Gotowe bibliografie tematyczne / Medtner

Gotowa bibliografia na temat „Medtner”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 31 stycznia 2023

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Artykuły w czasopismach na temat "Medtner"

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Momo, Saito. "NIKOLAI MEDTNER ― PROFESSOR OF MOSCOW CONSERVATORY". Arts education and science 1, nr 1 (2020): 162–67. http://dx.doi.org/10.36871/hon.202001021.

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The article presents the history of the pedagogical activity of the Russian composer and pianist N. K. Medtner, whose 140th birthday is celebrated in 2020. The article presents new information about Medtner's first piano mentors, as well as about Medtner as a teacher, and his musical preferences. Based on archives of The Moscow State Conservatory, as well as on the memories of Medtner's students, a list of master's successors who studied in his class for approximately seven years during his teaching in Russia was revealed. The study of personal files of students of the first decade of the XXth century allows us to touch upon fundamental questions: what material was used for the pedagogical process of Medtner, whether he used his own compositions for teaching students in his class. Among classical composers Medtner chose for his class J. S. Bach, L. van Beethoven, R. Schumann, F. Chopin and F. Liszt. The Russian repertoire was represented by the works from M. A. Balakirev to A. N. Scriabin. Students often made requests to include their Professor's essays in their programs, which Medtner rarely granted. It is noted, that N. K. Medtner's teaching at The Moscow Conservatory and in private musical institutions in Moscow, did not complete his mentoring pedagogical activity, which continued later outside of Russia.
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Zuk, Patrick. "Medtner". Nineteenth-Century Music Review 6, nr 2 (listopad 2009): 169–72. http://dx.doi.org/10.1017/s1479409800003268.

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Maytesian, T. D. "SOME STYLE FEATURES OF VIOLIN WORKS BY N. K. MEDTNER". Arts education and science 1, nr 4 (2020): 111–16. http://dx.doi.org/10.36871/hon.202004014.

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The article examines violin works by Nikolay Karlovich Medtner in the context of creative collaboration with his wife A. N. Medtner and his elder brother, violinist and conductor A. K. Medtner, who repeatedly made orchestral arrangements of piano works by Nikolay Karlovich. General and specific features of each of the five opuses are characterized: Three Nocturnes op. 16, Two Canzones op. 43 and Sonatas op. 21, 44 and 57. The leading role of the theme, the originality of rhythm, combining the static nature of ostinato episodes with improvisation are emphasized. The scale of the concept and the philosophical depth of violin works also determined new conceptual possibilities, which were revealed in the interpretation of forms, genre orientation and figurative content. The study of Medtner's creativity allows to expand the knowledge about the Silver Age violin art through a new search for eternal cultural values.
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Dolinskaya, E. B. "FABULOUS MUSICIANS: S. PROKOFIEV AND N. MEDTNER". Arts education and science 1, nr 2 (2021): 180–84. http://dx.doi.org/10.36871/hon.202102022.

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This year marks the 130th anniversary of the birth of S. S. Prokofiev and the 70th anniversary of the death of N. K. Medtner. The article provides a socio-cultural background to the similar circumstances of the lives of these two great musicians. Both were forced to leave Russia during the October events, learning all the difficulties of emigration. Their joint tour in the USSR in 1927 was for Medtner a last meeting with his beloved Moscow, where he had studied and taught at the Conservatory, while Prokofiev's emigration ended with his return home. The author wonders what brought together such different personalities as Sergey Prokofiev and Nikolay Medtner. The composers were united, among other things, by a special interest in narrative genres derived from folk epic poetry. However, each musician interpreted them differently — while the composer of "Tales of an Old Grandmother" was more interested in the representational aspect, Medtner wrote works with a more psychological depth.
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Левая, Т. Н. "The Muse vs The Fashion (According to the Pages of N. Medtner's Treatise)". Журнал Общества теории музыки, nr 3(35) (28.01.2022): 1–7. http://dx.doi.org/10.26176/otmroo.2021.35.3.001.

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Статья посвящена трактату Н. К. Метнера «Муза и мода», который все чаще становится сегодня предметом исследовательского внимания. Высоко оценивается, в частности, систематически изложенная в книге метнеровская философия музыки, тяготеющая к ранней античности, христианским представлениям о Боге и эстетике символизма. Но не меньший интерес представляет собой «полемическая» часть трактата, посвященная критике «неперсонифицированной» музыкальной современности. Отчасти перекликающаяся с книгой старшего брата композитора Э. К. Метнера («Модернизм и музыка», 1912), она обладает и самостоятельной ценностью, раскрывая отношение Н. Метнера к искусству модернизма и к фактору моды — второй важнейшей составляющей метнеровской дуалистической формулы. Подобные рассуждения перекликаются с позднейшими научными трудами, посвященными моде как явлению массовой культуры и наделяют трактат Н. Метнера весомой культуртрегерской миссией. The article is devoted to N. K. Medtner's treatise “The Muse and The Fashion” which has increasingly become the subject of research attention in recent years. Today's researchers highly appreciate the Medtnerian philosophy of music described in the book, which tends to early antiquity, Christian ideas about God and the aesthetics of symbolism. Meanwhile, the “polemical” part of the treatise devoted to the criticism of “non-personalized” musical contemporaneity is of no less interest. Partly echoing the book of the composer's elder brother E. K. Medtner (“The modernism and the music”, 1912), it has an independent value, revealing N. Medtner's attitude to the art of modernism and to the fashion factor – the second most important component of the Medtner dualistic formula. Such arguments coincide with the later scientific works devoted to fashion as a phenomenon of mass culture and endow N. Medtner's treatise with a weighty cultural mission.
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Medvedev, N. A. "N. Medtner. Sonata-Vocalise. Performer’s view". Muzyka. Iskusstvo, nauka, praktika, nr 1 (2022): 41–48. http://dx.doi.org/10.48201/22263330_2022_37_41.

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Слонимская, Р. Н. "Dresden commemorative meetings: Vladimir Scherbachev — Nikolay Medtner". OPERA MUSICOLOGICA, nr 1 (26.03.2020): 25–39. http://dx.doi.org/10.26156/om.2020.12.1.002.

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В статье рассматриваются взаимоотношения выдающихся музыкальных деятелей русской культуры Владимира Владимировича Щербачёва и Николая Карловича Метнера. Фактический материал анализируется на основе писем Щербачёва к жене, Марии Илларионовне, написанных в период командировки 1922-1923 годов в Пильниц под Дрезденом. В письмах раскрывается атмосфера музыкальной культуры Германии этого периода (в том числе постановка в Дрезденской опере Бориса Годунова Модеста Петровича Мусоргского). Подробно описывается процесс работы Щербачёва над партитурой монументального симфонического полотна Второй симфонии на стихи Александра Блока и приводится мнение Метнера о ней. Раскрываются музыкально-эстетические позиции Щербачёва и Метнера в отношении разных сторон техники сочинения, педагогики, исполнительского искусства. Одна из ключевых проблем сохранение традиции и радикальное новаторство, вызывавшее у Метнера весьма сложную реакцию. В целом, письма музыкантов дают возможность воссоздать живой и органичный облик двух композиторов разных творческих ориентаций, но искренне переживающих за музыкальное искусство. В конце статьи представлена роль Щербачёва в становлении ленинградской школы композиции. The article considers the relationship of outstanding music figures of the Russian culture VladimirV.Scherbachev and NikolayK.Medtner. The analyzed factual material is based on Scherbachevs letters to his wife Maria Illarionovna, written during a one-year trip to Pilnitz on the Elbe near Dresden 19221923. The letters reveal the atmosphere of musical culture of Germany of this period (including the production of Boris Godunov by Mussorgsky in the Dresden opera house). The author gives a detailed description of the process of Scherbachevs work on the score of the monumental symphonic canvas the Second Symphony on the poems by A.Blok, and Medtners opinion about it. In general, the letters of the two musicians give us an opportunity to recreate living and organic image of the two composers possessing different creative bearings, but sincerely worried about the music art.
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Liwan, Bao. "ON THE RELATIONSHIP OF N. MEDTNER'S PEDAGOGICAL WORK WITH HIS COMPOSING ACTIVITIES". Arts education and science 1, nr 30 (2022): 20–25. http://dx.doi.org/10.36871/hon.202201002.

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The article is devoted to the little-studied problem of correlation between the compositional and pedagogical components in Medtner's heritage. It indicates important stages of Medtner's development as a pianist in connection with his work at the Moscow Conservatory. Medtner's compositions are analyzed in which he pursues not artistic and expressive tasks, but rather sets important technical goals as a teacher, passing on his vast experience as a piano playing mentor. There is much printed and oral evidence that Nikolay Karlovich attached great importance to working on technique, but did not use fragments of plays as Corto did. The article provides composer's comments on his repertoire as a pianist, and deciphers the repertoire that Medtner went through with students at the Moscow Conservatory. Attention is focused on Medtner's three titles: composer, pianist, teacher, with all three developing in parallel, but in different proportions during the musician's life in Russia and during his forced emigration abroad. It is proved that among the three hypostases of the composer, the mutual influence of creativity on pedagogy and teaching on the creative process is especially noticeable.
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Долинская, Е. Б. "London Harbor on the Way of Nikolai Medtner". Музыкальная академия, nr 1(769) (29.03.2020): 24–33. http://dx.doi.org/10.34690/33.

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Статья посвящена лондонскому периоду жизни Николая Карловича Метнера. В биографиях выдающихся деятелей культуры разных народов и эпох не раз можно встретить указание на тот или иной город, сыгравший особую роль в их творческом пути. Как отдельные феномены исследовались, например, жизнь и творчество Баха в Лейпциге, Генделя и Гайдна в Лондоне, Шиллера и Гёте в Веймаре, Пушкина в Болдино, Тургенева и Листа в Париже. Не имея возможности вернуться на родину, Николай Карлович провел около пятнадцати лет в скитаниях по Европе и обрел второй дом уже в конце жизни - в Великобритании. Здесь, в Лондоне, его ждала не только надежная гавань, но и новые друзья, ученики, исполнители, в том числе поклонники музыкального гения Метнера, прежде всего его пианистического мастерства и камерновокальной лирики. The article is devoted to the London period of life of Nikolai Karlovich Medtner. In the biographies of prominent cultural figures of different nations and eras, one can often find an indication of a particular city that played a significant role in their creative path. For example, the life and work of Bach in Leipzig, Handel and Haydn in London, Schiller and Goethe in Weimar, Pushkin in Boldino, Turgenev and Liszt in Paris were studied as individual phenomena. Unable to return to his homeland, Nikolai Karlovich spent about fifteen years wandering around Europe and found at the end of his life a second home in the UK. Here, in London, he was waited not only by a safe haven, but also by new friends, students, performers, including fans of Medtner’s musical genius—above all, his piano performance and vocal music.
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Gheorghieva, Maria. "THE TEXTURE OF SONATA-REMINISCENZA (ОР. 38, NO.1) BY NIKOLAY MEDTNER THROUGH THE PRISM OF INTERPRETATIVE TASKS". Studiul artelor şi culturologie: istorie, teorie, practică, nr 1(42) (wrzesień 2022): 91–97. http://dx.doi.org/10.55383/amtap.2022.1.17.

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The article analyzes the Sonata-reminiscenza of Nikolai Medtner from the point of view of the types of piano texture used in it. It is about such distinctive qualities of the musical texture of this work as graphicity, a combination of homophonic-harmonic and polyphonic structure, the relationship between the position in the form and the type of textural design. Starting from the thesis about the priority of the content of musical thematism, the author concludes that only a close analysis of the compositional and dramatic features of the Sonata-reminiscenza of N. Medtner for the performer can become the key to creating an adequate performing concept of the composition and to comprehending its textural features.
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Rozprawy doktorskie na temat "Medtner"

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Kalendarev, Natalya. "Medtner : his beliefs, influences and work /". Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/11435.

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Chernaya-Oh, Ekaterina. "The Skazki (Fairy tales) of Nikolai Medtner the evolution and characteristics of the genre with compositional and performance aspects of selected fairy tales /". Thesis, Recital, recorded Sept. 25, 2006, in digital collections. Access restricted to the University of North Texas campus. connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9115.

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Thesis (D.M.A.)--University of North Texas, 2008.
System requirements: Adobe Acrobat Reader. Accompanied by 3 recitals, recorded Nov. 3, 2003, Sept. 25, 2006, and Nov. 26, 2007. Includes bibliographical references (p. 53-56).
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Choi, Hanna. "Documenting developing performance : rethinking Nikolai Medtner at the piano". Thesis, University of St Andrews, 2017. http://hdl.handle.net/10023/16528.

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This research illustrates the performer-researcher's artistic process of reaching an understanding of music through performance, and explores how an effort to understand music at the instrument and in the context of music-making could influence our critical evaluation of the music. ​Engaged in the process of learning music, I seek to document my artistic practices as a reflective practitioner: to open up the performer-researcher's workspace, communicate the performativity of the music, and reveal my embodied doing-thinking as a performer. By involving in the performer-researcher's physical and intellectual trajectory, the focus of musicological research could be shifted from the study of music as writing to a practice-based study that communicates and values music as performance. ​This shift provides a chance to rethink musical works at the piano and place the music in a context in which music can be understood, communicated, and valued through performance. This has the potential to shed light on the performative value of music, and may challenge the existing critique of musical works by emphasising the centrality of musical performance in the realm of music research, perhaps revealing what has been neglected by the text and outcome-focused approaches to music. I believe this could lead us to assess musical works in a different value system by considering the music in and as performance.
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Karpeyev, Alexander. "New light on Nikolay Medtner as pianist and teacher". Thesis, City University London, 2014. http://openaccess.city.ac.uk/13011/.

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This dissertation introduces the ‘Edna Iles’s Medtner Collection’ (EIMC), held by the British Library in London, and provides a detailed analysis of her ‘Notes on the Interpretation of Medtner’s Works’. Nikolay Medtner (1880–1951) was one of Russia’s leading, early-20th-century composers, who spent the latter part of his life in the UK. He wrote mainly for the piano, composing 14 piano sonatas, three piano concertos, 108 songs, three violin sonatas, a piano quintet and more than 90 pieces for solo piano. Although he performed and recorded, and was considered a prominent composer while he was resident in the UK, his wider renown in the West was limited. Edna Iles (1905–2003) was an English pianist and Medtner’s last pupil. She took numerous notes during and immediately following her lessons and, in 1997, donated all of her Medtner-related materials to the British Library. I am the fourth person to consult it. The scope of the EIMC is impressive: Medtner manuscripts, newspaper cuttings, photographs and letters, all of which she carefully organized before donating. Importantly, her ‘Notes on the Interpretation of Medtner’s Works’ contain unique information about how he taught and thought his music should be interpreted. She was, in fact, the only Medtner student to leave systematic written evidence of his pedagogy; the recordings she made of his music further demonstrate her mastery of his principles. She became, in effect, his disciple. This dissertation assesses the new light her ‘Notes’ shed on our knowledge of his methods and pianism. The Introduction provides details of Medtner reception history and introduces all available sources on Medtner performance practice. Chapter 1 summarizes the lives of Medtner and Iles, and elucidates the nature of their relationship. Chapters 2 through to 4 discuss the disciplines of Medtner’s approach to playing – basic piano technique, articulation, practicing, pedaling and memorization – corroborated elsewhere. Chapters 5 and 6 unravel the more intellectual concepts of fil rouge, tempo, phrasing, voicing and his distinction between energetic and rounded music that form the core of Iles’s ‘Notes’ and represent the EIMC’s most original contribution to Medtner performance practice. Chapter 7 provides the opportunity to observe and apply Medtner’s interpretive philosophy to a single work (Sonate-Idylle, Op. 56) by blending the advice conveyed in his printed scores with the methodology and insights he communicated to Iles. The Conclusions affirm the importance of the EIMC as a uniquely detailed primary source on Medtnerian performance practice. An inventory of the Edna Iles Medtner Collection and transcript of her ‘Notes on Interpretation of Medtner’s Works’ can be found in Appendices One and Two. Appendix Three offers a facsimile of exercises Medtner gave to Iles, preserved in her own handwriting. Appendices Four and Five provide a discography of Medtner piano works and pertinent contextual photographic evidence.
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Pitts, James L. "Symmetrical features of Medtner's language the Grozovaya sonata, opus 53, no. 2 /". view full-text document. Access restricted to the University of North Texas campus, 1999. http://www.library.unt.edu/theses/open/19993/pitts%5Fjames%5Fl/index.htm.

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Tauscheck, Jonathan Paul. "A performance guide to two fairy tales of Nickolai Medtner". Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3544.

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Gavel, Leo. "Nikolai Medtner Sonata Reminiscenza Op. 38 no. 1 : analys av form och musikaliskt innehåll". Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1834.

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I detta examensarbete analyseras den ryska kompositören Nikolai Medtners Sonata Reminiscenza Op. 38 no. 1 från ett harmoniskt, motiviskt och strukturellt perspektiv. Denna analys innefattar också reflektioner kring några av författarens interpretationsmässiga val. Syftet med studien är att undersöka hur styckets form och harmonik kopplar det samman såväl med den klassiska kompositionskonstens regler som med Medtners artistiska/poetiska mål. Studiens resultat påvisar att verket är såväl kompositionstekniskt fulländat som känslomässigt rikligt. Sonatformen är på ett sofistikerat vis implementerad i verkets struktur och återfinns som en integrerad del i musikens narrativ.
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Hsu, Shu-Hao. "Nicolai Medtner's Piano concerto no. 3, op. 60: musical style and performance strategies". Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3469.

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Nicolai Medtner (1880-1951) is regarded as an accomplished composer and one of the most brilliant pianists of his time. He composed numerous compositions for piano that fall into three main categories: piano solo, piano with voice, and piano chamber music. He composed four large-ensemble pieces, including three concerti and the piano quartet in C major. This essay will concentrate on the lesser-known Piano Concerto No. 3, subtitled "Ballade." This three- movement work is extremely challenging because of its large and complex structure. Gaining a clear understanding of the structure and its formal innovation is paramount for performance success. It is my hope that this essay will contribute to bringing this piece into the standard repertoire. There are four chapters in this essay. In Chapter I, a general discussion of the composer's life and his music will be presented. The background of the concerto will be introduced and the purpose of this essay will be discussed in Chapter II. In Chapter III, a detailed analytical discussion of the structure of the concerto will be presented, in order to clarify the structure and the use of thematic materials. Lastly, practice and interpretative suggestions for this concerto will be discussed in Chapter IV.
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Ponomarchuk, Aleksandr. "Tempo and rhythmical principles al rigore and flessibile in selected works by Nikolai Medtner: a study and recording". Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6486.

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Nikolai Medtner (1880-1951) was a Russian composer, pianist, and piano teacher. His musical output consists of 61 opuses, most of which are compositions for piano. These include 3 piano concerti, 14 piano sonatas, 38 Tales, the 3 cycles of Forgotten Melodies and many other works. In recent years, interest in Medtner has surged. International festivals, conferences, and competitions dedicated to Medtner have taken place in Europe and Russia, with scholars and performers devoting greater attention to his work. All of Medtner’s piano works are now available on CD. However, the interpretation of Medtner’s works and the implementation of his tempo-rhythmical concepts fil rouge, al-rigore, and flessibile are not fully studied and remain a gray area in performance practice. The importance of tempo and rhythm in the interpretation of Medtner’s music is evident from his own recordings, published editions of his compositions, his book Daily Work of the Pianist and Composer, and his teaching instructions, as documented by students like Edna Iles. This project aims to produce a recording, that reflects Medtner’s vision of tempo and rhythm in his selected pieces. This includes compositions, previously recorded by the composer: Tales op. 20 no. 1 and no. 2 Campanella, Tales op. 34 no. 2, and no. 3, and Improvisation, op. 31 no. 1, and works, not recorded by him: Second Improvisation, op. 47, Marche Funebre, op. 31 no. 2, and Conte, op. 31 no. 3.
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Koh, Min Yu. "Medtner's Acht Stimmungsbilder, Op. 1: A Pedagogical Guide with Analysis". OpenSIUC, 2011. https://opensiuc.lib.siu.edu/theses/748.

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Rachmaninov regarded Nikolai Medtner as the greatest composer he had ever known, yet Medtner's music is often neglected in the standard repertoire. Lack of public awareness, as well as the technical and musical difficulties in these works, both contribute to their inaccessibility. Unlike Rachmaninov's music, Medtner's music possesses none of the romance and sentimentality, thus lacking in immediate appeal. However, with repeated listening, it gradually reveals its beauty and brilliance. This document examines Medtner's Acht Stimmungsbilder, Op. 1, from a pedagogical viewpoint. Chapter One provides a short biographical background. Chapter Two discusses Medtner's musical style and his publication, The Muse and the Fashion. Chapter Three is devoted to a pedagogical analysis of the work. The last chapter concludes the paper with a suggested order of study. This set of work is technically challenging and is selected with the advanced-level or college student in mind. These students would have had experience performing 19th Century works and is looking to expand their repertoire. This pedagogical guide is written for the reference of the teacher, however, the student may find this useful to them as well.
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Książki na temat "Medtner"

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Nicolas Medtner: His life and music. Aldershot, Hants, England: Scolar Press, 1995.

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Ljunggren, Magnus. The Russian Mephisto: A study of the life and work of Emilii Medtner. Stockholm, Sweden: Almqvist & Wiksell International, 1994.

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Amsterdam, The Netherlands) Medical Equipment Design &. Technology Exhibition &. Conference (1998. MEDTEC: Medical Equipment Design & Technology Exhibition & Conference, 7-9 October 1998, RAI International Exhibition and Congress Centre, Amsterdam, The Netherlands. Santa Monica, CA: Canon Communications, 1998.

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Pott, Francis. Music of Nikolai Medtner. Taylor & Francis Group, 2017.

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Martyn, Barrie. Nicolas Medtner: His Life and Music. Taylor & Francis Group, 2016.

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Martyn, Barrie. Nicolas Medtner: His Life and Music. Taylor & Francis Group, 2017.

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Martyn, Barrie. Nicolas Medtner: His Life and Music. Taylor & Francis Group, 2017.

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Davis, F. A. Laredo CC, MedTerm + A&P: Laredo Community College. Davis Company, F. A., 2022.

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Davis, F. A. UNR/BSN/DC360/MedTerm: University of Nevada, Reno. Davis Company, F. A., 2020.

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Davis, F. A. Laredo CC, MedTerm + a&P - DIG: Laredo Community College. Davis Company, F. A., 2022.

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Części książek na temat "Medtner"

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Razumovskaya, Maria. "Nikolai Medtner:". W German Song Onstage, 154–78. Indiana University Press, 2020. http://dx.doi.org/10.2307/j.ctv104t9zt.11.

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"1880–1900 Childhood and conservatoire". W Nicolas Medtner, 1–12. Routledge, 2017. http://dx.doi.org/10.4324/9781315090528-1.

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"1925–1927 Return to Russia". W Nicolas Medtner, 173–88. Routledge, 2017. http://dx.doi.org/10.4324/9781315090528-10.

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"1927–1930 Britain and America". W Nicolas Medtner, 189–204. Routledge, 2017. http://dx.doi.org/10.4324/9781315090528-11.

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"1930–1935 The Muse and the Fashion". W Nicolas Medtner, 205–20. Routledge, 2017. http://dx.doi.org/10.4324/9781315090528-12.

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"1935–1939 Move to England". W Nicolas Medtner, 221–30. Routledge, 2017. http://dx.doi.org/10.4324/9781315090528-13.

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"1939–1945 Second World War". W Nicolas Medtner, 231–44. Routledge, 2017. http://dx.doi.org/10.4324/9781315090528-14.

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"1945–1951 Indian fairy tale". W Nicolas Medtner, 245–60. Routledge, 2017. http://dx.doi.org/10.4324/9781315090528-15.

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"1900–1903 Start of a career". W Nicolas Medtner, 13–26. Routledge, 2017. http://dx.doi.org/10.4324/9781315090528-2.

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"1903–1906 Personal turmoil". W Nicolas Medtner, 27–44. Routledge, 2017. http://dx.doi.org/10.4324/9781315090528-3.

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Streszczenia konferencji na temat "Medtner"

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Kavčič, Blaž, i Robert Leskovar. "Predstavitev in kritična analiza modelov zrelosti strateške skladnosti IT in poslovne funkcije podjetja". W Organizations at Innovation and Digital Transformation Roundabout: Conference Proceedings. University of Maribor Press, 2020. http://dx.doi.org/10.18690/978-961-286-388-3.27.

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Tema prispevka je povezana z notranjimi dejavniki uspešnosti podjetja. Osredotočili smo se na zrelost (maturity) strateške skladnosti (strategic alignment) med dvema skupinama poslovnih procesov v podjetju – med poslovno funkcijo (business) in med informacijskimi tehnologijami (IT). Pojem zrelosti je začel uporabljati Jerry Luftman s sodelavci leta 2000, medtem ko je področje skladnosti med podjetjem in IT predmet raziskovanja številnih strokovnjakov že več kot 40 let. Predstavljena je analiza področja zrelosti strateške skladnosti med podjetjem in IT, s poudarkom na aktualnem modelu – Luftman 2017, ki ga primerjamo z modelom Luftman 1999. Ocenjujemo, da ponuja model Luftman 2017 možnost za izboljšanje skladnosti med procesi in s tem lahko prispeva h krepitvi konkurenčne moči podjetij.
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Kenda, Urban, i Jurij Rakun. "Ločevanje široko in ozko listnih rastlin v podporo sistemu za zaznavo plevela". W Strokovna konferenca ROSUS 2022: Računalniška obdelava slik in njena uporaba v Sloveniji 2022. University of Maribor Press, 2022. http://dx.doi.org/10.18690/um.feri.7.2022.5.

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Sodobno kmetijstvo se srečuje z vedno višjo stopnjo avtomatizacije, katere cilj je pridelati več pridelka, ki dosega višjo kakovosti, vse to ob manjših negativnih učinkih na okolje in s potencialom ohranitve narave za naslednje generacije. V ta namen smo v sklopu študentskega projekta razvoja avtonomnega kmetijskega robota Farmbeast ustvarili sistem za selektivno škropljenje plevela, katerega del sta dva algoritma za ločevanje ozko- in širokolistnih rastlin, nujna za ločevanje plevela od pridelka. Ob uporabi testnega nabora slik je prvi algoritem uspešno zaznal širokolistni plevel s 53,3 % in ozkolistni s 93,3 % uspešnostjo medtem, ko drugi algoritem obe sorti plevela uspešno loči v 93,3 %. Delo opisuje tudi orodje, ki je bilo v sklopu projekta razvito in deluje na podlagi algoritma ter škropi s potrebnim herbicidom.
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