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"Tears" the lied by Felicia Donceanu

"Tears" the lied by Felicia Donceanu

Author(s): Mădălina Gabriela Ionescu / Language(s): English Issue: 1/2019

Considering the complex landscape of Romanian music during the second half of the 20th century, and the first half od the 21st centuri, and the richment of artistic solution offered by various forms of representative Romanian composers of this period of time, this paper proposes to highlight the artistic portrait of composer Felicia Doncenau, reflected in the vocal-chamber paper „Tears”, a complex portrait painted under the influence of collateral talents in the music field. Although it is a miniaturea paper in its essence, this lied called „Tears” is composed with unique lyrics, it is offering us a sound landscape born from moral criteria, by personal methods and means, crossed by syncretic thinking, assembled in an assumed stylistic freedom. The modal-diatonic sonority of the work and the popular lyrical verse are just a few Donceni’s style features found throughout the vocal-chamber creations.

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"The Basic Principle of Contemporary Art is the Synthesis of Science, Art and Technology": Interview with Hanan Hadžajlić

"The Basic Principle of Contemporary Art is the Synthesis of Science, Art and Technology": Interview with Hanan Hadžajlić

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Author(s): Aida Adžović / Language(s): English Issue: 2/2019

Interview with Hanan Hadžajlić by Aida Hadžović

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"The Healer" went into the Light

"The Healer" went into the Light

Author(s): Ljupčo Jolevski / Language(s): English Issue: 21/2001

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"The Message of Protest”: Artistic Expressions of Punk / Hardcore Subculture Ideas

"The Message of Protest”: Artistic Expressions of Punk / Hardcore Subculture Ideas

Author(s): Reda Šatūnienė / Language(s): English Issue: 1/2008

Nekomerciālā panku / hārdkora subkultūra izveidojās no britu pankiem un amerikāņu hārkora 20. gadsimta septiņdesmito un astoņdesmito gadu mijā. Galvenās panku / hārdkora subkultūras iezīmes iemieso pankroka brīvības, kritiskās domas un vienlīdzības principus. Lietuvā daudzas jauniešu subkultūru paražas ienāca pēc valsts neatkarības atjaunošanas 1990. gadā. Raksts pievērš uzmanību nekomerciālās panku / hārdkora subkultūras idejām un vērtībām, kādas ietvertas lietuviešu trafaretu mākslā. Raksta empīriskais materiāls ir savākts, pateicoties atbilstošai metodoloģijai un kvalitatīvam (etnogrāfiskam) lauka pētījumam, kas veikts 2005.-2007. gadā. Raksta autore secina, ka panku / hārdkora subkultūras idejas - protestēšana pret "Sistēmu", ekonomisko un politisko uzkundzēšanos, patērētājfilozofiju, konformismu un starptautiskajām aliansēm - izpaužas trafaretu mākslā. Tā atklāj globālās un vietējās sociālās, politiskās un ekonomiskās aktualitātes.

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"The Sharpest Lives": How Philosophical Ideas and Alternative Music Can Change The World

Author(s): Mihaela Frunză / Language(s): English Issue: 3/2019

In this article I argue that alternative music can change the world when it migrates from the realm of music to that of ideas. I take the example of My Chemical Romance, and I break down the claim that it changed the world of their fans firstly through a “change of language”, by using the structuralist tool of intertextuality, and secondly through a “change of hearts”, by building on the cathartic usage of emotions, both for themselves and their fanbase. I also explore the dangers intricate in the process, and I discuss a sample of accusations they were subjected to from the media.

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"Wandering Stars" by Leonid Zatulovskyi: Traditions and Innovation in the Interpretation of the Symphonic Suite Genre

"Wandering Stars" by Leonid Zatulovskyi: Traditions and Innovation in the Interpretation of the Symphonic Suite Genre

Author(s): Yuliya Kapliyenko-Iliuk / Language(s): English Issue: 4/2018

The purpose of the article is to identify the peculiarities of the genre made on the basis of the analysis of the symphonic suite by L. Zatulovskyi and to characterize the features of the works of the Bukovynian composer. Methodology. The methods of historical-cultural, theoretical and genre-style analysis were used, which allowed to reveal traditional and innovative techniques of interpretation of the genre of the symphonic suite. The scientific novelty consists in understanding the development process of the professional musical art of Bukovyna; in revealing features of creative thinking of the composers of the region; in clarifying the principles of orchestral music of the region; in the analysis of music by L. Zatulovskyi, whose work was not explored in contemporary musicology. Conclusions. The orchestral suite "Wandering Stars" concentrates the signs of creative thinking of L. Zatulovskyi, his principles of work, which combine the properties of various fields of music, thereby denoting the formation of polystylistics, where the classical traditions of European and Ukrainian music, folk music creative work and traits of Bukovynian multinational musical culture are interwoven. L. Zatulovskyi’s suite is an example of the scene-genre programme symphonism, where the background of the colourful national environment reveals the relationship between the heroes of the novel by Sholem Aleichem. On the basis of this work by L. Zatulovskyi one can identify the features of his individual creative style. The composer, relying on genre features of folk music, was able to achieve his own originality of writing. L. Zatulovskyi, intertwining the intonation and rhythmic features of the Ukrainian, Bukovynian and Jewish song and dance traditions, enriched the melody of his works and brought it to a new level of interaction with harmony and a tone-key component.

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"WE ARE CHANTING TO STALIN TOO!" Musical Creation in the People's Republic of Romania on the 70th Anniversary of the Genialissimo Generalissimo (1949)

"WE ARE CHANTING TO STALIN TOO!" Musical Creation in the People's Republic of Romania on the 70th Anniversary of the Genialissimo Generalissimo (1949)

Author(s): Nicolae Gheorghiță / Language(s): English Issue: 38/2019

Stalin turned 70 on December 21, 1949, an occasion on which all "democratic" peoples of the world were celebrating the embodiment of perfection, the "greatest Genius of all times and of all peoples". A genuine "collective psychosis" turned the Generalissimo into the central subject of "Soviet arts", music playing a major role in this strategy to promote his image as a "liberator" and "saviour" of nations. Just like in other Communist States, in the Romania of the times, the scope of events dedicated to Stalin’s 70th anniversary was unprecedented: books, albums, films, conferences, exhibitions, festivals, proletarian competitions, festive gatherings, etc. marked in detail and overemphasised the life and activity of the "Great Man". This study investigates the musical events organised on this festive occasion in the People’s Republic of Romania, as well as the more than 100 Romanian choral, instrumental or vocal-instrumental creations dedicated to Stalin. In parallel, discussions will approach the dramatic transformations undergone by the Society of Romanian Composers in its 1949 metamorphosis under a new name, in the context of campaigns fighting against "formalist deviations" evinced by certain composers, and of the institution of Socialist Realism as a unique creation method that was to be adopted by all arts.

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"YouTube" як найпотужніший інструмент просування музичних відеокліпів

Author(s): Nikita Bogdanov / Language(s): Ukrainian Issue: 2/2017

Purpose of the work. The purpose of the work is to identify possible methods for using Social Media Marketing and the YouTube channel to promote video production. The research methodology consists in the use of functional, systemic, comparative and media analysis to consider the YouTube channel as a quality content for the promotion of video production. The scientific novelty of the work lies in the disclosure of the main provisions for the promotion of video products (music videos) on the channel "YouTube". For the first time, the methods of promoting video production in "YouTube" are considered, in the context of the development of Internet technologies. Conclusions. "YouTube" belongs to the most popular hosting, where you can rank and promote national video products for little money. Also, the video format is considered an important component in the work of marketers. Videos fully demonstrate the various characteristics of the product or create valuable educational or cultural and artistic content. Therefore, producers and marketers are constantly increasing the volume of financing the production of advertising videos and video clips in order to interest potential buyers. At the same time, there is a risk of copyright infringement in the network, so the problem of legislative regulation of the protection of the rights of modern music performers and popularization of their video production is still relevant.

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"Zabytki muzyczne w zbiorach Muzeum Uniwersytetu Jagiellońskiego. Katalog, konteksty, album", red. Renata Suchowiejko, Kraków 2016
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"Zabytki muzyczne w zbiorach Muzeum Uniwersytetu Jagiellońskiego. Katalog, konteksty, album", red. Renata Suchowiejko, Kraków 2016

Author(s): Piotr Dahlig / Language(s): Polish Issue: 2/2017

Book review of 'Zabytki muzyczne w zbiorach Muzeum Uniwersytetu Jagiellońskiego. Katalog, konteksty, album', Kraków 2016. ed. by Renata Suchowiejko

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

"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.

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"БІФУНКЦІОНАЛЬНИЙ КОД" КАМЕРНОСТІ ЯК СЕМАНТИЧНА УСТАНОВКА ІНСТРУМЕНТАЛЬНО-АНСАМБЛЕВИХ ЖАНРІВ

"БІФУНКЦІОНАЛЬНИЙ КОД" КАМЕРНОСТІ ЯК СЕМАНТИЧНА УСТАНОВКА ІНСТРУМЕНТАЛЬНО-АНСАМБЛЕВИХ ЖАНРІВ

Author(s): Liudmіla Povzun / Language(s): Ukrainian Issue: 2/2017

Purpose of the research is to identify of genesis of the concept of chamber activity, to study transformation processes of the chamber phenomenon in instrumental ensemble genres and to substantiate semantic and style ambivalence of chamber activity as a genre phenomenon. Methodology. There are philosophical-aesthetic and historical-cultural methods, as well as retrospective and comparative methods for studying the development of chamber instrumental genres and ensemble music-making used in the research. Scientific novelty. For the first time chronotopic and semantic "universality" of the chamber category has been determined. Chamber activity in instrumental and ensemble art appears as a multi-level phenomenon: according to the conditions of performance, quantitative/qualitative structure, expressive means, semantic parameters and acoustic-spatial indicators. Conclusions. Semantic chamber characteristics, born in Baroque era, exist as a genetic "core" in the varieties of chamber-ensemble creativity and, by adding new qualities typical to every new historical era, they do not lose their fundamental principles, combining common-trivial, elevated-sacred, amateur-playing and professional-performing, chamber-intimate and concert-overemotional. Instrumental ensemble genres have a tremendous potential of quantitative-instrumental and qualitative-timbral variability, as well as a wide range of artistic possibilities for the embodiment of all, sometimes totally opposite features of chamber semantics. In 20th-21st centuries having experienced the influence of many artistic and aesthetic trends, chamber instrumental ensemble genres continue revealing their new expressive possibilities at the new stage of their historical development, preserving its genetic genre chamber code as the orientation into the higher spiritual sphere.

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"Вітрувіанська людина. 325:4=(75/130/50/70)"

Author(s): Natalia Kiza / Language(s): Ukrainian Issue: 22/2012

Концерт з такою загадковою назвою відбувся наприкінці вересня у залі Національної академії мистецтв України. Насправді – нічого загадкового. Захід було присвячено чотирьом композиторам-ювілярам – Валентину Сильвестрову, Ігорю Стравінському, Вікторії Польовій та Євгену Станковичу. Можливо, це так і не планувалося, проте у формулі, де сума вікових даних митців ділиться на їхню кількість, результатом є ніхто інший, як блискучий піаніст, котрий цю присвяту здійснив, представивши сольну програму. Це Євгеній Громов – власне, та сама "вітрувіанська людина", яка протягом вечора здійснила кілька перевтілень, майстерно "вписавшись" у "пропорції" творів, задані обраними композиторами.

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"Вогняний ангел" В. Брюсова та С. Прокоф’єва: погляд крізь призму "експресіоністичного Бедекера"

Author(s): Mariya O. Shavsha / Language(s): Ukrainian Issue: 4/2011

A presence is proved in the article of lines of expressionism in the novel of V. Bryusov the "Fiery angel" and in opera of S. Prokof'ev with the same name.

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"Градската традиционна инструментална практика и оркестровата култура в България (средата на XIX - края на XX век)" - една книга, нейната история и...
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"Градската традиционна инструментална практика и оркестровата култура в България (средата на XIX - края на XX век)" - една книга, нейната история и...

Author(s): Rossitsa Draganova / Language(s): Issue: 3/2001

Reviews / The Urban Instrumental Traditional Practice and the Orchestra Culture in Bulgaria (from the middle of the 19th - to the end of the 20th c.) - A Book, Its History and Necessity

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"Душата плаче - песен излиза"
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"Душата плаче - песен излиза"

Author(s): Svetlana Zaharieva / Language(s): Issue: 3/2001

Reviews / "The soul cries - song comes out"

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"Знамето ни е трицветно..."
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"Знамето ни е трицветно..."

Author(s): Asen Atanasov / Language(s): Issue: 1/2001

Notification / "Our flag is tricolor ..."

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"И българските евреи бяха спасени..." Погледи отвън и отвътре върху българската история

"И българските евреи бяха спасени..." Погледи отвън и отвътре върху българската история

Author(s): Irina Nedeva / Language(s): Bulgarian Issue: 12/2022

We publish a conversation of the journalist Irina Nedeva with Roumen Avramov, economist and historian, on the occasion of the Bulgarian translation of Nadège Ragaru’s book ‘Et les Juifs bulgares furent sauvés…’. Une histoire des savoirs sur la Shoah en Bulgarie’, Sciences Po. Les Presses, 2020) (“And the Bulgarian Jews were saved...” History of knowledge about the Holocaust in Bulgaria”). The conversation was broadcast on November 8, 2022 in the “Horizont do obed” ("Horizon by noon") program of the Bulgarian National Radio; the text published here is a transcription of it. The questions have been preserved, and in the answers Rumen Avramov has made some stylistic edits, as well as brief substantive additions and clarifications

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"Культуротворческий синтез" в реалиях музыкального искусства рубежа ХІХ–ХХ веков (на примере хоровых произведений С. Танеева)

Author(s): Nataliia Shvets / Language(s): Russian Issue: 2/2015

The problem of integration, synthesis of multistyle sources, variety of ways of style trends reciprocity in choir cycle "Twelve choires a cappella for mixed chorus" or. 27, words written by Y. Polonsky, from the point of view of preservation and rethinking of traditions and style synthesis is investigated in the article. The trend of style synthesis, assimilation of models of previous epochs brightly shown in S. Tanieyev’s creative activity, whose potential was shaped and carried out during the period from the late XIX – early XX centuries, explicitly stands out as one of the leading trends in pluralism of styles defined by the turn of centuries, in complicated mixture of various style orientations (search of the new, separation from traditional systems, and, at the same time, strive for balance, compensation, preservation of progressive development of art). The aim of the article is to find out variety of ways style trends reciprocity, style synthesis effectiveness in the author's compositions as the expression of important style processes of the given period. Being a representative of musical romantism in historical sense, S. Tanieyev, at the same time, appealed to models deeply intellectual in music art: Renaissance, barocco, classicism. The search of something new together with assimilation and rethinking of traditions appeared in several aspects of S. Tanieyev's activity. The key point of S. Tanieyev's spiritual world and supreme tradition turned out to be philosophy. There is a resonation with Bach concepts of creative activity, with the problematics of classicism as well as with ethic essence of the Russian religious philosophy of the Silver Age in his reference to massive philosophic and ethic problems, in understanding the need in constant pursuit of ethical perfection, of the themes of complexity and counterpoint of the world, which means the unity of polar and, at the same time, cooperating beginnings of "life – death". Connection with barocco tradition possesses a special place in S. Tanieyev's heritage of chorus compositions. Russian chorus music owes to the author's creation of mastery and extraordinary compositions in different genres – opera chorus, cantatas, certain chorus a cappella, massive chorus. A very important place in composer's activity, in his theoretical concept, is devoted to polyphony – a significant achievement of the Renaissance and barocco. The author’s relying on rhetoric resonates with both barocco traditions and symbolist poetics of the late XIX – early XX centuries. Using music and rhetoric shapes, generalization, conventionalism, whose "eternal meaning" gives them the meaning of an emblem, symbol of certain notions, the compose tried to "decode", "interpret" the deep sense of poetic content, fill a note text with spiritual programme. Textual and compositional structure of Tanieyev's choires are rather difficult, and can be revealed only to those listeners, who are aware of barocco music lexis. The motive of chross – a symbol of chross agony – is emphasized among the most significant ones. It is this very shape which ties chorus cycle on Y. Polonsky's words. Austerity, ascetism, concentration of the motive resonates with the content of the text in those its parts where this music symbol is introduced. Rhetoric sign is included into extremely important, philosophically significant in dramatic sense moment of the cycle. A drawing of a circle (circulatio – turning around) became one of the most intensive and meaningful signs in S. Tanieyev's choires. It is associated with the idea of eternity, incredible beauty and verity in barocco music. In intonation dramatism of choires there can be found other music and rhetoric shapes as well, which are important for the dramatism of the whole. Thus, rhetoric shape anabasis, which denotes the symbol of resurrection in barocco music, appeares mostly in choires apealling to reveal lyrical beginning. Catabasis (a symbol of dying, a sign of sorrow, "putting into coffin" on barocco music) can be seen in the cycle of choires where there is a tense and dramatic beginning. Such rhetoric shapes as passus duriusculus, saltus duriusculus are applied to express mourning, suffering. Due to their fixed and stable semantics these music shapes were turned into "signs", emblems of certain feelings and concepts. Detailed study of means of music expression revealed polyphonism of S. Tanieyev's thinking. His massive chorus cycle became the ideal of reciprocity of different style trends in art, showing the ties between epochs, defining integrity of composer's style.

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"Лицето на българщината": Националният събор за народно творчество в Копривщица и неговите медийни отражения

"Лицето на българщината": Националният събор за народно творчество в Копривщица и неговите медийни отражения

Author(s): Lozanka Peycheva,Lozanka Peycheva / Language(s): Bulgarian Issue: 12/2022

The article examines the National festival of folklore in Koprivshtitsa – a culmination of the assembly-singing movement – by looking for sustainable media representations of the folklore festivals, which has already been held for twelve editions (between 1965 and 2022). The mechanisms for organization and media coverage are sought in the chronological lines before and after 1989. The focus is on the discourses and presentation of the festival as a manifestation of collective and national identity, “the face of Bulgarianism”

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"Музикалната естрада продължава да живее в културната памет на българите"

"Музикалната естрада продължава да живее в културната памет на българите"

Интервю с Розмари Стателова за новата й книга 'Естрада и социализъм: проблясъци'

Author(s): Zhana Popova / Language(s): Bulgarian Issue: 5/2019

Interview with Rosemary Statelova about her new book „Estrada and Socialism: Glimpses“

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