Klavirska muzika Miloja Milojevića
Review of: Klavirska muzika Miloja Milojevića. CLIO (biblioteka „Ars Musica“), Beograd 2004.
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Review of: Klavirska muzika Miloja Milojevića. CLIO (biblioteka „Ars Musica“), Beograd 2004.
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The writers whose real vocation was not music left significant traces in the history of Serbian music critics and essayism of the late 19th century and the first half of the 20th century. Numerous authors, literary historians, theoreticians and critics, jurists and theatre historians, wrote successfully on music in Serbian daily newspapers, literary and other magazines, until the Second World War. This study is devoted to Gustav Michel (1868 – 1926), one of the music amateurs who ought to be remembered in the history of Serbian music critics. Gustav Michel was a pharmacist by vocation. He ran a private pharmacy in Belgrade all his life. But he was a musician as well. He played the viola in the second (in chronological order of foundation) Serbian String Quartet. The ensemble mostly consisted of amateurs, and it performed standard pieces of chamber music (W. A. Mozart, L. V. Beethoven, F. Schubert, F. Mendelsohn-Bartholdy, A. Dvorak). These musicians had performed public concerts in Belgrade since 1900 up until Michel’s death. Belgrade music critics prised the performances of this string ensemble highly. Gustav Michel was also a music critic. Until now only seven articles, published by this author between 1894 and 1903, in Order (Red), Folk Newspaper (Narodne novine) and Serbian Literary Magazine (Srpski književni glasnik) have been found. Michel’s preserved articles unambiguously prove that their author had a solid knowledge of music theory and history, the knowledge that exceeded amateurism. Nevertheless. Michel did not burden his first critics with expert language of musi-cology. Later on, in Serbian Literary Magazine, the magazine which left enough room for music, Michel penetrated more into musical terminology, thus educating slowly forming Serbian concert-going public.The analysis of Michel’s texts showed that he was not, in contrast to the majority of professional music critics, an opponent of virtuosity. Gentle and liberal, he did not oppose the National Theatre administrations when they decided to add operettas to its repertoire. Here he also differs from expert critics, for example Miloje Milojevic or Petar Krstic - who led a real crusade against operetta.Michel paid scrupulous attention to correct diction, as an important part of the vocal technique.As a critic, Gustav Michel was inclined to relatively modern music.He was not strict in his judgments of Serbian performers’ and composers’ achievements; he always took account of very difficult conditions under which the Serbian people, after many centuries of the Turkish occupation, started its cultural and musical emancipation in the 19th century. (He was especially considerate towards novice musicians.) However, his critical assessment of the genre status of the overture to the first Serbian opera, “Na uranku” (“At Dawn”) by Stanislav Binicki, revealed an incisive critic.The weak side of his critic lies in too general language, not exact enough for characteristics of musical interpretations. However, Gustav Michel was a witty7 and ironic writer, and his few articles marked the beginning of an expert and modern music critic in Serbia.
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Међународни музиколошки скуп Писма музичара као огледало над- реГионалних културних веза у Средњој u Источној Европи, одржан у Лајп- цигу почетком децембра 2003. године, у тематском погледу се надовезао на скуп приређен у Кемницу две године раније. Spiritus movens међународ- ног пројекта чији су резултати представљени на овом скупу je професор Хелмут Лос (Helmut Loos), руководилац Музиколошког института Уни- верзитета у Лајпцигу. Пројекат je окупио двадесет двоје музиколога из источне Европе (наводимо према редоследу наступа на скупу): Србије и Црне Горе, Словеније, Румуније, Мађарске, Словачке, Украјине, Чешке, Аустрије, Пољске, Литваније, Летоније, Естоније и Русије.
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Kao што ce и раније догађало, 17. конгрес Међународног музиколош-ког друштва (IMS - International Musicological Society) окупио je врло велики бројучесника из целог света - око шест стотина. Први конгрес овог друштва, основаног 1927. године у Базелу, одржан je у Лијежу 1930. За домаћина je поново изабран један белгијски град, Левен (Leuven), који je обезбедио сарадњу свог Католичког универзитета (основаног још у 15. веку) и Међународног центра за проучавање холандске музике, односно фондације "Alamire" која финансијски подржава његов рад. По традицији, на свечаном отварању je премијерно изведено једно дело које je поручено за ову прилику: Визије Жероена Дхоа (Jeroen D’hoe) за камерни ансамбл.
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C 26 no 30 сентмбрм 2002 года Московскам консерваторим им. П. И. Чаиковского отметила 70-летнии гобилеи профессора кафедрм теории музмки 1()рии Николаевича Холопова. Ученики и коллеги гобилмра преподнесли ему в подарок пмтидневнми фестивалв "Музмкалвнме мирм ГО.Н.Холопова", приду-маннми и осувдествленнми как музмкалдное приношение своему Учителго. Во многом предопределив пути Новоп науки о музмке, равно как и самои Новои Музики, ГО.Н.Холопов один из немногих увидел в исканимх своих современников иное понимание музмкалвного искусства и законов им управливдших. Обшение и сотрудничество с вмдаговдимисм композиторами XX века, такими, как Андреи Волконскии, Карлхаинц Штокхаузен, Здисон Дени-сов и другими позволили ГОриго Николаевичу заглмнутв в сувдноств компо-зиторского творчества, познавам сказанное авторами о себе самих через мзмк их собственнои музмки. Недаром Андреи Волконскии верно заметил: "ГОрии Николаевич Холопов отнгодв не представлметсм мне ученмм-схоластом. Он создал школу нового типа, приблизил науку о музмке к самои Музмке".
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Музиколошки институт Универзитета у Лајпцигу, на чијем je челу професор Хелмут Лос (Helmut Loos), организовао je скуп чији je пун назив Историја музике између источне u западне Европе: Нашлонална музика у 20. веку. Композиторски u сои,иокултурни аспекти. Овом научном састанку je претходило неколико других које je агилни проф. Лос орга-низовао tokom последњих десетак година, с главним циљем да се после пада комунистичких диктатура успоставе мостови између музиколога у западноји средњој Европи, с једне стране, и колега у источнојЕвропи, с друге. Тако je основано Међународно друштво за проучавање историје музике у средњоји источнојЕвропи, најпре при Универзитету у Кемницу, сада у Лајпцигу. Од 1997. до 2002. године Друштво je објавило осам свезака својих саопштења. Један од пројеката на коме се тренутно ради je прире-ђивање изабране преписке музичара из различитих европских региона.
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Both in instrumental chamber music formation and alongside vocal artists, the contribution of the accompanying pianist is reflected in every moment, by shaping the harmonic foundation and completing the song, in order to achieve the dialog between the two performers. The defining role of the pianist begins in the rehearsal room, a space for sharing the effort to decipher the score. In the chamber music duo ensemble, the complexity of the musical approach is reflected by the contribution of the two performers. Also, with the play of their own score, the two musicians focus on the dynamic adaptation of the melodic path to the accompaniment, roles which they adopt alternately. In instrumental chamber ensembles, the accompanying pianist treats the dynamic-timbre ratio between piano and string instruments differently, as opposed to the duo in which he evolves alongside wind instruments. In the interpretation of the written works for voice and piano, the text put on music becomes the main source of expression of the affections embedded in the notation of the score. The role of the accompanying pianist in the relationship with the vocal performer also takes place semantically, and the dialog between voice and piano is enhanced by the correct pronunciation of the text. At the same time, the melodic approach is interdependent with the lyrics it accompanies. Regardless of the partner with whom he evolves, the accompanying pianist contributes fully to the realization of a homogeneous chamber music ensemble, in which the two musicians return to the public the intentions of the composer, completed by their own feelings.
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Traditionally, music historiography, not only in Germany but also in Eastern Europe, is very much committed to national criteria, and music is understood above all as a national culture. In contrast, there are many connections between musicians who were often present and active in many places in Europe in past centuries. These connections have been discussed again and again, but have only been systematically researched to a limited extent. The cross-regional correspondence of musicians in Central and Eastern Europe not only makes European connections visible, it also provides authentic assessments of the experiences gained in different places. Overall, it can be expected that Europe will appear in the mirror of musicians' letters as the coherent cultural area in musical life that it existed as until well into the 20th century.
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У јесен 2000. и прољеће 2001. у Прагу су одржане међународне музиколошке радионице с темама: најважнији чешки комуниколози 19. и 20. стољећа. Симиосиумол М'.иоппциМи - Сецесија, одржан од 20. до 22. листопада 2000. године.
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There is a justified opinion that Finland is the land of semiotics. Namely, the Semiotic Society of Finland was founded at the end of the 1970s, and now is one of the largest in the world. Semiotics is part of the curriculum of many academic institutions in the country. Among them is the University of Helsinki, i.e., the Department of Musicology. Besides, the International Semiotics Institute (ISI) was established at Imatra in 1988, in order to assemble semioticians from all over the world and to support international teaching of semiotics. The Institute is a place where many manifestations have taken place, such as the summer congress, winter schools, seminars, meetings of the Finish Semiotic Society, and Nordic Association of Semiotics. The result of developed collaboration with Bloomington/Indiana University, USA, is the Acta Semiotica Fennica, an international series of collections of papers as well as monographs.
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In Périgueux, the beautiful old town in southern France, the Association Internationale des Bibliotheques, Archives et Centres de Documentation (International Association of Music Libraries, Archives and Documentation Centres) celebrated its 50th anniversary during its 19th Congress.
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У организацији Светог синода Грчке цркве и Института за ви- зантијску музикологију одржан je у Атини, од 9. до 11. новембра 2001. године, симпозијум са темом: Екфонетска нотација u пракга. Повод за овај, други no реду скуп, како су истакли његови иницијатори Архиепископ Атине и целе Грчке Христодулос и професор на катедри за византијску музикологију и црквено појање Атинског универзитета др Григорије Статис, проистекао je превасходно из литургијских разлога. Наиме, једно од најчешће занемариваних питања у савременојгрчкојпојачкојпракси јесте екфонетско произношење молитава (од стране свештеника и ђакона) и осталих богослужбених текстова (од стране чтеца и појца). Тема je, дакле, првенствено била намењена клиру и појцима, али ништа мање и музиколозима, који су имали јединствену прилику да се упознају са актуелним начинима екфонетског музичког израза и проблемима који из њих произлазе.
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Review of: Валснтина Н. Холоиова, Музмка как виу искусаива, учсбнос пособие, изд. «Ланв», Санкт-Петербург, 2000, стр.320, формат 12,5 х 20.
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In memoriam Milica Ilijin (1910-1992).
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Digital music streaming and downloading platforms supervene the stymied superfluity of physical musicdistribution in the recording industry. The significant transition seems to provide quasi-real-time increased musicconsumption. The purpose of the study is to identify the challenges associated with the paradigm shift to thedigital trajectory of music regarding global market demand and to establish the extent to which digital diffusioninnovations influence digital music distribution and consumption in the recording industry. The exploratoryresearch study employed univariate and multivariate statistical analysis to analyse the data collected from 217musicians. The study found that the customer base of physical retail stores is dwindling due to the increasingnumber of independent artists and technologically compatible media devices that encourage music streamingand downloads. The practical implications ensue the amplitude of music downloads that is proffered by modulartechnological developments, such as the buttress of smartphones while it predicates the perspicacityof innovative digital technologies to create independent shrewd music entrepreneurs.
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