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Muzyczne upodobania współczesnej młodzieży

Author(s): Ewa Parkita / Language(s): Polish Issue: 24/2014

Niniejszy artykuł ma na celu przedstawienie upodobań muzycznych współczesnej młodzieży. Na podstawie analizy teoretycznej oraz badań empirycznych przeprowadzonych w gimnazjum oraz szkołach ponadgimnazjalnych przedstawiono sylwetkę współczesnego odbiorcy muzyki, jego zainteresowania i preferencje. W sytuacji, gdy młodzież kieruje swoje upodobania w kierunku muzyki popularnej, należy podjąć odpowiednie działania pedagogiczne, aby zmienić lub przynajmniej złagodzić istniejącą sytuację. W artykule podjęto próbę odpowiedzi na następujące pytania: Jakie są muzyczne upodobania współczesnej młodzieży? Jakimi kryteriami w zakresie wartościowania muzyki posługuje się młodzież? W jaki sposób, w czasie globalnej komercji rozwijać wrażliwość muzyczną młodzieży i kierować jej zainteresowania w kierunku muzyki wartościowej? Tematyka artykułu może stanowić inspirację do dalszych dociekań badawczych w zakresie edukacji muzycznej młodzieży.

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The Resonant Icon of the Romanians, Tatăl Nostru (Our Father) by Ciprian Porumbescu

Author(s): Ruxandra Mirea,Ciprian SAVIN / Language(s): English Issue: 1/2016

Ciprian Porumbescu was the Romanian composer who brought his contribution to the national cultural gallery, serving the art of sounds through his faith. In the course of his short life (1853- 1883), he brought into the hearts of Romanian people a warm creation, with a gentle touch, but full of powerful emotional force. His style is part of the Romanticism, revealing ways of expression and musical languages endowed with strong emotional feelings, the love of God, of people, of family. His work, often pictorial,creates musical images through natural and harmonious bindings, that are, also, simple,suggestive and easy to be perceived. Ciprian Porumbescu decided to dedicate his life to serving God through his music. The valuable sacral works of the composer are the expression of his everlasting love for God Almighty. The lyrics of the Prayer to God,selected by the composer, are those from the Gospel of Matthew 6- 9-13. The content of the prayer, with a two-dimensional structure, carries a genuine symbolism through its messages. The work has 40 measures, this meaning the 40 days in which our Savior Jesus Christ, spent on earth, after His Resurrection, revealing himself to all, until His ascension to Heaven on the mount Tabor.

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Concerto ripieno na wybranych przykładach Concerti a Più Istrumenti op. 3 Carla Tessariniego

Author(s): Joanna Roman / Language(s): Polish Issue: 04 (27)/2015

Many composers created instrumental concerto in the 18th century, but only a few of them are well known. The group of these authors, whose output is forgotten, includes Carlo Tessarini (before 1690, after 1766). There is a piece of information about his life – most of it is derived from title pages of his works. Tessarini was active both as a composer and as a violinist, first in Italy and then in France, England, the Netherlands, although he returned to the Urbino Cathedral during his later lifetime. His output is completely instrumental, about 90 of his works represent concertos. Since the time when the concerto had been one of the most popular instrumental genres, there were many classifications (for instance J. Mattheson, J.J. Quantz). Plenty of them took unclear criteria, therefore the division is vague, however they can give advice on the contemporary performance practice. The aim of this study is to present analyses of four of Tessarini’s concertos (no. 5–8) from Concerti a Più Istrumenti op. 3. The author wants to present composer’s style and technique touching issues such as texture, stucture, harmony, melody, rhythm and scoring, and by these means show traits of concerto ripieno model.

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Митове и факти за Килифаревския манастир

Author(s): Aleksander Kuyumdzhiev / Language(s): English,Bulgarian Issue: 1/2015

The identification of the monastery, founded by St Theodosius of Turnovo in the 14th century with the present day Kilifarevski monastery is wrong due to inaccuracy in the text of the saint’s vita made in the late 18th century by the monk Spyridon in the Rila Monastery. He relayed the name of the monastery as ΚиλΪɸɑƿстЂи monastery, while in the Rila Panegyric (1479) it is written that the monastery was founded in the ΚѥɸɑλɑƿЕвО area. This incorrect transcription puts the base of a legend that St Theodosius founded Kilifarevski monastery, which was endorsed by the bringing of Spyridon’s copy of Life of Theodosius in the Kilifarevski monastery on March 1, 1817 by the mendicant friar of the Rila Monastery in the region, monk Gabriel. This is the date from which begins the veneration of St Theodosius of Turnovo in Kilifarevski monastery, and the legend is further sustained in 1842 with the construction of the new catholicon where, as a tribute to the work of Spyridon and the Rila Monastery, a chapel was dedicated to both St John of Rila and St Theodosius. Consequently, all the early images from before 1817, which are thought to be images of St Theodosius of Turnovo should actually be interpreted as images of St Theodosius the Cenobiarch (c. 423–529), and in support of this comes the fact that not a single image of St Theodosius prior to 1842 was explicitly inscribed as Theodosius of Turnovo.

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Specifičnost etičko-estetičke informacije unutar javnog prostora i kritičko-analitička referentnost umjetničkog aktivizma u BiH kao umjetničko-nastavni sadržaj

Author(s): Maja Hrvanović,Baisa Bakin / Language(s): Bosnian Issue: 1/2016

The phenomenon of evaluating the work of art is often subordinated to the function of aesthetic experience and formed at the basis of personal judgment and ability to read the connotative content. Artistic intervention in the public urban space is achieved as a direct correlation and confrontation with political, social and cultural heritage.Explicit quotations of unavoidable avangard and Dadaist tendencies constructed a matrix to upgrade postmodern attitude artistic phenomena and socio-political confrontation of space, time and actions. Identification of the observer with the observed is the highest level of artificial experience and a prerequisite for acceptance, understanding, and memory usage information, artistic type. Conceptual occupation of public space is a result of the need for a direct relationship between the observers, their perception, interpretation and reaction to a work of art. Combination of mutually exclusive elements from different spheres: the sacred and profane, artificial and natural, modern and traditional, kitschy and aesthetic, is changing art scene in Bosnia and Herzegovina offering mostly authentic stories, local myths and reinterpretation of known conceptual methods.

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PRESENT-DAY AUTONOMOUS CULTURAL TENDENCIES IN VISUAL ART WORLDWIDE

Author(s): Mariana Tîrnăuceanu / Language(s): English Issue: 35/2016

Even if contemporary arts evolve towards abstractions, a realistic representation is still the choice of many visual art, artists, artistic trends and genres. All these categories are defined by both typical common traits and individual avant-garde tendencies as long as talent and creativity are encouraged.

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Przekształcanie wzorców w muzyce rockowej – przypadek No Fun zespołu The Stooges

Author(s): Barnaba Matusz / Language(s): Polish Issue: 04 (31)/2016

The article tracks a connection between songs No Fun by The Stooges and Johnny Cash’s I Walk The Line that Iggy Pop briefly hinted in a Dutch documentary named Lust For Life. The rocker declared that the Cash’s piece was used by The Stooges as a pattern for No Fun. Indeed, the analysis of both songs’ structures makes many of their similarities clear but also exposes elements in which No Fun significantly differs, like its tonality and construction of phrases. After a recognition of Iggy Pop’s short career as a blues musician involved in the American blues revival and some structural features of blues, it appears possible that the aforementioned differences could be derived from structures of the latter that got blended with the country music pattern.

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Co począć z Beatlesami?

Author(s): Patryk Mamczur / Language(s): Polish Issue: 04 (31)/2016

The article presents the possible input of musicologists in terms of popular music studies. It describes basic differences between rock and classical music, being still in the centre of attention of traditional musicology, and underlines the necessity of analysing musical recordings instead of relying on score music. New terminology is proposed – both original and based on Western scholars’ experiences – especially relating to formal structure. The author also analyses different approaches to rhythmics (advocating that scholar himself needs to divide a song into bars), harmonics and melodics (presenting popular models), and instrumentation (underlining the importance of sound processing methods).

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Początki kategorii przypadku w sztuce

Author(s): Magdalena Wołek / Language(s): Polish Issue: 36/2016

The paper concerns the relationship between the category of chance in the arts, metaphysics and the sciences, such as mathematics. The chance is here understood as an event whose causes cannot be determined, which is beyond all rule, the quintessence of uncertainty and irrationality long time presented in the metaphysical considerations as the opposition of the rational and predictable. Predictability was the regulative idea of the actions both within the science and the art, whose center was the knowledge of the principles and the rules. Both the art of the chance and the science of chance were seen as a contradiction in terms. The problem of chance became a subject of study of the science in the seventeenth century. But although the origins of the “mathematization” of the chance date back to the seventeenth century, its rational grounding occurred only in the three decades of the last century. In the early twentieth century, chance was still associated with the irrational. Due to this particular association, it became attractive for artists. The first kind of art (or rather anti-art) which turned the chance into a tool was Dadaism. For Dadaists, the art did not consist in producing things according to the accepted rules or any of its previous perspectives, but in recording whatever chance suggested to the artist. The introduction of the new category of chance to the world of art by Dadaism led to the reformulation of the understanding of art in the second half of the 20th century.

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BEHAVIOURAL STRATEGIES IN DIFFICULT SOCIAL SITUATIONS IN THE MANAGEMENT OF SECONDARY ART SCHOOLS THROUGH THE USE OF INNOVATIVE PREDICTIVE SOFTWARE TOOLS

Author(s): Gabriela Gabrhelová,Imrich Andrejčák,Róbert Zeman / Language(s): English Issue: 1/2016

This article focuses on the thematic area of program development perspectives within secondary art education with regards to new approaches to how schools operate in the context of education and culture in the world and in Europe. The aims of our article are as follows to analyze as well as to identify behavioral strategies of male and female managers in difficult social situations within the management of the Secondary School of Art. The aims of article are as follows using a standardized questionnaire SVF78 to find out how male and female managers of the Secondary School of Art cope with stressful situations, which strategies they prefer to use and consequently to compare the results with standard results provided in the questionnaire. The article results can be inspirational when dealing with stressful situations in the field of art education and training.

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Яначко Станимиров от Брезе

Author(s): Ivanka Gergova / Language(s): Bulgarian Issue: 4/2016

The paper deals with a miscellany in handwriting (SS Cyril and Methodius National Library 1088), compiled in 1840 by Yanachko Stanimirov from the village of Breze and the local priest. The autographs of the icon-painter are used to identify his paintings. His unknown mural ensemble in the Serbian Yillage of Dojkinci is presented in brief. It is assumed that Yanachko Stanimirov has been strongly influenced by icon-painter Kosta Valiov from Samokov, whose journeyman he supposedly has been. Influences of some icons by icon-painter Priest Rade are discernible. Yanachko Stanimirov has used as a model prints contained in the Euchologion, published in Venice in 1761.

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Църквата "Св. Анна" в село Яна

Author(s): Maya Zacharieva / Language(s): Bulgarian Issue: 4/2016

The Church of St Anne is an unpublished and less well explored monument of the early nineteenth-century in Bulgaria. It was built in the cemetery of the village of Yana, district of Sofia. The paper seeks to present the church comprehensively, making some observations about the historic records, architectural specifics and the iconographic programme of an unpublished monument of the first half of the nineteenth century. The extant paintings of 1845 are not signed, but the iconographic and stylistic particularities refer to a group of monuments associated with Yanachko Stanimirov from village of Breze.

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Икони на дебърски зографи в българските колекции

Author(s): Mariela Stoikova / Language(s): Bulgarian Issue: 4/2016

The paper deals with a few icons by painters from Debar kept in the collections of the National Art Gallery Museum of Christian Art (NAGMCA), housed in the Crypt of the Cathedral of St Alexander Nevsky, Sofia; of the Metropolitan See, Vidin; of the Church of St George, Zlatograd and a privately owned icon. The best part of these has never been published being an invaluable source of establishing unknown facts related to the work of the Art School of Debar. The icons by Dičo the Icon-painter, have the makings of brilliance presenting good examples of the mature period of his oeuvre. Though their provenance is not fully confirmed, they are an important part of the painter's output and an invaluable source of information about his career. A number of the icons have been painted by Dičo's descendants or journeymen Avram and Krste or by the most gifted of them, Petre. These evince that they did their best to reproduce the models of their master. Though in most of the cases the colour, modeling, proportions and the fineness of Dičo's manner were lost, his trainees remained true to the specific types and compositional methods, developed by Dičo's the Icon-painter in his work. Of these, the icon Petre Debranac excels in professionalism. The rest have been painted by Veno Kostov, Evgenij Kuzmanov, Mario Minov and Nestor Trajanov. Their works were more often than not commissioned directly by renowned members of Bulgarian clergy and intelligentsia whose activities were related to the struggle for an autocephalous Church and the establishing of the Bulgarian Exarchate. The icon-painters from Debar often worked in churches previously painted by masters from Triavna, Samokov or Adrianople, which had influenced their manner.

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Няколко мощехранителници от софийски златари

Author(s): Darina Boykina / Language(s): Bulgarian Issue: 4/2016

The presented six reliquaries have either not been published or have just been mentioned fleetingly in scholarly literature. The best part of the objects is alms boxes carried by taxidiote monks for almsgivings. These are made from hand-chased gold vermeil or are entirely wooden with metal finely decorated repoussé casings. All the objects under consideration have been used in Sofia or in its vicinities, which is attested to in the inscriptions they are bearing or in the books kept by the metropolitan church. In the eighteenth and the nineteenth centuries, it was a common practice among the taxidiote monks to enclose relics in a metal casing in the place to which they had been sent on a mission. The boxes were usually small in size, containing a small cross of carved wood and relics. Artefacts would occur among the later monuments made after the mid-nineteenth century that contain not relics but resemble reliquaries just on the face of it, in form and decoration. Some of them feature also painting s representing the patron saint either of the church or the monastery the object comes from. All the reliquaries have been wrought in the nineteenth century by goldsmiths from Sofia. Most of the objects are hand wrought and Eucharistic symbols and images dominate their decoration. In the concluding part of the paper, their stylistic and technical specifics are considered. The presented cult objects both provide new information about the goldsmiths' trade in Sofia and show that local monasteries were actively engaged in alms gathering by monks though of limited in scope compared with the large monastic centres in the Balkans.

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Косвени сведения за предатирането на възрожденските стенописи от наоса на Куриловския манастир

Author(s): Aleksander Kuyumdzhiev / Language(s): Bulgarian Issue: 4/2016

The paper suggests the murals of the National Revival period at the naos of the catholicon of the Monastery of Kurilo, believed to have been done in 1816 or 1846, to be redated. In fact these were, in all probability, painted in 1856 by Theodore, an almost unknown icon-painter coming from the region of what is now the city of Mon­tana. Almost next to nothing is known about him but for his work on the murals at the naos of the catholicons of the Monasteries of Kurilo and of Podgumer as well as the churches of St Petka, Svoge; of St Nicholas, the village of Gintsi and of St Nicholas, the village of Burzia. He was probably Yanachko Stanimirov's journeyman.

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Научни форуми

Author(s): Nikola Kazanski / Language(s): Bulgarian Issue: 33/2016

Data about scientific events in the field of the humanities in Bulgaria in 2016

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Cały ten elektroniczny zgiełk. Formy diegetyczne/niediegetyczne oraz nowe wymiary dźwięku w rozrywce interaktywnej

Author(s): Tomasz Gnat / Language(s): Polish Issue: 33/2016

This paper aims to show how the development of music and sound design formed an inseparable bond with such concepts as immersion, narrative formation, mood, and even gameplay of video games. The first part analyses the diegetic and non-digetic elements, as well as some special cases were the two intermingle, creating new forms: spatial representations and meta representations. The forms discussed bear many similarities to the sound design theories of cinematography. Nevertheless, it is the aim of this paper to elucidate upon some significant differences and note that making straightforward parallels may lead to skewed perceptions of what video game sound actually is. The results of this analysis may shed a new light upon the largely unexplored aspect of interactive entertainment and emphasise the necessity for a new approach to the analysis of music and sound in video games.

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Varia – kontynuacje – antycypacje: Sound art: materialność dźwięku

Author(s): Agata Sitko / Language(s): Polish Issue: 33/2016

Sound art is a term used to classify works which incorporate sound as the main artistic means of communication with the audience. If we look at the presence of sound in art from a historical viewpoint, our attention can be drawn by “Cabaret Voltaire” and the performances of Dadaists on its stage. Sound became also an element of performances, and constituted an integral part of many of them. However, it only accompanied the artworks and was not an independent object of art. The text focuses on materiality which is an integral part of Sergei Tcherepnin’s sound artworks. In his artworks, both, a material object and sound constitute a specific unity.

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Twórczość Harukiego Murakamiego w świetle zjawiska transkulturowości – muzyczne studium przypadku

Author(s): Anna Duda / Language(s): Polish Issue: 43/2016

The main goal of the article is to show phenomenon of transculturalism in Haruki Murakami’s novels. Through analysis of western music on japanese ground I will try to demonstrate that there are pieces created with a completely new interpretative undertone. In his novels, among characters listening to Miles Davis, Radiohead or The Beatles, reading Franz Kafka or Fyodor Dostoyevsky and watching American westerns, we encounter traditions and aesthetic categories typical of Japan. Mono no aware, regardless of the writer’s intentions, builds up the background of all his novels. Moreover, this fact does not only result from his original style of writing but from the character of Japanese culture. I have employed this fact as a key to deciphering to what extent Murakami’s writings are postmodernist.

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Съвременни тенденции в експозиционния дизайн на музеите

Author(s): Ivo Popov / Language(s): Bulgarian Issue: 3/2016

New technologies that aim to make attractive and dynamic atmosphere in the museum, to ensure proper memorable information, to make the visitors active participants in an educational process, to create authentic environment and to ensure full protection of artifacts are introduced in exterior and exterior expositional design of the contemporary museum. Further, spaces are designed especially for museums, where the built environment, interior design, key constructive elements, lighting, multimedia, interactive walls, kiosks, holograms, theatrical scenery, texts, graphics, etc. build an atmosphere in which a "time machine" sends visitors back in time, helping them to experience the time and place of the theme of the museum. The publication investigated and analyzed the methods and stages of design achieved by means of new technologies and spatial decisions. It discusses examples of temporary and permanent exhibitions of modern architectural spaces and the introduction of new technologies in museums which are architectural monuments.

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