Journal articles on the topic 'Kantele'

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1

Ruokonen, Inkeri, Anu Sepp, Venla Moilanen, Ossi Autio, and Heikki Ruismaki. "The Finnish Five-String Kantele: Sustainably Designed for Musical Joy." Journal of Teacher Education for Sustainability 16, no. 1 (June 1, 2014): 76–88. http://dx.doi.org/10.2478/jtes-2014-0004.

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Abstract This article discusses the five-string kantele as an example of the Finnish national heritage, a school instrument and an example of sustainable design. A qualitative case study was made by collecting the data from the Finnish students – prospective teachers – and the sixth form pupils, who had designed and carved their own five-string kanteles. The purpose of this research was to find out which aspects of five-string kantele design are considered the most important for sustainable principles and design among these youngsters. As results, the elements and principles of designing the five-string kantele are discussed and its relevance to five sustainable characteristics (creative, ecological, economic, aesthetic and socio-environmental) is presented. The sustainable values of the kantele and the purpose for which it is made are also considered.
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2

Rahkonen, Carl, Anneli Asplund, and Heikki Laitinen. "Kantele." Ethnomusicology 29, no. 2 (1985): 358. http://dx.doi.org/10.2307/852154.

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3

Анхимова, Е. А. "THE IMAGE OF KANTELE IN THE MUSIC OF FINNISH COMPOSERS OF THE LAST THIRD OF THE 20TH CENTURY." Music Journal of Northern Europe, no. 4(28) (April 8, 2024): 62–92. http://dx.doi.org/10.61908/2413-0486.2021.28.4.62-92.

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В статье анализируются произведения для кантеле конструкции П. Салминена, созданные в Финляндии в промежутке с 1980-х по 2000-е годы тремя композиторами – П. Х. Нурдгреном, П. Ялканеном, М. Покела. Каждый из них, имея собственные причины для обращения к инструменту, стремился по-своему раскрыть его потенциал. При этом в рассмотренных подходах обнаружилось немало общего. Все авторы, прежде всего, работали с конструктивными ресурсами инструмента – механизмом переключения тонов, которым оснащено финское концертное кантеле. Он дал возможность использовать разные варианты настройки, не ориентированные на мажор или минор, а также открыл выход к использованию микрохроматики. Кроме того, композиторами оказались опробованы различные новые приёмы игры, благодаря которым достигаются разные сонорные эффекты. В совокупности с несвойственными для кантеле способами звукоизвлечения это позволяет говорить о современном кантеле, как о «новом» инструменте с расширенной техникой исполнительства. The article analyzes the music pieces for the kantele invented by Paul Salminen that were composed in Finland during the period from the 1980s to the 2000s by three composers – Pehr Henrik Nurdgren, Pekka Jalkanen, and Martti Pokela. Each of them, having reasons of their own for drawing their focus towards the instrument, wished for unleashing its potential in their own way. At the same time, the considered approaches revealed a lot in common. All authors, first of all, worked with the constructive resources of the instrument – the tone switching mechanism, which the Finnish concert kantele is equipped with. The mechanism made it possible to use different tuning options, not directed towards major or minor, and also opened the way to the use of microtonality. In addition, the composers tried various new playing techniques, which resulted in diverse sonorous effects. Together with the methods of sound production, unusual for the kantele, this allows us to speak of the modern kantele as of a “new” instrument with an extended performance technique.
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4

Erkut, Cumhur, Matti Karjalainen, Patty Huang, and Vesa Välimäki. "Acoustical analysis and model-based sound synthesis of the kantele." Journal of the Acoustical Society of America 112, no. 4 (October 2002): 1681–91. http://dx.doi.org/10.1121/1.1504858.

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5

Ruokonen, Inkeri, Anna Kattainen, and Heikki Ruismäki. "Preschool Children and the 5-String Kantele: An Exercise in Composition." Procedia - Social and Behavioral Sciences 45 (2012): 391–400. http://dx.doi.org/10.1016/j.sbspro.2012.06.575.

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6

Kutzscher, Lia I. T., Jean Anne Sabiston, Heather K. Spence Laschinger, and Margaret Nish. "L'impact du travail d'équipe sur la perception du personnel de l'habilitation et de la satisfaction professionnelle." Healthcare Management Forum 10, no. 2 (July 1997): 18–24. http://dx.doi.org/10.1016/s0840-4704(10)60875-7.

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Le modèle d'habilitation organisationnelle de Rosabeth Moss Kanter1 a été utilisé pour étudier les effets d'un projet de travail d'équipe pluridisciplinaire commencé pour préparer une enquête du Conseil canadien d'agrément des services de santé en 1995. Selon Kanter1, des structures de travail comme les équipes favorisent les occasions de formation et de croissance, permettent d'accéder à l'information, au soutien et aux ressources, habilitent les employés et augmentent la satisfaction professionnelle et le rendement. Les employés qui ont fait partie d'équipes pluridisciplinaires dans le cadre de l'enquête sur l'agrément (ṉ = 210) ainsi qu'un échantillon aléatoire d'employés qui n'ont pas fait partie de ces équipes (ṉ = 348) ont été interrogés pour vérifier leur perception de l'habilitation au travail et du degré de satisfaction professionnelle. En accord avec les propositions de Kanter, les membres qui ont fait partie d'équipes ont obtenu de meilleurs résultats quant à l'habilitation et ont perçu l'accès aux structures d'habilitation comme étant plus important que ceux qui n'en avaient pas fait partie. Dans l'ensemble, on a trouvé une perception beaucoup plus faible de l'accès aux structures d'habilitation que de l'importance de l'accès à ces structures. Les résultats de cette étude confirment l'utilisation d'équipes pluridisciplinaires comme stratégie de redéfinition des tâches pour améliorer l'efficacité du travail dans le secteur de la santé.
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7

Nelissen, Nico. "Kantelt de stad?" Bestuurswetenschappen 72, no. 4 (November 2018): 61–74. http://dx.doi.org/10.5553/bw/016571942018072004005.

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8

van den Braber, Cor. "Kantelen aan de Koppelpoort." Madoc 32, no. 4 (January 1, 2018): 212–13. http://dx.doi.org/10.5117/madoc2018.4.004.brab.

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9

Thomson, Nathan Riki. "Resonance. (Re)forming an Artistic Identity through Intercultural Dialogue and Collaboration." Trio 10, no. 2 (December 31, 2021): 49–56. http://dx.doi.org/10.37453/trio.113284.

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This artistic doctoral research examines how the third space emerging from intercultural dialogue and transcultural collaboration can be a catalyst for new musical discoveries, intercultural humility, and the (re)forming of artistic identities. The body of this project is centred around three doctoral concerts, a CD/LP recording, and a documentary film which took place between 2016 and 2021. In addition, I draw on the embodied experience of a five-year period that I spent living and collaborating with musicians and dancers in Tanzania and Zambia prior to the doctoral project.As a double bass player, multi-instrumentalist, and composer, I place myself in a series of different musical and multi-arts contexts, engaging in dialogue with musicians, dancers, and visual artists from Brazil, Colombia, Estonia, Finland, France, Madagascar, Mexico, Poland, Sápmi, Tanzania, the UK and Zambia. Various solo, duo, and ensemble settings act as case studies to examine how this process takes place, the new knowledge gained from the collaborations and their resulting artistic outcomes, and the effects of intercultural dialogue, collaboration, and co-creation on my own artistic identity. The instruments and forms of artistic expression used by my collaborators include the Brazilian berimbau, Chinese guzheng, dance, live electronics, experimental instrument making, Finnish Saarijärvi kantele, Sámi joik, vocals, percussion, live visuals, image manipulation, animation, photography and film.The key concepts that I investigate in this research are: artistic identity, global citizenship, hybridity, interculturalism, intercultural humility, liminality, third space theory, and resonance, the latter being viewed both as a physical phenomenon and as an approach to thinking about the ways in which we connect with the world around us. This research contributes to new knowledge and understandings in the areas of artistic identity formation, intercultural collaboration and interculturalism in music education through the interweaving of artistic processes, audio, video, photographs, artistic outcomes and text.Findings emerge in terms of new musical discoveries that surface from the dynamic third space created through transcultural collaboration; the expanding and deepening of musicianship through intercultural dialogue and collaboration; the interconnected nature of interculturalism in music and its reliance on openness, empathy, dialogue and constantnegotiation with sonic material, people and place; and the crucial role of fluidity and resonance in forming a personal artistic identity.Further research outcomes include new techniques and the expansion of the sonic palette of the double bass, enabled by developing custom-made attachments, preparations and electronic manipulation. The complete scope of this doctoral project includes four artistic components (three concerts and a recording), a documentary film and an artistic doctoral thesis comprising two peer-reviewed articles and an integrative chapter, all housed within the main multi-media exposition, Resonance: (Re)forming an Artistic Identity through Intercultural Dialogue and Collaboration.
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10

van de Weijenberg, Astrid. "Regie op locatie bij Kanteel." Management Kinderopvang 22, no. 1 (January 2016): 44–46. http://dx.doi.org/10.1007/s41190-016-0017-0.

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11

Goldenstein, Johannes. "Kantate - 6.5.2007." Göttinger Predigtmeditationen 61, no. 2 (December 2006): 218–22. http://dx.doi.org/10.13109/gpre.2006.61.2.218.

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12

Franz, Reinhard. "Kantate (20.4.2008)." Homiletische Monatshefte 83, no. 7 (April 2007): 290–92. http://dx.doi.org/10.13109/homh.2007.83.7.290.

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13

Gottschämmer, Günter. "Kantate (10.5.2009)." Homiletische Monatshefte 84, no. 7 (March 2008): 290–93. http://dx.doi.org/10.13109/homh.2008.84.7.290.

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14

Schudt, Sabine. "Kindergottesdienst: Kantate." Homiletische Monatshefte 84, no. 7 (March 2008): 323–24. http://dx.doi.org/10.13109/homh.2008.84.7.323.

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15

de Winter, Pierre. "'De boel kantelt van zorg naar gezondheid'." Skipr 15, no. 3 (June 25, 2022): 42–48. http://dx.doi.org/10.1007/s12654-022-0839-2.

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Cornelius-Bundschuh, Jochen. "Kantate - 10.5.2009: Lastenwechsel." Göttinger Predigtmeditationen 63, no. 2 (January 2008): 255–59. http://dx.doi.org/10.13109/gpre.2008.63.2.255.

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17

Bacchus, William I., Stanley I. Bach, Gary C. Jacobson, David Seidman, and Harvey Starr. "ARNOLD KANTER." PS: Political Science & Politics 43, no. 04 (October 2010): 803–4. http://dx.doi.org/10.1017/s1049096510001460.

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It is with deep sadness that we report the passing of our friend and colleague Arnold Kanter on April 10, 2010, at the all-too-young age of 65. He died from acute myelogenous leukemia, diagnosed in 2007.
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18

Van Waarde, Hugo. "Twee kanten." Denkbeeld 26, no. 4 (August 2014): 2. http://dx.doi.org/10.1007/s12428-014-0067-7.

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19

Joerg, Guido Johannes. "Zur Wiederentdeckung einer Kantate Gioachino Rossinis in Berlin." Die Musikforschung 46, no. 2 (September 22, 2021): 181–83. http://dx.doi.org/10.52412/mf.1993.h2.1155.

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Die "Cantata per Sampieri" (Bologna 1830) wurde im September 1991 in Berlin wiederentdeckt. Einer Beschreibung der Partiturhandschrift folgt die Analyse der Besetzung, der Besonderheiten der Instrumentierung, des Textes, der Entstehungsgeschichte und der ersten Aufführung der Kantate als Geschenk zum Namenstag des Bologneser Marchese Francesco Sampieri. In der musikalischen Analyse zeigen sich die Einflüsse durch die Kantate "La riconoscenza" und die Bühnenwerke "Aureliano in Palmira" und "Le comte Ory". Die Kantate dient als Argumentationshilfe gegen die Vorstellung, daß Rossini nach dem "Guillaume Tell" nicht mehr komponiert habe. (Joerg, Guido Johannes)
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20

Hofmann, Klaus. "Anmerkungen zu Bachs Kantate "Ich hatte viel Bekümmernis" (BWV 21)." Bach-Jahrbuch 101 (October 22, 2018): 167–76. http://dx.doi.org/10.13141/bjb.v20152377.

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Der Artikel setzt sich mit der Frage der Genese von BWV 21 auseinander - für welchen Anlass wurde die Kantate geschrieben und ist sie überhaupt als Ganzes entstanden? Verschiedene stilkritische und konzeptionelle Überlegungen lassen anderes vermuten und werden im Beitrag dargelegt. Erwähnte Artikel: Reinhold Jauernig: Zur Kantate "Ich hatte viel Bekümmernis" (BWV Nr. 21). BJ 1954, S. 46-49 Helene Werthemann: Zum Text der Bach-Kantate 21 "Ich hatte viel Bekümmernis in meinem Herzen". BJ 1965, S. 135-143 Andreas Glöckner: Zur Chronologie der Weimarer Kantaten Johann Sebastian Bachs. BJ 1985. S. 159-164 Martin Petzoldt: "Die kräfftige Erquickung unter der schweren Angst=Last". Möglicherweise Neues zur Entstehung der Kantate BWV 21. BJ 1993, S. 31-46 Peter Wollny: Bachs Bewerbung um die Organistenstelle an der Marienkirche in Halle und ihr Kontex. BJ 1994, S. 25-39 Klaus Hofmann: Bachs Doppelchor "Nun ist das Heil und die Kraft" (BWV 50). Neue Überlegungen zur Werkgeschichte. BJ 1994, S. 59-73 Christoph Wolff: "Die betrübte und wieder getröstete Seele" Zum Dialog-Charakter der Kantate "Ich hatte viel Bekümmernis" BWV 21. BJ 1996, S. 139-145 Michael Maul, Peter Wollny: Quellenkundliches zu Bach-Aufführungen in Köthen, Ronneburg und Leipzig zwischen 1720 und 1760. BJ 2003, S. 97-141
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Schliephake, Dirk. "Kantate Psalm 96,11-13." Homiletische Monatshefte 86, no. 7 (March 2010): 329–31. http://dx.doi.org/10.13109/homh.2010.86.7.329.

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22

Clerc, Louis. "Reputation by Committee? Finland’s Committee for International Information, 1988-1990." Hague Journal of Diplomacy 9, no. 2 (March 31, 2014): 176–210. http://dx.doi.org/10.1163/1871191x-12341275.

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Summary In October 1988, an ordinance of the Finnish government created the Committee for International Information (Kansainvälisen tiedottamisen neuvottelukunta, or Kantine). Kantine came as the last of a series of Cold War efforts to centrally define an image of Finland fit for foreign consumption, and to establish the communication methods through which state authorities and their partners could use this image as an economic and political asset. Established under the coordination of the Finnish Ministry of Foreign Affairs, Kantine acts as a window into the evolution of Finnish national image management and its state at the end of the Cold War. However, the context of the late 1980s and the desire of Kantine’s members to use the committee as the platform for a ‘wide societal debate on Finland in the twenty-first century’ gave it a broader scope than other ‘national image committees’ that had preceded it since 1945. This article will place Kantine in the evolution of Finland’s national image management and image policy, and will summarize its work and consequences.
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Bernasconi, Andreas, Clotilde Gollut, and Lea Flükiger. "Waldplanung in der Schweiz – ein kurzer Einstieg." Schweizerische Zeitschrift fur Forstwesen 174, no. 6 (November 1, 2023): 338–41. http://dx.doi.org/10.3188/szf.2023.0338.

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Abstract Waldplanung ist Sache der Kantone. Entsprechend findet das zweistufige Planungskonzept, das in den 1990er-Jahren eingeführt wurde, eine vielfältige Anwendung. Alle Kantone verbindet das Ziel der Waldplanung, die Waldfunktionen nachhaltig sicherzustellen. Die grössten Unterschiede zwischen den Kantonen bestehen in der räumlichen Ausdehnung der überbetrieblichen Planung (regional oder kantonal) und in der Planungspflicht für Waldeigentümerinnen und Waldeigentümer (betriebliche Planung). Die allermeisten Kantone verfügen über einen kantonalen oder mehrere regionale Waldentwicklungspläne als überbetriebliche Planungsinstrumente, wobei sich immer mehr Kantone für eine kantonale Planung entscheiden. Der Betriebsplan ist weiterhin das typische Instrument auf Waldeigentümerebene und in den meisten Kantonen zumindest für öffentliche Waldeigentümerinnen und Waldeigentümer verbindlich. Die Überwachung der nachhaltigen Entwicklung des Ökosystems Wald, seiner Pflege, Bewirtschaftung und Nutzung dokumentiert die kantonale Nachhaltigkeitsberichterstattung, die sich in den letzten zehn Jahren etabliert hat. Kombiniert stellen die Megatrends Klimawandel, Digitalisierung, Bevölkerungswachstum und Urbanisierung auch die Waldplanung vor neue Herausforderungen. Die rasante Zunahme verfügbarer Informationen und Daten, aber auch Unsicherheiten sowie wachsende gesellschaftliche Ansprüche an den Wald und seine Bewirtschaftung erfordern in der Waldplanung neue Ansätze und Lösungswege.
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Glöckner, Andreas. "Zur Echtheit und Datierung der Kantate BWV 150 "Nach dir, Herr, verlanget mich"." Bach-Jahrbuch 74 (January 1, 1988): 195–203. http://dx.doi.org/10.13141/bjb.v19882587.

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Vergleiche auch: Arnold Schering: Die Kantate Nr. 150 "Nach dir, Herr verlanget mich". BJ 1913, S. 39-52 Hans-Joachim Schulze: Rätselhafte Auftragswerke Johann Sebastian Bachs. Anmerkungen zu einigen Kantatentexten. BJ 2010, S. 69-93 Hans-Joachim Schulze: Die Bach-Kantate "Nach dir, Herr verlanget mich" und ihr Meckbach-Akrostichon. BJ 2011, S. 255-257
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Kanter, Robert K. "Dr. Kanter replies." Critical Care Medicine 16, no. 1 (January 1988): 100. http://dx.doi.org/10.1097/00003246-198801000-00022.

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Mostert, Mariët. "Wanda de Kanter." Skipr 16, no. 3 (July 2023): 64–65. http://dx.doi.org/10.1007/s12654-023-1460-8.

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Steinmüller, Peter. "Concorde mit Kanten." VDI nachrichten 77, no. 21 (2023): 40. http://dx.doi.org/10.51202/0042-1758-2023-21-40-5.

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Dürr, Alfred. "Zu Johann Sebastian Bachs Hallenser Probestück von 1713." Bach-Jahrbuch 81 (February 2, 2018): 183–84. http://dx.doi.org/10.13141/bjb.v19951062.

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Der Beitrag setzt sich mit der von Friedrich Chrysander 1858 aufgebrachten Vermutung auseinander, J. S. Bach habe bei seiner Bewerbung in Halle die Kantate Ich hatte viel Bekümmernis aufgeführt. Die Entstehung und Weiterentwicklung der These wird umrissen, ehe der Autor sich zur seiner Ansicht nach entscheidenden Frage äußert, ob die „Per ogni tempo“ bezeichnete Kantate an einem 2. Adventssonntag, dem Tag der Bach'schen Probeaufführung in Halle, hätte Verwendung finden können und dürfen. Erwähnte Artikel: Martin Petzoldt: „Die kräfftige Erquickung unter der schweren Angst-Last“. Möglicherweise Neues zur Entstehung der Kantate BWV 21. BJ 1993, S. 31-46 Peter Wollny: Bachs Bewerbung um die Organistenstelle an der Marienkirche zu Halle und ihr Kontext. BJ 1994, S. 25-39
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Scheitler, Irmgard. "Neumeister versus Dedekind. Das deutsche Rezitativ und die Entstehung der madrigalischen Kantate." Bach-Jahrbuch 89 (March 12, 2018): 197–220. http://dx.doi.org/10.13141/bjb.v20031787.

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Der Artikel diskutiert die widersprüchlichen Standpunkte zur Einführung der madrigalischen Kantate in die Kirchenmusik. Dabei dient besonders Wolfram Steudes These, nicht wie bisher Erdmann Neumeister, sondern Constantin Christian Dedekind als Erfinder dieser Form anzunehmen, als Anstoß einiger grundsätzlicher Überlegungen. Diese widmen sich dem Rezitativvers und seiner Entwicklung, Neumeisters Urteil über Dedekind, Bestimmung und Form der Kantate im theatralischen Stil und dem Verhältnis Bachs zu Neumeisters madrigalischer Kantate. Erwähnte Artikel: Elisabeth Noack: Georg Christian Lehms, ein Textdichter Johann Sebastian Bachs. BJ 1970, S. 7-18 Helmut K. Krausse: Erdmann Neumeister und die Kantatentexte Johann Sebastian Bachs. BJ 1986, S. 7-32 Weiterführender Artikel: Ferdinand Zander: Die Dichter der Kantatentexte Johann Sebastian Bachs. Untersuchungen zu ihrer Bestimmung. BJ 1968, S. 9-64
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Adcock, Sarah, Cassandra Tucker, Gayani Weerasinghe, and Eranda Rajapaksha. "Branding Practices on Four Dairies in Kantale, Sri Lanka." Animals 8, no. 8 (August 7, 2018): 137. http://dx.doi.org/10.3390/ani8080137.

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Hot-iron branding is illegal in Sri Lanka, but is still commonly used to identify dairy herds in extensive farming systems, which are primarily located in the country’s Dry Zone. Despite the negative welfare implications of this practice, there is no written documentation of branding in this region. We observed branding on four smallholder farms in Kantale, Eastern Province to understand the welfare implications associated with the procedure and challenges limiting the uptake of more welfare-friendly alternatives, such as ear tagging. Areas of welfare concern included the duration of restraint, the size and location of the brand, and the absence of pain relief. Animals were restrained with rope for an average duration of 12 min (range 8–17 min). Farmers used multiple running irons to mark their initials and, in some cases, their address, with the largest brands extending across the ribs and hip. Three farmers applied coconut or neem oil topically to the brand after performing the procedure. No analgesics were given before or after branding. Farmers reported that poor ear tag retention in extensive systems and theft were the main factors impeding the uptake of alternative forms of identification. Branding is also practiced as part of traditional medicine in some cases. Given the clear evidence that hot-iron branding impairs animal welfare and there is no evidence that this can be improved, alternative identification methods are needed, both in Sri Lanka, as well as in other countries engaging in this practice.
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Herzig, Ferenc. "Lk 19,37–40 2.5.2021 Kantate." Pastoraltheologie 110, no. 2 (January 19, 2021): 298–303. http://dx.doi.org/10.13109/path.2021.110.2.298.

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Herzig, Ferenc. "Lk 19,37–40 2.5.2021 Kantate." Göttinger Predigtmeditationen 75, no. 2 (January 19, 2021): 298–303. http://dx.doi.org/10.13109/gpre.2020.75.2.298.

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Martin, Dieter. "Peter von Winters „Rinaldo”-Kantate." Die Musikforschung 48, no. 4 (September 22, 2021): 398–400. http://dx.doi.org/10.52412/mf.1995.h4.1089.

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Für den Prinzen Friedrich von Gotha gestaltete Goethe den Rinaldo-Stoff aus Torquato Tassos <Gerusalemme Liberata> zu einer 1811 in Weimar aufgeführten Szene. Die bislang nicht bekannte originale Vertonung stellt eine opernhafte und orchestral besetzte Kantate für Solo und Männerchor dar, die den italienischen Geschmack deutscher Höfe unterstreicht. (Autor)
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Hauschildt, Eberhard. "Kol 3,12–17 15.5.2022 Kantate." Pastoraltheologie 111, no. 2 (January 15, 2022): 290–96. http://dx.doi.org/10.13109/path.2022.111.2.290.

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Hauschildt, Eberhard. "Kol 3,12–17 15.5.2022 Kantate." Göttinger Predigtmeditationen 76, no. 2 (January 10, 2022): 290–96. http://dx.doi.org/10.13109/gpre.2021.76.2.290.

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Mathis, Jan. "Mt 11,25-30 3.5.2015 Kantate." Göttinger Predigtmeditationen 69, no. 2 (April 2014): 255–61. http://dx.doi.org/10.13109/gpre.2014.69.2.255.

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Cordemann, Claas. "Kol 3,12-17 24.4.2016 Kantate." Göttinger Predigtmeditationen 70, no. 2 (January 2016): 245–50. http://dx.doi.org/10.13109/gpre.2015.70.2.245.

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Noetzel, Jutta. "Apg 16,23–34 29.4.2018 Kantate." Göttinger Predigtmeditationen 72, no. 2 (January 19, 2018): 260–66. http://dx.doi.org/10.13109/gpre.2017.72.2.260.

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39

Schiffner, Kerstin. "Apg 16,23–34 19.5.2019 Kantate." Göttinger Predigtmeditationen 73, no. 2 (January 30, 2019): 269–76. http://dx.doi.org/10.13109/gpre.2018.73.2.269.

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40

Link, Martina. "Kantate - 2.5.2010 Kolosser 3,12-17." Homiletische Monatshefte 85, no. 7 (April 2009): 333–37. http://dx.doi.org/10.13109/homh.2009.85.7.333.

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41

Koeppen, Wolfhart. "Kantate – 14.5.2017 Matthäus 21,14–17." Homiletische Monatshefte 92, no. 7 (March 16, 2017): 375–78. http://dx.doi.org/10.13109/homh.2016.92.7.375.

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42

Oppel, Reinhard. "Zur Tenorarie der Kantate 166." Bach-Jahrbuch 6 (February 8, 2018): 27–40. http://dx.doi.org/10.13141/bjb.v19091102.

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Neumann, Werner. "Zur Aufführungspraxis der Kantate 152." Bach-Jahrbuch 38 (May 4, 2018): 100–103. http://dx.doi.org/10.13141/bjb.v19502417.

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44

Mathis, Jan. "Mt 11,25-30 3.5.2015 Kantate." Pastoraltheologie 104, no. 2 (January 2015): 255–61. http://dx.doi.org/10.13109/path.2015.104.2.255.

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Cordemann, Claas. "Kol 3,12-17 24.4.2016 Kantate." Pastoraltheologie 105, no. 2 (February 2016): 245–50. http://dx.doi.org/10.13109/path.2016.105.2.245.

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46

Noetzel, Jutta. "Apg 16,23–34 29.4.2018 Kantate." Pastoraltheologie 107, no. 2 (January 19, 2018): 260–66. http://dx.doi.org/10.13109/path.2018.107.2.260.

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47

Schiffner, Kerstin. "Apg 16,23–34 19.5.2019 Kantate." Pastoraltheologie 108, no. 2 (January 30, 2019): 269–76. http://dx.doi.org/10.13109/path.2019.108.2.269.

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48

Döhling, Jan-Dirk. "1Sam 16,14–23 7.5.2023 Kantate." Pastoraltheologie 112, no. 2 (January 10, 2023): 253–60. http://dx.doi.org/10.13109/path.2023.112.2.253.

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Döhling, Jan-Dirk. "1Sam 16,14–23 7.5.2023 Kantate." Göttinger Predigtmeditationen 77, no. 2 (January 9, 2023): 253–60. http://dx.doi.org/10.13109/gpre.2022.77.2.253.

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Pattis, Bernhard. "Die Kantate als musikoliterarische Gattung." Artes 2, no. 2 (September 18, 2023): 370–99. http://dx.doi.org/10.30965/27727629-20230015.

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Abstract:
Abstract The cantata genre is one of the most important intermedial art forms in European cultural history. Originating in Italy, it has also been used productively in music and literature in Germany since the late 17th and early 18th centuries. Since Erdmann Neumeister, who was the first to formulate a poetics of the (madrigal) cantata, numerous cantata poems have been written, which – even before they are potentially set to music – are literary artifacts in their own right. It is therefore surprising that the genre of the cantata has been researched almost exclusively by musicologists, and that there has been a lack of literary studies, and consequently, interdisciplinary approaches, which would be necessary for a systematic understanding of the cantata as a musical-literary hybrid genre. This article is intended as a contribution to an interdisciplinary study of the cantata. It examines the cantata text “Ich will den Kreuzweg gerne gehen”, written by Erdmann Neumeister and set to music by Georg Philipp Telemann, according to literary-textual and musical criteria, paying particular attention to the mechanisms and dynamics of the interaction between text and music.
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