Η ΑΝΑΠΝΟΗ ΚΑΙ Η ΣΤΑΣΗ ΤΟΥ ΣΩΜΑΤΟΣ, ΓΙΑ ΤΗΝ ΙΔΑΝΙΚΗ ΠΑΡΑΓΩΓΗ ΤΟΥ ΉΧΟΥ ΜΕ ΈΜΦΑΣΗ ΣΤΟ ΌΜΠΟΕ.
(2024)
author(s): Χρήστος Τσόγιας-Ραζάκοβ
published in: Research Catalogue
Η αναπνοή και η στάση του σώματος,
για την ιδανική παραγωγή του ήχου με έμφαση στο όμποε.
Συγγράφηκε στα πλαίσια του διδάσκοντος μαθήματος: Παιδαγωγική και Διδακτική Οργάνου ΙΙΙ, του Τμήματος
Μουσικών Σπουδών, του Ιόνιου Πανεπιστημίου, το έτος 2016.
Ο σκοπός της εργασίας είναι διττός, να δοθεί μία σύντομη περιγραφή της λειτουργίας του αναπνευστικού συστήματος με τεκμηριωμένα παραδείγματα, πώς η ''ορθή'' στάση του σώματος επηρεάζει την λειτουργία του αναπνευστικού συστήματος. Αλλά και να συμβάλλει στον τρόπο διδασκαλίας της αναπνοής, για μία ιδανική παραγωγή του ήχου, κυρίως στο όργανο - όμποε, όπου έχει ιδιαίτερα χαρακτηριστικά λόγω της φυσιολογίας του οργάνου.
Επιπλέον, όσον αφορά την τεχνική της αναπνοής δίνει μία εναλλακτική οπτική, πέρα το ''μηχανικό'' στοιχείο της, αλλά περισσότερο ως ένα αναπόσπαστο κομμάτι της μουσικής γλώσσας, με ποιοτικά χαρακτηριστικά. Συμπληρωματικά, παρουσιάζονται διάφορες ασκήσεις για την αναπνοή, με την κάθε άσκηση να αποσκοπεί σε έναν διαφορετικό σκοπό. Οι ασκήσεις κυρίως αφορούν τους ομποΐστες, λόγω του ιδιαίτερου συνδυασμού της αναπνοής με το καλάμι του όμποε και των ποικίλων χαρακτηριστικών του.
Χρήστος Τσόγιας-Ραζάκοβ
Παιδαγωγική και Διδακτική Οργάνου ΙΙΙ.
Κέρκυρα: Ιόνιο Πανεπιστήμιο, 2016.
Holding the violin and how it influences sound and playing in historical performance practice. Historical perspectives.
(2016)
author(s): Agnieszka Papierska
published in: KC Research Portal
Name: Agnieszka Papierska
Main subject: Baroque violin
Title of research: Holding the violin and how it influences sound and playing in historical performance practice. Historical perspectives.
Research coach: Margaret Urquhart
Research questions: How much would the sound of the violin change with holding it in different position? Could this be a tool of expression? Does the way we hold the instrument influence other choices we make about performance practice e.g. regarding fingering, bowing? Could this knowledge be used in performance practice today?
Summary of results:
During the baroque and classical period many different ways of holding the violin existed, often at the same time. This paper investigates the way in which the different positions of holding the instrument could change the sound of it. After studying at sources and making experiments with different posture it can be confirmed that that the sound changes with different ways of holding the violin. The technique and interpretation are also affected. The main conclusion is that violin technique is not unchangeable. We can adjust it in order to develop sound that we desire.
Biography:
Agnieszka is an accomplished and experienced chamber music and orchestral musician. She started her professional career at a very early age. While still a student in Poland she collaborated with many professional orchestras where she worked with world-class conductors and soloists.
After completing her Bachelor's diploma in modern violin an interest in historical performance practice let to her move to the Netherlands in order to study in the early music department of The Hague Royal Conservatory. In 2012 she also completed the master studies in Wroclaw Academy of Music in Poland.
Currently she works with Theresia Youth Baroque Orchestra in Italy and also performs with other groups in the Netherlands and abroad.
She plays an anonymous 18th century violin from the Klingenthal region.
The Iwan Müller system on the clarinet
(last edited: 2024)
author(s): Justin Coste
This exposition is in progress and its share status is: visible to all.
In the development of the clarinet a multitude of different system has been develop. All of them trying to extract the best of the instrument from different side, the ease, the balance the projection and more, all of these criteria to give more horizon to the clarinet.
Here we gonna talk about the development of the clarinet by Iwan Müller between around 1800 and 1850.
from what it come from, to it next evolution.
How Can A Contemporary Violinist Approach Performing In Different Styles?
(last edited: 2023)
author(s): David Pablo Bellido Herrero
archived in: KC Research Portal
Name: DAVID PABLO BELLIDO HERRERO
Main Subject: VIOLIN
Research supervisor: GERARD BOUWHUIS
Tittle: HOW CAN A CONTEMPORARY VIOLINIST APPROACH PERFOMRING IN DIFFERENT STYLES?
Research Question: what is the better way to approach performing different styles to be respectful with the composer and, at the same time, apply interesting ideas to our performance?
Summary of Results: we can still find great performances and performers that don't take care enough of basic elements of the score, over all in classical and baroque music and in contemporary music. In one hand, we should go more often to the sources, because as I explain in the research, it is the better way to have a good approach. The sources could come from books (classical, baroque and romantic music), or in the case of contemporary music by the composer itself, interviews or videos. At the same time, it will show that we have the responsability of being strict enough to don't make the same mistakes that we are use to listen to.
Is Music Universal?
(last edited: 2016)
author(s): Ned McGowan
This exposition is in progress and its share status is: visible to all.
An oft-heard statement is that music is the one true universal language. While this may be a nice phrase to promote harmony between cultures, the question arises: is it actually true? Can the same piece of music communicate the same thing to people from different cultures?