1,761 research outputs found
Über die Spiele der Kinder : welche Bewegungsspiele im Freien sind leicht ausführbar und den Kindern interessant?
No full textbearb. von Rud. Mat
A performance edition of Concerto in Modo Antico by Rudolf Matz
No full textCroatian cellist-composer Rudolf Vladimir Matz (1901-1988) composed “Sonata in Modo Antico” as part of his larger and widely praised pedagogical method entitled The First Years of Violoncello (Prve Godine Violoncela). Three orchestrated and expanded movements of the sonata were arranged in 1976 and entitled Koncert u Starom Stilu za Violoncelo i guadacki orkestar (Concerto in the Old Style for Violoncello and String Orchestra or Concerto in Modo Antico). This dissertation serves as the first publication of this pedagogical concerto. This work also discusses the influence of The First Years of Violoncello and “Sonata in Modo Antico’s” place in the work, the relation of “Sonata in Modo Antico” to Koncert u Starom Stilu za Violoncelo i guadacki orkestar, and the editorial process for the project
Known and Unknown Matz. An Investigation of the Compositional Legacy of Rudolf Matz
No full textSuitu za osmeroglasni mješoviti zbor, sopran i tenor Faun Rudolf Matz skladao je 1921, a djelo je prvi put izvedeno 15. ožujka 1923. s velikim uspjehom. Nastala na stihove iz Šumskih idila Vladimira Nazora, skladba u pet stavaka oživljava ugođaje iz prirode, stvarajući himnu mladenaštvu i erotici. Središnji je lik djela Faun (Pan), omiljena tema moderne. Majstorski postupak sa zborskim zvukom odlikuje ovo djelo, koje slijedi europsku romantičku tradiciju uz vještu uporabu harmonijskih i kolorističkih elemenata impresionizma. Drugo predstavljeno Matzovo djelo, koje je ostalo gotovo nepoznato, slijedi posve drugačiju stvaralačku poetiku. To je ciklus od tri popijevke Spoznaje na slobodne stihove Envera Čolakovića, skladan 1974. na tragu glazbenog ekspresionizma. Složenom interakcijom vokalne i glasovirske dionice skladatelj je oblikovao tri sugestivna prizora. Oba predstavljena djela odmak su od neonacionalnog stila, koji obično povezujemo sa stvaralaštvom Rudolfa Matza.The suite Faun for a mixed choir of eight voices by Rudolf Matz (1901-1988) is one of the highlights of the Croatian choral output. It was composed probably in 1921 and was first performed by Glazbeno društvo intelektualaca [The Music Society of Intellectuals] on 15 July 1923 at the Croatian Music Institute under the direction of the composer himself. The text originates from the collection Šumska idila [Forest Idyll] by Vladimir Nazor, created in 1913 during his sojourn in Kastav. The themes and motifs are typically fin de siècle experiences of nature, and the verses are characterized by supreme artistry, musicality and are rich in metaphors. The five movements of the Matz's suite are arranged according to the principles of dramaturgy of the whole, the axis of which is formed by two central movements (The Noon and Queen of Flowers), while the introductory first two (Forest Sleeps and Morning) and the final Resurrection Song frame the whole. Following the dialogue principle in Nazor’s text, in the movement The Noon, there are two vocal soloists foreseen in the score. Individual movements are articulated according to the formal principle of the text. The composer uses repetitions of individual larger or smaller units, alternating the tempo and polyphonic and homophonic setting, occasionally doubling the parts, thus resulting in a rich sonority based on late-romantic harmony, which he also uses for occasional tone painting. Fine motive links ensure the integrity of the suite. This composition represents an exception in Matz's work, which largely followed the so-called national style, because it was composed in the romantic choral tradition
Rudolf Matz - commendations and decorations in music and sports (from the donation to the Zagreb City Museum)
No full textNastavljajući niz članaka o priznanjima i odlikovanjima poznatih ličnosti grada Zagreba, autori su u ovom članku obradili priznanja hrvatskoga skladatelja, pedagoga i dirigenta, slavnog sportaša i nadasve svjetski poznatog i priznatog violončelista, maestra Rudolfa Matza, koji je, kao sedmogodišnji dječak, zadivljeno slušajući snažne akorde na klaviru iz
susjedne kuće izjavio „... imao sam osjećaj da su me neka nevidljiva krila ponijela nebu pod oblake“.Continuing the series of articles about commendations and decorations of famous people from the city of Zagreb, in this article the authors write about the commendations awarded to the Croatian composer, music teacher and conductor, famous sportsman and above all world-famous and acknowledged cellist, Maestro Rudolf Matz. As a seven year-old boy, listening in rapture to strong piano chords being played in the neighbouring
house, Matz said: “… I had the feeling that some invisible wings had carried me into the sky as high as the clouds.
Analysis of Rudolf Matz 25 Etudes in Violoncello Education
No full textBu çalışma, Türkiye'de Konservatuvarlar ve Eğitim Fakülteleri Müzik Öğretmenliği Anabilim Dallarında verilen viyolonsel derslerinde yaygın olarak kullanılan Rudolf Matz 25 Etüdün form ve teknik açıdan incelendiği betimsel bir çalışmadır. Araştırmada nitel araştırma yöntemlerinden içerik analizi modeli kullanılmıştır. Bu çalışmanın, bu metodu kullanacak öğrenci ve mesleğe yeni başlamış öğretmenlere yardımcı olması beklenmektedir. Çalışmada etütlerin çalıcıya katkıları ortaya konmuş, sağ ve sol el kazanımları tespit edilmiştir. Getirilen öneriler ile çalışın kolaylaşacağı düşünülmektedir. Çalışmada ilk 15 etüdün, sol el açısından özellikle IV. pozisyonun algılanması açısından önemli bir kaynak olduğu, ayrıca I. ve IV. pozisyonlarda katkı sağladığı, parmak tutma, arpej çalma, çift ses basma, kromatik dizi çalma, artikülasyon becerisi kazandırma, sağ el açısından ise, tel değişimi, yayın farklı bölümlerini kullanma, çift ses çalma, yayda farklı hız ve basınç uygulamaları gibi konularda katkı sağladığı sonuçlarına ulaşılmıştır.This study is a formal and technical examination of Rudolf Matz's 25 Etüt, with a descriptive basis. These etudes are commonly used in cello courses of Conservatories and Departments of Music Education throughout Turkey. Among the different qualitative research methods, content analysis model was used for this research. This study is expected to support students and newly beginning teachers who plan to use the specified method. Contributions of the etudes to players's development were revealed in this study and right-left hand achievements were identified. It is anticipated that the suggestions made in this study will improve overall playing. The first 15 etudes were found as important sources, especially for a better understanding of the fourth position. For the left hand, these etudes has been found contributive for the first and fourth positions, holding fingers, performing arpeggios, playing double stops, playing chromatic scale and gaining articulation skills. For the right hand, the etudes were found to improve string switching, using different sections of the bow, playing double stops, different speed and pressure applications of the bow
Rudolf Matz 25 Etüt Kitabının Viyolonsel Eğitimi Açısından İncelenmesi
No full textBu çalışma, Türkiye'de Konservatuvarlar ve Eğitim Fakülteleri Müzik Öğretmenliği Anabilim Dallarında verilen viyolonsel derslerinde yaygın olarak kullanılan Rudolf Matz 25 Etüdün form ve teknik açıdan incelendiği betimsel bir çalışmadır. Araştırmada nitel araştırma yöntemlerinden içerik analizi modeli kullanılmıştır. Bu çalışmanın, bu metodu kullanacak öğrenci ve mesleğe yeni başlamış öğretmenlere yardımcı olması beklenmektedir. Çalışmada etütlerin çalıcıya katkıları ortaya konmuş, sağ ve sol el kazanımları tespit edilmiştir. Getirilen öneriler ile çalışın kolaylaşacağı düşünülmektedir. Çalışmada ilk 15 etüdün, sol el açısından özellikle IV. pozisyonun algılanması açısından önemli bir kaynak olduğu, ayrıca I. ve IV. pozisyonlarda katkı sağladığı, parmak tutma, arpej çalma, çift ses basma, kromatik dizi çalma, artikülasyon becerisi kazandırma, sağ el açısından ise, tel değişimi, yayın farklı bölümlerini kullanma, çift ses çalma, yayda farklı hız ve basınç uygulamaları gibi konularda katkı sağladığı sonuçlarına ulaşılmıştır.This study is a formal and technical examination of Rudolf Matz's 25 Etüt, with a descriptive basis. These etudes are commonly used in cello courses of Conservatories and Departments of Music Education throughout Turkey. Among the different qualitative research methods, content analysis model was used for this research. This study is expected to support students and newly beginning teachers who plan to use the specified method. Contributions of the etudes to players's development were revealed in this study and right-left hand achievements were identified. It is anticipated that the suggestions made in this study will improve overall playing. The first 15 etudes were found as important sources, especially for a better understanding of the fourth position. For the left hand, these etudes has been found contributive for the first and fourth positions, holding fingers, performing arpeggios, playing double stops, playing chromatic scale and gaining articulation skills. For the right hand, the etudes were found to improve string switching, using different sections of the bow, playing double stops, different speed and pressure applications of the bow
Mladi Rudolf Matz – glavni tajnik i zborovođa Hrvatskog pjevačkog saveza u Zagrebu
No full textOvaj rad pridonosi osvjetljavanju organizacijskog i dirigentskog djelovanja Rudolfa Matza u Hrvatskom pjevačkom savezu u osobito značajnom razdoblju reorganizacije njegova rada 1924. i 1925. godine. Kao maturant Matz je utemeljio Glazbeno društvo intelektualaca u Zagrebu, s kojim je u ulozi umjetničkoga voditelja ostvario brzi umjetnički uspon te 1924. bio izabran za glavnog tajnika i dirigenta Hrvatskog pjevačkog saveza. U njemu je, uz dirigiranje, oblikovanjem novog modela rada i formuliranjem odgovarajućih pravilnika obavljao ključnu ulogu u reorganizaciji rada Hrvatskog pjevačkog saveza ujedno potičući programsku orijentaciju nacionalnog stila. Sveukupno je utjecao na unaprjeđivanje umjetničkog rada Hrvatskog pjevačkog saveza i izvedbene prakse brojnih hrvatskih pjevačkih društava evidentnih već sljedeće 1925. godine na koncertima u povodu proslave 1000. godišnjice hrvatskoga kraljevstva i 50. godišnjice djelovanja HPS-a.Rudolf Matz (1901-1988) was a versatile Croatian musician, known and recognized in the domestic and international cultural community primarily as a cellist pedagogue and composer. This paper provides insight on his lesser-known organizational and conducting activity in the Croatian Singing Association (Hrvatski pjevački savez) during the particularly significant period of the reorganization of the Association’s work in 1924 and 1925.
In 1919, Matz founded the Musical Society of Intellectuals in Zagreb with whom, as its artistic leader, he achieved a rapid artistic rise. In 1924 he was elected general secretary and conductor of the Association of Croatian Singing Societies or the Croatian Singing Association. At that time, the Association was already a respected institution with a fifty-year history and would remain active in Zagreb until 1947. As a well-organized umbrella organization, the Association made a significant contribution to Croatian musical culture by encouraging the activities of a large number of Croatian singing societies, which functioned as centers of cultural activity in their respective communities. During the period of Matz’s involvement (1924-1941), the Association notably strengthened its activities in the organization of compositional, publishing and ethnomusicological work, created strong connections with other European Slavic nations, and acted as a representative of Croatian cultural identity in the field of music.
Due to unstable Croatian political conditions, the work of the Croatian Singing Association was difficult. At the beginning of 1924, during a period of crisis caused by pressure from Belgrade, the center of political power at the time, a young Rudolf Matz, then a student of composition at the Royal Academy of Music in Zagreb, was given the prominent role of general secretary and then choirmaster of the Croatian Singing Association. After he actively participated in opposing the pressure from Belgrade to create a centralized Yugoslav Singing Association, thereby ensuring the survival of the Association as an independent organization, Matz became enthusiastically active in the organization of the work of the Association and the singing societies, creating important documents and regulations. The minutes of the meetings of the presidency and the central board of the Association from 1924 and 1925 contain valuable information about his central role in designing the »Rules of the Association of Croatian Singing Societies’ Counties in Zagreb«, which formed the basis for the organization of thirteen regional singing centers with a total of 100 Croatian singing societies. Also important are the documents created by Matz, which enabled the classification of choirs according to their artistic level.
In addition to conducting, Rudolf Matz played a key role in the reorganization of the work of the Croatian Singing Association, while at the same time encouraging an orientation toward the national style in programming. He had an overall impact on the improvement of the artistic work of the Croatian Singing Association and the performance practice of numerous Croatian singing societies, evident as early as 1925 at concerts celebrating the 1000th anniversary of the Croatian kingdom and the 50th anniversary of the Association. This was just the beginning of the strong momentum that Rudolf Matz gave to the Croatian choral movement in the period between the two world wars, resulting in a valuable long-term contribution to musical and cultural development in Croatia
Rudolf Otto filosofo della religione
No full textLo straordinario successo del Sacro (1917), che ha reso celebre Rudolf Otto, ha provocato, per contraccolpo, la diffusione di una figura stilizzata dell’autore, impoverita dall’oblio toccato al resto della sua produzione e da letture parziali e semplificative. Una ricostruzione genetica del modo in cui Otto impone la nozione di «heilig» nel lessico tedesco specializzato, muovendo da Lutero e opponendo al neokantismo una lettura friesiana del trascendentale, fa emergere la qualità filosofica di una teoria del religioso che rivela convergenze insospettate con la fenomenologia husserliana. The extraordinary success of The Holy (1917) made Rudolf Otto famous, but it also contributed to propagate a simplified figure of the author. The rest of his work was condemned to oblivion, which caused misleading interpretations of The Holy itself. A genetic reconstruction of the way in which Otto established the term «heilig» in the technical German proves to be fruitful. When considering his interpretation of Luther and his Fries-based opposition to a neoKantian approach to the concept of «transcendental», the philosophical relevance of Otto’s theory of religion can be fully recognized, as well as unsuspected links to Husserlian phenomenology
Martin Durbek, brač : drugi dio diplomskog ispita
No full textDrugi dio diplomskog ispita Martina Durbeka (brač), studenta Muzičke akademije Sveučilišta u Zagrebu.
Drugi dio diplomskog ispita održan je na Muzičkoj akademiji u dvorani Lhotka 2. 7. 2024.
Klavirska pratnja: Brigita Vilč, nasl. umj. sur.
Mentor: nasl. doc. Siniša Leopold.
Komentor: Veljko Valentin Škorvaga, v. pred.
Program drugog dijela diplomskog ispita:
1. Camille Saint-Saëns / obr. Veljko Valentin Škorvaga: Sonata za violinu u d-molu, br.1 (I. Allegro agitato/Adagio – II. Allegretto moderato/Allegro molto) ;
2. Veljko Valentin Škorvaga: Proljeće ;
3. Tomislav Uhlik: A Ja Taka Carna ;
4. Tomislav Uhlik: Kerasia Tou Maiou ;
5. Rudolf Matz: Elegija ;
6. Henryk Wieniawski: Poloneza Brillante
Martin Durbek, brač : drugi dio diplomskog ispita
No full textDrugi dio diplomskog ispita Martina Durbeka (brač), studenta Muzičke akademije Sveučilišta u Zagrebu.
Drugi dio diplomskog ispita održan je na Muzičkoj akademiji u dvorani Lhotka 2. 7. 2024.
Klavirska pratnja: Brigita Vilč, nasl. umj. sur.
Mentor: nasl. doc. Siniša Leopold.
Komentor: Veljko Valentin Škorvaga, v. pred.
Program drugog dijela diplomskog ispita:
1. Camille Saint-Saëns / obr. Veljko Valentin Škorvaga: Sonata za violinu u d-molu, br.1 (I. Allegro agitato/Adagio – II. Allegretto moderato/Allegro molto) ;
2. Veljko Valentin Škorvaga: Proljeće ;
3. Tomislav Uhlik: A Ja Taka Carna ;
4. Tomislav Uhlik: Kerasia Tou Maiou ;
5. Rudolf Matz: Elegija ;
6. Henryk Wieniawski: Poloneza Brillante
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