Музиката на Димитър Христов като сугестивна „въображаема многолинейност“: пространство от структурирани и разгърнати звукови архетипи

Author(s): Elisaveta Valchinova-Chendova / Language(s): Bulgarian Issue: 3-4/2013

This article is dedicated to Dimiter Christoff ’s 80th anniversary (born October 2, 1933). The present text examines some substantial problems of his musical language, which are related to the concept of new sound sensuousness, introduced in my previous publications. Analyzing his individual works, the following observations can be derived as a common creative principle: while constructing the form, the composer is using “empty spaces” – a forth, a fifth, or an octave, which outline the graphic contour of a sound space. Afterwards the sound space is gradually filled (step-by-step) with tone rows – halftone and whole-tone, ascending and descending patterns, in different combinations. The patterns are derived from archaic layers typical for the Bulgarian folklore – Shoppe diaphony. These tone rows have immense potential and different ways of manifestation, while each combination is unique. Beside in a melodic line, the tone rows can be organized in a distance. As a result, the sound space is organized not by tonal combinations, but rather by “imaginary” multi-linear combinations of movements and mobile cell structures through which the energy is retained, stretched, and/ or shrunk. Thus, an original “imaginary multi-linearity” is constructed, which is “unreal”, “imitative” and has a strong suggestive impact.

Класификация на бароковите музикални фигури

Author(s): Petya Stefanova / Language(s): Bulgarian Issue: 3-4/2013

This article presents a detailed classification of musical rethorical figures from the Baroque period. One of the first classifications belong to Burmeister who divides figures, generally speaking, into melodic and harmonic. With the advent of Figurenlehren the number of treatises grew up and classifications were created on different basis. Pointing to general principles of differentiating of figures, the article summarizes various types of classifications, proposed by musicologists from the Baroque era. Baroque musical figures, 152 in number, are tabulated. They are deduced from treatises of the 16th – 18th centuries music theorists, including Nukis, Pretorius, Burmeister, Touring, Kircher, Bernhard, Prinz, Aale, Vogt, Yanovka, Shpis, Matezon, Walter, Sheibe, and Forkel. The main table displays Latin names of figures while those of Greek origin include as well authentic names. The definitions of figures rely upon works of contemporary musicologists and literary researchers (Bartel, Burton, Lanham, and Bulow), based on definitions given by theoreticians of the 16th – 18th centuries. Listed are also authors whose treatises refer to particular figures. The definitions of contemporary theorists as well as of theorists of Baroque epoch not always overlap. Full definitions of each author can be found in the relevant treatises, some of which are listed in the bibliography at the end of the article.

Фолклорно пеене в културен контекст

Author(s): Lozanka Peycheva / Language(s): Bulgarian Issue: 3-4/2013

The publication is based on the understanding that the pre-modern common-village tradition dictates singing in specific living contexts. Cultural contexts are specific performance frames in which the folk singing fits as an integrating element of the culture. The text presents field ethnomusicologic material from the Midwest and Southwest Bulgaria related to cultural contexts of folk singing, recorded by the author in the period 1983 – 2013. To organize the many pieces of information the data from different sources is combined to build a comprehensive picture of the performance contexts of pre-modern folk singing. The included parts of the field interviews provide empirical material organized according to the established classification of performance contexts of folk singing, which was systematized and initially presented in Bulgaria by Vassil Stoin. The proposed conceptual framework, in which speakers about the communicative situations of folk singing are also its bearers, is a good basis for systematic holistic analysis of folk singing in its performance contexts. In the so presented conceptual frame the text places extracts from field material of original sources, which gives a truthful picture of music in the life of examined local communities. The publication stays away from interpretative analyses of the singers’ discourses about folk singing.

Местните таксономии и жанровете

Author(s): Tsenka Yordanova / Language(s): Bulgarian Issue: 3-4/2013

This article is a part of the unpublished Ph.D. dissertation of Tsenka Yordanova “Typology of the Sound Media in Rituals”, Sofia, 1982 (manuscript). The article reveals several specific problems of the understanding of the core of a certain traditional musical culture through its own native local taxonomies, compared to the scientific professional objective classifications and genre systems. The concrete illustrative material is an extrapolation from the field notes and the long lasting fieldwork of the author in the region of Southeast Bulgaria (Strandzha). There is an interplay of the local taxonomies, on the one hand (like “new songs”, “old deep songs”, “dreamed songs” and so on), and the ideas and concepts of contemporary ethnomusicology, on the other.

Постмодерният слухов опит: музикален синтаксис в композицията от последното десетилетие на ХХ и началото на ХХІ век

Author(s): Angelina Petrova / Language(s): Bulgarian Issue: 3-4/2013

Приспивната песен като предмет на музикалната терминология

Author(s): Rossitsa Draganova / Language(s): Bulgarian Issue: 3-4/2013

The main objective of the study is the concept of lullaby, which in its diversity requires to examine different aspects of this term and to summarize the experience in dictionaries, encyclopedias and other analytical sources. The text tries to outline the panorama of this phenomenon and its terminological specificity. The term is not so often analyzed and in this meaning it is not clearly active. However, it is secondary problematized and updated, for example in connection with its role in music-making and education of the aesthetic taste in different degrees of mainstream schools. In this sense, the term appears again as a contemporary object of knowledge about music. Such terminological research investigates the truly complex phenomenon, which involves the interpretation of diverse scientific literature. It describes and analyzes various encyclopedic studies of lullaby (Chetrikov, Svetoslav (Ed.). Musical vocabulary. Sofia: Music, 1979; Muzikalynaya encyclopedia, Vol. 2, Moscow: Sovetskiy composer, 1974; Honegger, Marc. Connaissance de la musique. Paris: Bordas, 1996. The New Grove Dictionary of Music and Musicians, vol. 11, Oxford University Press, 1980, etc.), and then refers to some examples of popular articles and applied interdisciplinary texts.

Виртуози или шарлатани. Първите пътуващи пианисти-виртуози

Author(s): Anna Petrova-Forster / Language(s): Bulgarian Issue: 3-4/2013

The end of the 18th and the beginning of the 19th centuries in Europe witness political and technological revolutions and wars which resulted in enormous changes of the cultural life. The spread of a new instrument, the pianoforte, in the last decades of the 18th century gave rise to a new musician type - the travelling virtuoso. This paper is about the conditions of the concert business and the daily life of the first travelling pianists.

Words and Images: “Pictorial” Byzantine Hymnography

Author(s): Jaakko Olkinuora / Language(s): English Issue: 3-4/2013

The idea of a strong connection between words and images was dominant already during antiquity. Among the first ones, Plato described in his dialogue Cratylus that words and images are similar forms of imitation.

За музикалната терминология на византийско-славянската общност. Начални наблюдения

Author(s): Asen Atanasov / Language(s): Bulgarian Issue: 3-4/2013

This paper offers initial observations on musical terminology used in the Byzantine-Slavic community, which has so far not been adequately studied. Byzantine music formation of musical events and their musical theoretical reflection should be seen in theological context. Any changes in the terminology of Byzantine music should not be seen as being different or consecutive stage musical and stylistic changes, but as a desire and effort to more accurately and truer rendition of music in the tradition that comes to life only on conscious relationship with God. Byzantium theoretical texts and musical terminology contained in them, systematically began to appear relatively late (14th century). The texts do not provide a complete description of the Byzantine music system. They interpret it, explaining hold without defining events and served rational systematic knowledge. Nineteenth century of the Christian East gives new but essentially old music theory. The theory is new, because it is overcome (albeit conditionally) chaotic nature of medieval texts and first given an overall vision for the music system of Byzantine music in an attempt to define and formulate the musical phenomena. But the theory remains essentially old because displays ancient musical tradition to the new (nineteenth century) time, served in a remarkable manner, the information withheld or understated in the medieval theoretical texts and considered lost forever. Little-known theoretical treatise Ηρισαντ Εἰσαγωγὴ εἰς τὸ θεωρητικὸν καὶ πρακτικὸν τής' Εκκλησιαστικῆς μουσικῆς″ (written earlier before his Great theory) is distributed primarily in handwritten form, and lately subsequently printed. The first Bulgarian musical theoretical printed text, compared to the original Greek source, shows that it is to some extent an abridged version of Chrisantos text and a number of texts are literal translations. Publication as a guide music theory for its time is relatively high. An attempt to exposure to music theory in an accessible and easy to understand and facilitate the learner through a clear translation and adaptation of the ecclesiastical terminology to the then contemporary and made initial attempts to build Slavic musical terminology, the terms are explained through simple and affordable verbal expressions. The book explains the theory and practice of church music according to the new music system. Until 1848 a book in Bulgarian gone, and its appearance is determined by the age of universal spiritual uplift and active work for the enlightenment of the Bulgarians.

Authors in this issue

Author(s): Author Not Specified / Language(s): English Issue: 3-4/2013

Authors in this issue.

Риторнелната форма от разгъващ тип. Основни понятия и термини. Идеалната концертно-риторнелна форма при Йохан Себастиан Бах

Author(s): Vesko Stambolov / Language(s): Bulgarian Issue: 3-4/2013

Ritornello form is one of the main constructive principles that Baroque music exploits. In spite of the great advance in research made by the Historically Informed Performance Movement (HIP), some modern studies on Baroque musical forms still use terms more appropriate for the Classical period and insist on finding at all costs genetic relationship between both styles, thus, preventing us from seeing clearly Baroque forms as what they really are. There is no chapter on ritornello form in the existing music analysis textbooks in Bulgaria. The present article’s purposes are to fill in partly this gap and to introduce the terms which refer to ritornello form. Invented by Wilhelm Fischer in 1915, these terms – Vordersatz , Fortspinnung and Epilog – are in wide circulation in all serious present day western studies on Baroque concerto. Discussing on representative examples from Antonio Vivaldi’s and Johann Sebastian Bach’s work, the author, a devoted Bach performer, illustrates the essence of these terms as well as the ritornello form as a complex and intriguing constructive principle.

KRITIKA AUDITIVNOSTI I KONCEPT VJERSKE MUZIKE

Author(s): Mersid Ramičević / Language(s): Bosnian Issue: 37/2009

This article examines lack of critique of auditory aspect in the Muslim cultural systems. Additionally, this article criticizes concept of “religious music“ as something unsustainable. Being that the Islam is based on Revelation and Absolute Text which is transmitted through voice, it is astonishingly inadequate how Muslims treat the sound world barrier, the same one they conditioned by their own totalitarianism. Racket and vacuum, scream and muteness coincide in that field. Accordingly, to a certain degree, Ummah is surely crippled, regardless of its gigantic rage through fashionable theories of body according to which the voice represents an extension of the same.

Belgrade ECHO Music Festival

Author(s): Author Not Specified / Language(s): English Issue: 32/2003

MÜZİK TEORİSİ VE İŞİTME EĞİTİMİ İLE BİREYSEL ÇALGI EĞİTİMİ BAŞARILARI ARASINDAKİ İLİŞKİLER

Author(s): Mehmet Ozan Uyan / Language(s): Turkish Issue: 1/2013

In this study, correlation analyses was applied to the scores of the lessons Music Theory-Hearing Education, Harmony-Counterpoint-Correpedition and İndividual İnstrument Education, which belong to those who have enrolled Music Education Branch of the Fine Arts Department of the Faculty of Education in the years 2000 and 2001. By the results of correlation analyses, the direction, the degree of the relations between these fields and significance of those relations were determined. The relationship between the achievements in the fields of music theory-hearing and instrument playing was tried to be made clear by means of these determinations. Consequently, it was observed that there was a positive correlation between two fields, which is at a statistically significant level.

N.E.Ü. A.K.E.F. MÜZİK EĞİTİMİ A.B.D. ÖĞRENCİLERİNİN BİREYSEL ÇALGI DERSİ ÇALIŞMA DURUMLARI HAKKINDAKİ GÖRÜŞLERİ

Author(s): Hayrettin Onur Kucukosmanoglu / Language(s): Turkish Issue: 1/2013

This study was designed to assess the general condition of Konya Necmettin Erbakan University Ahmet Keleşoğlu Education Faculty Music Education Departments Student's in individual instrument lessons. In harmony with the purpose of the study tables have been prepared and “percentage and frequency” accounts have been made by analyzing the data obtained statistically. Students of Ahmet Keleşoğlu Education Faculty Music Education Departments were chosen in order to build the universe of the study. As a result of the study, determined the students opinion for their general working status to individual instruments and suggestions have been made for it would benefit the area.

ÜNİVERSİTE ÖĞRENCİLERİNİN SEÇMELİ MÜZİK DERSLERİNE İLİŞKİN GÖRÜŞLERİ (NEVŞEHİR ÜNİVERSİTESİ ÖRNEĞİ)

Author(s): Emre Ustun,Emin Erdem Kaya / Language(s): Turkish Issue: 1/2013

This research was conducted to determine the student views on common elective music courses given in first grade in Nevşehir University Faculty of Economics and Administrative Sciences, Faculty of Science and Literature, Faculty of Engineering and Architecture, Tourism Faculty, and Semra and Vefa Küçük College of Health in 2011-12 spring semester.In the result of the research, it was determined that students were mostly interested in common elective music course; that they believed that this course was necessary although it was a non-credit course and they stated that it should be a credit course. In addition, some suggestions were made in order to make common elective music course more efficient both in content and method by making it more widespread and by being supported by relevant units.

GÜZEL SANATLAR VE SPOR LİSELERİNDE YÜRÜTÜLEN KEMAN DERSİ ÖĞRETİM PROGRAMININ İNCELENMESİ

Author(s): Nurtuğ Barıseri,Özge Kaya,Emin Erdem Kaya / Language(s): Turkish Issue: 1/2013

Teaching programmes are planned to indicate the allocation of time for the defined content of lessons in order to reached the required achievements. The Anatolian fine arts high school, today it is known as fine arts and sport high school has changed their teaching programmes from time to time since its establishment in 1989-1990 teaching term. This study is aimed, to introduce the new violin teaching programme which has been developed in 2008-2009 and to examine the violin programme in detail according to the the views of violin teachers about its use and efficiency in violin teaching.

ARAŞTIRMA YAKLAŞIM VE YÖNTEMLERİ: MÜZİK EĞİTİMİNDE UYGULAMALI ARAŞTIRMALAR

Author(s): Nurtuğ Barıseri / Language(s): Turkish Issue: 1/2013

This work has been prepared in order to provide introductive informatıon about changes, transformations and development of research approaches to the researchers who has stepped into the research process. It is aimed to explain the theoratical and practical systems of quantitative and qualitative approaches. Moreover, action research and reflective studies have been explained in the study which can be seen as higher rated research methodologies nowadays. The work also has looked at graduate thesis in our country and examples are given from the thesis if the qualitative approach has been used. It is interesting to see that only few thesis had used the qualitative approaches.

Loptanje, Štulić i »braća« Rusi

Author(s): Dragan Banjac / Language(s): Serbian Issue: 464-465/2009