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Journal articles on the topic 'Agogiek'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Notten, A. L. T. "Het woud van de sociale agogiek: snoeien maar?!" Journal of Social Intervention: Theory and Practice 18, no. 4 (2009): 94. http://dx.doi.org/10.18352/jsi.190.

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2

Notten, A. L. T. "Het woud van de sociale agogiek - deel 2." Journal of Social Intervention: Theory and Practice 19, no. 1 (2010): 77. http://dx.doi.org/10.18352/jsi.202.

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3

Kotze, Wilhelmina J. "Ananthropologicalnursing Science: nursing accompaniment theory." Health SA Gesondheid 3, no. 3 (1998): 3–14. http://dx.doi.org/10.4102/hsag.v3i3.296.

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The development of the theory "An anthropological nursing science: Nursing accompaniment theory" was strongly influenced by the existential-phenomenological and personological world and life view of Western-European philosophers of the nineteenth and twentieth century, as well as by developments in the fields of philosophical anthropology and fundamental agogics in South Africa during the seventies. OpsommingDie ontwikkeling van die teorie "'n Antropologiese verpleegkundige: Verpleegbegeleidingsteorie" word sterk be'invloed deur die eksistensie-fenomenologiese en personologiese wereld- en lewe

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4

Soler, André. "Agogie de l’éthique." Présence haptonomique N° 11, no. 1 (2015): 115–25. http://dx.doi.org/10.3917/ph.011.0115.

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5

Hordijk, Arie. "Ggz-agogen, jullie zijn nodig!" Vakblad Sociaal Werk 21, no. 2 (2020): 19–21. http://dx.doi.org/10.1007/s12459-020-0293-4.

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6

Vos, Hetty. "Beroepsregister sociaal agogen en mw’ers." Maatwerk 9, no. 3 (2008): 38. http://dx.doi.org/10.1007/bf03076842.

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7

Pyylampi, Olli. "Agogiikka ja rekisteröiminen esittäjän keinovaroina saksalaisessa urkumusiikissa." Trio 10, no. 1 (2021): 86–90. http://dx.doi.org/10.37453/trio.110129.

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The subject of my doctoral studies is the use of agogics in German organ music between the 17th and the 19th century. The repertoire of my five concerts proceeded chronologically in order to demonstrate the evolution of agogics. In my written thesis, I investigate my methods of choosing stops when performing German romantic music.

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8

Stary, Christian. "Agogic Principles in Trans-Human Settings." Proceedings 1, no. 3 (2017): 236. http://dx.doi.org/10.3390/is4si-2017-03949.

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9

Lehne, Moritz, Martin Rohrmeier, Donald Gollmann, and Stefan Koelsch. "The Influence of Different Structural Features on Felt Musical Tension in Two Piano Pieces by Mozart and Mendelssohn." Music Perception 31, no. 2 (2012): 171–85. http://dx.doi.org/10.1525/mp.2013.31.2.171.

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In tonal music, patterns of tension and resolution form one of the core principles evoking emotions. The experience of musical tension and resolution depends on various features of the music (e.g., dynamics, agogics, melody, and harmony); however, the relative contribution of different features to the experience of tension is less clear. To investigate the influence of different features on subjectively experienced musical tension, we compared continuous ratings of felt musical tension for original and modified versions of two piano pieces by Mendelssohn and Mozart. Modifications included vers

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10

Chernosvitova, Galina Alekseevna. "Problemy artikuliatsii i agogiki v klavirnykh sochineniiakh I.S. Bakha." Interactive science, no. 2 (88) (February 28, 2024): 34–36. http://dx.doi.org/10.21661/r-561729.

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11

Šrámek, Rudolf. "Collocation of word „social“." Acta Universitatis Agriculturae et Silviculturae Mendelianae Brunensis 53, no. 6 (2005): 257–62. http://dx.doi.org/10.11118/actaun200553060257.

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Content analyse of 40 publications (issued in last 40 years for needs of agogica, psychology, sociology and other social sciences) shows, that word „social“ is using at least in 360 two-word expressions.

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12

Bazhanov, Nikolay S. "AGOGIC AND TEMPO IN SOUNDING OF THE MUSICAL PIECE." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 36 (2019): 130–39. http://dx.doi.org/10.17223/22220836/36/12.

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13

Haynes, C. Vance. "In the Field with My Friend and Colleague George A. Agogino." Plains Anthropologist 49, no. 191 (2004): 299–309. http://dx.doi.org/10.1179/pan.2004.020.

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14

Smith, Stephen J. "Riding in the Skin of the Movement: An Agogic Practice." Phenomenology & Practice 9, no. 1 (2015): 41–54. http://dx.doi.org/10.29173/pandpr25361.

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The art of riding imagines the human-horse relation in the image of the centaur. In synchronous motions, riding is a dance of sorts, contact of bodies in the skin of the moment. Yet always there is the possibility of fussing, flailing, falling and failing in moments of resistance, evasion and contrariness. Through phenomenological reflection on such moments, riding can be understood not simply in terms of its difficulties of centaurian mastery, but in terms of the postural, positional, gestural, expressive nuances of interspecies communication. It is on the off beats, and within the syncopatio

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15

WILSON, C. R. "Nineteenth-century Musical Agogics as an Element in Gerard Manley Hopkins's Prosody." Comparative Literature 52, no. 1 (2000): 72–86. http://dx.doi.org/10.1215/-52-1-72.

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16

Kearns, Andrew, Breanne A. Kirsch, and Virginia Cononie. "Agoge: an information literacy game for transfer students." Reference Services Review 45, no. 2 (2017): 314–31. http://dx.doi.org/10.1108/rsr-09-2016-0054.

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Purpose This paper aims to describe a successful outreach to transfer students through an interactive information literacy game. While the main purpose of the game is to introduce students to research and university library resources, it also allows for an analysis of incoming students’ information literacy skills. Design/methodology/approach This case study outlines the evolution of the game from a test-like tutorial administered through the Blackboard course management system to an interactive game in two iterations, describing the game in relation to game design and best practices and discu

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17

Петренко, Марина. "НОВІ ВИМІРИ ІНТЕРПРЕТАЦІЇ ВОКАЛЬНО-ІНСТРУМЕНТАЛЬНИХ ТВОРІВ ШКІЛЬНОЇ ПРОГРАМИ". Педагогічні науки: теорія, історія, інноваційні технології, № 5-6(99-100) (31 серпня 2020): 269–80. http://dx.doi.org/10.24139/2312-5993/2020.05-06/269-280.

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The article actualizes the problem of interpreting vocal-instrumental works of the school program. On the basis of analysis, synthesis, systematization and generalization of conceptual provisions presented in the scientific literature on the studied problems the peculiarities and theoretical bases of interpretation of school song repertoire (with an emphasis on instrumental component) are revealed, in particular: taking into account the specificity of the structure of the specified works as a “mono-synthesis” of the textures of the vocal-choral part and piano accompaniment, the need to decode

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18

Šrámek, Rudolf. "Terms and concepts in teaching." Acta Universitatis Agriculturae et Silviculturae Mendelianae Brunensis 54, no. 6 (2006): 191–98. http://dx.doi.org/10.11118/actaun200654060191.

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Annoucement connects of its autors. These activities relates to »didactic analysis of curriculum« (called in agogic sciences like this). Analysed terms and concepts are by judged by synergic procedures in annoucement. These fall into concrete conclusions (concerning mainly dividing of concept range and definition of concept content).

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19

Kleyhons, Ferdinand. "Agoge und Paideia – Ein Überblick über die Erziehungssysteme Spartas und Athens." historia.scribere, no. 12 (June 15, 2020): 247. http://dx.doi.org/10.15203/historia.scribere.12.635.

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Agoge and Paideia – an overview of the education systems of Sparta and AthensThe following proseminar paper gives an overview of the education systems of Sparta and Athens. Both were amongst the most influential Poleis of ancient Greece, but still had completely different educational systems: the Spartan Agoge and the Athenian Paideia. Based on primary sources and secondary literature, this paper will not just give an overview, but also compare those two systems in various aspects, such as the upbringing of children in the family or the system of public education, and then examine their impact

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20

GIGOLAYEVA-YURCHENKO, Viktoriya, Olena SMYRNA, and Larisa DAVIDOVYCH. "SYNCHRONIZATION OF DYNAMIC AND AGOGIC PARAMETERS IN THE CHAMBER ENSEMBLE “VOICE – PIANO”." Humanities science current issues 1, no. 85 (2025): 117–22. https://doi.org/10.24919/2308-4863/85-1-18.

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21

Xiao Xiao, Xiang, and Vyacheslav V. Shulin. "The Interaction of Dance and Music in the Performing Practice of the Miao (Hmong) Tribes." Университетский научный журнал, no. 79 (April 24, 2024): 32–39. http://dx.doi.org/10.25807/22225064_2024_79_32.

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The article analyses the traditions of the Chinese ethnic group Miao, which are an integral part of its intangible heritage. The music and dance of the Miao peoples are synthetic. Their unity is confi rmed already at the stage of preparation for performance — the choice of musical instruments that both perform an accompanying function that sets the style, rhythm, melody, agogics, and serve as necessary accessories of dancing performers themselves, who also have the skills to play these instruments.

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22

Taguti, Tomoyasu, Kengo Ohgushi, and Tomoko Sueoka. "A measure of dissimilarity for comparison of dynamics, agogics, and pedaling in several piano performances." Journal of the Acoustical Society of America 100, no. 4 (1996): 2777. http://dx.doi.org/10.1121/1.416422.

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23

Micheli, M., A. Standardi, A. W. El Behi, D. Zakhour, and M. Yasin. "IN VITRO PROLIFERATION OF OLIVE ('DOLCE AGOGIA' AND 'MORAIOLO'): EFFECT OF DIFFERENT CYTOKININS." Acta Horticulturae, no. 884 (December 2010): 587–90. http://dx.doi.org/10.17660/actahortic.2010.884.76.

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24

HURON, DAVID, and JOY OLLEN. "Agogic Contrast in French and English Themes: Further Support for Patel and Daniele (2003)." Music Perception 21, no. 2 (2003): 267–71. http://dx.doi.org/10.1525/mp.2003.21.2.267.

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A. D. Patel and J. R. Daniele (2003) compared the rhythms of musical themes written by French and English composers. They found a significant difference that mirrors known prosodic differences in French and English speech. Specifically, Patel and Daniele found the note-to-note durational contrast to be higher in English music than in French music. Their study was based on 137 English themes and 181 French themes that were selected according to stringent criteria. Here we report a replication of Patel and Daniele with a greatly expanded sample of nearly 2000 themes.

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25

Stipsits, Reinhold. "Gerhard Karmann: Humanistische Psychologie und Pädagogik. Psychotherapeutische und psychotherapieverwandte Ansätze. Perspektiven für eine Integrative Agogik. Klinkhardt Verlag, Bad Heilbronn. 1987. 383 Seiten." Vierteljahrsschrift für wissenschaftliche Pädagogik 64, no. 1 (1988): 110–11. http://dx.doi.org/10.1163/25890581-06401010.

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26

Stipsits, Reinhold. "Gerhard Karmann: Humanistische Psychologie und Pädagogik. Psychotherapeutische und psychotherapieverwandte Ansätze. Perspektiven für eine Integrative Agogik. Klinkhardt Verlag, Bad Heilbronn. 1987. 383 Seiten." Vierteljahrsschrift für wissenschaftliche Pädagogik 64, no. 1 (1988): 110–11. http://dx.doi.org/10.30965/25890581-06401010.

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27

صالح عرفان, عبدالستار, та محمد امین علی عبدالله. "دەرئەنجامێ هزرا سەربازی لسەر پەروەردەیا (کورێن ساخلەم)(ئاگوج)(Agoge) د سپارتا کەڤندا". Humanities Journal of University of Zakho 11, № 4 (2023): 951–62. http://dx.doi.org/10.26436/hjuoz.2023.11.4.1251.

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ئەڤ ڤەکولینە روناهیەکێ دئیخیتە سەر سیستەمێ پەروەردەیا ناچاری یا کورێن ساخلەم د دەولەتا باژێر یا سپارتا کەڤندا، کو ب پەروەردەیا ئاگوج(Agoge) دهێتە نیاسین، تێدا ب دەستبسەرداگرتنا هەمی لایەنێن ژیانا کورێن ساخلەم یێن سپارتایی بخۆڤە گرتبوو، هەر ژ دەستپێکا تەمەنێ زاروکاتیێ، و بتایبەتی ژ تەمەنێ حەفت سالی تاتەمەنێ سیهـ سالیێ د گروپێن پەروەردەیا ئاگوج دا بەردەوامبوون، راستەخۆ لژێر چاڤدێریەکا توند یا دەولەتێ دابوون، پەروەردەیا ئاگوج کلتورەکێ جیاواز ژ دەولەتا باژێرێن دیتر یێن یونانی ب سپارتا بەخشی. ژبۆ هندێ بەردەوامیا دەولەتا باژێرێ خۆ مسوگەربکەت، سپارتا دیارکر کو پێدڤی ب نەوەیێن خۆدان تایبەتمەندیێن سەرب

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28

Ioniță, Raluca Dobre. "The Second Sonata for Piano and Violin, Ópus 6 by George Enescu." Review of Artistic Education 21, no. 1 (2021): 149–56. http://dx.doi.org/10.2478/rae-2021-0018.

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Abstract The second Sonata for Piano and Violin, op. 6 by George Enescu marks the beginning of a long road of assimilation and synthesis of the Romanian folklore elements and of the way of expression“in Romanian popular character”, transposed on the characteristics of the universal language. Without knowing the authentic folk art from a scientific point of view, Enescu was deeply influenced, shaping his entire artistic personality. He consciously assimilated popular music by generalizing some essential folkloric principles, which he later organized in a personal vision. The innovative elements

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29

Brito, Rodrigo Pinto de. "Reflexões sobre ‘Contra os retóricos’, de Sexto Empírico." Boletim de Estudos Clássicos, no. 59 (December 29, 2014): 39–57. http://dx.doi.org/10.14195/2183-7260_59_4.

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Interpretação geral de Contra os retóricos (Adv. Rhet. ou M2), do filósofo/médico cético Sexto Empírico (c. II‑III d.C.) aplicando o mecanismo da “via média”. Assim, esta obra de Sexto é abordada passo‑a‑passo, demonstrando os dois grandes movimentos refutativos que atravessam o livro: 1‑ o ataque à retórica enquanto techne e 2‑ enquanto produtora da persuasão. Finalmente, demonstramos um caso concreto de aplicação da keptike agoge em um âmbito externo ao da filosofia.

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30

Crasnova-Severin, Ecaterina. "The vocal cycle five greek folk songs by M. Ravel: the interpretative potential of treating the author’s text." Studiul artelor şi culturologie: istorie, teorie, practică, no. 2(47) (March 2025): 56–62. https://doi.org/10.55383/amtap.2024.2.09.

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This article examines Maurice Ravel’s vocal cycle Five Greek Folk Songs from the perspective of identifying potential interpretative possibilities in approaching the original text. Three versions are analyzed: that of the French baritone Gérard Souzay with the renowned American concert master Dalton Baldwin; of the Canadian operatic baritone Gerald Finley accompanied by the British pianist Julius Drake; and of the Russian singer Nina Dorliak in a duet with the pianist Sviatoslav Richter. These interpretations are equally justified, although the original text is approached differently in each o

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31

Kim, David Hyun-Su. "The Brahmsian Hairpin." 19th-Century Music 36, no. 1 (2012): 46–57. http://dx.doi.org/10.1525/ncm.2012.36.1.046.

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Abstract Hairpins, the notation symbols &lt; and &gt;, are today universally accepted as equivalent to the markings crescendo and diminuendo, calling for an increase or decrease in volume. This view is irreconcilable with the scores of the core German repertoire of the nineteenth century. This article offers a new understanding of hairpins based on careful examination of the scores of Brahms and of early-twentieth-century recordings by artists close to him. In Brahms's milieu hairpins did not prescribe sounds, but rather described meanings. The difference between prescription and descr

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32

RISTEA-CIUCU, CLEMENTINA. "Six miniatures for violin and piano composed by Fritz Kreisler. Formal analysis and aspects of the accompaniment technique." ARTES. JOURNAL OF MUSICOLOGY 27, no. 27-28 (2023): 224–45. http://dx.doi.org/10.35218/ajm-2023-0013.

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This article treats aspects of the accompaniment technique in six of Fritz Kreisler’s most widely played miniatures: Liebesfreud, Liebesleid, Schön Rosmarin, Caprice Viennois, Tambourin Chinoise and Syncopation. The works are analysed both from a formal point of view and from an accompanist’s point of view, who has to also know in detail the soloist’s score in order to reveal certain meanders and agogic details of the musical discourse and in order to support and perfectly co-ordinate rhythmically and dynamically with the violinist’s intentions. To this end, several personal grounds related to

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33

Lombardo, Riccardo. "Music and Gesture—New Perspectives in Conducting and in Education." Creative Arts in Education and Therapy 10, no. 2 (2024): 180–92. https://doi.org/10.15212/caet/2024/10/13.

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The inspirational theory for this research is Rudolph Laban&#x2019;s method of analysis of movement, including further developments of the theory. Bartee&#x2019;s theoretical paper, &#x201C;Organizational Development: Theory, Practice, and Research,&#x201D; opened a new perspective on the art of conducting, proposing a new expressive style, based on Laban&#x2019;s theory. Starting from that point of view, my research, held with a group of students of the Faculty of Education at the University of Valladolid (Spain), involved the analysis of videos of the students conducting

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34

Egorova, Irina L’vovna, and Matvei Vyacheslavovich Matveev. "Russian Folk Songs in F. I. Chaliapin’s Repertoire: Interpretation of Folklore Singing Traditions in Academic Performance." Pan-Art 2, no. 2 (2022): 37–43. http://dx.doi.org/10.30853/pa20220007.

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The study aims to prove that F. I. Chaliapin became an unsurpassed interpreter of Russian songs included in his repertoire. The paper presents a detailed performance analysis of Chaliapin’s interpretation of folk songs “Eh, Vanka” and “Dubinushka (Russian Laborers’ Song)”; shows the interpretations of folklore singing traditions in F. I. Chaliapin’s academic performance. The novelty of the paper lies in substantiating the fact that intonation in F. I. Chaliapin’s creative work becomes the main conduit for the performing idea of a composition. As a result, it has been determined that such tradi

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35

Severin, Oana Andreea. "Goethe Lyrics from a Schubertian Point of View. Analysis of Converse Paths of Creation." Artes. Journal of Musicology 19, no. 1 (2019): 46–61. http://dx.doi.org/10.2478/ajm-2019-0002.

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Abstract Throughout the entire evolution of events in the history of music, we are finding the presence of a miniature genre, with a fulminatory evolution in the Romantic period. A syncretic genre, by combining poetry with music, lied generated a highly complex and artistically refined result, hence the preferred leaning of musicians towards it. In the approach of a mythologic page transposed into a Romantic view, in Ganymed we find two figures of genius connected: Goethe – writer and philosopher with a special inclination towards versified creations, with a remarkable, long-lasting activity a

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36

SEMKIN, Dmitry, and Lyubov BUSHUEVA. "Giacomo Puccini's Operatic Legacy and Its Study in the Practice of Vocalists." WISDOM 15, no. 2 (2020): 199–209. http://dx.doi.org/10.24234/wisdom.v15i2.355.

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The purpose of this article is to analyze the Opera legacy of Giacomo Puccini from the standpoint of philosophy and practical vocal pedagogy, which, according to the authors, is necessary for the formation of vocal and performing skills of young singers of the academic direction. The authors suggest a historical overview of the main works of the composer in this genre, based on the study of their vocal characteristics, the author reveals the features of his unique Arioso-recitative style. On the basis of various research methods (among which the special place is occupied by the philosophical,

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37

Nedelcuţ, Nelida, and Lucian Ghişa. "Interpretative and Compositional Connotations from a Musicological Perspective." Artes. Journal of Musicology 18, no. 1 (2018): 136–50. http://dx.doi.org/10.2478/ajm-2018-0008.

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Abstract Musicology, viewed as a general science regarding all the defining elements of music, can approach compositions using hermeneutical methods, both through a critical view on the interpretation, the stage performance of the creative act, and through the subsequent musicological writings, becoming a “meta-interpretation” that requires a thorough exegesis. The couplet hermeneutics-interpretation together with that of compositional concept versus stage production are the ones underlying our research, while hermeneutics is the very art of performing that penetrates the most cryptic elements

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38

Blasi, Francesca, Luna Pollini, and Lina Cossignani. "Varietal Authentication of Extra Virgin Olive Oils by Triacylglycerols and Volatiles Analysis." Foods 8, no. 2 (2019): 58. http://dx.doi.org/10.3390/foods8020058.

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In recent years, there is an increasing interest in high-quality extra virgin olive oils (EVOOs) produced from local cultivars. They have particular chemical/organoleptic characteristics and are frequently subjected to fraud, whereby the control of quality requires a powerful varietal check. In the present research, triacylglycerols (TAGs) and volatiles have been studied as chemical markers for the authentication of EVOO samples from four Italian varieties of Olea europea (Dolce Agogia, Frantoio, Leccino, and Moraiolo). The monocultivar EVOO samples have been subjected to a chemical–enzymatic

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39

Frans Buisman. "Pipers Canntaireachd and Scottish Gaelic: Basic elements and expressive variability." Scottish Studies 41 (February 3, 2025): 1–22. https://doi.org/10.2218/kbbj7318.

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Canntaireachd is an orally-devised method used by pipers to remember pibroch (pìobaireachd) compositions, the classical repertoire of the highland bagpipes, and to transmit the music to others. Canntaireachd began to be fixed in print from the early nineteenth century, but unlike tonic solfa and staff notation, the primary purpose of canntaireachd was not the recording of melody. Indeed, it was never intended as a written medium at all, but rather as a means of orally encoding a variety of stylistic features in the context of a tune, thereby providing an aural road-map for performers already f

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40

Rebora, Manuela, Gianandrea Salerno, Silvana Piersanti, Elena Gorb, and Stanislav Gorb. "Role of Fruit Epicuticular Waxes in Preventing Bactrocera oleae (Diptera: Tephritidae) Attachment in Different Cultivars of Olea europaea." Insects 11, no. 3 (2020): 189. http://dx.doi.org/10.3390/insects11030189.

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The olive fruit fly Bactrocera oleae (Diptera: Tephritidae) is the major pest of cultivated olives (Olea europaea L.), and a serious threat in all of the Mediterranean Region. In the present investigation, we demonstrated with traction force experiments that B. oleae female adhesion is reduced by epicuticular waxes (EWs) fruit surface, and that the olive fruit fly shows a different ability to attach to the ripe olive surface of different cultivars of O. europaea (Arbequina, Carolea, Dolce Agogia, Frantoio, Kalamata, Leccino, Manzanilla, Picholine, Nostrale di Rigali, Pendolino and San Felice)

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Fernández-Lozano, Javier, Antonio Nsue Nnandong, Sofía Rivera, et al. "Uso de mercurio para el beneficio de yacimientos secundarios de oro en época romana. ¿Realidad o ficción?" Geogaceta 69 (June 12, 2021): 75–78. http://dx.doi.org/10.55407/geogaceta102452.

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Una de las mayores controversias que suscita el estudio geoarqueológico de la minería aurífera romana se refiere al empleo de la amalgama con mercurio (Hg) para la concentración de oro en yacimientos tipo placer, donde éste aparece libre, en forma de pequeñas partículas o pepitas que se acumulan en el sedimento aurífero. A pesar de que el uso y propiedades del mercurio fueron conocidas en época romana, son escasos los trabajos realizados que permiten establecer las condiciones en las que su empleo estaba justificado en la recuperación y beneficio del oro procedente de yacimientos secundarios.

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Volkova, Anna V. "Artistic image of a musical work as the main factor in the upbringing of a creative person in the process of development of performing skills of pianist students in children’s music school." Tambov University Review. Series: Humanities, no. 187 (2020): 86–92. http://dx.doi.org/10.20310/1810-0201-2020-25-187-86-92.

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We consider and examine the scientific essence of the category of artistic image as a special phenomenon necessary for the implementation of the author’s idea. The relevance of the research lies in the fact that there is a need to develop new pedagogical conditions for the success-ful development of performing skills using the modern repertoire. Attention is focused on the fact that the performance of musical works by modern composers is interesting to children, since they most accurately reflect the existing trends and directions of the world around them, and therefore the figurative sphere i

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Abdokov, Yuri B. "“Music for Strings” by Revol Bunin: Style, Timbral Poetics and Interpretation." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 1 (2022): 91–108. http://dx.doi.org/10.35852/2588-0144-2022-1-91-108.

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The article examines the timbral poetics of “Music for Strings” by Revol Samuilovich Bunin (1924–1976). This score captures the most important features of the composer’s instrumental style. There feels a lack in serious systematic research of Bunin’s life and legacy. Thus it is required the coordination of historical and biographical information. For the first time, the memoirs and analytical opinions of famous contemporaries who closely communicated with the composer are introduced into scientific circulation. This largely clarifies his personality in life and music. The detailed analysis of

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Juszyńska, Krystyna. "Didactic qualities of piano pieces for children by Miłosz Magin (1929-1999)." Konteksty Kształcenia Muzycznego 6, no. 1 (10) (2020): 27–44. http://dx.doi.org/10.5604/01.3001.0014.2314.

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Miłosz Magin was a renowned Polish pianist and composer. He was born in Łódź, studied in Warsaw, was a prizewinner of several international piano competitions, successfully concerted all over the world and in 1960 he finally settled down in Paris. His compositional output covers numerous piano pieces, orchestral, chamber and vocal works, as well as a ballet. Pieces for children constitute an important and relatively large part of his oeuvre. The article discusses five cycles of miniatures (38 pieces in total), dedicated to pupils at the elementary level of piano learning: Obrazki z Polski (198

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Kaszubska, Natalia. "Kategorie czasu i formy muzycznej w II Koncercie na wiolonczelę i orkiestrę symfoniczną Pawła Mykietyna." Kwartalnik Młodych Muzykologów UJ, no. 54 (3) (December 7, 2022): 19–41. http://dx.doi.org/10.4467/23537094kmmuj.22.012.16812.

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The Categories of Time and Musical Form in Paweł Mykietyn’s Concerto No. 2 for Cello and Symphony Orchestra The paper supplements the research on the latest Paweł Mykietyn's work. It broadens the spectrum of problems related to the technique of deconstruction in his works and allows for a better understanding of the structure of the Concerto No. 2 for cello and symphony orchestra. The main research method is descriptive analysis, bringing Paweł Mykietyn's musical language closer to the harmonic material, textural systems, agogic-metric structures, and the concept of form. The analysis is based

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Voskoboinikov, Yakov. "George Gershwin’s jazz transcriptions in piano performance of academic tradition." Aspects of Historical Musicology 19, no. 19 (2020): 429–48. http://dx.doi.org/10.34064/khnum2-19.25.

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Background. Today, jazz transcriptions of works by George Gershwin can be heard around the world. Works such as “The Man I Love”, “I Got Rhythm”, “Summertime”, “Liza”, “Fascinating Rhythm”, “Somebody Loves Me”, “Swanee”, included in the collection “Gershwin songs”, and also “Seven virtuoso etudes on the themes of G. Gershwin” by E. Wilde are performed by modern academic musicians. Thus, widely known performance versions of piano transcriptions “Gershwin songs” by M.-A. Hamelin, the song “The Man I Love” performed by A. Tharaud, P. Barton, and others famous performers. The evidence of growing i

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Yanushkevich, Maryia. "Preparatory work on a piece as a form of developing student’s artistic autonomy." Konteksty Kształcenia Muzycznego 4, no. 1 (2017): 81–88. http://dx.doi.org/10.5604/01.3001.0010.5353.

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The development of a student’s artistic autonomy is one of the most important tasks in the educational process at higher education level. One of the methods of accomplishing this task is to teach students to work autonomously on the score. This is the first step towards helping a young conductor to get acquainted with a composition, to define one’s own vision of an artwork, to get prepared for cooperation with an ensemble and later for performing the piece on stage. Therefore, when reaching for a new score, a student should learn how to analyze it in terms of: form (taking into account the com

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Limitovskaya, A. V., and I. V. Alekseeva. "SOUND IMAGE OF A CUCKOO IN INSTRUMENTAL MUSIC BY COMPOSERS OF THE XVIITH — XIXTH CENTURIES." Arts education and science 1, no. 4 (2020): 130–38. http://dx.doi.org/10.36871/hon.202004017.

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The article presents the results of the research on musical and artistic creation of the image of one of the most striking creatures — the cuckoo. The ways to implement the peculiarities of its singing in instrumental compositions of the XVIIth – XIXth centuries are revealed and described in cultural and stylistic context. The authors analyze the role of timbre-intonational components of the bird's singing in the formation of some acoustic model, which becomes the basis for its representation by instrumental means in composer's works. The special sound pitch and rhythmic organization, together

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Maritasari, Donna Boedi, Punaji Setyosari, Dedi Kuswandi, and Henry Praherdhiono. "The Effect of Project Based Learning Assisted by Mobile Learning Applications and Learning Motivation on the Competence and Performance of Teachers." AL-ISHLAH: Jurnal Pendidikan 14, no. 3 (2022): 3303–16. http://dx.doi.org/10.35445/alishlah.v14i3.1116.

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One learning model that can be used to improve teachers' quality, pedagogic competence, and personality is the Project Based Learning (PjBL) learning mod-el. The development in this research carried out the Project Based Learning (PjBL) learning model in collaboration with applying the mobile learning model. The use of project-based learning using mobile applications focuses on optimiz-ing teacher performance. The results of this study are: (1) there is an effect of the PjBL strategy assisted by the Mobile Learning Application on the pedagogical competence of teachers. It shows by the signific

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Răducanu, Cristina. "A Subjective Approach of the Performance of Edvard Grieg’s Piano Concerto in A minor, Op. 16." Artes. Journal of Musicology 23, no. 1 (2021): 207–23. http://dx.doi.org/10.2478/ajm-2021-0012.

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Abstract Starting from a stylistic analysis based on musical language elements, this study offers a personal standpoint with respect to the interpretation and performance of Edvard Grieg’s Piano Concerto in A minor, op. 16. The author accounts for all the technical and interpretive observations starting from a structural analysis of the opus. The reflections on various melodic, harmonic, rhythmic, dynamic or agogic characteristics come to reinforce the rationale for the subjective choices of how to perform this piece. The article is not by far an exhaustive study on the topic; it merely offers

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