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In the mid-1960s, Todor Djidjev made two trips to the region of Kazanluk to record folk songs and instrumental tunes from Kazanluk and 12 villages within the region. He went on the first trip in November 1963 to the villages of Turia, Turnichane, Manolovo, Alexandrovo and Asen, and on the second one he went a few months later, in February 1964, to the villages of Buzovgrad, Ruzhena, Gorno Izvorovo, Hadzhi Dimitrovo, Koprinka, Cherganovo, Shanovo and the town of Kazanluk. His recordings are kept at the Music Folklore Archive of the Institute of Art Studies, BAS. The fieldwork materials of 1963 are recorded on two tapes and handwritten in two notebooks containing the lyrics of over 140 songs. During the second trip, Djidjev has recorded five tapes and written down the lyrics of over 200 songs and descriptions of instrumental tunes in three notebooks. These folk songs have different functions: dance, working bee, harvest, wedding, Christmas carols, etc. Some of the informants were immigrants from other parts of this country. Culturologically, especially valuable are the fieldwork notes, containing interesting stories of the performers, descriptions of traditions and historical facts about the places. This paper is part of a more comprehensive study related to the fieldwork recordings from the region of Kazanluk kept at Music Folklore Archive of the Institute of Art Studies, BAS.
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In the documentary heritage of the Scientific Archives of Bulgarian Academy of Sciences there is a small collection of 15 musical manuscripts – 13 church-slavonic and 2 Greek. Archived in the inventory 6 of the music collection 14 which has a variety content, the manuscripts remain undiscovered for long. As a whole the church-slavonic musical manuscripts come from the Institute of Music. The Greek manuscripts entered in the archive by different paths. the 2 Greek – from otherwise. The first manuscript – a fragment of the second half of the 14th century (BAS gr. 22) comes from another collection of musical manuscripts (EHAI) and the second manuscript – short Anastasimatarion (BAS gr. 15) was discovered in the personal fund of Nicola Nachov (f. 63k). In recent years during inventories were found three church-slavonic musical manuscripts from the 19th century: Heirmologion (a.u. 12), Anthology (a.u. 13) and Doxastarion (a.u. 14). This work presents them for the first time with preliminary description. Their analytical description is a future task.
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The article focuses on the analysis of work of pop group Kraftwerk in utopian context. Kraftwerk’ work is treated as a intermedial combination of music, texts, visual art and scenical performance. Its main content is a comprehensive vision of non-existed (yet) world of the man-machine. Kraftwerk’s work is compared to avant-garde musical experiments and to classical literary (and film) utopias because numerous formal and ideological similarities. The article is also an attempt of explanation of social and political background of Kraftwerk’s transhumanist vision.
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This article offers an introduction to cultural aspects of listening and hearing, voice, as well as the modern and contemporary soundscape. As an alternative to the visual paradigm, Momro outlines a cognitive paradigm based on the voice and sound. He also foregrounds these aspects in theoretical writings that focus on the soundscape of human experience.
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In this article Losiak juxtaposes the reception of the soundscape with the aesthetic category of the picturesque. He outlines the concept of the soundscape, emphasizing its rootedness in the tradition of R. Murray Schafer’s acoustic ecology. He also relates the problem of the soundscape to the category of landscape and its interpretation in cultural studies. He points to the meaning of the aesthetic experience in relation to the soundscape, referring to the question of sensual perception as well as to aesthetic values. The neglected category of picturesqueness, Losiak concludes, is particularly useful in the aesthetic analysis of the soundscape, as it allows us to interpret our experience of a landscape within as well as outside of aesthetic contexts.
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Kremer raises the problem of voice in poetry. Engaging with research on the poet’s voice as it is encoded in texts, she discusses traditional studies of recitation, treated as an art that is separate from poetry. She also presents more recent scholarship on performance poetry and analyses well-known recordings of twentieth-century poetry performed by its authors. Drawing on instances of phonetic, sound, and performance poetry together with poetry readings, Kremer points to hitherto overlooked spoken versions of Polish poems. Finally, she examines the category of voice as an object of research and proposes a method of close listening.
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This essay deals with the relationship between language and the voice in contemporary theory and musical performance practice. Building on Julia Kristeva’s work, Barthes makes a distinction between the phenotext and the genotext. The first denotes the dominant scheme of performing and listening to music, while the second, postulated by Barthes, covers all those elements of both musical and broadly acoustic experiences – elements that are not subject to the laws of representation but to those of jouissance. In order to conceptualise this experience, the author introduces the notion of the ‘grain of the voice’: it allows us to describe the subjective experience of aural perception.
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Der Musik wohnt die Kraft zur Völkerverständigung inne – falls Ausübende und Publikum dies intendieren. Genauso zielgerichtet kann sie aber auch der Abgrenzung dienen. In Siebenbürgen verstand man über Jahrhunderte hinweg die Musik als Instrument zur Identitätsbildung. Die protestantische sächsische Bevölkerung pflegte den „kämpferischen“ lutherischen Kirchengesang, ganz zu schweigen von der Praxis, die eigene Musikkultur durch „Importe“ aus den deutschsprachigen Ländern anzureichern, das 19. Jahrhundert brachte mit dem Aufblühen der zahlreichen Musikvereine zusätzlich bürgerliche „deutsche“ Musik in die sächsischen Haushalte, und im Zuge nationalistischer Bestrebungen erarbeiteten Musikforscher und Komponisten ein Konvolut sächsischer Volkslieder. Dementsprechend praktizierte man in den Schulen eine schulmusikalische Ausbildung, die diesen Bedürfnissen Rechnung trug.
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The traditional tamboura performance style is part of the folk culture in Southwestern Bulgaria, as well as in the region of Velingrad. Its being is deeply connected with the characteristics of the musical dialects of the region. Preserved to the present days, its existence is overwhelmingly based on the interaction with modern mandolin and relies on the combining of traditional techniques with new instrumental tools. The article traces the changes and novelties of the traditional style as well as its basic parameters: bourdon playing, specifics in breaking note durations, rhythmic patterns, ornaments, sound lines, morphology and functions of the instrument as accompanying mostly male solo singing. The complex relationships and routines are followed on the basis of the individual way of playing of the musician.
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A. Koszewski was one of the most outstanding Polish composers of the last century. He passed away on 17 February 2015. The most prominent of his works are choral pieces which were briefly characterized and classified according to various criteria. The attention is also given to his sacred music. The author presents arguments for its use in the liturgy. Based on the literature and two masses in a different stylistics it was shown that sacred music of A. Koszewski has got all the qualities of liturgical music. Considering its high artistic level and its deep spiritual expression, the music should be performed not only during concerts but also during the liturgy.
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Marek Czerniewicz is a young composer from Gdańsk. Works of religious nature play an important part in his achievements. A significant feature of his works is using titles with extra-musical meaning. And this connection between the title of the piece and its musical realization is the most interesting for us in the research field. For such outlined problems analytical concepts of Charles Seeger, Eero Tarasti and Maciej Jabłoński have proven to be helpful. Thanks to them it was possible to track the connection between idea of the piece contained in the title and its sound picture per se.
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The article presents the grotesque as an autobiographical strategy of talking about the experience of concentration camps. In his autobiographical testimony, Szymon Laks describes the music in Birkenau as the part of the Nazi system of exploitation of prisoners. In his memories, music in the concentration camp is deprived of humanistic values, and becomes a symbol of the violence, hierarchy and absurdity of the camp life. For Laks, the grotesque and self‑parody become the only means of speaking about the experience of the concentration camp. Laks chooses the literary tactics of inhuman accustoming, similar to the works of such writers as Tadeusz Borowski and Piotr Rawicz.
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The main principles for the selection of fingering when performing music accordion pieces are presented. An emphasis is placed on the advantages of fingering “Liszt – Busoni”, which is up to now completely neglected in Bulgarian accordion methodology – it is absent from the printed music, it is not included in the training manuals, it is not the focus of attention in the theoretical methodological works and is not applied in the practice of performance in our country. Some of the most important factors that affect fingering, the fingering specific features in the performance of monophonic and polyphonic texture, as well as characteristics associated with differences in the structure of the right and left manual on accordion are covered in short. The briefly presented principles and technological guidelines are derived from the theoretical and practical teaching and performing experience – both personal and that of others.
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Imperfect practice from the past is making the music notes literacy and the technical mastering of the instrument into an end in itself in the musical and pedagogical work of teachers, while the musical and hearing development of the children, and the emotional experience of the musical piece of art remains in the background. In this way many talented children are diverted from music and from mastering a musical instrument. Based on the curriculum of musical instrument and solfeggio for the children from the preparatory group I focus my pedagogical work on the implementation of my goal as an explorer, i.e. the musical and hearing education being the first step of musical literacy. This I achieve through organizing the following specific activities and approaches, presented in their sequence. All concepts and terms in music are learned through games and the implementation of game approaches. The introduction of the musical literacy thus opens the opportunity to write the notes of songs known by the children, while later on reading of unknown note text. The achieved results demonstrate a quality positive leap in the competence of all children included in this education, as well as professional satisfaction in the teachers.
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The article seeks for the essence of interdisciplinary relations in education. The integration between math and the rest of the studied disciplines is not only an application of math’s knowledge. We take notice on the relationship between mathematical activities and music, as well as we analyze the possibilities of a complete integration between those two educational activities during pedagogical interaction in kindergarten.
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The electronic platform of the Distance Learning Department of the “Gheorghe Dima” Music Academy in Cluj-Napoca, Romania is the main means of student-teaching interaction that supports the teaching/learning activity on all levels. The educational dynamics is largely enhanced by the modular system in which the working environment has been oriented according to study objects. Due to the particular features of music study at university level, this platform benefits from software opportunities specially tailored to meet the demands of this specific kind of teaching, interaction and coordination of the continuous evaluation of users. The results we have had in our experience with this platform very clearly show the availability both of the content providers (teaching staff) and of the beneficiaries (students) for using this technology. Given the implementation, in the platform’s interior, of global systems for its evaluation, we have been able to follow the users’ requests. The analysis of requests and evaluation of assessment systems’ outcomes have led to a continuous development of the platform. By making on-line technologies more flexible so as to meet the demands of music pedagogy, superior level music education has much to gain by implementing specific instruments.
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