Letteratura scientifica selezionata sul tema "Mazurka (Dance)"
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Articoli di riviste sul tema "Mazurka (Dance)"
1
Goldberg, Halina. "Nationalizing the Kujawiak and Constructions of Nostalgia in Chopin's Mazurkas". 19th-Century Music 39, n. 3 (2016): 223–47. http://dx.doi.org/10.1525/ncm.2016.39.3.223.
Testo completoAbstract (sommario):
The traditional musicological perspective on Chopin's slow, minor-key mazurkas and mazurka sections—that he modeled these episodes on the kujawiak, a Polish folk dance from Kujawy region — is plagued by contradictory statements. Re-evaluation of source material reveals that the kujawiak, as it is understood in relation to Chopin's mazurkas, is largely a creation of Polish nationalism after Chopin's time. In Chopin's own time, the term kujawiak is used only sporadically and appears to be interchangeable with mazur; by the end of the nineteenth century, however, the kujawiak becomes an important marker of Polishness for which authors offer specific but widely diverging musical characterizations. It is around this time that writers also begin to emphasize the kujawiak's impact on Chopin's mazurkas, forging a persistent link between this imagined “national dance” and his compositions. In place of these vague and conflicting constructs, it is proposed that Chopin used the slow mazurka—the kind widely but anachronistically called the kujawiak—to summon nostalgia for the spatially and temporally distant (and mythical) Poland, through musical styles and gestures that include reminiscence and allusion; auditory distancing; disruptions of form and genre; and surface distortions. Nostalgia as a cultural and medical concept also provides a prism through which his contemporaries perceived Chopin's illness, his experience in exile, and his music.
2
Szymaniak, Włodzimierz. "The Heritage of Polish Emigration after November Uprising in Cape Verde". Studia Gdańskie. Wizje i rzeczywistość XVII (1 maggio 2021): 191–99. http://dx.doi.org/10.5604/01.3001.0014.9104.
Testo completoAbstract (sommario):
The article comments the cultural heritage of Polish officers, emi-grants after the November Uprising in Cape Verde and in Guinea-Bissau. The author characterizes the image of islands in books written by Polish emigrants in XIX century, including cross-cultural and axiological problems. He also mentions mazurka as a style of music and dance in his African avatar.
3
Parakilas, James. "Disrupting the Genre: Unforeseen Personifications in Chopin". 19th-Century Music 35, n. 3 (2012): 165–81. http://dx.doi.org/10.1525/ncm.2012.35.3.165.
Testo completoAbstract (sommario):
Abstract What George Sand characterized as the prevalence of “the unforeseen” in Chopin's music can be understood as his programmatic predilection. Within works whose generic titles promise nothing programmatic, he regularly introduces disruptions that announce a previously unsuspected persona in whose mind the music continues to unfold even as that persona brings the premises of the genre under scrutiny. In the Waltz in A♭, op. 42, for instance, a momentary interruption of the waltz beat, like the terminal interruption of the nocturne texture in the Nocturne in B, op. 32, no. 1, produces an ending that tests the capacity of the genre to absorb what most undermines it. In that Nocturne there is a second personifying tension between the genre-establishing texture of singing lines and the genre-challenging daubs of inconsistent damper-pedal coloring, drawing attention to the hand of the composer at work and therefore—if we adopt the insight of Chopin's artistic interlocutor Eugène Delacroix—to his thinking presence. The Mazurka in C Minor, op. 56, no. 3, represents a reverse strategy. There an imagining mind is personified from the beginning, restlessly searching through a catalog of mazurka features, and it is only in the coda, when the music settles into its genre as dance music, that the persona—the element of the unforeseen—retreats.
4
Ptashenko, Serhii. "Song and dance genre specifics in works for button accordion by the composers of the Department of Folk Instruments of Ukraine of Kharkiv I. P. Kotlyarevsky National University of Art". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 59, n. 59 (26 marzo 2021): 67–82. http://dx.doi.org/10.34064/khnum1-59.05.
Testo completoAbstract (sommario):
Recent years have provoked an increasing interest in button accordion arts of Ukraine therefore a great demand for button accordion performance based on song and dance genre features is to be of great importance. Our research work deals with the embodiment of the song and dance genres features in academic button accordion art. The above-mentioned phenomenon has led to the appropriate systematization of their transformations in the musicological viewpoint therefore is stated to be very novel. This systematization is revealed from stylization to various arrangements, further transcriptions, fantasies, paraphrases, works on the theme of other artists that is to create the genre-style transformation. The aim of the research is to determine the genre-style methods of composers’ work for button accordion on the basis of song and dance genre. Present scientific research scope led to the solution of the following tasks: the disclosure of methods of author’s song and dance originals processing, identifying the specifics of drama and means of musical expression, justifying the popularity of works in the domestic musical performance. The following methods are used: analytical, comparative-historical and structural-functional. Summing up the results, it can be concluded that stylizations of dance and song genre are stated to be a great component of button accordion art. The use of European modeling samples (gavotte, mazurka and musette) contributed to the button accordion performance leading to sound production sophistication, high refinement of the sound palette and dynamic nuance, which enriched the artistic means of expressiveness, contributed to the evolution of interpretive experience. In the arrangements and transcriptions (by other authors) of Latin American dance genres there was an enrichment of rhythmic intonation structures and timbre palette of the instrument that lead to great popularity among performers and listeners by the interaction of academic art and genres belonging to the ‘third layer’. Among the opuses created in the genre-style transformation of songs and dances, the re-intonation of the original musical compositions received high artistic results. The use of modern means of button accordion expression, construction of new musical forms, application of elements of musical polystylistics, modification of genres are aimed at multifaceted reproduction of the figurative content of the original source, giving it a new artistic value and concert life. In the musical works of button accordion composers, the direction of song and dance genres features continuously enriches the quantitative and qualitative musical literature, so the prospects for further scientific research are relevant and promising.
5
Kokanović Marković, Marijana. "Dance in the Salons: Waltzes, Polkas and Quadrilles in Serbian Piano Music of the 19th Century". Scientific herald of Tchaikovsky National Music Academy of Ukraine, n. 133 (21 marzo 2022): 120–33. http://dx.doi.org/10.31318/2522-4190.2022.133.257328.
Testo completoAbstract (sommario):
As public events, balls had an important role in social life among the Serbs in the Habsburg monarchy in the 19th century. They were organised by the aristocracy and citizens, various associations and ethnic groups. The most prestigious were the so-called “nobles”, id est aristocratic balls, while the civil ones were less elegant. A repertoire of dances was to some extent conditioned by the type of the ball. Waltz, polka and gallop were very popular at civil balls, as well as stylised Serbian folk dances, such as kolo. At noble balls, on the other hand, besides waltzes, polkas and gallops, it was quadrilles and cotillions that enjoyed special popularity. On the other hand, in the young Principality of Serbia, the organisation of the balls began in the 1860’s, both at the prince’s court and in better hotels in Belgrade. In the 1860’s, the ball season in Belgrade was opened by Prince Mihailo Obrenović. The dancing repertoire included Serbian folk and civil dances, as well as modern European dances. Following the example of larger European cities, a trend of dancing in salons was as well widespread among the Serbs. Socialising could spontaneously grow into dancing, and sometimes dancing was the expected grand finale of the evening. In salons one could dance for family entertainment, without guests. In court and civil salons in Belgrade, the gatherings, almost as a rule, ended with dancing of popular international and Serbian folk dances. International salon dances make up about a third of the salon music repertoire for piano. The polka is one of the most frequent international dancing genres in the Serbian piano music of the 19th century. Besides the polka, there are other subtypes of this dance: the polka-mazurka, the polka française, the schnell polka, the polka tremblante, the galopp polka, the polka valse and the polka caprice. After the polka, the waltz is the most frequent international dance genre in the Serbian piano music. Besides the waltzes originally written for the orchestra, numerous waltzes were composed for the piano. The popularity of quadrilles in ballrooms is also reflected in the albums of salon music for the piano. This dance genre, which was composed in a potpourri manner, was especially suitable for having the melodies of popular folk and civil songs arranged in it. While in the first half of the 19th century melodies in the quadrilles were either transcribed from popular operettas or operas, or were originally written by composers, in the second half of the century composers mostly resorted to melodies of Serbian or Slavic folk and civil songs. In the second half of the 19th century, Serbian folk dances, such as kolos, took over the ballrooms and the albums of salon music alike. The approval of the Serbian identity was sought in the kolo, and the emphasis on national characteristics through music was politically dominant in the 19th century.
6
Muzyka, Lesia. "Piano Pieces for Children in Serhiy Bortkevych’s Musical Heritage". Musical art in the educological discourse, n. 8 (2024): 67–72. http://dx.doi.org/10.28925/2518-766x.2023.810.
Testo completoAbstract (sommario):
The article reveals the artistic and pedagogical potential of piano music for children by the Ukrainian Diaspora’s prominent composer Serhiy Bortkevych. For this purpose, we analysed the piano cycles Little Traveller, Marionettes, Musical Wonderland (based on H. H. Andersen’s fairy tales) and From My Childhood. We specified the stylistic features of his music, didactic and educational tasks, which can be determined by working on small pieces of lyrical, dance, scherzo and march genres with their inherent modest scale and simplicity of presentation. S. Bortkevych tends to the chamber type of expression, modesty of texture, and absence of external effects, which reveals the composer’s commitment to the art of the Biedermeier. This component of S. Bortkevych’s creative personality is complemented by his constant interest in the world of childhood, both in terms of imagery and content, as well as didactics and education. All of S. Bortkevych’s children’s piano cycles clearly demonstrate the great importance of programmatic model in revealing the figurative content of piano pieces, in which nature paintings, portrait sketches, emotional experiences, travelling motifs, cities and countries, fairy-tale images, puppetry, etc. take an equal position. Up-tempo pieces (toccata, scherzo) require the same work as etudes, but with the difference that in etudes, artistic tasks are auxiliary, while in music pieces they are the main goal. In dance pieces, the basis for the work is the need to identify the specificity and character of the dance (waltz, mazurka, polka, hopak) and the originality of the rhythm. Lyrical pieces develop musicality, emotionality, artistry and performing initiative due to the musical language accessibility, vivid imagery and laconism of the form. The works of this group are of pedagogical value as they are aimed at gradual mastery of certain piano skills and techniques. S. Bortkevych’s compositional achievements deserve attention in terms of including his heritage in the educational repertoire of modern music institutions to deepen the educational and cognitive process of children’s and youth’s musical and aesthetic education.
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Łapeta, Oskar. "The Ballets of Eugeniusz Morawski in the Context of the Search for Polish National Identity". Polski Rocznik Muzykologiczny 19, n. 1 (1 dicembre 2021): 54–66. http://dx.doi.org/10.2478/prm-2021-0010.
Testo completoAbstract (sommario):
Abstract The topic of this article is Eugeniusz Morawski’s ballet music analysed in the context of the search for national identity in Poland after it regained independence in 1918. The author’s reflection is focused on two fully preserved ballet compositions written in the 1920s. In the monumental four-part dance poem Miłość [Love] by Morawski, together with the author of the libretto, Franciszek Siedlecki, presents an allegorical journey of the pair of protagonists in search of spiritual renewal in a world threatened by progressive mechanisation. Their pilgrimage ends on Earth, and Mazurka is the central point of the last part of the composition. The two-part ballet Świtezianka [Fair Maiden from Svitez], written by the composer to his own libretto, contains in the first part a group scene in which the composer stylizes Polish folk dances. Morawski uses in these works numerous archaizing elements, such as col legno articulation in the strings or empty fifths in the bass; he also uses a pentatonic scale and modal scales, these fragments are distinguished by incisive rhythms. The composer’s treatment of folk material brings to mind an analogy between his work and the works of composers regarded as representatives of the national-folkloric trend in Polish music: Karol Szymanowski, Stanisław Wiechowicz and Roman Palester. Similar tendencies can also be observed in numerous literary and art works created during the inter-war period. A return to folklore and combination of its elements with modern composing techniques can also be found in the works of the most ou-standing representatives of the avant-garde: Igor Stravinsky and Béla Bartók.
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Serdiuk, Yaroslava. "Peculiarities of embodying the Swedish national folklore in Amanda Maier’s violin miniatures". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 64, n. 64 (7 dicembre 2022): 110–26. http://dx.doi.org/10.34064/khnum1-64.07.
Testo completoAbstract (sommario):
Statement of the problem. The work of the Swedish violinist and composer Amanda Maier-Röntgen, a talented artist of the Romantic era, a graduate of the Royal Academy of Music in Stockholm and the Leipzig Conservatory, who was at one time a fairly recognizable artist in Europe and led an active concert activity, is practically unknown in Ukrainian musicology. In the works of foreign scientists, the composer’s achievements are also not sufficiently studied. At the same time, A. Maier composed a number of such opuses for the violin or with the participation of this instrument, which have undoubted artistic value and are now being rediscovered by contemporary performers and are gaining certain popularity. Among them are not only large-scale chamber works, but also cycles of violin miniatures – a genre that has not so often attracted the attention of composers, as, for example, the genre of piano miniatures and is also much less studied by scientists than the latter. Therefore, the study of A. Maier-Röntgen’s violin miniature samples seems promising both from the standpoint of updating the composer’s work in the modern musicological discourse, and in the context of the further enlargement of scientific ideas about the development of the violin miniature genre, as well as in regard to the problem of embodying national traditions in the music of composers of the second half of the 19th century. Recent research and publications. The creative personality of A. Maier is briefly mentioned in a number of works devoted to Swedish musical culture, in reference materials (Jönsson, 1995; Karlsson, 1994; Öhrström, 1987; Öhrström & Eriksson, 1995; Riemann, 2017; Laurence, 1978), in the studies devoted to other composers: J. Brahms, E. Grieg, J. Röntgen (Internationaler BrahmsKongress Gmunden, 2001; Hofmann & Hofmann, 2006; Grieg, 2001; Vis, 2007). The special research dedicated exactly to A. Maier is J. Martin’s dissertation (2018). However, the author, researching the life and creative path of the artist in detail, describing her performance, almost does not touch on her compositional work, limiting herself to compiling a detailed list of A. Maier’s existing and lost works. Instead, the last chapter of J. Martin’s research is also devoted to the issues of gender inequality in the second half of the 19th century musical environment. The purpose of the article is to characterize the specifics of embodying the Swedish national folklore in Amanda Maier’s violin miniatures. For the first time in Ukrainian musicology, multifaceted connections of Amanda Maier’s violin works with the Swedish national folklore tradition were revealed. The research results is based on such methods as historically stylistic and genre-stylistic, as well as comparative approaches and analytical musicological methods, which allow to reveal the originality of the interaction of national and pan-European stylistic features in A. Maier’s violin miniatures. Conclusions. A. Maier’s two cycles for violin and piano fit into the tendency of many composers of the second half of the nineteenth century to search for national identity, and it seems reasonable to consider them as two milestones on this path in the composer’s work. The first cycle – “Six Pieces” for Violin and Piano of 1879 – demonstrates not so much a pronounced national colour as orientation towards the European traditions of creating dance miniatures and an indirect connection with the Swedish folklore tradition. The latter is realised both through the use of the violin, one of the main instruments in Scandinavian folk music, and through the use of dance styles common to the Swedish folk instrumental and European professional traditions, in particular, the minuet and mazurka. The second cycle – “Swedish Melodies and Dances” – is the result of A. Maier’s conscious appeal to the national roots. In this work, the links with the Swedish folklore tradition, both song and instrumental, are rich and varied, and manifest themselves at all levels of the artistic whole: melodically intonational (through characteristic rhythmic formulas and melodic turns), modal and harmonic, and at the level of compositional structure.
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Andrzejak, Izabela. "Folk dance as a tool of socialist propaganda based on Paweł Pawlikowski’s Cold War". Dziennikarstwo i Media 15 (29 giugno 2021): 37–50. http://dx.doi.org/10.19195/2082-8322.15.4.
Testo completoAbstract (sommario):
The article addressed the issue of using folk dance as a tool of propaganda by the communist party. It is not uncommon to associate the activity of folk groups with the period of socialist realism and the years that followed in. Folk song and dance ensembles have always been a colorful showcase of the country outside of its borders and have often added splendor to distinguished national events with their performances. Nevertheless, their artistic activity was not motivated solely by the beauty of Polish folklore, for folk ensembles formed after World War II were often created to aid the goals of the communist party. Reaching for folk repertoire and transferring regional songs and dances to the stage was seen as opposition to the elite culture. Cultural reform made performances accessible to the working class, and folk song and dance expressed admiration for the work of people in the countryside. In addition to traditional songs from various regions of Poland, the repertoire of these ensembles also included many songs in honor of Stalin and about the Polish-Soviet friendship. Paweł Pawlikowski’s award-winning film, Cold War, which partially follows a song and dance ensemble (aptly named Mazurek), shows many of the dilemmas and controversies that the artists of this period had to face.
10
Kostenko, Nataliia. "Ihor Kovach’s concert works for the four-string domra in the modern performance practice". Aspects of Historical Musicology 32, n. 32 (15 novembre 2023): 39–55. http://dx.doi.org/10.34064/khnum2-32.03.
Testo completoAbstract (sommario):
Statement of the problem. Objectives, methods, and novelty of the research. Taking into account the problem of the original repertoire existing in the performance practice of domra players, the genre and stylistic analysis of I. Kovach’s two compositions is proposed: “Concertino” for the domra with orchestra and “Mazurka” from the opera “Blue Islands” for duet of domras and piano. These works became iconic for the formation of the basic repertoire for the four-string domra. However, the general assessment of the compositions remains an “open” issue of musicology. Hence, turning to the pieces by the famous Ukrainian composer in order to determine their historical role in the domra performance is an urgent research task. The purpose of the research is to determine the role of I. Kovach’s creative heritage in contemporary domra performance in terms of traditions and innovations. The historical and typological, genre and style, and performanceinterpretative methods are used in the study. The study is based on the materials dedicated to I. Kovach’s creativity (Tyshko, 1980; Roschenko-Averianova, 2007; Hrytsun, 2015; Kostenko, 2009), the genre of the domra concerto (Slipchenko, 2021), the creative connections between a composer and a performer (MaidenbergTodorova, 2020), the specificity of the instrumental genres (Nikolaievska et al., 2020), which allow to reveal the modern potential of little-studied examples of creativity in the history of the domra. This aspect is not presented in any of the named sources. The research results. I. Kovach’s music for the domra is bright and positive, filled with light, joy, and goodness. The “Concertino” (1960) is melodious and easy to remember. The composer presented the domra as an academic solo instrument, preserving the principle of competition between the soloist and the orchestra (soli–tutti). A rather complex domra part still forces the performers to “strain” even today, despite the fact that the overall level of performing skills of the domra players at the beginning of the 21st century has grown “many times”. Dmytro Klebanov (1951) wrote the first composition in the genre of a concerto for the domra accompanied by a symphonic orchestra. I. Kovach creates an original composition for the domra, which cemented the tendency to conceptualize the instrument as a virtuoso one. The first performance of the “Concertino” with an orchestra of folk instruments took place in the hall of the Kharkiv Conservatory (the soloist – B. Mikhieiev, the conductor – Ye. Bortnyk). Against the background of the dominance of ideologically engaged “pseudo-folk” compositions, the sound of the domra was unusually modern. Today, this piece is considered a classic of the 20th century domra repertoire. All the themes of the “Concertino” are original, which was innovative at that time. The composition is built on the principle of contrast. The main dance-scherzo theme and the cantilena secondary theme together create a dynamic combination of active and lyrical images. The nature of the domra is revealed in such distinctive qualities as the elasticity of the string sound, the bright silver timbre, the expressiveness of the tremolo, and virtuosity, which successfully represent the “image of the world” of the composition, the spirit of youth, confidence, and joy. The “Concertino” is competitive and is included in the concert repertoire of performers of a high professional level. The performing interpretation of the piece is briefly described on the example of the recording of Anastasia Platonova. The printed score of the “Concertino” does not contain performance instructions (fingering, strokes, playing techniques, timbre colouring). The performer has to find them on his/her own. The same can be said about the “Mazurka”, because it exists in the form of the manuscript. It has been noted that the optimal performance edition of both I. Kovach’s compositions was developed in the domra class of the Department of Folk Instruments of Ukraine at the Kharkiv I. P. Kotlyarevsky National University of Arts. Conclusion. I. Kovach’s domra compositions form the newest principles of creativity for this instrument: original themes instead of folk ones, solo cadences for the domra, the highest level of virtuosity of the solo part. This line is followed by I. Kovach’s students M. Stetsiun and V. Ivanov, who will also write “Concertino” for the domra. Therefore, I. Kovach enriched the ensemble repertoire of the domra players. The semantics embedded in his works contributed to the idea of the domra as a “sound image of the world”, the artistic and technical capabilities of the instrument. Popularization of these pieces are definitely relevant. There is an urgent need for the newest performance edition of the compositions, taking into account the level of skill of modern domra players.
Tesi sul tema "Mazurka (Dance)"
1
CARDINALE, SARA. "IL BALLO DI COPPIA IN STRADA A MILANO: SOCIEVOLEZZA E APPARTENENZA NELL'INTIMITA' DELLO SPAZIO PUBBLICO". Doctoral thesis, Università Cattolica del Sacro Cuore, 2017. http://hdl.handle.net/10280/35575.
Testo completoAbstract (sommario):
Il ballo sociale di coppia è una forma di svago che è tornata ad essere praticata da giovani e adulti soprattutto dagli anni Novanta. Questa ricerca sociologica ha per oggetto gli eventi di ballo sociale di coppia che hanno luogo attualmente a Milano in spazi pubblici, soprattutto nel centro città, senza autorizzazioni formali e privi di finalità di lucro. L’ipotesi di base è che questi eventi, organizzati da gruppi di ballerini attraverso reti sociali online, siano parte di un fenomeno sociale unico. I tipi di ballo coinvolti sono il tango argentino, la mazurka francese neotrad, lo swing e i balli del sud Italia. Questo lavoro, attraverso l’osservazione partecipante in situazione e interviste in parte semistrutturate e in parte biografiche, mira ad individuare i significati specifici che distinguono tale pratica urbana dal ballo di coppia in luoghi istituzionali e quale sia il ruolo giocato dello spazio pubblico nel differenziare i due oggetti. Nell’analisi delle interviste, l’ambito di significato relativo alla socialità collettiva si è distinto rispetto agli altri per corposità e complessità, è stato perciò scelto come chiave interpretativa del fenomeno. Questa pratica si rivela, infine, una forma di socievolezza e un ambiente sociale in cui esperire un’intimità di gruppo generata da interazioni estemporanee tra conoscenti, e trova negli spazi pubblici della città il suo teatro di espressione privilegiato.In Western culture, social partner dances have re-emerged as a leisure activity for young and adults since the 90’s. This sociological research concerns social partner dancing events taking place in public spaces in Milan nowadays, especially in the city centre. They are organized through online social networks by groups of dancers who occupy the public space without any formal license and any profit-mindedness; Argentinian tango, French mazurka, swing, and Southern Italian dances are the types of dances involved. The underlying assumption is that these street events are part of a unique social phenomenon. By means of an at home perspective to participant observation, semistructured, and in-depth interviews, this work aims, firstly, to find specific meanings to this practice by comparing it to partner dances performed in institutional places; and secondly, to identify the role of public space in this framework. The collective sociality dimension of meaning has been chosen as a key to interpretation, since it stood out for complexity and relevance. This urban practice turns out to be a kind of simmelian sociability and an environment to experience a group intimacy produced by extemporary interactions of acquaintances; of which urban public spaces, furthermore, prove to be a perfect theatre to its full expression.
2
CARDINALE, SARA. "IL BALLO DI COPPIA IN STRADA A MILANO: SOCIEVOLEZZA E APPARTENENZA NELL'INTIMITA' DELLO SPAZIO PUBBLICO". Doctoral thesis, Università Cattolica del Sacro Cuore, 2017. http://hdl.handle.net/10280/35575.
Testo completoAbstract (sommario):
Il ballo sociale di coppia è una forma di svago che è tornata ad essere praticata da giovani e adulti soprattutto dagli anni Novanta. Questa ricerca sociologica ha per oggetto gli eventi di ballo sociale di coppia che hanno luogo attualmente a Milano in spazi pubblici, soprattutto nel centro città, senza autorizzazioni formali e privi di finalità di lucro. L’ipotesi di base è che questi eventi, organizzati da gruppi di ballerini attraverso reti sociali online, siano parte di un fenomeno sociale unico. I tipi di ballo coinvolti sono il tango argentino, la mazurka francese neotrad, lo swing e i balli del sud Italia. Questo lavoro, attraverso l’osservazione partecipante in situazione e interviste in parte semistrutturate e in parte biografiche, mira ad individuare i significati specifici che distinguono tale pratica urbana dal ballo di coppia in luoghi istituzionali e quale sia il ruolo giocato dello spazio pubblico nel differenziare i due oggetti. Nell’analisi delle interviste, l’ambito di significato relativo alla socialità collettiva si è distinto rispetto agli altri per corposità e complessità, è stato perciò scelto come chiave interpretativa del fenomeno. Questa pratica si rivela, infine, una forma di socievolezza e un ambiente sociale in cui esperire un’intimità di gruppo generata da interazioni estemporanee tra conoscenti, e trova negli spazi pubblici della città il suo teatro di espressione privilegiato.In Western culture, social partner dances have re-emerged as a leisure activity for young and adults since the 90’s. This sociological research concerns social partner dancing events taking place in public spaces in Milan nowadays, especially in the city centre. They are organized through online social networks by groups of dancers who occupy the public space without any formal license and any profit-mindedness; Argentinian tango, French mazurka, swing, and Southern Italian dances are the types of dances involved. The underlying assumption is that these street events are part of a unique social phenomenon. By means of an at home perspective to participant observation, semistructured, and in-depth interviews, this work aims, firstly, to find specific meanings to this practice by comparing it to partner dances performed in institutional places; and secondly, to identify the role of public space in this framework. The collective sociality dimension of meaning has been chosen as a key to interpretation, since it stood out for complexity and relevance. This urban practice turns out to be a kind of simmelian sociability and an environment to experience a group intimacy produced by extemporary interactions of acquaintances; of which urban public spaces, furthermore, prove to be a perfect theatre to its full expression.
3
VINCIKOVÁ, Eva. "Návrh metodiky nácviku jednoduchých gymnastických dovedností na 1. stupni ZŠ - rytmická gymnastika". Master's thesis, 2007. http://www.nusl.cz/ntk/nusl-44551.
Testo completoAbstract (sommario):
The subject of this theses is to compose the suggestion of methodology training of rhytmic gymnastics for primary school children and its verification in practise. The aim of the research is to find out the entrance rhytmic skills, their eventual improvement with the help of the built-up methodology, and the exit level of rhytmic skills. The theses contains the complete preparations for physical training lessons, the set of trainings and the description of particular dances. The theses should make the questions of training of the easiest dances accessible for the teachers.
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Fons, Margaret Ann. ""A thousand nuances of movement" : the intersection of gesture, narrative, and temporality in selected mazurkas of Chopin". Thesis, 2012. http://hdl.handle.net/2152/ETD-UT-2012-05-5451.
Testo completoAbstract (sommario):
It is no secret that Frédéric Chopin was fond of dance music. Dance genres—including the mazurka, polonaise, and waltz—dominate his oeuvre. According to the Henle Urtext edition, Chopin penned fifty-seven mazurkas during his lifetime, writing in this genre more than any other. It is interesting, then, that the mazurkas seem to be one of Chopin’s most historically misunderstood genres. In their haste to point out the mazurkas’ seeming irregularities of rhythm, harmony, mode, accent pattern, and such, critics both of Chopin’s time and in more recent history often ignore two equally fundamental issues: (1) the relationship between Chopin’s mazurkas and the dance of the same name, and (2) the manner in which that relationship might inform hermeneutic readings of the mazurkas. Surely, the perceived “irregularities” were not employed haphazardly, but rather for specific expressive purposes.
This essay aims to construct a model for embodied musical meaning as it pertains to Chopin’s mazurkas by examining the intersection of gesture, narrative, and temporal theories. Drawing on Robert S. Hatten’s (2004) and Alexandra Pierce’s (2007) work on musical gesture, I will relate the steps of the danced mazurka to their abstract musical counterparts in Chopin’s solo piano works and examine the affective connection between the physical steps and the musical gestures. I will then call upon the narrative theories of Michael Klein (2004) and Byron Almén (2008) and the temporal theories put forth by Jonathan D. Kramer (1973, 1996) and Judy Lochhead (1979) to construct a framework in which the musical gestures (and the expressive states they imply) interact to produce emergent meanings. Finally, I will present a gestural/narrative reading of Chopin’s Mazurka in C# minor, op. 50, no. 3, which aims to demonstrate both the utility of my proposed theoretical model and the necessity of going back to the dance to grapple with issues of musical meaning in the mazurkas.text
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Chung, Woan Yee, e 鍾宛妤. "A Study of Chopin's Polish Dance Works - With Examples of Polonaises, Op. 26 and Mazurkas, Op. 59". Thesis, 2016. http://ndltd.ncl.edu.tw/handle/7y9r77.
Testo completoAbstract (sommario):
碩士國立臺灣藝術大學
音樂學系
105
Frédéric François Chopin (1810-1849) is a well-known composer-pianist in the Romantic period. He wrote a lot of piano works including sonatas, ballades, preludes, etudes, waltzes, polonaises, mazurkas and etc. His works have become a main body of concert repertoires for pianists. He created a new era for the nineteenth-century piano music and influenced numerous composers in his and further time. Analysis and discussions of this thesis will focus on his polish dance works, polonaises and mazurkas, with examples from Polonaises, Op. 26 and Mazurkas, Op. 59. This thesis contains five chapters. Chapter one states the research motives, methods and scope of research. Chapter two includes a biography of Chopin and his music styles, with focus on his style of composition. Chapter three studies the history of polonaise and mazurka and the distinguished feature of Chopin’s polonaises and mazurkas. Chapter four includes the analysis of Polonaises, Op. 26 and Mazurkas, Op. 59 in terms of form, rhythm, tonality and etc, interpretation also included in this chapter. Lastly, chapter five concludes the result of the study.
Libri sul tema "Mazurka (Dance)"
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Kijanowska, Anna. Embracing folk material and finding the new objectivity: Karol Szymanowski's Twenty Mazurkas op. 50 and Two Mazurkas op. 62. Katowice: Wydawnictwo Uniwersytetu Śląskiego, 2018.
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Mazur, Michael. Michael Mazur: L'Inferno di Dante : opere grafiche : 1992-2000. Milano: Electa, 2000.
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Howe, Elias. Howe's Complete Ball-Room Hand Book: Containing Upwards of Three Hundred Dances, Including All the Latest and Most Fashionable Dances, Waltz, Polka, Mazurka, Schottische, Gallopade, Common, and Polka Redowa Quadrilles or Cotillons; Varsovianna, Corlitza,. Forgotten Books, 2017.
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The Ball-Room Bijou, and Art of Dancing: Containing the Figures of the Polkas, Mazurkas, and Other Popular New Dances; With Rules for Polite Behaviour. Forgotten Books, 2018.
Cerca il testo completoCapitoli di libri sul tema "Mazurka (Dance)"
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Gremlicová, Dorota. "6. Decency, Health, and Grace Endangered by Quick Dancing?" In Waltzing Through Europe, 149–76. Open Book Publishers, 2020. http://dx.doi.org/10.11647/obp.0174.06.
Testo completoAbstract (sommario):
Gremlicová (Czech Republic) provides a detailed analysis of newspaper discussions of dance. She shows how a text of the kind that is often read as evidence of resistance to new dances can be contextualised: she identifies the people behind it, and the political and cultural contexts to which they belonged. Gremlicová takes the Redowa as an example of the dances mentioned in newspaper discussions: a dance that has Slavic roots, just as the Polka does, and possesses the basic characteristics of the Mazurka types. By means of the newspaper sources, Gremlicová explores the reception of the Redowa in the Czech Republic.
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Katarinčić, Ivana, e Iva Niemčić. "9. Dancing and Politics in Croatia". In Waltzing Through Europe, 257–82. Open Book Publishers, 2020. http://dx.doi.org/10.11647/obp.0174.09.
Testo completoAbstract (sommario):
Katarinčić and Niemčić (Croatia) portray the situation around 1830 when round dances arrived in Croatian cities and started to appear in the source material. They demonstrate the tension between national loyalties and the attraction of the fashionable dances imported from abroad, and how solutions were found to satisfy and combine the two streams of influence through the creation of the Salonsko Kolo. This dance is performed by couples forming large and complex formations reminiscent of the Polonaise, the Mazurka or contra dances. Katarinčić and Niemčić‘s article concludes with a discussion of the convoluted paths of this dance through history into the twentieth century, including how it moves back and forth between first and second existence, and how it also survives among diasporic communities of Croatians.
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Samson, Jim. "Salons". In The Music of Chopin, 120–27. Oxford University PressOxford, 1994. http://dx.doi.org/10.1093/oso/9780198164029.003.0008.
Testo completoAbstract (sommario):
Abstract Apart from the polonaise and the mazurka, the one dance piece which attracted Chopin repeatedly was the waltz. It is not surprising that his earliest attempts should have followed hard on the heels of the youthful polonaises, for the waltz craze swept across Europe at an astonishing rate in the early nineteenth century. The composers who laid its musical foundations, Josef Lanner and Johann Strauss the elder, became the idols in turn of Vienna, the Austrian Empire and the wider world, and very soon their waltzes were mimicked by other composers of functional dance music.
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Fullington, Doug, e Marian Smith. "Paquita in St. Petersburg". In Five Ballets from Paris and St. Petersburg, 264–327. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780190944506.003.0006.
Testo completoAbstract (sommario):
Abstract This chapter follows the evolution of Paquita on the St. Petersburg Imperial Ballet stage from its 1847 premiere to its 1881 revival by Marius Petipa, with musical contributions by Ludwig Minkus, to its documentation in the Stepanov choreographic notation system by Nikolai Sergeyev circa 1904–1905. Petipa’s exposure to the works of original Paquita choreographer Joseph Mazilier is chronicled and his love of Spanish dance and the ways in which he incorporated Spanish dance vocabulary into his choreography are explored. A description of source material leads to detailed account of the choreography, mime, and action of the St. Petersburg Paquita based on Sergeyev’s notations and an Imperial-era répétiteur that include the ballet’s celebrated children’s mazurka and Grand pas. Though these dances have endured, the complete Paquita is the lone work among the five ballets under discussion in this volume that did not establish itself in the modern classical repertory.
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Samson, Jim. "‘A new world for myself’". In Chopin, 148–86. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198164951.003.0006.
Testo completoAbstract (sommario):
Abstract When Chopin composed his Two Polonaises, Op. 26 he effectively created a new genre. In the early nineteenth century the polonaise, like the mazurka, already carried a nationalist charge in dramatic works by Polish composers (Stefani’s Cud mniemany was the exemplary work), but that charge was very much less potent in keyboard stylizations. There its energy was largely diffused by the general conformity of the post-classical keyboard style, and also, paradoxically, by the underlying cosmopolitanism of national dance pieces. Chopin himself, after all, composed three ecossaises, a bolero, and a tarantella without, one assumes, any intention to promote nationalist causes in Scotland, Spain, or Italy. His Warsaw-period polonaises accepted for the most part the conventions of the ‘brilliant’ concert or salon dance piece, and in general style they are heavily indebted to polonaises by non-Polish com¬ posers, above all Hummel and Weber.
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Burnaby, Frederick. "The Meet—Bokharan and Kirghiz Sportsmen—The Country—The Chase— The Falcons—A Club-house—A Ball—The way of Dancing Quadrilles —Vaises—A Mazurka—Theatricals—Osbaldestone’s Feat—The Davenport Brothers’ Trick—The Khan’s Treasurer—An Envoy from the Ameer of Bokhara—”Whois the Khan in the Moon?”—A Russo-German Scientific Expedition—A Prussian Officer—Nazar and Ivanoff’s Servants—Captain Yanusheff—Shurahan." In A Ride to Khiva, 334–42. Oxford University PressNew York, NY, 1997. http://dx.doi.org/10.1093/oso/9780192880505.003.0036.
Testo completoAbstract (sommario):
Abstract The following morning, after a hurried breakfast, an officer came and informed us that everything was ready for a start. I now mounted a little bay horse which, though hardly fourteen hands, danced about beneath me as if he had been carrying a feather-weight jockey for the Cambridgeshire. There were horses and men of all kinds and shapes, long-legged men on short-legged horses, and shortlegged men on giant Turkoman steeds. All the officers were in uniform, and some Bokharan and Kirghiz sportsmen, attired in crimson dressing-gowns, rode in the rear of our cavalcade.