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Наташа Марјановић. МУЗИКА У ЖИВОТУ СРБА У 19. ВЕКУ – из мемоарске ризнице. Нови Сад: Матица српске, Београд: Музиколошки институт САНУ, 2019, 264 стр
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The instrumental Macedonian ethnopop music is particularly interesting phenomenon because of its development and prolonged existence in conditions with persistent internal influences of the social and economic environment, but also external influences from the neighboring and distant music cultures. These influences have determined the way of the creation of this music and its final musical products. Regarding the fact that the instrumental Macedonian ethnopop music had its peak especially in the 1980ties, the subject of interest in this paper will be the musical pieces from the mentioned period. Also, a special at¬tention will be dedicated to the creativity, in other words to the process of creation of the instrumental Macedonian ethnopop music and the reproductive process of this music. The conclusions will be based on the analysis of the music characteristics of the recorded material which forms the database of the sample of 100 music pieces.
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The article raises the question of authorship and copyright signature varieties fixation in art. An attempt to systematize the knowledge of a unique phenomenon in the musical art – "allonymy" – its history, theory and design methods with allonyms works on different forms of its manifestation.
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The article describes the origin and development of the idea that the national language can influence music. Its origins are connected with the general musical and aesthetic mode of the 18th century. The intonational linguistic approach to understanding the concept of "national" in music loses its importance in the Romantic aesthetics due to the decline of musical rhetoric, absolutization of music and preeminence that the folklore obtains as the main criterion of the national spirit in music.
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Contemporary musical creativity with its stylistic accretions and his quest sufficiently rigorous stylistic limitations pushes for changes in the nature of musicology, musicological text. Therefore, the part of musicology (as well as other modern art history research) musical historiography is able to obtain a substantial theoretical assistance. This assistance, for musicological experience, signifies consolidation of ideas about music science possibilities and historical responsibilities, that will light up and clearly define the place of musicological observations in the formation of the individual's consciousness – a necessary part of self-culture.Thus problems of musical semantics appears in the center of the musical historiography as modern musicology. Its new subject orientation we can define as semasiological. In the current musicological positions it is combined with the demonstration of personal views; today it is possible to speak of an emerging "author musicology," not subordinate to the internal scientific and disciplinary authority – the traditional concepts and their application.Works of Lyashenko, I. Yudkin, L. Kiyanovsky, A. Kozarenko present orientation of innovated culture musical historiography. They develop complicated problems of musical art national character peculiarities, of an antinomy of internal and external constraints of the national style in music, that is, the interaction of it "own" – "alien", "centripetal" and "centrifugal" tendencies. Thus, they support the Bakhtin’s idea that culture is "going on at the borders." The works of these authors make it possible to admit that the most appropriate, methodically defined and vindicated meta-theoretical orientation among possible is historiographical.Culture, due to the impermanence of social life, provokes dramatic situations, crises at each stage of its evolution. The end of time feeling has become a necessary feature of every important artistic personality in the history of art. This premonition of the end can be seen as a manifestation of national passionarity that most fully satisfies the romantic system of philosophy. Musical art, artistic activity appears to be a way to harmonize not only internal, but also external world of man, promotes the creation of centers, movements, associations, and other creative groups. This encourages the development of choral liturgical and folk-song genres, explains the leading role of traditional choirs in the Ukrainian musical practice. Musical and linguistic proximity Ukrainian, Polish, German, Austrian, Russian artists promote coordination of borders as between different national communities, and between different types of national consciousness. So there is a phenomenon of modern Lviv composer school.Today the special place of sacred music in the Ukrainian culture is confirmed by the appearance of new synthetic religious and secular models of spiritual works. Priority of the spiritual and religious musical practice becomesan important reason for the constant attention of Ukrainian composers to the Word, to different ways of connection between music and word. This search of "own Word" is complicated by the proximity of the Latinized linguistic tradition, the frame of Catholic texts in Galician work.Today, when we meet Ukrainian Orthodox and Catholic Latin designations in one canonical musical piece, this is not the result of composer’s confessional negligence, it’s the expression of long-standing historical convention, which now takes on a new aesthetic value. This aspect of the verbal-linguistic differences, that becomes differences of music genre history, is still uncertain, although many historiographical and analytical musicological observations lead to it.Performing principles of musical activity become leading in many of the social and cultural situations as in ancient, so in modern musical culture. They may be preceded by composer’s principles, predetermine the choice and interpretation of genres, often entirely subordinate to the development of instrumental ensemble music. The interest to the figure of the musician – performer as a living individual who can and should embody the creative idea, agitate for a certain socio-artistic initiative, is becoming one of the convincing performance personal-romantic nature of Ukrainian art.By studying these phenomena modern Ukrainian musicology creates new historiography (as factual and methodological) coordinates on the way of understanding the problem of national in art. It is eloquent proof of the demand (engagement) for music and historiographical knowledge from the side of the cultural and historical present.Thereby musicological text becomes a subject of musicological reflection; musicology need to look at itself "in the mirror of musicological texts" (A. Berezovchuk). Through the self-actualization of musicology emerges the need to relate musicological text as a whole system, and the semantic content of the music. At the same time, musicological text can be described as a "virtual space", that simulates the researched music piece. This space includes various semantic projection, because it is a fiction, an artificial reality. It acts as an artifact – a mirror of cultural human consciousness, as well as music.Among basic orientations of musicological thought in its focus on the music phenomenon a process of forming in musical and artistic works appears to be leading, it often has a high degree of unpredictability, and therefore a significant information content. As musical creativity, musicology reveals semantics of "possible worlds" more than of "real".Music historiography must discover the historical meanings of culture – and not just in the process of becoming a single composition, but also in the total effect of music on the public consciousness. It is an important way to create a man’s "life-world" in his present and future.
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The purpose of the work. The article is devoted to the problems of determination of dimension of existence of music in philosophical and aesthetic views on art. The main theme of research is consideration of Oswald Spengler musical intentions in relation to the ethos of culture. The research deals with his main views of music and draws parallel with the concept of ethos of culture. There are central notions of Spengler’s philosophy on the implementation of culture styles in music and the presence of faustian and apolonian in art. Methodologу of the reseаrсh consists of application of сompаrаtіve аnd hіstorісаl-logісаl methods as well as contextual and systematic methods. The above methodological approach allows to reveal and to analyze artistic phenomena as a part of cultural process. In addition, we used in our research cultural method. This approach allows us to consider all parts and cultural layers in their relationship. Scientific novelty lies in expanding notions of ethos of music as a manifestation of a dialogue between culture and music, as well as classification of definite views of Oswald Spengler on music art in the context of development of cultures and civilizations. The important factor in today's integrative art process is an emphasis on the identifying by philosopher "inner form speech" of art, which actually refers to the ethos as the spirit of culture. Conclusions. The appeals to music in Spengler’s heritage is based on his affirmation about the spirit of music as the spirit of era. This in its turn goes to the ethos of music as the organic embodiment of the spirit of culture. In this context, ornamental ethos acts as a set of basic intentions of the current era and universal logical system that unites us with many cultures
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Actuality of the article are consists of creative the famous Ukrainian composer’s at the XIX-th century, which development into the complicated history and cultural condition’s. It is characterize of the basis achievement in to the branch chamber and vocal music of the national theatre and сreative work Ukrainian I.Kotlyarevskogo, G.Kvitky-Osnovjianenka, K.Stetzenka in the context of national culturality during the XIX-XX century. Also present forming of the opera genre in the creative S.Gylaka-Artemovskogo, P.Sokalskogo and M.Lusenka. All these questions of charakterycal in the system of studies of art and Ukrainian study researches on principles of modern gumatitary methodology.
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The purpose of the article is to find out the specifics of musical -choreographic synthesis in ballet Uwe Scholz "The Great Mass." The methodology of the research is based on the use of the system-analytical method in conjunction with the performance approach. The scientific novelty is to clarify the features of the interpretation of classical music in the work of Uwe Scholz. Conclusions. Uwe Scholz's "Great Mass" refers to a type of choreography in which most delicate details of the musical material and its formation are elaborated. In his productions of Choreo-Aleksika, W. Scholz is not only a scrupulous vision of music as a set of various expressive means, which is the key to the solution of figurative, in this case, the religious symbolism of music, the plastic interpretation of which requires the highest musical professionalism and immense ethical responsibility.
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The analysis of Petrarch’s dialogue “De dulcedine musica” (“On the Sweetness of Music”) allowed to show that the author’s position is inconsistent: from the rejection of music and singing to the metaphor anthem for the musical harmony of the Universe. Petrarch refers with equal respect to both antique and Christian authors; his examples appeal to persons of the pagan Rome and not Christian Medieval Europe. The realities of that time, such as the widespread passion for music and singing responding to the new needs of the society, especially in urban areas, are distinguished in the judgments of this famous humanist and Renaissance poet. The dialogue addresses various ethical subjects of the Renaissance: importance of education, personal nobility despite social class frameworks, and personal right to the satisfaction of esthetic needs. Pinitian’s epigraph narrows the meanings of the dialogue and “frames” it in everyday life, thereby depriving the text of historical space. At the same time, the epigraph does not distort or modify the dialogue. However, it maximally focuses the reader’s attention on its didactic component.
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Aristides Quintilianus is a scientist from the Greek Late Antique period. He is the author of the treatise On Music, in three volumes. This is the most complete treatise, systematically describing music science survived to our time. While Quintilianus is wholly based on his scientific predecessors (frequently citing “ancient” and “divine” sources related to the “musicing science”), he is able to construct his own scientific concept and system. In his First Book, he writes about the place and meaning of music among the other arts and sciences, and its epitome of space law (as defined by the demiurges), as well as the technical side of music – harmony, rhythm, meter. In the third book, Pythagorean music mathematics is displayed – treated by Quntilianus within the context of Neoplatonic cosmology. This article deals with education and ethics, as presented in his Second Book. He is analyzing the soul and its structure, and focuses more on education. Thorough analysis also includes all components of music science, as related to students’ ethic characteristics. This particular case is based mainly on Plato’s concept of the soul; according to it the soul comes to Earth while it has preserved in itself knowledge of the ideal world. In Quintilianus’ scientific narrative one could see a synthesis of the theories of Aristoxenus, Plato and the Neoplatonists.
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This article studies the musical forms (auditory, visual, motoric and tactile ones) and their role in the formation of the pianist. There were analyzed the methods that contribute effectively to the development of internal musical hearing, to the increase of locomotor apparatus’ skills and to the quality of sound. It also mentions how to overcome pupil’s locomotor apparatus difficulties
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The article gives a broad overview of the repertoire of opera theatres of Paris during the twenties of the 19th century, analyzes some of the processes of the opera genre renewal. The creative connections of F. Halévy with the representatives of the theatre world, who played at an early stage a decisive role in the creative destiny of the composer (J. Rossini, J. Pixerecourt, G. Saint-Georges, M. Schlesinger) are revealed.The information on the history and fate of the first operas of F. Halévy Two pavilions, Pygmalion, Herostrat, Craftsman is provided. The composition, the principles of musical characteristics of the characters, the peculiarities of the musical language of Two pavilions and Craftsman are analyzed.The connection of the early works of Halévy with the socio-political life of the country, the general thrust of the development of musical culture of France and new trends that have emerged in the twenties (the development of the genre of lyrical comedy about the lives of ordinary people, the opera about the representatives of different professions, an ap- peal to the provincial cultures) is established.
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Minuet’s “fate” is explored in this article; its importance for music is undeniable - not only in its time. Basically, the minuet became a favourite genre in Versailles at the era of the Sun King. But its main importance emerged not because it was a favourite of rulers, but due to its capability to reach practically all instrumental genres of the time. This is thanks to its ability to display in a most vivid and concise form, the merits of homophonic organization of instrumental music. It promotes the emergence and development of a number of instrumental music genres (starting with orchestra ones).
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This paper proposes considerations regarding the content, genre and stylistic features of musical-theater works of famous modern Ukrainian composer Olexandr Kozarenko. Author made intonational and dramaturgical analysis of five music-theater works by O. Kozarenko: Don Juan of Kolomyia, Sinfonia Estravaganza, Piero Makes Loop theLoop Oresteia and Time of Repentance. Their results served as material for comparison and as arguments for general conclusions too. The author introduced the idea of two type of musical-theatre works by O. Kozarenko and named them theatrical concepts of first and second plans. The existence of visual line characterizes the theatrical concept of sec- ond plan, at that time as the interaction of visual line and verbal line – the theatrical con- cept of first plan. All composer’ works have similarities features – intonation symbols, allusions, features of themes. The study traced the intonation affinity and contrast be- tween these works and the degree of transformation of genre model in each case. In gen- eral, author comes to the conclusion of huge role of musical theater for creative activity of O. Kozarenko and its impact on formation of his individuality.
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The multimedia journalism includes the media content (audio, video, text), which is created by the traditional and online media via internet. The multimedia content concerns the websites’ interface and navigation, use of animation and flash images, online advertising, use of applications for online gaming, listening of music or watching movies by steaming platforms, social networking communication. The research presents the multimedia journalism features in Bulgarian TV and online media for the news production, created by the audience participation.
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In the article ascending priorities of synthesis of arts are determined in a vaudeville art as certain factors of kulturolcreation. The stage is examined as multicultural and multistageful synthesis ХІХ and ХХ age. Methodological advices are given in relation to presentation of kulturologichny integrity of the stage in the world measuring.
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The article is an abstract of a comprehensive study on the earliest Bulgarian musical films commissioned by the government under Socialism over the decades (since the mid - 1950s until the late 1980s). As the last in the research selection the movie AcaDaMuL (an abbreviation for Academy of Dance, Music and Lyric) is of interest due to both its genre style, being the first ever Bulgarian dance film musical, and from the vantage point of the complicated historical context and the concomitant social unrest immediately preceding the political changes. Made in 1988 and inspired by film director Georgi Djulgerov and choreographer Neshka robeva, its film score was written by five Bulgarian composers: Darin Burnev, Plamen Djurov, Stefan Dragostinov, Tsenko Minkin, Bojidar Petkov and jazz musicians Yildiz Ibrahimova and Theodosii Spassov. Made in a nonconformist vein, the movie remains unique in terms of its creative experiment in Bulgarian feature film: a new cinematic synthesis of stage media used in rhythmic gymnastics, pantomime, acrobatics and narrative folklore-based dance and contemporary auteur music. And though the movie has not been digitised and is not available online, AcaDaMuL has not slid into oblivion where cultural history of the previous century is concerned, which is proved by the present recognition and international creative achievements of the National Art dance company established by Neshka robeva years later and comprising gymnasts and folk dancers. Their production Twin Kingdoms (music by Georgi Andreev) ranked eighth among Broadway’s (this Mecca for musicals) best foreign show productions at the turn of the millennium. The stylistic invention, undoubtedly inspired by the experience gained in AcaDaMuL, has really acquired the significance of a musical stage phenomenon, which is now Bulgaria’s hallmark.
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I offer a glimpse at the essence of the visual arts, which is related to the conceptual and the visual constructions through which the image is constructed. Although very different from painting, cinema, as a visual art, is influenced by it at a depth that is hard to imagine.I am taking into account the views of Sergei Eisenstein – one of the proponents of the formal theory of cinema, displayed in his theoretical works, as well as several of his films. Changes in the visual arts that result from the advent of photography give new meaning and role of painting. Artists occupied in painting are beginning to look for new ways to solve the problem of three-dimensional space in a two-dimensional surface. In the time that cinema develops own language, it sets to itself similar tasks. At that moment, cinema turns to the familiar visual-artistic experience and its forms in order to construct its own imaginative language. Cinema, like painting, gives us the joy of looking at the form in which the correlation of the elements is sensed. Accordingly, in order to bring pleasure and meaning, this form is created in constructions that we know from the field of painting. Editing, the basis of cinematic language, is built by putting together frames that serve as building blocks of the film. In this capacity they are of utmost importance. It is frame’s compositional organization, which at first takes place in a two-dimensional space as in picture that plays a major role in the approach to the editing. The composition of the frame which is the core of the editing process is built in the parameters of the main points through which the composition in painting can be built – rhythm, dynamics, statics, symmetry, asymmetry, analysis and synthesis of form, and at a later stage of the development of cinema – even color. The visual arts are based on similar structures and ways of building the form though they do it through different languages. There are unifying principles that define the world of images. Whether they are moving or static, their construction is often done on the basis of similar intentions and through similar instruments. Knowing them, understanding them, is a tool for creating quality images.
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