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Computational thinking is becoming common in K-12 curricula, and at the same time there is interest in how STEM subjects can be integrated with the Arts (referred to as STEAM). There are some obvious connections between music and computation, but the idea of engaging with genuine computational thinking while also having authentic music learning experiences for students provides new opportunities. In this paper we consider ways to explore computational thinking ideas such as decomposition, patterns, abstraction and algorithms in a meaningful way while also exploring key concepts that a music educator would expect to work with. We review some existing ideas for doing this, and also provide novel approaches that connect computational thinking and music. This is done through a series of vignettes that describe creative ways to connect the two subjects using approaches that have been used successfully with school students. The first approach is based on the use of comparisons in sorting, which can be used to have students physically compare musical elements such as note pitches. The second uses simple programming on physical devices to represent music notation. Further examples include exploring binary representations using sound, writing programs for musical scales, understanding musical phrases in the context of programming, and using programming for music composition. Integrating the opportunity to learn about computational thinking and music at the same time has the benefit that some efficiency can be gained in teaching, but more importantly, students are able to experience the relevance of these two subjects to each other, when they might otherwise pigeonhole them into separate areas of their lives.
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In folk singing seams to be unnecesseary to train the voices. Is it so if one sings when he/she feels it to do and in the tune suitable for him/her. In teaching folk singing many problems appear. The student must sing regularly in a fixed time and has to practise and in fixed tunes in order to sing with others or be accompanied by instruments. In this changed situation the vocal chords are in a extreamly high strain. The other problem in folk singing teaching is that many students are under the age of 14, so their voices are before the mutation. Sometimes teachers don’t recognise the mutation period and force singing at that time too. These facts led to the recognition of the need for voice training in folk singing teaching and in some cases to the rehabilitation of the vocal chords. So it became necesseary to build in phoniatric knoledge in the folk teachers training in the Music Academy.
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Although Vogler's stay in Prague was relatively short, there are nevertheless many things to write about this time. Being employed as a professor at a renowned university is something, that most of the people who got in such a position have for their lifetime. So it's not very common that Vogler didn't stay in this position, but just left after only one year. On the one hand, it's understandable, because Vogler lived rarely one year solely in one town and therefore this one year in Prague is already an unusual long time for him.On the other hand there's the question, what Vogler planned, when he came to Prague and wanted to have an employment as professor. Maybe he really wanted to settle down as pensioner for a longer time? Or should this professorship at the renowned Charles University of Prague only be another honouring in his collection?For the fact, that Vogler wanted to settle down in Prague, there's also the argument, that he organised the costly transport of his Orchestrion to Prague and afterwards let it build for a longer time in a hall, which he also needed to have rebuilt.In the end, as a resolution of failed concerts, an organ modification with many negative critics and empty lectures, Vogler left Prague.He was an innovative organ and music theorist, but too much, so that he sometimes totally worked without any empirical values. Such a characteristic and the fact, that he travelled big distances and areas, makes him one of the most interesting persons of european music history.
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2019 marks the 90th anniversary of the birth of the Russian avant-garde composer Edison Denisov. He belongs to the second generation of Soviet avant-garde composers, whose work is famous for its innovative thinking and techniques: serialism, aleatory, sonorism and the use of electronics. The most progressive composers among them are Edison Denisov, Sofia Gubaidulina and Alfred Schnittke, who form a group later called “The Moscow Triad”. This article explores the ways in which Eastern and Western culture meet, specifically within works pertaining to the religious perspectives of the three authors – Gubaidulina’s meditative concept, the mystic beliefs of Schnittke, the sublimity of art in Denisov’s works and their different spiritual insight into art. The article also gives specific evaluation of the connection between the members of the Moscow Triad and the way they perceived each other’s personalities and work through a series of their own quotations. Their difficulties in communication with foreign Western composers and the wish to bring their work to the knowledge of the younger generation of Russian composers is observed, as well as the friendship between Denisov and another legendary French avant-garde composer Pierre Boulez. It briefly explores the effect of the contemporary political situation that led to the prohibition of the distribution and performance of the music of the three composers. The article addresses the way the art of Denisov was perceived in the past and today, the reception of his music in the West and in his homeland, his legacy and the future of his music in the context of the global culture.
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Pancho Vladigerov‘s prominence and personality in the musical culture of Bulgaria is great. Until 1932, Vladigerov lived in Germany. He returned to Bulgaria after the Nazis came to power. For 40 years he taught composition and piano at the Sofia Academy of Music, which is bearing his name today. In my various studies of Andrey Stoyanov’s works I have come across materials about the relationship between Vladigerov and Stoyanov, which was not common, yet amicable enough. The three conversations quoted by me between these two great Bulgarians – two postal cards and one letter, are evidence of their professional communication, which was probably the reason for Pancho Vladigerov‘s establishment in Bulgaria and his professorship at the Music Academy.
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The topic focuses on Simo Lazarov`s electronic transcription of „Sarabande“ from „Classical and Romantic“ by Pancho Vladigerov, highlighting the peculiarities of this modern reading of the work. It analyses the ideas of sound design and the concept of timbral dramaturgy, the possibilities of timbre as a means of creating new associativity in relation to the sound canvas and the sound movement in the work, the capabilities of the orchestration – created by the means of electronic and computer music – for the interpolation of new musical imagery
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This work analyzes the tempo proportions of three simultaneously going tempo lines (tempos) – 72 MM, 78 MM, 84 MM – in the cantata „The Fair” („La Foire”) by Stefan Dragostinov. The first performance of this work was on 9th September 1978 in Hilversum, Holland, in WARA studios, at the time of the The Gaudeamus International Composers Award; it was performed by three female chamber formations of the National Radio Holland, each with a different conductor and the whole work conducted by prof. Hans Muller. The cantata „The Fair“ by Stefan Dragostinov was awarded the first prize of the Gaudeamus International Prize for Composers in 1978.
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Since 2006, the Hampsong Foundation has been working closely with the music festival Heidelberger Frühling, an annual co-production of master classes for young opera singers. In the last three years (2017-2019) they were lead by the baritone Thomas Hampson himself and were streamed through Facebook Live. Based on this video material (almost 60 hours) observations were made on Hampson’s methods of teaching and this article resumes important discussions about the Lied-genre in social and cultural aspect, Hampson’s vision about the art song as a metaphor of Human Being (Dasein), his approach to achieve better posture, breath, sound and diction of the participants. All these components aim to achieve better clarity and understanding of the poetic text, set into musical composition; they help the singers in finding their own way of interpretation.
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Children Choir „Bodra Smyana“ under the direction of Boncho Bochev in the period from the 1940s to the 1970s became a choir with unparalleled artistic accomplishments. The conductor built a refined mechanism for admission of choristers that reflected his vision of choral quality. This report looks at the qualities and skills of the candidates and the way of their improvement during the rehearsal process. Because of the great interest, „Bodra Smyana”‘s admission occurred after two, and sometimes more, auditions, in which the necessary number of choristers was selected. The requirements were many, but they were not too difficult for the children. The skills that the exam questionnaire was designed to assess were grouped into three equally important categories: musical abilities, vocal qualities, and performance emotionality. These were the three main points in Boncho Bochev‘s artistic work.
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Numerous studies have shown that orchestral activities are extremely beneficial for the academic, cognitive, social and emotional growth of young people. The idea that these activities can revitalize, expand and enrich the musical education in Bulgaria and contribute to the social inclusion and integration of young people at risk inspired me to explore the practices and models of youth orchestras in Venezuela, England and USA. After analyzing the collected information on the experience of UK’s National Plan For Music Education and the elements of the Venezuelan El Sistema, I hereby proposed a Model for the Development and Growth of Youth Symphony Orchestras in Bulgaria, which is practical and can be efficiently implemented. The recent Pre-school and School Education Act of 2016 provides opportunities for this Model to be implemented in Bulgarian schools, allowing students to receive comprehensive musical education by introducing group training on musical instruments, ensembles and orchestras.
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The Çanakkale Choir Festival was held for the first time in 2011 at the national level. Its purpose is academic, it also contributes to the development of social relationships between children and young people from the polyphonic choral community in Turkey. Within a week, all aspects of people’s work are affected, the choristers and the choir conductor experience new excitements. The idea is to ensure the interaction between them, as well as between the different choirs, and to draw public attention to choral music. To this end, the festival meetings of the choirs with the people are carried out also through performances on the streets, which contributes a lot to the relationship „choirs“ – „society“. The festival had its editions every 2 years (2011, 2013, 2015 and 2017). Its great development took place during its preparation and holding as an international in 2019. To this chronicle I add my personal impressions and judgments, in my capacity as the general artistic director of the festival: how it was established as an international structure and how, namely as an international one, the Çanakkale Choral Festival clearly contributes to the development of Turkish choral music.
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The purpose of the article is to study the artistic and aesthetic features of vocal and pop art as a genre synthesis of arts. The research methodology involves the use of system-structural, comparative methods of analysis and culturological and art approaches in the study of these issues. The scientific novelty of the work is to expand the theoretical boundaries of understanding vocal and pop performance as a synthetic genre that combines different arts, and its defining artistic and stylistic features that directly affect the structure and stylistic features of vocals, interpretation of the work, its perception by listeners and representation of values, ideas and impressions generated in the process of performance and its perception. Conclusions. Conclusions. Variety vocal performance as a kind of musical text involves special manifestations of intertextuality, so it is possible to find layers of artistic and species series, expressive forms and meanings, artistic and linguistic means and interpretive techniques. From the point of view of specific tasks of artistic communication, it appears as a generalized form of musical and artistic activity that can claim universality and has its stage and staging canons, determined by value concepts of culture, but in their new popular sense. There are also exemplary compositional and semantic models in this field, the imitation of which is a recognized way to join the pop vocal and performing professionalism. In the field of pop and vocal performance in its theatrical and staged form there is a specific mythologizing, which concerns the figure of the singer as the central actor of the concert program, which forms a certain image to achieve extreme artistic persuasiveness.
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The purpose of the article is to study musical drama, as an essential element of the audiovisual space and life, to reveal its role and influence on the quality and nature of the audio field as a whole. The research methodology is based on the use of analysis, and synthesis. The scientific novelty lies in the representation of the attempt to create a theoretical concept concerning the significance, role, and implementation in the reality of musical drama as the most important component of the audiovisual space. Conclusions. As a result of studying the above problem, there is a theoretical concept, which consists in determining the nature of the interaction, as well as the role and mutual influence of musical drama and audiovisual space. The results obtained make it possible to realize the importance of musical drama for the audiovisual context, its influence on its qualitative characteristics, and perception by the audience. This opens up prospects for such spheres as cinematography, media field, synthetic art compositions, combining audio and video elements.
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In the paper bearing the above title, the author shows the texts of the folk songs from the famous work Rukoveti by Stevan St. Mokranjac (1856 – 1914). It is about the songs Lele, Stano mori, malka Stano (V,6) and Što mi je milo le, majko, i drago (VII, 3) which first textual variants were published by the collector Stevan Verković in the book Narodne pesme makedonski Bugara (Belgrade, 1860). The texts of the same songs from the Verković’s collection were analyzed by the academician Vladimir Stojančević who had established the time of their formation and recording; the first was made at the end of the XVII century, the second around 1821. The author accepted the historical chronology of the emergence of these two songs as a good foundation for their historically-ethnographic treatment and pointed out to the folk variants of text and writings which Stevan Mokranjac included into his Rukoveti.
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On Friday, March 5th 2021, I conducted an interview with the French director, script writer and adapter of American musicals Nicolas Engel.
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Enciclopedia imaginariilor din România [The Encyclopaedia of Romanian Imaginaries], Vol. 5: Imaginar și patrimoniu artistic [Imaginary and Artistic Heritage] (ed. Liviu Malița), Polirom, Bucharest, 2020
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This article turns the spotlight on a relatively new scientific field, which lies at the intersection of Philology, Musicology and Cultural Studies – its (German) name, “Literaturpop”, and its scientific coordinates were proposed by a research group at the University of Cologne. We start from the premise that this new field could be explored by using the analysis tools of the reception theory, more precisely those used in the study of productive reception. While taking into account the terminology and classifications proposed by Hannelore Link, our discussion focuses on an interesting example of musical adaptation of literature: the album An Appointment with Mr. Yeats (2011) by the British folk-rock and blues-rock band The Waterboys. Based entirely on poems by the famous Irish author W.B.Yeats, the project was approached in a manner, at once philological and creative, by the leader, lead singer and composer of the band, Mike Scott. As a literary adaptation, accomplished using the collage technique, the project lies in the field of reproductive reception – as a musical adaptation it lies in the field of productive reception. The inclusion in this last category depends however on the identification of an artistic “marker”.
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In Zimbabwe, popular music, namely the dancehall music genre, has become a cultural site where official forces of political repression and libertarian voices of subalterns desiring independence clash in a relationship plagued with censorship. In this setting, singing against the danger of silence imposed by political authoritarianism develops libertarian tales whose implications go beyond resistance or cultural obedience. The nature and political consequences of the concerns and cultural ambiguities that emerge in Winky D’s musical lyrics in several of his well-known popular songs are examined in this article. The essay shows how official censorship may popularise a musician’s songs in ways that are unforeseen by the artist and create identities defined by cultural ambivalences that may identify the performer as both hero and underdog/villain. This paper uses purposive sampling for textual and content analysis to highlight the symbolic and cultural instability in song narratives. The qualitative technique underpins both textual and content analysis. Its relevance stems from the fact that it emphasises the multiplicity of cultural subjectivities. This viewpoint is informed by postcolonial theory, which recognises the ability of new cultural voices and identities to split the grip imposed by censorship. Alternative or non-officially sanctioned locations for popular music can be used to ventilate its ideals.
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