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This article examines narratives about the Holy Spring of Iskitim gathered from visitors to the spring and from two local priests as well as members of their congragation.
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The following article presents a case study on the timbrality of a Romanian caval in A, an authentic traditional instrument. The research sought to depict the characteristics of the caval, to perform a timbral analysis and to determine the division of the registers and subregisters of this instrument.
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There are a lot of digital programs who help students explore their creativity and develop their knowledge in all aspects of music. The wide variety of ways to incorporate digital technology in all levels of general music education, gives the students the opportunity to explore their musical skills not only in the class, but also outside the classroom. It is a well known fact that music technology furthers the boundaries of music and enriches music lessons. The major reason why we have to use the digital technology in the music classroom is that it helps students in performing, creating, and analysing music.
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The Music Department of Comberton College has a complex computerized infrastructure, allowing the organization of musical activities mediated by ICT. During the first three years of music study, children have access to all three music teachers of the department. These teachers have complementary musical trainings. During this period, children also have the opportunity to be initiated in the use of music technology and deepen their knowledge in the subsequent years of study at this school. For this purpose there is a curriculum of the Department for ICT in musical field configured in relation to the objectives of the national curriculum, the interest of the school in sustaining these activities and especially the options of training children in this particular area.
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In education, a teacher who wishes to keep up to speed with the latest developments in certain fields cannot stay out of new technologies facilitating it. Thus, by using the information syndication, updated information can be obtained on a certain topic or from a certain site. By using social bookmarking, on-line Internet resources can be withheld, classified, localized and shared, depending on the individual needs and interests. If you wish to initiate a collaborative activity or a virtual conference, WEB2.0 dedicated-applications can be used. All these technologies can be easily integrated with the classes, as course materials posted on e-Learning platforms, thus allowing the students to access these materials through the new technologies. Do the teachers and students use these technologies during their daily activities? The present paper shows the measure in which the teachers, as well as the students use the eLearning platforms (Moodle) in their personal and professional activities. The data generated by the statistical processing (sample size: 350 higher education teachers and 250 students) indicate that the eLearning platforms contribute in particular and various ways to the elaboration/finishing of the personal teaching style. The educators are thus stimulated to use innovative teaching strategies, which enhance the sensitiveness and receptiveness of the new information, as well as increase the stimulation, imagination, enthusiasm indices, changing the teacher-student dynamics and raising the level of student involvement in shared activities and increase the effectiveness of the educational process.
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Interactive access of multimedia resources implying multiple content forms is a tremendous educational means whose efficiency has been tested more and more intensely in the past decades. The possibilities offered by the digital world have opened new opportunities and perspectives to music schools that teach instrument playing and exploring them has become a priority for the piano teachers. Useful work with the IT resources can determine an increase in the teaching quality. As a consequence, today’s piano teachers face a new task, but they have numerous resources available which can help to make piano teaching more efficient. Flexibility and adaptability of IT resources make them ideal for use in classroom. One of the proposed objectives is to have piano students figure out their own playing models, and thus to influence their education.
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Charanga Music School is a living cloud-based resource that brings together great music, modern pedagogy and the latest educational technology. It provides in-depth support for many aspects of music teaching and learning in and out of school and its exciting digital presentation and attractive content help to engage children and young people in a very contemporary way. It has been recognized as the “Best Digital/Technological Resource 2015” at the Music Teacher Awards for Excellence.
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The use of digital resources in the learning process is the most effective option for acquiring knowledge and skills. In this context, the use of multimedia resources, teaching, learning and assessment becomes more attractive and more efficient. The approach taken by the project team of the MusicPlus Digital digital platform by creating a ukulele course fits perfectly in these rules. The digital program represents an alternative to traditional methods of formal education and suggests interesting lessons that engage students more easily in the learning activities. Authoring this article was made possible by an interview with Jack Painter, project manager of MusicPlus Digital platform.
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Our contemporary technological environment does offer us a wide range of possible reconfigurations of curricular design, both in general and vocational learning. While it is apparently harder to adapt the specific vocal or instrumental studies to a virtual context, one can find a large range of software that can be used as instruments in support of study. The usefulness of such software in vocal education, as well as the abilities of those who choose to use them, have made the object of world-wide intense debates in the last decade. Sibelius 7 is one of the leading score writing and editing music software types, which can be successfully used in didactical intercessions, in the specific classes. The benefits are obvious as concerning the period needed to learn scores, a deeper and more conscious understanding of the musical text and of the problems related to the study, improved aural abilities in reproducing the high tones as accurately as possible and knowing the melodic approach of the accompanying instruments.
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This paper brings numerous arguments for knowing and using a various number of resources in learning music so that the learner or receiver of the process of musical education perceives, seeks and generates The Good, The Beauty and The Truth from/ within the sonorous world around us.
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In the work of a stage director, the critical evaluation of the staging of a performance must be a phase as important as any other. In order to achieve this goal, today more than in the past, stage directors have access to means of audio-video recording and playback, as well as to IT and communication technologies that they can use to improve both their directing concept and the work with the singing-actors. Such a stage directing tool that we created with regard to the optimization of the directing of ''L'elisir d'amore'' by Gaetano Donizetti, staged in 2008 in the ''Gheorghe Dima'' Music Academy Hall, required the using of certain IT and communication technologies, related to the statistical analysis.
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The paper about the vocal pedagogues having worked in Varna traces the emergence and development of the subject ‘singing’ from the Liberation until today. The musicians, who have contributed to this development, are presented personally; the attempts to found a musical school in Varna where the subject ‘singing’ is to have professional understanding and preparation; the vocal pedagogues who worked in the State Music School established in 1944 later named after Dobri Hristov; the pedagogues from the operetta set up in 1947 and the opera singers working privately as vocal pedagogues are all mentioned. All who depending on their possibilities contributed to this development in the years they worked. A great number of them are already deceased and the traces of their deeds are disappearing. Varna National Opera and the Music School (now - Secondary School of Arts) have no archives that could be used as a point of reference in respect to facts - names, dates, events. Therefore the studies are based on private archives preserved by their inheritors, on personal conversations with the remaining living pedagogues.
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In the style of an anchor of a specialized musical broadcast on the BNR (what in fact is the author herself) the paper presents the lightning career of the Australian film director Baz Lurman with his films of the “Red Curtain”. The film version of “Strictly Ballroom”, produced by Lurman and the co author - scriptwriter Craig Pierce is the first feature film if the director from the so called sequence “Red Curtain” - films of the “Red Curtain”, characteristic with their theatricality and the re-interpretation of familiar musical-stage productions. The idea of this definition comes from the red plush curtain, which opens at the beginning of “Strictly Ballroom” and closes at the end of the film. Besides being a film version of an earlier theatrical attempt, “Strictly Ballroom” is undoubtedly an allegorical look at the holding and character of a ballroom dance competition. The film was produced in 1992 and shown at the Cannes Festival for the first time. It was greeted as a stylistic discovery of the young and unknown debutant director and showered with prestigious rewards: from Cannes, from the “Gold Camera” Festival, from the Australian Film Institute, from the Bristish Academic Awards, from the festivals in Melbourne, Sydney, Toronto and Chicago. The second, blockbuster film of Baz Lurman - “William Shakespeare’s Romeo and Juliet” is a contemporary version of the classical play in the style of MTV, the action of which develops in Miami Beach. The hostile families are implacable rocker gangs, handling most modern automatic weapons and fast motorcycles. The musical pop-rock “gang” version of Shakespeare’s play has proved to be the favourite film version of the contemporary young generation - probably because of the attractive sound and certainly because of the new teenage idol Di Caprio. The film also offers two soundtracks. Since the moment of the realization of the first (the end of 1996) up to now over 3 million copies have been sold worldwide, and different pieces from it have been sounding continuously on most world radio stations. On the second soundtrack there are quite a lot of songs and several orchestra pieces, which were not included in the first. The soundtrack itself (the musical score created in advance) turned out to be the necessary impulse for setting in motion the future film production of Lurman and one of the specific peculiarities (perhaps the most specific) of his approach to the films of “the Red Curtain.” “Moulin Rouge” of Baz Lurman is the third and most successful film from his “Red Curtain” films, whose first projection opened the festival in Cannes in 2001. Nominated in all categories for an “Oskar” prize, it received only two - for artistic design and for the costumes of Lurman’s wife - Catherine Martini. The meeting with “Moulin Rouge” was rather shocking mostly for the film critics. The opinions about the film were diametrically opposed: from Victoria Alexander in “Films in Review”, who called the film “a turning.
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The paper traces the way of the professional ballet education in this country. At first in the private ballet schools of Pesho Radoev, Anastas Petrov, Zhivko Biserov, Feo Mustakova the experience of each instructor (at the same time practicing ballet actor) was decisive for the choice of the teaching system. Later after the official opening of the State Ballet School in 1951, the Russian Pedagogical System of Agripina Vaganova was adopted. In 1956 a second department was opened and the school was re-named State Choreographic School with two departments “Classical Dances” and “Bulgarian Dances”. At first the pedagogues in the newly opened school were actors with long experience without special pedagogical education. The relations with similar dance schools in Moscow, Saint Petersburg, Berlin, Leipzig, Budapest, Bucharest, Dresden developed in several stages - specialization of pedagogues and graduates, which later be came education in Ballet Stage Production and Ballet Pedagogy - mainly in Moscow and Saint Petersburg. While in Bulgaria there is no specialized higher education in Ballet Pedagogy and Ballet Stage Production, the State Choreo graphic School is the only place in the country, which not only educates ballet performers, but also creates aesthetics and models of behaviour, sets the trends in the development of our future ballet pedagogues, choreographers, ballet experts. In the 90s higher education in Ballet Pedagogy and Ballet Stage Produc tion started in this country and gradually our contacts with Russia became less intensive. Nowadays all teachers have higher pedagogical education received in music academies in Plovdiv and Sofia or in the academies in Russia. The dance education in this country follows its own ways of development, whereas with the years the need for opening a third department “Modem Dance” that will prepare performers for musicals and modern dance formations is being increasingly felt.
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Assen Ruskov is one of those amazingly large-scale, unique with their inherent talent and achieved professional perfection phenomena in Bulgarian Theatre (a legend even in his lifetime), for which it is getting increasingly difficult to find a key to interpreting and rationalizing the created by and inherited from him on the stage. A genre antipode to our other operetta legend - the lyricist and soubrette Mimi Balkanska, in the period between the two world wars, Ruskov was (not by chance) our most popular comedy actor, universally acknowledged by the public and the critique as “the king of laughter”, “the master of the grotesque and stage makeup”. He was called “the great Ruskov” and “the Krustio Sarafov of the operetta stage”, “an actor with a hundred faces”, “a great creator of types” and “a comedian with Chaplin-like constructive imagination” -due to the great number of unforgettable types in operettas, musical comedies, farces, vaudevilles and even dramas, re-created by him on the stages of almost all private operetta theatre in the capital (later on the stage of the National Operetta and the State Musical Theatre). His name has been and still is synonym of spontaneous comedy magic, bubbling over from his organic actor’s behaviour - specific articulating, intoning, gesturing, miming, plastic movements; of bursting laughter as a result of his witty parodies and topical improvisations; of his inimitable face mask and perfect costume, in which each detail is pedantically fixed - in support of the entire dazzling and unique scenic image, created by Ruskov. His actor’s technique is universal and all-inclusive, open to any hybrid forms of the comic. Therefore the comedy special line of the actor is so large scale: Ruskov was a bouffe opera (parody) comedian, and a cascade (eccentric) comedian , and a character (type) comedian, and a tragic comedian. In his 250 comic characters - created during his almost 40-year-long ascending stage career, he combined with intelligence and masterly ease the paradoxical with the realistic, the caricature with the grotesque, the parody with the cascade. But in the contemporary research approach to the artistic genius of Assen Ruskov, it is obligatory to mention some newly found historical documents from his personal archive as well as some more precise criteria and assessments of the professional theatre critique of the time, which throw a new and different light upon the familiar facts of his artistic and personal biography.
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Dance-Theatre, Dancing Theatre and Dram-Ballet (Observations and Comparisons between the Dance-Attacks of "Arabesque" and the Dancing Theatre of Neshka Robeva) Analyzing “the Dance Attacks” of the ballet “Arabesque” and the dance spectacles of Neshka Robeva the article follows the differences in the inter action of dance, speech, music and video-projections in the Bulgarian dancing theatre in the past few years. In the dram-ballet speech and music completely overlap as means of expression. In the dancing theatre speech (frequently this is the vocal) and movements develop in parallel information streams. In the dance-theatre the dance and speech have different, often polar information direction -it is a conversation in different languages or different messages between speech and the body expression. In the dram-ballet and the dancing theatre there is a definite plot. In the dance-theatre there are separate scenes, which do not build up a plot. The dance-theatre and the dancing theatre are oriented towards the expressionism of the modern dance, whereas the dram-ballet develops on the basis of the classical dance. In the three of them, however, the gesture and the pantomime are of decisive significance. The dance-theatre and the dancing theatre lie in the opposition negative positive. The dance-theatre has become a way to express or more exactly to shout out the amassed negative energy -loneliness, despair, misunderstanding. At the same time in the dancing theatre the Bulgarian folk dance and the collective dance creation accumulate positive energy and convey it to the public. Up to now the dance-theatre in Bulgaria has no convincing realization on Bulgarian themes, whereas in different periods of development of ballet art the dancing theatre and the dram-ballet performed stage works after Bulgarian myths and legends. This makes the dance-theatre imposed upon the Bulgarian way and view of life to some extent, although some attempts are being made to turn it into something Bulgarian - mostly in the productions of Vazkresia Viharova and Antonia Dokeva.
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The article examines in brief the historical forms that have prepared the birth of the musical and the place of the dance in them. The connections between the dance, music and the libretto are well known as well as the way in which the different dance stylistics is used in the musical. The dances in the musicals: “My Fair Lady”, “Hello Dolly”, “A Fiddler of the Roof‘, “Joseph and his Fantastic Gaily-Coloured Garment” and “Jesus Christ Superstar” are described in detail because this gives the possibility for a more complete assessment to what extent the musical is connected with the remaining components. The analyzed titles have been staged in this country and throw light on the fact how much the musical influences our attitude to the genre and whether the Bulgarian musical theatre has changed in consequence of that. In our country in musical productions the ballet and the choir still have different functions -the first dance, and the latter only sing. The great discovery of the genre involves the merging of the two groups (ballet and choir) and eliminating the differentiation between them. Our music theatres and the educational institutes preparing specialists for them, however, with surprising persistence refuse to accept this fact and do not undertake radical innovations for the proper education of the actors.
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