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MUSIC’S INTERNAL PSYCHOLOGICAL WORLDS: THE ESSENCE OF SCHUBERTIAN DRAMATURGY

Author(s): Nicholas Rast / Language(s): English Issue: 1/2020

‘Schubert’s vocal and instrumental music incorporates much more drama than previously recognized; his dramatic innovations were sensed but not yet defined nor explained – awaiting appropriate contextualization’ These claims, by James Sobaskie and Joe Davies, are triumphantly vindicated in Drama in the Music of Franz Schubert. The intelligent sequence of the contributions guides the reader through Schubert’s efforts to write music for the stage via his abundant experience as a Liedkomponist to his handling of gesture, tonality, and sonata form in instrumental works, and illuminates the ingenuity with which Schubert assimilated the drama in his musical language to suit music both with and without text.

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Schubert’s second piano trio op.100 (d.929): Layered self-quotation ‘Dedicated to nobody save those who find pleasure in it’

Author(s): Nicholas Rast / Language(s): English Issue: 1/2021

Scott Messing offers a persuasive argument for Schubert’s intentional, and not exactly hidden, self-quotation of the song ‘Ave Maria’ (Op.52 no.6) in his E flat piano trio (Op.100). The latter, Messing alleges, was intended as an elaborately encoded homage to Beethoven, that would appeal particularly to the well-informed audience at its public unveiling on the first anniversary on 26 March 1828 of the master’s death. There may be room to challenge aspects of Messing’s thesis, but it will certainly convince many who find pleasure in it.

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Socialist Realism: An Instrument of Class Struggle in Ukrainian Fine Arts and Architecture

Author(s): Oleksii Oleksiyovych Rohotchenko,Tetiana Zuziak,Andrii Markovskyi,Olga Lagutenko,Oksana Marushchak / Language(s): English Issue: 3/2022

The article contains the conceptual vision of socialist realism as one of the key characteristics of art, transformed in the postmodern cultural era. Social realism is a cultural manifestation of the historical development of Soviet republics, including the Ukrainian SSR. The essence of socialist realism is seen as a manifestation of ideology in the Soviet conditions. Besides, the article considers the phenomenon in the context of postmodernism, relying on the findings of various scholars, and describes the interaction between postmodernism and socialist realism. Despite the general view that postmodernism (literally “coming after modernism”) emerged in the United States and Western Europe in the 1960s-1970s, there could be another way this movement evolved in fine art and architecture. The fact that the artists from the post-Soviet space managed to adapt to the global cultural field of postmodernism so swiftly proves that the totalitarian system failed to eliminate the plurality of opinions. A post-Soviet variant of postmodernism was largely defined by the influence of socialist realism. The recently proclaimed era of post-truth that allegedly started after the new millennium produced fascinating political and artistic experiments in the post-Soviet space. Hence, it would be logical to assume that some previously developed mechanisms were activated there. Post-truth as an instrument of politics in that sense resonates with the socialist realism used as an instrument of class struggle. Research methods include description, synthesis and analysis.

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Улога жене у високом образовању: спрега оперског уметника и вокалног педагога у периоду југословенског социјализма

Author(s): Vanja Grbović / Language(s): Serbian Issue: 3/2022

The subject of this paper relates to the research on the role of women in higher education in the context of Yugoslav socialism (1945–1990) with a focus on creating an opera artist through education and professional experience to vocal pedagogue at the Faculty of Music in Belgrade. In this sense, the paper will cover the period in which future primadonnas trained their voices (1950s), built their domestic and foreign opera careers (from the 1960s to the 1990s) and then their pedagogical work (from 1990s). For the purposes of the research, it was necessary to collect and systematize material that includes biographies and testimonies of primadonnas, from which conclusions were drawn about vocal music practice, ie. solo singing at the Faculty of Music, and about the opportunities that education provides to young students for affirmation in this vocation. The aim of the paper is to place the life stories of the primadonna of the Belgrade Opera in the context of the Yugoslav socialist society, with the intention of shedding light on educational, career and pedagogical development, as well as the conditions that contributed to their artistic and later pedagogical vocation.

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Модерното изкуство – двуликият Янус

Author(s): Valentin Angelov / Language(s): Bulgarian Issue: 1/2023

Russian Constructivists and “De Stijl” don’t make autonomic Art, but are looking for a universal principle for total reorganization of the human environment; in such way they hope to remove the chaos and ugliness. Beginning with enlarging the boundaries of Art, they are coming to the idea of Art without Aesthetics.

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Изкуството на ХХI век като аксиологичен и когнитивен проблем на неразличимостта

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Изкуството на ХХI век като аксиологичен и когнитивен проблем на неразличимостта

Author(s): Nikolina Deleva / Language(s): Bulgarian Issue: 1/2023

This paper explores the paradoxical nature of contemporary art, which is a negation of all previous values, criteria and practices. It conceptualizes the problem of cognitive and aesthetic indistinguishability between art and non-art in 21st-century art practices. The result of the lack of criteria for judging and evaluation is the irrelevance of categories and differences. Aesthetic uncertainty is the new canon.

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Akčné umenie ako stratégia podpory seniora so zdravotným znevýhodnením

Author(s): Barbora Kováčová,Anna Hudecová / Language(s): Slovak Issue: 1/2023

This paper describes action art as one of the possible strategies for supporting seniors with disabilities in special education counseling. The text is complemented by the testimonies of seniors who were part of a national project aimed at integrating action arts into the different periods of a person.

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Space and Sequence: A Topography of Here

Author(s): Luka Bekavac / Language(s): English Issue: 2/2022

Richard McGuire’s Here, an “artist book disguised as a graphic novel”, follows a single viewpoint over a multimillennial timespan. Pursuing potential storylines on several apparently incompatible levels (gestural, historical, evolutionary, cosmic), this ostensibly simple concept provides a broad template for exploring non-linear narrative capacities of printed media: it could be examined as a non-anthropocentric visualization of a chronotope (Bakhtin), an SF staging of espacement (Derrida), an exemplary ergodic text (Aarseth), an exercise in tactile multimodality or collage fiction (Gibbons). The common ground of these perspectives is the material framework of a codex: the corner of a room depicted in the majority of Here’s pages structurally limits the potentially endless diversity of content, while also metonymically playing upon its own isomorphic relation to the book as a three-dimensional object. This disrupts the temporality of reading and storytelling in a variety of ways, and the article focuses on Here’s ambivalent position regarding the factors of sequence and simultaneity, narrative and spatiality.

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Изучаването на старата българска музика - предизвикателства и проблеми

Author(s): Svetlana Kujumdzieva / Language(s): Bulgarian Issue: 1/2022

The field of Old Bulgarian music has as a subject of study the church music. It is one of the youngest fields of research in Bulgarian musicology. The historical and methodological grounds of it were laid by Petar Dinev and Elena Toncheva in the 60s of the twentieth century. Until present day the research in this field went through a great development. Various approaches were applied: historical, theoretical, palaeographical, codicological, liturgical, and theological. The history of Bulgarian church music from the ninth through the nineteenth century was reconstructed: many musical sources, musicians and musical schools became known. Several generations contributed to this field and changed the research perspectives especially in terms of characterization of its national specification. Today the field of Old Bulgarian music is considered as an interdisciplinary area of study and as part of the whole Christian culture. The results, including the digitization of some important musical collections preserved in Bulgarian libraries, are released in vast majority of publications in Bulgaria and abroad.

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Бегъл поглед върху музикалния ни живот половин век назад (Хвърля ли миналото сянка върху настоящето?)

Author(s): Velislav Zaimov / Language(s): Bulgarian Issue: 1/2022

This essay briefly describes the phenomena, circumstances and comparisons of the musical life in our country, which originated mostly after the Second World War and reach to the present day. The information given has three main directions: performing work, musical creativity and music education units. I hope that the presented information will be useful especially for the younger generation of musicians, whose training and work take place in conditions very different from those described in the following lines.

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Интегралната музикална теория в практиката на пианиста. Принципни положения

Author(s): Rositsa Todorova / Language(s): Bulgarian Issue: 1/2022

There are several remarkable pianists in the Bulgarian music culture – performers and pedagogues who, along with their concert practice, are also scholars in another field of knowledge – musical or nonmusical (namely, apart from composition and musical journalism). Consciously, as well as intuitively, this second area of knowledge builds and defines their view of pianism and music as an art form and assumes the role of the integral music theory in their piano practice. The forms are completely individual for each representative: Angel Bukorestliev, Andrey Stoyanov, Dimitar Nenov, Tamara Yankova, Mara Petkova, Trifon Silyanovsky, Bogomil Starshenov, Dzhulia and Konstantin Ganevi, Lili Popova, Milena Kurteva, Margarita Krasteva. This paper sets out the basic concepts.

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Дисциплината „Четене и свирене на хорови и оркестрови партитури“ - специфика, методология, история и развитие от основаването на НМА „Проф. Панчо Владигеров“ до днес

Author(s): Yavor Gotchev / Language(s): Bulgarian Issue: 1/2022

An indispensable stage for the professional development of every musician is the ability to work with the score, which is a key factor in the professional approach to almost all musical subjects. The discipline “Reading and playing choral and orchestral scores” has a significant place in the academical music education. The structure of the training is formed as a result of many years of practice and reflects the experience of generations of prominent musicians. This presentation is a brief overview of the historical development of the subject in the National Academy of Music “Prof. Pancho Vladigerov”, inextricably linked with the names of a great number of prominent Bulgarian artists and music creators.

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Полифония: строг стил. Учебникът по полифония на професор Димитър Радев (1874 - 1954)

Author(s): Sabin Levi / Language(s): Bulgarian Issue: 1/2022

Professor Dimiter Radev (1874 – 1954) was a notable Bulgarian music teacher, who is the author of the first Bulgarian textbooks of counterpoint, harmony (voice leading) and musicalforms. This study discusses aspects of his counterpoint textbook, particularly its part for strict style. His teaching and analytical approach is discussed and examples of his music are displayed.

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Представяне на СУПРИМ към ЕМУ и сътрудничеството ѝ с ВУ за развитие на изкуството в България

Author(s): Velichka Nikolova / Language(s): Bulgarian Issue: 1/2022

The report presents a young but already well-known educational non-governmental organization “Section of schools with specialized and extended study of music in the Republic of Bulgaria” within the European Music Association (SUPRIM within EMU). It describes its development over the seven-year period, the achievements and the problems we face. The work and interaction of SUPRIM with higher education institutions teaching music, as well as the advantages and challenges we have and which we must comply with and overcome are presented here.

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Професионален профил на учителя, преподаващ музика в българското училище - съвременни аспекти

Author(s): Penka Marcheva / Language(s): Bulgarian Issue: 1/2022

The main focus of the publication is the presentation of results from a survey aiming at building a summarized idea of the professional profile of the music teachers, which are part of the initial stages of the primary education. The main indices used for this purpose are age, length of work experience, sex, size of the location where the music teachers work and degree of their educational qualification. The self-assessment of the preparation for higher education is also studied, along with the degree of preparation for the implementation of basic activities in the music teaching. The extent, to which the musical-pedagogical activity is effective for the students in order to achieve the expected results set in the curricula, is also studied.

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Художествено-творческият опит на студента като основа на образователен модел за музикално-педагогическото му изграждане и усъвършенстване

Author(s): Dimitar Damyanov D. / Language(s): Bulgarian Issue: 1/2022

Modernity offers and at the same time requires opportunities for quick and quality adaptation to musical-pedagogical work. The holistic principle in the organization of the specialty “Musical Pedagogy” in Higher Education allows students with different prior knowledge and skills to be brought to the level of music tutor. This requires the development of teaching models for faster overcoming moments of difficulties in learning, using as a basis the past creative experience of the student. Individually adapted to each specific case, the joint work of teacher and student leads to success only in in-depth research of all the determining relationships.

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Пеещ или музикалноинформиран млад човек - концепции за музикалното обучение в горния курс на общообразователното училище в България от 50-те години на ХХ век до днес

Author(s): Boryana Mangova / Language(s): Bulgarian Issue: 1/2022

The modern curricula and music textbooks for the high school course of the Bulgarian general education school should bring excellent results for the graduating students. But practically they graduate with poor musical proficiency and singing skills, with little knowledge of the music, unless they have gone through independent training. This article examines the probable cause of this educational problem by analyzing the development of the concepts of the subject reflected in the relevant textbooks from the early 50s of the 20th century to the present day.

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Знанието за източноправославната музика в учебниците по музика

Author(s): Klara Mechkova / Language(s): Bulgarian Issue: 1/2022

The report offers a critical analysis of the knowledge of the music of the Orthodox world as a part of the curriculum, developed in the music textbooks of four publishing houses – “Prosveta”, “Anubis”, “Bulvest” and “Izkustva”. The object of analysis is the substance of the relevant educational content. Based on the drawn conclusions, suggestions are made for the overcoming of the observed problems.

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Композиторът Никола Атанасов (1886 - 1969) в културно-историческата памет на негови съвременници и ученици

Author(s): STEFANKA GEORGIEVA / Language(s): Bulgarian Issue: 1/2022

Based on the only biographical study of the composer Nikola Atanasov, written by Petar Ljondev more than six decades ago, the article traces the fate of his creative heritage, as well as the assessments of his historical place in the chronicles of the new Bulgarian musical culture. In parallel with this the paper includes unknown evidence of the early creative formation of the composer, supplementing and clarifying with facts and circumstances the first performance of his diploma work – Symphony in g moll. The pedagogical activity of Nikola Atanasov, which has not been the subject of a special study so far, is illuminated through the memories of his students and contemporaries. Emphasis is also placed on some creative initiatives in the contemporary music life that keep alive the memory of his work and a new research reading that “breaks” stereotypes in the interpretation of his creative legacy in order to preserve it in the historical memory of the generations.

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Индивидуални стратегии за учене при работа с многоглас в музикалнослуховото обучение

Author(s): Teodora Dimitrova / Language(s): Bulgarian Issue: 1/2022

A learning strategy is an individual’s way of organizing a certain set of skills and using it in order to learn something new or accomplish other tasks more effectively and efficiently. Learning strategies are widely used in language learning, mathematics and in other sciences, but they are still not studied enough in connection to the ear training. Hereby I make a short review of the present knowledge of learning strategies across different fields of research, and in the second part I make comments on some of the strategies particularly used in the polyphonic and harmonic perception as well as for the musical memory.

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