Wadowice Karola Wojtyły
Opis interaktywnej wystawy "Wadowice Karola Wojtyły", otwartej 2 kwietnia 2008 r. w Muzeum Miejskim w Wadowicach.
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Opis interaktywnej wystawy "Wadowice Karola Wojtyły", otwartej 2 kwietnia 2008 r. w Muzeum Miejskim w Wadowicach.
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Giambattista Mancini and Vincenzo Manfredini, two great masters of the art of singing, engaged in a long-running controversy at the height of the 18th century over the training of the voice, but especially over how to perform the trill. Their dispute, which lasted more than twenty years, demonstrates the growing interest in the method of balancing the inventiveness generated by the use of ornamental formulas with the acquisition of vocal stability based on rigor and competence. The methods of applying these fundamental principles set a precedent for intense controversy, which ultimately proved to be both constructive and creative, with the happy consequence of a significant evolutionary leap in interpretive variety.
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Music can bring us to light, when it is not dissonant, not dominated by an aggressive rhythm, by congestion of timbres, or by… consumerism that consumes everything – including our values and tranquility. Spiritual tranquility is a sign of spiritual health; it influences our inner thoughts and emotions, representing an essential aspect in cultivating one’s spiritual life. This is the whisper of the mystical and transcendental Arietta in the last Beehovenian sonata for piano, her secret, variational message: the last part of the last sonata which seems open, unfinished, concluded however with an evanescent melody that searches its identity at unsuspected heights. The aim of the work is to evidence a first analysis of the postures of silence in musical art, and its structure highlights the stylistic characteristics of Beethoven's masterpiece in this sense.
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The idea for this article’s subject started from the importance of diction that accompanies the music. It’s essential to be able to understand very well the words that are sung because they give the “tone” of the entire lyrical-dramatical action. The listeners will perceive the emotion that is conveyed through the verses, and the music, as a unity. I have listened to various interpretations of singers that approached arias, leads, etc, who don’t have good diction, therefore in their musical discourse I could hear the predominance of the vowels A - E - O - U, and I could barely hear the consonants. This way, instead of following the lyrical-dramatic action itself, brought by the music and the words, I was experiencing auditory discomfort. In order to bring their own interpretation to the musical language, and to express mastery, the artist must have theoretical knowledge, and technical training and use them precisely. This way they would be able to reach high performances of the vocal tract, which will lead to the harmonious delineation of a singing style that matches the demands of the musical piece.
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Lors d’un échange d’expérience au cadre d’un programme COMENIUS, étant demandé par un partenaire Qu’est-ce que c’est l’Aksak ?, j’ai réalisé à quel point notre folklore, il est inconnu, avec tout son spectre de rythmes asymétriques, de mesures composées homogènement et hétérogènement, à quel point nous, les Roumains, sommes les riches héritiers d’un compositeur de taille mondiale, pédagogue, musicologue et ethnomusicologue à la fois, fondateur et scientifique de l’Archive Internationale de Musique Populaire de Genève, Constantin Brăiloiu, celui qui a été le premier à parler de l’aksak, à quel point sommes – nous pareils à ceux du Proche Orient- ayant tant d’influences musicales de cette partie du monde, en tant que fief de l’Empire Ottoman! Autant aux élèves arrivés en neuvième, certains d’eux étant peut-être pour la première fois en contact avec la notation rigoureuse de la musique, qu’à ceux de la section théorique et de canto populaire, j’explique concrètement les mesures composées hétérogènement par des exemples de l’univers immédiat, tout d’abord par ceux qui me sont familiers et qui leur deviennent proches au fur et à mesure, toujours par de multiples et variés exemples répétitifs ! Par la dénomination concrète des chansons, il nous reste la mesure composée hétérogènement comme réalité vivante, aisément reconnue à toute répétition ultérieure, à laquelle se superposeront les accents des exemples assimilés ! C’est ainsi que mes élèves peuvent calculer plus facilement dans une éventuelle notation de tout morceau entendu, parfois la mesure et le mode populaire en étant suffisants. Voici le gain des renseignements théoriques qui évoluent en quelque chose de concret dans le progrès des élèves, voire de certains étudiants.
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The article is dedicated to the problems of working on the text of opera librettos in a foreign language in the process of learning opera. The stages of this work are considered - from understanding the meaning, which makes it possible for the interpreter to approach the most appropriate interpretation of the composer's intention, to the elaboration of a foreign pronunciation as an important indicator of the vocalist's professionalism. The relevance of the subject is related to the practice of staging operas in the original language that has taken place root in the activity of opera houses in recent decades. The author offers modern methods of working on a text in a foreign language of an opera libretto and shares extensive practical experience in this field of activity. The idea is especially emphasized that the process of studying a vocal work in a foreign language should take place in stages: from reading and learning the text without music to understanding the idea of the work as a synthesis of music and words. The process organized in this way will allow solving the task of creating a convincing artistic image. When practicing pronunciation, the importance of correct articulation and clear diction is noted and practical advice is given to improve them. Typical mistakes of vocalists in Italian and French pronunciation in singing are listed, and ways to correct them are indicated. The author of the article emphasizes that a good knowledge of foreign languages is an indispensable tool condition for a vocalist who dreams of a successful career.
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Quartet No. 8 in C minor, op.110 is perhaps the most appropriate direct testimony of the composer, having a special status among his 15 quartets, which he acquired both through the prism of the conjuncture in which it was conceived, as well as through the symbolic charge of the self-readings in its content. We will assume a rhetorical perspective over the opening part of this work, in order to trace, at the level of the score, the immediate manifestation of the composer’s intimate persona through scientific means of classification.
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The article discusses the use of original compositional methods in the first movement of Ludwig van Beethoven’s Piano Sonata W. O. O. 47 No. 2 in F minor“Kurfürsten”, adopted to innovate the sonata on a structural level, but also to offer it a greater variety of characters. The alternation of slow sections with fast ones within the movement, the opening of the work with a slow introduction, repeated in the recapitulation, which was first used by the composer at the age of 13, as an absolute premiere in music history, gave rise, years later, to a masterpiece of the 18th century, the Sonata Op. 13 in C minor “Pathétique”, one of the best known, innovative and impressive works written by him, but also to another important and creative work from the beginning of the 19th century, the Sonata Op. 31 No. 2 in D minor “Tempest”.
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This paper is composed of two parts. The first one deals with the question of modes of depiction (notations, diagrams, algorithms, sketches) related to the scientific and artistic study of natural and cultural systemic phenomena, dynamic systems and open systems, including extra-systemic phenomena, singularity, and a chance. The question is how system-related scientific and artistic modes of depiction inspire each other? The second part of this paper tackles a question of scientific and artistic imagina- tion in the concept of poetic science (Augusta Ada, Lady Lovelace). This first part traces answers to the questions mentioned above in Ada Lovelace‘s education, study and work preceding her translation and interpretation of Babbage‘s Analytical engine. The number of her diagrammatic notes also included a first known (computer) algorithm. At that time, landscape painters studied scientific diagrams of atmospheric phenomena (rainbow, clouds, light reflection and refraction etc.) and developed specific approaches to sketching and notating air motion and light changes in the Earth‘s atmosphere that are associated with weather and climate and transformed them in accordance with their painting programs. This process is traced in sketches, paintings and texts of landscape painters Constable, Turner and Ruskin. Ruskin‘s ty- pology of sketches concludes this part by referring to his drawings, paintings, and daguerreotypes. This first part aims to offer an introductory differentiation of possible and actual relations between scientific and artistic depictions introducing notations, diagrams, and algorithms in comparison with three of Ruskin‘s types of sketches: 1) experimental, 2) determinant, 3) commemorative.
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The presented text considers a floor plan of the medieval church, among other things, from the point of view of semiotics, as developed by C. S. Peirce. Based on his second trichotomy, the text identifies the floor plan as an icon and ascribes to it the properties of a pictogram. The text then deals with an example of using the floor plan of a medieval Christian church in contemporary art, specifically in the work of Bohdan Hostiňák (*1968). The author attempts to analyse Hostiňák‘s 1996 painting Larva, partly precisely from the perspective of Peirce‘s general semiotics. It brings closer the artist‘s work with the opposites of two dominant signs, the temple and the larva, which like elements of harmony and chaos, can evoke feelings of ambivalence in the viewer. He then considers these in terms of Heraclitus‘s philosophy, Nietzsche‘s consideration of the Apollonian and Dionysian, and anticlerical reading of the image, Christian doctrine, entomology, and etymology.
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The present study is a half-shortened version of the Album, perhaps sufficient to outline the problem and reasoning. It forms a chapter in the dissertation, the topic of which is German painting ’80 and ’90 years (predecessors, opposition, followers). Unfortunately, or fortunately, it was necessary for such an extensive treatment of the emergence of meaning from the movement of the view of the image, precisely in relation to the transgressive principles of networking images outside themselves. I noticed how the look and the story were connected. The movement of the eye along the image does not have to be in a single line, but can only subsequently form a single line with a jump; this leap sometimes becomes a topic in itself. The text aimed to present a foreword to today’s network paintings (originating from the Cologne area of the eighties and nineties), which also worked in large scale with the text, context and painting principles. It may be too distant a relationship at first glance, but on the contrary: thanks to Reni, a continuous line is being created to Titian and from Reni to Kandinsky. The predecessor and distant follower worked as I will show below with the movement of the eye around the image.
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On the south facade of the chapel of St. Margaret of Antioch in Kopčany (Slovakia), there are two stones with engraved symbols. On one of the stones, the signs X, X in a rectangular frame and a schematically depicted face surmounted by three crosses are engraved. On the second stone, only the signs X and some simple lines are carved very indistinctly. Only the signs on the first stone are the subject of the analysis. The sign X can be interpreted as a Christogram. The rectangular frame around the second sign X can be interpreted as a symbol for the whole world or universe. The face with the three crosses can be considered an image of Christ. The signs as a whole composition probably symbolize Christ, his sacrifice, salvation through his death on the cross, the universal effect of salvation and saving from eternal death and perdition. The symbols had probably a protective function for the church and for the community of the faithful who used the church as well as for the buried in the cemetery. For these symbols, their meaning and function can be found analogies made in similarly reduced form and dimensions from the early Middle Ages (6th–10th centuries) in the territory of France, Germany, Switzerland or Austria.
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The article refers to the problematics of tension between closure and openness in Józef Czapski’s paintings. The paintings seem limited, closed in two-dimensional canvas, paper, cardboard... This is, however, an apparent closure. An analysis of the creative attitude of the painter, theoretician of painting and writer Józef Czapski was used to illustrate what transgressing material limitations – “opening up closed spaces” – involves. From the artist’s perspective, this “opening” means being sensitive to nature as a source of authentic creative visions and the ability to search for meta-physical justifications for one’s own work. Czapski’s creative attitude was confronted here with the views of Simone Weil, a thinker important for Czapski, and also with the concepts of the painter and writer Henryk Waniek and the critic Tomasz Burek. The “opening up” of the pictorial spaces also takes place from the perspective of the viewer/spectator, who investigates the individual works, as well as examines the relationships between certain images.
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The subject of the article is the poetics of outer space in Werner Herzog’s documentaries. The author discusses The Wild Blue Yonder(2005),Fireball: Visitors from Darker Worlds(2020) and Last Exit: Space(2022, directed by R. Herzog, produced by W. Herzog), focusing on three main themes.The first of them is the paradox of confinement in infinite openness. Unlike standard space documentaries, which emphasise the vastness of outerspace and its enormous range of exploration possibilities, Herzog portrays the deep universe as an area in which humanity is doomed to be confined. The second theme is the confrontation of two possible ways of penetrating the cosmos: in Herzog’s films, the utopian project of interstellar voyages is confronted with the benefits of deep space observations. The third motif is of an aesthetic nature: the images of outer space in Werner Herzog’s filmsare decontextualised in a different way than the landscapes presented inhis other works.
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The article discusses representative examples of intertextuality in the works of Paweł Wójcik, a contemporary Polish bard. The analysis demon-strates that the author draws, among other things, upon songs that belong to the tradition of balladry. Apart from references to the songs of Andrzej Garczarek or Jacek Kaczmarski, there are also references to the poetry of Władysław Broniewski, Zbigniew Herbert or Sergiusz Jesienin.The diversity of intertextual forms begins with quotations and allusions and ends with realisations of self-intertextuality in several variants.
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Zmysłowe doświadczenie filmu De humani corporis fabrica (reż. Lucien Castaing-Taylor, Véréna Paravel, 2022), przedstawiającego nagrania prawdziwych chirurgicznych interwencji w ludzkie ciało, naświetla aporię tkwiącą głęboko w samej kategorii realizmu: im obraz wierniejszy rzeczywistości, którą ma portretować, tym mniej czytelny i zrozumiały się staje, zawodząc jako wiarygodna reprezentacja. Kontekst zmysłowej teorii filmu naświetla ten paradoks, proponując różne ujęcia relacji między skonstruowanym charakterem filmu a namacalnością jego bezpośredniego, wydawałoby się, doświadczenia. Usytuowany wobec pism współczesnych teoretyczek film jawi się jako zmysłowe ćwiczenie spojrzenia – umożliwiające nowe ustawienie zarówno widza, jak i obrazu – a także jako wskrzeszenie pamięci o cudowności wynalazku filmu, jeszcze z czasów, zanim powstało kino jako przestrzeń jego doświadczania. Odniesienie do historii medium nakierowuje także na możliwość uhistorycznienia refleksji zmysłowej, pozwalającą wydobyć, w jaki sposób cielesność, realizm i zmysłowość problematyzowali wybrani teoretycy XX-wieczni.
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This text explores contemporary installations in an architectural setting through the work of Olafur Eliasson. His inspiring works show that installation as a genre in visual art is not only interesting to the public, but also raises many topical societal issues. The study is devoted to the relationship between art and the urban environment, as a significant factor for the cultural development of any city.
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The church of St. Nicholas, built in 1834 in the village of Vevčani, region of Struga, is a representative of the 19th century renaissance architecture in Macedonia and its predominant architectural typology. Its remarkable architecture, masonry craftsmanship and stone relief decorations, as well as its interior design and frescopainting, speak of an ambitious founder despite the rural setting in which it was erected, as a true master-piece of the best and most famous architects and painters available at the moment. In that context, it does not come as a surprise that the stone reliefs carry ancient symbolic representations, such as several types of crosses, fourleaf clovers, hexagrams, solar discs, cherubim, etc. These motifs, inspired by byzantine and early Christian architecture of the region, are rarely found in contemporary monuments and appear in the decorative ensemble of the church of St. Nicholas in Vevčani as a direct influence of the Mediterranean, Romanic and Gothic architecture which its builders had an opportunity to observe, absorb and transform in their architectural vocabulary.
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