Скрипковий переклад у музиці ХХ століття в контексті естетики "стильової гри" (на прикладі Фріца Крейслера)

Author(s): Nazar Pylatyuk / Language(s): Ukrainian Issue: 1/2013

Principles of any genre in music are formed and evolved not only after internal musical and even not only after spiritually-cultural laws, but also they considerably represent the evolutional process of general civilization space. On all levels and in all measuring the creative thinking of composers resonates on calls of certain time and transforms it in specific principles of musical expressiveness, without regard to that, as far as the "high" or "low" stage is occupied by a selected structure and dramaturgy in the "table of ranks" of musical genres. These introductory reasoning are directly designed on formulation of the primary purpose of the given article: to show, as violin transcriptions and translations reflect a world view, ontological and gnoseological processes in globalizing society of modernity. Bright representative of such innovative thinking in the genre of translation is considered one of the leading performers of violin art of the first half of the 20th century, Austrian violinist and composer Fritz Kreisler. Famous works by Fritz Kreisler are the example of his original approach to the "idea of genre", to the orientation of translations on a modern to him audience and its estimation in society. They can be interpreted as "quasi transcriptions", that being the original creation of author, written "in the spirit" of baroque masterly music, during more than 20 years were given out as working of the manuscripts of old masters found in the libraries of Italy. This original mystification of famous violinist and composer opened up only due to his self-exposure. Unexpectedly in 1935 Fritz Kreisler confessed, that published by him pieces for a violin and piano "Classic manuscripts" (1905–1910), given out as treatments of works by Couperin, Francœur, Pugnani, Boccherini and other composers of 17th−18th centuries, were in actual fact his own compositions. On the whole Fritz Kreisler wrote 55 original works and over 80 transcriptions and treatments of different concerts and pieces, however it is needed specially to underline that between these opposite after the creative setting spheres, there is not a cardinal difference in the inheritance of Fritz Kreisler. Sometimes his treatments demonstrate native modification of the original and they can be considered as an authorial opus. Examining transcriptions and translations by Fritz Kreisler as one of the brightest models of transformation of the genre in the first half of the 20th century it is needed to pay attention that they represented characteristic tendencies on a background of aesthetic and stylish tendencies of his time. From one side, Fritz Kreisler appropriately is considered an heir of romantic traditions and an expressive post-romantic performer, from other side – he is a representative of the modern thinking and spiritual priorities after World War I. Piety to old music, returning of many forgotten names of composers of 17th−18th centuries (first of all А. Vіvаldі) in active concerto turnover in a certain measure compensated experimentally and impermeability of modern academic opuses to his time. Another very important function that is executed exactly by the genre of translation in music of the 20th century and that Fritz Kreisler genial felt and passed both in his performing practice and in the work, − is playing. The category of game understands here in modern sense, when the special conditional situation – rules of game is created – that is accepted by both sides, at that there is one side, performer, offers its and presents, and other, listeners, that perceive it and decrypt its images and content. This thesis is confirmed not only by an example of numerous famous transcriptions of music of the past, but exactly with Fritz Kreisler’s mystifications. The musical and stylistic level of realization of playing structure removes the display of principles of playing in concrete facilities of artistic expression and receptions. This is the most evident, and the most characteristic level of display of playing principles in music of various styles and directions. In the light of this problem we are inclined to the conception of playing in music by V. Кlymenko. She examines three basic levels of embodiments of playing in music, and we consider that Fritz Kreisler very inventively used each of the indicated levels and brought in it his creative and emotional tint. Into first place a researcher puts the "Playing structure of "competition" (what − N.P.) characterizes the type of game that arises up within the framework of the archaic thinking, in ancient rituals, ceremonies, sport. Even its name specifies on main functional principle − competition. For Fritz Kreisler this playing structure comes forward as primary in all his performing and composer’s activity. His idea of the concerto provides for above all things contentionness in its different measuring, and a necessity to attain the greatest stage in this specific creative process comes forward as a main incentive impulse of all complex of the artistic performing of this prominent violinist.

Скрипкові засоби музичної виразності в сонаті П. Хіндеміта ор. 31 № 2 для скрипки соло

Author(s): Janzhima Vladimirovna Morozova / Language(s): Ukrainian Issue: 23/2013

Sonata ор. 31 № 2 for violin solo by Paul Hindemith is considered in the aspect of use of violin’s sound possibilities and the specificity of the violin’s writing in connection with a specific compositional plan.

Скрито многогласие

Author(s): Velislav Zaimov / Language(s): Bulgarian Issue: 5/2014

Hidden polyphony is used in works composed for monophonic instruments with limited polyphonic possibilities (bowed string instruments) as well as for polyphonic instruments (guitar, lute, harp, harpsichord, piano, organ, celesta, xylophone, marimba, glockenspiel, vibraphone) and even for small ensembles, when texture exceeds instruments’ technical possibilities required for “real” polyphony. Hidden polyphony can be divided to two main types: 1. when one voice through jumping motion gives the impression of two and sometimes more melodic lines and 2. When one voice through jumping motion gives the impression of two layers. In other words, in the first case, the voice jumps from one to another voice and in the second – from one to another layer. This method is one and the same, but according to the rhythm, the “illusory” lines give the impression of homophonic singing (three-part, four-part) or a texture of contrasting layers.

Скрябін: “Прометей” у заграві містерії

Author(s): Oleksandr Guzhva / Language(s): Ukrainian Issue: 2/2007

У творчості Скрябіна недарма знаходять два кола творчих шукань та звершень: перше - від ранніх фортепіанних творів: прелюдій, етюдів, закінчуючи «Прометеєм» та п’ятою сонатою; друге - від шостої сонати до ідеї Попереднього дійства. На нашу думку, цей поділ дещо умовний, оскільки більш суттєвим для композитора був згус¬ ток творчих ідей, що чекали на своє втілення і лише в силу певних обставин по- різному виявились у самих творах, котрі часто випереджали один одного, ніби, як ми до цього вже звикли у контексті симфонічних шукань, йшлося про заперечливі відпо¬ віді самих концепцій.

Скрябінівський ген Радості в Концертній симфонії № 4 К. Шимановського

Author(s): Lilia Mykhaylivna Shevchenko / Language(s): Ukrainian Issue: 2/2020

The рurpose studies - a discovery of A. Skrjabin type to ecstatic Joys (the A. Skrjabin the type of the expressiveness) in Concert symphony of K. Szymanowski as attribute ukrainian cultural projection on creative activity of the last. The methdological base of the study is hеrmenеuties aspect of intonation approach in musicology, certain works of the followers ща B. Asafiev and B. Yavorskiy in Ukraine, culturology interdisciplinary analysis in development of the studies A. Losev, T. Gumenyuk. Scientific novelty of the work is conditioned by championship in science of art- and culturology treatment of discovery beside K. Szymanovski A. Skrjabin type of ecstatic expressiveness in representation to exactly ukrainian cultural tradition since composers to Skrjabin style in Russia no (heirs of Skrjabin style I. Vyshnegradskiy and N. Obuhov present music to France) then powerful figure ukrainian symphonic composer B. Lyatoshinskiy, genius author of the "psychоdrаmas" V. Rebikov, inhabitant of Odessa for revenge of the work and creative activity, indicate exactly ukrainian way of the realization of genius by creator "Poems of the ecstasy". Conclusions. The Quarter symphony of K. Shymanowski in her аdramatic threephase quality is not a focus "traditional thinking" since in she reconverges too broad incidences of the models of the thinking XX cent., including nеоbаrоque comparison church composition, but, main, exists the conservation an Skrjabin ecstatic art, which became property of original refraction to K. Shymanowski of the symbolism influences by creator of "Poem at еcstasy". The fullness drawing in polish composer of Skrjabin commandments about "adramatization" of music forms the parallel to Skrjabin gravities of classic of symphonic art to Ukraine B. Lyatoshynski, to creative activity V. Rebikov, which was in Ukraine and in Odessa then in Russia composer Skriabin style did not take place. The specified side of K. Shymanovski thinking , his(its) his early high confession in Odessa, which became with the end XX cent. stronghold Skrjabin style in art, direct relation deep national bases of being notwithstanding address to folk-lore source and which distinguished as creations of Szymanowski 1910-th years, so and entailments conceptions these years in 1932 creation 4 Concert symphony.

СЛАВОСЛОВНИЙ АСПЕКТ ПОЕТИКИ РЕКВІЄМУ «LUX AETERNA» М. ШУХА В РУСЛІ ДУХОВНИХ ТРАДИЦІЙ УКРАЇНСЬКОЇ КУЛЬТУРИ

Author(s): Anzhelika Anatoliyivna Tatarnikova / Language(s): Ukrainian Issue: 36/2019

The purpose of the article is the manifestation of the poetic and intonational uniqueness of Requiem «Lux Aeterna» of M. Shukh in line with the peculiarities of the implementation of the glorious Christian tradition. The methodology of work is based on the intonation concept of music from the perspective of intonational-stylistic, etymological analysis, inherited from B. Asafiev and his followers, as well as on interdisciplinary and historical-cultural approaches. The latter allows us to identify the spiritual, semantic and stylistic specifics of Requiem M. Shukh, not only in the context of the individual author's style of the composer and his attitude but also the evolutionary paths of Ukrainian spiritual culture. The scientific novelty of the work is determined by its analytical perspective, taking into account both the individuality of the author's position of M. Shukh in translating the heat model of the Latin requiem and its correlation with the spiritual attitudes of Ukrainian culture. Conclusions. The poetical and intonational uniqueness of Requiem «Lux aeterna» by M. Shukh reveals the originality of the author's intention. On the one hand, the work is structured by a text model of the Latin requiem and the Renaissance tenor mass. On the other hand, the author excludes from him such an essential component of the genre as the «Dies Irae» sequence, which constituted the culmination of the drama center of the author's requiem samples in modern times. Its absence is compensated in the Requiem of M. Shukh by the concentration on the images of Light, Peace, Praise, which is recorded both in the title of the work («Lux aeterna») and in the introduction of the text «Gloria,» which was generally absent in the structure of this genre. His glorious semantics in conjunction with the figurative melodic redundancy of «Sanctus» and «Lux Aeterna», derived from the traditions of Gregorian, Byzantine singing and the Orthodox monody, form the leading intonation-semantic complex of the whole work, metaphorically accompanying the spiritual ascent of man to God, Eternity. We note at the same time that this complex is deprived in the product of the traditional attributes of the Glory – vivid dynamics, texture, performing «mass,» the dominance of trumpet «voices,» etc., and represents «silent praise.» A similar intonational-semantic «dominant» of the work of M. Shukh also reveals his connection with the profound spiritual traditions of the Ukrainian worldview («Kyiv Christianity») and his «ethical law,» as well as with the spiritual searches of the postmodern and its representatives.

След Копривщица 2005

Author(s): Deniza Popova / Language(s): Bulgarian Issue: 4/2006

The article combines musings born out of the Ninth Folklore Festival in the town of Koprivshtitsa (August 4-7, 2005) and mainly addresses the problem of the searching for and assessing of the authenticity of the cultural facts presented at the festival. What is praised by the jury as “authentic”? This is not something innate in the nature of folklore culture, but rather criteria relating to what is observed and perceived on the surface: a certain melody or rhythm, certain phrasing and ornamentation, the overall sound, the dialect, the costume, or the instruments, etc. Folklore “from the village source” or authentic village folklore performances are neither the same as they were in pre-modem times, nor can they be preserved and stored as data. Thus they cannot be judged by a jury of experts, unless - as is exactly the case in this festival - they are dramatized. However, in this case, it turns out that what is being judged is the relative merit of a stage simulation of an authentic ritual. Authentic folklore is not, in fact, the subject of the Koprivshtitsa gathering. What is performed there is that which has been preserved not as a spontaneous event, but as a result of the cultural activism of people who still wish to dance and sing and to preserve their own relicts from the past. Old definitions of authenticity and village sources are not relevant any more, having been replaced by the question of how to describe that which intrigues us academically without falling into a romantic nostalgia for the old clear definitions. The article also comments on the importance of the Koprivshtitsa gathering for national identity (since the event is funded and organized by the state), as well as addressing the paradoxical fact that no Bulgarian institution has undertaken to fully document the performances at the gathering.

Сливенски фрагмен: разчитане, наблюдения, коментари

Author(s): Asen Atanasov / Language(s): Issue: 2/2000

СЛИКА ДЕВОЈКЕ СА ЛАНЕНОМ КОСОМ У ЗВУКУ ДЕБИСИЗМА

Author(s): Marija E. Dinov Vasić / Language(s): Serbian Issue: 65/2018

Distinctive and interesting music of Claude Debussy represents an inspiring heuristic challenge for artists and theoreticians of music even nowadays. Today, one hundred years after the composer's death, his complex and multi-layered music has been explored using an interdisciplinary approach. This approach allows a deeper and more comprehensive insight into the essence of the art of the first significant modern composer.The paper explored the traces that could point to the inspiration and processes of musical thinking inherent to the composer. The piano prelude La fille aux cheveux de lin is a paradigmatic example of Debussy's sound aesthetics which in a specific way incorporates the common aspirations of Symbolist poets and Impressionist painters. Consequently, one of the most popular works in piano literature can be properly interpreted through different artistic and media dimensions that in their mutual correlation and correspondence constitute a unique aesthetics of this music. This work focuses on the perception of Debussy’s music, i.e. the sound of Debussism, not only through musicological methodology, but also through the analytical framework of history of art, as an image of The Girl with flaxen hair, initially artistically painted and sounded in the poem of the same name written by Leconte de Lisle.The result of the research leads to the conclusion that Debussy's sound aesthetics cannot be properly understood without a profound research of the relationship between music and other forms of art. This relation defined a unique concept of artistic thinking during the period known as fin de siècle.

Слов’янська музика у виконавській творчості Олега Криси

Author(s): Mykhaylo Kulynyak / Language(s): Ukrainian Issue: 1/2013

Oleh Krysa belongs to those "violinists of the world", that growing on certain traditional soil, managed to synthesize specific innate achievements with numerous other signs of culture. L’viv – Moscow – Kyiv – USA, and between that − hundreds of cities, that he visited with tour journeys, introduced in his world view some of the unique overtones, produced a look to the artistic inheritance and present time, that is characterized by universality and understanding of uniqueness of every artifact executed by him. From this point of view Oleh Krysa surprises scaleneness of his artistic interests, by absence of limitations in his stylish priorities − as he often confesses, he is taken by that work, what he executes presently. At the same time, he positions itself in the row of those musicians that have become representative of national culture in the world. However there are not enough publications devoted to him especially with more detailed analysis of his work. Most materials (R. Yusypey, Т. Коzyreva, І. Lyutyy, Т. Polischyk, Y. Horak, L. Melnyk, L. Kyyanovska etc.) are concentrated on an interview with a prominent artist and in this context they determine his artistic priorities. In that sense it seems very actual to find out the features of Oleh Krysa’s performing reading in works of different national schools and epochs, that determines the aim of the given article. In concerto work of the prominent violinist that was written on compact disks the special place is occupied by works of the Slavic composers. It seems very interesting to trace his approach to different national schools which, however, are united by certain general cultural tradition − Slavic. It must begin with an analysis of interpretations of the Ukrainian, Czech, Polish artefacts of different epochs and aesthetic and stylish directions incorporated by the eloquent name "The Spirit of Eastern Europe", 2010). It includes the cycles of the Czech composer Josef Suk (1874–1935), representative of Polish school Karol Szymanowski (1882–1937) and Ukrainian artist Yevhen Stankovych (1942) and also pieces of the famous Polish violinist-virtuoso Henryk Wieniawski (1835–1880). The Slavic origin of all artists allows to notice not only some common in Slavic interpretation of music but also to mark the cognation of intentions of authors of different countries and epochs to the world view and mental principles of performer. On the whole, the spirit of "European East" is perceived and transformed by Oleh Krysa not only as consonant to any other of European national culture − whether that French, or German, or Italian, but also at the same time it is marked by the lines of unique spiritual tradition in that, after our supervision, a basic place occupies refinement, organic of lyric reflection, propensity to direct, frank expression of feelings − but not in that superexpressive variant in that it is observed, for example, in the cultures of European South, but in the tints of delicacy, sympathy, full of fine distinctions and gradations in the palette of experiencing. The special accent is added by folklore allusions being both in Czech (J. Suk) and in Polish (especially − H. Wieniawski) and Ukrainian (Ye. Stankovych) works. A compact disk continues this Slavic line with the eloquent name "From Russia with love". It presents the panorama of violin opuses of the Russian composers for almost 150 years − from the director of Court singing choir in Petersburg, the author of the Russian hymn "Goodness, save a tsar" Oleksij Lvov (1798−1870) (on a disk he by mistake is adopted by Oleksandr, − М. К.), to the modern composer Rodion Schedrin (1932), and so various after genres: both original and translations and transcriptions. Alongside with the original axiomatic standards of music by Petr Tchaikovsky there is a row of very felicitous and quite often witty transcriptions on a disk, for example, from ballets by Sergei Prokofiev, Reinhold Glière or Igor Stravinsky, or and opuses of not popular authors of the past and modernity, as Nikolay Afanasyev (1820−1898) or Mikhail Ziv (cinema composer, 1921−1994). They are selected with a large taste and in integrity form the extraordinarily harmonious and versatile panorama of Russian national culture, perceived and transformed in an own world view by a modern violinist. On the whole the Slavic macrocycle presents the wide panorama of spiritual tradition, and in its own specific roots, in point of intersection, general with the European romantic and salon tendencies. It is impossible to skip a rich and differentiated timbre gamut that Oleh Krysa carefully selects to every work. If in large compositions these varieties not so strike the eyes, then in miniatures that kaleidoscopic change each other, it is felt extraordinarily brightly.

Слова при представянето на книгата "Социалистическото българско радио (1944-1989:) на доц. д.н. Вяра Ангелова

Author(s): Raina Konstantinova,Snezhana Popova / Language(s): Bulgarian Issue: 12/2022

The text contains a review made within the Public Seminar of the Department of „Radio and Television“, held on November 1, 2022, where Raina Konstantinova, Chair of the Public Council of the Bulgarian National Radio, and Prof. Snezhana Popova presented the new book of Assoc. Prof. D.S. Vyara Angelova „The Socialist Bulgarian Radio (1944-1989)“ (University Press „St. Kliment Ohridski“, 2022). We publish both speeches given at the premiere of the book.

Словесният коментар на българските композитори спрямо канона на соцреализма и авангардния канон

Author(s): Angelina Petrova / Language(s): Bulgarian Issue: 2/2018

This paper sketches out the clashes between the canon of Socialist Realism on the one hand and the avant-garde canon in the Western European New Music on the other. Both the establishing of both canons andThis paper sketches out the clashes between the canon of Socialist Realism on the one hand and the avant-garde canon in the Western European New Music on the other. Both the establishing of both canons and the processes of their destruction are considered in the light of the analysis of the positions and poetics of major figures in Bulgaria’s New Music such as Konstantin Iliev, Lazar Nikolov, Vassil Kazandjiev, Ivan Spassov, Bojidar Spassov, Wladimir Pantschev, as placed in the specific conditions of isolation and political dictation. The commentaries of Bulgarian composers Lazar Nikolov, Konstantin Iliev, etc., had not the faintest chance to break through the Iron Curtain. Still, they corresponded to the avant-garde canon. After 1956, the destruction of the canon of Socialist Realism began, a process that gained momentum in the 1960s. The interpretation of folklore in the 1960s as part already of the postavantgarde paradigm, a national indicator of identification was searched within the pluralistic culture of the New Music. In the 1980s and the 1990s, both canons lost their distinctiveness. The compositional views of Bojidar Spassov and Wladimir Pantschev of the tern of the twenty-first century incorporated intercultural concepts of authors of Bulgarian extraction that have come to fruition in Austria and Germany.

Слово – головний художній засіб ідейноемоційної виразності театралізованих тематичних концертів

Author(s): Myroslava M. Melnyk / Language(s): Ukrainian Issue: 29/2012

The article analyzes the technique of using words as a means of artistic expression, its’ right usage in the theatrical events, successful creating an artistic image, the theme and ideas with the ceremony. It was classified speech laws functioning in the context of concert performances.

Слово за Райна Кацарова

Author(s): Nickolai Kauffmann / Language(s): Issue: 4/2001

With deep conviction and clear conscience I rank Raina Katsarova among the emanation of the Bulgarian people, among those great Bulgarians whose names will re­ main forever. When the Institute of Music at the Bulgarian Academy of Sciences was established (1948), Raina Katsarova was put in charge of the music folklore section. Having been a collaborator of Vassil Stoin, she took from him and introduced into all of us the flame of the collectors of the great golden treasure. This eminent trio - Raina Katsarova, Ivan Kachulev, Elem Stoin - brought with themselves a great tradition from the Ethnographical Institute, where they worked before coming to the Institute of Music. That was the great science of Ivan Sishmanov, Mihail Arnaudov, Hristo Vakarelski. She worked hard to create a centre for collecting and studying Bulgarian folk music, which can be compared with the most prestigious ones. She headed the passionate work of collecting and studying the music folklore from all regions of Bul­ garia, she gathered a nucleus of folklorists, who shared her love for and devotion to the national music folk art. I will not enumerate the merits of the collective and research activities of our teacher in everything connected with ethnomusicology - the first solid stones of paving the way in ethnochoreology, in studying folk rituals and customs accompanied with mu­ sic, in studying folk songs from all over the country, in comparative studies, folk polyphony, town folklore etc. During the years when relations with the Western world were undesirable, Raina Katsarova was the only ethnomusicologist who was not afraid. She was the restless courier of our folklore musical art who connected us with Bela Bartok, Zoltan Kodai, Mod Karpeles, Barbara Crader, Albert Lloyd.

Словото в съвременните български акапелни творби по православни текстове

Author(s): Georgi Elenkov / Language(s): Bulgarian Issue: 2/2011

СЛУЖЕНИЕ МУЗЫКЕ: ИРИНА СТОЛЯР – ШТРИХИ К ТВОРЧЕСКОМУ ПОРТРЕТУ

Author(s): Elena Gupalova / Language(s): Russian Issue: 2(33)/2018

In this article the author considers the creative activity of the famous musician Irina Stolyar – pianist, teacher, methodologist, editor-compiler of national music collections from the Republic of Moldova. Then, she describes in detail her work as an expert in the Educational and Methodical Cabinet at the Ministry of Culture in the early 1970s. Special emphasis is laid on her approbation of the new works composed by Moldovan authors that were to be included in concert programs and their further recommendation for the use in pedagogical practice in the children’s music schools and music colleges of the Republic of Moldova. The article analyzes her teaching methodology, which influenced the successful concert performances of students and their further improvement. In the conclusion of the article, the author examines I. Stolyar’s activities as editor-composer of musical collections published in the Republic of Moldova in the period from 2001 to 2009.

СЛУХАННЯ ТА ВИКОНАННЯ МУЗИКИ ЯК ІНТЕРАКТИВНИЙ РЕФЛЕКСИВНИЙ ПРОЦЕС

Author(s): Mykhaylo Mikhailovich Tushchenko / Language(s): Ukrainian Issue: 4/2020

The purpose of the article is to determine the ways of activating the development of perception of modern music on the basis of effective assimilation of new musical material by students and preparing them for independent mastering of modern music. Methodology. To solve the tasks, theoretical and empirical methods were used, including analysis - synthesis, induction - deduction, classification - generalization, pedagogical observation, conversation, analysis of the results of educational and creative activities. The relevance of the work lies in its compliance with the modern requirements of national art and education, namely, in overcoming the stereotype of musical thinking, which is an urgent task of modern music education. The object of the research is the process of professional training of students. The process of developing the perception of modern music, the formation of reflexive skills in the process of training a guitarist. Scientific novelty. This work is an illumination of the results of one's own experience in the development of reflexive skills of future teachers in the "guitar" class based on the analysis of performing and research activities. Conclusions. Thus, we can confidently assert that in the process of teaching and educating students of music colleges or universities, the development of their creative activity plays one of the leading roles, because the art of music is impossible without creativity in all its manifestations. Knowledge only becomes full-fledged when it is acquired not only through the efforts of memory but also with the participation of creative thinking. The training of specialists requires more significant consideration of the individual characteristics of students and attention to their development and the formation of a creative personality in the classroom in the specialty. Activation of thinking should be aimed at teaching thinking, working creatively, developing students' individual skills in acquiring knowledge.

Слуховият анализ: Незаменим предмет на музикалното образование или троянски кон на преувеличената „модерна“ педагогика? Ново, допълнително педагогическо средство или отделна, самостоятелна дисциплина?

Author(s): Violaine De Larminat / Language(s): Bulgarian Issue: 10/2019

The term “analysis” can be used in many different ways, and take on different meanings: starting from an emphatic new name for dictation exercises in traditional training of solfeggio; going to purely harmonic (in most cases tonal!) оr metric exploration of singularly completed compositional constructions, or meaning a general musical understanding of “formal analysis”, this concept oscillates between the description of each of these decoding processes that may actually look like a real “analysis” to the brain, and require a profound process of reflection, enabling a complex synthesis between theoretical, historical, stylistic, aesthetic and cultural experience. Such too wide a range in modern terminology18often leads to misunderstandings and dubious reactions to auditory analysis, attempting to establish itself either as a new discipline or as a part of solfeggio. A new discipline also has a new methodology and a clear goal. In addition, technical prerequisites that seem necessary for such a discipline must be clearly explained. Without setting this question, and without defining clearly the fluctuation between necessary theoretical knowledge that must be based on effective and competent auditory training – and the equally necessary trained hearing abilities that must be available for music theory education, there is a danger of the aforementioned theoretical disciplines to becoming an indiscriminate “blend”, and the corresponding specific contents not to be covered particularly purposefully and thoroughly, despite their seeming attractiveness for students. Although auditory analysis is a relatively new discipline, and in some respects is viewed rather with skepticism as a “modern phenomenon”, it does not intend to compete with traditional analysis of works: it is a fruitful complement to traditional teaching of analysis on one hand, where it clearly emphasizes the importance of sound idea for musical analysis, and can explain the particular problems of sound perception, while on the other hand it contains an immediate face-off with sound reality and musical experience, and is closely related to music practice, expressed humorously by Gérard Grisey: “Do not confuse the map with the landscape!”

Случаят Едип и изкуплението на личността. Музикални решения през ХХ век

Author(s): Milena Bozhikova / Language(s): Bulgarian Issue: 2/2021

The article raises the question of musical interpretations in the twentieth century myth of Oedipus. The focus is predominantly on the most symbolically loaded part of the story - the one about father-murder and incest. In this segment the topics of prophecy, knowledge, murder, incest, retribution, exile. Outside of them remains the question of the causal conditionality of the Oedipus paradigm, which is in the prehistory of events and for which two points are valid: it is hidden and manifesting itself requires redemption. From the dozens of stage interpretations the myths of Oedipus comment on those of Igor Stravinsky, George Enescu, Carl Orff and Wolfgang Rome, located chronologically between 1927 and 1987.

Слушането на музика като средство за активизиране на детското внимание

Author(s): Margarita I. Racheva / Language(s): Bulgarian Issue: 1/2020

The beneficial effect of music on the adolescent is the subject of many studies.. The present study traces the changes in the concentration and stability of the attention of 6-7 year old children in mastering the program requirements in Bulgarian language and literature under the influence of music and without music. There is a significant improvement in the qualities of children's attention in the middle and at the end of the pedagogical situation as a result of listening to musical works. Experimental research proves that the inclusion of music as an emotionally stimulating stimulus in learning activates children's attention, increases the intellectual productivity of children and ensures a higher quality of educational interaction.