"IX symfonia" Ludwiga van Beethovena w aspekcie problemów wykonawczych partii chóralnej

Author(s): Waldemar Sutryk / Language(s): Polish Issue: 4/2012

"Symphony No. 9", a music masterpiece by Ludwig van Beethoven seems to the author of the article to be special, solemn and rich in content and music. An outstanding work requires a perfect art of performing. The author concentrates on the problems of performing choir parts within a harmonic and melic structure, rhythmicity, dynamism, intonation, agogics, text, articulation and a general artistic impression. The text is rich in information and practical remarks on the art of conducting a choir band.

"Jazz. Asta mi-a fost dat mie sa servesc"

Author(s): Jancsy Korossy,Brînduşa Armanca / Language(s): Romanian Issue: 02/2013

"Kaprysy" Niccolò Paganiniego według Henryka Wieniawskiego

Author(s): Ewa Chamczyk / Language(s): Polish Issue: 4/2020

Niccolò Paganini’s 'Caprices', one of the most demanding cycles in the violin repertoire, continue to pose a challenge for many violinists, as they did in the year of their publication, 1820. These 24 miniature showpieces had little to do with the original educational character of the genre. On the contrary, they were a virtuosic display of the skills of their composer, who would remain unrivalled to this day. Though Paganini’s 'Caprices' did not occupy a major place in Henryk Wieniawski’s concert repertoire, they were well known to him. Extremely valuable in this respect is the copy of the Caprices now held in the library of the Conservatoire Royal de Musique in Brussels, which bears traces of use by the Polish violinist. I take this copy of the Caprices as the starting point for analysis of the sources of his early fascination with Paganini’s performance style. I briefly discuss Wieniawski’s education in Joseph Lambert Massart’s class at the Paris Conservatoire, his interest in Apolinary Kątski’s manner of playing and his stay with Karol Lipiński in Dresden. I also address the role of Paganini’s 'Caprices' in Wieniawski’s work as a teacher at the St Petersburg and Brussels conservatories. At the centre of my article is a presentation of the Brussels copy of the Caprices, in terms of both the history of the source and the scope of Wieniawski’s interference in the original musical material of the edition. This analysis sheds valuable light on Wieniawski’s performance style, rarely considered in the subject literature.

"Klapski pokret" – višeglasno pjevanje kao popularna tradicija (Izvorni znanstveni članak)

Author(s): Joško Ćaleta / Language(s): English Issue: 1/2008

Over the last 30 years, klapa singing, the well-known multipart singing tradition of the coastal and island part of Dalmatia (Southern Croatia), has simply outgrown the local traditional contexts and has become an interesting music phenomenon – a "movement". Over time, the character, music content, and style of the klapa have been dynamically modified, freely adopting new changes; the phenomenon that started as occasional and informal exclusively older male singing transformed into organized, all age, non-gendered singing. Nowadays, this organized form of singing, because of its manner of presentation, is perceived as a style of popular rather than traditional music. The klapa's popularity is a crucial factor for the endurance and development of the klapa multipart singing style. Popularity, in this case, is the recognition of the specific vocal style of a genre within the local or broader community, in which a particular multipart singing style exists. As seems to be common throughout the Mediterranean basin, one of the multipart singing styles became a synonym for the singing of particular region, island or country. Notions such as popularity, modernity, and movement, as well as the klapa movement, klapa community, klapa world, klapa population, klapa scene – terminology that has not had much in common with the purely sonic musical characteristics of multipart singing – helped to explain the present context and status of klapa singing, the traditional multipart singing that ranges from a singing style to the particular musical movement.

"La buona figliuola" Carla Goldoniego a "Czekina albo cnotliwa panienka" Wojciecha Bogusławskiego

Author(s): Edyta Grzywaczewska / Language(s): Polish Issue: 02 (25)/2015

„La buona figliuola” („The Accomplish’d Maid”) is an opera buffa in three acts by Niccolò Piccinni and Carlo Goldoni. The librettist based his text on Samuel Richardson’s novel „Pamela, or Virtue Rewarded”. It was performed for the first time at the Teatro delle Dame, Rome on 6th February 1760 with an all male cast. It was a big success and „La buona figliuola” took Europe by storm. Every European opera house had this opera in its repertoire. The performances were in: Barcelona, Prague, Vien, Dresden, London, Berlin, Mannheim and Paris. This opera was probably performed even in Beijing by Jesuits in 1778. „La buona figliuola” was so popular in Europe that Stanisław August Poniatowski, the King of Poland, wished it for his coronation ceremony. The performance took place at the National Theatre on 7th August 1765, just five years after the world premiere. This opera was also very popular in Warsaw. People loved the story of a simple and good maid Cecchina. Seventeen years later, Wojciech Bogusławski, the director of the National Theater, translated and adapted Goldoni’s opera and named it „Czekina albo cnotliwa panienka” („Czekina or a Virtuous Maid”). He performed it in 1782 with big success. First of all, the article describes the historical context of the creation of libretto – the Carlo Goldoni’s biography. Next, it presents the story of maid Cecchina and the phenomenon of the description of the Polish theories of translation from the 18th century, the Polish version of the opera – „Czekina or a Virtuous Maid”, is presented. Finally, two versions of the libretto – the Goldoni’s and the Bogusławski’s, are compared.

"Lamentationes" Wacława z Szamotuł: fragmenty brakujących głosów odnalezione w Gnieźnie

Author(s): Ryszard Wieczorek,Michał Wysocki / Language(s): Polish Issue: 2/2017

As a result of the process of cataloguing the collections preserved in the Archdiocesan Archive of Gniezno, which started in 2013, old prints have been discovered with original bindings containing fragments of earlier prints, which had been discarded and reused as binding waste. The discovered fragments originate from Cracow printing houses and date from the period 1531–55. Of particular value is a printed sheet from the firm of Łazarz Andrysowic containing fragments of both the previously missing partbooks of 'Lamentationes Hieremiae Prophetae' by Wacław of Szamotuły, published in 1553. Given that the discovered fragments are part of a composition by one of the most eminent Polish composers of the sixteenth century, and that the said composition was the largest work published in print in Poland during this period and also represented probably the greatest Polish publishing initiative prior to the edition of Mikołaj Gomółka’s Melodies for the Polish Psalter (1580), this discovery must be regarded as being of great significance.

"Libuse" by B. Smetana in terms of culture the national glorification

Author(s): Anzhelika Anatoliyivna Tatarnikova / Language(s): Ukrainian Issue: 1/2020

The purpose of the article is to highlight the positions of the current side of the Opera concept of "Libushe". It is relevant for the modern creative life of Smetana, where the signs of national glorification are concentrated, indicative, as a principle of expression, for the postmodern and post-postmodern cultural space. The methodology of the research is based on art criticism focusing on the culture of glorification. It comes from the cult instructions in the concept of P. Florensky, developments in the culture of dithyramb in O. Losev, ideas about the religious and cult principles of positive ritual in E. Durkheim. Art criticism in the development of cult installations of B. Asafiev's research considers the principles of consideration of the composition "Libushe" by B. Smetana and defines analytical, historical-descriptive, comparative-stylistic, interdisciplinary-comparative methods. The scientific novelty of the work is as follows: for the first time in the domestic cultural studies and artistic developments focused attention on the cultural phenomenon of worship as part ofthe expression of the national idea of the composition of the musical-a stage performance called Opera. Conclusions. Generalization of the spiritual-semantic and dramaturgical specifics of "Libushe" Would. B. Smetana allows us to put forward the concept of quasi-liturgical content of the named work. This poetics reveals creative and ideological parallels to the stage performance of "Ruslan and Lyudmila" by M. Glinka as the "Slavic Liturgy". According to B. Asaf'ev, both before Wagner's musical and theatrical heritage and its mythopoetic attitudes and before the Pasion of J. S. Bach-piest, he realized that Lutheranism was in contact with the Byzantine liturgical practice.

"Missa" de Vladimir Ciolac. Aspecte componistice

Author(s): Elena Nagachevsky / Language(s): Romanian Issue: 2/2016

Vladimir Chiolak’s „Mass” is a work unique to the compositional output in the Republic of Moldova. It synthesizes into a tight polystylistic and neo-romantic alloy various compositional techniques from different eras, such as Postmodernism, Classical, Baroque, and Medieval. All of the constituent elements in the „Mass” derive from one another. Thus, the structure of intonations directly correlates with intervallic and polyphonic organization; rhythmic organization – with dynamics and form; modal organization – with tonal and harmonic structure. Together these compositional principles create a balance of the choral, solo, and orchestral parts. The components of the polymorphic texture are subject to the third research article. The results of the compositional, performing, and research work, that ensure the viability of this composition in audio and audio-visual perception of the recipients, are summed up in the corresponding sections of this article

"Nie nadawajcie bezzębnych staruszek". Kilka wspomnień z pracy w Redakcji Muzyki Ludowej i Chóralnej Polskiego Radia

Author(s): Maria Baliszewska / Language(s): Polish Issue: 1/2021

MARIA BALISZEWSKA ethnomusicologist and journalist. She has been working for the Polish Radio since 1973. The author of many programmes on folk themes and recordings of Polish musical folklore, as well as studio and festival recordings. The founder and manager of the Radio Folk Culture Center (1994–2007), coordinator of the European Radio Union for traditional and folk music (1998–2009), judge for traditional music festivals and parades (including the National Festival of Folk Bands and Singers in Kazimierz and the International Competition of Folk Bands and Singers in Zakopane). In 1998 she initiated the Folk Festival of Polish Radio Nowa Tradycja. The author of many Muzyka Źródeł albums, the series published by Polish Radio, as well as other albums, incl. Pod Tatrami na dolinie (Polskie Radio, Accord, PolyGram 1996), Pologne. Instruments Populaires (Radio France 1996), Welcome Europe 2004. New European Soundscapes (EBU, Polskie Radio 2004). A member of the Polish Composers Union and the Scientific Council of the Folk Artists Association. She was honored, among others, with the Golden Microphone (1993), the medal of Zygmunt Gloger (2003), the Minister of Culture and National Heritage Award (2007) and the Oskar Kolberg Award (2014).

"Novi talas" u percepciji novih generacija

Author(s): Marija Ristivojević / Language(s): Serbian Issue: 4/2013

The paper represents an analysis of contemporary ideas about new wave music formed by generations born after 1980, in the "post-new wave" period. The ever more evident tendency to revitalize and re-actualize the new wave phenomenon at the local level, as well as the identities which stem from it, is indicative not only of the importance of this musical concept but its interdependence with the local community. The echoes of different contemporary narratives about this phenomenon influence the forming of a set of notions about, on the one hand, new wave itself, and on the other – notions about Belgrade of that time period, among generations which form their opinions and perceptions of it indirectly, and after the fact. The aim of the paper is to an- swer the question of the extent to which young people today are familiar with new wave and what the concept represents for them.

"Per se" Sound

Author(s): Liliana Mercioiu Popa / Language(s): English Issue: 1/2018

Many correlations have appeared between music and visual art over the course of time, and not few were those who mastered and practiced both means of expression and founded their creative experience on the said correlations. This study focuses on the visual artists who used such experiences in their work, and also on some cultural contexts in which visual art borrowed some of the cognitive characteristics of music and brought them into its specific field of interest, i.e. the visual language, thus leading to hybrid forms of art, which in time have become new forms of contemporary art, where sound serves as the main operating element.

"PERPETUUM MOBILE" BY V. MUZHCHYL AS AN EXAMPLE OF CONCEPTUALISM IN MUSIC AT THE BEGINNING OF XXI CENTURY

Author(s): Dmitro Malyi / Language(s): English Issue: 4/2017

The purpose of the article is to reveal the principles of conceptual thinking as a phenomenon of artistic consciousness. The methodology of the research consists in using the interpretative semantic analysis of choral performance "Perpetuum mobile" by V. Muzhchyl, with the help of which it is possible to reveal subtext in the piece concealed by the composer and to interpret it creatively. The scientific novelty of the research lies in the substantiating of non-traditional interpretation of "Perpetuum mobile"as quasi-genre. Conclusions. The author formulated the main principals of conceptualism in V. Muzhchil’s creativity, based on the experience of communication the author of the article with his teacher. The trinity of musical semantics was revealed (in ternary form of the piece, three-time occurred thematism of introduction, in the middle section – visualization, vocalization of a symbol and its verbalization).

"Po co tyle hałasu". Polski komiks muzyczny

Author(s): Jadwiga Lelek,Konrad Sierzputowski / Language(s): Polish Issue: 04/2019

This article is the result of research on the condition of Polish musical comics. The basis of considerations are the comics of Marcin Podolec: Smoke and Fugazi Music Club, two works of Krzysztof Owedyk: Blix and Żorżet and You will be frying in hell, as well as the worst comic of the year by Maciej Pałka and Only calmly Bartek Glazy. The text aims to show the relationships between Polish popular music and comics. Draws attention to the ways of presenting musical subcultures and individual portraits in comic culture. It also introduces the role of memory and nostalgia in the construction of illustrated musical stories in which the real order mixes with the imaginary. The article points to the common points of these works and takes into account the most important shortcomings of all six comics. It highlights the marginalization of the role of women, both in the creative process and the discussed cultural texts. Using the theories of Jacques Ranciere and Robin, James raises the question of male dominance in the Polish music comic, while shedding light on the Polish music scene.

"Podróż zimowa" Franza Schuberta w reinterpretacji Barbary Kingi Majewskiej: estetyka i retoryka

Author(s): Ryszard Daniel Golianek / Language(s): Polish Issue: 4/2020

The CD Kinga Majewska and Emilia Sitarz Play Franz Schubert ‘Winterreise’, released in 2015 by Bôłt Records, is one of the most interesting examples of the reinterpretation of outstanding historical musical works by young experimental performers. Singer Barbara Kinga Majewska (b. 1982) and pianist Emilia Sitarz (b. 1978) presented an original version of Schubert’s song cycle, with elements typical of postmodernist aesthetics: a combination of various traditions and styles, numerous forms of decomposition and an idiosyncratic treatment of the original.This article analyses and interprets the contents of the CD, as well as assessing the results of the artists’ work in a wider aesthetic and rhetorical context. The artistic means they applied and, in particular, their distinctive narrative-rhetorical concept of Schubert’s cycle show that they intended to create an original work, which can be viewed not merely as an arrangement or a cover, but as a congenial translation of the Romantic song-cycle type of expression into the realm of contemporary sensibilities and aesthetics.

"Polsko-rosyjskie spotkania w przestrzeni kultury muzycznej: XIX wiek i początek XX stulecia. Studia, szkice i materiały", red. Renata Suchowiejko, Kraków 2022

Author(s): Barbara Literska / Language(s): Polish Issue: 3/2022

Book Review of: 'Polsko-rosyjskie spotkania w przestrzeni kultury muzycznej: XIX wiek i początek XX stulecia. Studia, szkice i materiały', ed. Renata Suchowiejko, Kraków 2022

"Porta Macedonia" – a Fierce and Melancholic Album

Author(s): Tina Ivanova / Language(s): English Issue: 65/2009

On "Porta Macedonia" album by Goran Trajkovski and Alexander Hoffman – Veljanov, "Premium Records", 2008

"Project Žlust" Concert with the Macedonian Philharmonic Orchestra

Author(s): Dojrana Prokopieva / Language(s): English Issue: 59/2008

"PSYCHANALYSE ET SORCELLERIE – LA PSYCHOLOGISATION DE L’ANTHROPOLOGIQUE"

Author(s): Noemina Câmpean / Language(s): French Issue: 1/2022

Book Review : Ioan Pop-Curșeu, Études comparatives sur la sorcellerie. Anthropologie, cinéma, littérature, arts visuels (Școala Ardeleană Publishing House, Cluj-Napoca, 2021)

"Romanian Religious Chant Today. Tradition, Loans or Imitations”

Author(s): Alexandrel Barnea / Language(s): English Issue: 2/2011

Religious chant in nowadays Romania is of byzantine tradition. Along the years there have been many disputes regarding the way we managed to keep the original manner of chanting undamaged by different influences. It is our conclusion today that most of those who stated their attempt to bring back the original manner of interpretation, in fact grow apart from it. We rarely hear someone performing a truthful, clear and sincere byzantine chant. In fact, most of those who try to revive the byzantine manner of interpretation have done nothing else but to adopt a Greek method of chanting which is not traditional for the Romanian Orthodox Church. This, we consider to be a mistake, which threatens to destroy the beauty of the traditional chants.

"Serc starania stracone" - szekspirowskie libretto Wystana Hugh Audena i Chestera Kallmana

Author(s): Tomasz Kowalski / Language(s): Polish Issue: 13-14/2009

The article deals with the most significant changes the authors introduced in order to adapt the Shakespearean play to operatic requirements, e.g. reducing the number of characters, ascribing new parts to some of the characters remaining or balancing female and male voices on stage. An analysis is made here also of the flow of time inscribed in the libretto and the significance of the scene when the messenger comes to the Princess, saying that the King of France is dead. Their symbolism is interpreted with the additional contexts that were provided by W.H. Auden’s lecture on Love’s Labour’s Lost, which are: court love, court manners, euphuism and the Platonic philosophy and its continuations. This philosophical context allowed both poets to read the play as a process of gaining knowledge of life and feelings which the King of Navarre and his courtiers had declared to study in their academy, but never succeeded.