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The text "Good Practices (Good Cases) In the New Musical Educational Realities as a Challenge for Musical Communicators" by Assoc. Prof. Milena Shushulova-Pavlova, PhD analyzes problems and makes recommendations on the need to build new audiences. Squares, pedestrian zones, markets for flowers, stations in European cities become part of the current music scene and passers-by are surprised with flashmob challenging improvisations. Now it is normal to have an outdoor screen, where you can follow a performance in real time.
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The focus of the article "Pirate Distribution of Audio-Visual Content" of Assist. Prof. Stoyko Petkov, PhD is not so much on the battle of corporations to define, criminalization and prosecution of pirate practice, but on finding solutions for independent artists and creative groups, which have the unique opportunity to communicate directly with their audiences.
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Die Analyse der im Olivischen Konvent gefeierten Prozessionen lässt uns ihre Differenzierung bemerken, von den feierlichen und ausgebauten Formen beginnend bis zu den einfacheren. Die olivischen Prozessionen machen in dieser Hinsicht keine Ausnahme, aber sie schreiben sich in die im ganzen Orden herrschenden Tendenzen ein. Die Liturgie und die Zisterziensergeistigkeit hatten immer einen auf Christus gerichteten Charakter, der unmittelbar mit dem Kult von Maria zusammenhängt. Dies fand eine Bestätigung in der Handschrift aus Oliva, die die Prozessionsgesänge unterbringt, die mit der Liturgie der sechs Hauptfeste um Maria verbunden sind. In dieser Hinsicht korrespondiert S II 56 mit dem Zisterzienserritual aus Rudy Wielkie in Schlesien, obwohl es unter ihnen Unterschiede in der Wahl der einzelnen Gesänge für manche Feste gibt. Das ändert aber nichts an dem allgemeinen Bild der Liturgie der Zisterzienserprozessionen, die dem Auftrag des Generalkapitels gemäß eine einfache Liturgie ohne Pracht sein sollte. Eine solche Überlieferung erhalten wir auf Grund einer Analyse der Quelle des Manuskripts aus Oliva, dessen Bearbeitung zweifellos unser Wissen über den Gottesdienst erweitert, der im 17. Jahrhundert in dieser monastischen Gemeinschaft im Danziger Pommern gelesen wurde.
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The article by Robert Kaczorowski depicts five so-called “Polish masses” (“Msze polskie”), which comes from the song-book published in 1871. In the 19th century in the Church of Poland this songs were very popular. They were sung instead of Latin songs and the Gregorian chant, which were difficult to understand and learn.
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This article showed the popularity of a motive of an angel in Polish and Latin songs of the Catholic Church. Lyrics of these songs often come from episodes of the Holy Bible and speak about a special angel – a guardian from God. Angels are described with a melody: raising (the angel goes to God), falling (the angel descends from God to people), repetition notes (prayer), bow (angels which are near everybody). Every song shows an angels mission in the world through the lyrics and the melody.
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In this article I try to interpret the music aspect of Krzysztof Kieslowski’s famous movie The Double Life of Véronique (1991, music: Z. Preisner). The director, whose works are full of allusions to music and generally to art, always paid special attention to the sound of his movies. The Double Life of Véronique, though not the last “fruit” of the cooperation between Kieslowski and Zbigniew Preisner, is the best illustration of this fact. The musical elements permeate almost all aspects of this work, from the plot to the structure of the movie (the use of the leitmotif technique), and correspond closely to the action. The key importance of music is illustrated by a description of what I consider to be the film’s three most significant scenes: two from the “Polish” and one from the “French” part of this work.
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The Megleno-Romanians, who constitute a separate branch of the Latin-speaking peoples of Eastern Europe, originated in northern Greece. They emigrated to Romania at the start of the twentieth century. From a cultural perspective, the Megleno-Romanians are to be distinguished from other neighbouring ethnic populations on the basis of their dialect, religion, and history. The Megleno-Romanians’ characteristic modes of thought and action distinguish them from the Aromanians. Meanwhile their creative instinct has manifested itself in artistic productions of no little originality, productions which are assured a place within the national cultural heritage. Our study of authentic Megleno-Romanian songs has led us the conclusion that the Megleno-Romanian repertoire in the village of Cerna is, to a very large extent, composed in their own dialect. This finding leads us to believe that there has always existed within the family context a pure, Megleno-Romanian repertoire which has survived and developed through oral transmission.
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