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Albanian folk songs as a value of our national culture, aroused the interest of Albanian researchers to be collected and studied in all scientific aspects. An important contribution in this regard has given also the researcher, classifier, publisher and the collector of Albanian folklore Prof. Demush Shala. In this paper there were presented some of the thoughts that brought Shala regarding to lyrical folk songs, their presence, classification and the treatment of some of them as the best of this genre.
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The results of qualitative research, the aim of which was to reveal the current view on the guitar and its changes , are presented in this paper. Most of the research participants do not think that the guitar is underrated or thought of as a lesser instrument than the other ones. Classical guitar , that is usually associated with academic music, is not very well known and is usually associated with vocal , rock and hard music genres. The image of the guitar is cause by contemporary popular music culture and the guitar's role in it as well as the availability of the instrument and a wide variety of amateur teachers.The other factors include the opinion of contemporary guitar representatives and the press that state that almost anyone can learn to play the guitar also poor career options, the form and the quality of classical guitar concerts and its public representations.
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Comprehensive benefits of active music performing by the young people have multiple dimensions. Making music together creates a unique opportunity to develop own interests, release creative attitudes, socialize and sensitize while positively affect selt-esteem as well as creates a source of personal satisfaction. Article applies to artiscic and educational aspects of musical activities of the youth in adolescence period. The author made an attempt to analyze these issues on the example of the projects jointly imple-mented by the youth string orchestra "Camerata Scholarum" from Kielce and youth symphony orchestra "il mosaico" from Wattwil (Switzerland) between 1994 and 2003.
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The purpose of this paper is to analyze the complex and heterogeneous soundscapes of Stanisław Lem’s literary works, filled with many sounds and many voices: “the absolute silence of the cosmos”, “the overwhelming hum of the future”, “the unsettling knocking on a space station”, “the furtive whisper of a robot”. These are the sounds of Lem’s worlds, in which he conjures up his futurological speculations, shaping them into sci-fi stories about humans, who - among other things - listen. Lem’s space fantasies have inspired film directors and playwrights (particularly radio dramas), posing a challenge for composers and sound producers facing the problem of translating the shape of things to come, emerging from the futurological stories written by the author who gave us Solaris, into the language of sound and music. A peculiar sonic distinctiveness of electronic sonority rises from this genre-oriented and continuous creative practice in film and radio science-fiction with all its earmarks: spaceships, robots, advanced technologies, laboratories, and extraterrestrial worlds – all sounding “electronic,” and thus exotic and distinct to those enjoying this type of fiction in the 1950s, 60s and 70s.
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Reverberation is a chief phenomenon determining the quality of our acoustic sensations. Concert halls designers have the goal of enabling musicians to employ this effect. Nevertheless, even such dedicated spaces include acoustic phenomena distorting the fi nal shape of sound. Various types of sound wave refl ection depend on concert hall size, the hardness and texture of building materials, the arrangement of furnishings, and audience presence: factors de- termining the quality of sound. Such interaction increases in enclosed, atypi- cally constructed spaces that generate effects available for use in musical per- formance, e.g. the recording of jazz trumpeter Tomasz Stańko’s Music from Taj Mahal and Karla Cavas . Intensive reverberation allows new sound qua- lities to emerge in the acoustic space, which suggests that infl uenced by the discussed acoustic phenomena, sound may become to an extent independent.
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Jirzik Trzanowski, editor, translator and co-author of the Czech hymnal Cithara sanctorum, the most important work of this type published in the Slavonic languages, was born in Evangelical Cieszyn in 1592.
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He brain is the most convoluted object studied. Musical research results showed that classical music could improve spatial-temporal understanding. Music written by great composers is used in order to cure disorders and develop the brain. This experiment presents the very well-known Sonata KV 331, in A Major, including the third part – Alla Turca in a minor, as a background for a thirty minutes logical test. There are two groups, each one containing 5 people. During this test, the first group will listen to the piano sonata while the second one will solve it in complete silence. As many studies showed, music supports the brain to operate better. Music enterprise involves every part of the brain and improves it temporarily. Of course, if such a music therapy is perpetual, it can get to permanent advancement. This experiment involve a temporarily situation, in which classical music helps the individual to concentrate better and to focus on the final goal. It is surprising what a song can do, but the group that solved the test in complete silence was far more slowly that the one that was accompanied by music. Experiments like this one and the therapy with music play a paramount role in increasing the brain mobility but also in helping movement overhaul. Music can bring down blood pressure and this can lead to reliving the muscle tension. In what concerns listening to classical music and solve a logical test, the results were significantly better for the group that listened to Mozart, the written exam being finished earlier and exam’s grades being higher.
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This article is dedicated to the study of one of most successful works of Dinu Lipatti, Sonatina for the left hand. In this work, the composer experiments how to obtain a varied and colourful discourse with few means, „in an uncomplicated and clearly organized framework” that „will always be accessible to the public”, as the composer himself says. Sensitivity and diligence transpire in the writing of this brilliant piece of „pure”Romanian folk inspiration. There are three ingeniously constructed parts, with main and secondary themes that mingle in upward and downward musical lines. In our opinion, Sonatina for the left hand belongs to the category of great value works „composed by a number of eminent composers-pianists”. Lipatti demonstrates in this work a noble sensitivity accompanied by a profound knowledge of the compositional craft and expressive resources of the piano.
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Ever since ancient times it has been thought that the tonalities and keys are closely connected to different feelings and colours, being a very important manner of expression each composer has used. Thus, from among the 19 sonatas for piano and violin by W. A. Mozart, 2 are written in the B flat major key, an intense, strong, dynamic, and passionate tonality. Mozart composed 3 sonatas for piano and violin in the B flat major key – KV 378, KV454 and KV 570. From among these 3 only the first two are thought to be more important in the composer’s creation, as they are frequently part of the repertoire of any great violinist.
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Seeing that until recently the research devoted to various musical compositions focused mainly on their formal-structural features, lately, compared interpretations have become both a necessity and a goal for instrument players, singers, and conductors alike. In this paper I chose to consider contrastively two exceptional interpretations of Sergei Rachmaninoff’s Symphonic Dances for Two Pianos Op. 45, i.e. the performances by the pianist duos made up by, on the one hand, Vladimir Ashkenazy and André Previn, and, on the other, Martha Argerich and Alexandre Rabinovich.
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This paper contains a series of musical-rhetorical figures and the affects, particularly intended by the composer. The Gospel text included in the recitative is considered fully fulfilled by Bach’s own language elements. Preliminary work in designing of this study included a diachronic analysis of the score. The later stage plays some specific elements of music, organized on a series of musical figures, all are subordinate to a single purpose – kerygmatic message send by Jesus Christ. This refers to the Eucharist setting up, a reality with some profound significances for the Jesus’s followers.
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Critiques of the World Music industry of the late twentieth and early twenty-first centuries have tended to focus on the institutions invested in the reproduction and dissemination of popular and traditional non-Western musics to new audiences, while neglecting the experiences and motives of individual actors participating in the process. This article draws on my own experience as a participant in the recording of a CD by North-Eastern Bosnian original music ensemble Kalesijski Zvuci in 1991, and its release by the London-based company Globe style Records, to consider the role of contingency, technology and individual interpretation in shaping the procedures by which a local music is selected, recorded and presented to a global public. It further looks at the after life of this and other recordings by the group circulating via traditional media and the internet to examine how its listeners at home and abroad variously use it to acquire social or cultural capital, negotiate their identities as global subjectivities, or maintain effective connections with family and homeland.
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Johann Wolfgang von Goethe (1749–1832) is considered as one of themost influential cultural figures of his age. His literary work attractedcomposers throughout the 19th century and beyond. Goethe himselfappreciated musical settings of his literary works, as, in his opinion, lyrical poetry without music did not seem complete.One of the numerous composers who tackled Goethe’s words wasZdeněk Fibich (1850–1900), a Bohemian composer whose name isstrongly associated with the genres of opera and melodrama. However, only little is known about his primary compositional attempts in thearea of songs. Inspired by settings of Schubert and Schumann the composer was addressed by German poets such as Rückert, Heine,Eichendorff and Goethe. Moreover, song settings to both Germanand Czech literary models were emerging throughout Fibich’s life. Similarly to Schubert, Fibich’s first Lieder are dated back to his teenhood. Gefunden, Fibich’s first musical encounter with Goethe, waswritten as early as 1865. In my paper, I have examined nine settings to Wilhelm Meister Lehrjahren, which originated between 16 and 21 April1871. Numerous reasons led me to examine these particular songs.Firstly, Fibich’s Goethe settings have been neglected by musicologists as well as performers. None of eleven vocal pieces have been publishedor recorded to date. Secondly, there is need for a comparative study of these songs with other settings to Goethe. My research addressesthe lacuna in the 19th century song studies while asking the following questions: Do the songs have much to offer in comparison to songsby Schubert, Schumann, Wolf and others? What stands behind the omission of the songs? This paper is a starting point in uncoveringthe significance of forgotten Fibich’s Goethe settings.
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This essay examines the concept of oral tradition in the context of higher education jazz programs. The history of jazz education typically told focuses on institutional narratives and leaves out many of the educational modes employed by jazz musicians and composers in the early 20th century. More recent scholarship has shed light on the more complex and nuanced modes of knowledge and learning that occured in the jazz community outside the walls of the academy. Giving a brief overview of the literature on jazz education, this essay highlights scholarship that shows the complex relationship between oral and written traditions, aligning with arguments that challenge a binary opposition between the two. It supports scholars who de-essentialize jazz as purely based on oral tradition and, instead, situate its musical and educational practices in their historical, social, and cultural contexts. Demonstrating that jazz composition and improvisation, as well as the transmission of knowledge, involve multiple modes of musical thinking and lie somewhere between conceptions oral and written tradition, the essay suggests some practical approaches for the inclusion of elements of oral tradition in a higher education system positioned favorably towards the written, and it challenges existing paradigms of power that embody old prejudices and inequalities.
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Od prvobitne ljudske zajednice do danas muzika je uvijek bila povezana sa povijesnim, društvenim, ekonomskim, političkim i kulturnim dešavanjima. Uvijek je zanimanje za muziku bilo dosta aktuelno zbog toga što je veoma rano utvrđena činjenica da muzika djeluje i pozitivno i negativno na psihu čovjeka, na njegove postupke i reakcije. Znameniti kompozitor i učenjak Abu-l-Hasan navodi pojedine muzičke ljestvice koje mogu biti dobre i štetne, zatim, Platon je uvjeren da djelovanje muzike zavisi od načina muziciranja kojeg diktiraju pojedine muzičke ljestvice. Historija muzike pamti da se muzikom uvijek moglo djelovati kako na pojedinca tako i na šire mase. U posljednje tri decenije na području muzike i njenog djelovanja na čovjeka bave se pored ljekara, psihologa, muzikologa, sociologa i lingvisti, fizičari i informatičari.
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The paper is concerned with reception strategies where interdisciplinary competencies are connected to musical expectations towards a text, which – i.a. because of metatextual suggestions – needs a musical explanation – “musical supplement”. The objective of the article is the musical and literary dialog, which belongs to intermediality (definition by W. Wolf), and intertextuality in the large sense as well. Although the penetration of musical and literary correspondence does not threaten “scientist hysteria”, it also does not promise fruitful strategies and satisfactory conclusions. The paper includes terminological proposals which are an attempt at universal, semiotic transposition into musical and literary borderland, which in the practice of interpretation has too eclectic, and mostly one-time solutions.
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In the article the problem of application of project technologies in professional preparation of future music masters.Attention is accented on opening of specific of application of project technologies in the vocally-choral trainingof students.The paper presents the structure of readiness of future music masters is in-process vocally-choral work with application of project technologies which include motivational-emotional, competence-constructive, self-creative, reflexive-correctional components. Further directions of development of research problem are outlined.
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The article deals with the pedagogical aspect of collective home music. The development of the need in musical education of the child from the existence of the tradition of collective home music in the family is analyzed. The issues of organization of collective music in the family, its kinds and features, influence on musical and general creative development of children, acquisition of their musical and creative skills are considered. Skills acquired by children in the process of home-based instrumental music, the skills of creating an accompaniment, as well as the skills of creating a supporting voice in the process of polyphonic singing, attempts to improvise are considered as the initial stage of professional musical training and arrangement of musical works.
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Bartók’s research on Slovak folk music and its relationship with Hungarian folk music is accessible today. The present article aims to provide an overview of Kodály’s work, findings, views and some of questions he posed regarding these topics. The majority of the relevant data can be found in the Kodály Archives in the form of manuscripts, but the processing work is yet to be completed. Along with a few academic statements, several relevant comments are included in Kodály’s handwritten notes, which were subsequently published by Lajos Vargyas.
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