Journal articles: 'Concerti grossi'

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Talbot, Michael. "12 Concerti grossi, Op. 6/1-12 (review)." Notes 61, no. 3 (2005): 851–54. http://dx.doi.org/10.1353/not.2005.0036.

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Ostanina, Maria N., and Svetlana S. Goncharenko. "Neo-Baroque Concertizing in the Works by Russian Composers of the Final Quarter of the 20th Century." Problemy muzykal'noi nauki / Music Scholarship, no. 2 (2024): 25–38. http://dx.doi.org/10.56620/2782-3598.2024.2.025-038.

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The relevance of the stated topic is determined by the significance of neo-Baroque trends in the 20th century as a means of support for the high humanistic traditions that shaped classical musical art. In the research methodology, the authors rely on the general theoretical principles concerning the baroque concertos developed in the Russian musicological tradition (Yuri Kholopov, Natalia Zeifas, Svetlana Bakuto, Svetlana Goncharenko, etc.), as well as on the typology of compositional models in the contemporary concerto genre proposed by Irina Grebneva. A comparative method, applied to such historically distant phenomena as the baroque and neo-baroque styles, as well as to individual composers’ interpretations of the baroque form-generation is used. The article examines for the first time the group of concerti grossi composed during this period, and carries out a comparative analysis of them on the level of an integral organization, interpretation of the orchestra and the concerto form. The archetypal and kenotypic compositional models of Sofia Gubaidulina, Alfred Schnittke, Rodion Shchedrin and other composers who have provided innovations to similar 18th century stylistic models are systematized. By disclosing the general and the particular aspects in the interpretation of the principles of concerto performance, their interaction with the features of theatricality and meditative-vs.-conflicting symphonic dramaturgy, the author demonstrates that the concerti grossi composed during the time period between the 1970s and the 1990s reflect the multipolarity of the neo-baroque perspective of the modern world.

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Balan, Mihaela-Georgiana. "Polystylism in the context of Postmodern Music. Alfred Schnittke’s Concerti Grossi." Artes. Journal of Musicology 23, no. 1 (April 1, 2021): 148–64. http://dx.doi.org/10.2478/ajm-2021-0007.

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Abstract One of the multiple orientations of the musical postmodernism is polystylism – a concept used and theorized by the Russian composer and musicologist Alfred Schnittke. He identified its specific techniques in previous academic tradition and organized its principles by writing many essays, papers and by applying these compositional methods in his own work. The approach of polystylism offers the opportunity to observe artistic phenomena in a synthetic perspective and to understand the compositional methods by which tradition is still revalued in some directions of the postmodern period. This paper deals with the problems encountered in the research on this subject, the lack of this term in the dictionaries, the political and cultural context when polystylism was introduced, the tendency to consider unorganized and unoriginal those works based on quotes, previous writing techniques and musical languages, traditional genres or structures and therefore, the perception of some musicians to underestimate Schnittke’s talent and mastery as a composer.

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Willner, Channan. "Analysis and Interpretation in the Performance of Handel's Concerti Grossi, op.6." Musical Times 130, no. 1753 (March 1989): 138. http://dx.doi.org/10.2307/1193821.

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Rasch, Rudolf. "Corelli's Contract: Notes on the Publication History of the "Concerti Grossi... Opera Sesta" [1714]." Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 46, no. 2 (1996): 83. http://dx.doi.org/10.2307/939219.

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Miller, Malcolm. "‘RESONANCE AND DISTANCE’: SIMON BAINBRIDGE IN CONVERSATION." Tempo 67, no. 265 (July 2013): 37–49. http://dx.doi.org/10.1017/s0040298213000454.

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AbstractThis interview, based on a conversation with Simon Bainbridge at London's City Literary Institute in June 2011, presents something of a rounded portrait of the composer while covering a good deal of ground. We began our conversation with a discussion of a recent work for orchestra, Concerti Grossi, going into some detail in matters of scoring and structure. The discussion then broadened to cover such topics as the creative process, formative influences (for example, his parents' activity in the visual arts, Debussy's Jeux, John Lambert and Gunther Schuller), instrumentation and the relationship of music and text. This led on specifically to Bainbridge's settings of Primo Levi, in for example the cycle Ad Ora Incerta, and to a consideration of the composer's relationship with the audience.

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Talbot, Michael. "Vivaldi and Rome: Observations and Hypotheses." Journal of the Royal Musical Association 113, no. 1 (1988): 28–46. http://dx.doi.org/10.1093/jrma/113.1.28.

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Vivaldi's indebtedness to Roman models in his formative years as a composer has generally been recognized, although the Roman link is often viewed simplistically and inaccurately as an apprenticeship, stylistically speaking, with Corelli. A more careful review of the evidence leads to the conclusion that the Corellian features in his first three published collections were acquired at second hand via a slightly older generation of Venetian composers (Gentili, Albinoni, Caldara) rather than through independent study of Corelli. Undeniably, the pioneering concertos of op. 3 (L'estro armonico, 1711) betray the strong influence of the Rome-based composer Giuseppe Valentini, whose Concerti grossi, op. 7, had been published the previous year in Bologna But the few manuscript works by Vivaldi that survive from this early period (notably the sonatas RV 60 and 779, and the concertos RV 402, 416 and 420) offer clear evidence that for ordinary purposes he remained as close as any of his Venetian contemporaries to the norms of the local tradition.

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Grebneva, I. "”The image” of the violin in the creative work of A. Corelli (on the example of the concerto grosso genre)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 115–27. http://dx.doi.org/10.34064/khnum2-49.08.

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Statement of the problem. The violin style of A. Corelli, a composer-violinist who laid the foundation for the development of the violin art in Europe, represents a special “image of the instrument” that entered the professional-academic arena during the Baroque era. The research of A. Corelli’s violin style belongs to the field of organology, which is dedicated to the integrated study of instruments as the “organs” of musicians’ thinking. The close relationship, connection of the individual who is playing music with his/her instrument is not only one of the little developed theoretical problems, but also the basis of the practice for performing music, as well as learning this art. Analysis of recent publications on the topic. The available sources on the creative work of A. Corelli (written by K. Kuznetsov, I. Yampolsky, L. Ginzburg, N. Harnoncourt) contain either general information or individual observations on the image of the violin in the Baroque era. It is necessary to point out the significance of the general theory of the violin style (E. Nazaikinsky, V. Medushevsky, V. Kholopova, Y. Bentya) for the development of scientific ideas about the "image of the violin". The purpose of the article is to identify the special features of the “image” of the violin in the style of A. Corelli on the material of Concerti grossi op.6. The presentation of the main material. At the time of the creation of Concerts op.6 by A. Corelli, in Italy there was a violin school, which was distinguished by an exceptional variety of playing techniques. It was here that the historical process of replacing the viol with the violin was finally completed. The violin becomes the leading instrument in the instrumental genres of the 17th century music – suite, trio-sonata, solo sonata, and by the end of the century – concerto grosso. The path of movement to A. Corelli’s universal, generalized-reduced violin style ran along the line “ensemble feature – concert feature – solo feature”. The creation of the academic style of the violin playing logic is the merit of the Bologna school. The main thrust of the violin style of Bologna masters (Torelli, Antonia, Bassani, Vitali, and later Corelli and Vivaldi) is the combination of “church” and “chamber” models of the violin playing. For instrumental sound in an ensemble or orchestra, a “canon” and certain limitations in the technique of the playing are necessary, allowing establishing the balance of the parts of instruments and instrumental groups. The “invention” (inventio) in the violin playing, characteristic of the Italian school of the first half of the 17th century, was aimed at identifying the whole complex of the possible techniques of playing this instrument. The violin plating logic in Concertі grossi by A. Corelli is subordinated to the combination of two artistic and aesthetic tasks arising from two styles of concert making – the “church” one and the “chamber” one. Hence the choice of the appropriate techniques for playing. The “church” style, despite its democratization inherent in the Italian violin school, acquired the functions of a public concert for a mass audience and was distinguished by greater severity and regulation of the complex of the violin playing techniques. This stemmed from the genre style (“concert in the church”), where polyphonic presentation prevailed in the fast parts, the “tempo” names of the parts were used, and the organ in the numbered bass part was used. The “chamber” style opened up wider possibilities for the violin and the creation of an expressive technical complex associated with the genre (“dance” parts), replacing the organ in basso continuo with the harpsichord (cembalo), other stringed and plucked instruments (lute, theorbo), low string-and-bow instruments (gamba, cello, double bass), which gave a mono-articulate character to the general sounding. Playing shades of "lively speech" on the violin is a characteristic feature of A. Corelli’s violin style, reflected in the instrumental-playing complex through phrasing, attention to details and to micro-intonation. Conclusions. In describing the historical and artistic situation, in the context of which the style of the “great citizen of Bologna” was formed, its innovations have been outlined. The signs of the turning epoch have been indicated – they are the transition from the Renaissance polyphony and the “church” style to the secular homophony, with the instruments of the violin family singled out as the main ones. The particular attention has been paid to the principles of the violin intonation in the form of a speech playing (sprechendes Spiel) and dance motor skills, which together formed the semantics of A. Corelli’s violin style in the genres of concerto grosso, trio sonatas, solo sonata with bass. The main features of A. Corelli’s violin style, which became determinant for compositional decisions in the field of thematic, texture, and harmony, have been revealed.

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9

Grebneva, I. "”The image” of the violin in the creative work of A. Corelli (on the example of the concerto grosso genre)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 115–27. http://dx.doi.org/10.34064/khnum1-49.08.

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Statement of the problem. The violin style of A. Corelli, a composer-violinist who laid the foundation for the development of the violin art in Europe, represents a special “image of the instrument” that entered the professional-academic arena during the Baroque era. The research of A. Corelli’s violin style belongs to the field of organology, which is dedicated to the integrated study of instruments as the “organs” of musicians’ thinking. The close relationship, connection of the individual who is playing music with his/her instrument is not only one of the little developed theoretical problems, but also the basis of the practice for performing music, as well as learning this art. Analysis of recent publications on the topic. The available sources on the creative work of A. Corelli (written by K. Kuznetsov, I. Yampolsky, L. Ginzburg, N. Harnoncourt) contain either general information or individual observations on the image of the violin in the Baroque era. It is necessary to point out the significance of the general theory of the violin style (E. Nazaikinsky, V. Medushevsky, V. Kholopova, Y. Bentya) for the development of scientific ideas about the "image of the violin". The purpose of the article is to identify the special features of the “image” of the violin in the style of A. Corelli on the material of Concerti grossi op.6. The presentation of the main material. At the time of the creation of Concerts op.6 by A. Corelli, in Italy there was a violin school, which was distinguished by an exceptional variety of playing techniques. It was here that the historical process of replacing the viol with the violin was finally completed. The violin becomes the leading instrument in the instrumental genres of the 17th century music – suite, trio-sonata, solo sonata, and by the end of the century – concerto grosso. The path of movement to A. Corelli’s universal, generalized-reduced violin style ran along the line “ensemble feature – concert feature – solo feature”. The creation of the academic style of the violin playing logic is the merit of the Bologna school. The main thrust of the violin style of Bologna masters (Torelli, Antonia, Bassani, Vitali, and later Corelli and Vivaldi) is the combination of “church” and “chamber” models of the violin playing. For instrumental sound in an ensemble or orchestra, a “canon” and certain limitations in the technique of the playing are necessary, allowing establishing the balance of the parts of instruments and instrumental groups. The “invention” (inventio) in the violin playing, characteristic of the Italian school of the first half of the 17th century, was aimed at identifying the whole complex of the possible techniques of playing this instrument. The violin plating logic in Concertі grossi by A. Corelli is subordinated to the combination of two artistic and aesthetic tasks arising from two styles of concert making – the “church” one and the “chamber” one. Hence the choice of the appropriate techniques for playing. The “church” style, despite its democratization inherent in the Italian violin school, acquired the functions of a public concert for a mass audience and was distinguished by greater severity and regulation of the complex of the violin playing techniques. This stemmed from the genre style (“concert in the church”), where polyphonic presentation prevailed in the fast parts, the “tempo” names of the parts were used, and the organ in the numbered bass part was used. The “chamber” style opened up wider possibilities for the violin and the creation of an expressive technical complex associated with the genre (“dance” parts), replacing the organ in basso continuo with the harpsichord (cembalo), other stringed and plucked instruments (lute, theorbo), low string-and-bow instruments (gamba, cello, double bass), which gave a mono-articulate character to the general sounding. Playing shades of "lively speech" on the violin is a characteristic feature of A. Corelli’s violin style, reflected in the instrumental-playing complex through phrasing, attention to details and to micro-intonation. Conclusions. In describing the historical and artistic situation, in the context of which the style of the “great citizen of Bologna” was formed, its innovations have been outlined. The signs of the turning epoch have been indicated – they are the transition from the Renaissance polyphony and the “church” style to the secular homophony, with the instruments of the violin family singled out as the main ones. The particular attention has been paid to the principles of the violin intonation in the form of a speech playing (sprechendes Spiel) and dance motor skills, which together formed the semantics of A. Corelli’s violin style in the genres of concerto grosso, trio sonatas, solo sonata with bass. The main features of A. Corelli’s violin style, which became determinant for compositional decisions in the field of thematic, texture, and harmony, have been revealed.

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10

Cross, E. "Jakob Lindberg, Arcangelo Corelli; Chiara Banchini and Jesper Christensen, Concerti Grossi OP.6; Reinhard Goebel, Giuseppe Torelli, Giovanni Mossi, Giuseppe Valentini, Pietro Antonio Locatelli, Leonardo Leo." Early Music XXI, no. 2 (May 1, 1993): 307–11. http://dx.doi.org/10.1093/em/xxi.2.307.

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11

Rowe, Robert, and Richard Teitelbaum. "Concerto Grosso." Computer Music Journal 13, no. 4 (1989): 88. http://dx.doi.org/10.2307/3679559.

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12

Holzhauer, Peter. "Concerto grosso der Immunologie." Deutsche Zeitschrift für Onkologie 49, no. 01 (April 27, 2017): 31–34. http://dx.doi.org/10.1055/s-0043-101112.

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13

Krüger, Walther. "Das Concerto grosso Joh. Seb. Bachs." Bach-Jahrbuch 29 (May 4, 2018): 1–50. http://dx.doi.org/10.13141/bjb.v19322388.

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14

Gushiken, Yuji, and Protásio De Morais Barbosa Júnior. "PENSAMENTO COMUNICACIONAL NA ORQUESTRA DO ESTADO DE MATO GROSSO E O CAMPO DA MÚSICA DE CONCERTO EM CUIABÁ." Revista Observatório 2, no. 5 (December 25, 2016): 200. http://dx.doi.org/10.20873/uft.2447-4266.2016v2n5p200.

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Na perspectiva da “comunicação como cultura”, este artigo tem como questão central a relação entre pensamento comunicacional e a formação da música de concerto como campo artístico-cultural, num estudo de caso da Orquestra do Estado de Mato Grosso (OEMT). Criada em 2005, a OEMT instituiu um novo momento para a música de concerto em Cuiabá, capital de Mato Grosso, estado do Centro-Oeste com parte de seu território na Amazônia Legal. O funcionamento da OEMT na primeira década de atividade (2005-2015) atualiza-se com o desenvolvimento paralelo de estratégias de comunicação organizacional que redimensionam as relações da orquestra junto a seus diversos públicos. A interface entre distintos campos profissionais evidencia a dimensão comunicacional das práticas artísticas e culturais na contemporaneidade. PALAVRAS-CHAVE: Comunicação; Música de concerto; Orquestra do Estado de Mato Grosso; Cuiabá. ABSTRACT In the perspective of “communication as culture”, this article has as its central question the relationship between communicational thinking and the formation of concert music as an artistic-cultural field, in a case study of the State Orchestra of Mato Grosso (OEMT). Created in 2005, OEMT instituted a new moment for concert music in Cuiabá, capital of Mato Grosso, state of the Midwest with part of its territory in the Legal Amazon. The operation of OEMT in the first decade of activity (2005-2015) is updated with the parallel development of organizational communication strategies that reshape the relations of the orchestra with its different audiences. The interface between different professional fields evidences the communicational dimension of the artistic and cultural practices in the contemporaneity. KEYWORDS: Communication; Concert music; State Orchestra of Mato Grosso; Cuiabá. RESUMEN Desde la perspectiva de la “comunicación como cultura”, este artículo tiene como cuestión central la relación entre el pensamiento comunicacional y la formación de la música de concierto como campo artístico y cultural, en un estudio de caso de la Orquesta del Estado de Mato Grosso (OEMT). Fundada en 2005, OEMT instituyó un nuevo tiempo para la música de concierto en Cuiabá, capital de Mato Grosso, estado del Medio Oeste con una parte de su territorio en la Amazonía Legal. El funcionamiento de OEMT en la primera década de actividad (2005-2015) se actualiza con el desarrollo paralelo de las estrategias de comunicación organizacional, que redimensionan las relaciones de la orquesta junto a sus diversos públicos. La interfaz entre los diferentes campos profesionales evidencia la dimensión comunicacional de las prácticas artísticas y culturales en la contemporaneidad. PALABRAS CLAVE: Comunicación; música de concierto; Orquesta del Estado de Mato Grosso; Cuiabá.

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Akshentseva, V. M. "DIALOGUE AND ITS MANIFESTATIONS IN INSTRUMENTAL CONCERTS OF J. HAYDN." Arts education and science 1, no. 3 (2020): 81–90. http://dx.doi.org/10.36871/hon.202003010.

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In the article, dialogue peculiarities are considered as one of the typical qualities of a classical concert, closely connected with the principles of virtuosity, concertizing and playing. On the example of instrumental concerts of J. Haydn, compositional and dramaturgical functions of the dialogue between orchestra and soloist are studied. They are illuminated through a system of attitudes based on the principles of consent and counteraction. Conflicting relationships between communication participants contribute to the demonstration of several points of view. Thus one can reveal various kinds and signs of dialogues forming the concept of the world of J. Haydn's compositions, which is developed in the process of stylistic exchange — Baroque and Classicism. Signs of typical oppositions in the text models of ancient genres — concerto grosso, trio-sonatas and "wandering" plots with the participation of dialogue structures are observed and described in the composer's instrumental concerts. Different functional relations between the structural-semantic text units, presented as cliched "formulas" of various etymology, through the prism of horizontal (tutti — solo) and vertical (continuo — solo) models, formed in Baroque ensemble music, are considered. Dialogue interactions, successive Baroque, vividly highlight the specificity of the general — classicist and individual — composer's view of the world.

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Meph, Johannes, Schnittke, Royal Stockholm Philharmonic Orchestra, and Gennadi Rozhdestvensky. "Concerto Grosso No.6; Symphony No.8." Musical Times 136, no. 1834 (December 1995): 674. http://dx.doi.org/10.2307/1003572.

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SHAPIRO, IAN. "Gross Concepts in Political Argument." Political Theory 17, no. 1 (February 1989): 51–76. http://dx.doi.org/10.1177/0090591789017001004.

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Sullivan, Tim. "Structural Layers in Alfred Schnittke's Concerto Grosso No. 3." Perspectives of New Music 48, no. 2 (2010): 21–46. http://dx.doi.org/10.1353/pnm.2010.0003.

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Varakuta, Maryna, and Maryna Votintseva. "КОМПОЗИЦІЙНІ ОСОБЛИВОСТІ ЖАНРУ CONCERTO GROSSO У ТВОРЧОСТІ А. ГАЙДЕНКА." Музикознавча думка Дніпропетровщини, no. 23 (December 29, 2022): 51–60. http://dx.doi.org/10.33287/222234.

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Мета дослідження. У науковій статті порушується питання процесів відродження жанру concerto grosso в музиці ХХ століття, що одержали індивідуальні особливості у національних музичних культурах, у тому числі в українській академічній музиці. Науково-дослідницька увага концентрується на виявленні композиційних особливостей жанру concerto grosso у творчості відомого сучасного українського композитора Анатолія Гайденка. Методологія дослідження представляє комплексний підхід до вивчення зазначеного явища і ґрунтується на поєднанні історичного, а також аналітичного методів. Історичний метод надає можливість визначити змінне та незмінне у відродженні старовинного жанру в сучасній академічній музиці, а аналітичний – вивчити композиційні особливості конкретного музичного твору, обраного матеріалом дослідження презентованої наукової статті. Наукова новизна роботи полягає у зверненні до творчості відомого сучасного українського композитора, музика якого більше відома насамперед за концертними виконаннями і практично не вивчена сьогочасними музикознавцями. Аналіз Сoncerto grosso А. Гайденка доводить, що в трактуванні старовинного європейського жанру проявляються яскраво виражені національні риси, які органічно поєднуються з композиційними особливостями жанрового прототипу, і що такі тенденції є специфічними ознаками сучасної академічної української музики. У висновках вказано, що у Concerto grosso знаний український композитор звертається до національних фольклорних інтонацій, виразно використовує сучасні музичні прийоми, але не вносить змін у традиційну композицію жанру concerto grosso. Перспективи подальшого вивчення означеної теми полягають у комплексному дослідженні нео- жанрів в академічній інструментальній музиці сучасних українських композиторів, представників різних регіональних шкіл.

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Гребнєва, І. В. "Виконавська складова форми Concertі Grossі Арканджело Кореллі (Модель Da Chіesa)." Культура України. Серія: Мистецтвознавство, вип. 57 (2017): 27–33.

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Sullivan, Tim. "Alfred Schnittke’s Concerto Grosso No. 1 by Peter J. Schmelz." Notes 78, no. 1 (2021): 72–75. http://dx.doi.org/10.1353/not.2021.0065.

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Medić, Ivana. "Alfred Schnittke’s Concerto Grosso No. 1. By Peter J. Schmelz." Music and Letters 101, no. 2 (May 1, 2020): 381–83. http://dx.doi.org/10.1093/ml/gcaa018.

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Kim, Kyung Eun. "A Study on Concerto Grosso Works by 20th-century Composers." Music Theory Forum 29, no. 2 (December 30, 2022): 95–130. http://dx.doi.org/10.16940/ymr.2022.29.2.95.

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Lapteva, Anna. "Жанровые и стилевые особенности concerto grosso для скрипки и струнных Юлии Гомельской." Музичне мистецтво і культура, no. 22 (September 28, 2016): 261–73. http://dx.doi.org/10.31723/2524-0447-2016-22-261-273.

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Произведение известного одесского композитора Ю. Гомельской является первым и единственным образцом данного жанра в украинской музыке и достойно представляет жанр Сoncerto grosso в мировой музыке. Написанный современным музыкальным языком и являясь новаторским в своей сущности, Сoncerto grosso не порывает с традициями, свойственному данному жанру, имеет скрытую программность, обнаруживающуюся в результате анализа и вдумчивого прослушивания.Ключевые слова: Юлия Гомельская, Сoncerto grosso, скрипка, оркестр.

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C. Grosso, Lincoln, and Jonathas Magalhães Pereira da Silva. "Lincoln Grosso: sente o groove | Lincoln Grosso: feel the groove." Oculum Ensaios 19 (December 20, 2021): 1–13. http://dx.doi.org/10.24220/2318-0919v19e2022a5499.

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FOTOS QUE BUSCAM o groove. Para alguns é um sulco, uma fenda; para outros, uma incessante busca por um sentido inespecífico, mas que cria sintonia, cadência, balanço. Enfim, um significado que é percebido, mas não facilmente traduzido em palavras. O conceito é presente no meio musical do jazz ao funk. A busca pelo groove é parte da essência da criação. Imagine transportar esse sentimento de ritmo, padrão, memória e sentimento para documentos de vivências. Uma festa, um lugar, um momento captado por uma lente que tudo congela e guarda. Guarda e revela. Revela e atiça a imaginação.

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Ракочі, Вадим. "Оркестровка як чинник класифікації «Бранденбурзьких концертів» Йоганна Себаст’яна Баха." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 2(51) (June 30, 2021): 7–25. http://dx.doi.org/10.31318/2414-052x.2(51).2021.239386.

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Розглянуто проблему класифікації «Бранденбурзьких концертів» Й. С. Баха. Відзначено відсутність консенсусу серед дослідників з цього питання дотепер. Наголошено на потребі перегляду поширеної сьогодні класифікації Концертів з акцентом на особливостях їх викладу в оркестрі. У процесі аналізу оркестрування концертів виявлено схильність Й. С. Баха до поєднання струнних і духових інструментів, що є звичним для німецьких композиторів. Часте використання щільного і багатошарового викладу та мелодизації середнього і нижнього голосів пояснено звичною для Й. С. Баха опорою на поліфонічну фактуру. Наголошено на прямій залежності між поширенням гомофонного, поліфонічного чи змішаного викладу і проявом жанрових рис кожного з трьох видів концерту. Зокрема у творах, які тяжіють до сольного концерту (П’ятий), опора на гомофонну фактуру значно більш очевидна, ніж у Першому концерті, який за жанровими ознаками є змішаним (concertо grossо і solo). У контексті розгляду викладу в оркестрі висвітлено відмінності підходу німецьких та італійських композиторів до групи concertino. Підкреслено вплив, який справляє трактування виконавців в concertino, як рівних чи неоднакових за значущістю, на формування жанрових рис solo, grosso, ripieno concerti чи їх міксту у кожному концерті. Особливу увагу приділено поєднанню рис двох чи трьох вказаних видів концерту. У цьому контексті проаналізовано виділення труби у Другому та клавесину в П’ятому концертах серед кількох солістів concertino, групи альтів та віол в оркестрі відповідного Третього та Шостого концертів. Наведено міркування щодо ймовірних причин поєднання в concertino таких несхожих за силою і характером звуку труби, флейти, гобоя і скрипки у Другому концерті. Розглянуто способи виділення соліста (солістів) на тлі оркестру, зазначено важливість не лише тембрового, а й фактурного, регістрового та ритмічного диференціювання. Запропоновано класифікацію концертів крізь призму оркестрування і взаємодії соліста та оркестру на чотири підгрупи.

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McMillin, Arnold. "Alfred Schnittke's Concerto Grosso No. 1 by Peter J. Schmelz (review)." Slavonic and East European Review 98, no. 1 (January 2020): 171–73. http://dx.doi.org/10.1353/see.2020.0023.

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Prodanov, Ira. "The return of the baroque: Concerto dragonese by Dragana Jovanović." New Sound 53, no. 1 (2019): 139–47. http://dx.doi.org/10.5937/newso1901139p.

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That "past is altered by the present as much as the present is directed by the past..." (T. S. Eliot) is confirmed in Concerto Dragonese, a new piece by Dragana Jovanović, dedicated to the thirtieth anniversary of existence of the Camerata Academica Ensemble of the University of Novi Sad Academy of Arts. Composed as a typical concerto grosso, it reflects the theoretical foundations of French thinker Guy Scarpetta and the thoughts of American art historian Gregg Lambert on the return of Baroque to the very center of contemporary creative activity, but also into the very style of life that is today. This, however, does not deprive the piece from the 'Benjaminian aura', which allows it to communicate through various references to baroque masters and rhythms of contemporary popular genres of dances, film music and the like.

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Walker, Katherine. "“Palpable to thinking”: Othello and Gross Conceits." English Literary Renaissance 52, no. 2 (March 1, 2022): 204–28. http://dx.doi.org/10.1086/719057.

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Hb, Bafirman. "Development of “Kids Athletics” Model on Children’s Gross Motor Skills and Self-Concept in Physical Education." International Journal of Psychosocial Rehabilitation 24, no. 5 (March 31, 2020): 625–31. http://dx.doi.org/10.37200/ijpr/v24i5/pr201728.

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Bohatyriov, Volodymyr. "Orchestration as a factor of genre reproduction (on the example of analysing Zoltan Almashi’s Concerto Grosso no. 4 “Seasons”)." Aspects of Historical Musicology 33, no. 33 (December 28, 2023): 142–55. http://dx.doi.org/10.34064/khnum2-33.08.

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Statement of the problem. Among the many trends in the creative search in music of the XX–XXI centuries, one of the leading ones is the appeal to the ideas and models of the past. This has led to the revival of previous centuries musical genres. The accuracy of a genre’s reproduction is determined by its constituent elements, such as musical themes, harmony, form structure, etc. Orchestration plays an important role in this process, as it forms a timbre-textural complex that has structural, organisational and semantic functions in musical work. The considered piece, Z. Almash’si Concerto Grosso No. 4 “Seasons” for violin and orchestra, is an example of the use of the early genre in contemporary music. Despite the genre classification mentioned in the title, the composition has its own unique features that indicate a free interpretation of the genre model. In this regard, it seems necessary to to identify the features characteristic of the concerto grosso genre. Among them, orchestration can be considered the key one. Objectives, methods, and novelty of the research. The existing scientific sources do not pay enough attention to the orchestration in «Seasons» by Z. Almashi, as wee as its role in the reproduction of the genre, which determines the scientific novelty of this study. The purpose of the article is to identify the orchestration features attributable to concerto grosso in Z. Almasy’s work and to determine the specific principles of the structure of the orchestral texture. The study uses: the historical-typological method – to understand the contextual and socio-cultural belonging of Z. Almashi’s piece, the genre method – to reveal its typological and individual features with a projection on the orchestration, the stylistic method – to determine the artistic and aesthetic, linguistic and technological properties, a structural and functional method – to disclose the peculiarities of the organization of an orchestral texture. Recent research and publications. The work is based on sources devoted to the relationship of genre and orchestration (Korobetska, 2011; 2013), the use of contemporary composers with genre models of early music (Tukova, 2003), the formation and development of the instrumental concerto (Rakochi, 2021), to the orchestral style of Baroque composers (Borodavkin, 1998), orchestration as a component of compositional technique (Savchenko, 2021), and to the definition of the position of timbre and texture in orchestration (Kashyrtsev, 2021; Klebanov, 2019). Research results and conclusion. The analysis revealed those features in the orchestration that correspond to the genre of concerto grosso. First of all, it is the availability of two instrumental groups with different orchestral functions. The first ‘concertino’ group includes the principale violin, ocarina, flute, clarinet in B and piano; the second ‘ripieno’ group includes the string orchestra. Nevertheless, instruments from the first group (primarily woodwinds and piano) can be combined with stringed instruments in accompaniment of solo violin. When these groups of instruments interact, there is a juxtaposition of timbres, volumes and sound densities. Also, the contrast is enhanced due to the virtuosity of the parts in the ‘concertino’ group. This creates dialogue and competition, which necessary for the realization of the genre. A variety of orchestration techniques, among which are timbre mixtures, duplication, re-colouring, swinging, and sound painting, embodies the concerto principle. They form a timbre dramaturgy, which is essential for actualising the concert genre and the program title of the piece.

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Lorenz, Mariana. "Comentario a Maria Stela Grossi Porto. Sociología da Violencia do Conceito as Represetações Sociais." Delito y Sociedad 1, no. 39 (May 2, 2016): 166–70. http://dx.doi.org/10.14409/dys.v1i39.5576.

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Laczniak, Gene R., and Nicholas J. C. Santos. "Gross National Happiness (GNH)." Journal of Macromarketing 38, no. 3 (July 17, 2018): 331–40. http://dx.doi.org/10.1177/0276146718787600.

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This theoretical commentary explores the concept of Gross National Happiness (GNH) and connects it with several central macromarketing concepts such as QoL, ethics, the common good, the purpose of market activity as well as the United Nations’ Sustainable Development Goals. The paper portrays GNH as a normative concept that captures collective well-being; it categorizes GNH, at least from the standpoint of Western moral philosophy, as most closely aligned with classical utilitarianism, and it distinguishes GNH from QoL on the basis of its predominantly aspirational and subjective orientation. It asserts that GNH can be seen as one manifestation of the common good, and, in that manner can be perceived as a ‘more ethical’ conception of the purpose of business activity. Finally, it links GNH to promising areas of Macromarketing scholarship. One essential contribution of this commentary is that it differentiates subjective community happiness from more objective measures of QoL familiar to macromarketing studies.

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Möller, Frank. ""Wild Weirdness?" "Gross Humbugs!"." Journal of Northern Studies 5, no. 2 (January 26, 2012): 29–49. http://dx.doi.org/10.36368/jns.v5i2.675.

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In this essay it is argued that northern photography can serve as an epistemological triangle both combining different layers of experiences and memories with one another—experience in the north, experience as inhabitants of the north and experience as such—and connecting photographers, subjects of photography and viewers with one another. The essay discusses selected photographs of northern indigenous people and landscapes—and the approaches underlying them—in terms of what is here deemed key concepts in social research including northern studies: experience and memory. Owing to the surplus of meaning that images inevitably carry with them and their irreducibility to one meaning, photographic images, it is argued, contribute to what Sherrill Grace has called the north’s “resistance to measure and closure.” Images may help the beholder to acknowledge that different groups of people may have different memories of what only seems to be the same history. A brief discussion of the work of Jorma Puranen, Tiina Itkonen and Antero Takala substantiates these claims.

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Vedoato, Rutiméia Tagliavini, Karina Pereira, and Amanda Rodrigues Conde. "Influência da intervenção fisioterapêutica na função motora grossa de crianças com paralisia cerebral diplégica: estudo de caso." ConScientiae Saúde 7, no. 2 (November 26, 2008): 241–50. http://dx.doi.org/10.5585/conssaude.v7i2.1005.

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O objetivo, neste estudo, foi verificar, quantitativa e qualitativamente, a influência da intervenção fisioterapêutica na habilidade motora grossa de crianças com paralisia cerebral diplégica. Participaram desta pesquisa duas crianças do sexo masculino. O instrumento utilizado na avaliação quantitativa foi a Gross Motor Function Measure. A avaliação qualitativa teve como base a análise descritiva postural nas posturas sentada e em pé e nas funções andar, correr e pular. Os métodos fisioterapêuticos utilizados foram: conceito neuroevolutivo Bobath, cinesioterapia e integração sensorial, associados às atividades lúdicas. A intervenção fisioterapêutica foi realizada duas vezes por semana, com duração de 50 minutos, totalizando 32 sessões durante quatro meses. Após intervenção, verificou-se melhora, quantitativa e qualitativa, tanto na postura sentada quanto nas funções de andar, correr e pular dos participantes. Constatou-se também que se não houve grande avanço quantitativo, na postura em pé. Em termos qualitativos, a evolução foi significativa.

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Kalanov, Temur Z. "Differential Calculus: a gross error in mathematics ∗." Bulletin of Pure & Applied Sciences- Mathematics and Statistics 42, no. 2 (December 25, 2023): 109–21. http://dx.doi.org/10.48165/bpas.2023.42e.2.2.

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A detailed proof of the incorrectness of the foundations of the differential calculus is proposed. The correct methodological basis for the proof is the unity of formal logic and rational dialectics. The proof leads to the following irrefutable statement: differential calculus represents a gross error in mathematics and physics. The proof of this statement is based on the following irrefutable results: (1) the standard theory of infinitesimals and the theory of limits underlying the differential calculus are gross errors. The main error is that infinitesimal (infinitely decreasing) quantities do not take on numerical values in the process of tending to zero. The number “zero” is not a permissible value of infinitesimal quantity. The concepts of “infinitesimal quantity”, “movement”, “process of tendency”, and “limit of tendency” are meaningless concepts in mathematics: they are not mathematical concepts because the mathematical formalism does not contain movement (process); (2) the concepts of “increment of argument” and “increment of function” are the starting point of the differential calculus. The gross error is that the increment of argument is not defined. An indefinite (undefined, uncertain, ambiguous, undetermined) increment of an argument is a meaningless quantity (concept); (3) the definition of the derivative of a function is a gross error. The derivative is the limit of the ratio of the function increment to the argument increment under the following conditions: (a) the argument increment is not equal to zero; (b) the increment of the argument tends to zero and reaches the value “zero”. In this case, the following logical contradiction arises: the increment of the argument is both not equal to zero and equal to zero; (4) the differentials of the argument and the function - as infinitesimal quantities - do not take on numerical values. This means that the differentials of quantities have neither quantitative nor qualitative determinacy. In this case, the differentials of quantities are meaningless symbols. The geometric and physical interpretations of the derivative are a gross error; (5) the definition of the total differential of a function of two (many) variables is a gross error because the definition contains a formal-logical contradiction, i.e. the definition as the sum of partial differentials does not satisfy the formal-logical law of the lack (absence) of contradiction; (6) the theory of proportions completely refutes the theory of differential calculus. Thus, differential calculus does not satisfy the criterion of truth and is not correct scien tific (mathematical) theory.

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Martins, Letícia Gomes, Lara Patrícia Bastos Rocha, Thereza Cristina Rodrigues Abdalla Veris, Juliana da Silva Souza, Cejane Oliveira Martins Prudente, and Maysa Ferreira Martins Ribeiro. "Efeitos da reabilitação virtual, conceito Bobath e terapia aquática em crianças com paralisia cerebral." Revista Neurociências 23, no. 1 (March 31, 2015): 68–73. http://dx.doi.org/10.34024/rnc.2015.v23.8049.

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Objetivo. Analisar os efeitos da reabilitação virtual, do conceito neuroevolutivo Bobath e da terapia aquática na função motora grossa de crianças com paralisia cerebral. Método. A amostra foi composta por oito crianças com paralisia cerebral, classificadas nos níveis I, II e III do Sistema de Classificação da Função Motora Grossa (GMFCS). As crianças foram submetidas a nove meses de intervenção, por meio do conceito neuroevolutivo Bobath, terapia aquática e reabilitação virtual. As crianças foram avaliadas por meio da Medição da Função Motora Grossa (GMFM). Resultados. Quatro (50%) crianças eram do sexo feminino e quatro (50%) do sexo masculino, com média de idade de 8,5 anos. Cinco crianças foram classificadas no nível I do GMFCS, uma no nível II e duas no nível III do GMFCS. Observou-se que as crianças apresentaram evolução (p=0,039) na pontuação total do GMFM, após os nove meses de intervenção. Conclusão. A associação da reabilitação virtual, conceito neuroevolutivo Bobath e terapia aquática promoveu efeitos positivos na função motora grossa das crianças avaliadas.

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Talbot, M. "Il 'concerto grosso' romano: Questioni di genere e nuove prospettive storiografiche. By Agnese Pavanello." Music and Letters 89, no. 1 (February 1, 2008): 112–13. http://dx.doi.org/10.1093/ml/gcm050.

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Auner, Joseph H. "Schoenberg's Handel Concerto and the Ruins of Tradition." Journal of the American Musicological Society 49, no. 2 (1996): 264–313. http://dx.doi.org/10.2307/831991.

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Arnold Schoenberg began his Concerto for String Quartet and Orchestra "freely transcribed" from Handel's Concerto Grosso, Op. 6, no. 7 in May 1933 as a professor at the Prussian Academy of Arts in Berlin. When he completed the work in September he was an exile in Paris, recently reconverted to Judaism and preparing to travel to the United States where he would spend the rest of his life. The tensions and discontinuities manifest in the creative process and in the completed score can offer new critical windows onto Schoenberg's ideas of history and tradition, his position with respect to artistic trends in the 1920s and 1930s, and the eclecticism of his late style.

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Silva, Fabiany de Cássia Tavres, Eurize Caldas Pessanha, and Silvia Helena Andrade de Brito. "Reescrita historiográfica da educação secundária em mato grosso (2000-2018)." Revista da FAEEBA - Educação e Contemporaneidade 29, no. 59 (October 28, 2020): 62–76. http://dx.doi.org/10.21879/faeeba2358-0194.2020.v29.n59.p62-76.

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Neste texto tomamos como fontes e objetos dissertações na investigação da educação secundária regionalizada, defendidas nos Programas de Pós-Graduação em Educação nos estados de Mato Grosso e Mato Grosso do Sul. Para as análises pretendidas, buscamos identificar a presença (ou ausência) do diálogo com a historiografia consagrada e/ou analítica da historicidade. Para tanto, incursionamos pela versão da comparação nominada “estudos comparados” que, no contexto da história da educação, problematiza a ‘interpretação/representação do eu-outro’, provocando rompimentos, no caso da História, com o conceito cronológico de tempo e, no caso da Educação Comparada, com o conceito geográfico de espaço. Em conclusão, a reescrita historiográfica aponta a necessidade de aprofundamentos e desdobramentos dos aspectos singulares da regionalidade, que mantêm conexão e alimentam interdependências entre si e na relação com práticas políticas, econômicas, culturais e educativas.

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Beardall, J., S. Ihnken, and A. Quigg. "Gross and net primary production: closing the gap between concepts and measurements." Aquatic Microbial Ecology 56 (September 3, 2009): 113–22. http://dx.doi.org/10.3354/ame01305.

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USPENSKA, Inna. "CONCERTO GROSSO FOR FOUR VIOLINS BY VOLODYMYR ZOLOTUKHIN: A NEW INTERPRETATION OF THE BAROQUE GENRE." Humanities science current issues 4, no. 60 (2023): 75–81. http://dx.doi.org/10.24919/2308-4863/60-4-11.

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Silva Junior, Renato Jales. "Hegemonia e ensino de história: algumas considerações sobre o Mato Grosso do Sul." Revista História Hoje 8, no. 16 (December 20, 2019): 10–28. http://dx.doi.org/10.20949/rhhj.v8i16.447.

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O artigo objetiva discutir alguns aspectos da história de Mato Grosso do Sul e sua relação com o ensino de História. Mais especificamente abordaremos a produção de sentidos hegemônicos sobre o território a partir da divisão política do antigo Mato Grosso e a disputa por memórias que se inicia nesse processo. A produção historiográfica sobre a criação do estado de Mato Grosso do Sul é marcada majoritariamente pela discussão do conceito de identidade. Na proposta deste texto deslocamos a discussão para o conceito de hegemonia para pensarmos as ações dos grupos política e economicamente dominantes como tentativas de se criar memórias hegemônicas para conseguir um consenso sobre quais seriam os modos de viver legítimos no estado.

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Anand, Mahindra Kumar, and T. C. Singel. "Learning with Concept Maps versus Classical Lecture and Demonstration Methods in regards to Gross Anatomy of Knee Joint: A Comparison." Indian Journal of Anatomy 6, no. 1 (2017): 41–48. http://dx.doi.org/10.21088/ija.2320.0022.6117.8.

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Sebastiana Colman, Rosa. "Ñemosarambipa: deslocamentos forçados entre os Guarani em Mato Grosso Do Sul." Mediações - Revista de Ciências Sociais 22, no. 2 (December 31, 2017): 51. http://dx.doi.org/10.5433/2176-6665.2017v22n2p51.

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Os principais elementos considerados neste trabalho é a localização dos Guarani em um território transnacional que estão presentes em quatro países: Bolívia, Brasil, Paraguai e Argentina. Resultando disso, os Guarani trabalham com noções e conceitos próprios de fronteira. Além disso, exploraremos a concepção guarani sobre mobilidade pois, atualmente há uma profunda ligação da caminhada dos povos guarani rumo ao leste, com a formação das Terras Indígenas já existentes e com as que estão em formação. E finalmente abordaremos o conceito de Ñemosarambipa, que significa em Guarani, ‘esparramo`. Este conceito é utilizado pelos Guarani para explicar o processo de dispersão das aldeias e famílias extensas no momento em que ocorreu a implantação das fazendas de gado e correspondente perda da terra. Desta forma, compreendemos que o processo de expulsão e confinamento deixou como uma das consequências, o “esparramo” (ñemosarambipa), que significou a desintegração e desestruturação social dos Guarani em Mato Grosso do Sul.

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Schiff, David. "Keeping up with Carter." Tempo, no. 214 (October 2000): 2–6. http://dx.doi.org/10.1017/s0040298200008019.

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What next indeed! Since his 90th birthday in December 1998, Elliott Carter has turned out a stream of works that are as personal and inventive as ever – if not more so. In addition to significant miniatures for solo piano, solo violin and string quartet, Carter has written his first settings of Italian poems (Tempo e tempi), his first concerto grosso (Askö Concerto) and, most surprising of all, his first opera, What Next? with a libretto by Paul Griffiths. (And a Cello Concerto – for Yo-yo Ma – is well underway.)

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Prószyński, Witold. "Illustrative presentation of some basic concepts of network internal reliability with comments as regards engineering surveys." Reports on Geodesy and Geoinformatics 101, no. 1 (June 1, 2016): 54–59. http://dx.doi.org/10.1515/rgg-2016-0021.

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Abstract The paper integrates some earlier and the recent findings of the author in the area of network internal reliability and presents a consistent system of concepts in this respect. The concepts of outlier detection and outlier identification linked directly with the global model test and the outlier tests respectively, are shown as a basis for the concepts such as outlier detectability and outlier identifiability. Also, a four level classification of gross errors expressed in a form of a tree-diagram is presented including perceptible and imperceptible errors, detectable and undetectable errors and identifiable and unidentifiable errors. Their properties are given mainly in a descriptive way, deliberately limiting rigorous mathematical formulas to a necessary minimum. Understanding of different types of gross errors is useful in analyzing the results of the outlier detection and identification procedures as well as in designing the networks to make them duly robust to observation gross errors. It is of special importance for engineering surveys where quite often low-redundancy networks are used. Main objective of the paper is to demonstrate a clear and consistent system of basic concepts related to network internal reliability.

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Rakochi, Vadym. "КЛАСИФІКАЦІЯ БАРОКОВИХ КОНЦЕРТІВ: ТЕРМІНОЛОГІЧНИЙ ДИСКУРС." Музикознавча думка Дніпропетровщини, no. 20 (June 1, 2021): 55–68. http://dx.doi.org/10.33287/222105.

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Мета статті – класифікувати барокові концерти й аргументувати застосування відповідної термінології. Класифікація барокових концертів належить до однієї з найбільш дискусійних у музикознавстві. Неоднозначність термінів, їх неоднакове змістовне наповнення і застосування до барокових концертів методологій, прийнятних для більш пізніх епох, стають на заваді появі загальновизнаної класифікації. Методи дослідження. Аналіз партитур дозволив виявити характерні риси викладу у концертах і важливість визначення типу взаємодії між солістом (солістами) й оркестром; компаративний метод уможливив порівняння різних барокових концертів; історичний пояснив доцільність певної термінології. Наукова новизна полягає в уточненні термінології шодо барокових концертів. Зазначено відсутність чіткого розмежування concerto grosso і концерту для кількох солістів з оркестром. Підкреслено, що наявність окремої партії клавішного інструмента (basso continuo) у групі concertino є однією з двох принципових відмінностей між ними. Другою визначено активніше контрастування, зокрема на рівні тематичного матеріалу у solo concerto, порівняно з grosso. Аргументовано використання назви concerto ripieno лише стосовно барокових концертів та «оркестрового концерту» – щодо ХХ століття. Це пояснено опорою на групове звучання у першому випадку і солювання кожного виконавця – у другому. Назву «камерний концерт», попри відмінність її змісту у XVIII і ХХ століттях, запропоновано використовувати щодо нечисленних (до 10 осіб) колективів з окремою партією кожного виконавця. Розмежовано назви «сольний» та «інструментальний» концерти. У висновках наголошено на частому проростанні рис одного концерту в іншому через значну близькість різних видів і аргументовано класифікацію барокових концертів на три групи з можливим виокремленням камерного концерту з concerto ripieno.

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Cavalcanti Jardim, Mariana. "Notas sobre a culpa grave sob a ótica do seguro de responsabilidade civil de administradores comercializado no Brasil." RED — Revista Electrónica de Direito 30, no. 2 (2023): 139–68. http://dx.doi.org/10.24840/2182-9845_2023-0002_0006.

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Este artigo objetiva lançar luz sobre a reprodução irrefletida no Brasil nos clausulados de apólices de seguro de responsabilidade civil de administradores, o chamado seguro D&O, de dispositivo em que se exclui de cobertura atos cometidos pelos segurados com culpa grave. Para tanto, se esmiuça o tratamento da responsabilização civil de administradores e os deveres dos administradores de sociedades anônimas no ordenamento jurídico brasileiro, dedicando-se especialmente aos deveres de diligência, de lealdade, de evitar conflito de interesses e de informar. Passa-se ao exame do seguro D&O como mecanismo apto à alocação e gerenciamento de parte dos riscos das atividades do administrador para, apenas então, adentrar-se no estudo da culpa grave nos atos de gestão. Após um breve giro histórico sobre a gradação da culpa e a percepção do dolo e da culpa grave no âmbito do Direito Civil e Securitário brasileiros, reflete-se sobre a aplicação do conceito de culpa grave às apólices de seguro D&O.

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Lôpo Ramos, Ana Adelina. "Língua adicional: um conceito “guarda-chuva”." Revista Brasileira de Linguística Antropológica 13 (July 7, 2021): 233–67. http://dx.doi.org/10.26512/rbla.v13i01.37207.

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Este artigo apresenta uma reflexão em defesa da expressão “Língua Adicional – LA”, que já vem sendo usada na literatura sobre língua não-primeira (LEFFA, 2013, LEFFA; IRALA, 2014, SCHLLATER, 2015, ALBUQUERQUE, no prelo), mas que ainda provoca discussão por aqueles que se valem de terminologia tradicional. Retomam-se termos como língua estrangeira - LE e o escalonamento L2, L3, L4, para discussão de sua impropriedade em determinados contextos. Situam-se outros como “Língua de Acolhimento - LAc” (ANÇÃ, 2003; GROSSO, 2010) e de “Língua de Herança - LH” (ORTIZ, 2016, 2020), em paradigma que atende às novas demandas de um mundo migratório. Com base em fundamento sociocognitivo (VIGOTSKI, 1984, MARCUSKI, 2004), revisita-se o conceito de interlíngua (SELINKER, 1972) e advoga-se em defesa do uso LA como hiperônimo, conceito “guarda-chuva”, portanto, apropriado para todas as situações, inclusive a específicas. Palavras-chave: Língua adicional. Interlíngua. Sociocognição. Português brasileiro. Ensino.

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Journal articles on the topic 'Concerti grossi'

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