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Muzyczne marzenia senne jako źródło inspiracji dla kompozytorów: wprowadzenie

Author(s): Marek Dolewka / Language(s): Polish Issue: 3/2015

The goal of this paper is to present musical threads in dreams of selected 20th century leading classical music composers. Musical dreams may come during the period of writing the piece, affecting its shape (Edgar Varèse, Igor Stravinsky), or appear totally unexpectedly, giving an impetus to compose a new work (Karlheinz Stockhausen, Mauricio Kagel). Dreams are a potential answer to the concerns of composer (Threni) or a source of inspiration for a short fragment of musical material (Arcana, Histoire du soldat), instrumentation (Octet), some specific features of the piece (The Rite of Spring, Musik im Bauch, Tierkreis, Helikopter-Streichquartett, Himmels-Tür), or even a course of the whole composition (Trans, Match). It is also interesting to observe the occurrence of musical dreams featuring intensive colours. The examples are referred to the current state of research on links between music and dreams. The studies of a group of scholars from the University of Florence, working under Valeria Uga, or Irving Massey, American working in neuroaesthetics, present the statements of composers concerning the pieces inspired by the music heard in a dream in new light. These results provide further evidence that making use of this alternative source of work is possible.

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Opera ar drama… Aleksejus Kartavovas Vilniuje

Author(s): Vida Bakutytė / Language(s): Lithuanian Issue: 1/2007

The article deals with the most significant period in the development of the professional Lithuanian theatre art, especially that of music. For four seasons (1887–1891) the Vilnius City Theatre under the leadership of the talented theatre organizer Aleksey Kartavov saw the ascent of mastership, especially in the sphere of opera. Performances of supreme professional level with accurate selection of singers made the Vilnius City Theatre famous. Not only the response of Vilnius dwellers but also the opinion of Vilnius guests as well as reviews of Kartavov himself rendered in places of the touring of the Vilnius Theatre in Riga, Mintauja (Jelgava) and Warsaw proved the success. Analysis of the circumstances helping or hindering Kartavov from fulfilling his plans is given in the publication. The role of the active responsiveness of the theatre critics is especially highlighted. The article gives a profound analysis of the repertoire changes related to the fluctuation of the priorities of genres, when the opera, for some time in competition with drama, prevailed over the operette. The Vilnius Theatre contributed both to the maturity of the singers’ experience and elaboration of dramatic sophistication. The four seasons of Kartavov left a significant impact on the propagation of theatre art, especially that of opera, in Lithuania.

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Тема города-героя Севастополя в творчестве советской музыкальной интеллигенции

Author(s): Igor Vyacheslavovich Sibiryakov / Language(s): Russian Issue: 4/2015

The article shows the process of the image formation of Sevastopol in Soviet authors pieces of music. Investigated is the role of representatives of the Soviet musical intelligentsia in preservation of cultural and historical memory of society. Distinguished is the variety of reasons, explaining gradual transformation of the Sevastopol image in the Soviet musical culture.

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Lietuvių fortepijoninė kultūra JAV

Author(s): Ramunė Kryžauskienė / Language(s): Lithuanian Issue: 1(42)/2006

The piano culture of Lithuanian emigrants, which has long be-en known to us only from episodic events, unfolds itself mo-re and more and is integrated into the common process of national music art development. Intensive examination of the emigrants’ creative heritage stored in the archives has promo-ted publications of notes, concert performance of manuscript opuses and analysis of the creative work of renowned artists. Many prominent pianists began their careers in Lithuania, improved their skills in exile camps in Western Europe, and reached their artistic maturity already overseas. Some of them worked as accompanists and piano teachers, while others, who had better living and working conditions, appeared in concerts as soloists and chamber musicians. The Lithuanian piano school has been functioning in the USA for many decades, nevertheless, it has never been properly analyzed and discussed. This paper is the first attempt to investigate the problems in this sphere. In the musical educational system of Lithuanian USA emigrants, an important role was played by Lithuanian Music Conservatoire inaugurated by Mikas Petrauskas (1873–1937) and Beethoven Conservatoire set up by Antanas Pocius (1884–1953), both established in Chicago. After World War II a great number of well-known artists left Lithuania. Among them there were pianists: Andrius Kuprevičius (1921–1997), Aleksandras Kučiūnas (1914–2002), Vladas Jakubėnas (1904–1976), Julija Rajauskaitė (1922–1988) and others whose performing and teaching activities stimulated the further development of piano culture. By applying the historical analytical method, the author at-temps to reveal the principle of piano culture variations, con-cert activities and repertoire of known artists. To this end, records are analyzed, concerts and other activities are discussed.

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Marks of Music Reception through Moral Dimension

Author(s): Ruxandra Mirea / Language(s): English Issue: 1/2016

Ethics is the science that comprises the complete rules of moral conduct. Ethics is the science, while moral is the instrument. Moral, whose etymology comes from the Latin word mores-moralis, meaning “custom,” represents a number of beliefs and attitudes reflected in principles and laws, historically and socially determined, that establishes human relationships and their social inclusion, being based on conscience. It is not law,but mass conscience what prevails in approaching the conflict between good and bad. The present study begins by presenting the psalmodic genre that belongs to the religious music and which is an initium of forms and genres, as its component, the Christian worship chant, did not receive social censure. It is a model of musical perfection through its peacefulness brought by the sacred verses.

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Makbet Giuseppe Verdiego wobec romantycznej recepcji

Author(s): Alina Borkowska-Rychlewska / Language(s): Polish Issue: 17/2010

Romantic approach to William Shakespeare’s dramatic works, as well as the notions and questions so vital for the consciousness of the epoch concerning the capacity and function of destiny, unrecognizability of existence, interference of supernatural powers in the world that can be grasped with human mind and common sense, are all intriguingly transparent in Giuseppe Verdi’s Macbeth. The Italian composer, who knew the Romantic reception of Shakespeare’s dramatic plays well (e.g. the Italian translations of the lectures given by August W. Schlegel), embarked upon the issue of the ambiguity of the scene with the witches that appear to Macbeth, posed a question on the cognitive value in the dreamy apparition (in the brilliantly constructed Lady Macbeth’s sleepwalking scene), and, finally, emphasized the aspect of hybridity of the world that inseparably combines the grandeur and the grotesque (the point highlighted in Victor Hugo’s considerations on Shakespeare). The two versions of the operatic Macbeth — the one produced in Florence in 1847, the other, 1865 revised version produced for Paris — relate well with the long sequence of changeable conventions in the nineteenth century theatre, taking into consideration its requirements (the need for a spectacular character of staging, the introduction of multiple Ake a Romantic implant in the operetta world of farcical braggadocio dominant on the Parisian stage at the time of the Second Empire, testifies to the enormous influence of the Romantic reception of Shakespeare exerted at the time and defining for a considerable period of time the concept of adaptation of the works of the Stradford master to meet the needs of the operatic stage.

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Ji tiesė Vilniuje kelius Varšuvos Redutai...

Author(s): Irena Fedorovič / Language(s): Lithuanian Issue: 4(41)/2005

The artists' society "Lutnia" consisted of choirs led by Zygmunt Nagrodzki and secretly operating since 1897, and also of an amateur orchestra which was founded in the drawing school. It was the same drawing school that was reformed by the famous philanthropist and director of Agriculture Bank, Józef Montwiłła. It was home to this artists' society until the 1910/1911 season. The initiator of the society's goals, as well as its treasurer, was Alojzy Perzanowski, and the founder of "Lutnia" was Józef Montwiłła."Lutnia" saw it as a goal to "offer opportunities for its members to pleasantly spend their leisure time and to cherish the art of music" as well as to popularize Polish literature and art. At first there was only a vocal-musical branch in the society, but later sections for drama and literature, as well as for science were formed. The people responsible for the artistic section were Jan Leśniewski (choir), Mikołajus Salnicki (orchestra), Stanisław Bogucki (opera section), and Antoni Rodkiewicz-Kliszewski (drama section). These sections spread their work using popular means and organized the so-called "Poetry evenings" and "Vocal-musical evenings", which took place in the Vilnius town hall. Although with interruptions of its activities, "Lutnia" existed until the Second World War. It was one of the most important cultural institutions in Vilnius, especially until the establishment of the permanent Polish theatre (in the fall of 1906) and Vilnius' famous symphonic orchestra (in 1909). The literature and drama section (later known as just the drama section) played an especially important role, because it laid the foundations of the theatre, and this theatre (as the only Polish institution) did not discontinue its work even during the German occupation (1915-1918).

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Neuro z pedagogiką

Author(s): Kinga Mazurkiewicz / Language(s): Polish Issue: 5/2015

The article is composed of three parts. The first contains a short reflection on the dynamic development of neuroscience, connected with modern non-invasive methods of brain research. The author treats this development as a possibility of increasing knowledge and improvement in the areas of pedagogy and didactics, and also considers that people who aspire to personal development and improve the quality of the learning process can gain knowledge concerning effective learning. Moreover the author highlights the concept of neuro-didactics, indicates when it was created and how significant it is for education. The second part discusses precisely what brain-friendly teaching is by explaining the most important principles of human brain activity. Next, the author focuses on style and learning strategies, and on the importance of brain hemisphere's dominance in the learning process. In the following part Howard Gardner's theory of multiple intelligences is dealt with. Activities and games which stimulate the development of brain are discussed, as well as the influence of music and new technologies on the development of neuronal networks. The last part is a summary, in which the author draws conclusions and also discusses the advantages and disadvantages of modern teaching methods. Attention is drawn to the opportunity for education in Poland to take advantage of new knowledge on the brain's activity. The hypothesis is that for most people learning will not only be accessible but also attractive. It will cease to be associated with arduous back-breaking effort which often has no effect.

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Lietuvos vargonininkų profesinis parengimas pirmaisiais XX a. dešimtmečiais

Author(s): Eglė Šeduikytė-Korienė / Language(s): Lithuanian Issue: 1(34)/2004

Professional training of organists in Lithuania had several periods, it was successive and guiding; it reflected the level of musical education in Lithuania.Organ music in Lithuania, like in other countries in Europe, was closely connected with church. Consequently, many musical works for the organ, educational programs and the training of organists in Lithuania were closely connected with the development of sacral music and church service. This close connection had a positive influence on the training of organists: organists used to improvise; Lithuanian musicians, who had a limited repertoire of sacral music, had a possibility to write works of Lithuanian church music. Its initiator was J. Kalvaitis, one of the professional and famous organists, who wrote the first Lithuanian Mass.The courses for organists and choir conductors, which were organized by different musical societies, were a very important part in the training of organists in Lithuania. Consequently, the professional training of organists was not limited by higher educational institutions. All musicians from various Lithuanian parishes could have a possibility to improve their knowledge.Lithuanian musical periodical press greatly influenced the professional training of Lithuanian organists. The first publication of "The Organist" in 1909 was the first publication of Lithuanian musicians. The analysis of musical works in these publications encouraged a deeper perception of musical pieces. National Lithuanian music was of great value in musical press. Organists could cooperate, get information, share their experience; the world's music literature was generally available.The first period in the professional training of organists in Lithuania ended in 1933. We could assess it as a period of musical practice of organists, but not as a period of professional development of organists. There was a common educational program of training of organists in J. Naujalis music school, National music school, hi many musical societies. The traditions of the training of organists came from Germany. Traditions of French school in training the organists were presented only theoretically.Professional training of organists in Lithuania of the 30s of the 20th century met the requirements of other European higher music schools.

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ESKİ TÜRK DOMBRASINDAKİ SAZ YAZI

Author(s): Karjaubay SARTKOJAOĞLU / Language(s): Turkish Issue: 14/2012

Author gives the information about musical instrument, which was found in the Cave of Altai Mountain. He have been investigating this instrument and came to that this instrument is “Dombra (musical instrument of Kazakh people)”. On the neck of this instrument was runic inscription, author entered the sentence, which was read by him, in the scientific turn. The sentence gives the following meaning: “The fragrant melody gives the pleasure us”. Analyzing the peculiarities of this runic inscription author made conclusion that this instrument is concerned to 5th-7th century. The appearance of term “kui” proves that this instrument is the heritage of Sak’s (Scyth) period. Thus, author concludes: there is a possibility of that this instrument, which was found in Altai mountain, is one of the primary examples of the string instruments.

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Misao o glazbi u autora podrijetlom iz hrvatskih povijesnih zemalja u tiskom objavljenim djelima 16. i 17. stoljeća

Author(s): Stanislav Tuksar / Language(s): Croatian Issue: 02/142/2016

Les textes d’auteurs croates ayant trait à la musique sont révélateurs de la transition progressive du XVIe au XVIIe siècle et s’accordent avec l’évolution de la pensée musicale et scientifique européenne de cette époque. En effet, à partir d’approches et de thèmes à caractère théoricospéculatif, doctrinal et descriptif prédominants au XVIe siècle, le chemin évolutif conduit à une focalisation thématique et professionnelle plus prononcée et à une plus grande rigueur scientifique chez les écrivains du XVIIe siècle. Les écrits théorico-musicaux cités dépeignent un éventail très varié de relations avec la pratique musicale de l’époque à laquelle ils ont été rédigés. Seul Alberti s’occupe directement, dans son traité, de la pratique concrète de la musique du haut baroque à Split. Les écrits de Križanić, Petrić, Ivanović, Ðurđević et Bassano ne se rapportent qu’aux aspects culturels de la pratique musicale. Les textes de Vlačić et de Baglivi, ainsi que la terminologie recueillie par les quatre lexicographes cités, entretiennent une relation indirecte, abstraite, avec la pratique musicale. Les écrits des quatre autres auteurs (Monaldi, Gučetić, Grisogono-Bartolačić, Skalić) traitent exclusivement des aspects philosophico-spéculatifs de la musique sans tenir compte de la pratique musicale. Les idées, les positions et les réalisations de ces seize écrivains et théoriciens de la musique s’inscrivent dans l’histoire générale de l’humanisme, de la science et de la philosophie du XVIe et XVIIe siècle. Certaines d’entre elles sont d’un grand intérêt à l’échelle régionale et nationale, tandis que d’autres le sont à l’échelle européenne.

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Wsłuchując się we własne wnętrze. Opera “Lohengrin” (1984) Salvatore Sciarrina i jej estetyczne oblicza

Author(s): Magdalena Stochniol / Language(s): Polish Issue: 33/2016

The aim of the article is to present the most important elements of the technique and aesthetics of works by the Italian composer Salvatore Sciarrino. Due to the economy of means used, his opera work belongs to the most radical these days, yet at the same time most original group of works which binds the ecology of sound, as well as the aesthetics of silence. The first part of the text describes the composer’s biography together with the basic terminological scope related with the poetics of music, that is, the azzerare strategy, invisible action or the inner space. The second part of the text presents the opera context along with the analysis of “Lohengrin” – the opera upon which the means of creative and executive expression – used also in other Sciarrino’s works – have been outlined.

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“4′33″”. Dźwięki ciszy

Author(s): Marcin Borchardt / Language(s): Polish Issue: 33/2016

August 29, 1952, in Maverick Concert Hall, Woodstock: a historic event takes place. The pianist David Tudor closes and opens the piano lid three times, without touching the keyboard itself, during the premiere performance of John Cage’s new composition. This piece, called “4′33″” has been written for a “silent piano.” It is a composition that is NOT to be played! Critics and the audience find the joke poor. Today, depending on the individual point of view, “4′33″” might be interpreted in hundreds of different ways.

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Przekłady: Przedmioty dźwiękowe i produkty dźwiękowe: standardy nowej kultury słuchania w pierwszej połowie XX wieku

Author(s): Alexandra Hui / Language(s): Polish Issue: 33/2016

I develop the psychological underpinnings of environmental music towards an understanding of how the goals of cognitive and behavioural psychologists contributed to a new kind of listening at the beginning of the twentieth century. I begin with an examination of nineteenth-century concerns about both the physical and psychological effects of music and fraught debate among experimental psychologists of the role of musical expertise in the laboratory. These concerns were, I argue, rooted in the assumption of a direct, corporeal connection between the generation and reception of music, usually bound within a single, individual body. In the twentieth century, new technology liberated the listener from a temporallyand geographically-bound experience of music. The Tone Tests, Re-Creation Recitals, and Mood Change “parties” of Thomas Edison and the psychologist Walter Bingham show that recording technology allowed for a normalisation and standardisation of listening not previously possible in the music halls and laboratories of the nineteenth century. Rather paradoxically, since it also made music more accessible to the individual listener, recorded music, mobilised by industrial psychologists and record companies alike, created a new sound experience actively designed for the lowest common denominator of mass listening. It also contributed to the cultivation of a new practice of mass listening. The new mass listening practice presents broader questions about the definition of music and its functional role – If the function of music is to be ignored, is it still music?

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Bieszczady – u źródeł buntu

Author(s): Mateusz Magiera / Language(s): Polish Issue: 1/2016

The article presents the results of field studies carried out in the Bieszczady (2015) during which I was concerned with the alternative culture(s) of the 70s and the 80s. Within my research interests three main themes can be identified: history of the punk movement and the hippie movement in the Bieszczady Mountains and recognition of the „zakapior” as a rebel and outsider. During my stay in the field I tried to get from the subjects their definitions and views on the nature of the rebellion, as well as learn how the events associated with these phenomena have been preserved in the memory of their participants.

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Neue Slowenische Kunst: Političko čitanje umjetnosti kao retrogradne nadidentifikacije s budućnosti

Author(s): Jasmin Hasanović / Language(s): Bosnian Issue: 1-2/2016

The aim of this paper is to present the political dimension of a controversial artistic, but also political movement Neue Slowenische Kunst (NSK), established in 1984 in Slovenia, as a total project including different disciplines from music, art, design, installation art, film, innovative theater, also including the Department of Pure and Applied Philosophy. Their political interpretation, often associated with totalitarianism will be analyzed in the context of time in which Neue Slowenishe Kunst as such appears and exists – in the context of the dissolution of socialism in former Yugoslavia. Therefore, the paper does not sees Neue Slowenische Kunst as a critics towards the socialist system being its totalitarian reflection, but more like the reflection of that that the postsocialist future will bring.

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Müzik bağlaminda şeflik mertebesinin temel esaslari

Author(s): Mammadali Mammadaliyev / Language(s): Turkish Issue: 33/2017

The structure of the chief, which is the most basic building block of choruses and orchestras, requires that the makers of these chords have their own distinctive features. In this study, the psychological and personal characteristics that should be found in the orchestra and chorus managers are handled in a multidimensional way. Chief, orchestra-chorus members, listening triangle. In addition, communication skills of administrators and communication techniques used, rehearsal arrangements of musical performances of orchestra-chorus members were examined and evaluations of these factors were evaluated. Conclusions about the importance of these concepts in terms of orchestra-choir discipline have been made by interpreting the forms of leadership and authority used by the administrator.

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Recenzja płyty

Author(s): Marcin M. Chrzanowski / Language(s): Polish Issue: 1/2013

Muzyka i taniec zawsze budzą emocje i zajmują wyjątkowe miejsce w życiu młodych ludzi. Muzyka stanowi szczególną formę wyrazu i – jako odrębna forma języka – pozwala się im określić, wypowiedzieć i niejednokrotnie zamanifestować swoją postawę, poglądy, czy też zdanie na jakiś temat. Potwierdzenie tych słów można znaleźć przeglądając raporty dotyczące badań zainteresowań polskiej młodzieży gimnazjalnej – w większości można znaleźć informację, że polscy gimnazjaliści w czasie wolnym słuchają muzyki.

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Czy muzyka jest ewolucyjną adaptacją?

Author(s): David Huron / Language(s): Polish Issue: 2/2015

In this paper it is being argued that music might be regarded as a adaptive human behavior in the light of the evolutionary process. The author recalls here the NAPS theory of music according to which music does not prolong the existence of humanity but it might use one or many channels related to feeling pleasure which had evolved to strengthen adaptive behavior. The article recalls examples of theoreis of musical evolution connected to such issues as sexual choices, social integrity, development of perception, development of movement abilities, group effort, reduction of conflict of interests, safe time consumption and communication between generations. All this evidence is being here regarded through archeological, anthropological and etological context. The conclusion of this paper is based on two assumptions. The first one is the notion that our mood is regulated through conversation and being with a friendly human. The other says that music takes and important place in this mood regulation.

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УЛОГА АНТИЧКОГ ХОРА У СТВАРАЛАЧКОМ ИСКУСТВУ БЕНЏАМИНА БРИТНА

Author(s): Radmila Paunović Štajn / Language(s): Serbian Issue: 49/1/2012

In his artistic approach, Benjamin Britten (1913-1974), the greatest 20th century opera composer, kept to Hellenistic tradition and the role of a choir as an important segment of the drama, specifically opera as a complex scenic form. The paper included the analysis of treatment of choir either when employed explicitly or symbolically as well as the circumstances where the choir actively participated in the plot or only borne witness to its mainstream. With great respect for his famous predecessor, Henry Purcell (XVII century), Brittan always returned to the myth. His heroes were Oedipus or Prometheus now in new robes, named Peter, Owen, or Billy, but behind the outer shell, we find the human nature, the fight between the good and the evil, Eros and Thanatos, the destiny and the action. When treating the choir as a representative of masses, Britten assigned it the positive (Peter Grimes) or the traditional role (Owen Wingrave), following the mythical pattern of binary oppositions. Either assigning it main or ‘ambient’ role, Britten masterly employed choir in his operas, using versatile musical means with delicate sense of script and form.

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