Gotowe bibliografie tematyczne / Paganini

Gotowa bibliografia na temat „Paganini”

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

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Artykuły w czasopismach na temat "Paganini"

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Anderson, Robert, Maria Rosa Moretti i Anna Sorrento. "Paganini Catalogued". Musical Times 128, nr 1733 (lipiec 1987): 386. http://dx.doi.org/10.2307/964533.

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Dillon-Malone, Aubrey, Gerry McAvoy i Pete Chrisp. "Like Paganini?" Books Ireland, nr 286 (2006): 148. http://dx.doi.org/10.2307/20632928.

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Nitschkova-Goleminova, Lilia. "Schumann - Moscheles - Paganini". Die Musikforschung 31, nr 1 (22.09.2021): 16–28. http://dx.doi.org/10.52412/mf.1978.h1.1766.

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Rybicki, Marie-Hélène. "Balzac et Paganini". L'Année balzacienne 8, nr 1 (2007): 431. http://dx.doi.org/10.3917/balz.008.0431.

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Yuan, He Si, He Si Xian i Gao Xin. "A review on the Performance Interpretation and Emotional Expression of Rachmaninoff Rhapsody on A Theme of Paganini Op 43". International Journal of Music Studies 4, nr 1 (15.01.2022): 1–15. http://dx.doi.org/10.37745/ijms.16/vol4n1115.

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Throughout history, music has played a vital role in influencing people's moods and eliciting complex emotions. Examining music's emotional side helps us investigate and reveal the neurological mechanisms underlying music's emotional influence. This article discusses the results of previous studies that explore the performance and emotional expression of Sergei Rachmaninoff's Rhapsodies on a Theme of Paganini, a piece for piano composed by the Russian-American composer-pianist (1873-1943). The themes are investigated from both a historical and a musical standpoint. The inclusion of background information on the composer, including a brief biography, is intended to aid in the learning and performance of this piece. Fully comprehending the performance and emotional aspects of Paganini's Rhapsodies on a Theme of Paganini, Op 43, may enable performers to adjust phrasing and the physical execution of required skills. Furthermore, the research results can be used to build a narrative that the performer can use to analyse how they choose to physically perform the work to produce an engaging performance.
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Kawabata, Maiko. "The Concerto that Wasn't: Paganini, Urhan and Harold in Italy". Nineteenth-Century Music Review 1, nr 1 (czerwiec 2004): 67–114. http://dx.doi.org/10.1017/s1479409800001889.

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It was Paganini's request for a concerto that prompted Berlioz to embark on the composition that eventually became Harold in Italy. The legendary virtuoso, then at the height of his fame, had recently acquired a fine Stradivari viola and needed a suitable vehicle for introducing the instrument to the public. He was puzzled and disappointed by Berlioz's score. It certainly was not the anticipated virtuoso vehicle, and within months Paganini had composed a substitute for himself, the Sonata per la grand viola. Berlioz explained that his work was ‘a new kind of symphony and not a composition written to show off a unique talent like [Paganini's]’. Berlioz's programmatic symphony with solo viola – the concerto that wasn't – would appear on the surface to be utterly devoid of the established codes of the virtuoso concerto.
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Cavalera, David. "ANALISIS TEKNIK PERMAINAN BIOLA PADA LAGU INTRODUZIONE E VARIAZIONI SUL TEMA NEL COR PIU NON MI SENTO PER VIOLIN SOLO KARYA NICCOLO PAGANINI". Repertoar Journal 2, nr 1 (2.07.2021): 13–20. http://dx.doi.org/10.26740/rj.v2n1.p13-20.

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Abstrak Nel Cor Piu Non Mi Sento merupakan sebuah komposisi karya Giovani Paisiello, seorang komposer berpengaruh dan populer pada akhir 1700an di Italia. Lagu tersebut kemudian digubah lagi oleh Paganini menjadi bentuk komposisi yang berjudul Introduzione E Variazioni Sul Tema Nel Cor Piu Non Mi Sento Per Violin Solo. Karya tersebut memiliki keunikan yang menjadi ciri khas Paganini yang digubah menjadi 7 Variasi Melodi Penelitian ini bertujuan (1) Mendeskripsikan teknik gesekan biola; (2) dan penjarian pada lagu Introduzione E Variazioni Sul Tema Nel Cor Piu Non Mi Sento Per Violin Solo.Penelitian ini termasuk dalam jenis penelitian kualitatif. Objek penelitian yakni lagu Nel Cor Piu Non Mi Sento yang digubah oleh Paganini dengan fokus pembahasan pada teknik permainan dan penjariannya. Teknik pengumpulan data menggunakan observasi dan wawancara. Teknik analisis data melalui tahapan pengumpulan, reduksi, penyajian data dan penarikan kesimpulan. Validitas data untuk menarik kesimpulan setelah data di tampilkan sesuai rumusan masalah dan pembahasan penelitian.Hasil penelitian ini serta pembahasan menunjukan bahwa teknik gesekan dari lagu œIntroduzione E Variazioni Sul Tema Nel Cor Piu Non Mi Sento Per Violin Solo Karya Niccolo Paganini memiliki keunikan terdendiri cenderung menggunakan teknik Flying Staccato yaitu Teknik gesekan yang dimainkan dengan cara sedikit memantul secara cepat merata. Penjarian dari lagu œIntroduzione E Variazioni Sul Tema Nel Cor Piu Non Mi Sento Per Violin Solo Karya Niccolo Paganini memiliki keunikan yang tidak dimiliki oleh karya sebelumnya, Paganini menggabungkan dua teknik sekaligus seperti gesekan dan petikan teknik ini memiliki unsur permainan yang menyerupai gitar yaitu gesekan yang menjadi melodi dan petikan oleh tangan kiri menjadi acordnya. Kata Kunci: Teknik Permainan Biola, Niccolo Paganini, Lagu Introduzione E Variazioni Sul Tema Nel Cor Piu Non Mi Sento Per Violin Solo.
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Iandoli, Gerardo. "Gloria Paganini, Walter Zidari". Narrativa, nr 44 (30.11.2022): 265–67. http://dx.doi.org/10.4000/narrativa.2348.

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Kregor, Jonathan. "Forging “Paganinis of the Piano” in the 1830s". Studia Musicologica 54, nr 2 (1.06.2013): 115–34. http://dx.doi.org/10.1556/smus.54.2013.2.1.

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Musical artists in the 1830s were intrigued by Niccolò Paganini, with pianists being especially interested in transferring his music and style to their instrument. This article focuses on Paganini-inspired compositions by Carl Czerny, Johann Nepomuk Hummel, and Ignaz Moscheles, which focus on various aspects of the violinist’s artistry, including his performance style, his flair for the dramatic, pathetic, and unexpected, and his technical wizardry. Altogether these and other such works from the early 1830s provide a deeper context — arguably even a tradition — for Franz Liszt’s experimental compositions from the 1830s, particularly the “Clochette” Fantasy and the first version of the “Paganini” Etudes. Not only technically and performatively brilliant, these pieces also help establish the medium of mimesis as artistically valid. Liszt argued that this type of orientation was indispensable for the “artist of the future,” in which “virtuosity is a means, not an end.” Somewhat paradoxically then, after his death Paganini becomes the benchmark by which the transcendent artistry of composer-pianists is measured, and a baseline for further artistic experimentation. Thus Liszt’s return to Paganini in the 1840s and 1850s constitutes an ongoing effort to refine virtuosity in order to bring about artistic unification among musicians, regardless of instrumental specialty.
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Stetsenko, Nikita. "Performance Features of Variations on a Theme by Paganini, op. 35 (first book) by I. Brahms". Eurasian music science journal, nr 2 (29.09.2021): 13–20. http://dx.doi.org/10.52847/eamsj/vol_2021_issue_2/64.

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The article examines the unambiguous of the iconic works of romantic music Variations on the theme of Paganini by I. Brahms from the point of view of performance characteristics. This is one of the most difficult pieces in all piano literature. "Variations on a Theme of Paganini" is also called the "encyclopedia" of Brahms' pianism. It is a powerful cycle of diverse content, in which dynamic and frantic pieces alternate with elegiac, scherzo and waltz-like episodes. In the well-known theme of Paganini, Brahms discovered new sides and discovered unexpected subtexts. This cycle presents the most difficult artistic and technical tasks for the performer.
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Rozprawy doktorskie na temat "Paganini"

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Mikami, Wataru. "Problematika osobnosti a díla Nicola Paganini". Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2009. http://www.nusl.cz/ntk/nusl-79077.

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This thesis discuss about N.Paganini, his life, works and mainly about opus 1,24 Caprices for violin solo. I compared some publication, especially studied Henle Urtext Edition of Caprices, which is the most right and newest. Thesis next discuss about a way of performance of this work. I compared some recording of great violinists, which become the inspiration of my study. I read also listed literatures.
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Yang, Hokyung. "12 variations on Paganini's 24th caprice : an analysis /". Thesis, Connect to this title online; UW restricted, 1994. http://hdl.handle.net/1773/11263.

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Shen, Keh-Shu. "An analytical study of Paganini's Twenty-four caprices for solo violin /". Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/11338.

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Wilczkowski, Tobias. "Heinrich Wilhelm Ernst : En stor violinist i skuggan av Paganini". Thesis, Uppsala universitet, Institutionen för musikvetenskap, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-153805.

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Abstract Tobias Wilczkowski: Heinrich Wilhelm Ernst – A great violinist in the shadow of Paganini. Uppsala universitet: Institutionen för musikvetenskap, uppsats för 60p., 2005. As a boy, Heinrich Wilhelm Ernst adopted Paganini's virtuosic style. He became a popular violinist who later developed his own style. He used the potential of the violin to its extreme and explored new possibilities on the instrument. Later, however, Ernst was more or less forgotten as a violinist and today his contributions are neglected. This essay attempts to show that this is unfair to Ernst and that he today does not have the position he deserves: as Paganini's greatest successor and as an innovative composer who contributed valuable works to the art of violin. When I discuss Ernst's position as a performer among his contemporaries during his career, I use contemporary reviews, reports and articles. In the next section where I deal with Ernst's contribution to violin techniques, I analyse examples from compositions by Ernst and compare some of these with example from compositions by Nicolo Paganini. My conclusions are that Ernst was widely seen as the superior violinist of his time and Paganini's greatest successor and that he not only developed the polyphonic playing, but also discovered new idiomatic ways to compose polyphonically conceived violin music to a degree that is unprecedented to this day.
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Rybicki, Marie-Hélène. "Le mythe de Paganini dans la presse et la littérature". Paris 4, 2004. https://acces.bibliotheque-diderot.fr/login?url=https://doi.org/10.15122/isbn.978-2-8124-2932-3.

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Notre étude est consacrée à la présence de Paganini dans la presse et la littérature de son temps. Nous examinons comment, en Italie, en France en Allemagne et en Angleterre, ce musicien exceptionnel devient personnage de fiction et quelle influence cette "entrée en littérature" exerce sur la représentation des musiciens dans les romans et nouvelles du XIXe siècle. Après avoir retracé le parcours du violoniste, nous nous penchons sur la manière dont ses faits et gestes sont relatés dans la presse et exposons les polémiques que la technique paganinienne entraîne. Nous analysons ensuite les images et les moyens stylistiques mis en oeuvre par les chroniqueurs pour appréhender le "phénomène Paganini". La seconde partie traite de la manière dont Paganini apparaît dans les textes littéraires qui lui sont consacrés. Derrière les personnages auxquels Paganini prête ses traits et son caractère se dégage un portrait-robot du "virtuose romantique" tel que l'époque le plébiscite, artiste que se distingue subrepticement des musiciens hoffmanniens qui lui servent de modèle. L'étude des nouvelles révèle en outre que le virtuose génois s'efface progressivement du premier plan du récit pour céder la place à un musicien déchu. Cette dimension tragique et ironique, qui prend le pas sur la vision magnifiée de l'artiste, amorce une tendance qui s'affirmera dans la seconde moitié du XIXe siècle. La présence de Paganini dans la littérature de son temps contribue également à mettre en évidence la perméabilité existant, à cette époque, entre la presse et la littérature. L'impossibilité d'établir une distinction franche entre le traitement journalistique et le traitement littéraire du virtuose constitue un facteur décisif pour l'élaboration du "mythe de Paganini"
This study is devoted to the presence of Paganini in the press and literature of his time. It explores how this exceptional musician became a character in fictional works in Italy, Germany, France and England, and what influence this "literary career" had on the representation of musicians in novels and short stories during the nineteenth century. The first part of this study begins with a review of the main events in Paganini's life then focuses on the way in which his actions are recounted in the press, revealing the controversies provoked by the violinist's technique. There follows an analysis of the images and stylistic methods adopted by the chroniclers and columnists to convey their impressions of the "Paganini phenomenon". The second part of this study looks at the image of Paganini as it appears in the various literary texts devoted to him. By attributing Paganini's features and his personality to fictional characters, the authors drew the profile of a "romantic virtuoso", which corresponded to the taste of the public of that time - the figure of an artist who surreptitiously distinguished himself from the musician encountered in the works of E. T. A. Hoffmann who served as his model. Moreover, the short stories reveal how the Genoese virtuoso gradually withdrew from the foreground of the narrative to be replaced by the figure of a failed musician. This tragic and ironic dimension, which overrides the idealised vision of the artist, marks the beginning of a trend that established itself in the second half of the nineteenth century. The presence of Paganini in the literature of his time also reveals the permeability of the press and literature at that time. The fact that it is impossible to distinguish clearly between the journalistic and literary treatment of the virtuoso had a major impact on the constitution of the "myth of Paganini"
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Bernier, Kiyono Monique. "Disparate measures: Two 20th century treatments of the Paganini theme". Diss., The University of Arizona, 2000. http://hdl.handle.net/10150/284086.

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This study investigates the significance of the Paganini theme and variation sets composed by two living composers, Neils Viggo Bentzon and Robert Muczynski. The popularity of the theme and variation form gradually spread to the keyboard repertoire first as entertainment for both courtly and bourgeois audiences, and later as a means of technical display for performing piano virtuosi. Paganini's twenty-fourth Caprice from Op.1 for solo violin is the basis for sets of variations for solo piano by three major pianist-composers: Liszt, Brahms, and Busoni. Bentzon and Muczynski follow in this tradition, constructing their variations on the Paganini theme as a showcase of their individual compositional language and skill. The body of the document will be a discussion of their contrasting treatments of the immortal theme as demonstrated through their choices of melody, sonority, texture, rhythm, register, and form. Bentzon's and Muczynski's theme and variation sets constitute compositional achievements in piano literature that deserve a place alongside previous outstanding models that are an important part of the standard repertory.
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Carrau, Mellado Javier. "Aspectos pedagógicos e interpretativos del repertorio para violín solo hasta Paganini". Doctoral thesis, Universitat Jaume I, 2014. http://hdl.handle.net/10803/145316.

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El presente trabajo está dedicado a estudiar el repertorio existente para violín solo hasta Paganini, y analizar sus diferencias de estilo, intenciones y funciones. Las dos obras cumbre de este género son las Sonatas y Partitas de Johann Sebastián Bach, y los Caprichos Opus 1 de Paganini. Al observar la trayectoria de la cronología artística, apreciamos cómo existe un repertorio que nace en el primer Barroco, que ha conducido a que estas creaciones no sean piezas aisladas sino obras insertas en una tradición compositiva hoy día bastante desconocida.
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Clavere, Javier. "A Study Guide to Franz Liszt's Grandes etudes de Paganini S.141". University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1296847312.

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Kang, Heejung. "Rachmaninoff's Rhapsody on a Theme by Paganini, Op.43; Analysis and Discourse". Thesis, connect to online resource, 2004. http://www.unt.edu/theses/open/20041/kang%5Fheejung/index.htm.

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Kim, Younshin. "An analytical study of Liszt's "Grandes études de Paganini", nos. 3 and 6 /". Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/11363.

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Książki na temat "Paganini"

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A, Lancelotti Mario, red. Paganini. Rosario: B. Viterbo, 2001.

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Sugden, John. Paganini. Cheli Łabinsk: Ural LTD, 1999.

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Paganini. Wyd. 2. München: Heyne, 1992.

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Sugden, John. Paganini. London: Omnibus Press, 1986.

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Niccolò Paganini. Palermo: L'epos, 2006.

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Noguera, Flavio Menardi. Paganini, 1887-1891. Ann Arbor, Mich: U.M.I., 1993.

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Issakainen, Sakari. Paratiisissa ei soi Paganini. Helsinki: Gummerus, 1987.

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Lebet, Claude. Le quatuor Stradivarius Nicolò Paganini: La correspondance de Jean-Baptiste Vuillaume à Achille Paganini = The Stradivarius quartet Nicolò Paganini : the correspondence between Jean-Baptiste Vuillaume and Achille Paganini. Spa, Belgique: Les Amis de la Musique, 1994.

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Neill, Edward. Nicolò Paganini: Il cavaliere filarmonico. Genova: De Ferrari, 1990.

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Lehár, Franz. Paganini: Operetta in three acts. London: Glocken Verlag, 1998.

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Części książek na temat "Paganini"

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Scholtz, Sibylle, Myriam Becker, Lee MacMorris i Achim Langenbucher. "Paganini. Priapism and Paganini". W Curiosities in Medicine, 229–31. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-14002-0_62.

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Steiert, Thomas. "Paganini, Niccolò". W Metzler Komponisten Lexikon, 562–63. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_216.

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Steiert, Thomas. "Paganini, Niccolò". W Komponisten Lexikon, 440–41. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_217.

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Otte, Andreas. "Nicolò Paganini (1782–1840)". W Famous Composers – Diseases Reloaded, 77–91. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-06671-9_4.

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Meißner, Thomas. "Nicolò Paganini: Teufelsgeiger mit Madonnenhänden". W Der prominente Patient, 151–54. Berlin, Heidelberg: Springer Berlin Heidelberg, 2019. http://dx.doi.org/10.1007/978-3-662-57731-8_37.

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Renneberg, Reinhard, i Iris Rapoport. "Paganinis Geheimnis". W Gene zum Frühstück, 323–25. Berlin, Heidelberg: Springer Berlin Heidelberg, 2022. http://dx.doi.org/10.1007/978-3-662-65956-4_79.

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Zahn, Molly. "Simone Paganini, “Nicht Darfst Du Zu Diesen Wörtern Etwas Hinzufügen”: Die Rezeption Des Deuteronomiums In Der Tempelrolle: Sprache, Autoren, Hermeneutik". W Perspectives on Hebrew Scriptures VII, redaktor Ehud Ben Zvi, 594–97. Piscataway, NJ, USA: Gorgias Press, 2011. http://dx.doi.org/10.31826/9781463234904-050.

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Waldron, David. "Paganism". W Encyclopedia of Psychology and Religion, 1683–87. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-24348-7_485.

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Waldron, David. "Paganism". W Encyclopedia of Psychology and Religion, 1273–77. Boston, MA: Springer US, 2014. http://dx.doi.org/10.1007/978-1-4614-6086-2_485.

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Waldron, David, Sukey Fontelieu, David Berman, Paul Larson, Paul Larson, Nicholas Grant Boeving, John Ryan Haule i in. "Paganism". W Encyclopedia of Psychology and Religion, 655–58. Boston, MA: Springer US, 2010. http://dx.doi.org/10.1007/978-0-387-71802-6_485.

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Streszczenia konferencji na temat "Paganini"

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Dicpinigaitis, Peter, i Rachel Giles. "PAGANINI phase 2b data promising for eliapixant". W ATS 2022 International Conference, redaktor Richard Dekhuijzen. Baarn, the Netherlands: Medicom Medical Publishers, 2022. http://dx.doi.org/10.55788/d266a780.

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Dicpinigaitis, P., A. H. Morice, J. Smith, M. R. Sher, M. Vaezi, L. Guilleminault, A. Niimi i in. "Eliapixant in Refractory Chronic Cough: The 12-Week, Randomized, Double-Blind, Placebo-Controlled, Phase 2b PAGANINI Study". W American Thoracic Society 2022 International Conference, May 13-18, 2022 - San Francisco, CA. American Thoracic Society, 2022. http://dx.doi.org/10.1164/ajrccm-conference.2022.205.1_meetingabstracts.a4776.

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McGarvey, Lorcan, Alyn H. Morice, Jaclyn Smith, Mandel Sher, Michael Vaezi, Laurent Guilleminault, Akio Niimi i in. "Late Breaking Abstract - Efficacy and safety of eliapixant in refractory chronic cough: Results of the PAGANINI 12-week, randomized, placebo-controlled Phase 2b study". W ERS International Congress 2021 abstracts. European Respiratory Society, 2021. http://dx.doi.org/10.1183/13993003.congress-2021.pa562.

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Sakiotis, Ioannis, Kamesh Arumugam, Marc Paterno, Desh Ranjan, Balša Terzić i Mohammad Zubair. "PAGANI". W SC '21: The International Conference for High Performance Computing, Networking, Storage and Analysis. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3458817.3476198.

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Kaliev, Aleksey. "MYTHOLOGICAL PICTURE OF THE WORLD EVOLUTION IN MARI PAGANISM". W Марийская Традиционная Религия: история и современность. Йошкар-Ола: государственное бюджетное научное учреждение при Правительстве Республики Марий Эл "Марийский научно-исследовательский институт языка, литературы и истории им. В.М. Васильева", 2022. http://dx.doi.org/10.51254/978-5-94950-120-7_2022_06.

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Lushnikov, Alexander. "PAGANISM AS DISCOURSE: THE CONCEPT OF �ALIEN� IN OLD RUSSIAN LITERATURE". W 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. Stef92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/hb21/s05.009.

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Barber-Kersovan, Alenka. "Songs for the Goddess. Das popmusikalische Neo-Matriarchat zwischen Ethno-Beat, erfundenen Traditionen und kommerzieller Vermarktung". W Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.47.

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Streszczenie:
The musical neo-matriarchy is linked to the growing popularity of Neo-Paganism. This pseudo-religious scene is based on romantic heritage, real or invented folk traditions and more or less serious historical, theological and anthropological studies of neo-matriarchy. In the focus of the scene stands the veneration of the Great Goddess and its worshipers are exclusively women. The main ideas of this eco-feminist movement are being conveyed also through (popular) music. My contribution encompasses the origins of the musical neo-matriarchy, the mythology it is based on, the message of the songs for the Great Goddess, the musical characteristics of the material collected, the use of typical instruments, and the dissemination of (musical) knowledge as the rather ‘modern’ way of distribution and consumption of the allegedly ‘archaic’ issues.
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al-Nahee, Owed Abdullah. "The Historical Development of Paganism in Najran during the Pre- and Early Islamic Era (524–641 CE)". W Eighth Saudi Students Conference in the UK. IMPERIAL COLLEGE PRESS, 2015. http://dx.doi.org/10.1142/9781783269150_0002.

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Shalakhov, Evgeny. "O THE ORIGINS OF MARI PAGANISM: RITUAL SITES OF CHIRKOVSKY ARCHAEOLOGICAL CULTURE (ZOOMORPHISM AND ITS OLDEST EVIDENCE)". W Марийская Традиционная Религия: история и современность. Йошкар-Ола: государственное бюджетное научное учреждение при Правительстве Республики Марий Эл "Марийский научно-исследовательский институт языка, литературы и истории им. В.М. Васильева", 2022. http://dx.doi.org/10.51254/978-5-94950-120-7_2022_17.

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Ivaschenko, Yana Sergeevna. "ETHNOFUTURISM AS AN ARTISTIC VERSION OF THE CONCEPT "REVIVAL OF PAGANITY" (The study was supported by a grant from the Russian Science Foundation (project No. 22-28-01712)". W Наука и социум. Новосибирск: Автономная некоммерческая организация дополнительного профессионального образования "Сибирский институт практической психологии, педагогики и социальной работы", 2022. http://dx.doi.org/10.38163/978-5-6046740-7-9_2022_248.

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