Z raportu o amatorskim ruchu muzycznym w roku stulecia Związku Śląskich Kół Śpiewaczych

Author(s): Andrzej Wójcik / Language(s): Polish Issue: 4/2012

Year 2010 is a jubilee of Związek Śląskich Kół Śpiewaczych (today known as Śląski Związek Chórów i Orkiestr) formed 100 years earlier. The place of birth of the Silesian federation of so far informally acting Polish choirs was Bytom. The jubilee celebration of their 100th anniversary overlapped with Kongres Kultury Województwa Śląskiego. The Report, commissioned by congress organisers, apart from historical and organizational information, as well as a description of the condition of an amateur movement centred in the association covering the period of 1999—2010, presents the general information of the manifesto nature useful when formulating perspectivist aims of the cultural work, establishing priorities of the financial support of culture, working out the plans of educating a young generation through art and for art. The activity of the association impresses with wealth and variety of ideas, proves an incredible vitality of an amateur singing and musical movement in Silesia. Its leaders always paid a lot of attention to the work with the youth. Despite numerous organizational and artistic successful achievements, it coped with various difficulties, especially financial ones. Lately, its problem has been a decreasing number of active participants of an amateur movement. The Report and the very article present the reasons of the very situation and its negative results. The author also offers a series of preventive measures. Besides, he claims that the source of power of the Silesian singing-musical association is its number, roots in tradition as well as the awareness of socially desired aims. In order to support his statement he refers to the fragments of historical documents and publications of Śląski Związek Chórów i Orkiestr, as well as the research results presented at the Congress of Culture by other participants. In conclusion, he stresses the fact that the system changes of education are a chance of overcoming negative outcomes of “a cultural revolution” taking place.

"Zaśpiewajmy Mu wesoło!" — autorski cykl 20 kolęd i pastorałek na chór mieszany i głosy solowe a cappella — analiza stylistyczna

Author(s): Jacek Glenc / Language(s): Polish Issue: 4/2012

The article entitled “Zaśpiewajmy Mu wesoło!” — an author’s series of 20 carols and pastorale for a mixed choir and solo voices a capella — a stylistic analysis constitutes the analysis of an author’s series of works concentrating mainly on stylistic features of the arrangement of these works. The analysis presented contains the periodization of the series works into stylistic groups with comments on the basis of selected elements of a musical composition (mainly harmonics), means of a composing-arranging workshop having a substantial influence on the work convention. In conclusion, the author emphasizes the fact that the very series can serve a wide group of performers providing a good workshop preparation in terms of the vocal musical performance and a big interpretative maturity.

Mikalojaus Konstantino Čiurlionio neatpažinti muzikos ciklai (problemos iškėlimas)

Author(s): Rimantas Janeliauskas / Language(s): Lithuanian Issue: 04/2006

The author of the paper has set a goal to present and substantiate a new approach towards the composer’s musical heritage. In the author’s opinion the composer’s genius features were opened in the so-called Unidentified Cycles of musical works. The research was initiated by the hypothesis that a spontaneous cyclic articulation of the composer’s works lies in their chronological sequence.

School Music Education in Finland – Illegal? Perceptions about Music Teaching and Musicality

Author(s): Mikko Anttila / Language(s): English Issue: 04/2006

The main tasks of school music education are to help children to find their own musical preferences, to encourage them for musical activities and to support their total development. However, every third Finnish child in school music lessons is educated to be unmusical. It has a harmful effect on children’s musical self-concept and behaviour.

Two Czech Karels

Author(s): Neel Bhuta / Language(s): English Issue: 4/2007

Relations between the Art and Video Games

Author(s): Manojlo M. Maravić / Language(s): Romanian Issue: 10/2012

When discussing the art of video games, three different contexts need to be considered: the “high” art (video games and the art); commercial video games (video games as the art) and the fan art. Video games are a legitimate artistic medium subject to modifications and recontextualisations in the process of creating a specific experience of the player/user/audience and political action by referring to particular social problems. They represent a high technological medium that increases, with practically each new commercial game, the aesthetic potential of audio-visual performances and includes more complex narrations and characters/avatars. A number of artists take part in their creation: designers, composers and actors. Video games are a medium through which the fans of commercial games are trying to secure their position in the contemporary technologised culture.

Nekünk izraeli zenét kell komponálnunk

Author(s): Bálint András Varga,Josef Tal / Language(s): Hungarian Issue: 2/1991

András Varga Bálint: A Conversation with the Israeli Composer JosefTal

„Петербургское приношение Моцарту“ (музикалнотеоретичен пътепис)

Author(s): Mariyana Buleva / Language(s): Bulgarian Issue: 2/2011

The international symposium „The St. Peterburg Offering to Моzart” took place in April 2011 in Herzen University. Russia, Bulgaria, Latvia, Austria, Serbia, Germany and Norway have been represented by their participants on the forum. The simposium was organized by the College of Music of the Herzen University. The idea was inspired by the overall activities of Prof. Marina Chernaya in the sphere of Mozart studies. The presentations outlined several recent tendencies in the research of the music of Mozart. The scholarly interest towards the art of contemporary composing inspired by the music of the great composer as well as the per suit to implement new approaches and theories (for instance, the art of combinatoria or the intonem theory) as a way for making inroads in the world of Mozart’s musical thinking are to be outlined. Master classes and concerts with works by W. A. Mozart have been included within the framework of the simposium. The event organically suits to the impressively rich scholarly, publishing and concert activities of the College of Music of the Herzen University.

Идеите за музицирането, композиторското творчество и изпълнителските практики в контекста на съвременното развитие на музикознанието

Author(s): Rossitsa Draganova / Language(s): Bulgarian Issue: 2/2011

The paper is dedicated to the contemporary ideas of composer’s work and performance practices, as the scientific disclosure of a specific subject expressed in the characteristic terminological replacement of “performance” with “music-making”. In a contemporary context, the phenomena can be connected both with the so called art music – compositional creativity, authorship and the musical work – as well as to the dynamic fields of traditional music and contemporary popular culture. Commonly publications dedicated to performance and interpretation include a range of philosophic, esthetic and semiotic topics relevant mainly to the problem of the identity of the musical work and the specific historically occurred separation between the composers’ and performers’ creation acts. The idea to distinguish the notion of music-making as a specific human activity from the notions performance and interpretation is activated the research in musicology. The “music-making” (in German - “Musizierung”) is defined as a form and a mediator of the musical experience, an activator and a content of the musical life through out the ages. Contemporary approaches are applied in this paper. The interpreted fields are many and varied, and at the same time significant for the paradigmatic shift, which is now established in different performing practices and different innovating view for the contemporary research of music (from Roger Sessions and Edward Toner Cone still Nicholas Cook, Peter Kivy, Lydia Goehr, Stan Godlovitch and Christophe Small with his idea for the “Musicking”). They are presented in parallel and are gathered around a common idea like the conception of music-making, as unfolded in the text.

Две издания, посветени на Петко Стайнов: „Петко Стайнов в паметта на времето” и „Петко Стайнов – хорови песни”

Author(s): Rumyana Karakostova / Language(s): Bulgarian Issue: 2/2011

The life-work of Petko Staynov (1896 – 1977) is engraved in time, but the vision of others about him remains scattered in various publications and unpublished statements from scientific and other forums, in conversations and interviews... The collection Petko Staynov in the Memory of Time is devoted to a many-sided reflection of the personality of Petko Staynov in the cultural spirit of his time, traced over the years in the context of artistic and aesthetic perspective and spiritual values. Here in are chronologically presented: dozens of materials devoted to the composer, the pianist and the public figure Petko Staynov, as they appeared in periodicals and other publications from the 1920’s until now; unpublished papers and speeches from conferences and roundtables; unpublished photographs from Petko Staynov’s archives as well as portraits of the composer by famous Bulgarian artists. Choral Songs by Petko Staynov present a selection of 14 choral works by the great composer, which are still part of the concert repertories of a number of Bulgarian choirs. Over the last decade, these works have become equally popular in a number of European countries and around the World by being performed on the stages of international choral events. At the end of this collection is published the only one discovered until now composition by Petko Staynov composed in the spirit of the Eastern Orthodox choral tradition - Hristos voskrese. Based upon some publications, one can argue that Staynov did compose even a whole lyturgy, which unfortunately has not been discovered yet in his Braille archive.

Концерт за пиано и оркестър оп. 60 на Николай Стойков през погледа на интерпретатора

Author(s): Romeo Smilkov / Language(s): Bulgarian Issue: 2/2011

Nikolay Stoykov’s Concerto for Piano and Full Orchestra, Opus 60 is a large-scope 25-minute work, constructed in three movements. The emphasis in the first movement, Libero, is laid on an elaborate dialogue between the orchestra and the soloist. The soloist‘s expanded cadenza summarizes the intense musical development. Quasi Andante, the second movement, emanates eastern contemplative and allegorical mood. In the middle of the movement there follows another piano solo which is the main compositional plane around which the aleatoricsonoristic composition develops. Attacca introduces the third movement, Tres ritmico. In the refrain section there pulsate changing measures in the style of the Balkan folk dance tradition. Section B of the third movement is a sombre sound picture, which brings back the atmosphere from the introduction. In section D the cluster piano-orchestra dialogue develops into a quasi cadenza of the soloist which takes the music to the evolution of the recapitulation conclusive section. The coda, Stretto. Presto, sums up in fast rhythm the vivid imagery of the concerto which was performed for the first time in April 2009 by the Pleven Symphony under the baton of Maestro Yordan Dafov, with Romeo Smilkov as soloist.

Summaries

Author(s): Author Not Specified / Language(s): English Issue: 2/2011

Summaries of the articles in the issue.

Симеон Пиронков-син и концепцията за музикалния фротаж

Author(s): Angelina Petrova / Language(s): Bulgarian Issue: 2/2011

The object of this text is the music of composer Simeon Pironkoff , Jr., who was born in 1966 in Sofia, Bulgaria, graduated in composition and sett led in Austria. The concept of frottage technique is introduced in the poetic world of Simeon Pironkoff , Jr., in conformity with Max Ernst’s term, in an interpretation as a music-structural method. The frottage idea is a kind of marker for his individual creative path or choice after his emigration. In the motivation to experiment with the frottage technique Simeon Pironkoff , Jr. creates his own ideas for a radical-language approach. In his comments on Attack he speaks of polyphony which is characterized by fragmentary character. The frottage composition-technique is associated with a specific dramaturgy in which the notion of “free field of meaning” is incorporated. There are several successive stages in Simeon Pironkoff , Jr.’s career as a composer. In the 1990s (1990– 2000) he created a series of works for large orchestra – Versionen für Orchester (1988, Wien), Musik für Streicher (1987) and others, in which the frottage idea crystallized gradually. Special place in his composing evolution is taken by his work Attaca, also named 31 Messages for Ensemble, written in 1998, which was premiered in the same year by Ensemble recherche. The composition Outline is also featured among the large scale ensemble opuses related to the compositional ideas and the theory of ‘musical frottage technique’ from this period. The two pieces mark the climax in the development of the concept of frottage. Along with these orchestral and ensemble works created the text “Figure and drama”. There followed another stage in the composer’s evolution. In the 2003–2010 period he created several chamber instrumental opuses, in which he opposes/counterponts a contemporary instrumental ensemble and traditional Eastern instruments, e.g. Départs imprevues (Music for Zheng, Oboe, Accordion and Percussion) (2004); Fall / Wende for Zheng and Accordion (2005), etc. In them the author is looking for unexplored fields and challenges rather than language-cultural counterpoints and comparisons.

Стефка Венкова: „Музиката на Католическата църква от източен обред в България”

Author(s): Svetlana Kujumdzieva / Language(s): Bulgarian Issue: 2/2011

The question about the music of the Catholic Church of Eastern ritual is studied for the first time in the newly published book of Dr. Stefka Venkova. The author has succeeded in discovering, systematizing and classifying original source materials that were preserved on different places in Bulgaria. This is a great contribution because there was no archive of this Church until now. The notated materials only are 3100 and are systematized into 150 archive groups. The author studies the music history of the Catholic Church of Eastern ritual in its complexity discussing the “meeting point” of the two great cultural traditions – Orthodox and Catholic one in terms of what was taken from the one and what from the other, how it was composed and assimilated in the ritual and what was the Bulgarian like in the music performed in the Church. The music history of the Catholic Church of Eastern ritual is reconstructed within a century and a half – since 1860 up to the present day. It is based on the newly found scores and repertory performed according to them, composers and conductors involved in the activity of the Church. As a whole the book represents an important reference material for everybody interested in the music history of the Catholic Church of Eastern ritual in Bulgaria.

Райна Кацарова и Пена Грозева (110 години от рождението на Райна Кацарова 1901–1984)

Author(s): Nikola Tsenkulovcki / Language(s): Bulgarian Issue: 2/2011

Folklore singer Pena Grozeva (b. 1893 – d. 1989) who accompanies her own singing by playing the tambura while presenting, is one of the most distinctive representatives of North Bulgaria folklore. In 1952 Raina Katsarova studies the core of her mastery in “Three generations of folklore signers”. Gradually the acquaintance of the two renowned women grows into a long-lasting friendship. The author of this publication boasts the fortunate chance of knowing both the singer and researcher personally. His article features Pena Grozeva’s verbal sharings about Raina Katsarova. They present us with additional information on the personal and professional qualities of the prominent folklorist as seen by her friend and informant.

Organo pleno

Author(s): Kamen Petev / Language(s): Bulgarian Issue: 2/2011

Authors in this issue

Author(s): Author Not Specified / Language(s): English Issue: 2/2011

Authors in this issue.

Деница Михайлова: „Балканската източноправославна монодия (XIV–XV век): изпълнителски аспекти”

Author(s): Teodora Pavlovitch / Language(s): Bulgarian Issue: 2/2007

Defended Dissertations / Denica Mihaylova: “The Balkan Eastern Orthodox Monody (XIV–XV C.): Aspects of Performance”

За смяната на парадигмите, музицирането и началната музикална педагогика - практика и съвременност

Author(s): Rossitsa Draganova / Language(s): Bulgarian Issue: 2/2007

This study traces the relationship between actual changes in musical practice and the character, goals and problems of contemporary musical education. The author analyzes the problem of how paradigm shifts in the study of musical phenomena are reflected in textbooks and how such shifts become an impetus for cognitive/pedagogical studies and projects. The following questions are discussed in detail: (1) a general description of the dynamics of changes in curricula for music after the 1970s; (2) the tracing of the evolution of the ideas that have led to changes in practices in musical education after the 1990s, due to the influence of the ever-changing environment in which different styles of combination/composition, performance/interpretation and acceptance/distribution of music are developing in society today; (3) the introduction of one of the new series of music textbooks for the elementary-school level, which reflects the actual music curriculum from 1999. The author reaches the conclusion that in its development, elementary musical education is becoming closely linked to the display of musico-cultural ideas. Furthermore, at different moments within the complex diachronic progress of musico-cultural development, the evolution of the models and approaches used by contemporary pedagogy can, in their own way, even anticipate changes in theoretical knowledge about music as a whole and can tum out to occupy leading positions in the process that we call “paradigm shifts” in modernity.

Лужишкосербско песенно стопанство

Author(s): Rosemary Statelova / Language(s): Bulgarian Issue: 2/2007

This article examines the contemporary song and singing practices of the West Slavic population (today numbering around 60 000 people) that identifies itself using the ethnonym serby. Also known as Sorbcn or Wenden in German and Sorbs in English, this group resides in the Lusatia region of (eastern) Germany. The author follows Jan Assmann’s idea of the existence of so-called connective structures that help to guarantee generational continuity within a given cultural community. For the Sorbs of Lusatia, this connective structure consists precisely of collective, group and individual singing of a specific repertoire of “patriotic” songs (M. Solta-Scholze) . One of the historical sources of this repertoire was the founding and establishing of Sorbian song/singing festivals as a clear manifestation of the new Sorbian urban culture during the 19th century in the city of Bauzen. In the cultural memory of this community, which was striving towards national consolidation, the idea of the Sorbian holiday as an event with songs/singing was established. The author offers her own analysis of the phenomenon of the Sorbian folk song, based on a scalar­ intonational examination of songs from the well-known collection from 1841- 1843 by Jan Arnost Smoler “Sorbian Folk Songs from Upper and Lower Lusatia” (Jan Arnost Smoler/ Johann Ernst Schmaler “Volkslieder der Sorben in der Ober­ und Nieder-Lausitz”). This examination of the contemporary Sorbian song industry is based on a comparison with observations on Sorbian singing practices made in Lusatia in 1886 by the founder of Slavic musical folkloristics, the Czech scholar Ludvik Kuba. At the end of the article, the author offers her impressions of one of the empirical objects examined: The May Tree Festival, organized in May 2003 by students-Sorbianists from the Leipzig University.