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Rakowski, Andrzej, professor at the Department of Musicology of Adam Mickiewicz University in Poznań and retired professor of the Fryderyk Chopin University of Music in Warsaw. His main field of research is the acoustics and psychoacoustics of music, particularly the problems of pitch and timbre perception. He is the author of over two hundred research articles and monographs, including Kategorialna percepcja wysokości dźwięku w muzyce [The categorial perception of pitch in music] (Warsaw, 1978). He was also editor of Studia nad wysokością i barwą dźwięku w muzyce [Studies on pitch and timbre in music] (Warsaw, 1999) and Kształtowanie i percepcja sekwencji dźwięków muzycznych [The shaping and perception of sequences of musical notes] (Warsaw, 2001). He is an ordinary member of the Polish Academy of Sciences and honorary president of its Acoustical Committee.
Rakowski, Andrzej, professor senior of the Department of Musicology at Adam Mickiewicz University in Poznań, and retired professor of Fryderyk Chopin University of Music in Warsaw. His main research field is acoustics and psychoacoustics of music, particularly problems of pitch and timbre perception. He is the author of four books and over two hundred articles published in Poland, USA and Japan in monographs and periodicals (Acustica, Archives o f Acoustics, Journal o f the Acoustic Society o f America, Journal o f the Catgut Acoustical Society, Music Education Bulletin, Psychology o f Music, Qualitative Linguistics, and others). He is ordinary member of Polish Academy of Sciences and honorary president of its Acoustical Committee.
Reybrouck, Mark, studied physical education, physical therapy and musicology. He is currently professor of music at the Catholic University of Leuven (Belgium) where he is involved in the teacher training and the course of music psychology. His major research interests are music semiotics and listening strategies with a research agenda that includes both theoretical and empirical work. His theoretical contributions deal with musical epistemology, with a major focus on musical sense-making in real-time listening situations, the related topic of music as experience and the embodied and enactive approach to music cognition. As such he has explored the biological foundations of musical epistemology and the possibilities of biosemiotics and ecological perception and has made major attempts to translate them to the realm of music. Besides this theoretical work he is also involved in empirical research on representational and metarepresentational competence of children in music listening tasks.
Rogowski, Piotr, Ph.D., he graduated from Warsaw University of Technology in electronics (1990). He has been working at the Chair of Musical Acoustics at the Fryderyk Chopin University of Music, since 1992. His research work concerns the psychoacoustics and hearing conservation. He is the author or co-author of over 50 research reports. He is member o f the Polish Acoustical Society.
Rosato, Paolo, composer, musicologist, and writer, holds degrees in Choral Music, Composition, Philosophy, and a Ph.D. in Musicology at the University of Helsinki. He was co-editor (1986-1999) with Michele Ignelzi of Eunomio, an Italian journal for theory, analysis, and semiotics of music. He is the author of The Organic Principle in Music Analysis: A Semiotic Approach (Imatra and Helsinki 2013). He taught Italian, History, and Philosophy in the secondary school, and he is now Professor of Poetry for Music and Dramaturgy at the Conservatory of Fermo. His catalogue includes about 150 pieces of vocal and instrumental music as well as three operas.
Ryszka-Komarnicka, Anna, Ph.D., assistant professor at the Department of General History of Music, Musicology Institute at the University of Warsaw (M.Mus.thesis: Pasquale Anfossi’s oratorios in Poland [1994]; Ph.D. thesis: PasqualeAnfossi’s oratorios [2002]). Her main research interests include music of the seventeenth, eighteenth and nineteenth centuries, with particular focus on the achievements of the Italian composers of the Baroque and Classicist eras (opera, oratorio, cantata, forms and genres of aria music, the sonata form), as well as the Polish musical culture of that period. She has published numerous articles devoted to the music of Alessandro Scarlatti, Pasquale Anfossi and Wolfgang Amadeus Mozart, as well as articles on cavatina and rondo, the sonata form in vocal and instrumental music, and Polish musical culture (including works devoted to the relations between Poland and Italy during the seventeenth and eighteenth centuries). Recipient of a grant from the De Brzezie Lanckoronski Foundation (research visits to Rome in 2000 and 2012). She has recently completed the research project The book o f Judith in Italian oratorios o f the Baroque period (1621-ca. 1750) funded by the National Centre for Science in Kraków (2011/01/B/HS2/04723).

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