Wyniki wyszukiwania - Biblioteka Nauki

1

Bruno Stein’s Organ Music in the Context of Pedagogical and Musical Activity

100%

Majkrzak B.

Kwartalnik Młodych Muzykologów UJ

|

2018

|

nr 3(38) Eng

25-46

EN

The purpose of this article is to present the life and organ work of Bruno Stein. The preparation for teaching was very important in Prussia, as it somehow traced a path of development for young people not only willing to be teachers but also musicians in the future. Bruno Stein, when composing organ preludes, recognised this situation and simultaneously became a model teacher as well as a composer of reliable and solid artistic achievements. The crucial element constituting the core of this article is the analysis of the selected preludes for organ. Having taken these compositions into account, one can observe the artistic means that were used by the composer, explore their style and purpose. Apart from organ works, Bruno Stein composed many other vocal, instrumental and vocal-instrumental pieces.

2

Varhany v Betlémské kapli v Praze - poslední opus varhanářské dílny Vladimíra Šlajcha

100%

Tůma J.

|

nr 5

22-39

EN

Vladimír Šlajch was born in 1955 in Prague. Since 1978 he has been engaged in the repair and restoration of historic organs as well as the construction of new mechanical instruments. The last organ that came out of Šlajch's Borovan workshop is the organ for the Bethlehem Chapel in Prague. The article presents the history and technical details of this instrument.

3

Variability of the position of organs in Hymenolepis diminuta tapeworms at different ages

100%

Stradowski M.

|

nr 1

EN

Hymenolepis diminuta tapeworms of the WMS "strain", obtained at 1 month and at 2.5 months after the administration to rats of cysticercoids, showed a right-hand side position of the genital pores (PGP). In the 5th month of infection strobilas of variable PGP were also found to appear. These two types of strobilas (of right-hand side and variable PGP) appeared till the end of the observation period in the 23rd month after the infection of rats. It was established that the variability of PGP depends on the duration of the infection and not on the age of the final host. Apart from typical proglottids containing 1 testis on the poral side and 2 testes on the aporal side (lp2a) there were also proglottids of the following numbers and placement of testes (NDT): 0p0a, 0pla, 0p2a, 0p3a, 0p4a, 0p5a, 1p0a, 1p1a, 1p3a, 1p4a, 1p5a, 2p0a, 2p1a, 2p2a, 2p3a, 2p4a, 3p0a and 3p1a. Correlation was established between the frequency of occurrence of PGP changes and the number of proglottids with the following NDT: 1p2a, 2p1a, 3p0a, 3p1a and all deviations from 1p2a.

4

Stosunki organizacyjne w obrocie

89%

Petraniuk J.

|

tom 26

|

nr 4

89-116

PL

Autor w artykule analizuje następujące zagadnienia: 1) organ jako element konstrukcji osoby prawnej; 2) umowa jako wyłączne źródło stosunku organizacyjnego; 3) charakterystyka umów rodzących stosunki organizacyjne oraz 4) ustanie stosunków organizacyjnych. Mandat i kadencja, zawarte w treści umów organizacyjnych, są pojęciami uniwersalnymi, które mogą zostać wyprowadzone z art. 369 kodeksu spółek handlowych. Nie oznacza to jednak możliwości stosowania nawet odpowiednio pozostałych przepisów kodeksu spółek handlowych do innych, niż spółki, typów osób prawnych.

EN

The Author in the article analyzes the following issues: 1) organ as part of the structure of a legal entity; 2) contract as the source of organizational relation; 3) characteristic of the contracts resulting in organizational relations and 4) cessation of the organizational relations. The mandate and the term of office, situated in the content of organizational contracts, are universal definitions, which can be derived from Article 369 of the Code of Commercial Companies. However, it does not mean the possibility to use, even adequately, other provisions of the Code of Commercial Companies concerning other than companies, types of legal entities.

5

Kultura organowa Europy wobec współczesnych zagrożeń i wyzwań

88%

Bernat S.

|

nr 5

6-21

EN

Organ culture, which is mainly composed of organ instruments and their manufacture, music, concerts, festivals related to organs and their public reception, is increasingly a subject of research interest. The aim of the article is to present the current situation of organ culture in Europe, especially in Poland. The analysis of statistical data made it possible to recognize the potential of individual European countries in the field of organ instruments. Interviews with experts were the main source of information on contemporary threats and challenges, including those related to the COVID-19 pandemic. Finally, attention was drawn to the multidimensionality of the subject of organ culture and new research perspectives in the presented topic.

6

Francuski symfonizm w polskim budownictwie organowym

88%

Steczek Ł.

Studia Pastoralne

|

2020

|

tom 16

245-269

EN

The era of Romanticism gave birth to the idea of large romantic-symphonic organs. However, they differed in many details depending on the country. Differently built in England, Germany and France. The article presents an outline of the issue of organ construction in the style of French symphonism by Polish organist companies. These instruments are found in Polish Roman Catholic churches. They play an important role in the liturgy and in the promotion of organ music, especially of French composers of the 19th and 20th centuries. When designing, reference was made to the tradition created by the famous French organist Aristide Cavaillé-Colla. The similarity to the aesthetics of French symphonism is expressed by using the same design and sound solutions. Organs of this type are being built in Polish sacred buildings recently. This new trend shows the development of Polish organ craft. In earlier years, symphonic instruments for Polish churches and concert halls were performed mainly by foreign organist companies, especially from Germany. In addition, in churches in Poland there are organs called universal, combining baroque and romantic styles. Their partial reference to romantic requirements also favors the performance of romantic and contemporary organ music from France. An interesting fact is the symphonic-romantic organs, which at the same time combine 19th-century solutions from Germany and France.

7

Cechy stylu neoklasycznego w Sonacie organowej Tadeusza Paciorkiewicza

88%

Arseniuk P.

Kwartalnik Młodych Muzykologów UJ

|

2022

|

nr 1(52)

5-21

EN

The aim of this study was to describe the structure of the organ Sonata by Tadeusz Paciorkiewicz and to show its Neoclassical features. For this purpose, the main elements of the piece were described, such as: form, melody, texture, harmony, rhythm, tempo and timbre. Despite the typical Neoclassical elements, the presence of the Romantic elements in the piece was also stated, which is typical of Paciorkiewicz's aesthetics.

8

Cadmium and lead levels in selected goat and sheep tissues from areas under different antropogenic pressure

88%

Mundała P. , Szwalec A. , Baran A. , Kędzior R.

Infrastruktura i Ekologia Terenów Wiejskich

|

2016

|

tom nr IV/2

1337--1346

EN

The aim of the study was to compare the levels of cadmium and lead in livers, kidneys and wool / hair / of sheep and goats reared in the vicinity of the steelworks in Nowa Huta in Kraków and in the control field, Rożniatów, in which there was no emitters of heavy metals. Samples were collected post mortem from one-year old animals of one breed (within a species) and one sex, who had lived from birth in the studied areas. Both species were fed with the same fodder and have remained in the same places. Wet mineralization was applied (mixture of nitric acid (V) and chloric (VII) (3: 1)) metal determination was done by a FASA method. The levels of the metals depend on the species, on the test areas and on the collected part of the animal. Tissues from sheep contained more cadmium and lead than the tissue of goats. The highest cadmium content was found in the kidney, lower in the liver, the lowest in the hair / wool of tested animals. Goat kidneys from both areas of research and sheep kidneys from Rożniatów meet consumer standards for cadmium. However, 20% of sheep kidneys sampled from Nowa Huta district exceeded the standards for cadmium. The lead content of both species exceeded the limit in all of the kidneys and livers from Nowa Huta district. In Rożniatów the standards were not fulfilled for all kidneys and livers of goats, and all kidneys and 70% of the livers of sheep.

9

Organmistrzowski rodowód fortepianmistrzów

88%

Vogel B.

Aspekty Muzyki

|

2017

|

tom 7

177-193

EN

For centuries all kinds of keyboard instruments such as organs, clavichords, harpsichords and pianos were made by organ builders, with pianos being additional by-products. The gradual specialization in manufacture came along with a growing demand for stringed keyboard instruments. Already in the 18th century, some organ builders in larger musical centers began making more harpsichords than pipe organs. At the turn of the 18th and 19th centuries, one could clearly notice the trade specialization of makers originally educated as organ builders, of whom only few spent the rest of their lives manufacturing and repairing organs. Making harpsichords or pianos did not demand continuous journey in search for places or churches in need of new organs, where the maker had to stay for at least a few months, first to build the instrument and then to place it at the proper location within a given church. It did not demand adaptation to the architecture and acoustics of the sacral building. Instead, one could build these newly popular instruments in a stationary workshop or manufacture, and using a similar structural and artistic form, which in time simply gave way to serial production. This specialization process, first within the framework of a single trade, and later splitting in two different ones, will be shown on the examples of both European makers (such as Bartolomeo Cristofori in Florence or Gottfried Silbermann in Freiberg), and Polish builders from the 18th–20th centuries — working in a variety of locations: from magnates’ mansions and small towns, like Sandomierz, through larger manufacture centers as Warsaw, Cracow, Gdańsk or Lvov.

10

Historia i teraźniejszość organów Filharmonii Opolskiej im. Józefa Elsnera

88%

Rosińska M.

|

nr 5

40-53

EN

This article presents the history of the construction of the concert organ located in the Opole Philharmonic Hall building, as well as the assessment of its condition for the sake of further concert activities. The text includes the detailed information regarding the instrument construction and its technical characteristics. The article also presents the technical condition of the organ over the past years, as well as the description of the repair work required to be performed at the present time in order to preserve the instrument in its best possible condition for the coming future.

11

Coenzyme Q10 as an antioxidant and its relation to HMGCoA reductase inhibitors

88%

Littarru G. P.

Polish Journal of Environmental Studies

|

1997

|

tom 06

|

nr 2

12

Changes of H2O2 level in organs of lupine seedlings exposed to lead

88%

Przymusinski R. , Bartczak J. , Gwozdz E. A.

Polish Journal of Natural Sciences. Supplement

|

2003

|

tom 01

13

Ultrastructural studies on organs of cadmium-poisoned rats treated with oxygen-ozone mixture

88%

Kuryszko J. , Madej J. A. , Madej P.

Archivum Veterinarium Polonicum

|

1995

|

tom 35

|

nr 1-2

14

Paweł Pasternak, Organy i ich twórcy na obszarze ziemi sądeckiej, Nowy Sącz 2018 Zarząd Miasta Nowego Sącza, ss. 166. ISBN 978-83-9332-699-0

75%

Rajman J.

Muzyka

|

2019

|

tom 64

|

nr 2

154-162

15

Petr Eben a jeho skladby pro varhany. Poznámky k tradici jejich provádění, k interpretaci a jejím parametrům

75%

Tůma J.

Folia Organologica. International yearbook of organ and organ music

|

2018

|

nr 1

75-81

EN

The music of the important Czech composer, who would have turned ninety on 22 January 2019 when we commemorated the anniversary of his birth, constitutes one of the most important enhancements of the Czech artistic environment in the world of culture of the latter half of the twentieth century. Petr Eben earned recognition, and his organ music has even been compared with the legacy of Olivier Messiaen. The composer understood the organ as the instrument to which his fate was bound. By the age of ten, he already held the position of organist at Saint Vitus’s Church in Český Krumlov. He would seat himself at the big threemanual instrument in the early evening, locked inside the church, leaving time and the world behind during his lengthy improvisations. “I think it was then and there that my whole personality took shape.” Perhaps every organist was playing Eben’s works in my student days. After the composer’s death in 2007, however, interest in his music declined somewhat, but I still keep returning to his compositions with growing frequency, especially to certain of his works. At the same time, I am aware of how in my thinking, and I definitely am not alone in having this experience, as time goes by there is a maturing not only of my image of the works themselves but also of the possible, desirable, and in a sense perhaps even modern manner of their interpretation, especially with respect to the choice of ideal instruments. Musicians often base the success of their performances on the depth and intensity of experience, and especially on spontaneous, momentary inspiration on stage. Only a few are so grounded in reason that they always think through how they will perform a work down to the last detail in advance and never deviate from that line in the least when playing. In the long run, however, a combination of these two approaches tends to be most successful, so that besides spontaneity, there is a constant consideration of relationships between formal and tectonic structures and harmonic and thematic contexts, leading to a clarification of details and a continually improving and more precise rendition of the whole, and this then begins to be reflected in the formation of a kind of tradition of the performing of the works. That tradition ultimately does not tend to be the result of the activity of a single performer, but instead it arises from a long series of performances of the works in question by various interpreters. A performer should master all of the basic parameters of a work and its interpretation. A melody must always remain a melody, and a phrase must always be a phrase. The relationships between individual sections must be clear and comprehensible to an audience member sitting and listening far away from the organ in the nave of the church or in the last row of the concert hall. The ear must be capable of perceiving every single note of each moving sequence of fast tones. The vertical structure must be equally comprehensible, so every chord needs to be played so that it can be deciphered even from a great distance. At the same time, however, Eben’s music must retain its overall character. As the composer said: “In my music, there is far more drama than meditation.” Today, learning and performing any of Petr Eben’s greatest works is a real challenge for organists. In some cases, I encounter interpretations that appear to have come into being without continuity and that do not proceed along the lines that have been tried and proven, but at the same time, it seems to me that they go to the heart of the matter and that they respect the composer’s deepest intentions and motivations. From my perspective, this may be the thing that shows most clearly that Petr Eben’s organ music definitely will not disappear into the ash heap of history.

16

Instrument organowy w perspektywie sztuki wanitatywnej

75%

Grajewski C.

|

2016

|

nr 11

33-45

EN

The article presents the organ as an element of vanity painting. The main theme of the article is an iconographic analysis of a painting by Raphael, The Ecstasy of St. Cecilia. The author of the article describes symbolism of those musical instruments which belong to the profane sphere, and the organ as an instrument representing heavenly music.

17

Wybory

75%

Jakubowska A.

Zachodni Poradnik Łowiecki. Kwartalnik Wojewódzkiego Sejmiku Łowieckiego w Poznaniu

|

2010-2011

|

nr 1[33]

18

Jeszcze o zabytkowych organach w kościołach diecezji rzeszowskiej (studium historyczno-instrumentoznawcze)

75%

Widak A.

Resovia Sacra : Studia Teologiczno-Filozoficzne Diecezji Rzeszowskiej

|

2016

|

nr 23

395-420

EN

There are 148 pipe organs at churches in diocese of Rzeszów, 62 instruments areconsidered to be antique. One of the criterion of being antique is the age of the instrument. InPoland organs built before 1939 are antique. The subject of the article are the antique organsin the churches of Rzeszów diocese, which have not had separate study so far. These organsare in churches: Boguchwała, Brzyska, Dębowiec, Kąty, Kupno, Wola Rafałowska.The article was divided into two parts. The first one presents history of the church,the history of the instruments which survived and did not survived. As far as survived organsare concerned the description inventory was given (location and dimension of organ case,disposition, range of keyboards, action, kind of bellows). The second part includes a synthesisof analytical results.The article is based on material which was found in Archdiocesan Archive inPrzemyśl and Diocese Archive in Rzeszów. The information about organs are in 31 sources.The author conducted also query research at parish archives. The author used printed sourcesand information from books.When it comes to not survived organs there is information about 5 instruments. Itwas impossible to establish builders of these instruments. One may assume that theyfunctioned in the churches from 17th to the 19th century.In case of survived organs three of them were transferred (Dębowiec, Kąty, Kupno).At this stage of the study it was possible to determine the date of creation and builders of fiveinstruments. The construction year and the builder of the organ in Kupno has not beenestablished yet.Boguchwała -1905, 6 stops, one Manual and Pedal, Gebrüder - RiegerBrzyska -1883, 12 stops, one Manual and Pedal, Stanisław JanikKąty -1902, 12 stops, one Manual and Pedal, Aleksander ŻebrowskiKupno – 19th century, 13 stops, one Manual and Pedal, the builder is unknownDębowiec - 1935, 19 stops, two Manual and Pedal, Stefan KrukowskiWola Rafałowska -1893, 12 stops, one Manual and Pedal, Jan GrocholskiEleven instruments were described in this article.

19

Adenylate cyclase - properties, activity and methodology

75%

Jaworska-Adamu J. , Cybulska R.

Folia Morphologica

|

1991

|

tom 50

|

nr 1-2

20

Production of transgenic pigs expressing human alpha 1,2-fucosyltransferase to avoid humoral xenograft rejection

75%

Lipinski D. , Jura J. , Zeyland J. , Juzwa W. , Maly E. , Kalak R. , Bochenek M. , Plawski A. , Szalata M. , Smorag Z. , Slomski R.

Medycyna Weterynaryjna

|

2010

|

tom 66

|

nr 05

316-322

EN

The use of animals as a source of organs and tissues for xenotransplantation may overcome the growing shortage of human organ donors. However, the presence of xenoreactive antibodies in humans, directed against the swine Gal antigen present on the surface of xenograft donor cells, leads to the complement activation and an immediate xenograft rejection as a consequence of hyperacute reaction. In order to prevent a hyperacute rejection, it is possible to alter the swine genome with human genes modifying the set of the donor’s cell surface proteins. The aim of this study was to prepare a pCMVFut genetic construct and then introduce it into the swine genome in order to obtain transgenic pigs expressing human α1,2-fucosyltransferase and thereby avoid a humoral xenograft rejection. The pCMVFut gene construct containing the human gene encoding α1,2-fucosyltransferase enzyme under the human cytomegalovirus immediate early promoter was introduced by microinjection into a male pronucleus of a fertilized porcine oocyte. The screening procedure involved isolating genomic DNA from microsections of pigs’ ears, the amplification of two PCR fragments and the entire sequencing of positive samples. The mapping of the transgene was performed by fluorescence in situ hybridisation (FISH) and transgene expression, while its impact on the reduction of the Gal epitope level on the surface of pig cells was assessed by flow cytometry of primary cultured skin fibroblasts. The influence of the human complement was measured by testing the sensitivity of nontransgenic and transgenic cells to complement-mediated cytotoxicity upon exposure to human serum. As a result of this experiment, the founder male pig was obtained with the transgene mapping to chromosome 14q28. An RT-PCR analysis revealed the expression of the HT gene in different tissues of transgenic pigs. A flow cytometry analysis revealed a reduction in the level of epitop Gal on the cell surface of skin fibroblasts isolated from transgenic pigs. The complement-mediated cytotoxicity assay showed increased viability of transgenic cells in comparison with nontransgenic ones, which confirmed the protective influence of HT expression. In this study we demonstrated that the constitutive transgenic expression of human H-transferase (α1,2-fucosyltransferase) can decrease the amount of Galα1,3Gal (Gal epitope) on the surface of pig cells, which is consistent with the results of other researchers. The expression of α1,2-fucosyltransferase modified the cell surface carbohydrate phenotype of transgenic pig cells, resulting in the expression of the universally tolerated 0 blood group antigen (H antigen) and a subsequent reduction in the expression of Gal epitope, as evaluated by flow cytometry analysis. Apart from the principal data, the flow cytometry analysis revealed no significant differences between the Gal epitope level achieved by CMVFUT heterozygous boar founder TG 1154 and transgene homozygous pig 433 from the F2 generation. The flow cytometry results were confirmed by the cytotoxicity assay. We found no statistical difference in the survival rate between transgenic homozygous and heterozygous cells under the influence of 50% human serum with an active complement system. Both homozygous and heterozygous cells had the same level of lysis protection.