Edukacja Muzyczna最新文献

{"title":"The English guitar and the forgotten guitar repertoire of the second half of the 18th century","authors":"Małgorzata Żegleń-Włodarczyk","doi":"10.16926/em.2022.17.10","DOIUrl":"https://doi.org/10.16926/em.2022.17.10","url":null,"abstract":"The time leading up to one of the most important periods in the history of guitar music – “the golden age of the guitar” in the first half of the 19th century – was the heyday of European cities such as London, Paris, Vienna or Dresden. Music was the main source of entertainment for royalty and high society, and numerous music publications, sheet music editions and instrument hand-books were being created. Manufactures tried to outdo each other in structural innovations, refin-ing and patenting increasingly interesting instruments. One such instrument was the immensely pop-ular English guitar (guittar), which differed in design and tuning from the instrument we know today. At present, it would be futile to look for the guitar repertoire of the second half of the 18th century on concert stages or in academic curricula (with a few exceptions, such as Luigi Boccheri-ni's quintets or Giuseppe Antonio Brescianello's partitas), and English music is almost nowhere to be found. It is, to a large extent, undiscovered and nearly forgotten. Bringing it back to life will not only provide insight into the design and performing capabilities of the now unknown guittar (as well as its distinctive playing technique, fingering and articulation) and allow us to learn more about the works composed for the instrument (and their characteristic features), but – above all – give a full picture of the evolving aesthetics of the 18th century. These compositions will also fill the existing gap in the guitar repertoire of the second half of the 18th century, offering broad prospects for their performance in the future. The most important consequence of that is the preservation of the continuity of guitar literature from the Renaissance to the present day, and the resulting possibility to make the world described in Leopold Mozart’s or Carl Philipp Emanuel Bach’s treatises tangible.","PeriodicalId":423473,"journal":{"name":"Edukacja Muzyczna","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114582587","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Giovanni Gagliardi – a virtuoso and a visionary of the accordion","authors":"E. Rosińska","doi":"10.16926/EM.2019.14.18","DOIUrl":"https://doi.org/10.16926/EM.2019.14.18","url":null,"abstract":"Giovanni Gagliardi (1882–1964), an Italian composer and accordionist is now a forgotten artist. As early as in 1911, in Manualetto del fisarmonicista published in Paris, he postulated modifica- tions in the construction of the accordion, so as to improve the instrument's technical performance. The suggested modernisation of the accordion contributed to the development of the accordion repertoire, with new sound possibilities and new aesthetics. The life of the artist, who began his career as an itinerant player and reached the position of a virtuoso who was highly appreciated by Paris' bohemian artists, changed dramatically after the entry of Italy into World War I in 1915. His refusal to perform military service and after the end of the war also to perform public concerts, as well as 3.5 years of internment during World War II – show Gagliardi as a man engaged not only in musical matters, but also in public affairs. Until the end of his life, he played music in the comfort of his home, and in his correspondence with accordionists and in press interviews he promoted the instrument with a melodic manual. Giovanni Gagliardi was decades ahead of his time, but it was him that the history proved right.","PeriodicalId":423473,"journal":{"name":"Edukacja Muzyczna","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128199524","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The works of Mykola Lysenko in Galina Lewicka’s performing and journalistic activity","authors":"O. Kuznetsova","doi":"10.16926/em.2019.14.24","DOIUrl":"https://doi.org/10.16926/em.2019.14.24","url":null,"abstract":"","PeriodicalId":423473,"journal":{"name":"Edukacja Muzyczna","volume":"420 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133389891","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Władysław Andriejewicz Zołotariow (1942–1975) – zarys biografii","authors":"D. Lis","doi":"10.16926/em.2019.14.19","DOIUrl":"https://doi.org/10.16926/em.2019.14.19","url":null,"abstract":"The purpose of this paper is to acquaint the reader with the personage of an outstanding Russian composer and bayanist Vladislav Zolotaryov. Tragically deceased at the age of only 33, the artist was an exceptional figure. He was a great innovator who changed the face of the accordion, using this instrument to the limit of its technical and sound possibilities. The novel and almost orchestral method of treating the accordion, which he initiated in the 1970s, not only had a tremendous impact on the work of the young generation of composers, such as: Aleksander Nagayev, Vladimir Zubicki and Viacheslav Siemionov, but was also noticed and appreciated by the eminent and already recognized composer Zofia Gubaydulina. Yet, while Zolotaryov’s output is widely known and appreciated by the present-day accordionists, his life still hides many unresolved secrets and doubts about the causes of his death. In the absence of any Polish language studies on the subject, the composer's biography is well worth a closer look. The information collected about the details of the composer’s life, as well as the opinions of people connected with him, may help to understand the composer's complicated personality. Zolotaryov’s innovative oeuvre, despite innumerable interpretations, is invariably interesting not only for the performers. It is still an important determinant for other composers of accordion music. Zolotaryov’s compositions, such as: Suita kameralna (en. Chamber Suite) Partita No. 1, Sonata No. 2, or collections of miniatures included in Suity dzieciece (en.Children’s Suites) have permanently entered the repertoire of contemporary performers. His magnum opus – Sonata No. 3 – is still one of the most important musical pieces in accordion literature. \u0000The source of this article are the letters and diaries written by V.Zolotaryov and the composer's biography by Inna Klause21, as well as memoirs by Nikolai Liesnoy22, Vitaly Szentalinsky23 and Fridrich Lips.","PeriodicalId":423473,"journal":{"name":"Edukacja Muzyczna","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133859924","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Tadeusz Wawrzynowicz (1905–1985) – musician and educator","authors":"B. Urbanowicz","doi":"10.16926/EM.2019.14.22","DOIUrl":"https://doi.org/10.16926/EM.2019.14.22","url":null,"abstract":"Tadeusz Wawrzynowicz was a musician who greatly contributed to the artistic life of Czesto-chowa and educated new generations of musicians who continued his work. He devoted his life to music, its performance, popularization, and music education. He worked as principal of music in-stitutions in Czestochowa, was a musician, educator and music promoter, and led school choirs and orchestras. He committed his entire professional life to Czestochowa – as a versatile musician, pedagogue and social activist, he fully deserved a permanent place in the cultural landscape of the city and the awareness of its inhabitants. To complete the image of Tadeusz Wawrzynowicz, it should be stressed that he cherished family values, enjoyed literature, poetry, sport, Jurassic nature and excursions.","PeriodicalId":423473,"journal":{"name":"Edukacja Muzyczna","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130839201","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Giovanni Gagliardi – wirtuoz i wizjoner akordeonu","authors":"E. Rosińska","doi":"10.16926/EM.2019.14.17","DOIUrl":"https://doi.org/10.16926/EM.2019.14.17","url":null,"abstract":"Giovanni Gagliardi (1882–1964), an Italian composer and accordionist is now a forgotten artist. As early as in 1911, in Manualetto del fisarmonicista published in Paris, he postulated modifications in the construction of the accordion, so as to improve the instrument's technical performance. The suggested modernisation of the accordion contributed to the development of the accordion repertoire, with new sound possibilities and new aesthetics. The life of the artist, who began his career as an itinerant player and reached the position of a virtuoso who was highly appreciated by Paris’ bohemian artists, changed dramatically after the entry of Italy into World War I in 1915. His refusal to perform military service and after the end of the war also to perform public concerts, as well as 3.5 years of internment during World War II – show Gagliardi as a man engaged not only in musical matters, but also in public affairs. Until the end of his life, he played music in the comfort of his home, and in his correspondence with accordionists and in press interviews he promoted the instrument with free-bass system. Giovanni Gagliardi was decades ahead of his time, but it was him that the history proved right.","PeriodicalId":423473,"journal":{"name":"Edukacja Muzyczna","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131006874","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Zdolności muzyczne ustabilizowane a gotowość do improwizacji harmonicznej i rytmicznej u osób dorosłych w badaniach transwersalnych","authors":"M. Kołodziejski","doi":"10.16926/EM.2019.14.07","DOIUrl":"https://doi.org/10.16926/EM.2019.14.07","url":null,"abstract":"This article is to be considered a research report on the relation between stabilised musical aptitude and harmonic and rhythm improvisation readiness in students of Pedagogy in transversal research. Three tests devised by Edwin Elias Gordon were performed, the first being the Advanced Measures of Music Audiation meant to measure the stabilised tonal and rhythm musical aptitude. The second and the third tests measure improvisation readiness. In the case of rhythm improvisa- tion, it was the Rhythm Improvisation Readiness Record, and for harmonic improvisation – the Harmonic Improvisation Readiness Record. The research was performed on a group of 869 students of Pedagogy with various academic backgrounds in Poland. The results clearly indicate that musical aptitude in the investigated group is at average and low levels. There are also significant statistical relationships between musical aptitude and improvisation readiness, especially the harmonic one.","PeriodicalId":423473,"journal":{"name":"Edukacja Muzyczna","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126629591","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Typology of Contemporary Ukrainian Ballet: A Musicological Perspective","authors":"Вероніка Зінченко","doi":"10.16926/em.2021.16.06","DOIUrl":"https://doi.org/10.16926/em.2021.16.06","url":null,"abstract":"In this article the author presents an original typology of contemporary ballet from a musicological standpoint. On the one hand, the proposed classification is based on already existing typologies of ballet as a dance genre. On the other hand, it proposes new criteria which take into account only the musical aspects of ballet performances. The said typology considers ballet works by Ukrainian composers from the period 1980–2020.","PeriodicalId":423473,"journal":{"name":"Edukacja Muzyczna","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123829857","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Ballade for Piano and Orchestra in the First Half of the 20th Century: Stylistic and Form-building elements","authors":"Наталія Сидір","doi":"10.16926/em.2021.16.09","DOIUrl":"https://doi.org/10.16926/em.2021.16.09","url":null,"abstract":"This article presents a comparative analysis of creative solutions within the genre of ballades for piano and orchestra in works created by local and foreign composers in the first half of the 20th century, such as L. Różycki, G. Tailleferre, B. Britten, N. Medtner, and I. Shamo. It has been determined that most works are characterised by purposeful inspiration which influenced their style. The basis of the genre lies in the synthesis of various features of the folk ballad and the poetic piano concerto. The first component combines epic song features, parts of folk songs or their arrangements, and declamatory melodies. The second one can be noticed in the different types of cooperation between the soloist (or soloists) and the orchestra, in the combination of features characteristic for single-part and cyclic forms (suite, rhapsody or different types of cyclic sonatas), and in the logic behind juxtaposing contrasting genre features or the figurative transformation of monothematic variants.","PeriodicalId":423473,"journal":{"name":"Edukacja Muzyczna","volume":"57 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124915927","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Rękopisy utworów skrzypcowych Marcelego Popławskiego ze zbiorów Biblioteki Narodowej w Warszawie","authors":"Maryla Renat","doi":"10.16926/em.2019.14.13","DOIUrl":"https://doi.org/10.16926/em.2019.14.13","url":null,"abstract":"The paper presents unknown compositions by a forgotten Polish composer, educator and organizer of musical life, active in the first half of the 20th century, in various centres in Poland and abroad. The main content is preceded by a biographical sketch, based on biographical notes in encyclopedias and lexicons. The works, most of which have not been published and which have been preserved in manuscripts, are discussed on the basis of the author’s own source research and two publisher’s commentaries. When dealing with the main subject, a descriptive method of analysis ofa musical work has been applied, which focuses on the musical form, including the compositional technique and taking into account the specificity of violin playing and the expressive aspect. Thepresentation concerns 22 compositions by M. Poplawski: Berceuse for violin and piano, 1906; Pre- lude. Etudes pour violon avec accomp. Piano, 1907; Prelude and dance “W gorach” (en. “In the mountains”) for violin and piano, 1908; La fleur fanee for violin and piano, 1908, Passage for violin and piano, 1908; Sonata in F-sharp minor for violin and piano, 1908; Drei Skizzen for violin and piano, 1908: All Ongarese, Chansonete, Eroticon, Sonata in E minor for solo violin, 1911; Suite “W sloncu” (en. “In the sun”) for violin and piano, 1912; Variations „Za toboj Lizet” forviolin and piano, 1913; Reverie for violin and piano, 1913; Valse for violin and harp, 1916;Menuetto for violin and harp, 1916; Mazurka for violin and harp, 1916; Rigaudon for violin and piano,1918; Polka for violin and piano, 1918; Etude for solo violin, 1918; Menuetto (ancient style) for violin and piano, 1920; Caprice for violin and piano, 1922; Air for violin and piano, without date. \u0000The analyses conducted allowed the following assertions regarding M. Poplawski’s compositions: \u0000 \u0000 \u0000—  the composer’s output comprises works of various genres (dance, lyrical, virtuoso, sonatas) and is classified as Neoromantic style; \u0000 \u0000 \u0000—  the compositional technique is characterised by the principle of “permanent evolution” in the shaping of musical narration and makes use of intensive chromaticism; \u0000 \u0000 \u0000—  later pieces tend to modernize the sound language; \u0000 \u0000 \u0000—  the preserved Poplawski’s works constitute the last stage of the late-Romantic virtuoso style in Polish violin literature.","PeriodicalId":423473,"journal":{"name":"Edukacja Muzyczna","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125660308","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}