej) i w ten sposób zachęcić szersze grono wykonawców do sięgnięcia po ten repertuar. Oddajemy Państwu do rąk transkrypcje Lamentatione Iheremiae Prophete (Lamentacje Jeremiasza), będące częścią Matutinum tenebrarum (Ciemnych jutrzni) oraz dramat liturgiczny Visitaio sepulcri (Nawiedzenie grobu), rozgrywający się w trakcie poranka wielkanocnego przy pustym grobie. Każda z przedstawionych transkrypcji poprzedzona została opisem manuskryptu i zastosowanej w nim notacji, przedstawieniem problemów związanych z transkrypcją, wskazaniem proweniencji liturgicznej (konkretne nabożeństwo Wielkiego Tygodnia) oraz polskim tłumaczeniem tekstów.

10

Blade kłosy na odłogu… – an unknown poem by Norwid

38%

Chlebowska E., Chlebowski P.

Studia Norwidiana

|

2016

|

vol. 34 English Version

101-124

EN

This article is a republication of an unknown poem by Norwid, entitled Blade kłosy na odłogu [Pale ears on the fallow...]. The text is taken from the sheet music edition of two songs published by Kazimierz Lubomirski (the latter song is authored by Lucjan Siemieński), developed for voice and piano. Most probably, the score was published in the spring of 1851. The article attempts to unveil the circumstances of how the work came into being and it settles the problem of its unclear authorship and roots. Moreover, it shows a story of a musical piece that has for long remained unknown, and which was well-recognized in the realm of household musical culture at the turn of the 20th century.

11

Blade kłosy na odłogu… – nieznany wiersz Norwida

38%

Chlebowska E., Chlebowski P.

Studia Norwidiana

|

2016

|

vol. 34

101-124

EN

This article is a republication of an unknown poem by Norwid, entitled Blade kłosy na odłogu [Pale ears on the fallow...]. The text is taken from the sheet music edition of two songs published by Kazimierz Lubomirski (the latter song is authored by Lucjan Siemieński), developed for voice and piano. Most probably, the score was published in the spring of 1851. The article attempts to unveil the circumstances of how the work came into being and it settles the problem of its unclear authorship and roots. Moreover, it shows a story of a musical piece that has for long remained unknown, and which was well-recognized in the realm of household musical culture at the turn of the 20th century.

12

The Origin of Square Notation

38%

Olejarczyk M.

|

2015

|

vol. 62

|

issue 13. Muzykologia

113-135

EN

In this article the evolution of two French notations is presented: North-French and Aquitaine notations. On the basis of selected sources in a chronological order investigation of selected neumatic elements of these notations was conducted and at the final stage conclusions how evolved of the particular neumes was drawn. The evolutionary process of the musical scripture proved to be more distinct in the northern French notation. Step after step, the formation of the classic shapes of the square notation, can be observed with the characteristic junctures of elements (ligature). In the case of Aquitaine notation, one can speak only in a very limited manner of the graphical form evolution, because the important elements of this notation were modified only slightly in the course of tree hundred years. Thereby it is proven that the contemporary choral notation stems from the northern French form.

PL

W prezentowanym artykule przedstawiliśmy ewolucję dwóch notacji francuskich: północnofrancuskiej i akwitańskiej. Na podstawie wybranych źródeł, w porządku chronologicznym zbadaliśmy wybrane elementy neumatyczne tych notacji i w końcowym etapie zaprezentowaliśmy wnioski, w jakim kierunku ewoluowały poszczególne neumy. Proces ewolucji okazał się wyraźniejszy w notacji północnofrancuskiej. Krok po kroku mogliśmy zaobserwować formowanie się klasycznych kształtów kwadratowego pisma muzycznego, z charakterystycznymi łączeniami poszczególnych elementów (ligatury). W przypadku notacji akwitańskiej o ewolucji form graficznych możemy mówić tylko w niewielkim stopniu, gdyż istotne elementy tej notacji w ciągu trzech wieków zostały zmodyfikowane tylko nieznacznie. Wykazaliśmy, że współczesna notacja chorałowa wywodzi się z notacji północnofrancuskiej.

Refine search results

Bohemian Notation in the Medieval Slovakia

Apologia partytury

The Musical Language of Kazimierz Serocki in the Light of the Composer’s Self-Reflection

(Gesichts)züge, Notation and Graphicness of Signs. Deconstruction in Wittgenstein’s Tractatus

informacje dla autorów

Notované pergamenové vazby v Nostické knihovně

Strategies in Interpreting. Issues, Controversies, Solutions

Blade kłosy na odłogu… – an unknown poem by Norwid

„Visitatio Sepulchri” w XV-wiecznej katedrze wawelskiej na podstawie AKKK 47

Blade kłosy na odłogu… – an unknown poem by Norwid

Blade kłosy na odłogu… – nieznany wiersz Norwida

The Origin of Square Notation