Sonja Marinkovic Istorija Muzike Pdf download. 5/8/2017 0 Comments Zbog svoje revolucionarne djelatnosti bila je. Na VI pokrajinskoj konferenciji KPJ za Vojvodinu, septembra 1. Na strjeljanje je iza. Stajala je ponosito, isprsila se i uzviknula:. I danas nekoliko osnovnih. https://familyever863.weebly.com/blog/alphacam-7-crack-serial-winrar. Download a free trial of PDF Annotator today and simplify your document notation workflow. Download free Sonja Marinkovic Istorija Muzike Pdf. Spisak svih izdanja u PDF formatu. ISTORIJA SRPSKE MUZIKE Sonja Marinkovi. I sent my log file to your mail id. Sonja Marinkovic Istorija Muzike Pdf. Download as DOCX, PDF, TXT or read online from Scribd. Flag for inappropriate content. Toshiba portege m400 drivers. Centar muzike u novom Sadu Trzno poslovni centar. Marinkovic Mirjana Gredo Sasa Latkovic Igor Vasalic Marija Spasic Vesna Jakovljevic Vladimir.
<ul><li><p> - </p><p> . , </p><p> , 12. 13. 2013.</p><p>()</p></li><li><p>. , . , </p><p> , . , </p><p>. , . , </p><p>. , . , </p><p> , , , </p></li><li><p>4 . , </p><p> , 1213. 2013. </p><p>, 12.04.2013. 10 , </p><p> 11 </p><p> -- </p><p>I , 1 2, 12.04.2013, 15.30 - . </p><p> XX XXI </p></li><li><p>5 </p><p> : </p><p> I/2, 2, 13.04.2013. 9 j </p><p> ; : </p><p> . . </p><p> . . - I/3, 2, 13.04.2013 14 j </p><p> : ( 50 )</p></li><li><p>6 </p><p>II , 1 7, 12.04.2013, 15.30 j </p><p>Saa BoidareviFORMALNI TIPOVI U UMETNIKIM OBRADAMA NARODNIH PESAMA ZA JEDAN GLAS I KLAVIR SRPSKIH AUTORA XIX I PRVE POLOVINE XX VEKA</p><p>Danijela StojanoviKOMPOZICIJA SELSKA SVITA S. STOJKOVAKAO STVARALAKI PRODUKT NARODNOG DVOGLASNOG PEVANjA XIX XX </p><p> . </p><p> . . , . . </p></li><li><p>7 XX </p><p> II/2, 7, 13.04.2013. 9 j </p><p> XX : </p><p> : </p><p> II/3, 7, 13.04.2013. 13.30 j </p><p> LA PUERTA DEL VINO </p></li><li><p>8 -: : </p><p> : </p><p>II , 4 9, , 12.04.2013. 15.30 j </p><p> : (TERROIR)</p><p> : </p><p> XIX </p></li><li><p>9II ,j , 5, 9, 13.04.2013. 9 j </p><p> . </p><p>Iaryna DenysenkoBAROQUE TRADITION IN THE CONTEXT OF CONTEMPORARY PERFORMING ART</p><p>III , 1, , 13.04.2013. 14 </p><p> . </p></li><li><p>10</p><p>IV 1, 1, , 12.04.2013. 15.30 </p><p> : </p><p> XX </p><p> IV/2, 1, 13.04.2013. 9 j </p><p> : </p><p> - </p><p> . . . </p><p> IX </p></li><li><p>11</p><p> ODNOS NARATIVA I FORME U TREEM STAVU SEDMOG GUDAKOG KVARTETA PAULA HINDEMITA</p><p> IV/3, 1, 13.04.2013. 14 </p><p> : SOGGETTO </p><p>V , 1, , , 12.04.2013. 15.30 </p><p> . Aleksandar Dimitrijevski THE CONTEMPORARY VS. THE TRADITIONAL WEDDING CYCLE IN THE REGION SKOPSKA BLATIJA: A COMPARATIVE STUDY </p><p> - </p></li><li><p>12</p><p> , </p><p> VI /1 , , 13.04.2013. 9 </p><p> - </p><p>Iva NenicTRADITIONAL MUSICAL REVIVALS, STATE APPARATUSESAND THE PERFORMANCE OF (AMBIVALENT) FEMININITY</p><p> 1929. 1941. </p><p> VI /2 , 9, 13.04.2013. 14 </p><p> : / </p><p> () ? </p><p> : </p></li><li><p>13</p><p>APSTRAKTI</p><p> [email protected]</p><p> : </p><p> , , . , , . , , . , , , . , , . , , .</p><p> [email protected]</p><p> . . , () </p></li><li><p>14</p><p>, . . </p><p> [email protected]</p><p> , , , , ( , , , ), , , , . </p><p> , () , , , . , ICTM, . , . , 20. , . , . </p><p> [email protected]</p><p> : SOGGETTO </p><p> . Le Istitutioni harmoniche (1558) soggetti, </p></li><li><p>15</p><p> . , . . .</p><p>Zoran BoaniUniverzitet umetnosti u BeograduFakultet muzike umetnostiKatedra za muziku [email protected]</p><p>O PROBLEMU TERMINOLOKOG ODREENJA OSNOVNIH VRSTA IMITACIJE</p><p>Sagledavanje raznih aspekata imitacione tehnike, u veoj ili manjoj meri je zastupljeno u gotovo svim udbenicima kontrapunkta. Meutim, esto se u njima pojavljuju znaajne razlike u pristupima definisanju imitacionih parametara, klasifikovanju, imenovanju itd. Zato je u ovom radu dato kritiko sagledavanje poimanja imitacije, posebno njenog odreenja po trenutku nastupa risposte. To je realizovano analizom udbenike literature. Detektovani su problemi povezani sa terminolokim pitanjima i razmotreni mogui naini njihovog prevazilaenja.</p><p> [email protected]://bolyaannamaria.hu/bioen.htm</p><p> : </p><p> ( ), (), -.</p><p> ( ) () () - </p><p> (BA) (MA) : , ( ), , </p></li><li><p>16</p><p> e o -</p><p> : XX </p><p> , - , , , </p><p> [email protected]</p><p> 19. 20. </p><p> 19. 20. , (, -, , a ) , . ( ), . , , , , . - </p></li><li><p>17</p><p>. (, , ) , . ( ), . : 1. () ( ) ( ) 2. () . </p><p> [email protected] [email protected] </p><p> 19. </p><p> 19. . . - . , . : , .</p><p> . . [email protected]@gmail.com</p><p> . , . - </p></li><li><p>18</p><p>. , , , , , . </p><p> [email protected]</p><p> . , , . , , ( , , ) ( , ). , , , .</p><p> [email protected]</p><p> 20. </p><p> . 19. 20. . , , (, ) .</p></li><li><p>19</p><p> - [email protected] </p><p> , ( ), . , , , . . , (1938) (1944/1945).</p><p> , , . . () ( ). , , , , .. , . . , , . </p><p> [email protected]</p><p> , . 20. , , . (1912) , . (, , , ) , , . . , , , , , . 2012. </p></li><li><p>20</p><p> (1941) . , , : , . . , , .</p><p>Iaryna Denysenko Graduate student IMFE of M. RylskyNational Academy of Sciences of [email protected]</p><p>BAROQUE TRADITION IN THE CONTEXT OF CONTEMPORARY PERFORMING ART </p><p>This article is devoted to the popular link in contemporary performance authentic performances of Baroque and Renaissance works on original or similar old instruments. In Europe the widely used term historically informed performance (historically informed performance practice or HIPP) reflects the performers ability to interpret the original musical text. Interest in the authentic sound of early music arose at the turn of the 19th and 20th centuries in connection with the researching of Arnold Dolme Music performance XVII-XVIII centuries (The Interpretation of the Music of the 17th and 18th Centuries, London, 1915). Author, Arnold Dolme (1858-1940) reconstructed copy of the old instruments and performed the music of those periods by himself.</p><p>Achievements in this area by well-known musicians K. Deberajner, A. Schweitzer, V. Landovskaya at 50-th of XX century formed an independence performing link (G. Leonghardt, N. Harnoncourt, T. Koopman, Keiko and brothers-ensemble La Petite Bande, F. Bruggen, P. Herreweghe, D. E. Gardiner, K. Gogvud, R. Goebel, R. Jacobs, Christie, Suzuki, K. Russe, etc.). In the modern wind performance, in particular, oboes practice, where the development of authentic playing is closely linked to its scientific comprehension, among oboists are well-known names of A. Bernardini, M. Ponsele, F Nodel, A. Koshelev, K. Afken, P. and A. Grazzi. Their playing arts are present traditions of the most famous centres of specialized studying for Baroque musicians, Amsterdam, Hague and Urtreht Royal Conservatories (Netherlands), Basel Schola Cantorum Basilensis (Switzerland), Berlin Music Academy (Germany), Londons Royal Academy of music (United Kingdom).</p><p>In the Baroque period, which is considered to be revolutionary in many arts, musical instruments fully expressed their individual nature. A new idea about the function of accompaniment, focused ones attention on instrumental solo sound. Tools, that have long time played a role of choral ensembles accompany, now received their individual characteristics. Reform of instrumental construction at the same time was directed at control of height, dynamics, timbres and intonational individuality, which means by analogies with the flexibility of the human voice.</p><p>Language of Baroque music as more important than the language of emotions was built on the Baroque rhythmical and intonational models, that give various possibilities for imagination of the interpreter. It is a well-organized and </p></li><li><p>21</p><p>clear-artikulated music, the expression of which lies near the idea of musical communication, intellectual games. Accordingly to that changed the character of the solo and ensemble playing: personal importance of every wind instruments timbre in ensembles score acquires symbolic meaning of generalization. About technologies and expressive possibilities of the authentic oboes performance and about its prospects were talking the well-known Baroque oboists Alfredo Bernardini and Philipp Nodel, and their authoritative opinions widely reflect the concept of a new stage in the development of this art.</p><p>Aleksandar Dimitrijevski University St. Cyril and Methodius Skopje Faculty of Music Arts Ethnomusicology dept. Republic of Macedonia [email protected] </p><p>THE CONTEMPORARY VS. THE TRADITIONAL WEDDING CYCLE IN THE REGION SKOPSKA BLATIJA: A COMPARATIVE STUDY The wedding customs are most prolific and most preserved among all of the customs in Macedonia. They are rich in segments which apply a variety of musical genres as a source of interpretation or simply as a musical background.I n this context, this paper focuses on one specific case of traditional wedding customs from the region Skopska Blatija near by the city Skopje. Skopska Blatija is a flat field region. It is noticeable that these traditional wedding customs differ from the wedding customs in the other neighboring regions surrounding the city of Skopje which are mostly mountainous. Even more, there are significant differences between the traditional and the contemporary form of the wedding customs in this region which shows the acceptance of new customs and rejection of some of the old ones. In this paper I will try to determine the basic segments and the changes of the mentioned wedding customs, mostly those ones accompanied by music. </p><p> [email protected]</p><p> , . . </p></li><li><p>22</p><p> , . , .</p><p> , . / , : , , , , ( ), , . , , . </p><p> [email protected]</p><p> 20. 21. </p><p> 20. , , . (1940) , , I (1940) II (1940), , , . , . , , , () . , . , , . , , , .</p></li><li><p>23</p><p> , [email protected]</p><p> 1929. 1941. </p><p> , . , , , . , . 1929. 1941. , , . , , . , .</p><p> [email protected]</p><p> : (ERROIR)</p><p> . . , .</p></li><li><p>24</p><p> [email protected]</p><p> . . , . , . , , , .</p><p>Gordana GrujiUniverzitet u Banjoj LuciAkademija umjetnostiKatedra za muziku teoriju [email protected]</p><p>KONSTRUKCIJA REENICE U KLAVIRSKIM TRIJIMA LUISA PORA</p><p>Reenine konstrukcije imaju najznaajniju ulogu u konstrukciji porovih klavirskih trija. U njima je primarna klasiarska tendencija. Ipak, pojedine reenine konstrukcije se opiru standardnoj, kvadratnoj klasifikaciji i predstavljaju sloenije vidove reeninih konstrukcija. U daljem radu, slijedi statistiki prikaz najeih sintaksikih rjeenja, uz poseban osvrt na specifinije koncipirane reenice koje sadre razliite vidove devijacija (najee u vidu intepolacije materijala i romantiarske prakse izmjetanja elemenata razvoja u reprizne odsjeke). </p><p> . [email protected]</p><p> 20. , , . . </p></li><li><p>25</p><p> , , . , , , , , , , , , , , , . , . , , , .</p><p>Aleksandra IvkoviUniverzitet u KragujevcuFiloloko-umetniki [email protected]</p><p>C-DUR KAO TONALITET TRIJUMFA</p><p>Neretko se u literaturi, tonalitet C-dur tumai kao apsolutna pobeda svetlosti nad tamom, kae se da predstavlja najlepi prodor svetlosti, to sve ukazuje na njegovu najeu konotaciju, a to je trijumf. U razliitim stilovima, ovaj tonalitet se postavlja u razliite kontekste iskazivanja ovog oseanja. U baroku i klasicizmu to i jeste najee njegovo semantiko odreenje. U romantizmu, brojne apoteoze i himne ukazuju na trijumf transcedencije, dok u modernizmu, izvorno poimanje tonaliteta trijumfa biva rehabilitivano referiranjem na barokni opseg znaenja ovog tonaliteta. Ovaj rad e kroz odabrane primere, upravo da se bavi ovim razliitim kontekstima.</p><p> , [email protected]</p><p> . , . - . </p></li><li><p>26</p><p> . , </p><p> , () 1973. 1978. , - (, ) . , - , . , ; , world music . </p><p> : 1) , ; 2) , ; 3) world music : , .</p><p> - [email protected]</p><p> . , , . : . , 18. ( , /), 18. . , . (Weber, Fischer, Nelson, Sisman, Perii i Skovran) (, , , Fischer). </p></li><li><p>27</p><p> [email protected]</p><p> . </p><p> , , , . </p><p> , , , , , , . , , , , , , , , , . , , . </p><p> [email protected]</p><p> . - , . , , . </p></li><li><p>28</p><p> - . , [email protected]</p><p>- </p><p> , . . . - : , ( ), . , ( , , ), . . - : Primary Measure of Music Audiation (PMMA) Edwin Gordon Singing Voice Development Measure (SVDM) Joanne Rutkowski. .</p><p> , [email protected]</p><p> - </p><p> ( 1961. ) , , () , , , , . , , , </p></li><li><p>29</p><p> , . , 50. (2010) , . , , . </p><p> : , , , . , . , , , , , . , , , , , / .</p><p> [email protected]</p><p> , , fin-de-sicle-, (Gustav Mahler), 19. 20. , , , .</p><p> . , , 19. , . , 19. . , , . , , , , , , . </p><p> : .</p></li><li><p>30</p><p> - [email protected]</p><p> , , , . , 2001. . . ,..</p></li></ul>
Sonja Marinkovic Istorija Muzike Pdf Download 2017
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<ul><li><p> - </p><p> . , </p><p> , 12. 13. 2013.</p><p>()</p></li><li><p>. , . , </p><p> , . , </p><p>. , . , </p><p>. , . , </p><p> , , , </p></li><li><p>4 . , </p><p> , 1213. 2013. </p><p>, 12.04.2013. 10 , </p><p> 11 </p><p> -- </p><p>I , 1 2, 12.04.2013, 15.30 - . </p><p> XX XXI </p></li><li><p>5 </p><p> : </p><p> I/2, 2, 13.04.2013. 9 j </p><p> ; : </p><p> . . </p><p> . . - I/3, 2, 13.04.2013 14 j </p><p> : ( 50 )</p></li><li><p>6 </p><p>II , 1 7, 12.04.2013, 15.30 j </p><p>Saa BoidareviFORMALNI TIPOVI U UMETNIKIM OBRADAMA NARODNIH PESAMA ZA JEDAN GLAS I KLAVIR SRPSKIH AUTORA XIX I PRVE POLOVINE XX VEKA</p><p>Danijela StojanoviKOMPOZICIJA SELSKA SVITA S. STOJKOVAKAO STVARALAKI PRODUKT NARODNOG DVOGLASNOG PEVANjA XIX XX </p><p> . </p><p> . . , . . </p></li><li><p>7 XX </p><p> II/2, 7, 13.04.2013. 9 j </p><p> XX : </p><p> : </p><p> II/3, 7, 13.04.2013. 13.30 j </p><p> LA PUERTA DEL VINO </p></li><li><p>8 -: : </p><p> : </p><p>II , 4 9, , 12.04.2013. 15.30 j </p><p> : (TERROIR)</p><p> : </p><p> XIX </p></li><li><p>9II ,j , 5, 9, 13.04.2013. 9 j </p><p> . </p><p>Iaryna DenysenkoBAROQUE TRADITION IN THE CONTEXT OF CONTEMPORARY PERFORMING ART</p><p>III , 1, , 13.04.2013. 14 </p><p> . </p></li><li><p>10</p><p>IV 1, 1, , 12.04.2013. 15.30 </p><p> : </p><p> XX </p><p> IV/2, 1, 13.04.2013. 9 j </p><p> : </p><p> - </p><p> . . . </p><p> IX </p></li><li><p>11</p><p> ODNOS NARATIVA I FORME U TREEM STAVU SEDMOG GUDAKOG KVARTETA PAULA HINDEMITA</p><p> IV/3, 1, 13.04.2013. 14 </p><p> : SOGGETTO </p><p>V , 1, , , 12.04.2013. 15.30 </p><p> . Aleksandar Dimitrijevski THE CONTEMPORARY VS. THE TRADITIONAL WEDDING CYCLE IN THE REGION SKOPSKA BLATIJA: A COMPARATIVE STUDY </p><p> - </p></li><li><p>12</p><p> , </p><p> VI /1 , , 13.04.2013. 9 </p><p> - </p><p>Iva NenicTRADITIONAL MUSICAL REVIVALS, STATE APPARATUSESAND THE PERFORMANCE OF (AMBIVALENT) FEMININITY</p><p> 1929. 1941. </p><p> VI /2 , 9, 13.04.2013. 14 </p><p> : / </p><p> () ? </p><p> : </p></li><li><p>13</p><p>APSTRAKTI</p><p> [email protected]</p><p> : </p><p> , , . , , . , , . , , , . , , . , , .</p><p> [email protected]</p><p> . . , () </p></li><li><p>14</p><p>, . . </p><p> [email protected]</p><p> , , , , ( , , , ), , , , . </p><p> , () , , , . , ICTM, . , . , 20. , . , . </p><p> [email protected]</p><p> : SOGGETTO </p><p> . Le Istitutioni harmoniche (1558) soggetti, </p></li><li><p>15</p><p> . , . . .</p><p>Zoran BoaniUniverzitet umetnosti u BeograduFakultet muzike umetnostiKatedra za muziku [email protected]</p><p>O PROBLEMU TERMINOLOKOG ODREENJA OSNOVNIH VRSTA IMITACIJE</p><p>Sagledavanje raznih aspekata imitacione tehnike, u veoj ili manjoj meri je zastupljeno u gotovo svim udbenicima kontrapunkta. Meutim, esto se u njima pojavljuju znaajne razlike u pristupima definisanju imitacionih parametara, klasifikovanju, imenovanju itd. Zato je u ovom radu dato kritiko sagledavanje poimanja imitacije, posebno njenog odreenja po trenutku nastupa risposte. To je realizovano analizom udbenike literature. Detektovani su problemi povezani sa terminolokim pitanjima i razmotreni mogui naini njihovog prevazilaenja.</p><p> [email protected]://bolyaannamaria.hu/bioen.htm</p><p> : </p><p> ( ), (), -.</p><p> ( ) () () - </p><p> (BA) (MA) : , ( ), , </p></li><li><p>16</p><p> e o -</p><p> : XX </p><p> , - , , , </p><p> [email protected]</p><p> 19. 20. </p><p> 19. 20. , (, -, , a ) , . ( ), . , , , , . - </p></li><li><p>17</p><p>. (, , ) , . ( ), . : 1. () ( ) ( ) 2. () . </p><p> [email protected] [email protected] </p><p> 19. </p><p> 19. . . - . , . : , .</p><p> . . [email protected]@gmail.com</p><p> . , . - </p></li><li><p>18</p><p>. , , , , , . </p><p> [email protected]</p><p> . , , . , , ( , , ) ( , ). , , , .</p><p> [email protected]</p><p> 20. </p><p> . 19. 20. . , , (, ) .</p></li><li><p>19</p><p> - [email protected] </p><p> , ( ), . , , , . . , (1938) (1944/1945).</p><p> , , . . () ( ). , , , , .. , . . , , . </p><p> [email protected]</p><p> , . 20. , , . (1912) , . (, , , ) , , . . , , , , , . 2012. </p></li><li><p>20</p><p> (1941) . , , : , . . , , .</p><p>Iaryna Denysenko Graduate student IMFE of M. RylskyNational Academy of Sciences of [email protected]</p><p>BAROQUE TRADITION IN THE CONTEXT OF CONTEMPORARY PERFORMING ART </p><p>This article is devoted to the popular link in contemporary performance authentic performances of Baroque and Renaissance works on original or similar old instruments. In Europe the widely used term historically informed performance (historically informed performance practice or HIPP) reflects the performers ability to interpret the original musical text. Interest in the authentic sound of early music arose at the turn of the 19th and 20th centuries in connection with the researching of Arnold Dolme Music performance XVII-XVIII centuries (The Interpretation of the Music of the 17th and 18th Centuries, London, 1915). Author, Arnold Dolme (1858-1940) reconstructed copy of the old instruments and performed the music of those periods by himself.</p><p>Achievements in this area by well-known musicians K. Deberajner, A. Schweitzer, V. Landovskaya at 50-th of XX century formed an independence performing link (G. Leonghardt, N. Harnoncourt, T. Koopman, Keiko and brothers-ensemble La Petite Bande, F. Bruggen, P. Herreweghe, D. E. Gardiner, K. Gogvud, R. Goebel, R. Jacobs, Christie, Suzuki, K. Russe, etc.). In the modern wind performance, in particular, oboes practice, where the development of authentic playing is closely linked to its scientific comprehension, among oboists are well-known names of A. Bernardini, M. Ponsele, F Nodel, A. Koshelev, K. Afken, P. and A. Grazzi. Their playing arts are present traditions of the most famous centres of specialized studying for Baroque musicians, Amsterdam, Hague and Urtreht Royal Conservatories (Netherlands), Basel Schola Cantorum Basilensis (Switzerland), Berlin Music Academy (Germany), Londons Royal Academy of music (United Kingdom).</p><p>In the Baroque period, which is considered to be revolutionary in many arts, musical instruments fully expressed their individual nature. A new idea about the function of accompaniment, focused ones attention on instrumental solo sound. Tools, that have long time played a role of choral ensembles accompany, now received their individual characteristics. Reform of instrumental construction at the same time was directed at control of height, dynamics, timbres and intonational individuality, which means by analogies with the flexibility of the human voice.</p><p>Language of Baroque music as more important than the language of emotions was built on the Baroque rhythmical and intonational models, that give various possibilities for imagination of the interpreter. It is a well-organized and </p></li><li><p>21</p><p>clear-artikulated music, the expression of which lies near the idea of musical communication, intellectual games. Accordingly to that changed the character of the solo and ensemble playing: personal importance of every wind instruments timbre in ensembles score acquires symbolic meaning of generalization. About technologies and expressive possibilities of the authentic oboes performance and about its prospects were talking the well-known Baroque oboists Alfredo Bernardini and Philipp Nodel, and their authoritative opinions widely reflect the concept of a new stage in the development of this art.</p><p>Aleksandar Dimitrijevski University St. Cyril and Methodius Skopje Faculty of Music Arts Ethnomusicology dept. Republic of Macedonia [email protected] </p><p>THE CONTEMPORARY VS. THE TRADITIONAL WEDDING CYCLE IN THE REGION SKOPSKA BLATIJA: A COMPARATIVE STUDY The wedding customs are most prolific and most preserved among all of the customs in Macedonia. They are rich in segments which apply a variety of musical genres as a source of interpretation or simply as a musical background.I n this context, this paper focuses on one specific case of traditional wedding customs from the region Skopska Blatija near by the city Skopje. Skopska Blatija is a flat field region. It is noticeable that these traditional wedding customs differ from the wedding customs in the other neighboring regions surrounding the city of Skopje which are mostly mountainous. Even more, there are significant differences between the traditional and the contemporary form of the wedding customs in this region which shows the acceptance of new customs and rejection of some of the old ones. In this paper I will try to determine the basic segments and the changes of the mentioned wedding customs, mostly those ones accompanied by music. </p><p> [email protected]</p><p> , . . </p></li><li><p>22</p><p> , . , .</p><p> , . / , : , , , , ( ), , . , , . </p><p> [email protected]</p><p> 20. 21. </p><p> 20. , , . (1940) , , I (1940) II (1940), , , . , . , , , () . , . , , . , , , .</p></li><li><p>23</p><p> , [email protected]</p><p> 1929. 1941. </p><p> , . , , , . , . 1929. 1941. , , . , , . , .</p><p> [email protected]</p><p> : (ERROIR)</p><p> . . , .</p></li><li><p>24</p><p> [email protected]</p><p> . . , . , . , , , .</p><p>Gordana GrujiUniverzitet u Banjoj LuciAkademija umjetnostiKatedra za muziku teoriju [email protected]</p><p>KONSTRUKCIJA REENICE U KLAVIRSKIM TRIJIMA LUISA PORA</p><p>Reenine konstrukcije imaju najznaajniju ulogu u konstrukciji porovih klavirskih trija. U njima je primarna klasiarska tendencija. Ipak, pojedine reenine konstrukcije se opiru standardnoj, kvadratnoj klasifikaciji i predstavljaju sloenije vidove reeninih konstrukcija. U daljem radu, slijedi statistiki prikaz najeih sintaksikih rjeenja, uz poseban osvrt na specifinije koncipirane reenice koje sadre razliite vidove devijacija (najee u vidu intepolacije materijala i romantiarske prakse izmjetanja elemenata razvoja u reprizne odsjeke). </p><p> . [email protected]</p><p> 20. , , . . </p></li><li><p>25</p><p> , , . , , , , , , , , , , , , . , . , , , .</p><p>Aleksandra IvkoviUniverzitet u KragujevcuFiloloko-umetniki [email protected]</p><p>C-DUR KAO TONALITET TRIJUMFA</p><p>Neretko se u literaturi, tonalitet C-dur tumai kao apsolutna pobeda svetlosti nad tamom, kae se da predstavlja najlepi prodor svetlosti, to sve ukazuje na njegovu najeu konotaciju, a to je trijumf. U razliitim stilovima, ovaj tonalitet se postavlja u razliite kontekste iskazivanja ovog oseanja. U baroku i klasicizmu to i jeste najee njegovo semantiko odreenje. U romantizmu, brojne apoteoze i himne ukazuju na trijumf transcedencije, dok u modernizmu, izvorno poimanje tonaliteta trijumfa biva rehabilitivano referiranjem na barokni opseg znaenja ovog tonaliteta. Ovaj rad e kroz odabrane primere, upravo da se bavi ovim razliitim kontekstima.</p><p> , [email protected]</p><p> . , . - . </p></li><li><p>26</p><p> . , </p><p> , () 1973. 1978. , - (, ) . , - , . , ; , world music . </p><p> : 1) , ; 2) , ; 3) world music : , .</p><p> - [email protected]</p><p> . , , . : . , 18. ( , /), 18. . , . (Weber, Fischer, Nelson, Sisman, Perii i Skovran) (, , , Fischer). </p></li><li><p>27</p><p> [email protected]</p><p> . </p><p> , , , . </p><p> , , , , , , . , , , , , , , , , . , , . </p><p> [email protected]</p><p> . - , . , , . </p></li><li><p>28</p><p> - . , [email protected]</p><p>- </p><p> , . . . - : , ( ), . , ( , , ), . . - : Primary Measure of Music Audiation (PMMA) Edwin Gordon Singing Voice Development Measure (SVDM) Joanne Rutkowski. .</p><p> , [email protected]</p><p> - </p><p> ( 1961. ) , , () , , , , . , , , </p></li><li><p>29</p><p> , . , 50. (2010) , . , , . </p><p> : , , , . , . , , , , , . , , , , , / .</p><p> [email protected]</p><p> , , fin-de-sicle-, (Gustav Mahler), 19. 20. , , , .</p><p> . , , 19. , . , 19. . , , . , , , , , , . </p><p> : .</p></li><li><p>30</p><p> - [email protected]</p><p> , , , . , 2001. . . ,..</p></li></ul>
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