Artykuły w czasopismach na temat „Clarinet History”
Kliknij ten link, aby zobaczyć inne rodzaje publikacji na ten temat: Clarinet History.
Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych
Sprawdź 50 najlepszych artykułów w czasopismach naukowych na temat „Clarinet History”.
Przycisk „Dodaj do bibliografii” jest dostępny obok każdej pracy w bibliografii. Użyj go – a my automatycznie utworzymy odniesienie bibliograficzne do wybranej pracy w stylu cytowania, którego potrzebujesz: APA, MLA, Harvard, Chicago, Vancouver itp.
Możesz również pobrać pełny tekst publikacji naukowej w formacie „.pdf” i przeczytać adnotację do pracy online, jeśli odpowiednie parametry są dostępne w metadanych.
Przeglądaj artykuły w czasopismach z różnych dziedzin i twórz odpowiednie bibliografie.
1
Karp, Cary. "The early history of the clarinet and chalumeau". Early Music 14, nr 4 (listopad 1986): 545–51. http://dx.doi.org/10.1093/earlyj/14.4.545.
Pełny tekst źródła
2
Gardner, Joshua. "Effects of a Synthetic Clarinet Bore Liner on Spectral Centroid and Fundamental Frequency Error". Acta Acustica united with Acustica 105, nr 6 (1.11.2019): 1206–16. http://dx.doi.org/10.3813/aaa.919397.
Pełny tekst źródłaStreszczenie:
Throughout their relatively short history, various materials have been used to construct clarinets. While wood is the most common material used for modern professional clarinets, other materials have been and continue to be used, including synthetic materials. Despite the availability and accessibility of these materials, professional musicians rarely use instruments made from synthetics, insisting that their wooden counterparts produce superior results. Numerous studies have found the energy radiated directly by rigid cylindrical vibrating tubes to be both insignificant and have little to no effect on an internal vibrating air column. Using real instruments played by musicians, the present study compared a prototype clarinet upper joint with a synthetic bore liner produced by French instrument maker Henri Selmer Paris to two unlined, solid wood clarinets of the same make and model by examining two acoustical parameters. Spectral centroid and fundamental frequency f0 pitch error were measured for 45 notes (written E3-C7), performed by five accomplished clarinetists unaware of which instrument they were playing. Consistent with findings from other researchers, the particular instrument had no significant effect on spectral centroid. Meanwhile, although a significant effect of the instrument on f0 pitch error was found, pairwise comparisons suggest non-significant effects from the lined joint.
3
Ward, Tina. "The Return". Medical Problems of Performing Artists 15, nr 2 (1.06.2000): 79–80. http://dx.doi.org/10.21091/mppa.2000.2016.
Pełny tekst źródła
4
Yakovchuk, N. "“Little Trio” for clarinet, bassoon and piano". Musical art in the educological discourse, nr 3 (2018): 75–79. http://dx.doi.org/10.28925/2518-766x.2018.3.7579.
Pełny tekst źródłaStreszczenie:
The chamber-instrumental ensemble music in the Ukrainian musical culture of the last third of the 20th and the beginning of the 21st centuries occupies one of the leading places and is characterized by powerful processes in its development. Such circumstances caused the Ukrainian musicologist interests to the problems of chamber-instrumental music creativity and performance. There are appeared researches in the field of theory, history and performance problems covering the most important questions like chamber music definitions, specific genre issues, the growing function of piano in the Ukrainian chamber music, the increasing questions of technique and timbre importance of modern instrumental ensembles. In the significant multifaceted creative work of contemporary Ukrainian composer, Oleksandr Yakovchuk, the genre of chamber instrumental ensemble music represents a complex and interesting phenomenon. Original and skillfully written compositions reflect artistic world of the composer of postmodern time and gained recognition in music life of Ukraine and beyond. These works are highly appreciated in performing practice of our days. The purpose of the article is to analyze the work — “Little Trio” for clarinet, bassoon and piano (1980), which has the signs of neoclassical tendency in the composer’s style. The methodological basis of this research is a comprehensive approach in theoretical understanding of the subject of research (the methods of textology, source study as well as the method of interviewing the author were used). The scientific novelty of this article is in the priority of its main provisions, since the “Little Trio” entered the scientific circulation for the first time. The three-movement “Little Trio” (1980) is notable for the light feeling of timbre colours and the shape clarity. The Ist movement — Allegretto giocoso — is written in a sonata form following all classical traditions. Quite interesting are the two monologues of clarinet and bassoon from the IInd movement, they represent very modern line in Ukrainian chamber music — the possibility of sincere confession which comes through the solo cadence. In the IIIrd movement, the composer took advantage from the folk Ukrainian dance “hopak” using the rhythm of it and creating dance character of the Final.
5
Pérez Garrido, Javier. ""Beso Mediterráneo", tangos flamencos". Revista de Investigación sobre Flamenco "La Madrugá", nr 16 (27.12.2019): 137–76. http://dx.doi.org/10.6018/flamenco.354511.
Pełny tekst źródłaStreszczenie:
Los tangos son uno de los palos más conocidos y reconocidos del universo flamenco. Su versatilidad les ha permitido adaptarse a diferentes enfoques, confiriéndoles de este modo la posibilidad de adherirse a una amplia variedad de estéticas sin perder por ello sus señas de identidad. Este artículo pretende dar a conocer, analizando sus aspectos más relevantes, una de mis más recientes composiciones, unos tangos flamencos sinfónicos, Beso mediterráneo, escritos originalmente para clarinete solo y arreglados para banda de música. "Tangos flamencos" are one of the best known and recognized flamenco music styles. Thanks to its versatility and since the first appearance of tangos in history, many of them have been adapted in many different ways without losing their main characteristics. This article has been written to speaks about Mediterranean kiss, a symphonic tangos flamencos for concert band. Although they were originally written for solo clarinet, the composer has just orchestrated this piece for symphony band. For getting a better understanding of the mentioned work, this article will analyse many of the most relevant aspects of this band music composition.
6
Хавров, В. В. "Сlarinets in Carl Maria von Weber’s Early Operas". OPERA MUSICOLOGICA, nr 2 (1.05.2021): 6–30. http://dx.doi.org/10.26156/om.2021.13.2.001.
Pełny tekst źródłaStreszczenie:
В статье проанализированы партии кларнетов в ранних операх Карла Марии фон Вебера — композитора, позднее создавшего для этого инструмента ряд произведений, которые до сих пор входят в его концертный репертуар. Работа Вебера с кларнетом до сольных сочинений (первое из них, Концертино, было написано в 1811 году) показывает освоение им опыта предшественников и процесс поиска собственного пути в композиции. Первые оперы Вебера, не без оснований считающиеся незрелыми и малоудачными сочинениями, обычно не попадают в поле зрения исследователей, но тем интереснее оказывается проследить, как он использует в этих операх инструмент, который в будущем станет столь важным для его творчества. Если в «Немой лесной девушке», первой из сохранившихся опер Вебера, кларнет звучит редко и характерные черты его тембра лишь едва заметны, то в последовавшем за ней «Петере Шмоле» эти черты проявляются уже более ярко и разнообразно. Наконец, в истории создания «Сильваны», оперы в общем не показательной в смысле использования кларнета, содержится любопытный сюжет, через который соединяются ранние оперы Вебера и его сольные кларнетные сочинения. The article examines clarinet parts in early operas by Carl Maria von Weber, who later created several works for this instrument, that still remain in its concert repertory. Weber’s work with this timbre before turning to solo works (the first one, Concertino, was written in 1811) shows his learning from the experience of his predecessors and searching for his own way in composing music. Weber’s first operas, considered with good cause immature and unsuccessful works, do not usually fall within the attention of scholars, but it is nevertheless interesting to trace in this operas his use of the instrument that would later become so important for his creative work. In Das stumme Waldmädchen, his first surviving opera, the clarinet plays only rarely and its distinctive features are just barely perceptible, but in the following Peter Schmoll these features are revealed in a more vivid and diverse manner. Finally, the history of Silvana that is generally not exemplary for clarinet use, contains a curious case that connects Weber’s early operas and his solo clarinet works.
7
Nemoto, Koichi, i Hiroshi Arino. "Hand and Upper Extremity Problems in Wind Instrument Players in Military Bands". Medical Problems of Performing Artists 22, nr 2 (1.06.2007): 67–69. http://dx.doi.org/10.21091/mppa.2007.2014.
Pełny tekst źródłaStreszczenie:
This study examined the medical problems, especially of the hand and upper extremity, observed in wind instrument players from the military bands of the Japan Self-Defense Forces. The bands included 235 wind instrument players (184 men, 51 women), whose ages ranged from 18 to 57 yrs (average, 35 yrs). The length of their careers ranged from 6 to 41 yrs (average, 21 yrs). Methods: A questionnaire was distributed to the subjects for the health check. Results: From 235 wind instrument players, 71 (30% of the total players, 27% of the male players, and 41% of the female players) had hand and upper extremity problems. No relationship between the problem and the age or length of career was observed. The most common complaints were pain (49%), stiffness (19%), and numbness (7%). The upper extremities accounted for 52% of the affected sites and included the shoulder (6%), elbow (11%), forearm (4%), wrist (31%) and digit (47%). Musicians who played the flute, oboe, or clarinet were most commonly affected. The right thumb pain of clarinet and oboe players and right wrist pain of French horn players were characteristic symptoms of these instruments. Conclusion: Physicians, musicians, and administrators should be conscious of the potential for musicians to develop a wide array of physical problems directly related to the repeated use of their musical instruments.
8
Young, Kathryn E., i Sara A. Winges. "Thumb-Rest Position and its Role in Neuromuscular Control of the Clarinet Task". Medical Problems of Performing Artists 32, nr 2 (1.06.2017): 71–77. http://dx.doi.org/10.21091/mppa.2017.2013.
Pełny tekst źródłaStreszczenie:
Musicians spend long hours of practice and performance to master their instrument. Clarinet players support their roughly 2-lb instrument on the right-hand thumb, which results in cumulative static loading of the arm. This posture in turn can cause discomfort and, in some cases, evolve into debilitating overuse injuries and pain throughout the right upper limb. Altering the thumb-rest position has been proposed as a way to alleviate this discomfort, although no quantitative research has been conducted on this issue. The purpose of this study was to address the impact of thumb-rest position on the neuromuscular control of holding the clarinet. Surface electromyographic recordings of superficial muscles that control the right thumb, wrist, and arm were taken during realistic playing tasks. Twenty clarinetists performed 10 held notes and 10 exercises on the three different thumb-rest positions. The notes and exercises were chosen to isolate specific elements of playing. We hypothesized that a high thumb-rest position would result in a significantly different balance of muscle activity than traditional and low thumb-rest positions. The patterns of muscle activity recorded among clarinetists were idiosyncratic, but for all players these patterns were influenced by the note(s) played and thumb-rest position, and thus the hypothesis was partially supported. Muscles that acted on the thumb and wrist were most influenced by thumb-rest position. These results support the notion that adjustment of thumb-rest position may be a useful way to alleviate discomfort in the supporting limb but must be evaluated for each individual.
9
Baadjou, VAE, MDF van Eijsden-Besseling, JAMCF Verbunt, RA de Bie, RPJ Geers, RJEM Smeets i HAM Seelen. "Playing the Clarinet: Influence of Body Posture on Muscle Activity and Sound Quality". Medical Problems of Performing Artists 32, nr 3 (1.09.2017): 125–31. http://dx.doi.org/10.21091/mppa.2017.3021.
Pełny tekst źródłaStreszczenie:
Musculoskeletal complaints are highly prevalent in clarinetists and are related to high arm load while playing. It is hypothesized that postural exercise therapy may be used to adapt muscle activity patterns while playing and thus contribute to better sound quality. The goal of the present study was to investigate the relationship between body posture, muscle activity, and sound quality in clarinetists while playing the instrument in two different postures, their habitual sitting posture (control, CO) vs an experimental sitting posture (EXP) based on Mensendieck postural exercise therapy, method Samama. Twenty healthy professional and student clarinet players, aged 18–60 years, were included in this cross-sectional study. Participants played a 60-second musical excerpt in CO, followed by instruction on the EXP body posture, and then played in the EXP condition. Two-dimensional goniometric analysis was used to calculate body posture; muscle activity was measured bilaterally using surface electromyography. In EXP, a significantly smaller low thoracic angle, smaller high thoracic angle, and larger pelvic tilt angle (all p<0.001) were found. EMG results indicated that the left and right erector spinae L3 and left and right lower trapezius were more active in EXP compared to CO, whereas left upper trapezius and right brachioradialis were less active in EXP than CO. Most participants experienced better sound quality in EXP, whereas blinded experts found no consistent pattern between body posture and sound quality. To conclude, it seems that postural exercise therapy may change muscle activity patterns. By increasing stability, a decrease in activity of the upper extremity muscles can be induced.
10
Todd, R. Larry. "Late Brahms, Ancient Modes". Nineteenth-Century Music Review 15, nr 3 (26.06.2018): 421–42. http://dx.doi.org/10.1017/s1479409818000319.
Pełny tekst źródłaStreszczenie:
History has often viewed Brahms as a Janus-faced composer who turned his gaze backward to contemplate the accumulated riches of music history even as he sought late in his career to exploit new means of musical expression. On the one hand, he habitually collected passages from a long line of composers that breached the traditional prohibition against parallel fifths and octaves; he exchanged ideas with musicologists such as Nottebohm, Mandyczewski and Adler, and read early issues of the Vierteljahrsschrift für Musikwissenschaft; and he indulged from time to time in a distinctive musical historicism. But on the other hand, his music was embraced for showing a way forward for a number of next-generation composers who would contend with twentieth-century modernism, most notably of course Schoenberg, in his essay ‘Brahms the Progressive’, but also Anton von Webern, whose transitional Passacaglia op. 1 was unthinkable without the precedent of Brahms’s op. 90, and whose aphoristic miniatures betrayed the concentrated expression and opening up of register in Brahms’s late Klavierstücke.This essay considers one still relatively little-explored facet of Brahms’s historical gaze – his use of modes in his later music, and their potential for creating alternative means of musical organization that challenged, and yet were somehow compatible with, tonality. Examples considered include the first movement of the Clarinet Trio op. 114 and slow movement of the String Quintet no. 2 op. 111. Unlike Brahms’s earlier compositions that treat modes as signifiers of a style of folk music or simulated folk music, the later instrumental works seem to juxtapose principles of modal organization within the context of tonal compositions. Thus, in the first movement of the Clarinet Trio, eerie passages in fauxbourdon impress as allusions to a distant, archaic musical other, as if Brahms the historian were searching for the distant roots of his musical aesthetic.
11
Metlushko, V. O. "The peculiarities of the instrumental parts interpretation in “Four Pieces for Clarinet and Piano” op. 5 by A. Berg". Aspects of Historical Musicology 15, nr 15 (15.09.2019): 43–60. http://dx.doi.org/10.34064/khnum2-15.02.
Pełny tekst źródłaStreszczenie:
Background. Chamber instrumental music written for a clarinet follows the fate оf so-called small genres in the XXth century. The researches in a varying degree connected with problems of the music written for a clarinet or with its participation are very various. However, features of use of a clarinet in chamber genres are researched, as a rule, in aspect of wider perspective. Owing to this fact information on many compositions which entered the repertoire of modern performers in scientifi c and methodical literature either is absent, or does not exhaust all complex of the questions arising in connection with updating of musical language at preservation of the developed receptions of the instrumental and ensemble composing. Objectives. The purpose of the article is to reveal the features of chamber and instrumental ensemble in Four Pieces for Clarinet and Piano by A. Berg in terms of interpretation of technical and expressive opportunities of a clarinet and role functions of parts. Methods. Structurally functional, compose-dramaturgic and comparative methods of research are used. Results. As the presented literature testifi es, the performer, fi rst of all, should get acquainted with the scientifi c researches in order to facilitate the subsequent interpretation process. This is important for understanding not only the fi guratively emotional and meaningful side of music, but also the novelty of the ensemble ratio of instrumental voices. From this point of view, the clarinetist should be aware of his part both in its individual features, and as an integral part of a single thematic process. It is advisable to recall that the previous musical practice has formed different types of the ratio of parts. Аtonality of the Four Pieces op. 5, associated with the avoidance of tonal landmarks and based on the expressiveness of interval clutches, predetermined the emergence of a new quality of ensemble technique, which declares itself in leveling the concept of solo timbre, accompaniment techniques, and open interchange of thematic material. Outwardly, all these signs are present in the musical text, but the writing technique itself directs the musical process towards the creation of a single intoning space in which the participating timbre-register «individualities» appear to be components of a polyphonic texture. Despite this, the idea of ensemble in a broad sense is preserved, which allows us to consider the clarinet part as a relatively independent phenomenon. So, the plays collected in an opus assume possession of a various palette of articulation and dynamic means, capable to transfer thin change of lyrical moods. Their contrast is exhibited already in the fi rst play, which aims the performer to quickly switch to a different emotional mood in the absence of large-scale thematic structures. Against the background of the multievent fi rst play, the two middle ones are distinguished by their consistency of the fi gurative plan. Hence a more modest palette of strokes, articulation, tempo, dynamic changes. This kind of composer’s installation is largely due to the fact that they are enlarging the semantic ideas that were outlined at the beginning of the opus. Due to this, there is a bright contrast, a sharp change of emotional state. Details of this kind raise the requirements for the quality of performance and reveal the truly virtuosic nature of miniatures in the absence of traditional concert techniques. Final op. 5 is similar to the fi rst play by the presence of contrasting elements. Its complexity is indicated both by the rich texture of the piano part, distinguished by a complex rhythmic pattern, and the heterogeneity of the techniques in the clarinet part, where the expressive solo cantilena is adjacent to the background tremolo, angular non-legato motifs, written out by a group of thirty-second in a 9:1 ratio, register spread, sharp dynamic gradations from p to ff. The composer here remains true to himself, prescribing all tempo, dynamic, expressive techniques. Recall that the requirement of long pauses between plays, on the one hand, helps to switch to a different emotional state, on the other hand, complicates the act of performance due to the fact that ensemble artists must fi nd that measure of restraint of silence, which, while retaining the impression of the preceding, does not destroy the immediate contact with the audience. It is impossible to ignore the fact that in the absence of extraordinary innovations in the fi eld of performing techniques, the composer opens the way for further discoveries in this area. Conclusions. The results of the research summarizing analytical observations, including those in the literature we know about, and evaluating the creative discoveries of A. Berg in Four Pieces for Clarinet and Piano op. 5 taking into account the subsequent compositional practice, let us highlight a few fundamental, in our opinion, moments. First, op. 5 is distinguished by a radical renewal of the musical language, predicting the expansion of the boundaries of an established tradition; secondly, he became the ancestor of a new type of ensemble; thirdly, it allowed to treat the pause as an important component of the artistic intent, as an image of meaningful silence; fourthly, demonstrated a new understanding of software based on the symbolism of sounds and numbers; fi fthly, he revealed a deep connection with the tradition of changing musical patterns. In this context, from the cycle by A. Berg stretched a lot of threads to the works of composers belonging to different generations and national cultures. This allows us to speak about the weighty signifi cance of this opus in the history of the development of clarinet – not only ensemble, but also solo music. We conclude that at the same time, the real compositional practice of the subsequent time refl ected the multi-vector nature of creative interests, characteristic of the music of the twentieth century, where, along with the search for renewing principles, the established methods of instrumental.
12
Hensley, Douglas. "Guitar Forum: The Flute, Viola, Guitar Trio: Its History, Literature and Performance". American String Teacher 36, nr 4 (listopad 1986): 73–76. http://dx.doi.org/10.1177/000313138603600433.
Pełny tekst źródłaStreszczenie:
Douglas Hensley has been an active chamber musician ever since he took up serious study of the classical guitar. He received bachelor and master's degrees under the direction of David Tanenbaum from the San Francisco Conservatory of Music and he has studied with many other musicians in private lessons and master classes. Over the past ten years he has premiered close to fifty new compositions, performed numerous U.S. premieres and the West Coast premiere of Elliott Carter's “Changes” for solo guitar. For Opus One Records in New York he has recorded Larry Polansky's “Hensley Variations” and David Loeb's “Trois Cansos” with flautist Kenneth Kramer and violist John Casten. He has also recorded a collection of duets with Japanese shakuhachi master Masayuka Koga, “Autumn Mist,” for Fortuna Records of Novato, California. His principal activities are as cofounder (with violist/violinist John Casten) and guitarist of the San Francisco-based contemporary performance ensemble ISKRA, which is made up of flute, clarinet, guitar, violin/viola, doublebass and soprano voice. Anyone with additional information about flute, viola, guitar trios (or other chamber music with guitar), or queries, is urged to contact him at 607-A Frederick St., San Francisco, CA 94117.
13
Lajic-Mihajlovic, Danka. "The history of the three-part bagpipes in the light of migrations". Muzikologija, nr 3 (2003): 13–25. http://dx.doi.org/10.2298/muz0303013l.
Pełny tekst źródłaStreszczenie:
Three-part bagpipes could be designated as multinational musical instruments since they are and were found in Serbia, Croatia, Hungary, Slovakia, the Ukraine and Romania. In order to determine the movement of their circulation in the past, it is important to investigate the influences that the different cultures had on one another. The central area of the vast territory where they were used coincides with the territory of Hungary when it was part of the Austrian Empire. From that fact it can be deduced that the presence of bagpipes as a common cultural element was the result of the influence of the Hungarian conquest. Another interpretation is based on data concerning Serbian migrations. The area where three-part bagpipes are spread significantly coincides with that of Serbian cultural influences. This finding is supported by linguistic research. The instrument related to bag-pipes, the double clarinet ("diple"), a traditional instrument of the Serbs, and the singing "on the bass" (a vocal counterpart of the harmonical structure of three-part bagpipes), mark the musical features that are characteristic only of Serbs and Croats, and are not found among other peoples that use three-part bagpipes. It is a delicate matter to differentiate the roles of those two peoples because of their common origins and centuries of close proximity on the territory that has recently gained the status of the republic of Croatia. However, on the basis of known data it seems that the key-role was played by Serbs. Such research is important for investigating typologies and stylistic stratigraphies of Serbian traditional music.
14
Tien, Nhat, i Xuan Phong. "The khaki coat: A short story from Vietnam". Index on Censorship 17, nr 6 (czerwiec 1988): 15–16. http://dx.doi.org/10.1080/03064228808534470.
Pełny tekst źródłaStreszczenie:
Nhat Tien, now in his early fifties and one of the best-known Vietnamese writers, lived in South Vietnam until a few years after the Communist take-over in 1975. He has published 16 books (14 novels and two collections of short stories) and received the Vietnamese National Literary Award in 1961 for his novel Them Hoang (‘The abandoned veranda’) in 1961. He was vice-president of the Vietnamese PEN club, director of the Huyen Tran Publishing Co, and editor of the weekly Thieu Nhi In the late 1970s he left Vietnam as a ‘boat person’ and he is now living in the United States. The following short story is reprinted from the collection Tieng Ken (‘ Sound of a clarinet’), published in 1983 by Van Hoc, San Diego, California.
15
Moffitt, Dani M., Anne C. Russ i Jamie L. Mansell. "Marching Band Camp Injury Rates at the Collegiate Level". Medical Problems of Performing Artists 30, nr 2 (1.06.2015): 96–99. http://dx.doi.org/10.21091/mppa.2015.2016.
Pełny tekst źródłaStreszczenie:
Aims: Marching band camp injuries were recorded over the course of 1 week (10 field practices) to determine injury rate for preseason. Methods: Members were instructed to self-report any type of injury that occurred. The collected data were coded and analyzed for total injuries and injuries per section. The injury counts, along with total practices and band members per section, were used to calculate injury rate per 1,000 exposures for total injury and injury per section. Results: There were a total of 191 injuries reported in 1,540 practice exposures. The overall injury rate was 124.03/1,000 exposures. The instrument with the highest injury rate was the mellophone (220.0/1,000 exposures), followed by the trombone (190.0/1,000 exposures), and percussion (184.62/ 1,000 exposures). The instrument with the lowest injury rate was the clarinet (43.75/1,000 exposures). Conclusion: The findings demonstrate that marching band is a strenuous activity and deserves to be considered an area of emerging practice for athletic trainers and other health care professionals.
16
Glória, José CR, Amanda A. Balestra, Nayara S. Iasbik, Dhelfeson W. Douglas-de-Oliveira, Olga D. Flecha i Patricia F. Gonçalves. "Prevalence of Orofacial Changes in Wind Instrumentalists: A Cross-Sectional Pilot Study in Brazil". Medical Problems of Performing Artists 33, nr 1 (1.03.2018): 1–5. http://dx.doi.org/10.21091/mppa.2018.1002.
Pełny tekst źródłaStreszczenie:
OBJECTIVE: The aim of the present study was to identify the prevalence of orofacial changes and factors associated with the frequent playing of wind instruments by musicians in Diamantina, Minas Gerais, Brazil. METHODS: A cross-sectional study was conducted with 40 professional musicians who played wind instruments. The musicians filled out questionnaires about their habits and musical career. The Research Diagnostic Criteria were applied to investigate temporomandibular disorders. Other oral parameters examined included periodontal status, plaque index, and decayed, missing, and filled teeth (DMF) index. A significance level of p<0.05 was adopted for statistical analysis. RESULTS: The population included 22 (55%) men and 18 (45%) women, with a mean age of 25.88 yrs. The most common instruments played were the saxophone (n=12, 30%), clarinet (n=9, 22.5%), and flute (n=6, 15%). The most frequent pain complaint after playing was numbness in the upper lip or no sensation (25% of musicians), and the most frequent dental change observed was inclination of the upper teeth (15% of musicians). There was no significant association between dental changes, pain, and classification of instrument type. CONCLUSION: The main oral change that affected musicians who played wind instruments was the inclination of anterior teeth.
17
Beller-McKenna, Daniel. "Imagination and Memory: Inter-movement Thematic Recall in Beethoven and Brahms". Nineteenth-Century Music Review 18, nr 2 (22.01.2021): 283–308. http://dx.doi.org/10.1017/s1479409820000294.
Pełny tekst źródłaStreszczenie:
Like several of his predecessors, Brahms reintroduces themes from one movement into a later one in several of his instrumental works. Historical circumstances and changing historical consciousness affected a composer's use of thematic recall. For Beethoven (per Elaine Sisman) recalling an earlier theme provided the creative stimulus to move forward to the end of a piece, in accordance with the linear concept of history that defined Beethoven's Enlightenment world view. Brahms's use of inter-movement thematic recall often expresses a more wistful and melancholy view of the past and focuses on the ability of recall to provide a dramatic narrative. In his earliest use of cyclical return, the Op. 5 Piano Sonata (1853), the Andante second movement is echoed and transformed by the ‘Ruckblick’ fourth movement, as Brahms plays on the poetic inscription of the former movement to raise the specter of lost love and mortality. In a more complex web of thematic recall, the op. 78 Violin Sonata (1878) combines allusions to a pre-existing pair of interrelated songs from his Op. 59 with a newly composed, recurring instrumental theme to create a multi-layered, somber character in the piece. Both of those works draw on an earlier, romantic sense of yearning for return. Near the end of his career, however, the quiet emergence and eventual dissipation of opening material at the close of the Op. 115 Clarinet Quintet (1891) reflects Brahms's awareness of his place at the end of an artistic tradition, and thereby conveys a post-Romantic conception of history.
18
Lederman, Richard J. "Tremor in Instrumentalists: Influence of Tremor Type on Performance". Medical Problems of Performing Artists 22, nr 2 (1.06.2007): 70–73. http://dx.doi.org/10.21091/mppa.2007.2105.
Pełny tekst źródłaStreszczenie:
Objective: To review the types of tremor seen in instrumental musicians and assess the impact on the musicians’ careers. Tremor of the limb, lip, jaw, or larynx can be particularly disruptive to an instrumentalist. Methods: Forty-six instrumental musicians were identified who specifically noted tremor interfering with musical activity. Tremor associated only with performance anxiety was excluded. Follow-up information was obtained by personal examination or telephone interview. Results: Twenty-six musicians (22 men, 4 women), aged 17 to 70 yrs at evaluation, had essential tremor. All had hand tremor; 2 primarily had lip tremor, and 1 vocal tremor. Instruments included 13 bowed strings, 5 woodwind, 3 keyboard, 2 guitar, and 1 each brass, percussion, and voice. Thirteen musicians currently use medication as needed; 1 is deceased; 1 no longer plays; and 4 were lost to follow-up. Sixteen with dystonic tremor (12 men, 4 women) were age 19 to 53 yrs at evaluation: 6 had embouchure tremor (4 brass, 2 woodwind) and 10 limb tremor (5 violin, 2 percussion, 1 each piano, banjo, and clarinet). Four play unimpaired; 3 remain mildly impaired; 5 remain in music but do not play; 3 have nonmusic careers; and 1 was lost to follow-up. Four patients had Parkinson's disease (2 men, 2 women), aged 34 to 71 at evaluation: 2 piano, 1 cello, and 1 bassoon. All had hand tremor and impaired dexterity that interfered with playing. One is deceased, another has stopped playing, and 2 continue to play with medication. Conclusions: Tremor can have a major impact on instrumental performance. Accurate identification of tremor type is critical for effective management and career counseling.
19
Barros, Ana, Joaquim Mendes, André Moreira, Ricardo Vardasca, Miguel Pais Clemente i Afonso Pinhão Ferreira. "Thermographic Study of the Orofacial Structures Involved in Clarinetists Musical Performance". Dentistry Journal 6, nr 4 (1.11.2018): 62. http://dx.doi.org/10.3390/dj6040062.
Pełny tekst źródłaStreszczenie:
Introduction: Wind instrumentalists like clarinetists, may present a muscular hyperactivity on certain groups of the cranio-cervico-mandibular complex, due to their musical activity. Therefore, the use of infrared thermography can be used to assess and characterize the orofacial structures involved in clarinet performance. Aim: The objective of this study was to analyze and record the thermal patterns using the thermographic camera Flir® E60sc to evaluate anatomically and physiologically certain orofacial structures of the cranio-cervical-mandibular complex, such as the masticatory muscles and the region of the temporomandibular joint. Methodology: A sample of 30 clarinetists completed an individual questionnaire composed of two components (musical and clinical history of the participant), and were subjected to a clinical examination. Four thermographic images were taken of the cranio-cervical-mandibular complex at a rest position with frontal, right lateral, left lateral and anterior dentoalveolar components views. Each musician performed a piece of music for an uninterrupted period of 10 min. New thermographic images were captured with the same incidences, after the performance, respecting the same protocol. Results: There were statistically significant differences in the areas corresponding to the left temporal muscle, the orbicularis muscle (labial component), the left and right perioral teguments, as well as in the upper central incisors. There was also statistical evidence regarding the initial and final temperature asymmetries regarding temporal muscle and orbicular muscles (labial and marginal components). Conclusion: Infrared thermography has been shown to be an effective complementary diagnostic tool in the monitorization of the cranio-cervical-mandibular complex of clarinetists.
20
Vasiliu, Alex. "The Balkan tradition in contemporary jazz. Anatoly Vapirov". Artes. Journal of Musicology 20, nr 1 (1.03.2019): 256–64. http://dx.doi.org/10.2478/ajm-2019-0015.
Pełny tekst źródłaStreszczenie:
Abstract The folkloric character of the beginnings of jazz has been established by all researchers of American classical music. The African-Americans brought as slaves onto the territory of North America, the European émigrés tied to their own folkloric repertoire, the songs in the musical revues on Broadway turned national successes – can be considered the first three waves to have fundamentally influenced the history of jazz music. Preserving the classical and modern manner of improvisation and arrangement has not been a solution for authentic jazz musicians, permanently preoccupied with renewing their mode of expression. As it happened in the academic genres, the effect of experiments was mostly to draw the public away, as its capacity of understanding and empathizing with the new musical “products” (especially those in the “free” stylistic area) were discouraging. The areas which also had something original to say in the field of jazz remained the traditional, archaic cultures in Eastern Europe, Asia, the Orient. Compared to folkloric works from very distant areas, the musical culture of the Balkans bears the advantage of diversity, the ease of reception of melodies, rhythms and instrumental sonority. One of the most important architects of ethno-jazz is Anatoly Vapirov. A classically-trained musician, an author of concerts, stage music and soundtracks, a consummate connoisseur of the classical mode of improvisation as a saxophone and clarinet player, Anatoly Vapirov has dedicated decades of his life to researching the archaic musical culture of the Balkans, which he translated into the dual academic-jazz language, in the hypostases of predetermined scored works and of improvised works – either as a soloist, in combos or big bands. This study focuses on highlighting the language techniques, emphasizing the aesthetic-artistic qualities of the music signed Anatoly Vapirov.
21
Chystiakova, Katerina. "Dramaturgical function of the orchestra in song cycle by Hector Berlioz – Théophile Gautier “Summer Nights”". Aspects of Historical Musicology 16, nr 16 (15.09.2019): 190–206. http://dx.doi.org/10.34064/khnum2-16.11.
Pełny tekst źródłaStreszczenie:
Background. In recent scholar resources musicologists actively study the problem of typology of chamber song cycle. The article cites analytical observations of M. Kolotylenko on works in this genre by R. Strauss (2014), of I. Leopa – on G. Mahler’s (2017), of N. Vlasova – on A. Schoenberg’s (2007). It is stated, that unlike Austro-German phenomena of this kind have been studied to a certain degree, song cycle “Summer Nights” by H. Berlioz hasn’t received adequate research yet, although it is mentioned by N. Vlasova as on of the foremost experiences of this kind. It allows to regard the French author as a pioneer in tradition of chamber song cycle. The aim of given research is to reveal the essence of orchestration as a part of songs cycle’s artistic whole. In order to achieve it, semantical, compositionally-dramaturgical and intonational methods of research are used. Originally, “Summer Nights” were meant to be performed by a duo of voice and piano (1834). It was not until 1856 that composer orchestrated this cycle, similarly to the way G. Mahler and in several cases R. Strauss done it later. The foundation of cycle by H. Berlioz are six poems from a set by T. Gautier «La Comédie de la mort», published in 1838. In spite of having epic traits, this set is still an example of lyrical poesy, where subjective is being generalised, while chosen motive of death, according to L.Ginzburg, corresponds to existential essence of lyric (L. Ginzburg). French poet, prose writer, critic, author ow the poems set to music in “Summer Nights” by H. Berlioz – Théophile Gautier (1811–1872) – is one of the most enigmatic and singular figures in history of XIX century art. He was eclipsed by his contemporaries, although his creativity paved the way for upcoming symbolism, that incarnated in poetry of C. Baudelaire, and set “Émaux et Camées” became an aesthetic ideal for Parnassian School. A work by H. Berlioz on lyrics by T. Gautier consists of four songs: “Villanelle”, “Le Spectre de la Rose”, “Sur le lagunes”, “Absence”, “Au cimetiere. Clair de Lune” and “L`ile Inconnue”. It is founded on a plot of lyrical type, that is built according to the principle of appearing associations. Lyrical “I”, whose inner world is revealed during the cycle, provides logical congruity of the work. Each mélodie has its own spectrum of images, united by general lyrical plot. The first and last songs, grounding on a theme of nature, create thematic arch. The denouement of the plat falls on “L`ile Inconnue”, where hero’s conclusion about impossibility of everlasting love is proclaimed. The orchestra part is equal significance with the voice and intonated verbal text, simultaneously playing an important role in illuminating underlying meaning of the lyrics. H. Berlioz doesn’t tend to use supplementary woodwind instruments. Although, each instrument reveals its unique sonic and expressive possibilities, demonstrating its singular characteristics. Due to that an orchestra becomes differentiated, turning into a flexible living organism. Composer doesn’t use exceedingly large orchestra, moreover, each song has its unique set of performers. However, there are stable players: strings (including double basses), two flutes, 2 clarinets (in A and in B). Besides of that, H. Berlioz occasionally uses the timbre of solo oboe, bassoons, natural French horns in different keys, and in the second song he employs coloristic potential of the harp. From a standpoint of the semantics, the score is built according to the principle of the opposition between two spheres. The former one is attached to the motives of the nature and has pastoral mod. At the same time, it reveals idealistic expanse of dreams and vision, thus being above the existing realm. This sphere is represented by woodwinds and brass. The latter, on the contrary, places the hero in real time. It is a sphere of sensuality, of truly human, it also touches themes of fate and inevitable death. It is characteristic that this sphere is incarnated through string instruments. Although, the harp cannot be bracketed with either of the groups. This elusive timbre in instrumental palette is saved for “Le Spectre de la Rose” and creates unsubstantial image of a soul ascending to Heaven. H. Berlioz evades usage of mixed timbers in joining of different groups of the orchestra. Even when he does it, it has sporadic nature and provides emphasis on a particular motive. Orchestral tutti are almost non-existent. Composer uses concerto principle quite regularly as well. Additional attention must be drawn to psychologising of role of clarinet and semantisation of flute and bassoon. Clarinet becomes a doppelganger of lyrical “I” and, quite like a personality of a human, acquires ambivalent characteristics. Because of that, it interacts not only with its light group, but with low strings as well, thus demonstrating an ability to transformation of the image. Bassoon reflects the image of the death. This explains its rare usage as well as specific way of interaction with other instruments and groups. Flute is attached to the image of the nature, symbolises a white dove, that in a poetry of T. Gautier represents an image of beautiful maiden. Consequently, this allows to state that timbre of flute incarnates the image of lyrical hero’s love interest. The most significant instruments of string group are the low ones, accenting either the aura of dark colours or sensuality and passion. Neglecting the tradition requiring lyrical hero to be paired with a certain voice type, H. Berlioz in each mélodie uses different timbres, that suit coloristic incarnation of the miniature the most in the terms of tessiture and colour. A conclusion is made, that composer become a forefather of chamber song cycle of new type, with its special trait being equivalence of the voice and the orchestra, that allows them to create united multi-layered integrity
22
Tararak, Yu P. "The history of the origin and development of the trumpet: the organological aspect". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, nr 54 (10.12.2019): 123–37. http://dx.doi.org/10.34064/khnum1-54.08.
Pełny tekst źródłaStreszczenie:
Logical reason for research. Modern performance on wind instruments, in particular on the trumpet, is characterized by a powerful development. It is an object of listening interest and composing, and today it has a fairly large repertoire of both transpositions and original works in many instrumental compositions (from solo to various ensembles and orchestras) in different styles and genres. This situation in music practice requires theoretical understanding and generalization, however, we can state that at the moment, music science highlights the performance on the wind instruments without any system, mostly from the methodological viewpoint. Innovation. The article under consideration deals with the organological aspect of studying the specificity of the performance on the trumpet, which combines a number of historical and practical questions and allows them to be answered in connection with the requests of both music science and music practice (from the peculiarities of the sound production on various instruments of the trumpet family at different times (from the historical origins of trumpet performance to the present) to the technical and artistic tasks faced by the trumpet performer, as well as by the composers who create both transpositions of time-tested music for trumpet and original trumpet pieces that take into account technical, timbre, artistic and expressive capabilities of this instrument). Objectives. The purpose of research is to reveal connection between the historical-organological and practical specificity of the performance on the trumpet in the past and at present. Methods. The main methods of the research are historical and organological. Results and Discussion. Trumpet as a musical instrument is one of the oldest musical instruments in the world. Its earliest prototypes are revealed in archaeological studies of the historical past of humanity. The prototypes of embouchure instruments are horn, bone, and tusk pipes with conical bore, mostly curved, which are ancestors of the horn family; instruments with straight cylindrical pipes formed a family of trumpet. The art of playing wind instruments was a significant development in ancient Egypt, where the state placed musical art at the service of rulers and worship. Musicians in those days accompanied festive events and rituals; what is more, wind and percussion instruments became the basis for the creation of military orchestras. A straight metal trumpet appeared in Europe in the Middle Ages. In the countries of Central Asia, Iran, Tajikistan, Kazakhstan copper brass instruments were played. China’s music and performing culture employed bronze trumpets of various sizes. In the 14th-15th centuries the evolution of metal instruments underwent qualitative changes. Forms of curved trumpets were born. In addition to this, trumpets were split into low and high ones; later, middle-register instruments appeared. The so-called natural trumpets, used then, were very close in sound to the modern trumpet. In Europe there were masters who made metal instruments; eminent experts in this field, the Heinlein Schmidt family, the Nagel family, English masters Dudley, U. Bullem worked in Nuremberg from the 15th and up to the 19th century. The emergence of a slide trumpet, a trumpet with a sliding crook, is connected with the attempts to improve the instrument for the sound production of more chromatic sounds (we must distinguish the achievements of Anton Weidinger). An important step in the evolution of the chromatic trumpet was the use of horn invention (croooks). In the mid-nineteenth century, having improved the inventory system with a valve mechanism, the trumpet finally gained its place in the orchestra as a chromatic instrument. At the present time, a trumpet with a piston valve mechanism (in jazz, variety, modern music) has become very popular. At the turn of the 19th-20th centuries, trumpets of different structures, such as in C, in D, in Es, in F, were constructed; the designs of these trumpets are almost indistinguishable from the design of the modern trumpet. The piccolo trumpet was designed for a solo performance of ancient music (clarinet style); to amplify the low sounds, the alt trumpet in F and the bass trumpet became popular. Compared to fixed-mode instruments, the trumpet is a semifixed-pitch instrument. Therefore, a skilled performer is able to adjust the pitch within a certain area and correct defects in the setting of separate modeless sounds. The "planned" inaccuracy of the trumpet intonation is related to the use of a third valve. To correct the intonation associated with this, the trumpet has a device for extending an additional pipe of the third valve. There is no precise theoretical prediction of the given problem, so the correction of modeless sounds requires from the performer well-developed musical ear and knowledge of the specific features of their instrument. Conclusions. The summarized results of the presented article indicate that the organological aspect of the research in the field of performance on wind instruments, in particular, on the trumpet, is important and illustrative. It is an indispensable link that binds the theoretical and practical vectors of the study of trumpet art as a single set of knowledge; helps to identify the connection between the historical, organological and practical aspects of the performance on the trumpet, both past and present; promotes awareness of the specificity of playing a particular instrument, especially, understanding and assimilation of the design features of the trumpet in all its historical variants, and the corresponding principles of sound production with technical-acoustic and artistic effects; outlines the theoretical, scientific and methodological tasks for performers and composers whose work is related to the art of playing the trumpet. These are the directions in which further avenues for researching music related to the performance on the trumpet of different times, styles and genres can be seen.
23
Mead, R. J. "Frontier Feminist: Clarina Howard Nichols and the Politics of Motherhood". Journal of American History 99, nr 4 (15.02.2013): 1259–60. http://dx.doi.org/10.1093/jahist/jas651.
Pełny tekst źródła
24
Kass, Dorothy. "Clarice Irwin’s visions for education in Australia in the 1920s and 1930s: “what might be”". History of Education Review 48, nr 2 (26.09.2019): 198–213. http://dx.doi.org/10.1108/her-02-2019-0003.
Pełny tekst źródłaStreszczenie:
Purpose The paper is a study of Clarice McNamara, née Irwin (1901–1990), an educator who advocated for reform in the interwar period in Australia. Clarice is known for her role within the New Education Fellowship in Australia, 1940s–1960s; however, the purpose of this paper is to investigate her activism in an earlier period, including contributions made to the journal Education from 1925 to 1938 to ask how she addressed conditions of schooling, curriculum reform, and a range of other educational, social, political and economic issues, and to what effect. Design/methodology/approach Primary source material includes the previously ignored contributions to Education and a substantial unpublished autobiography. Used in conjunction, the sources allow a biographical, rhetorical and contextual study to stress a dynamic relationship between writing, attitudes, and the formation and activity of organisations. Findings McNamara was an unconventional thinker whose writing urged the case for radical change. She kept visions of reformed education alive for educators and brought transnational progressive literature to the attention of Australian educators in an overall reactionary period. Her writing was part of a wider activism that embraced schooling, leftist ideologies, and feminist issues. Originality/value There has been little scholarly attention to the life and work of McNamara, particularly in the 1920s–1930s. The paper indicates her relevance for histories of progressive education in Australia and its transnational networks, the Teachers Federation and feminist activism between the wars.
25
Lindstrom, Naomi. "Why This World: A Biography of Clarice Lispector (review)". Shofar: An Interdisciplinary Journal of Jewish Studies 29, nr 1 (2010): 191–93. http://dx.doi.org/10.1353/sho.2010.0084.
Pełny tekst źródła
26
Williams, Claire. "Possible and Impossible Dialogues: Interpreting Clarice Lispector’s Interviews for Manchete and Fatos e Fotos". Journal of Lusophone Studies 4, nr 2 (1.01.2020): 198–218. http://dx.doi.org/10.21471/jls.v4i2.342.
Pełny tekst źródłaStreszczenie:
Traces of Clarice Lispector’s experiences as an interviewer of public figures for popular magazines can be found in her literary texts, which are full of unanswered questions and searches for identity. Her characters also often yearn for an interlocutor who might understand and appreciate them, with whom they might establish a dialogue. The interviews themselves are interesting from a biographical and aesthetic point of view but also because the choice of interviewees, ranging from sportsmen to actresses and First Ladies, paints a portrait of Brazil at two key moments in history: the late 1960s, in the depths of dictatorship, and the late 1970s, when it was governed by a less repressive, but still authoritarian and military government. This article discusses recurring patterns and structures, and Lispector’s creation of an interviewer persona, paying particular attention to the interviews not yet published in book form.
27
Hedrick, Tace. "Closer to the Wild Heart: Essays on Clarice Lispector". Luso-Brazilian Review 41, nr 1 (2004): 203–5. http://dx.doi.org/10.1353/lbr.2004.0011.
Pełny tekst źródła
28
Guimaraes, R. "Fracoes do ex-istencial na escritura de Clarice Lispector". Luso-Brazilian Review 48, nr 2 (1.12.2011): 112–28. http://dx.doi.org/10.1353/lbr.2011.0051.
Pełny tekst źródła
29
Melenchuk, Olha. "From History of Studying and Honoring Shevchenko in Bukovynian Hutsulshchyna". Слово і Час, nr 11 (15.11.2019): 40–49. http://dx.doi.org/10.33608/0236-1477.2019.11.40-49.
Pełny tekst źródłaStreszczenie:
The paper informs about the cultural contribution of Chernivtsi University graduates, former S. Smal-Stotskyі’s students D. Lukiianovych, I. Doshchivnyk, S. Lakusta, and M. Pavlusevych, whose creative work and pedagogical activity played an important role in promoting and exploring the works by T. Shevchenko in the territories of Bukovyna. Focusing on Vyzhnytsia center, the paper clarifies fundamental views of the mentioned persons, their assessments of the poet’s works and main relevant ideas. The author evaluates critical writings and literary works of the Bukovynians in relation to the development of Shevchenko studies and promotion of his legacy.
At the late 19th and early 20th century none of the Ukrainian universities focused on Shevchenko’s works more than Chernivtsi University. Hnat Onyshkevych initiated a series of lectures on the study of T. Shevchenko’s poetic works. His project was continued by professor S. Smal-Stotskyi, who offered the course “Taras Shevchenko. Life and Works” and held a series of seminars on the theme “Shevchenko’s Poetry” at the beginning of the 20th century. Those who studied at the Philosophical Faculty of Chernivtsi University picked up the teachings of Professor S. Smal-Stotskyі and showed unceasing interest in the works by T. Shevchenko. In the conditions of the national cultural revival, Shevchenko’s poems were especially significant; the poet’s crystallized ideas passed from teacher to student and played an important role in forming a new generation of conscious Ukrainians who were concerned about the future of their country. There were two circles (Kitsman-Kolomyia and Vyzhnytsia) in Bukovyna where researchers and promoters of T. Shevchenko’s works made the poet’s legacy actual and contributed to Shevchenko studies. The paper summarizes the achievements of the Vyzhnytsia center representatives.
30
Pavesio, Monica. "Jean de Rotrou, Théâtre complet 12, L’Heureux naufrage, Agésilan de Colchos, Clarice". Studi Francesi, nr 183 (LXI | III) (1.12.2017): 546. http://dx.doi.org/10.4000/studifrancesi.10555.
Pełny tekst źródła
31
Vasconcelos, R. "Namorato, Luciana, and Cesar Ferreira, eds. La palabra segun Clarice Lispector - aproximaciones criticas / A palavra segundo Clarice Lispector - aproximacoes criticas / The Word According to Clarice Lispector - Critical Approaches. Lima: Centro de Estudios Literarios Antonio Cornejo Polar, Universidad Nacional Mayor de San Marcos, 2011. 228 pp." Luso-Brazilian Review 50, nr 2 (1.12.2013): 155–58. http://dx.doi.org/10.1353/lbr.2013.0037.
Pełny tekst źródła
32
Sanna, Maria Cristina. "Clarice Della Torre Ferrarini: o depoimento de uma pioneira da administração em enfermagem no Brasil". História, Ciências, Saúde-Manguinhos 10, nr 3 (grudzień 2003): 1053–70. http://dx.doi.org/10.1590/s0104-59702003000300013.
Pełny tekst źródłaStreszczenie:
O presente depoimento, construído a partir de entrevistas realizadas nos anos de 1996 e 1997 com a enfermeira Clarice Della Torre Ferrarini, por ocasião da coleta de dados para a tese de doutoramento intitulada História de Enfermeiras gerentes: subsídios para a compreensão de um modelo-referência de organização de serviços de enfermagem no período de 1950 a 1980, é apresentado após ter sido submetido aos processos de transcrição, validação e autorização. O processo é descrito e exemplificado, e o produto apresentado evidencia a trajetória da entrevistada, desde a escolha da profissão até o desempenho de vários papéis profissionais de liderança no cenário da administração em enfermagem, em cinqüenta anos de vida profissional vinculada a instituições como o Hospital das Clínicas de São Paulo, o Ministério da Saúde e a Associação Brasileira de Enfermagem, entre outras.
33
Hedrick, T. ""Mae e para isso": Gender, Writing and English-Language Translation in Clarice Lispector". Luso-Brazilian Review 41, nr 2 (1.12.2004): 56–83. http://dx.doi.org/10.1353/lbr.2005.0006.
Pełny tekst źródła
34
Enslen, J. A. "Between Tijuca and Mars: Maddening Intertextualities in Clarice Lispector's "A imitacao da rosa"". Luso-Brazilian Review 51, nr 2 (1.12.2014): 68–79. http://dx.doi.org/10.1353/lbr.2014.0026.
Pełny tekst źródła
35
Josiowicz, Alejandra. "A psicanálise e as transformações na concepção da infância nas crônicas e colunas de Clarice Lispector, 1952-1973". História, Ciências, Saúde-Manguinhos 27, nr 1 (marzec 2020): 53–69. http://dx.doi.org/10.1590/s0104-59702020000100004.
Pełny tekst źródłaStreszczenie:
Resumo O artigo estuda o papel da psicologia na transformação dos modos de conceber a infância nas décadas de 1950 a 1970, tendo como foco as colunas e crônicas publicadas em revistas e jornais de ampla circulação por Clarice Lispector entre 1952 e 1973. Delas emerge um novo paradigma que considera os filhos mistérios psicológicos no interior do âmbito doméstico, objeto de investigação por parte da mãe, e que entende a infância como núcleo do psiquismo adulto. Trata-se de um modelo biopsicológico, que combina a preocupação higiênica pela saúde física com uma atenção psicológica à subjetividade infantil, no qual a criança das classes médias emerge como índice do questionamento dos papéis de autoridade familiar e da nova centralidade do indivíduo.
36
San-Juan, M. "A viva evocacao da impossibilidade: Uma analise pos-modernista de Agua viva de Clarice Lispector". Luso-Brazilian Review 49, nr 2 (1.12.2012): 120–44. http://dx.doi.org/10.1353/lbr.2012.0050.
Pełny tekst źródła
37
Pitt, K. E. "Discovery and Conquest Through a Poststructural and Postcolonial Lens: Clarice Lispector's A maca no escuro". Luso-Brazilian Review 50, nr 1 (1.06.2013): 184–200. http://dx.doi.org/10.1353/lbr.2013.0005.
Pełny tekst źródła
38
JOSIOWICZ, ALEJANDRA JUDITH. "HUMANIDADES DIGITAIS E LEITURA NO TWITTER: “UM PLACEBO SANADOR EM TEMPOS DE COVID-19”". Estudos Históricos (Rio de Janeiro) 34, nr 73 (sierpień 2021): 343–66. http://dx.doi.org/10.1590/s2178-149420210207.
Pełny tekst źródłaStreszczenie:
RESUMO O presente artigo parte de uma crítica cultural computacional para analisar as práticas de leitura ao longo da pandemia pela COVID-19 por meio do uso do Twitter. Analisam-se tweets com referências a dois autores, Clarice Lispector e Jorge Luis Borges, os quais foram extraídos e analisados utilizando softwares de mineração de texto. Esses autores foram mobilizados em dois sentidos principais: em um sentido terapêutico, modo de lidar com a solidão e o sofrimento, e para processar as transformações sociais e coletivas, expressando apoio ou oposição às políticas dos governos ante a COVID-19. O trabalho conclui que as práticas de leitura desses autores colocaram em cena os modos múltiplos de viver a pandemia e deram forma à experiência subjetiva e coletiva.
39
Fitz, E. E. "Moser, Benjamin. Why This World: A Biography of Clarice Lispector. Oxford: Oxford UP, 2009. 496 pp." Luso-Brazilian Review 47, nr 1 (1.06.2010): 231–33. http://dx.doi.org/10.1353/lbr.0.0109.
Pełny tekst źródła
40
Cannon, Joseph G. "Book Review of A History of Medicinal Chemistry A History of Medicinal Chemistry . By William A. Remers . Clarice Publications , Tucson, AZ . 2011 . vii + 874 pp. 21.5 × 27.5 cm. ISBN 0-9677940-1-3 (Paperback). $70.00." Journal of Medicinal Chemistry 54, nr 18 (22.09.2011): 6404. http://dx.doi.org/10.1021/jm200998t.
Pełny tekst źródła
41
Colvin, M. "Cannibalistic Perspectives: Paradoxical Duplication and the mise en abyme in Clarice Lispector's "A menor mulher do mundo"". Luso-Brazilian Review 41, nr 2 (1.12.2004): 84–95. http://dx.doi.org/10.1353/lbr.2005.0003.
Pełny tekst źródła
42
Colombo Timelli, Maria. "Géraldine Toniutti, Mise en recueil et assemblage des contraires. “Cristal et Clarie”, “D’Amour” et le manuscrit Arsenal 3516". Studi Francesi, nr 186 (LXII | III) (1.12.2018): 474. http://dx.doi.org/10.4000/studifrancesi.14913.
Pełny tekst źródła
43
Tobeck, J. "Crime and Commitment: Literary Engagement in Clarice Lispector's "O crime do professor de matematica" and "A quinta historia"". Luso-Brazilian Review 49, nr 1 (1.06.2012): 187–207. http://dx.doi.org/10.1353/lbr.2012.0000.
Pełny tekst źródła
44
Crosio, Martina. "Géraldine Toniutti, Pour une poétique de l’implicitation: “Cristal et Clarie” ou l’art de faire du neuf avec de l’ancien". Studi Francesi, nr 179 (LX | II) (1.09.2016): 299–300. http://dx.doi.org/10.4000/studifrancesi.4286.
Pełny tekst źródła
45
Anitagrace, J. "The Writer as Visual Artist: Clarice Lispector's A Paixao segundo G.H. in Dialogue with the Neo-Concrete Art Movement". Luso-Brazilian Review 51, nr 2 (1.12.2014): 31–67. http://dx.doi.org/10.1353/lbr.2014.0023.
Pełny tekst źródła
46
Peng, Li Hsun, Chia Hsin Hsueh i Jeng Jia Lou. "Analytical Research on Sign and Symbol of Two Avant-Garde Women Designers’ Works". Applied Mechanics and Materials 311 (luty 2013): 269–74. http://dx.doi.org/10.4028/www.scientific.net/amm.311.269.
Pełny tekst źródłaStreszczenie:
We live in a visually intensive society. Visual symbols are one of the most important keys to communication in the design field. Usually, the symbolic meaning of artwork is closely related to its historical background, culture, socio-political environment and economic constructions. This study aimed to investigate two women designers in the Avant-Garde era, which applied cultural hybridity to their art works and managed to stand out in their field, which was dominated by male designers. We will take Clarice Cliff and Sonia Delaunay as the core cases to analyze and collaborate. As we know, these two women designers are two important fashion designers that represent different styles in design history. Their works glorify symbol in the rhythmic relations of its simultaneous contrasts. In addition, both of their styles were influenced by the merge of divergent cultures. Thus, the primary design of this study focuses on hybridity in symbol and sign. We tend to understand how cultural elements have inspired these two designers’ fashion works in visual communication. The reason why we take these two women designers as the main analytic subjects is because of their uniqueness, which represents one interpretation of the awareness of Avant-Garde production. By using Bricolage and Phenomenography as the main methodologies, and the use of Third Space Identity and Hybridity as our research theories, through an analysis of papers and cases, we hope to explore the symbolism and meaning represented by these two designers from design and culture perspectives.
47
Ostapenko, Anna. "FROM THE PLEYADA OF ASSOCIATE PROFESSOR I. LVIV’S STUDENTS". Visnyk Taras Shevchenko National University of Kyiv. Pedagogy, nr 1 (7) (2018): 50–53. http://dx.doi.org/10.17721/2415-3699.2018.7.13.
Pełny tekst źródłaStreszczenie:
The article briefly analyzed the biography of the students of I.P.Lviv, the associate professor of the Chernihiv Pedagogical Institute. The purpose of our article was to show the biography of the students of the lecturer I.P.Lvov, who was known all the world. Our graduates were born and grew up in the Chernihiv region. We briefly wrote about the graduates of I.P.Lvov, and there are P. Tychyna, H. Verevka, F. Los and V. Dyadychenko. All of them grew up and lived in difficult times, when Ukraine was part of the Soviet Union. I. P. Lvov’s students made an outstanding contribution to science, culture of pedagogy in Ukraine. P. Tychyna was a famous Ukrainian poet, interpreter, public activist, academician, and statesman of the Ukrainian Soviet Socialist Republic. He was born in a big family. His father was a village deacon and a teacher in the local grammar school. In 1900, he became a member of an archiary chorus in the Troitsky monastery near Chernihiv. Simultaneously P. Tychyna studied in the Chernihiv theological school. In 1907−1913 P. Tychyna continued his education in the Chernihiv Theological Seminary. In 1913−1917, he was studying at the Economics department of the Kiev Commercial Institute. At the same time, he worked on the editorial boards of the Kiev newspaper Rada and the magazine Svitlo. In the summer, he worked for the Chernihiv statistical bureau. In 1923, he moved to Kharkiv, entering the vibrant world of early post-Revolution Ukrainian literary organizations. Later he started to study Georgian, and Turkic language, and became the activist of the Association of Eastern Studies in Kyiv. P. Tychnya printed many works, but we viewed only Major works Clarinets of the Sun, The Plow, Instead of Sonnets or Octaves, The Wind from Ukraine, Chernihiv and We Are Going into Battle, Funeral of a Friend, To Grow and Act. H. Veryovka was a Ukrainian composer, choir director, and teacher. He is best known for founding a folk choir, and he was director it for many years, gaining international recognition and winning multiple awards. Veryovka was also a professor of conducting at the Kyiv Conservatory, where he worked alongside faculty including B. Yavorsky, M. Leontovych. H. Veryovka was born in town of Berezna. In 1916, he graduated from the Chernihiv Theological Seminary. In 1918−21 H. Veryovka studied at the Lysenko music school studying a musical composition by B. Yavorsky. In 1933, he received an external degree from the institute. Since 1923 Veryovka continued to work at the Lysenko institute and later Kiev Conservatory. In 1943 in Kharkiv, H. Veryovka organized his well-known choir and until his death was its art director and a main conductor. In 1948-52 he headed the National society of composers of Ukraine. F. Los was born in the village of Pivnivchyna. He studied at the Chernihiv Institute of Social Education. He taught at the secondary school of Volochysk then at the Gorodiansky Pedagogical College of the Chernihiv Region. In 1935, he was a post-graduate student to the Institute of History of the All-Ukrainian Association of Marxist-Leninist Institutes. He researched on the rural community of the early twentieth century. F. Los worked in institutes at such departments: the head of the Department of History of the USSR and Ukraine of the Kiev Pedagogical Institute, the lecturer of the Higher Party School by the Central Committee of the Communist Party (Bolshevik), Taras Shevchenko National University of Kyiv, and the professor of the History Department. He published over 200 scientific papers, such as: 15 textbooks on the history of Ukraine co-authored about 20 collective monographs, collections of articles, collections of materials and documents. He buried in Kiev. V. Dyadychenko was a researcher, lecturer and methodologist. He was born in Chernihiv in a family of statistician. He graduated from the Chernihiv Institute of Public Education. Having received a diploma of higher education, he taught at the Mykolaiv Pedagogical Institute. Later V. Dyadychenko moved to Kiev and worked at the Institute of History of Ukraine Academy of Sciences of the Ukrainian SSR. In the Taras Shevchenko National University of Kyiv V. Dyadychenko worked at such chairs: the Department of History of the USSR, the history of the Middle Ages and the ancient history, archeology and museology. Professor V. Dyadychenko collaborate in the writing of school-books on the history of Ukraine for students in grade 7-8. V. Dyadychenko was social and political active worker. In 1973, he died.
48
Fuller, Stephen M. "Deposing an American Cultural Totem: Clarice Starling and Postmodern Heroism in Thomas Harris's Red Dragon, The Silence of the Lambs, and Hannibal". Journal of Popular Culture 38, nr 5 (sierpień 2005): 819–33. http://dx.doi.org/10.1111/j.0022-3840.2005.00143.x.
Pełny tekst źródła
49
Barbosa, M. J. S. "Nina, Claudia. A palavra usurpada: exilio e nomadismo na obra de Clarice Lispector. Colecao Memoria das Letras, 15. Porto Alegre: EDIPUC, 2003. 182 pp. Bibliografia." Luso-Brazilian Review 41, nr 2 (1.12.2004): 193–94. http://dx.doi.org/10.1353/lbr.2005.0001.
Pełny tekst źródła
50
Vanacker, Beatrijs. "Poétique de l’épistolarité romanesque dans l’oeuvre de Jeanne-Marie Leprince de Beaumont1". Études françaises 54, nr 3 (18.01.2019): 147–66. http://dx.doi.org/10.7202/1055655ar.
Pełny tekst źródłaStreszczenie:
Au sein de son oeuvre impressionnante, le rôle de Beaumont romancière, peu étudié jusqu’à présent, se déduit d’une importante série de romans publiés à des moments-clés de sa carrière. Dans ce parcours, c’est bien la période 1765-1767 (entre le Magasin des Jeunes Dames [1764] et le Magasin des Pauvres [1768]) qui marque l’intérêt de l’auteure pour la fiction romanesque. Pendant ces trois ans, Leprince de Beaumont publie autant de romans, à savoir Lettres d’Émérance à Lucie (1765), Mémoires de Mme la Baronne de Batteville (1766) et La nouvelle Clarice, histoire véritable (1767). Dans cette architecture romanesque en trois étapes, la cohérence interne est en large mesure assurée par la récurrence de passages de « lecture performante », qui servent de marqueurs intradiégétiques d’un projet de mise en récit fictionnelle. De ce fait, Leprince de Beaumont se montre d’une part une observatrice perspicace des stratégies narratives en vigueur à son époque, à travers sa mise en oeuvre d’un processus de négociation fictionnelle qui prépare et légitime la publication à proprement parler. Mais chez Leprince de Beaumont, la scénographie légitimante s’intègre en outre dans une poétique romanesque à forte orientation didactique. Les nombreuses scènes de lecture, que l’auteure prend soin d’attribuer à des héroïnes-narratrices exemplaires, marquent en même temps l’empreinte d’un programme éducatif qui passe outre le registre purement romanesque. En effet, si les rédactrices en question se décident à rédiger et faire circuler les récits de vie de leurs correspondant(e)s, Leprince de Beaumont les fait bien insister sur la logique d’édification qui justifie ce passage d’histoire privée à récit public. Dans sa capacité de prêter la voix au(x) lectrice(s)-romancières intradiégétique(s), le mode épistolaire s’avère ainsi particulièrement propice aux enjeux didactiques de Leprince de Beaumont romancière.