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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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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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W artykule skupiam się na problemie elektromagnetyzmu w kontekście sztuki światła, odwołując się do awangardowych działań sztuki wizualnej i dźwiękowej. Wykorzystując zaproponowaną przez Douglasa Kahna w książce Sound Earth Signal: Energies and Earth Magnitude in the Arts (2013) kategorię lived electromagnetism, analizuję performance Double Vision, który łączący światło i dźwięk. Projekt powstał w wyniku współpracy pomiędzy kompozytorem muzyki eksperymentalnej Uwe Schmidtem oraz audio-wizualnym artystą Robinem Foksem. Artyści, wykorzystując najnowszą technologię,za-proponowali doświadczenie audiowizualne, które ma na celu krytyczne podejście do immersyjności muzyki z gatunku pop.
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This article, based on archival material stored at Kaunas County archives, provides a review of the situation of musical education at elementary (mostly state) schools of the Kaunas province in the second half of the 19th century. Teaching of singing in 126 schools (among them, 86 state, 10 Jewish elementary, 13 parish state, 1 city, 4 communal Talmud Torah, and 12 private schools) is discussed.After the uprising of 1863–1864, Russian state schools were being established very intensely and the ideolog y and cultural policy of Czarist Russia was clearly reflected even at schools of the smallest townships of the Kaunas province. The goal of musical training was to indoctrinate with Russian culture through song not only infidel pupils, but their families as well.The aim of the article is, based on the reports of school inspectors and other relevant archival material, to discuss the quality and methods of teaching, the qualification of teachers, the influence of musical training on cultural atmosphere of towns and townships in the Kaunas province. From quite detailed reports of the inspectors one can judge that the ideological aspect of teaching singing was the most important. The inspectors and teachers followed watchfully the reaction of local non-Russian inhabitants towards Russian songs.Pupils were taught aurally, had to know the system of notes, treble clef, scale singing; two-voiced and sometimes even three-voiced singing was practiced. The teachers were using popular Russian tutorials and collections of songs. The highest attention was given to the quality of singing of the imperial Russian anthem “God save the Tsar”. The hymn, several Russian Orthodox hymns and Russian folk songs made up the repertoire of singing at elementary schools. The situation was very similar at private and community schools.“Literary-musical evenings”, which were organized in quite a number of schools, were highly popular with numbers of local listeners.
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With regard to musical life during the period of the war and the Nazi occupation, one of the cultural activists of the time, a composer, music critic and educator Vladas Jakubėnas wrote: “The only area where the accumulated Lithuanian spiritual energ y was free to manifest itself was art; and it existed leading an intense, meaningful Lithuanian life”. Back then, culture that was understood to mean conscious resistance, evolved into one of the most distinct manifestations of existence. In the conditions of this intense spiritual climate, musical life was progressing as well, and in certain spheres at a really hectic pace. Although a relatively small number of original works was produced by Lithuanian composers, Lithuanian music was frequently performed in symphony and chamber concerts, including the newest and earlier works by Julius Gaidelis, Vladas Jakubėnas, Antanas Račiūnas, Juozas Gruodis, Stasys Šimkus, Juozas Pakalnis, Julius Sinius, etc.In the context of musical events of the period discussed, the music of Mikalojus Konstantinas Čiurlionis constituted a special part and was mainly represented by symphonic poem Miške (“In the Forest”), while another symphonic poem Jūra (“The Sea”) was not performed. An interpretative tradition of Miške dates back to 10 December 1913, when it was played at a concert of Lithuanian music in Vilnius and was conducted by Adam Wylezinski. Before the war, Miške was interpreted by Izaokas Vildmantas-Zaidmanas, Stasys Šimkus, Balys Dvarionas, Juozas Tallat-Kelpša. A very specific insight into this symphonic poem was revealed by conductor Vytautas Marijošius, who also presented it outside Lithuania. In 1938, under his baton Miške was played by the Czech Philharmonic Orchestra at the Praha Radiophone.The first concert season of the war period started in September 1941 and symbolically was opened with Čiurlionis’ Miške performed by the Philharmonic Orchestra conducted by Šimkus. In two other concerts the poem was presented by composer and conductor Jeronimas Kačinskas, under whose guidance the Vilnius Philharmonic Symphony Orchestra achieved a really impressive level for that time. The orchestra had an opportunity to play Miške with the German conductor Hubert Günther in November 1943, whereas Marijošius was invited by Deutsche Gramophon Gesellschft to record Čiurlionis’ Miške with Städtisches Orchester Berlin in 1942. Unfortunately, the record was lost during bombing attacks; only a fragment of about seven minutes of Čiurlionis’ music survived. Čiurlionis’ works were also played at piano recitals, and his only String Quartet was performed by the quartet of Lithuanian musicians Izidorius Vasyliūnas, Jurgis Fledžinskas, Eduardas Satkevičius and Ernestas Bertovskis in their debut concert in June 1944.The major sources for investigating the perception of Čiurlionis’ music during the war period are memoirs of contemporaries and the press, whose response to music events was particularly enthusiastic. In fact, the writings dealing with Čiurlionis’ music rarely focused on interpretative issues and, practically, never on analysis of the composer’s works. During the war period, his creative heritage was regarded rather as manifestation of permanent cultural values that had been regained after the Soviet occupation of 1940–41, as honourable symbols of the past, as a means of resistance against occupation and defence of national identity. Thus, evaluation of Čiurlionis’ music was often related to the subject of nationalism, which was particularly significant in the conditions of occupation. “The works produced by Čiurlionis’ genius are and will be a great honour for our nation and the world culture as long as cultural world keeps existing”, the composer and educator Juozas Karosas wrote in 1942 in the weekly Tėviškė (“Fatherland”).
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Music of Pēteris Vasks (1946) presents him as one of the most significant Latvian composers and the most popular representative of Latvian music culture abroad as well, who this year (2016) is celebrating his 70th jubilee and whose education is connected with Lithuania as well.Pēteris Vasks in his creativity tends to speak about global and timeless problems. Birth and death, hate and forgiveness, harmony like a choral and dissonant chaos are themes that are represented in many different sonic forms of the composer’s works. Though he has mastered and synthesized in his own language many different 20th century composition techniques, the dominating musical expression is his desire to certify the necessity of a harmonic global feeling , to renew the worth of classical music and bestow upon it a new sound. Altogether, neoromanticism is clearly sensed in the music works by Pēteris Vasks alongside with an echo of a new expression of the spiritual aesthetics – New Spirituality, New Simplicity or Holy Minimalism.The ideas of the Latvian composer have achieved some kind of theological level, creating his own lexicon of musical means of expression as the way to show his faith.
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The object of this paper is the Vilnius seminary’s manuscript sheet music books re-written in 1828. These are the books of vocal parts. In the first pages of the two surviving books - Canto 2 and Basso vocale - it is written that there were four of them (Canto 1 and Tenore have not been found up to now). Considering the specific of the creations, it is possible to assume that there was a fifth one, dedicated to the organ accompaniment and maybe a few more, dedicated to the instrumental ensemble. Vilnius seminary’s books were found in Vilnius, in St. George the Martyr Church. It is not clear in what conditions they were kept for almost 200 years, who and how much used them during this long period. In 2010 both books were restored in the Lithuanian National M. Mažvydas Library’s Document Restoration and Conservation Centre: cleaned off the dust, collected through time scurf, mildew. Now the manuscript is kept in the library’s archive. Basso vocale was chosen for the analysis of the books. It has 309 pages marked using inks. The content of the Vilnius seminary’s book consists of vocal-instrumental liturgical creations: masses, hymns, versicles, vespers and others. Most compositions are anonymous; found are only a few composer names: Martin Zebrowski, Francisco Selesio, Zygmunt, Rulewicz, Józef Elsner and Karol Kurpinski. It’s clear that the authors (only with one exception) were local creators or composers of Polish origin. Originality of the Vilnius seminary’s book lies in the fact that it contains re-written compositions in four languages: Polish, Latin, Russian and Jewish. It is a direct reflection of multilingual and multicultural Vilnius of the first half of the 19th century. At the end of the book there is a memorable account about a flood which destructed Vilnius in 1828, written in Polish. It is possible to assume that the whole book was dedicated to the memory of the horrible event and to the prayers for the future.
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The study analyses stage song’s lyrics by an eminent poet Jerzy Ficowski, an effect of his minor and gainful creative activity, yet important as a set of pieces that belongs to Polish People’s Republic popular culture mainstream. It presents the institutional aspect of composing and distributing of song, the problem of the text’s corrections and the authorship liquidity resulting from market expectations. Attention is paid to the myths and life models included into the songs, themes of love, gipsy and city, as well as the cases of restrain and squeezing the songs’ plots from the stage circulation due to political reasons. The theoretical part includes investigations into the song’s peculiar rhetoric, and offers linguistic-pictorial concepts present in Ficowski’s lyrics. The distinctive rules of song production and the song reception is given against the background of the author’s exclusively poetic creativity.
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The 21st century learner has always been connected to the digital world.Their life has always included mobile phones, Facebook, Wikipedia, Instagram, and Google. Their access to the world of information is immediate, continuous and always available, nearly free of charge, anytime and anywhere.The 21st century learner enters the traditional or virtual classroom with the same kinds of expectations as their experience in their “real world.” Feedback on homework is expected to be as instant as a Google search.
More...Jedno čitanje urbanog nasilja i kontroverza oko nove zgrade Muzičke akademije
Postoji u središtu Zagreba jedna zgrada koja se od nedavno zove »Kuća Europe«, druga otprije »Europski dom« i obje svojim postojanjem sugeriraju ideju da je Europa nečija kuća ili dom. Ako prihvatimo tu udomiteljsku ideju, trebali bismo i odgovoriti na pitanje kako izgleda ta kuća i tko u njoj stanuje?
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Magnitizdat je spoj ruskih riječi magnitofon (magnetofon) i izdate l’stvo (izdavaštvo). Kao i samizdat, ta riječ označava raspačavanje radova koje službena sovjetska cenzurani je odobrila. Magnitizdat radovi najčešće su necenzurirane pjesme s društvenim komentarima, koje su uz gitaru na neformalnim druženjima snimili slavni sovjetski šansonijeri.
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Durch die ganzheitliche Förderung von Selbständigkeit, Streben nach Einsicht und Durchgeistigung des tätigen Daseins ist die pädagogische Vermittlung bereits funktional als eine künstlerische Aktion eingestuft. Insbesondere im Musikunterricht ist dies naheliegend, da der Gegenstand der Betrachtung die musikalische Kunst selbst ist. Ernst Irtel1, der siebenbürgische Musiker, hinterfragte während seines Wirkens nicht nur die Sinnzusammenhänge von Lied, Kammermusik und Sinfonie, sondern auch die Möglichkeiten einer unverzerrten Begegnung mit Musik und der damit verbundenen künstlerisch-intuitiven Förderung menschlicher Lern- und Verstehensprozesse.
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The present article analyses Lithuanian emigrants’ culture of string instruments in the USA and discusses the activities of native-born Lithuanians as well as the development of artistic activities of World War II emigrants at DP (Displaced Persons) camps and their integration into the USA music culture; a lot of attention is drawn to analyse (it has not been implemented till now) the artistic activities of a renowned violinist E. Kuprevičiūtė. The traditions of concert life, the repertoire trends and the place of violinists in the context of emigrants’ music culture are described.Lithuanian musicians, who had come to the USA before World War II, managed to more or less successfully develop their artistic activities. Some Lithuanian violinists graduated from music colleges and higher music schools in the USA where they acquired Bachelor’s and Master’s degrees, performed favourably with symphony and chamber orchestras in different cities, played as soloists and carried out pedagogical activities. Highly motivated educationalists delivered lectures at famous music schools: J. Jakaitis (a violinist) taught at L. Beethoven Conservatoire set up by A. Pocius; A. Draugelis (a violinist / composer) was in charge of the Department of Music at California Institute of Technology; M. Digrytė worked in Hasbrouck at music school of further education (New York) and the like. When World War II was coming to an end, some prominent Lithuanian string players emigrated to the USA and developed their professional skills far from the Motherland. They continued their music career, started in Lithuania and cultivated at DP camps. Many Lithuanian string players realised themselves by performing in orchestras: I. Vasyliūnas (a violinist) played in symphony orchestras of Boston and Cambridge; P. Armonas (a cellist) played in symphony orchestras in the south-western and northern suburbs of Santa Barbara, Rochester, Florida and Chicago. Other violinists played in the orchestras of Elizabeth Philharmonic, Newark, NY symphony, Cleveland, Waukegan, Chicago Youth, Civic and other ones; it exhibits a highly professional preparation of Lithuanian string players.Quite many Lithuanian string players organised concerts for the representatives of Lithuanian community, played in various chamber ensembles – duos, trios, quartets. Some performers combined successfully their concert activities and performance in orchestras with private lessons at their established music schools-studios.With the help of active string players such as I. Vasyliūnas, E. Kuprevičiūtė and P. Armonas the Lithuanian string culture became productive: it motivated Lithuanian concert life, promoted professional artistic activities and familiarized foreigners with the values of Lithuanian music art.The performers’ merits especially consisted in propagating Lithuanian chamber instrument music and in stimulating the creation of new opus. Consequently, there appeared mature works by V. Jakubėnas, K. V. Banaitis, J. Gaidelis, J. Kačinskas, J. Švedas. Furthermore, active concert activities encouraged American composer J. Bavicchi to create Sonata-fantasia on the themes of Lithuanian folk songs.A part of Lithuanian violinists exchanged music art for better paid jobs or a performer’s job was complemented by new specialisation. A. Jaras (a violinist) familiarized with piano tuning and regulating methods and made twelve discoveries; S. Kairys combined music performances with a position of a chemist, while others supplemented their activities with specialisation of a choir conductor, an organiser of radio programmes or a composer.
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Review of: Algimantas Kalinauskas. Ataidai. dirigento atsiminimai. Vilnius: Lietuvos muzikos ir teatro akademija, 2010, 489 p. Čia Priėjo Gorbulskis… Sud. A. Baranauskaitė. Vilnius: Versus aureus, 2010, 136 p. „Gaidos“ Obertonai 1991–2009. Recenzijos, Pokalbiai, Reiniscencijos. Sud. R. Stanevičiūtė. Vilnius: Lietuvos kompozitorių sąjunga, 2010, 554 p. ...
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