1,721,058 research outputs found
Novoodkriti koreografski zapis baleta Dunajski valček: glasbena in kulturna zgodovina skozi ples
No full textThe recently discovered written choreography of the Wiener Walzer (1885) ballet provides new insights into the structure of the dramaturgy, dance technique, and content of one of the productions of the Vienna Court Ballet of the late nineteenth century. The reasons behind the extraordinary success of this performance can be sought in the locally coloured content as well as in the music. This form of composition makes use of numerous clichés pertaining to the Viennese cultural identity while at the same time consolidating them.Nedavna najdba koreografskega zapisa baleta Wiener Walzer (1885) omogoča nove vpoglede v dramaturško, plesnotehnično in vsebinsko zasnovo ene izmed produkcij dunajskega dvornega baleta v poznem 19. stoletju. Vzroke neznanskega uspeha te predstave je mogoče iskati v lokalno obarvani vsebini in glasbi. Delo se naslanja na številne klišeje kulturne identitete mesta, hkrati pa utrjuje njihov značaj
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Die Überlieferung der Motette Surge, propera, amica mea von Jacob Handl - Gallus und ihre Bearbeitungen von Sixtus Kargel und Blasius Amon: ein Beitrag zur Gallus-Rezeption / Razširjenost moteta "Surge, propera, amica mea" Jacobusa Handla – Gallusa ter predelavi skladbe Sixtusa Kargla in Blasiusa Amona: prispevek k recepciji Gallusovih del
No full textIn the present article, the transmission history of the four-voice motet Surge, propera, amica mea by Jacob Handl Gallus is discussed. Little noted in the scholarly literature, the transcriptions by Sixtus Kargel and Blasius Amon, which predate the appearance of this motet in print, stand at the centre of this discussion.Prispevek se ukvarja z razširjenostjo štiriglasnega moteta Surge, propera, amica mea Jacobusa Handla – Gallusa. Jedro razprave predstavljata doslej v strokovnih krogih komaj opaženi predelavi te skladbe Sixta Kargla in Blasiusa Amona. Obe deli sta nastali pred natisom Gallusovega moteta
Anselm Hüttenbrenner na Spodnjem Štajerskem (1853–1858)
No full textAfter the Styrian composer Anselm Hüttenbrenner had largely withdrawn from public life, he spent most of his time between the autumn of 1853 and the autumn of 1858 in Maribor (Marburg). In Maribor and its surroundings he found peace of mind and a closeness to nature, devoting himself intensively to compositional and pedagogical activities. He composed numerous lieder on texts by his host Ferdinand von Rast (Hilarius) plus many piano pieces, in addition to orchestral overtures and church music. The article attempts to shed light on this period in Hüttenbrenner’s life, which has not been previously studied.Skladatelj Anselm Hüttenbrenner se je sredi 19. stoletja umaknil iz javnega življenja in večino časa v letih od 1853 do 1858 preživel v Mariboru. Tod je našel duševni mir in bližino narave ter zložil številne samospeve na besedila gostitelja Ferdinanda von Rasta. Sledila je vrsta klavirskih del, uverture in cerkvena glasba. Članek se posveča Hüttenbrennerjevemu doslej komaj opaženemu mariborskemu obdobju
Z opernega odra na cerkveni kor: kontrafakture v glasbenem arhivu proštijske cerkve sv. Jurija na Ptuju
Full text linkEight arrangements of secular compositions for liturgical use created by Carl Franz Rafael are preserved in the music archives of the Parish Church of St George in Ptuj. This article discusses these arrangements within the broader context of the practice of contrafacta.V glasbenem arhivu proštijske cerkve sv. Jurija na Ptuju se je izpod peresa Carla Franza Rafaela ohranilo osem predelav posvetnih skladb za liturgično rabo. V prispevku so Rafaelove predelave predstavljene v povezavi s kontrafakturno prakso
Glasbena pot Sophie Linhart. Po sledeh družine Antona Tomaža Linharta
No full textFollowing the sudden and untimely death of Anton Tomaž Linhart (1756–1795), a distinguished historian, poet, pioneer of Slovenian theatre, and erudite scholar, his widow Josepha found herself in a precarious situation. She sold their family home in Ljubljana and relocated to Vienna with her young daughters, Sophie and Amalia. This monograph ('Sophie Linhart’s Musical Career: In the Footsteps of A. T. Linhart’s Family') meticulously traces the lives of Linhart’s descendants, revealing the intricate paths they followed. The book’s seven chapters are united by a central theme: the role of music in Biedermeier bourgeois society. Special attention is given to Linhart’s daughter Sophie, who rose to prominence as an acclaimed concert and opera singer, a star of private music salons, and a figure of considerable social stature. The study offers fresh insights into the cultural and musical pulse of Vienna and Ljubljana during the early nineteenth century, re-evaluating the significance of music within bourgeois circles. Additionally, it delves into broader topics like the role and opportunities of women in the musical world and underscores the importance of biographical research in contemporary humanities.Po nenadni in daleč prezgodnji smrti Antona Tomaža Linharta (1756–1795), zgodovinarja, pesnika, nestorja slovenskega gledališča in obenem vsestransko izobraženega razsvetljenca, se je njegova vdova Jožefa znašla v kočljivem položaju. Prodala je družinsko hišo v Ljubljani in se z mladoletnima hčerkama Sophie in Amalio preselila na Dunaj. Pričujoča monografija pronicljivo razkriva eno sled za drugo in osvetljuje življenjske poti Linhartovih potomk in potomcev. Sedem poglavij povezuje rdeča nit: glasba in njen pomen v meščanski družbi bidermajerja. Med vsemi Linhartovimi potomci posebej izstopa Sophie Linhart, ki se je kot iskana koncertna in operna pevka ter ljubljenka zasebnih glasbenih salonov gibala v visokih in uglednih družbenih krogih. Monografija osvetljuje in vrednoti dosedanje razumevanje pomena glasbe v meščanskem okolju ter večplastno predstavlja kulturni utrip Dunaja in Ljubljane v prvih desetletjih 19. stoletja. Dotika se številnih vidikov glasbene in kulturne zgodovine, odpira vprašanja o položaju in možnostih žensk v takratnem glasbenem življenju ter nenazadnje tudi o pomenu in nujnosti biografskih študij v sodobni humanistiki
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Spregledani skladatelj Jožef Robert Zupan (1760–1819) in njegovo glasbeno delo
Full text linkJožef Robert Zupan was born in Kamnik in 1760 as the son of the well-known composer Jakob Frančišek Zupan. He joined the Cistercian Abbey in Kostanjevica na Krki (Landstraß), studied theology in Graz, and, following the dissolution of the abbey in 1786, remained in the Styrian capital until his death in 1819. There, he worked as a private teacher, moved in eminent social circles, and dedicated at least part of his time to composing music. His preserved and fairly modest compositional oeuvre comprises five works, which were published in Vienna and Graz at the end of the eighteenth century. The discussion at hand offers the first public presentation of the composer and his work.Jožef Robert Zupan se je kot sin znanega skladatelja Jakoba Frančiška Zupana rodil leta 1760 v Kamniku. Vstopil je v cistercijanski samostan Kostanjevica na Krki, študiral teologijo v Gradcu in po ukinitvi opatije leta 1786 do smrti leta 1819 ostal v štajerski prestolnici. Tam je deloval kot zasebni učitelj, se gibal v uglednih družbenih krogih in se vsaj deloma posvečal skladanju. Njegov ohranjeni glasbeni opus je dokaj skromen in obsega pet del, objavljenih konec 18. stoletja na Dunaju in v Gradcu. Skladatelj in njegovo glasbeno delo sta v pričujoči razpravi prvič predstavljena javnosti
- …
