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Literatura científica selecionada sobre o tema "Penderecki"

Autor: Grafiati

Publicado: 4 de junho de 2021

Última modificação: 20 de fevereiro de 2023

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Artigos de revistas sobre o assunto "Penderecki"

1

Pisowicz, Andrzej. "Pendereccy wywodzą się z Iranu." Lehahayer 6 (December 31, 2019): 341–46. http://dx.doi.org/10.12797/lh.06.2019.06.10.

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The Penderecki Family Comes from Iran The author conducts linguistic research to support the thesis that the surname of the outstanding Polish composer Krzysztof Penderecki is of Iranian origin. The name was formed by adding the suffix –i (Persian suffix indicating origin) to the word root Fenderesk, which is the name of the district in the Iranian province of Golestân on the Caspian Sea, where the Armenian minority still resides. In the Persian language there is a correspondence between the letter P and F. This confirms the Penderecki family’s tradition that their ancestor came from Isf

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2

Trzęsiok, Marcin. "Siglind Bruhn i pieśniowe symfonie o przemijaniu." Res Facta Nova. Teksty o muzyce współczesnej, no. 22 (31) (December 15, 2021): 168–71. http://dx.doi.org/10.14746/rfn.2021.22.13.

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This article discusses Siglin Bruhn’s book “Dunkel ist das Leben”. Liedsinfonien zur Vergänglichkeit von Mahler bis Penderecki (2020). It summarises the main theses of the book, i.e., the content of the selected symphonies about transience (Mahler, Zemlinsky, Shostakovich, Penderecki) and the methodological decision to base analyses primarily on the vocal line shown in a particular typographic arrangement that reflects the formal structure of poetry. The review focuses specifically on the analyses of two late vocal symphonies by Krzysztof Penderecki (Sixths and Eighth), which Siglind Bruhn’s b

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3

Nikolskaya, I. I. "Penderecki’s Passing Away. A Few Comments About His Creative Legacy." Art & Culture Studies, no. 1 (2021): 124–41. http://dx.doi.org/10.51678/2226-0072-2021-1-124-141.

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In the article devoted to the passing away of the outstanding Polish composer K. Penderecki (1933–2020), an overview of the creative path and legacy of the master-experimenter is undertaken in all its large-scale diversity. The stylistic and aesthetic modifications of K. Penderecki’s art are recorded with approving of the most important creative principle of his composer biography — the constant overcoming of the aesthetic traditions’ limits. Long-term professional contacts between the author and the composer, which give the study a special personal intonation, allow to clarify the master’s cr

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4

Tomaszewski, Mieczysław. "Penderecki między sacrum a profanum." Pro Musica Sacra 11 (October 30, 2013): 111. http://dx.doi.org/10.15633/pms.557.

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5

Woodman, Alexander. "AN INTERVIEW WITH KRZYSZTOF PENDERECKI." Tempo 74, no. 294 (September 1, 2020): 77–84. http://dx.doi.org/10.1017/s0040298220000406.

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AbstractThis article transcribes an interview with the great Polish composer Krzysztof Penderecki and is one of the last interviews that Penderecki gave before his death on 29 March 2020. It traces the composer's career, from his early musical education to the Ninth Symphony on which he was working at the time of his death, and focuses on the composition of his Threnody for the Victims of Hiroshima, the St Luke Passion and the Polish Requiem.

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6

Clarke, Colin. "Krzysztof Penderecki - ‘PATHS THROUGH THE LABYRINTH: The composer Krzysztof Penderecki’. C MAJOR (2013) DVD 715408." Tempo 68, no. 270 (September 4, 2014): 96–97. http://dx.doi.org/10.1017/s0040298214000527.

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7

O’Loughlin, Niall. "Characterization in the Operas of Penderecki." Musicological Annual 51, no. 2 (June 17, 2015): 127–37. http://dx.doi.org/10.4312/mz.51.2.127-137.

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Characterization in the four operas of Krzystof Penderecki is well developed. It includes specified melodic intervals for characters, distorted vocal lines, the use of coloratura singing and various forms of chanting and speaking.

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8

Bota, João Victor. "O processo criativo musical envolvido na transcrição da composição Agnus Dei de Krzysztof Penderecki." Revista Música Hodie 17, no. 2 (May 22, 2018): 177. http://dx.doi.org/10.5216/mh.v17i2.49314.

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O presente artigo trata da pesquisa do estilo de orquestração observável em composições musicais de Krzysztof Penderecki, que foram analisadas para que eu pudesse transcrever a música Agnus Dei do compositor polonês para banda sinfônica. Durante a pesquisa preliminar das obras orquestrais de Penderecki e a feitura da transcrição propriamente dita, escrevi um "diário de transcrição" (termo inspirado na prática de diversos tradutores que escrevem diários a respeito do ato de traduzir), que mapeou tanto os desafios enfrentados, quanto as soluções que foram encontradas durante meu processo criativ

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9

Drewniak, Janusz. "Biblijne i liturgiczne wątki w twórczości Krzysztofa Pendereckiego." Ruch Biblijny i Liturgiczny 60, no. 2 (June 30, 2007): 117. http://dx.doi.org/10.21906/rbl.341.

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Krzysztof Penderecki (born 1933) is considered to be one of the most outstanding contemporary composers. The religious theme is often taken to be an inspiration for his vocal-instrumental output. Penderecki presents in his compositions the religious and moral problems related to the human nature and existence. The principal issues in his activity are a trial to find a reason of evil and misfortune and also the vision of ordeal. The composer makes use of not only biblical and liturgical texts but also religious poetry mainly in latin language. His religious output has a concert character thanks

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10

Skrukwa, Marek. "Biblical Inspirations in the Works of Krzysztof Penderecki: At the Crossroads of Theology and Music." Perspektywy Kultury 26, no. 3 (October 1, 2019): 47–66. http://dx.doi.org/10.35765/pk.2019.2603.06.

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By taking up Biblical themes in his oeuvre, Krzysztof Penderecki effectuated the idea of returning art to its Christian roots. Analyses of selected fragments of his outstanding works (Seven Gates of Jerusalem and Passion According to St. Luke) show that the composer performed a peculiar, apt and suggestive “translation” of Biblical content into musical language, using contemporary compositional techniques as well as alluding at times to the tradition of J.S. Bach. In the above compositions, Penderecki utilized the sound of the instruments, assigning them symbolic meaning and even exper

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Mais fontes

Teses / dissertações sobre o assunto "Penderecki"

1

Droba, Krzysztof. "Penderecki nach Iwaschkin." Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70566.

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2

Andraschke, Peter. "Penderecki in Donaueschingen." Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70573.

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3

Krones, Hartmut. "Krzysztof Penderecki und Wien." Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70567.

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4

Loos, Helmut. "Krzysztof Penderecki im deutschen 'Spiegel." Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70570.

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5

Malecka-Contamin, Barbara. "Krzysztof Penderecki : style et matériaux." Paris 8, 1996. http://www.theses.fr/1996PA080920.

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La recherche a pour theme krzysztof penderecki : style et materiaux. Elle s'organise et se presente sous trois angles d'approche correspondant aux trois parties respectivement intitulees : "histoire", "analyse", "concept". Dans la premiere, on se propose de donner quelques precisions sur la vie musicale en pologne apres la deuxieme guerre mondiale et sur l'evolution de la composition contemporaine de la musique dite savante. Dans la seconde partie, on procedera a l'analyse des elements du langage, du "sonorisme" et des rapports qu'entretient la partie musicale avec son equivalent litteraire. E

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6

Mirka, Danuta. "The sonoristic structuralism of Krzysztof Penderecki /." Katowice : Music Academy, 1997. http://catalogue.bnf.fr/ark:/12148/cb369654996.

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7

Loos, Helmut, and Stefan Keym. "Krzysztof Penderecki: Musik im Kontext: Konferenzbericht Leipzig 2003." Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70554.

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Am 17. Oktober 2003 verlieh die Fakultät Geschichte, Kunst- und Orientwissenschaften der Universität Leipzig Krzysztof Penderecki 'als einem Repräsentanten polnischer Kultur im Widerstand gegen den Kommunismus in Anerkennung seiner Verdienste um die Weiterentwicklung der Neuen Musik seit den 1950er-Jahren sowie die deutsch-polnischen Kulturbeziehungen und die Verständigung zwischen den beiden Ländern' die Ehrendoktorwürde. Aus diesem Anlass fand vom 17. bis 19. Oktober 2003 am Institut für Musikwissenschaft der Leipziger Universität eine internationalewissenschaftliche Konferenz statt.:Einleit

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8

Tomaszewski, Mieczysław. "Krzysztof Penderecki: Wandlungen und Knotenpunkte des schöpferischen Weges." Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70676.

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9

Dissinger, Bettina. "Das musikalische Zitat bei Krzysztof Penderecki: Verwendung und Wirkung." Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70768.

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10

Kelly, Michael. "An Exploration of Pitch Organization in Krzysztof Penderecki’s Passion According to Saint Luke." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1296593846.

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Mais fontes

Livros sobre o assunto "Penderecki"

1

Penderecki, Krzysztof. Penderecki. Olszanica: Bosz, 2005.

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2

Penderecki, Krzysztof. Penderecki. USA: EMI Records Ltd., 1994.

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3

Penderecki, Krzysztof. Krzysztof Penderecki. Poland: Polskie Nagrania Muza, 1989.

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4

Schwinger, Wolfram. Krzysztof Penderecki: Begegnungen, Lebensdaten, Werkkommentare. Mainz: Schott, 1994.

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5

Schumann, Otto. Opernführer: Von Monteverdi bis Penderecki. Reinbek bei Hamburg: Rowohlt, 1986.

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6

Malecka-Contamin, Barbara. Krzysztof Penderecki: Style et matériaux. Paris: Kimé, 1997.

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7

Tomaszewski, Mieczysław. Penderecki: Trudna sztuka bycia sobą. Kraków: Społeczny Instytut Wydawniczy Znak, 2004.

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8

The Sonoristic structuralism of Krzysztof Penderecki. Katowice, Poland: Music Academy, 1997.

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9

Tomaszewski, Mieczysław. Krzysztof Penderecki i jego muzyka: Cztery eseje. Kraków: Akademia Muzyczna, 1994.

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10

Death set to music: Masterworks by Bach, Brahms, Penderecki, Bernstein. Atlanta, Ga: John Knox Press, 1987.

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Capítulos de livros sobre o assunto "Penderecki"

1

Lück, Hartmut. "Penderecki, Krzysztof." In Metzler Komponisten Lexikon, 574–75. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_222.

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2

Lück, Hartmut. "Penderecki, Krzysztof." In Komponisten Lexikon, 449–50. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_223.

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3

Gottwald, Clytus. "Krzysztof Penderecki und Karlheinz Stockhausen." In Neue Musik als spekulative Theologie, 125–46. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-02923-2_7.

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4

Hentschel, Frank. "Das Unheimliche in Krzysztof Pendereckis Als Jakob erwachte… Zur Wirkung Neuer Musik im Horrorfilm." In Musik und Emotionen, 211–25. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05663-4_8.

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5

"PENDERECKI, KRZYSZTOF." In Music in the 20th Century (3 Vol Set), 468. Routledge, 2016. http://dx.doi.org/10.4324/9781315702254-356.

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6

"Krzysztof Penderecki." In Dies irae, 265–78. Leuven University Press, 2021. http://dx.doi.org/10.2307/j.ctv22pzxvg.29.

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7

"MARLBORO AND PENDERECKI:." In I Sang the Unsingable, 269–76. Boydell & Brewer, 2017. http://dx.doi.org/10.2307/j.ctvc16ht6.47.

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8

Bohlman, Andrea F. "Megaphone." In Musical Solidarities, 192–233. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938284.003.0006.

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This chapter examines the sonic amplification of some of the opposition’s most charismatic leaders. Through Solidarity’s decade, speeches and ceremonies on public stages shaped a broad audience. In December 1980 a monument was unveiled to commemorate a violently squelched 1970 protest. The playback of Krzysztof Penderecki’s Lacrimosa (1980) over loudspeakers at this event is contextualized with the Party’s relationship to Penderecki and the composer as a public figure. The 1970 protest also unfolds across interpretations of a ballad, “Janek Wiśniewski Fell.” This vernacular song’s use in leftist media, in films, and within electronic music opens up a discussion of trauma, memory, and place in counterpoint to the commemorative work done at the unveiling. The chapter concludes with a musical study of Lech Wałęsa through media networks. His charisma invigorated Joan Baez, who wrote songs for him and traveled to Gdańsk to perform for the opposition.

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9

Pons, Lionel. "Acceptions du comique dans Ubu Rex de Krzysztof Penderecki." In L’humour en musique, et autres légèretés sérieuses depuis 1960, 129–47. Presses universitaires de Provence, 2017. http://dx.doi.org/10.4000/books.pup.29908.

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10

Mutter, Anne-Sophie. "WITOLD LUTOSłAWSKI UND KRZYSZTOF PENDERECKI – GLÜCKHAFTE BEGEGNUNG UND SEELENVERWANDTSCHAFT." In Mein Polen, meine Polen, 137–40. Harrassowitz, O, 2016. http://dx.doi.org/10.2307/j.ctvc76zqv.25.

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Trabalhos de conferências sobre o assunto "Penderecki"

1

Swidnicka, Iwona Hanna. "THE SEQUENCE DIES IRAEIN THE ARTISTIC OUTPUT OF BAIRD, PENDERECKI AND MEYER." In 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. Stef92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/hb61/s16.64.

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