Around the Bloc: Uzbekistan Musicians Face ‘Values’ Tests
Government calls for licensing authority to more closely scrutinize performers’ lyrics, embrace of Uzbek values.
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Government calls for licensing authority to more closely scrutinize performers’ lyrics, embrace of Uzbek values.
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A few short statements on The Constitution for a Choir of Poles, directed by Marta Górnicka (Nowy Theater in Warsaw, 2-3.05.2016). All the poll’s participants stress that the event was both political and educational, owing to the text of the Constitution (unfamiliar to many people), and to the nature of the choir, made up of highly diverse social groups. Leszek Kolankiewicz also points out the performative quality of the event, which is a new aspect in Górnicka’s work, while Joanna Wichowska suggests bringing a reading of the Constitution from the theater to the public space – in the literal sense.
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Under the combined blows of economic decline and official disapproval, alternative lifestyles are withering in the Tajik capital.
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Internet users mainly consider ‘hardcore’ in connection with somethingextreme (eg. sports), which ensures maximum intensity of dangerousexperience or resistance to change. ‘Hardcore’ is also name of the stylein music, which in the 1980s was initiated by the second wave of punkbands. At the same time it applies to the genre of electronic music.Inhomogeneous concept of hardcore is associated with its earlier usethan those that we now know. The word ‘hardcore’ was also used as thename of a base for road construction (eg. small stones, pieces of brickand grits), and/or to describe difficult/extreme physical exercise. However,before the term ended up in the language of culture, it was an economicterm, meaning people who were not only unemployed, but thoseunemployed who have been out of work for a year or longer. The wordappears in the Oxford English Dictionary (1936) in a phrase ‘hard-coreunemployment’ (hard core of unemployed) which can be traced to thedifficult situation of people. In general, the first time it appears in 1930in the texts by Irish parliamentarians. Then, after 1950, it is more oftenused to determine former prisoners, terrorists (pro-segregation), peopleaddicted to hard drugs, and even ... Republicans.Associations with ‘hard’ pornography or hardcore bands of music meantthat deadline was not included in the art and did not function as anaesthetic category. At the same time hardcore, in all its manifestations,the term exists because of its diverse literary layer, as ‘cute’ word, andmany references that make it difficult to ignore.
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The Music School at Putna Monastery in Northern Moldavia flourished during the second half of the 15th and the 16th centuries. Twelve manuscripts of the Anthologia type, comprising melodies for Vespers, Matins and Divine Liturgy, as well as kalophonic mathemata, witness to the music cultural transfer from Byzantium to Romanian lands and the important music activity developed by Evstatie the Precentor (2nd half of 15th century – ca. 1546) and other local musicians in the field of Romanian church music in Greek and Slavonic languages. Two musical examples, namely a part of the Anoixantaria by St. John Koukouzeles and the chant instead of the Trisagion at the feasts of the Lord, Ὅσοι εἰς Χριστὸν ἐβαπτίσθητε, are subject to collations, transnotations, transcriptions and polyprismatic analyses. Τhe first chant is also studied according to its exegesis by Chourmouzios (A.D. 1818), whereas the second chant is presented from a hitherto unknown autograph by Evstatie, from the ms. Moscow, Historical Museum, Barsov 1345. The goal of the paper is to show some traditional research paths for the kalophonic repertory of Putna Monastery, which could lead to a revival of some of its masterpieces.
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Artykuł zawiera omówienie pięciu tzw. mszy polskich pochodzących ze Zbioru pieśni nabożnych katolickich do użytku kościelnego i domowego autorstwa ks. Szczepana Kellera, opublikowanego w Pelplinie w 1871 roku. Mianem mszy polskich zwykło określać się ułożone specjalnie w języku ojczystym pieśni mszalne wykonywane podczas liturgii w miejsce łacińskich śpiewów ordinarium i proprium missae. Pieśni te odgrywały istotną rolę – z jednej strony – w zachowaniu języka swych ojców w czasach, gdy Polski nie było na mapie Europy, z drugiej zaś – stały się doskonałą formą katechizacji i ugruntowania podstawowych prawd wiary katolickiej.
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The formation of the earliest Slavic Corpus Cantilenarum or the corpus of chants is related to the activity of Sts. Cyril and Methodius. Though that there is an immense literature on the two brothers, their musical activity remains among the poorest field of study. According to the extent sources the translated and original works of the two Slavic Apostles are presented in the article. It is concluded that they knew both musical styles of the time – the syllabic and the melismatic. One of the basic musical-hymnographic forms is discussed – the kanon: the two brothers developed this form according to the main tendencies of the time. The compositional technics that were used by both of them, the principles of their translation, as well as the notational systems that it is suggested that they have used, are observed. The question of the relation between the East and the West in the field of music is also discussed in terms of the appearance of the notated literature during the 9th century. Some arguments are given that the two brothers knew well the liturgical practice according to the Studite Typikon and it was this practice that they have followed in their work. It is concluded at the end that the earliest old Slavic Corpus Cantilenarum was formed in the time of Cyril and Methodius. It was formed in the form that allowed this corpus to be transmitted, accepted and developed further as a separate branch in the cultures of the newly baptized Christian countries Bulgaria, Russia, Serbia, Walachia and Moldavia.
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This essay discusses the state of collegiate choral art in the western region of the Ukraine – Volyn, in particular. The meaning of: (1) sociocultural continuum, (2) authorshipsof performing school, (3) the “Ukrainian choir school”, (4) the “chamber choirmodel”, and (5) the Apollonian and Dionysian prototype in conducting, are defined andsubsequently discussed. In preparation for this article, the interviews with the leading conductorswere carried out and the responses from the audience were compiled and analysedby the author in this paper. Additionally, the article investigates the professional activities, methodological traditions and festival participation of two choirs: “Oranta” and Chorus at Lutsk St. Peter and Paul Church.
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In her paper the author deals with the use of music and movement within the school environment, for pupils of basic schools of art, as well as students of onservatories. It deals with the relationship between music and dance, with didactic principles and methodological approaches, and with the theoretical base and practical models. It briefly introduces contemporary dance choreography to the composition Paintings by Salvador Dalí composed by the author of this article, performed by the students of the Dance Conservatory of Prague and Hradec Králové Philharmonic Orchestra.
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The author of this article is a participant in the project of the Academy of Music,Theatre and Arts and describes the results of her work with musical materials in the library of the Symphony Orchestra of the “S. Lunkevitch” National Philharmonic. This Fund containing mainly manuscripts is estimated as a collection of orchestral music of national importance that reflects the compositional process in large-scale genres during more than 70 years. At present the Fund comprises the works by 77 Moldovan authors. There are genres of instrumental music for orchestra and solo instruments with orchestra (symphonic music), genres of vocal-instrumental music for soloists, chorus and orchestra, for voice and orchestra (vocal-symphonic music), chamber-instrumental music, chamber-vocal music (romances, songs, cyclic solo-vocal compositions) as well as genres of stage music (operas, fragments of operas and ballets, music for plays and films), arrangements of folk songs and melodies. The result of processing the musical materials from the collection became a published catalogue, its structure principles are explained in the article.
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The article entitled “Influence of Music in General and of Rhythm in Particular over the Human Psychic” is divided into three chapters. The first chapter focuses on the relation between the human psychic and music, according to the findings of neurologists and cognitive psychology specialists. The various types of rhythm can generate the most diverse feelings and moods; the language people speak influences rhythm, which, in its turn impacts on the various physiological parameters (heart beats, breathing); the second chapter focuses on these aspects. The main idea of the last chapter is that the music we listen to unveils various traits of the human personality. Hence, music does not only influence human thoughts, feelings, and moods, but is also serves to therapeutic purposes.
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This study is dedicated to the great mathematician Solomon Marcus, departed from us on March 17th, 2016. The problem arises here of the interdisciplinary conjugations: the full power of the abstract model (be it mathematical or of a different nature) to reorient the authority of some disciplines. The idea of semantic field, articulated by metabolizing a considered discipline, leads us thereby to the discovery of new regions of conscience (the lyric and the narrative). By interdisciplinarity, the being becomes more aware and responsible, experiences the act of culture as a complete and complex act, refuses the narrowness of the autonomous field of knowledge, and commits to finding models meant to fulfill his/her spiritual, intellectual demands. A position of comprehending the abstract, of the mature act of making culture; a position of apprehending the sense of music (art of sound) beyond the cognitive reflexes within reach, is brought into the equation.
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Musical discourse is conditioned in the first place by its temporal articulation on which depends the composition type to which it may be assigned. For a composer, the temporal challenge is the most important: how to manage the temporal data of the work of art he creates. In this paper, we attempt to render some temporal archetypes that can be spotted in several periods, musical styles, works and composition profiles. We approach works that belong to religious and lay music, instrumental and vocal music, baroque, classical, romantic, and modern music..
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The pages to follow describe the activity of composer Gheorghe Dima in Sibiu and Brasov. After graduating from the sciences high school in Vienna, Gheorghe Dima headed towards the Polytechnic University in Karlsruhe (1866), which he quit in favour of the musical ones. The first period of the musical studies was in Leipzig between 1872 and 1874. After graduation, he settled in Braşov, where he occupied a music professor chair at the Central Romanian Schools and took over the leadership of the Romanian Reunion for Gymnastics and Music. He continued his activity for four years, until 1878, when he returned to Leipzig to complete his musical studies. In 1899, he returned to Braşov and stayed here for a long period of time.He hallmarked the cultural and musical activity of Braşov through an extensive teaching, composing, and performance activity. The analysis of this activity largely relies on the musician's personal documents.
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Moldavia has been one of the most challenged provinces of our nation, as, from an early stage, it has suffered from amputations caused by its temporary rulers and neighbors. Bessarabia’s drama has been the consequence of the Russian-Turkish war (1806
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This study aims at emphasizing the importance of musical dynamics in the performance and study of a choral score. Moreover, it tackles the ways of expression, those means and tools the conductor uses to communicate their intentions to the ensemble, such as pronation – to enhance the musical dynamics, and its reverse, supination – to fade out the sonority. In order to facilitate the assimilation of these tools, the study presents diagrams, photos and of course, practical exercises.
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The poetic expression is the main selection criterion used by composer Felicia Donceanu in her vocal chamber music creations. It is the basic background in constituting composing architecture. The architecture or form of her creations are generated by building the poetic verse, respecting the literary sentence and its artistic meanings, leading in most cases to creating some free patterns which sometimes alternate with classic and romantic ones. “The form of Felicia Donceanu’s work is concise and has an appreciably sense of proportions; this is one side of the Latinity of her work.
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Vincenzo Bellini is considered an innovator and a reformer of the lyrical genre, who knew how to combine the belcanto tradition with the new mode of expressivity. The composer gives a special importance to the poetical text, and his music determines the characters’ position. The Bellinian female characters succeed in standing out by their palette of vocal colours, feelings and emotional states, by the special sensitivity of the musical score destined to them. The conclusions of the conducted study confirm the particularities of the Bellinian belcanto style and, at the same time, we emphasize the composer’s contribution to the development of Romanticism, with a unique, original note. The popularity of Bellini’s works has made them stay, even of our days, in the repertoire of the world theatres, due to the inventiveness of the melodies and to the beauty of the arias.
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