Frederic Chopin

KLIK https://wa.me/6282279427943, Les Piano Pemula Candi Sidoarjo, Belajar Piano Pemula Gedangan Sidoarjo, Kursus Piano Lanjutan Jabon Sidoarjo, Belajar Keyboard Di Rumah Krembung Sidoarjo, ursus Keyboard Terjangkau Krian Sidoarjo

Selamat datang di Kenz Music Studio, tempat terbaik untuk belajar piano dengan penuh semangat dan keseriusan. Kami guru piano yang BERSERTIFIKAT dan BERPENGALAMAN untuk membimbing Anda dalam mengembangkan bakat musik Anda.

Dengan bergabung di Kenz Music Studio, Anda tidak hanya akan diajari teknik-teknik dasar bermain piano, tetapi juga akan diajarkan hingga Anda benar-benar menguasai alat musik tersebut. Kami percaya bahwa setiap individu memiliki potensi yang luar biasa dalam bidang musik, dan kami siap membantu untuk mencapai potensi terbaik Anda.

Salah satu keunggulan dari Kenz Music Studio adalah kemudahan akses, dimana kami dapat DATANG LANGSUNG KE RUMAH untuk memberikan pelajaran piano. Dengan begitu, Anda tidak perlu repot-repot pergi ke tempat les dan dapat belajar dengan nyaman di rumah sendiri.

Tempat kami mudah dijangkau dan memiliki fasilitas yang mendukung proses belajar mengajar yang optimal. Jadi, tunggu apalagi? Segera BERGABUNG dengan Kenz Music Studio dan temukan potensi musik Anda bersama kami!

Alamat kami:

KENZ MUSIC STUDIO
Course and Entertainment
Perumahan Villa Jasmine 1 Blok K 8,
Desa Suko, Kecamatan Sidoarjo,
Kabupaten Sidoarjo, Jawa Timur 61224

#belajarpianonkeyboard, #belajarpianonyacumabuatlaguini, #belajarpianonadadasara, #belajarpianoonline, #belajarpianootodidak, #belajarpianoo, #belajarpianoorgenkeyboard, #belajarpianopemula, #belajarpianopuchong, #belajarpianosesuaiminatbakat,

KLIK https://wa.me/6282279427943, Kursus Piano Musik Jazz Wonoayu Sidoarjo, Les Piano Musik Jazz Balong Bendo Sidoarjo, Belajar Piano Musik Jazz Buduran Sidoarjo, Kursus Keyboard Intensif Dewasa Candi Sidoarjo, Belajar Keyboard Intensif Anak-Anak Gedangan Sidoarjo

Selamat datang di Kenz Music Studio, tempat terbaik untuk belajar piano dengan penuh semangat dan keseriusan. Kami guru piano yang BERSERTIFIKAT dan BERPENGALAMAN untuk membimbing Anda dalam mengembangkan bakat musik Anda.

Dengan bergabung di Kenz Music Studio, Anda tidak hanya akan diajari teknik-teknik dasar bermain piano, tetapi juga akan diajarkan hingga Anda benar-benar menguasai alat musik tersebut. Kami percaya bahwa setiap individu memiliki potensi yang luar biasa dalam bidang musik, dan kami siap membantu untuk mencapai potensi terbaik Anda.

Salah satu keunggulan dari Kenz Music Studio adalah kemudahan akses, dimana kami dapat DATANG LANGSUNG KE RUMAH untuk memberikan pelajaran piano. Dengan begitu, Anda tidak perlu repot-repot pergi ke tempat les dan dapat belajar dengan nyaman di rumah sendiri.

Tempat kami mudah dijangkau dan memiliki fasilitas yang mendukung proses belajar mengajar yang optimal. Jadi, tunggu apalagi? Segera BERGABUNG dengan Kenz Music Studio dan temukan potensi musik Anda bersama kami!

Alamat kami:

KENZ MUSIC STUDIO
Course and Entertainment
Perumahan Villa Jasmine 1 Blok K 8,
Desa Suko, Kecamatan Sidoarjo,
Kabupaten Sidoarjo, Jawa Timur 61224

#belajarpianorohani, #belajarpianoanak, #belajarpianoalfonso, #belajarpianoasyik, #belajarpianocover, #belajarpianoclassic, #belajarpianoclasik, #belajarpianodasar, #belajarpianodirumah, #belajarpianodarinol,

KLIK https://wa.me/6282279427943, Belajar Piano Musik Pop Krian Sidoarjo, Kursus Piano Intensif Anak-Anak Porong Sidoarjo, Kursus Piano Intensif Dewasa Prambon Sidoarjo, Belajar Keyboard Musik Jazz Sedati Sidoarjo, Kursus Keyboard Musik Pop Sukodono Sidoarjo

Selamat datang di Kenz Music Studio, tempat terbaik untuk belajar piano dengan penuh semangat dan keseriusan. Kami guru piano yang BERSERTIFIKAT dan BERPENGALAMAN untuk membimbing Anda dalam mengembangkan bakat musik Anda.

Dengan bergabung di Kenz Music Studio, Anda tidak hanya akan diajari teknik-teknik dasar bermain piano, tetapi juga akan diajarkan hingga Anda benar-benar menguasai alat musik tersebut. Kami percaya bahwa setiap individu memiliki potensi yang luar biasa dalam bidang musik, dan kami siap membantu untuk mencapai potensi terbaik Anda.

Salah satu keunggulan dari Kenz Music Studio adalah kemudahan akses, dimana kami dapat DATANG LANGSUNG KE RUMAH untuk memberikan pelajaran piano. Dengan begitu, Anda tidak perlu repot-repot pergi ke tempat les dan dapat belajar dengan nyaman di rumah sendiri.

Tempat kami mudah dijangkau dan memiliki fasilitas yang mendukung proses belajar mengajar yang optimal. Jadi, tunggu apalagi? Segera BERGABUNG dengan Kenz Music Studio dan temukan potensi musik Anda bersama kami!

Alamat kami:

KENZ MUSIC STUDIO
Course and Entertainment
Perumahan Villa Jasmine 1 Blok K 8,
Desa Suko, Kecamatan Sidoarjo,
Kabupaten Sidoarjo, Jawa Timur 61224

#sekolahpianocandi, #sekolahpianogedangan, #sekolahpianojabo, #sekolahpianokrembung, #sekolahpianokrian, #sekolahpianoporong, #sekolahpianoprambon, #sekolahpianosedati, #sekolahpianopemulasidoarjo, #sekolahpianosukodono,

Artykuł jest poświęcony obecności muzyki polskiej w programach nadawanych przez Radio Praha w latach 1923-1939. Podstawę źródłową stanowią przechowywane w Archiwum Czeskiego Radia w Pradze (Archiv Českého rozhlasu) czasopisma Radiojournal 1923-1938 i Týden rozhlasu (I-VI 1935, 1939), a także informacje z prasy polskiej oraz z tygodnika Radio Wien, w którym publikowano szczegółowe programy radiowe ważniejszych radiostacji europejskich. Wstępne rozważania stanowią próbę umiejscowienia programów muzycznych w strukturze organizacyjnej Radia Praha. Zrekonstruowane programy audycji z muzyką polską, pogrupowane według ich funkcji (koncerty z okazji polskich świąt narodowych i audycje propagandowe, koncerty realizowane w ramach międzynarodowej unii radiowej mające za cel popularyzację dokonań kultur narodowych, muzyka polska jako część repertuaru obiegowego, jak np. twórczość Fryderyka Chopina), stały się punktem wyjścia próby rozpoznania źródeł polityki repertuarowej Czeskiego Radia jako stacji realizującej oficjalne czechosłowackie projekty kulturalne. Wskazane zostały preferencje twórców audycji poświęconych muzyce polskiej w zakresie ich programów. Zwrócono też uwagę na powiązania programów koncertowych i wykonawców prezentowanych na antenie z aktualnymi koniunkturami personalnymi.

The article is dedicated to the emergence and development of the piano nocturne thanks to the creativity of the "Russian Irishman" John Field and the Polish genius Frédéric Chopin. The interweaving of Slavic motifs and compositional techniques drawn from folk art is presented by the author as a convergence of ideas and explorations of the two composers. An analysis of Field's and Chopin's nocturnes is conducted through the prism of national and folkloric origins. As a result, it is demonstrated that the figurative-intonational structure of the nocturnes, their harmonic characteristics and the distinctiveness of the musical text of the nocturnes correlate with the interpretive process, at the core of which lies the awareness of national origins for both classics.

La presente tesis doctoral gira en torno a la biografia del pianista Leopoldo Querol Roso (Vinaros, Castellon, 1899 ? Benicassim, Castellon, 1985). Aprovechando la larga trayectoria del pianista, se inicia con un extenso contexto historico, cultural y musical, estableciendo numerosos nexos entre algunos de los acontecimientos del siglo XX y la trayectoria de Querol, presente y participe en varios de ellos. La segunda parte se centra en su biografia, partiendo de sus antecedentes familiares e infancia en Vinaros, sus estudios en Valencia, Madrid y Paris, y su irrupcion en el Madrid de los anos 30, convirtiendose en el interprete de referencia, especialmente, del nuevo repertorio musical. Se realiza un exhausto analisis de su carrera musical, incluyendo las consecuencias que tuvieron la guerra civil y la posguerra, su importante papel en la reactivacion de la vida musical tras la contienda, sus giras internacionales, y la importancia dada a los medios de comunicacion, siendo el pioner...

recenzja książki: Irena Poniatowska, „Chopin w poezji”, Narodowy Instytut Fryderyka Chopina, Warszawa 2020, ss. 444

Tidying up Orpheus’ stables:
Fryderyk Chopin in Polish poetry — an initial reconaissance.

Irena Poniatowska’s Chopin in Poetry is a book combining the values of a scientific study and a work the main task of which is to popularize knowledge about Fryderyk Chopin himself, as well as poetry devoted to his person and music. The work is divided very clearly. It consists of 5 large chapters and numerous subchapters. The first chapter is the most theoretical and synthetic and is devoted to the issue of beauty in poetry and music. According to Poniatowska, the idea of the correspondence of arts is driven in Romanticism by the feeling and art’s desire to express infinity. The second chapter discusses issues related to the reception of Chopin’s music and person in Polish culture. Poniatowska distinguishes three main criteria for organizing poetic material: Polishness, grief, perfection. The methodology the author chose is to catalog motifs in a purely demonstrative way; in this situation, the historical criterion is not taken into account. Polishness means Chopin’s connection with the fate of Poland. Grief, in turn, covers the emotions contained in Chopin’s art. Perfection is the pursuit of the ideal of expression, the perfection of craftsmanship, and the universalization of an individual language of expression. Poniatowska calls this phenomenon the “semiotic syndrome”, resulting from the 170-year-old fascination with music and the composer in Polish culture. The author brings the most freshness in the next chapter, in which she distinguishes musical forms composed by Chopin that constitute the foundation of poetic references. We owe the appearance of such genres or quasi-genres in Polish poetry as nocturne, prelude, concerto, mazurka, polonaise, etc., to Chopin. The entire book ends with two chapters. One is devoted to poetic works celebrating Chopin’s places of stay. The last chapter concerns works dedicated to Chopin by non-Polish poets. In the discussed work, Poniatowska definitely paved the way for new thinking about poetry devoted to the person and music of Chopin; it is definitely a valuable contribution to what we could call the stream of research devoted to poetic Chopinology.

Keywords: Frédéric Chopin, correspondence of arts, music, poetry, Chopin’s motif in poetry

Romantic soundscapes — Ballades and Romances by Adam Mickiewicz

The main assumption of the article is the thesis that Adam Mickiewicz’s Ballades and Romances is a poetic cycle that played a fundamental role in reorienting the ways of exploring the world in the aesthetics of hearing in Polish literature. It is a work that initiated a new way of presenting sound in Polish poetry, ultimately breaking the Enlightenment-rationalist paradigm of domination of the perspective of the eye in culture for the sake of the emancipation of a new audio culture. The audiosphere of the cycle, i.e. all the sounds used in this cycle, are analyzed in this article using the appropriate categories (anatomy of the soundscape according to B. Krause) and finally interpreted through the prism of their literary function. The terms used for description and interpretation in the article are the soundscape, as well as its essential elements, such as geophony, biophony and anthropophony. The dominant sonic quality in the cycle, having compositional significance, is a part of anthropophony called the phonosphere: voice, speech, singing, shouting, etc., and the accompanying qualities are both geophony and biophony, as well as incidental sounds of various origins. Sounds appear most often when fantastic threads and motifs are activated.

Keywords: sound studies, ballades and romances, Adam Mickiewicz, audiosphere, soundscape, romanticism, enlightenment, sound in poetry

The circumstances surrounding Beethoven’s acquisition of an Erard piano in 1803 have been the subject of much debate among musicologists. Throughout the nineteenth and twentieth centuries, it had been thought that Beethoven received the piano as a gift in recognition of his international stature as a composer, as had been the case for Haydn in 1800. In 2005, Maria van Epenhuysen Rose seemed to refute this belief in an article arguing that the Erard ledgers prove that Beethoven, then a little-known and largely unappreciated composer in France, ordered the piano from Erard, but never paid for it. This interpretation, however, is based on a misreading of the Erard firm’s bookkeeping practices. The Erard brothers had consistent ways of indicating gifts in the sales ledgers, which are clearly present in the entry for piano n° 133 sent to Beethoven. In my close reading of the Erard ledgers, and in light of newly discovered documents in the Erard family archives, I demonstrate that the piano was indeed a gift from the Erards to Beethoven, although perhaps not for the reasons that had previously been assumed.

The first part of this thesis reframes Chopin’s art of piano fingering through the lens of the neglected (yet all too often reviled) pedagogical repertoire of the early nineteenth century. In doing so, it readdresses some largely unquestioned truisms regarding Chopin’s own approach to finger choice, as well as issues of influence, originality and innovation. This line of inquiry ultimately uncovers a need to rekindle research on Clementi’s and Hummel’s fingering practices—Chopin’s pianistic models after all. These pedagogues’ didactic music offers today’s players not just another indirect means for study of Chopin’s approach to piano technique and performance, but direct access to a rich repository of techniques of expression in themselves which, absent fingering indications, we would probably never know existed.

Extended case studies then draw on the Chopin Etudes as the best possible illustration of these issues, using the many currently available primary sources: autograph manuscripts, manuscript copies, early editions, and student annotated scores. These case studies do not, however, provide any sort of ‘performance guide’ to the Etudes (much less of a prescriptive bent), but focus rather on the phenomenology of the original fingerings in context. That is, they explore interrelationships between musical composition (or improvisation), the gestural by- products of finger choice, and the player’s own expressive intent. The aesthetic stance taken throughout is that any congruent use of these historical fingerings arises to a very high degree from the player’s own individual rhetorical disposition and involvement, all of which should help override aprioristic (or Werktreue) ideas of performance outcome. Such an historically involved approach should thus provide alternatives to those pianists wishing to engage in historicist yet also highly personal performance of Chopin’s music.

Emre Aracı shares with us anecdotes from the life of Sir Thomas Beecham, one of the greatest British conductors, who spent the last years of his life in an apartment at Harley House in London, (In Turkish).

Emre Aracı, hayatının son yıllarını Harley House’ta bir dairede geçirmiş olan İngilizlerin gelmiş geçmiş en büyük orkestra şeflerinden Sir Thomas Beecham’ın hayatından anekdotları Andante okuyucuları için kaleme aldığı bir yeni makalesiyle bizlerle.

The following is a proposed reading of George Sand’s La Comtesse de Rudolstadt, focused on the character named Wanda de Rudolstadt, mistress of a secret society of ‘The Invisibles’. Named after the legendary Polish princess, Wanda combines feminism, Polishness, and esoterism. The context is formed of two romance novels popular at the time in France, which rendered the reader familiar with the Wanda legend: Venda, reine de Pologne ou l’histoire galante et curieuse de ce qui s’est passé
de plus mémorable en ce temps-là, published anonymously in 1705, and Vanda ou la superstition by Helena Ponińska, 1834. The point is not to propose an insight into the influences; the focus is, instead, on the movement of contextualisation which reveals unobvious senses or meanings, basically boiling down to expiration of the legend narrative that leads to its fragmentation and reformulation. Consequently, highlighted is the modern problem of struggle for female subjectivity and empowerment in George Sand’s novel, one that only makes use of shreds of the narratives of yore.

Artykuł dotyczy muzyki w poezji Julii Hartwig, a przede wszystkim tekstów, w których autorka skupia się na postaciach wybitnych kompozytorów oraz wykonawców muzyki klasycznej i rozrywkowej (m.in. Ludwig van Beethoven czy Janis Joplin). Chociaż Hartwig w jednym z wywiadów wspomina o tym, że „muzyka – jej źródło, jej tworzenie, wykonanie – jest zawsze ciekawsze niż człowieczeństwo”, wydaje się, że w swych utworach autorka poświęca więcej uwagi właśnie „człowieczeństwu” opisywanych muzyków, zachowaniom i cechom, o których nie myśli się zazwyczaj podczas kontaktu z ich dziełami lub interpretacjami wykonawczymi tych dzieł. W tekście próbuję, po pierwsze, sprawdzić, w jaki sposób te swoiste poetyckie „studia osobowe” są konstruowane i do czego służą Julii Hartwig, po drugie zaś – rozważyć, czy i w jakim stopniu sporządzane przez poetkę specyficzne portrety artystów zbliżają do nich oraz ich twórczości.

There is an opinion that lullabies are too simplistic in melody, texture, and harmony to warrant detailed and comprehensive analysis. However, in this study, using the analysis of Frederic Chopin's Berceuse (1844), this viewpoint is refuted. The author concludes that this composition goes beyond the commonly accepted characteristics and standards of the lullaby genre. During the analysis, the research author explores ways to penetrate the 'messages' encoded in the pianistic miniature of the composer. Drawing on the philosophy of Theodor Adorno regarding the social aspect of intimacy, it is inferred that despite the traditional inclusion of words in lullabies, Chopin's 'song without words' is unique, lyrical, emotional, melodious, and possesses rich expressive potential for conveying feelings (in emotional nuances) and thoughts (expressed in meaning). The author raises the question of verbalizing musical art as a possibility of elevating music to the realm of language. Chopin's work helps the composer express intimate thoughts about his unsuccessful family and unborn children, nostalgia for a lost family and homeland. The lullaby preserves the son's memory and nostalgia for his Polish family abroad and serves as a means of inculturating the Polish people.

Docente al Conservatorio Boito di Parma poi Direttore dell'Istituto Musicale Pareggiato di Carpi e dal 1990 di quello di Reggio Emilia, prendendo il posto di Armando Gentilucci e portando l'Istituto a livelli qualitativi molto alti grazie alle numerose iniziative, fra cui la prestigiosa rassegna Compositori a confronto, dimostrando come si fa a svolgere con intelligenza la direzione di un Istituto, collegando la didattica alla concertistica e aprendosi sempre alle esigenze culturali del presente. Laureato in Giurisprudenza, ha diretto la rivista "Musica Domani" di Ricordi, ha curato per la Suvini Zerboni l'edizione italiana di Elementary training for musicians di Paul Hindemith, lavoro che è stato importante per sviluppare molte riflessioni fra cui anche quelle presente nel saggio che segue. È Presidente della Fondazione Giovannini di Reggio Emilia e dal 2017 al 2023 lo è stato della Società Italiana di Musica Contemporanea.

In this paper I will discuss the development of community music in Germany between 2012 and today. From a time when the term was barely known, to now where the field is increasingly visible within music education, social work and in concert hallsit is becoming an established field of practice. I will sketch the growth of community music in Germany in three intertwined areas: practice, higher education and advocacy. Steps on this journey included the work of the Munich Community Music Action Research Group; understanding German education and cultural policy; community music's emergence in higher education; cultural institutions' development in including community music, and the development of a national community music network. Implications for practice, research and education will be considered.

Frederic Chopin and his musical output are probably the most extensively researched topics in Polish musicology. Chopin is most often described as a composer and pianist, but he was also an observer of the musical life of his era. The correspondence of Frederic Chopin comprises an extensive primary source of which two letters (first, to Wilhelm Kolberg dated
18 August 1826; second, to Tytus Woyciechowski dated 31 August 1830) are of particular value in researching wind bands in Poland. Both letters (to date not previously compared to one another) provide primary evidence of the early civilian and military wind bands of the late
1820s and early 1830s, including aspects related to instrumentation, repertoires, and performance occasions. The essay recapitulates existing knowledge on the topic of wind bands in Chopin’s correspondence providing comparative analysis of the composer’s own words,
other primary sources, and the outcome of relevant international musicological literature. The article also offers new hypothesis referring to the early use of the piston cornet in the Polish military in the late 1820s.

This paper examines Karol Szymanowski’s Mazurkas, Op. 62 in the context of Polish folk traditions. Whilst Chopin draws on the folk music from the Mazovia region in his Mazurkas, Szymanowski exploits a very distinctive folk music from the Tatras Mountains of the Podhale region. Through this exploration of cultural influence, from the perspective of a practising musician, I propose that this particular folk influence could serve as a possible interpretative strategy for the Mazurkas, Op. 62.

The subject of this article is the artistic work of the Los Angeles-based (heavy) metal group Otep, founded in 2000, in which frontwoman Otep Shamaya plays a special role. In the domestic music media there is still little material on the work of this singer, songwriter and performer. The female artist creates an original stage and media image. She often makes uncompromising use of verbal and non-verbal means of artistic expression. In the lyrics of expressively performed songs, Shamaya raises issues such as war violence, institutionalized religions treated as forms of oppression, pathologies in social life, the problem of access to firearms or abuse of power in political arrangements. The singer also takes up a polemic against the hegemonically patriarchal system of metal culture. The purpose of this article is to attempt to characterize the artistic articulations and manifestations of the group Otep, capturing the specifics of the components of the band's original bricolage. Attention was also paid to the "inversion" covers created by the band, led by multidisciplinary artist Otep Shamaya.

This article delves into a cadential phenomenon characterized by an unconventional rising ninth motive reminiscent of a dreamlike ascent. Termed the Dream Cadence, it is exclusive to the major mode where it is employed to create a delicate atmosphere akin to the act of falling asleep. I explore its prevalence in compositions from the Romantic Era through an analysis of the music of numerous composers, including Frédéric Chopin, Alexander Scriabin, John Field, and notably Robert Schumann's Träumerei. I aim to shed light on the use of this peculiar cadence, its contrapuntal intricacies, and atypical treatment of the ninth.

Giacinto Scelsi diceva che per prendere parte attiva al «Piano Divino per l’evoluzione del Pianeta» un musicista deve giungere al «sacrificio (talvolta fino alle più tragiche conseguenze) della sua stessa natura umana. [...] Alla malattia, alla pazzia o alla morte». È questa l’idea che, cinquant’anni dopo le parole del celebre compositore, "Pianoforte" sembra voler di nuovo problematizzare quando accosta le lacrime di commozione del pubblico rapito, durante la finale, dalle note del "Concerto per pianoforte n. 1 in Mi minore, op. 11" a quelle di vergogna e frustrazione dei pianisti umiliati, durante le prove, dai giudizi spietati dei loro Maestri. Insieme a un’emozione profonda e pervasiva, questo film ci consegna allora un interrogativo tanto irresolubile quanto lacerante: qual è il prezzo che siamo disposti a pagare perché esista una tale bellezza?