Muzika – način da svet razumemo i na njega utičemo
Marija Ristivojević, Muzika sveta kao novi oblik tradicije. Beograd: Srpski genealoški centar, 2013.
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Marija Ristivojević, Muzika sveta kao novi oblik tradicije. Beograd: Srpski genealoški centar, 2013.
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The UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage (2003) leaves the protection and identity determination of intangible cultural heritage to the nation-states. On the other hand, world music audience is interested primarily in identity self-determination of the performers. Because of this, world music phenomenon enables safeguarding and international promotion of Serbian traditional singing independently of cultural policies at the national and international level.
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The anthropological study of music focuses on meanings which music hah and produces in a specific sociocultural context. Preferences toward a certain genre of music are tightly linked to the preference of certain cultural values, so music represents an important factor of identification in everyday life. In Serbian ethnology and anthropology music was long viewed as part of Serbian traditional culture, so the interests of researchers focused on “traditional music”. In the 1980’s first papers analyzing music which went outside the traditional frameworks appeared (new folk music – turbofolk), and this tendency has increased in the last ten years.
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The idea of perfect German art began to occur in the 19th century, with the rise of nationalistic tendencies throughout Europe. In Germany, this idea was closely linked with the idea of the new Germany, led by an Artist-Führer. Bearing in mind the significance of art in Third Reich, as well as the practice of controlling all forms of art through its totalitarian regime, and the fact that every aspect of the culture had to be in the service of national regeneration, this paper deals with overview and understanding of the concepts of “degenerate” art and music, together with examining the important characteristics of Stefan Wolpe’s life and art immediately before his migration from Nazi Germany. Besides the fact that he was of Jewish origin, Wolpe was actively advocating the politics of the leftists and communists, he was working in the politically engaged groups, and followed the trace of unwelcome and rejected Second Viennese School.
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Neoclassicism in music is a very complex stylistic phenomenon. Scientific and artistic discussions do not cease to rage around it until this day. The vast amount of research has centered around neoclassical composers’ oeuvre bypassing performing and pedagogical activities which are equally important and closely related to art of composition.The most important prerequisite for the XX century Neoclassicism in music was the emergence of the concept of "classical music" with its canon based on the works of the "classical" period, which was associated with the names of Haydn, Mozart and Beethoven. In the era of romanticism a phenomenon of simultaneous coexistence of different historical styles appeared in the musical practice. Absolutization of the idea of individual personal expression accelerated the process of permanent renewal of means of expression and put greater distance between the past and the modern (romantic) in music. In the constant search for the new many composers of late Romanticism drew inspiration from the idealized "classical", thus creating a situation of simultaneous deliberate coexistence of different historical stylistic components within the same piece of music.In concert halls such a situation manifested itself in the neighborhood of works by contemporary authors and works of the old masters within one program. The increasingly visible presence in various fields of musical activity of idealized "classical" competing in its impact on the audience with an individualized "modern" led to the splitting of the XIXth century music performance in two trends – more individualized and more idealized. The most important factor which helped such stylistic disengagement was a gradual separation of the two (until the second half of the XIXth century inextricably welded) incarnations of a professional musician – composer and performer. Artists were focused not only on matters of expression, virtuosity, transcendence of performance but also on the problems of the correct rendition of the author’s text, stylistic congruity, interpretive freedom, expanding the repertoire with hitherto little-known works of the past.
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(Valeria Shulgina is talking with Elena Markova, Ph.D, Doctor of Science in Music Art, Professor, Head of the Department of Theoretical and Applied Cultural Studies Odessa National A. V. Nezhdanova Academy of Music)
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The aim of the work is tracing of stylistic characteristics of early romanticism and Biedermeier in Luigi Boccherini’s Quintets, including piano ones. The methodology is based on the intonational approach of Boris Asafiev’s school in Ukraine with special emphasis on stylistic comparative, cultural, and hermeneutic methods in the development of positions that were developed by A. Losev, V. Medushevsky, and Y. Lotman. Scientific novelty is determined by the fact that for the first time in the Ukraine Luigi Boccherini’s Quintets became the subject of scientific analysis in line with the numerical symbolism, as well as by the original theoretical idea of crossing of early romantisism and Biedermeier stylistic indicators in them. Conclusions. Luigi Boccherini’s Quintets have become a substantive symbol of the Italo-French line of chamber instrumentalism, which defined before-Biedermeier, Biedermeier as such and early romanticism parallel making the way to opening the Viennese classics. Typology of the quintet amounted to an outright opposition to Viennese quarterness – including in the form of fundamental chamber music sounding. The absolute plenitude of Boccherini’s quintets set up the genre model of the before-Biedermeier and Biedermeier quintet.
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The purpose of the study. Within the theory of performance, methodologically studied in scientific works of E. Nazaikinskyi, V. Medushevskyi, the theory of chamber ensemble performing claims independent quality and appropriate conceptual and terminological framework. At present, there is a need for a common scientific and methodological foundation of theory and history of instrumental chamber ensemble performance, which should be based on understanding the processes of generic and species of chamber-ensemble genres and instrumental ensemble performance. The study of the problems of chamber-ensemble performance is inextricably related to questions of art-space in the ensem-ble subspecies, which requires expanding of conceptual and terminology according to a systematic approach to the study of the historical foundations and theoretical bases of chamber ensemble performance that transforms into a sepa-rate kind of music. Methodology of study consists in applying a systematic method that combines historical and theo-retical approaches to the study of musicology processes of instrumental chamber ensemble genres and the art of cham-ber ensemble performance; hermeneutic method is used for the interpretation of concepts relating to chamber instrumental ensemble work. Scientific novelty. Expanding artistic interpretation of time-space, we propose an isolation of concept of instrumental ensemble performing time-space that provides different quantitative/qualitative indicators of ensemble structure, various types of communicating interactions, various acoustic and spatial conditions and the introduction of the concept of dynamotop as the process of harmonizing-balancing of simultaneous sound in different aesthetic, social-cultural and acoustic-spatial performance conditions. The proposed terminology of micro-structural, dynamic and articulation instrumental ensemble indicators extends the methodological basis of teaching and performing instrumental ensemble practice. Conclusions. Instrumental and ensemble performance is a system of combining per-sonal artistic and performing intentions of each of the instrumentalists in an integrated common interpretation with the coordination of all the components of ensemble complex, which includes both direct psychological and communicative interaction of the participants – performers, as well as timbre, acoustic, dynamic properties of all instruments involved in the ensemble composition. This system includes mental sets at various levels of action: for practical playing activities, using professional skills and technology of instrumental performance, which involves long-term mental sets for living of artistic-sound image in real playing time, which involves short-term and simultaneous setting.
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The purpose of the article is to analyze the beginnings of creative work of Ukrainian conductors Lev Turkevych and Yevhen-Orest Sadovskyi and their choir guidance in Ukraine, in "displaced people camps" of the Western Europe and in emigration to North America. Their contribution to international recognition of the world known male choir "Vatra" and more detailed study of their conducting activities overseas need to be outlined. Research methodology is based on the use of such techniques as system analysis and comparative studies. An attempt to reveal conditions of creative personality formation and to study characteristic features of their artistic achievements has been made. We have tried to compare methods of their work with choirs and individual performing styles on different stages of creativity, both individually and in tight cooperation that led to the success of the Ukrainian choral art in diaspora. The article also deals with psychological differences of the artists, which root from their genealogy, vital circumstances, educational levels, mastering specialty, concomitant ways of artistic self-expression etc. Scientific innovation of the article lies in the fact that comparative approach to the foreign Ukrainian choral art activists was used for the first time with the purpose to identify historical, socio-cultural and psychological fundaments of their work for the benefit of their native culture. Conclusions. Lev Turkevych and Yevhen-Orest Sadovskyi descended from priests’ families that had distinguished artistic inclinations. However, L. Turkevych gained substantial professional education and Ye.-O. Sadowskyi was more surrounded by theatrical environment, which accordingly had an impact on his conducting skills. Both artists, though L. Turkevych to greater extent, contributed to the successful performances of the choir "Vatra" in the Western Europe in 1946 –1949 years. They conducted church and secular choirs, performed theatre and stage productions, worked with young people, were involved in publishing. L. Turkevych also gained fame as a symphonic conductor. Thus, the two representatives of the Ukrainian choral art in diaspora contributed to its development, function and successful promotion in the world.
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Purpose of Article. The article refers to the implementation of the authentic nature in contemporary choral music. In-stead of citing, the method of allusions allows us to reproduce the ancient tradition of Orthodox church singing. Methodology. The methodology of the research consists of corporate, comparative and typological methods. This methodological approach allows to analyse the modern choral works of Valentina Martynyuk, a Dnepr composer and to understand new trends in Ukrainian church music at the modern stage of musical progress. The author’s reference to the problem of sacredness encourages us to research the relations between authorial and canonical texts, their interaction and their inclination to get closer to authentic samples of the Orthodox church singing. Scientific innovation of work consists of expansion of ideas about application on the modern stage of principles of stylize and allusion in their combination, synthesis of canonical text and elements of national flavour. Conclusions. The Valentina’s Martynyuk choral spiritual works are naturally written into the general panorama of modern native choral culture. They answer the necessities of time, demand on enriching and updating of spiritual repertoire of both church everyday life and concert and performing level. Such double direction stipulates the modern authors to create two categories of spiritual works, and to combine the church and social concert traditions in the compositions. They are stimulated by the elements of programmaticness, the receptions of allusion of the Orthodox singing. The combination of the sacral and national elements in choral miniature creates the new spiritual folklore type of music.
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Purpose of Article. The purposes of the research are to trace the archival materials and to introduce a comprehen-sive activity of Nikolai Shypovych, a Ukrainian musical critic and composer of the late XIX – early XX centuries. Methodology. The methodology of work is using of empirical, general logic research methods to analyse the full activity of M. Shypovych in the mentioned period. Scientific novelty. Scientific novelty of the work is defined by the embedding of archives materials of Nicholai Shypovych, the famous Ukrainian musical critic and composer of the late XIX – early XX century (including articles and musical works) into art history inversion. The materials are source for studying of the composer's multifaceted activities in the field of musical art. Conclusions. The works of different genres are represented in composition’ creativity of N. Shypovych (symphonic, spiritual, chamber-vocal, piano), confirming his genetic links with the European process of development of musical art. The musical-critical activity of N. Shypovych represented of memories about of performers, conductors, composers of the late XIX – early XX century, which reveal the formation of peculiarities of Ukrainian national culture.
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The aim of this article is to show Edinburgh as a city identified by its festivals. Two of them—Edinburgh International Festival and Edinburgh Festival Fringe—influenced cultural landscape of Scottish capital the most, and therefore they were analyzed extensively in this study. I intend to show how the concepts of “space” and “place” surface in the reception of the Edinburgh festivals. I’m presenting both—the residents’ and visitors’—perspectives. I’m trying to better understand how the city, art, and people collide, cooperate and—in the end—coexist.
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U svojim memoarima kineski mudrac Seu- -Ma-Tsen piše kako na bit glazbe, između ostalog, spada i svojstvo da ujedinjuje. Harmonija glazbenih oblika to najbolje očituje. Pojam “harmonija” koristimo u više znanstvenih disciplina, pa i u svakodnevnom životu, ali u glazbi ona pokazuje onaj put u kojem jedan izraz, možda težak i nejasan, kompliciran i neshvatljiv, svoju svrhu nalazi u jedinstvu, cjelini i jasnoći. Ona je nešto lijepo, ali svojim jedinstvom približava se i onom filozofskom govoru o bitku kojeg uz svojstva dobroga i istinitoga označavaju i svojstva jednog i lijepog.
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This study examines the pianism of Beethoven and his musical posture. It analyses the piano in terms of technical and interpretational aspects from Beethoven’s perspective and tries to explain how the expressionist style has affected Beethoven’s performance, by comparing it with the other pianists of that period. This study’s main subject is the reflections of serious and intellectual attitude of the School of Central Europe- formed largely with Beethoven- which puts not the technique but the music at first place on musical history.
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Trajanje epske narodne usmene kreacije i pjevanja uz gusle kod Bošnjaka Sandžaka egzistira u kontinuitetu. Potvrđena je od Ćor Husa Husovića i Avda Međedovića do današnjeg stvaraoca epskih pjesama, pjevača i guslara Džemaila Arnautovića. U knjizi Haruna Crnovršanina ''Kako se kalio Sandžak'' evidentirano je 173 pjevača uz gusle koji su živjeli u XX vijeku. Evidentirano je i 12 žena koje su znale lijepo kazivati epske i lirske pjesme, kao i sve oblike retoričnih struktura. Bošnjaci Sandžaka su narod sa bogatom epskom tradicijom.
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Review of: Owen Wright, Music Theory in Mamluk Cairo, The Ġāyat al-Maṭlūb fῑ ‘Ilm al-Adwār wa-’l-Ḍurūb by Ibn Kurr, SOAS Musicology Series, Farnham and Burlington: Ashgate, 2014, ix+361 shf. ISBN 978-1-4094-6881-3
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In this study, we investigated polyphonic elements in the Blacksea Region’s folk music and determinated three types such as "drone", "parallelism" and using these two together with regard to the evaluation of musical examples related to that region.
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Po prvi puta u povijesti Franjevačke teologije u Sarajevu osnovan je glazbeni sastav kojeg čine vanjski studenti teologije zajedno s bogoslovima. Uz već postojeći i nadaleko poznati, duhovni, vokalno instrumentalni sastav “Jukić”, u istom studiju vježba odnedavno i “Fabrika teologa”, sastav koji je na ovogodišnjem “Student festu” ostvario značajan uspjeh – plasman u finale među tri najbolja studentska benda u Bosni i Hercegovini.
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Considering that popular music is a dominant form in the music culture of most people, there is a need of research today in order to determine the opinion of examinees as to how music influences the quality of life and what importance they attach to music in their life. Some 99 examinees of various profiles and ages participated in the research. The aim of the research was to find out how much the media of today influence the taste of individuals and whether they are aware of that influence. The results of the research will show what the perception of people is regarding popular music, and how good they are at identifying its different genres. The first part of this paper familiarizes us with (ethno) musicology and explains the term the world music. After Tin Pan Alley phase, there follow the theories related to the popular music of theoreticians Adorno, Middleton and Frith. The chapter about jazz investigates the question whether this genre belongs to popular or artistic music. This is followed by a short review of different phases of rock & roll, electronic music, popular music in Croatia and the question of commercialization of traditional music. The last chapter is reserved for an online research that has given us an sight into the way the individuals relate to popular music at present time.
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Taking the field of popular music as a source of anthropological reflections on the construction of particular cultural identities, the article explores ideological reasons of ambivalent attitudes within Bulgaria towards the Balkan touch in music, traditionally conceptualized by local cultural elites as the unwanted other in the national discourse. It is argued that a) stereotyped negative images of Balkan traces in recently emerged musical practices, criticized by local elites and eagerly celebrated by “ordinary people”, may be seen as a consequent product of the Western European essentialism; b) late modernity questions essentialisms in general and new paradigms emerge within the Western European discourse itself - ones which promote the policy of complementary alternatives, postethnic perspectives, pluralistic views and non-centric ideas capable to take free-of-biases approaches in understanding and appreciating Western Others’ cultural values.
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