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Even now, more than three hundred years after its first edition, Little Red Riding Hood is a title that more often than not comes to mind of both young and old when it comes to fairytales. Fairytales are not only interesting and instructive stories for children, but also ‘the simplest and purest expressions of the collective unconscious’ (Marie-Louise von Franz). Their analysis is further complicated due to the illustrations that accompany the text and inevitably expand its meaning. The images interpret the literary content and adapt it to a particular audience and a specific cultural situation. Apart from the most important, i.e. the actions of the main character, the pictures also reveal his or her emotions, which are usually not mentioned in the text. In addition, the images abound in seemingly insignificant details that may be crucial to the meaning of the story: the age of the Red Riding Hood, her clothes, the interior of her grandmother’s house, etc. It is important to note, that the first edition (1697) of the Charles Perrault’s tales, including Little Red Riding Hood, where they published their revised version of the same story, was illustrated, just like the earlier books by the Grimm Brothers (1819, 1825). The study of the earliest illustrations of the well-known fairytale is particularly important, as they are a result of the joint work of talented and prominent artists and the writers themselves who have had their own requirements for which parts of the text should be interpreted visually. These images have become a model for generations of illustrators, working in the late nineteenth century and in the next millennium.
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The article is the first Polish-language discussion and analysis of the contents of the eighteenth-century textbook by Robert Broderip regarding the rules of playing the piano and harpsichord. The main research emphasis has been placed on hermeneutic analysis of its content in two mutually complementary aspects: historical-musicological and executive (didactic). The article also briefly discusses the history of the creation of the pianoforte and outlined the contribution of the author of the discussed textbook to the development of didactics and methodology of playing the instrument. In addition, perspectives on the use of Broderip’s recommendations in contemporary methodology and the teaching of the pianoforte are outlined.
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The author of this essay seeks motifs connecting the characters and works of Bruno Schulz and Franz Kafka.
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Essay about Schulz’s inspiration in the mass culture of his mythical youth.
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Koncept knjige kao umjetničkog djela u današnje doba možda se ne čini kao nešto revolucionarno ili drugačije, pogotovo kada je generalna populacija diljem svijeta preplavljena svim mogućim dostupnim informacijama, novinama i inovacijama u par sekundi pretraživanja. Neki čak ne bi mogli reći da je revolucionarno jer je taj koncept poznat još iz srednjeg vijeka, od prije izuma pisaćeg stroja, kada se izradi knjiga pridavalo puno više pažnje, vremena i rada, pa je i rezultat bio jedinstveno, privatno, malo remek–djelo koje jedva stane u dlan. [...]
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The article discusses Johann Kuhnau’s fourth keyboard sonata, Der todtkranke und wieder gesunde Hiskias (The Mortally Ill and Then Restored Hezekiah), from his last volume of six keyboard sonatas published in Leipzig in 1700, known popularly as “Biblical Sonatas.” Titled as Musicalische Vorstellung einiger biblischer Historien (Musical Representation of Several Biblical Stories), the set presents a remarkably thorough and detailed musical depiction of selected scenes from the Old Testament. This is also a rare collection of keyboard music to provide a detailed narrative commentary, consisting of verbal synopses of selected stories in German, which preface each sonata, and commentaries in Italian written into notation, which underline portrayed situations, events and affections. To examine the plot-based narrative underlying the storyline of this particular sonata, some authentic discourses have been taken into consideration for analytical purposes. These included the composer’s foreword to the collection of his “Biblical Sonatas,” synopsis of the story depicted in the fourth sonata, and a comprehensive theory of musical rhetoric and the doctrine of the affections found in various 17th and 18th century sources. In this article, the author specifies distinct musical-rhetorical figures that resemble (by analogy) or refer to certain extra-musical objects or phenomena and serve as vehicles for creating different moods and establishing the atmosphere. Depending on which narrative element – action or affections – is brought into focus in each of the six sonatas, the author distinguishes between two types of sonatas, namely ‘action sonatas’ and ‘affective sonatas.’ Affections and shifts in mood experienced by Hezekiah make an important narrative element in the storyline of the fourth sonata. Hence this particular sonata falls under the category of ‘affective sonatas.’ The analysis of this sonata revealed that the narrative is constructed therein in several layers. Firstly, there is a verbal layer: to depict the story in detail and with much consistency, the composer thought it necessary to accompany notation with the synopsis of the story and verbal commentaries. Moreover, quotations from the Protestant chorale Ach Herr mich armen Sünder (Ah Lord, poor sinner that I am) imply verbal connotations of their verses. Secondly, it contains a musical-affective layer: musical devices (such as musical-rhetorical figures, key, rhythm, metre, and the like) are employed there to convey the indicated affections, such as wailing (lamento) or, in other words, sorrow, confidence (confidenza) and joy (allegrezza). The author observes that many compositional choices made by Kuhnau adhere to the standard methods of expressing affects as they were defined in the Baroque treatises. Thirdly, there is an associative layer: certain fragments and elements resemble (by analogy) and refer to extra-musical objects and/or phenomena, such as Belshazzar’s face turning pale and his limbs trembling in terror, the sesquialtera ratio (3:2), which symbolizes the numerical proportion of steps on Ahaz’s sundial and the years of Hezekiah’s life. The alternating musical textures, normally associated with sadness (adagio) and merriment (allegro), can be also mentioned as a characteristic narrative feature in this sonata. Although Kuhnau claimed to have depicted Biblical stories according to his own imagination, the analysis revealed that his writing in this sonata does not veer away from the typical musical vocabulary of the Baroque era, which nowadays requires a more sensitive ear and keener insight into compositional conventions of the period.
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The article discusses Balys Sruoga’s attitude towards State opera and Lohengrin created by soloist Kipras Petrauskas in the performance “Lohengrin” (Dir. Nikolay Vekov, 1926). Based on Petrauskas’ treatise, Sruoga identified the peculiarities of the national/Lithuanian style of acting, emphasized Lohengrin’s “popular and folk expression”, but did not analyze a wider context of the appearance of this image. By the examples of Richard Wagner’s works and performers it was stated that Lohengrin by Petrauskas was close to the Russian opera theatre and two of the most prominent performers of this role, Leonid Sobinov and Ivan Ershov. It was noted that at the beginning of the 20th century the changes in opera production and directing tradition, which was originally held in Russia by Vsevolod Mejerhold, whose performances were watched and later played by Petrauskas, had very little influence on the Lithuanian opera theatre, opera directing and opera acting. Opera performances followed a realistic tradition of the 19th century, and the stage expression did not depend on the director but on the soloists with excellent vocal and dramatic talent. So when it comes to the Lithuanian features of Lohengrin and the Lithuanian style of acting, it is obvious that this impression was made by the personality of Kipras Petrauskas, the world famous Lithuanian opera soloist.
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The goal of this article is to show the peculiarities of Julius Juzeliūnas’ teaching methods. The specificity of composition as a discipline and its creative character naturally calls for an individual attitude to it. The qualitative survey method was applied for research. The composer taught creative work between 1952 and 2001, and over fifty students who studied under him graduated from the Lithuanian conservatoire. Adding up the creative potential of all of his students, most of the Lithuanian musical events of the last decades are covered, and it can be seen how they have shaped and continue to shape our music and reaction to it in a wider environment. Some of their compositions also receive response on a wider scale. Juzeliūnas’ school was far from being dogmatic. The term “multivector” can aptly define the results of his teaching methods as many different forces have to be taken into account: the expression of the professor’s individuality and his aesthetic principles, the development of the language of Lithuanian music, students’ individualities, and finally the historic turning point in Lithuania that changed the social relations in the country, globalisation challenges etc. Juzeliūnas applied his teaching methods individually for every student and he was open to innovation. Evaluating the creative maturity and relevance of their earlier pedagogue today most of the respondents mentioned the same most popular works – the African sketches, the symphony “Lygumų giesmės” (Songs of the Plains), and the opera “Žaidimas” (The Game). Juzeliūnas’ theoretical book “Akordo sandaros klausimu” (On the Structure of the Chord) and his encouragement to others to pursue scientific research also had a great influence.
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While theatre for children and young audiences is still fighting for equal rights in the art and research communities, this article seeks to present contemporary children’s theatre as a separate and equal form of performing arts. It aims to show that the particularities are determined by the choice of topics and means of expression aimed at cognitive abilities of different age groups and that adult support is necessary for the children to experience and process the presentation and topics shown. Seeking to introduce examples of best practices, the essay analyses performances presented at the KITOKS international festival for children and youth, organized in Lithuania since 2011, as well as dance performances for babies created by the choreographer Birutė Banevičiūtė. The article demonstrates that performances for babies and older children are uniquely different and their creation requires specific knowledge and abilities. The variety of performance forms shows the inadequacy of the “family performance” designation still popular in Lithuania.
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The article analyses elements of dance in the Jesuit theatre in Vilnius University. These elements could be found in the performances produced from the end of the 16th century until the last years of Jesuit Order and the establishment of Educational Commission who took over the administration of the educational system in the Republic of Two Nations. With the help of scientific literature and programs of the performances, the productions with dance elements are presented describing their themes. The most important productions in this context are those titled as ballet, which were produced in Vilnius. These four ballets are an exception in the history of the Jesuit theatre in the Republic of Two Nations. These productions are “Ballet of Bacchus, god of drinks, with a happy beginning and sad ending”, “Ballet in the example of Orestes showing the punishment of gods onto the humans because of their lack of respect to the temples and their definite protection to those who search it looking for the help of gods“, “Ballet of the courageous man Hercules” and “Ballet of four human ages: spring as youth, summer as maturity, autumn as elderly and winter as senility”. They could be connected with some unknown teacher who worked in Vilnius in the middle of the 18th century and most probably originated from the French cultural milieu. This statement could be validated by the French prototypes of most of these ballets and the use of the word “ballet” in their titles, which was common in the French culture of this period.
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The term “analysis” can be used in many different ways, and take on different meanings: starting from an emphatic new name for dictation exercises in traditional training of solfeggio; going to purely harmonic (in most cases tonal!) оr metric exploration of singularly completed compositional constructions, or meaning a general musical understanding of “formal analysis”, this concept oscillates between the description of each of these decoding processes that may actually look like a real “analysis” to the brain, and require a profound process of reflection, enabling a complex synthesis between theoretical, historical, stylistic, aesthetic and cultural experience. Such too wide a range in modern terminology often leads to misunderstandings and dubious reactions to auditory analysis, attempting to establish itself either as a new discipline or as a part of solfeggio. A new discipline also has a new methodology and a clear goal. In addition, technical prerequisites that seem necessary for such a discipline must be clearly explained. Without setting this question, and without defining clearly the fluctuation between necessary theoretical knowledge that must be based on effective and competent auditory training – and the equally necessary trained hearing abilities that must be available for music theory education, there is a danger of the aforementioned theoretical disciplines to becoming an indiscriminate “blend”, and the corresponding specific contents not to be covered particularly purposefully and thoroughly, despite their seeming attractiveness for students. Although auditory analysis is a relatively new discipline, and in some respects is viewed rather with skepticism as a “modern phenomenon”, it does not intend to compete with traditional analysis of works: it is a fruitful complement to traditional teaching of analysis on one hand, where it clearly emphasizes the importance of sound idea for musical analysis, and can explain the particular problems of sound perception, while on the other hand it contains an immediate face-off with sound reality and musical experience, and is closely related to music practice, expressed humorously by Gérard Grisey: “Do not confuse the map with the landscape!”
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The term “analysis” can be used in many different ways, and take on different meanings: starting from an emphatic new name for dictation exercises in traditional training of solfeggio; going to purely harmonic (in most cases tonal!) оr metric exploration of singularly completed compositional constructions, or meaning a general musical understanding of “formal analysis”, this concept oscillates between the description of each of these decoding processes that may actually look like a real “analysis” to the brain, and require a profound process of reflection, enabling a complex synthesis between theoretical, historical, stylistic, aesthetic and cultural experience. Such too wide a range in modern terminology18often leads to misunderstandings and dubious reactions to auditory analysis, attempting to establish itself either as a new discipline or as a part of solfeggio. A new discipline also has a new methodology and a clear goal. In addition, technical prerequisites that seem necessary for such a discipline must be clearly explained. Without setting this question, and without defining clearly the fluctuation between necessary theoretical knowledge that must be based on effective and competent auditory training – and the equally necessary trained hearing abilities that must be available for music theory education, there is a danger of the aforementioned theoretical disciplines to becoming an indiscriminate “blend”, and the corresponding specific contents not to be covered particularly purposefully and thoroughly, despite their seeming attractiveness for students. Although auditory analysis is a relatively new discipline, and in some respects is viewed rather with skepticism as a “modern phenomenon”, it does not intend to compete with traditional analysis of works: it is a fruitful complement to traditional teaching of analysis on one hand, where it clearly emphasizes the importance of sound idea for musical analysis, and can explain the particular problems of sound perception, while on the other hand it contains an immediate face-off with sound reality and musical experience, and is closely related to music practice, expressed humorously by Gérard Grisey: “Do not confuse the map with the landscape!”
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“Musical material” came into use by musicologists as a simple term, not warranting further explanation or reflection. However, contemporary composer practice has changed traditional views of “musical” and “non-musical”, making necessary this term’s reevaluation. This article is devoted to the new concept of “musical material” in modern German musicology, mainly because it acquires its new meaning – as a music-theoretical and philosophical term – in Th. W. Adorno’s “Philosophy of New Music”. This article examines presuppositions for the term evolution (P. Bekker, W. Schrenk), differing views about “musical material” among Adorno’s contemporaries (E. Krenek, A. Webern) as well as modern critical discussion about Adorno’s concept (K. Dahlhaus, K. von Blumröder, D. Sack, J. Kreidler). Examples taken from contemporary musical life in Germany are given within the context of this study. Some conclusions are drawn about the new term application tendencies within the scope of a complex acoustic phenomenon, often tending towards a multisensorial experience, aligned with new accents and perspectives in music sociology, and esthetical and philosophical reflection of “musical” and “non-musical”.
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Formal function polysemy is a state of form, which carries characteristics of different formal types due to the dynamic relations between function and scale. The article introduces this concept in order to summarize a set of theoretical and methodological approaches to the understanding of the interaction between the small structural units and forms – the basics for the musical composition (period, sentence, simple binary and ternary forms), as well as the objective musical facts in the field. The possibility of discovering traits of two or more forms on the same scale with a corresponding syntactic and thematic organization is problematic because of the differences in existing methodological systems and consequently the different results in terms of the same object that are reached within them. There is a need to introduce a new, more flexible and adaptable to the individual specificity of forms research methodology; the main model offered is based on the analysis of the following factors: 1) functionality, 2) genre characteristics, 3) type of thematic process, 4) presence of extra-musical prerequisites (text, drama), 5) grounds in a general or regional folklore tradition – a school – an individual-style characteristic.
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Well known fact is that signs of alterations are written rather rarely in 16th century vocal polyphonic music sources. When and how a certain note is meant to be changed is a matter, which the singers adjust according to the rules of solmization and hexachordal organization. Even the very first lute prints reveal that the arrangements of vocal polyphony (intabulations) emerged as a crucial repertory for the instrument. 20th century musicologists have realized the highly informative value of those arrangements, especially in terms of usage alterations (and generally musica ficta). This value is determined by the nature of the lute tablatures themselves, which were meant to present the concrete intervals between the notes. Compiled according to certain rules, the lute intabulations, however, do not give one specific answer and suggestion for using alterations, but rather provoke more questions. This paper aims to summarize the main guidelines of using alterations when transforming vocal music to lute playing. The discussion is illustrated by famous madrigal of the 16th century, widespread among the lute source at the time.
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The period 1966 – 1969 in the UBC (Union of the Bulgarian Composers) features a unique situation of two-pronged power structures: on one hand, liberalization towards New Music events in the Secretariat’s administrative politics and the Presidium of UBC; and on the other, the restored primary party organization embedded in the UBC as a second center of power – striving to “restore” ideological control. In these three years UBC’s primary party organization discusses and decides matters that would bind BCP (Bulgarian Communist Party) members only, and has to remain unknown to the non-party members, i.e. it functions in secrecy… And so, the “thaw”, having been supported through UBC’s administrative structure, not lacking BCP members, has its opposing “power center” – the kernel party organization. In 1968 its decisions and actions lead to a turnabout, restoring the social realism framework and creation of the Bulgarian avant-garde concept – an epigone of the Western avant-garde, the one trying to divert Bulgarian music on the path of “ideological insurgence”. The second establishment of the primary party organization of the UBC tasked with special functions in the period of 1966 – 1969 and after 1968 – 1968 is unique, compared to the other creative art unions. In the Union of the Bulgarian Writers (UBW) and the Union of the Bulgarian Journalists (UBJ), these party structures have been active after 1949, especially in the UBW. The party organization’s activity in the UBC had faded away by 1965. The most important year is 1968 but the crucial document is missing: the report and transcript of the party meeting in November 1968, entitled: “The essence of the West European Avant-Guarde and its Reflection in Bulgarian Music.” At the very beginning of the exploration of the newly restored UBC party organization (1966), we face the “shadow of conspiracy”, with the main document missing, regarding the restoration of social realism in 1968.
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The publication aims to present an objective view of the three-stringed double bass in historical terms, as well as in terms of contemporary music practice. Various documented views of the instrument by composers and performers over the centuries have been considered; especially performers and schools related to the three-stringed double bass and their contribution to the modern double bass instrument. The publication provides an analysis of the documented structures and their relationship to those used today. The theme of the repertoire for the three-stringed instrument and the application of the instrument in chronological terms is covered: from the first information about its use and its popularity during the early French double bass school, through the Italian virtuosos, performers of double bass in the seventeenth and nineteenth centuries, to the present. Examples of modern use of the ancient instrument are also discussed in the text.
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The aim of the fine arts education is to expose and to improve the talent, and to make reach it to the level that is enough to produce genuine work of arts. The ideal is gaining qualified ability of description for an artist. Thus, he/she can make use all of the means of expression that reflects his/her imagination and sense his/her environment and himself/herself, so the artist can display the exposition techniques operatively. Educational activities that are aiming for healty, emotional, communicational and constructed with up to date understanding of aesthetics are also accepted tools that provide basis for contemporary art activities. As known, there are a renewing and changing understanding of art education in accordance with requirements of the day. There will be a need for a philosophy of art education that is able to reveal artist of the future in every period. According to the fact that reveals the importance of the research, by means of testing the informations and gainings of fine arts students, the improvement level of the students that we expect will expose. There is a need for checking the educational outputs of the espace that is one of the most important compositional elements of visual expression. The main purpose of this study is revealing the former espace information level of fine arts students and their ability of using it. In order to reach this purpose, espace using was experienced, creations were done upon computer with a motivation that supports creative elements. The research was applied and supported in the structure of Tekirdağ Namık Kemal University as a Scientific Researching Project. In the research, descriptive analyse technique was used and workshop studies were practiced and exhibited in a experimental approach.
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