1,721,225 research outputs found
Oblik fuge u djelima za orgulje J. S. Bacha
No full textPrvi dio rada se osvrće na doba baroka u Europi (fuga prije Bacha, djelovanje J. S. Bacha, njegova djela za orgulje, razvoj orgulja prije baroka i u doba baroka, Bachov specifičan tretman orgulja). Središnji dio rada se odnosi na analizu Bachovih fuga te komparativni pristup u odnosu na prethodnike i suvremenike
Analiza trio-sonata za orgulje J. S. Bacha
No full textRad nudi formalnu i harmonijsku analizu odabranih trio-sonata za orgulje J. S. Bacha: Es-dur, c- mol, d-mol, e-mol, C-dur i G-dur. Glazbenim tkivom Bachovih trio-sonata dominra tehnika kontrapunkta zrelog baroka, no tematska i harmonijska struktura već nagovještava razvoj prema stilu klasike, gdje sonata doživljava svoj vrhunac
Suite za čembalo u A-duru J. S. Bacha i G. F. Handela
No full textU radu se provodi analiza dviju baroknih suita J. S. Bacha i G.F. Handela. Analiza obuhvaća poglede na vrstu sloga, tonalitetni plan, fraziranje i rad s temom odnosno motivom, te konačno detaljnu harmonijsku analizu
Pasije J. S. Bacha i A. Parta
No full textIzvedba Pasije kao liturgijskog prikazanja Isusove muke i smrti, prema tekstovima Evanđelja, je ranokršćanska tradicija koja datira najranije iz četvrtog stoljeća. Razvijala se kroz srednji vijek i renesansu, a u baroku je dosegla vrhunac. Pasije J. S. Bacha smatraju se najvećim dostignućem u takvoj vrsti glazbenog djela. Nakon Bachovog vremena poprimaju koncertni karakter i polako odlaze u zaborav. U cijelosti sačuvane Pasije po Ivanu i Mateju pružaju uvid u glazbenu komponentu protestantske tradicije, njenu primjenu u liturgiji i skladateljevu religioznost. Tijekom 20. stoljeća, pojavom pluralizma glazbenih jezika i stilova, skladatelj A. Pärt ponovno oživljava i povezuje religioznost s glazbom. Potaknut osobnom vjerom, proučava skladateljske tehnike rane glazbe (njenu liturgijsku primjenu) i kombinira ih sa slobodom izražaja moderne glazbe postupno stvarajući vlastiti jezik kojeg naziva tintinnabuli. Vrhunac tintinnabuli tehnike skladatelj iskazuje u skladbi Passio Domini Nostri Jesu Christi secundum Ioannem. Pärt se smatra jednim od najreligioznijih skladatelja sadašnjice te se često njegova skladateljska tehnika naziva Sveti minimalizam. Potaknuti istom idejom, oba skladatelja, svaki svojim stilom, prenose duhovnu poruku slušatelju.The performance of the Passion according to the Gospel texts is a rite of liturgical deciption of Jesus' passion and death and is part of an early Christian tradition dating back to the earliest of the fourth century. It is developed through middleage and renaissance, and reached itd peak in the baroque. The passions of J. S. Bach are considered the greatest achivement in this type of musical work. After Bach's time, they take on a concert character and slowly go into oblivion. The fully preserved St. John and St. Matthew passion provides an insight into the musical component of the protestant tradition, its application in the liturgy and the composer's religiosity. During 20th century, with the emergence of pluralism and musical languages and styles, the composer A. Pärt revived and connected religiosity with music. Encouraged by his personal faith, he studied medieval and renaissance sacred music and by implementing it into modern musical language, developed the tintinnabuli compositional technique. The composer expresses the culmination of the tintinnabuli technique in the composition Passio Domini Nostri Jesu Christi secundum Ioannem. Pärt is considered one of the most religious composers of the present and his composing technique is often called Holy minimalism. Encouraged by the same idea, Bach and Pärt convey a spiritual message to the listener through their passions. Keywords: passion, gospel. J. S. Bach, A. Pärt, tintinnabuli techniqu
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe 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
Pasije J. S. Bacha i A. Parta
No full textIzvedba Pasije kao liturgijskog prikazanja Isusove muke i smrti, prema tekstovima Evanđelja, je ranokršćanska tradicija koja datira najranije iz četvrtog stoljeća. Razvijala se kroz srednji vijek i renesansu, a u baroku je dosegla vrhunac. Pasije J. S. Bacha smatraju se najvećim dostignućem u takvoj vrsti glazbenog djela. Nakon Bachovog vremena poprimaju koncertni karakter i polako odlaze u zaborav. U cijelosti sačuvane Pasije po Ivanu i Mateju pružaju uvid u glazbenu komponentu protestantske tradicije, njenu primjenu u liturgiji i skladateljevu religioznost. Tijekom 20. stoljeća, pojavom pluralizma glazbenih jezika i stilova, skladatelj A. Pärt ponovno oživljava i povezuje religioznost s glazbom. Potaknut osobnom vjerom, proučava skladateljske tehnike rane glazbe (njenu liturgijsku primjenu) i kombinira ih sa slobodom izražaja moderne glazbe postupno stvarajući vlastiti jezik kojeg naziva tintinnabuli. Vrhunac tintinnabuli tehnike skladatelj iskazuje u skladbi Passio Domini Nostri Jesu Christi secundum Ioannem. Pärt se smatra jednim od najreligioznijih skladatelja sadašnjice te se često njegova skladateljska tehnika naziva Sveti minimalizam. Potaknuti istom idejom, oba skladatelja, svaki svojim stilom, prenose duhovnu poruku slušatelju.The performance of the Passion according to the Gospel texts is a rite of liturgical deciption of Jesus' passion and death and is part of an early Christian tradition dating back to the earliest of the fourth century. It is developed through middleage and renaissance, and reached itd peak in the baroque. The passions of J. S. Bach are considered the greatest achivement in this type of musical work. After Bach's time, they take on a concert character and slowly go into oblivion. The fully preserved St. John and St. Matthew passion provides an insight into the musical component of the protestant tradition, its application in the liturgy and the composer's religiosity. During 20th century, with the emergence of pluralism and musical languages and styles, the composer A. Pärt revived and connected religiosity with music. Encouraged by his personal faith, he studied medieval and renaissance sacred music and by implementing it into modern musical language, developed the tintinnabuli compositional technique. The composer expresses the culmination of the tintinnabuli technique in the composition Passio Domini Nostri Jesu Christi secundum Ioannem. Pärt is considered one of the most religious composers of the present and his composing technique is often called Holy minimalism. Encouraged by the same idea, Bach and Pärt convey a spiritual message to the listener through their passions. Keywords: passion, gospel. J. S. Bach, A. Pärt, tintinnabuli techniqu
Pasije J. S. Bacha i A. Parta
No full textIzvedba Pasije kao liturgijskog prikazanja Isusove muke i smrti, prema tekstovima Evanđelja, je ranokršćanska tradicija koja datira najranije iz četvrtog stoljeća. Razvijala se kroz srednji vijek i renesansu, a u baroku je dosegla vrhunac. Pasije J. S. Bacha smatraju se najvećim dostignućem u takvoj vrsti glazbenog djela. Nakon Bachovog vremena poprimaju koncertni karakter i polako odlaze u zaborav. U cijelosti sačuvane Pasije po Ivanu i Mateju pružaju uvid u glazbenu komponentu protestantske tradicije, njenu primjenu u liturgiji i skladateljevu religioznost. Tijekom 20. stoljeća, pojavom pluralizma glazbenih jezika i stilova, skladatelj A. Pärt ponovno oživljava i povezuje religioznost s glazbom. Potaknut osobnom vjerom, proučava skladateljske tehnike rane glazbe (njenu liturgijsku primjenu) i kombinira ih sa slobodom izražaja moderne glazbe postupno stvarajući vlastiti jezik kojeg naziva tintinnabuli. Vrhunac tintinnabuli tehnike skladatelj iskazuje u skladbi Passio Domini Nostri Jesu Christi secundum Ioannem. Pärt se smatra jednim od najreligioznijih skladatelja sadašnjice te se često njegova skladateljska tehnika naziva Sveti minimalizam. Potaknuti istom idejom, oba skladatelja, svaki svojim stilom, prenose duhovnu poruku slušatelju.The performance of the Passion according to the Gospel texts is a rite of liturgical deciption of Jesus' passion and death and is part of an early Christian tradition dating back to the earliest of the fourth century. It is developed through middleage and renaissance, and reached itd peak in the baroque. The passions of J. S. Bach are considered the greatest achivement in this type of musical work. After Bach's time, they take on a concert character and slowly go into oblivion. The fully preserved St. John and St. Matthew passion provides an insight into the musical component of the protestant tradition, its application in the liturgy and the composer's religiosity. During 20th century, with the emergence of pluralism and musical languages and styles, the composer A. Pärt revived and connected religiosity with music. Encouraged by his personal faith, he studied medieval and renaissance sacred music and by implementing it into modern musical language, developed the tintinnabuli compositional technique. The composer expresses the culmination of the tintinnabuli technique in the composition Passio Domini Nostri Jesu Christi secundum Ioannem. Pärt is considered one of the most religious composers of the present and his composing technique is often called Holy minimalism. Encouraged by the same idea, Bach and Pärt convey a spiritual message to the listener through their passions. Keywords: passion, gospel. J. S. Bach, A. Pärt, tintinnabuli techniqu
Variations on the Author
Get PDF“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
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
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