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The article considers the implementation of ethnic features in works of modern Ukrainian composers: Yevhen Stankovych, Oleksandr Yakovchuk, Hanna Havrylets. This paper contains selected exemplary works of these composers whose works show the ethnic features very clearly.
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The article describes the origin, content and message of the author’s own music score entitled The Song of Creation, whose core consists in the use of clay instruments in contemporary orchestration. The author discusses particular instances of the use of clay instruments as well as the provenance and the preparation of the piece for performance with regard to the conductor’s work.
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The article constitutes an attempt at the broad issue of an artistic rendition of a song in the vocal aspect. The above ruminations allow to conclude that its sonic characteristics (tempo, dynamism, pitch and timbre) are consistent with the emotional content of speech and singing; hence, it is relatively easy to tune the voice to the content of speech and singing. The article emphasizes the process of selection of these elements, which can be of interest to all kinds of performers (soloists, conductors, choirs) in the process of their own artistic rendition of the song. All previous formulations or repeated statements have been drawn from practical application and that is the model to which they should return. It does not mean, therefore, that we should obey strict rules, but rather that we should carefully considerthe aforementioned issues.
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The article focuses on sound and music in computer games in the context of the value of art and describes the development of sound production in video games. The text points to the similarities and differences between creating sound effects and music for the purposes of computer games design and for the purposes of the cinema. The text enumerates the elements of the soundtrack and describes the process of creating the particular layers of the soundtrack. Thus, the article constitutes a theoretical introduction to creating sound in video games and includes practical solutions. The author presents methods of composing music for this new medium. Moreover, the article includes samples of music created by students of Game and Virtual Space Design, the Sound in Games program.
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The article constitutes a reflection on the artistic endeavors of professor Jagoda Adamus. Her painterly search for beauty place the artist in the company of distinguished contemporary artists. Her paintings reveal a remarkable person—sensitive and subtle on the one hand, and decisive and brave on the other. As the author remarks, the painter conveys the meaning of the work of art in a calm, balanced way, venturing into the familiar territories of her artistic journeys.
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Since 2005, in Cieszyn, at the Department of Graphic Design at the Universityof Silesia, there have been two active Research and Art Circles. The Lithographers Research Circle Kurant and the Woodcutters Research Circle Deha have organized multiple exhibitions and graphic design workshops directed at high school students and students from other faculties. The members of the research circles usually arrive at their choice of topics on their own. Similarly, the choice of the template’s format and technique are dependent on and selected for the particular project. The students can improve their skills and learn how to incorporate the element of chance in their projects; they can experiment with color and incorporate the capabilities of graphic design software in their projects. They are aware of the existence and use of drawing techniques in print. They search for new drawing media. Their goal is to shape the artistic and academic life of students, developing not only their artistic butalso their interpersonal and organizational skills, as well as promoting themselves and the University. The members of Kurant and Deha are passionate, academically inclined people who know their goals and are open to new technologies. They treat their extracurricular activities like a journey, in which each stage constitutes a challenge on the road to self-fulfillment and search for beauty.
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The hearing of sound is a natural physiological process of each healthy person. This process is not equivalent with the process of the perception of music. Listening to music is a complex psychological process which leads to aesthetic experiences in a sophisticated manner. The perception of music is the ability to receive, to distinguish the pitch of tones and to understand sound relations, which at the same time is applied in musical education and which influences ear training. This difference is just one of the elements of a multi-faceted structural phenomenon which is called perception of music. The term musical reception should be understood as the perception of dynamics, timbre, key, rhythmic, melodic and harmonic properties, intervals between tones and metric values. The role of a teacher of musicconsists in the selection of didactic methods and procedures in order to teach studentsto perceive music in the process of musical education.
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This case study is a contribution to contemporary inclusive tendencies of the Czech educational system. The author´s intention is to present on a particular case the possibilities of inclusive education of girl with one of the autism spectrum disorders – with a diagnosis of Asperger syndrome. Special attention is paid to music education and its possibilities.
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The author approaches the topic of interdisciplinary studies in the Institute of Music at the Faculty of Fine Arts and Music at the University of Silesia, located in Cieszyn. The article constitutes a case study of a children’s radio play Bombik’s Secret Mission, written by Bogusław Zeman and adapted by Magdalena Micherda. Therapeutic stories provide assistance in the child’s development process. Thanks to them, the listeners can, for example, learn how to cope with the difficulties of quotidian life. Such choice of worthwhile listening material can be regarded as an investment in their future. Interdisciplinary classes, which combine various fields of study, including literature, pedagogy, theater and music, constitute an important part of a comprehensive curriculum for the students.
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According to some researchers performative models that are a basis for realization or are formed in course of artistic practices in a field of music are a kind of response to an excessive concentration of theoretical discourse on musical piece that is identified with a formalized music transcription. This article contains a critical examination of the narrative model connected to the so called absolute music. Through analysing two modern music compositions there will be introduced two further models: “participatory” and ”of the perceptive turn” that are a respond to the processes of experimenting with sound’s audibility transgression and that require the reorganization of perception process into non-audial (amyryngal) perception. Another subject that would also be considered is a role of somatic dimension at the whole process and an aesthetic consequences arising from aforementioned models. There will be furnished a role of performativity in aforementioned models and their aesthetic consequences.
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According to Erika Fischer-Lichte the linguistic turn initiated a new approach to cultural creations seen in terms of the text, which “means something”. In aesthetics, in relation to performing arts, this approach gave rise to the analyses attempting to translate the performer’s gestures and body movements into “the codes” to be interpreted. Thus the body’s significance was reduced to conveying the message while its materiality was pushed into the background. Several decades later the performative turn (sometimes connected with the materiality turn) shifted the focus of attention from the body regarded as a sign to the body’s movement and the way it affected the viewer. In aesthetics the question of the performer’s “physical presence” arose. The main objective of this article is to examine the different meanings of the “materiality” as the reaction to the linguistic turn. The paper is constructed around Erika Fischer-Lichte’s and Marvin Carlson’s conceptions.
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Author begins by asserting that there a dynamic and difficult to outline relation between the vocalist and his body. She suggests that the differences between treating (naming, describing and showing) the role of the body came from cultural habit but also the very conceptual grasping of the body. Referring to three different vocal traditions (operatic singing, vocal games and improvisation), author points towards difficult or easy way of showing the significant bodily aspect of expression, production and grounding of vocal artistic experience. From treating body as an instrument, bodily grounding of the emission of sound in body posture, to hand gestures and more in operatic singing it is clear that body is the nexus of the vocal experience. What makes the difference is the visibility imparted to the body.
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In the introduction to the article the author considers the question of non-verbal communication aspect of musical expression, that evolves both above and outside of the linguistic and music texts. He wonders whether the voice influences the listener only as a transparent instrument, more or less perfect channel of the poetic and music values, always striving for an unreachable ideal of perfect transmission of the intentional “text” or maybe the pleasure of listening to the singing bodies derives not only from these aesthetic values but also form the physical aspects of the voice, that enable them to construct their own meanings, which can be grasped only within the performative act. He describes the paradox of “the operatic scandal of the singing body” formulated by Michelle Duncan, and then focuses onthe analysis of the relationship between “singing body” and models of music perception in the French tragédie lyrique in the 17th and 18th centuries.
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The author takes issue with Luciano Pavarotti’s thesis that the world of opera was free of weightism. To proof her point she discusses a parallel between the scandal that erupted in 2004 when Peter Mario Katona fired Deborah Voigh from the production of Ariadne auf Naxos in Royal Opera House, Covent Garden and the debate which aroused in 2014 after the publication of five reviews focused on the figure of Tara Erraught performing in Der Rosenkavalier. As the author compares the reception of these two events, she tracks prejudices against fat (or only considered as such) singers and analyzes the arguments used by their critics applying the method developed by Abigail C. Saguy. Voigh’s critics primarily used arguments from “beauty frame”, Katona appealed to the “immorality frame” andVoigh defended herself with a “medical frame”. However ten years later an interesting shift has emerged: the debate on Tara Erraught performance was put in the “fat rights frame”, what may lead to the fulfillment of Pavarotti’s optimistic vision.
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2015 was a year of celebration the 150 birth anniversary of Emil Jaques-Dalcroze – founder of Eurythmics. In Poland, known rather often as a method of working with children. Meanwhile deep humanistic dimension did not allow to close method just to music pedagogy.It was thought to develop musicality in any age group among musicians, amateurs, dancers, actors and in therapy, but moreover – to educate sensitive human being. All because of significant role of connetcted to the music, authentic and organic movement of the body, which is trained to function in harmony. Dalcroze has underlined that the aim of method is to gain balance and free cooperation between thoughts, the nervous and motoric system. Artistic dimention of Eurythmics during activity of Dalcroze has also influenced on research and changes in dance and choreography and among authors connected to the stage. They willingly visited the Hellerau Instuitute to take a part in Eurythmics, solfege and improvisation lessons, and to see results of his works during public demonstrations (it is worth to mention such an artists as W. Niżyński, M. Wigman, M. Rambert, S. Diagilew, P. Claudel, B. Shaw). What is a body musicality in Eurythmics method? Why Dalcroze criticized ballet productions? Who and what for Eurythmics exists today?
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Performance as a tool – model shows us how an individual and societies, embody symbolic structures by their attitudes, how important is a function of decoration, role-play, rituals. The actions which rock musicians as performers take, not only lead to defined aims, but also their forms include culture codes thanks to which these actions take on new additional meanings, often not associated with their primary function. On the other hand design is a powerful machine which involves in its modes almost all human reality, so some culture researchers think that today “design culture” defines us (G. Julier). Performance and design have a lot common qualities. An artist who appears on a stage and gives a concert plays a role making of themselves an individualistic creation resulting from different typesof design – ‘design world’ ranging from fashion designers, graphic designers who create record jackets and concert posters to designers who make a visual identification and create an artist as a ‘brand’.
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This article is devoted to the newest convention of role playing in the postdramatic theatre (das performancenahe Theater, performative theatre or theatre of reality) called corporeal-performative acting. This corporeal-perfomative acting is presented here as a kind of aesthetic objection or re-creating of traditional realistic acting, which normally subjects to the rules of representation, psychological probability and draws its patterns from everyday life. On the contrary, in the corporeal-performative acting are in force completely different rules of exposing corporeality and performativity by using conventions of multiple spectacle types: opera, operetta, musical, different rock music styles, circus, burlesque, cinema genres, television formats, etc. The author of Musical impulse in corporeal-performative acting is focused first of all on musical impact in modern Polish and European theatre, which creates different types of corporeal-performative acting by using different musical elements: introducing rock groups, instrumental or vocal solos into the theatre performance structure, recreating acting styles by constructing sensual impact on actor’s motoric and energetic body (according to well-known Erika Fischer-Lichte’s terms). The article shows possibly widest panorama of artistic attempts of using musical impulse to create new forms of acting – from Polish masters of postwar period (Tadeusz Kantor, Jerzy Grotowski) to the newest theatre after 1989 (Piotr Cieplak, Paweł Wodziński, Maja Kleczewska, Jan Klata), not forgetting some absolutely original concepts of acting in German and Lithuanian theatre (Frank Castorf and Eimuntas Nekrošius.
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How to describe an acting body? Wojciech Bogusławski as depicted by Zbigniew Raszewski in his monumental book Bogusławski seems to be static, even when he dances. Historical descriptions are in fact quite conventional and do not allow us to capture the essence of acting. As I argue the body of the eighteen-century actor resembles the body of soldier. It is trained in a similar way, and, basically, strongly rhythmical. As I believe rhythm and musicality allows us to capture the phenomenon of acting in the best possible way. In thisarticle I refer to the works of researchers such as Jean-Marie Pradier, Marcel Mauss or Edward T. Hall.
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The article considers the function of music and rhythm in Krzysztof Warlikowski’s dramatic performances. The author describes the role of music in relation to the actor’s body, his corporeality and his placement in the theatre space. The starting point for this analysis is a comparison between the conception of “the work of living art” by Adolphe Appia and the performative aesthetics by Erika Fischer-Lichte. In the context of these two theories the author analyses selected performances by Krzysztof Warlikowski including The Taming of the Shrew, The Tempest, (A)pollonia, and The African Tales by Shakespeare. In all of theseperformances music is the dominant element of the mise-en-scene – it defines the proxemic relations and shapes the performative space of the performance whilst simultaneously exposes the actor’s materiality and self-reference.
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In the article I present the last staging of Jerzy Jarocki, presented in The National Theatre in Warsaw. It is The Case based on Samuel Zborowski of Juliusz Słowacki. The text, in the opinion of critiques, became the most mature interpretation of the fascinating piece of art in which the director follows Słowacki’s text and builds an exciting story about Polish collective madness: along with the prophet and his visions, Lucifer, Jesus Christ, corps of Samuel Zborowski and the chancellor Jan Zamoyski, the marshal Josef Pilsudski and Smolensk air disaster in a background. In the interpretation of Jarocki, Lucifer becomes a protagonist and a master of the most important moments in the drama. He changes constantly and strives for changes. All embodiments of the evil spirit were created by an excellent actor of the National Theatre – Mariusz Bonaszewski. Numerous metamorphosis of Lucifer show great creativity of an acting craft of the actor. Bonaszewski does not hesitate to chose the most risky stunts from a bold range of means of his artistic expression. While using versatilityof his acting skills he transforms his body, a move and a gesture. From the first scene he draws the attention of spectators. They follow charisma of such a demonic personality of the Luciferic character.
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