Kronika kulturnih događanja u Mostaru, listopad – prosinac 2019.
Mostar Cultural Events (October - December 2019.)
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Mostar Cultural Events (October - December 2019.)
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Perioada de început a secolului XX este o perioadă agitată, în care apar, la nivel european, noi modalităţi de exprimare muzicală şi procedee, care duc la o altfel de realizare sonoră. Afirmarea tot mai pregnantă a specificului şi expresiei muzicii modale, datorită studiilor întreprinse de muzicologii şi cercetătorii ce au îmbrăţişat ideile promovate de Schola Cantorum precum şi aducerea în atenţia lumii muzicale a cântărilor populare europene, extraeuropene şi gregoriene vechi, influenţează şi muzica românească.
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Românii atât ca popor cât și ca Biserică sunt cei mai vechi în aceste ținuturi răsăritene ale Europei. Faptul acesta, ca și situarea geografică în imediata apropiere a Bizanțului, precum și multiplele legături economice, culturale și religioase cu Bizanțul au făcut ca muzica bizantină nu numai să fie preluată în Biserica străromânilor și apoi a românilor, ci și să înregistreze un curs și o dezvoltare proprii. Alături de cântecul popular, cântarea bisericească a constituit al doilea izvor al fenomenului sonor muzical pe pământul românesc și o pârghie de nădejde în apărarea conștiinței etnice. Și, ceea ce este și mai important, e faptul că el a rămas fidel acestui filon muzical până astăzi. La frumusețea cultului nostru liturgic o contribuție esențială aduce cântarea bisericească ortodoxă specifică din punct de vedere melodico-modal și ideatic. Ea are o puternică forță de înrâurire asupra sufletului credincioșilor. “Cântarea bisericească ortodoxă este cea mai frumoasă visterie a Ortodoxiei, visterie care ne constituie mândria și ne defineșten esența noastră ortodoxă”.
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Pornind de la termeni generici ca neuroplasticitatea sau plasticitatea neuronală, voi face o scurtă incursiune în acest domeniu învăluit încă de mister în pofida descoperirilor științifice în domeniu. Natura mereu schimbătoare a creierului este influențată în principal de activitățile mentale, cele fizice și de alimentație. Lucrarea va prezenta câteva explicații de bază pentru înțelegerea procesului plasticității cerebrale urmând să ne cantonăm pe căile și felul în care muzica reușește să determine modificări și să modeleze căile neuronale ale creierul și astfel să concluzionăm în ce măsură plasticitatea neuronală este influențată de muzică. Fie că vorbim de ascultarea muzicii sau de interpretarea ei vom analiza și modul în care muzica influențează toate aceste procese cognitive și care sunt astfel contribuțiile muzicii la formarea structurală și funcțională a căilor neuronale.
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Prezenta lucrare rezumă câteva caracteristici fundamentale ale relației muzică – om – transcedentalitate respectiv evidențiază caracterul terapeutic bidirecțional al muzicii de cult creștine în general respectiv al muzicii bizantine în special: cel orientat deopotriva spre suflet dar și spre trup întrucât terapia, văzută ca restabilire a unui echilibru interior destabilizat, nu poate porni, în concepția creștină, decât dinspre suflet spre trup. Muzica bizantină nu se supune atât regulilor estetice cât celor spirituale, ea fiind văzută ca unul dintre ”medicament” spirituale utilizate de Biserica Ortodoxe, ce se înțelege pe sine însuși nu ca adunare de sfinți ci ca ”spital” în care ”boala” păcatului este tratată și vindecată.
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În ultimele decenii ale secolului al XIX-lea și la începutul secolului al XX-lea, Franța, a cărei vocație revoluționară nu a încetat să se manifeste cu strălucire, va găzdui cele mai inovatoare experimente culturale europene. Numeroși artiști francezi și străini și-au concentrat potențialul creator în Parisul îmbibat de noile tendințe ale modernității. Dezvoltarea urbanistică a schimbat fizionomia marii capitale, în care începe să se producă o arhitectură a structurilor metalice, care va deschide apetitul pentru spectacolul urban, nonșalant, care sfidează vechile tendințe.
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În ziua de azi, compozitorii au o libertate extraordinară de a-și exprima gândurile, vechile îngrădiri ale modalismului (vezi muzica medievală, renascentistă) sau tonal-funcționalismului (manifestat aproape 300 de ani in muzică) nemaiavând acoperire în această multitudine stilistică, de limbaje muzicale, de tehnici de compoziție, de noi instrumente sau tehnologii de producere a sunetului.
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From the Ancients to the Avantgarde, a common golden thread remains the preocuppation with the precepts of art, in this case the underlying mathematical priciples that govern the phenomenon of music. Just as misunderstood as the music of the spheres or Stockhausen’s Aus de siebene Tagen which remain until today the subject of much speculation rather than common practice, Babbitt’s approach to music composition which led to total serialism remains highly unscrutinable by the mainstream taste. Inspired by the notoriously controversial article with the same name which appears to have changed for good the way Babbit’s music is perceived, this paper attempts to shed a new light on the importance of his creation by contextualizing its merits in a broader perspective.
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Značaj likovne komponente u cjelokupnom Nikolićevom opusu umnogome nadilazi ulogu jedne od dominatnih dijegetičkih konstituenti i stiče značaj nadkonstitutivnog elementa u ukupnom procesu oblikovanja estetske fakture njegovih filmova.
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While histories of ethnic conflicts and nationalism focus mainly on adult actors, this study seeks to shed light on the importance of children and their centrality to post-socialist nation-building through popular culture. Looking at what in Croatia is known as the War of Independence (or Homeland War), the project focuses on a particular, so far almost completely unexplored, aspect of Croatian nation-building: the role of children in the production, dissemination, and impact of Croatian patriotic music. During the war in Croatia, musicians of all genres joined the effort of “defending the homeland through music,” and their songs and videos were incessantly broadcasted on national television and radio stations. Existing studies analysing Croatian patriotic music in this period consider it mostly from the perspective of a cultural and regional identity marker, while the interest to explore music as a political tool has become a nascent field only in the past two decades. Although a few works have attempted to explore depictions of male and female gender within this discourse, no studies have so far researched the role of children as an impact factor via this type of art. Through a media analysis of music production materials, this article shows that numerous patriotic songs and videos included children, whether as singers or background participants, who became actively involved in promoting the Croatian cause at home and abroad, and were therefore one of the essential agents of creating a distinctively Croatian national identity.
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In this paper I address dominant critical discourses of turbo-folk music in Serbia. I suggest that we see music and music related practices as constitutive rather than reflective of identification in order to find a more nuanced ways to understand common discourses of (turbo-) folk critiques and its roles. To that aim, I draw from my long-term fieldwork research in the northern Serbian town of Novi Sad to show how public discourses are played out in private spheres, and also how they are created in and through everyday life. I identify the “anti-folk scene” based on univocal aesthetic exclusion that encompasses people from various social backgrounds and social strata. In conclusion, it could be said that despite its huge popularity and public visibility, turbo-folk remains one of the most important examples of aesthetics of others/other aesthetics in contemporary Serbia.
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The following article concerns contemporary Polish music publishing houses, which in their offer have publications for children who start musical education during professional training. The author presents this area of Polish market in a synthetical way, as well as observes and analyzes tendencies which are visible there. Key market operators are mentioned with short descriptions of their publishing profile, preferred instruments and composers, editorial conditions etc. Few examples of publications are described in a more detailed way—i.e. publications from the offer of three publishing houses: Studio Bis, Crescendo and Euterpe. In the last case, the author interviewed Małgorzata Flis, the illustrator of this publishing house. All the examples are analyzed in an interdisciplinary, editorial-musicological way.
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Franciszek Lilius was one of the most prominent composers of the 17th century Poland, a pedagogue and a choirmaster of Kraków’s Cathedral between 1630 and 1657. The majority of the sources containing his compositions was created after the composer’s death. Many of them are incomplete. Owing to these two facts, we do not know the original version of compositions mentioned by Lilius. One of the examples is the concerto Mutetta super Nicolai Solemnia preserved in Staatsbibliothek in Berlin as a German contrafactum with the text “Kompt lasst uns betrachten”. The composition may have been performed during servicesat the Protestant church of St. Mary Magdalene in Wrocław. The text probably was modified and adapted to Evangelical requirements in this place. However, originally the work must have been intended to be performed in the Catholic church during the feast of St. Nicholas (the 6th of December), as is suggested not only by its original name—Mutetta super Nicolai Solemnia, but also by the pre-compositional material used in it. This material comprises, on the one hand, the one-voice hymn Nicolai solemnia preserved in e.g. the cantional of Stanisław Serafin Jagodyński from 1639 and the cantional of Literary Archconfraternity in Warsaw from 1668, and on the other hand—its four-voice setting preserved in the Sandomierz and Wawel sources. If the copyist had not written original Latin title in his manuscript, we would not know what kind of Latin text was previously used by composer. Only this information made it possible to recreate original, missing catholic version of the concerto. The main issue of the article is an attempt to reconstruct the original lyrics of the concerto Mutetta super Nicolai Solemnia and to analyze different problems connected with it
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The aim of the article is to bridge the gap in the study of Nicolaus de Radom’s output by presenting a comparative analysis of his works as juxtaposed with other European artists. The prevailing opinion of musicologists, such as Maria Szczepańska and Mirosław Perz, is that Nicolaus de Radom’s music is closely related to the works of northern Italian composers. However, such a claim has not yet been supported with the detailed comparative analysis. The article presents the analysis of the manuscripts Kras 52 and Wn 378, signed by Nicolaus de Radom, confronted with selected masses by Johannes Ciconia and Antonio Zacara da Teramo. A detailed analysis of a two-sectioned cyclic mass helps to distinguish certain similarities and differences in the unification of the Mass pairs, as they are exemplified in the music of the composers. The works of all of the three artists manifest secular songs’ influence on the shaping of the Mass as a genre, although each composer adapts it in a slightly different way. Moreover, it is stated that a thorough analysis of the 15th-century Masses is necessary to determine whether there are any links between Nicolaus de Radom’s, Antonio Zacara da Teramo’s and Johannes Ciconia’s works, and whether there are any similarities in their compositional technique. Presented analysis of de Radom’s, Zacara da Teramo’s and Ciconia’s Masses refutes the claim that Nicolaus de Radom’s output bears closest relation to those of Zacara da Teramo’s. The results of the study reveal that there are no straightforward examples which would support such a theory.
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During the transition to the XIXth century new events root in the musical culture of Transylvania. With the governing’s move to Kolozsvár, the city becomes a cultural center, and theatrical representations, musical events and not in the least the Viennese-style chamber concerts become more and more popular amongst the Hungarian nobility, the close circle of governor Georg Bánffy. A contemporary source indicates that the governor’s wife was a disciple of Wolfgang Amadeus Mozart. Yet the existing documents deconstruct the local myth of Mozart’s Transylvanian student. Still, Jozefa Palm tried to introduce the representative elements of the Habsburg capital in her new residence, Kolozsvár. With time she becomes Maecenas to the local kleinmeisters, supports the German-speaking theater thus influencing the reception of Viennese composers in Transylvania.
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Member of the Transylvanian aristocracy, Bertha Brukenthal (1846, Vienna – 1908, Gainfarn im Baden) distinguished herself as a composer. The baroness dedicated most of her works to the members of the Viennese, Saxon and the Hungarian nobility, thus consolidating and promoting family and social connections. Her oeuvre consists of 25 compositions: lieds, chamber music and ecclesiastical works – the later ones strongly connected to the Cecilian Music movement. Completed probably in Transylvania in 1871, the clear and accessible style of the F major Missa Solemnis can be viewed as an eloquent example for the influence of the Roman Catholic church music reform in the eastern part of Europe.
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In his projects, Alexander Chen (b. 1981) unites experiences as a programmer, designer, violist and indie rock musician. His Baroque.me is a virtual, audiovisual interpretation of canonical Prelude from Cello Suite No. 1 BWV 1007 by Johann Sebastian Bach. Like most of Chen’s projects, it is based on the code which he wrote in 2011. The fruit of the code is – in his own words – “a virtual string instrument”, “an interactive plucked instru-ment” or “an impossible harp” that is out of classification in terms of traditional typology of musical instru-ments. Grounded in mathematical fundamentals of musical string, it presents them in an attractive manner and unveils hidden geometrical beauty of well-known items.Baroque.me could seem to be too traditional, nostalgic and naive, lacking in deeply critical approach towards postmodern society and deeply attached to premodern understanding of beauty. Its user-friendly interface, ap-pearance typical for contemporary websites and elements of gaming suggest that Chen’s work is made just for entertainment. However, it is exquisitely interesting as an example of contemporary phenomenon, which Paul Elie called “reinventing Bach”. Baroque.me merges various layers of Bach reception: romantic, modern, and finally postmodern, which connects intimacy, entertainment and – characteristic for Bach himself – fascination of science and new technology. Two possible modes of contact with the Chen’s work, that is passive contempla-tion of the old masterpiece and/or (inter)active disruption of its harmony, can be associated with the ethos of the net artist who uses new technology to entertain people and provide intellectual reflection at the same time
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The article focuses on the issues of difference and repetition, as defined by Gilles Deleuze, and their possible application to Arnold Schoenberg’s dodecaphonic work, Variations for Orchestra Op. 31. Although Schoenberg’s reflection on these problems comes from the earlier years than Deleuze’s, the correspondence of understanding the difference and repetition between them is striking. Two other terms by Deleuze and Guattari applied to the work are becoming and refrain. Repetition and refrain are associated with the representational moment in the work (motif B-A-C-H as a quote and as a type of refrain) while difference and becoming are associated with the anti-representational moment (dodecaphonic technique, developing variation technique, etc.).
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Havergal Brian’s Symphony No. 1 in D minor (1919–1927), known as Gothic Symphony, is possibly one of the most demanding and difficult pieces in symphonic repertoire, the largest-scale symphony ever written, outdoing the most extreme demands of Mahler, Strauss and Schönberg. After the purely instrumental part 1, part 2 is a gigantic setting of Te Deum, inspired by the mighty Gothic cathedrals. This outstanding work has been performed only six times since its premiere in 1961, and has been recorded in studio only once. There are three existing phonographic realisations of this work. Two of them are live recordings made in England. The first of them comes from 1966, when the Symphony was recorded under the direction of Adrian Boult (it was released by the Testament label under catalogue number SBT2 1454) and the second one was made in 2011 under the baton of Martyn Brabbins (it was released in the same year under catalogue number CDA67971/2). The third recording, but the first one that has been available internationally, was made in Bratislava in 1989 under Ondrej Lenárd (it was first released by Marco Polo label in 1990, and later published by Naxos in 2004 under catalogue number 8.557418-19). Made with different orchestras and choirs, under very different sonic circumstances, they also differ considerably within interpretative ideas represented by conductors. They show Brian’s work in different ways, illuminating this composition. Sadly, despite their efforts, the composer’s output is still perceived as peripheral curiosity for connoisseurs.
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