DU JEU THEATRAL AU TEXTE ET AU SPECTACLE VIVANT

Author(s): Emilia Munteanu / Language(s): French Issue: 33/2015

The method of foreign languages teaching-learning by means of a theatrical play in a theatrical and non- theatrical space is suitable for advanced school public (high -school pupils, students) but it can also be applied to secondary school classes or in order to allow the integration of disadvantaged children in the social life. But, during this European project we discovered also that theatre is a very efficient method of teaching-learning languages for adults. It consists of giving the students the opportunity to involve in the teaching-learning process not only their intellectual capacities (memory, analysis, synthesis, etc.) but also their body (gesture, movement, dancing, gymnastics, and elements of the circus), their vocal qualities, their affectivity, their ability to live life and know-how. The linguistic and pedagogical exploiting of a text becomes, by the intercourse of the dramatic acting, more living, requiring the dynamics of the interpersonal relations (the interaction of the group and its members), as well as the experience field of the acting persons, their perceptions and their subjective reactions and their manner of transposition in the character and the context of playing. We plead for the theatrical play taking into account its great capacity to create an agreeable atmosphere, to transform the group into a body acting in accordance with the spirit born during the chorus work. In addition, this is an entire active, formative-participative method.

За границите на драматичния и кукления театър в режисурата на Веселка Кунчева

Author(s): Zornitca Kamenova / Language(s): English,Bulgarian Issue: 3/2019

The paper deals with the theatre language and quests for aesthetic expression of director Veselka Kuncheva, who is one of the outstanding figures of the present director’s theatre in Bulgaria. Her stage career is traced from her earliest productions in 2000 (Pinocchio, Forbidden for Children to the recent ones (The Queen of Spades, The Last Temptation). Her work with actors is considered: workshops conducted in advance to study the subject and the matter along with teaming permanently up with the same playwright, set designer, composer and choreographer. In over a decade and a half now, they have made a number of productions, initially developing in the direction of heterogeneous puppet theatre expressiveness, where puppets have ceased to be a dominant element, becoming just one of the numerous components of this theatre such as a visible puppeteer, an actor behind a mask, many kinds of props, appurtenances and objects (in Henryk Jurkowski’s terms). Recently, dramatic devices and techniques are increasingly bravely occurring in her directorial quests. Her directing has shaped an idiomatic practice in its own right of her approach to the components drama-performability-reception, positioning puppet theatre in a niche attractive to the adult audiences, though she has also made puppet shows for children and family audiences. The paper dwells on several productions illustrative of Veselka Kuncheva’s directorial practice: Pinocchio, Forbidden for Children, Immured, On the Edge of the Sky, I, Sisyphus, Fear, Momo, The Queen of Spades, The Last Temptation, staged at different theatres, with different actors, in different styles, but unfailingly arousing curiosity and stirring up interest from both audiences and critics.

Zuzana Dzurňáková. Úvod do novodobej emblematiky a príklady aplikovaných emblémov v Trnave. Trnava: Trnavská univerzita, Filozofická fakulta – Veda, 2019. 141 s. ISBN 978-80-568-0366-0.

Author(s): Erika Juríková / Language(s): Slovak Issue: 1/2020

BENEFICIILE PRACTICE ALE STUDIULUI PIANULUI IN DEFICIENTELE LATERALE CORTICALE

Author(s): Bodis Adam / Language(s): Romanian Issue: 1/2019

În acest caz de studiu se prezintă efectele benefice ale studiului pianul și a meloterapiei la un tânăr, C.V., care suferă de deficiență vizuală corticală în combinație cu motricitate finăși un nivel de întelegere ușor redus. După scurtă prezentare a originii, evoluției și a simptomelor specifice ale acestui caz, se vor prezenta experiențele și experimentele proprii ca profesor de pian în predarea muzicii și a pianului în acest caz, dezvoltareaunei metodologii proprii, speciale, menite pentru a-i servi la îmbunătățirea sănătății și a aptitudinilor persoanei.

RESTAURACIJA „KAPITELA“ U TUZLI

Author(s): Semir Hadžimusić / Language(s): Bosnian Issue: 11/2019

The capitel is located in the memorial complex "Slana Banja" and is one of the first works of art by the now famous sculptor Zivorad Ciglic. The capitel consists of four basic stone surfaces (sides), reminiscent of an architectural element, an integral part of the pillar - the head, which is created for aesthetic and tectonic reasons. The motifs that adorn the Capitel are drawn on its four plots, telling about the history of Tuzla, that is, the exploitation of salt through different historical periods. Due to unfavorable atmospheric influences, deformation of the terrain, age of the monument and its inadequate maintenance, damage was noted in 2010, which will further expand until the restoration begins. The restoration of this property of artistic heritage was made between October 3 and 20, 2017, and was done by Zivorad Ciglic, author of the monument.

KULTURNO-UMJETNIČKO STVARALAŠTVO U LUKAVAC MJESTU, KUD RUDAR,1978-2018.

Author(s): Majda Šutić Murselović / Language(s): Bosnian Issue: 11/2019

Review of: Semir Hadžimusić, Mediha Kahrić, "Kulturno-umjetničko stvaralaštvo u Lukavac Mjestu KUD Rudar 1978-2018.", JU Zavod za zaštitu i korištenje kulturno-historijskog i prirodnog naslijeđa TK, 2018; Review by: Majda Šutić Murselović

Perspektywy współczesnej historii sztuki. Antologia przekładów „Artium Quaestiones”, red. M. Bryl, P. Juszkiewicz, P. Piotrowski, W. Suchocki, Wydawnictwo Naukowe UAM, Poznań 2009, ss. 1088, il. 175

Author(s): Rafał Ochęduszko / Language(s): Polish Issue: 12-13/2013

At the Intersection of Musical Culture and Historical Legacy: Feminist Musicology in Poland

Author(s): Marta Beszterda / Language(s): English Issue: 03 (34)/2017

In Poland, feminist perspectives in the field of musicology are still not only very rare, but also hold a highly problematic status. Both an overview of relevant Polish literature and scholars’ experiences reveal a two-sided problem within Polish feminist musicology, where there is on the one hand a great disregard for the study of intersections between sex, gender and music, and on the other hand a significant controversy over how to approach the subject once it is acknowledged. The challenges which today’s feminist musicology in Poland needs to confront, are connected with complex and very often ambivalent way in which classical music culture and the feminist discourse have been shaped since the beginning of the communist era (1945-1989). Reaching back to that period, various historical, political and social factors have influenced the study of women and gender in the contemporary Polish musicology. Three equally crucial issues are investigated in order to understand the status of feminist musicology in Poland: 1) the challenges Polish musicology has had to face due to the communist propaganda; 2) the way in which communist reality has shaped the attitude to feminism in the society; 3) the way in which history of Polish classical music is influenced by the figure of Grażyna Bacewicz. The essay characterizes each of these phenomena and presents how they may have contributed to the problematic status of feminist musicology in Poland nowadays.

Zdeněk Fibich (1850–1900) and his Songs to Goethe: Forgotten Settings?

Author(s): Barbora Kubečková / Language(s): English Issue: 03 (34)/2017

Johann Wolfgang von Goethe (1749–1832) is considered as one of the most influential cultural figures of his age. His literary work attracted composers throughout the 19th century and beyond. Goethe himself appreciated musical settings of his literary works, as, in his opinion, lyrical poetry without music did not seem complete.One of the numerous composers who tackled Goethe’s words was Zdeněk Fibich (1850–1900), a Bohemian composer whose name is strongly associated with the genres of opera and melodrama. However, only little is known about his primary compositional attempts in the area of songs. Inspired by settings of Schubert and Schumann the composer was addressed by German poets such as Ruckert, Heine, Eichendorff and Goethe. Moreover, song settings to both German and Czech literary models were emerging throughout Fibich’s life. Similarly to Schubert, Fibich’s first Lieder are dated back to his teen hood. Gefunden, Fibich’s first musical encounter with Goethe, was written as early as 1865. In my paper, I have examined nine settings to Wilhelm Meister Lehrjahren, which originated between 16 and 21 April 1871. Numerous reasons led me to examine these particular songs. Firstly, Fibich’s Goethe settings have been neglected by musicologists as well as performers. None of eleven vocal pieces have been published or recorded to date. Secondly, there is need for a comparative study of these songs with other settings to Goethe. My research addresses the lacuna in the 19th century song studies while asking the following questions: Do the songs have much to offer in comparison to songs by Schubert, Schumann, Wolf and others? What stands behind the omission of the songs? This paper is a starting point in uncovering the significance of forgotten Fibich’s Goethe settings.

From the Inside Out: An Analytical Perspective of André Caplet’s Harmonic Evolution Through Selected Mélodies, 1915-1925

Author(s): Clare Wilson / Language(s): English Issue: 03 (34)/2017

André Caplet is a noteworthy figure in the early years of the 20th century French music. A founding member of the Société Musicale Indépendante and advocate of new contemporary music, Caplet is also remembered for his contributions to Debussy’s Le Martyre de Saint-Sébastien and La boîte à joujoux.Caplet’s musical output from the years pertaining to the Great War and beyond demonstrates a colourful harmonic language. This authentic harmonic language presents itself as a highly complex and sophisticated interweaving of modality and diatonicism, and there are numerous instances of progressive use of modal structures within these mélodies.This article presents a reflection upon some of the developments within Caplet’s exploration of tonality through the lens of selected works, from 1914 to his death in 1925. Supporting examples of Caplet’s distinctive approach to the fusion of diatonicism and modality, and the usage of synthetic scale structures will be considered.Caplet’s inventive harmonic language offers much richness in terms of creativity and imagination. He was a composer who favoured different musical processes and conventions. Exploring his compositional approach will help illuminate André Caplet’s individual harmonic language, and place within the field of French musical modernism.

The Presence of Jewish Music in the Musical Life of Interwar Prague

Author(s): Michał Jaczyński / Language(s): English Issue: 03 (34)/2017

The interbellum was a period when the spontaneous popularity of Jewish music was born. Its expansion in the area of general culture coincided with the rise of a strong institutional and media backing for the musical activities (which means that this music had to have a market value), and on the other hand—with the revival of the national Jewish movement in its various ideological forms, all of which acknowledged a significant role for fostering their own culture. At that time, Prague was the third most important (after Vienna and Berlin) center of Jewish culture in Central Europe, and it strongly influenced the neighboring centers such as Bratislava, Budapest, or—the closest to the author of this abstract—Warsaw. In this paper, various aspects of the Jewish music’s presence in the general musical life of the interwar Prague are being discussed, namely: the open musical activity of Jewish organizations and synagogues, Jewish instrumental and choral music, as well as Jewish songs (synagogal, folk and artistic) performed in the concert halls of Prague, the activity of the group of young Jewish composers (among others: Walter Süskind, Mieczysław Kolinski, Berthold Kobias, Hermann Weiss and Frank Pollak) who formed the so-called “New Jewish School” in music, and finally, writing about Jewish music.

Sonnet VIII by William Shakespeare in Songs of Kabalevsky, Stravinsky and Mykietyn

Author(s): Karolina Dąbek / Language(s): English Issue: 02 (33)/2017

Sonnet VIII Music to hear by William Shakespeare belongs to so-called “procreation sonnets”, where the poet insists on a young man to marry and have children. It should grant immortality to him and his youthful beauty to the world. The poem, written in iambic pentameter, reveals the structure of an Elizabethan sonnet. The main emphasis is laid on the last stanza which does not serve anymore as a protective advice, but as a warning. The syndrome of Sonnet VIII, understood after Mieczysław Tomaszewski as a “group of constitutive features” is formed here by the following categories: musicality, metaphorism, oxymoronity, rhetoric and erotic ambivalence. The poem has found its musical interpretations in the output of the 20th century composers: Dmitry Kabalevsky, Igor Stravinsky and Paweł Mykietyn. All songs are both musically and expressively distant from each other, nevertheless each of them reflects an element of the Sonnet’s character. Metaphorism and oxymoronity appear in music of every composer in a very individualized way, which is proved by the analysis of relations between text and music. The sphere of erotic ambivalence is present only in Mykietyn’s song, intended for a male soprano. In a lyrical song by Kabalevsky the musicality and rhetoric of the poem are especially underlined. In a constructivist approach of Stravinsky (dodecaphony) and Mykietyn

The Composition of the „Epoch of Intertextuality”—Symphony No. 3 Circus Maximus by John Corigliano

Author(s): Katarzyna Bartos / Language(s): English Issue: 01 (32)/2017

As many researchers claim, we live in the era of intertextual works. The analysis of the 3rd Symphony “Circus Maximus” by the American composer John Corigliano definitely proves this statement. The symphony, finished in 2004, had been commissioned by Jerry Junkin – the conductor of the Wind Ensemble and Director of Bands at UT Austin. It is said to be an example of program music. Corigliano’s main purpose was to show connections between the past (Rome Empire) and the contemporary world. The composer notices that animalisation and coerciveness are characteristics of people living in these two eras. The composition consists of eight movements and is written for wind ensemble and percussion. The aim of this article is to show intertextual connotations and references present in the composition, such as: allusions, stylization, reminiscences, and memory of genre. In order to achieve this aim, the author used the Mieczysław Tomaszewski’s systematics of music-in-music existence. Moreover, similarities to Gustav Mahler and Charles Ives’ compositions are shown.

Musical sources survived in the Collection of the Auschwitz-Birkenau State Museum

Author(s): Hubert Szczęśniak / Language(s): English Issue: 01 (32)/2017

The article presents the conclusion of the research conducted by the author in the collection of the State Museum of Auschwitz-Birkenau, former German Nazi concentration and extermination camp. The sources are fully featured and described for the first time. The article focuses on showing a complicated post-war history of the camp items connected with music (musical instruments, printings, manuscripts, handwritten copies of instrumental books), which are auxiliary sources to reconstruct the repertoire of chapels in KL Auschwitz-Birkenau. The main aim of the article is to also discuss the preserved repertoire. In the last chapter, the author presents a short characteristics of original works composed by musicians and composers in slavery with a short analysis of all of them. Presented musical printings are a reflection of tastes of the German public in the 1930s as well as an example of ridiculous anthropological establishments of Nazi music scientists and no ability to implement it on listeners practice. In addition, the work contains annexes: musical instruments, original works composed during camp existence, and musical printings – a list of music materials which survived in the collection of the Auschwitz-Birkenau State Museum.

Introduction to Life and Output of Johann Baptist Schiedermayr

Author(s): Jolanta Bujas-Poniatowska / Language(s): English Issue: 02 (37)/2018

Although nowadays the output of Johann Baptist Schiedermayr is almost completely forgotten, in the 19th century the composer was widely recognized as an author of both sacred and secular music. His compositions were performed mostly in Central Europe, but it should be underlined that the preserved manuscripts display an impressive area in which he must have been known. There are thousands preserved sources that confirm his popularity in the past; therefore, it is disturbing as well as intriguing that Schiedermayr is usually overlooked by scholars investigating music of the early 19th century. In my paper, I present life of the composer, including existing literature that concerns this topic, and I make an attempt to reconstruct his output as hitherto no one have done it. It appears that Johann Baptist Schiedermayr was well-educated and played a crucial role in the musical life of Linz at his time. Besides his achievements as a musician, conductor and teacher, he composed a vast variety of musical pieces, although he focused mostly on church music. Based on the studies done so far, we can assume that he created hundreds of compositions presenting his excellent compositional technique as well as musicality; many of them were also printed. Nevertheless. further research is absolutely necessary in order to broaden knowledge of this brilliant persona and his oeuvre.

Jadwiga Szajna-Lewandowska for Children

Author(s): Aleksandra Machura / Language(s): English Issue: 02 (37)/2018

In the second half of the twentieth century, music for children was enriched by the works of Jadwiga Szajna-Lewandowska (1912–1994). The Wrocław’s pianist, composer and pedagogue wrote most of her pieces for the youngest and thus the most sensitive recipient. The vast majority of her works is stage music for children, mainly ballet. In this category, Szajna-Lewandowska has no equal. She is the one of the rare composers who devoted most of their works to children. Her music for the youngest comprises not only stage works, but also compositions written for children as performers or listeners. Among them, there are instrumental, vocal-instrumental and choral pieces. Therefore, it can be claimed that Jadwiga Szajna-Lewandowska is a composer who made a significant contribution to Polish children’s and young adult literature.

“Life-writing” in Aleksander Nowak’s Operas: Sudden Rain and Space Opera

Author(s): Paulina Zgliniecka / Language(s): English Issue: 03 (38)/2018

“Life-writing”, manifesting itself in the extremely personal character of the composition, is one of the most important features of Aleksander Nowak’s work, which clearly distinguish him from other composers. “Life-writing” conceals such creative inspirations as the methods and means of composing. Nowak very often draws topics or sound material of the composition from his own life experiences. At the same time, he hopes to achieve a certain type of energy or emotions, which will then to evoke the feelings that are similar to those accompanying the writing of the piece. The issue of conveying in the work any or more specific, though significant, emotions is therefore the first-rate issue. For this reason, in his works, the musical tradition is often combined with the popular and well-known music. A specific representation of the idea of “life-writing” are Nowak’s operas: Sudden Rain for soprano, baritone, mixed choir and chamber orchestra and two-act Space Opera for soprano, mezzo-soprano, countertenor, baritone, bass, mixed choir and symphonic orchestra.

Reflection on the Lyrics of the Sung Poetry in Its Vocal-Instrumental Layer on the Example of Selected Pod Budą’s Works

Author(s): Aleksandra Bełkot / Language(s): English Issue: 03 (38)/2018

The subject of this article is the analysis of the selected songs—classified as ballads—of the band Pod Budą from Kraków, which purpose is to prove the thesis that the most important song codes in sung poetry are located in lyrics. This thesis is argued by the fact that vocal-instrumental parts of the work underline the importance of lyrics through suitably shaped components of a musical work. Lyrics in sung poetry emphasize therefore: agogic and melodic accents when singing in both high and low volume, and in the instrumental part, apart from the specific dynamics, also tempo. Certain musical technique also helps to trigger the imagination of the recipient as, while listening to the song, the audience can see what the vocalist sings about, that is the space and the situations in which a character of the song is located.

The Musical Rhetoric of the Baroque on the Example of Johannes Brahms’ Psalm XIII Op. 27

Author(s): Miłosz Bazelak / Language(s): English Issue: 04 (39)/2018

The musical style of Johannes Brahms has long been known as influenced by music of the earlier epochs. His references to techniques, forms and genres of the Renaissance and Baroque music and the elaborate use of the counterpoint were frequently analysed by musicologists. Less often, however, the potential relationship between word and music shaped by the Baroque music rhetoric was studied, something which was somewhat forgotten in the Romanticism. Brahms’ fascination with the past, which led the composer to study the 18th-century musical literature and treatises, enabled him to recognise many interesting aspects of the Baroque music. Like Bach and his contemporaries, Brahms used rhetorical figures in his early sacred works, e.g. Psalm XIII Op. 27.

Music in the Political Marketing on the Example of Polish Presidential Campaigns (1995–2015)

Author(s): Anna Piecuch / Language(s): English Issue: 04 (39)/2018

The purpose of this article is to present a broad spectrum of relations between music and politics on the example of Polish presidential campaigns (1995–2015). The first part will show a current state of research signalised by many researchers from different scientific disciplines: from musicologists to political scientists and sociologists, as well as explain the topicality of the described problem. The next part will introduce a short overview of ways of using music with political aims, mentioned, for example, by Iwona Massaka in her dissertation Music as an Instrument of 88 Political Impact. In this context, the author will characterise the most distinctive form of existence of music in a so-called “election song”—also in relation to Adorno’s theory of popular music. The conclusion is that the most important role in presidential campaigns is played by popular music, especially in a form of song. In that case, music tends to advertise political candidates in a way, as it can emphasize their intended image and influence a growth of support for a politician in a campaign.