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Orkestra/Oda Müziği Dersi Kapsaminda Türk Müziği Eserlerinin Seslendirilmesinde Karşilaşilan Problemler

Author(s): Mammadali Mammadaliyev / Language(s): Turkish Issue: 35/2017

The foundations of the institutions that produce music education in our country have been taken with the establishment of Musiki Muallim Mektebi. These institutions, after Musiki Muallim Mektebi, Istanbul, Izmir, Aydin, Bursa and so on. By spreading rapidly in the provinces, our country has hosted a process that is evolving in music education. In the institutions that educate music teachers, many courses and many applications related to hearing, saying, and execution have been put into force. The "Orchestra / Room Music" course, which started in 1997 and was revised in 2006, is considered as one of the milestones of the music teacher program in terms of supporting the mental, spiritual and social developments of prospective teachers. In this research, technical and emotional problems encountered during arrangement of Turkish Music pieces according to chamber music instruments in Orchestra / Room Music lesson, their sources and solution alternatives are presented.

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О рецепцији црквене византијске музике у Београду крајем 20. и почетком 21. века

Author(s): Gordana Blagojević / Language(s): Serbian Issue: 1/2005

У раду се разматра комплексан феномен употребе црквене музике од стране једног дела црквеног клира, као средства за изражавање превасходно националног идентитета, где је верски идентитет потиснут у други план. Проблем се посматра на територији Митрополије београдско-карловачке. Деведесетих година 20. века почели су да се оснивају црквени хорови који се баве извођењем византијске црквене музике на црквенословенском и српском језику. Ова музика је изазвала лепезу различитих реакција, од одушевљења до прогона и, коначно, забране њене богослужбене употребе на подручју ове митрополије. Начин црквеног певања који је код Срба присутан у последњих сто година проглашен је изворно српским, па самим тим и једино пожељним на богослужењу. Долази до измишљања традиције, где се старији начин певања одбацује на рачун новијег које постаје „старије и српскије“.

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Vaizdinis ir muzikinis daugiapotekstiškumas Alfredo Hitchcocko filmuose: Langas į kiemą / Psichopatas

Author(s): Domantas Milius / Language(s): Lithuanian Issue: 91/2017

The article deals with the multiple implications often observed in the films of the English film director Alfred Hitchcock. His films are always characterized by a deeper psychological and emotional meaning which reveals the hidden social or emotional contexts of the plot. These contexts can be encoded in visual scenes or film music. On the basis of the director’s films “Rear Window” (visual meaning) and “Psycho” (musical meaning), I attempt to reveal the functional elements of image - viewing, music – listening and psychological/emotional meanings in the film structure. I seek to identify what kind of cinematic and musical instruments are used. Direct or indirect meanings are being created. How is the viewer affected?

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Privlačnost motiva lutanja za – lutanjima nesklonog – Franca Šuberta

Author(s): Dragana Jeremić Molnar / Language(s): Serbian Issue: 1/2013

Franz Schubert was not generous in commenting his own creative procedures, or in revealing his artistic inspirations. Therefore, it is even today not clear why Wilhelm Müller’s collection of poems entitled Winter journey attracted Schubert so strongly that he was so determined to set it as a whole to the music. In this article the author mentions, and rejects as well, couple of commonly accepted interpretations. The path to the lieder cycle Winter journey was paved neither by Schubert’s identification with the main character – outcast overwhelmed by desperation and anticipation of the approaching death – and his strange ways of experiencing the world; neither by composer’s acceptance of impious beliefs hidden in Müller’s poems. The author argues that both poet and composer of Winter journey shared the affinity for the wandering (and wanderer) motive which was one of the central topics in the rising romantic Weltanschauung. Schubert was dealing with this motive from 1815 until his death mainly in his lieder, sometimes in very complex manner. In order to understand the real nature of Schubert’s artistic rapprochement to the motive of wandering, the author was obliged to consider and, at the first place, evaluate the works of scholars (such as Theodor Adorno, David Gramit, and Jeffrey Perry) who have been dealing with this problem. After that the author focuses her attention to the narrative entitled My dream, the most extensive and enigmatic writing left behind Schubert; she analyses the role of wandering in it, arguing that Schubert was participating in the spiritual currents of his time even unconsciously and trying to adapt them in order to serve as the solutions to his own existent ional dilemmas. Finally, she concludes that the composer was very sensitive for the complexity of the phenomena of wandering, when romantic Weltanschauung was at its peak, and eager to come to terms with this complexity artistically, paying the most attention to one of its layers – the regenerative one.

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Richardas Wagneris Ir Kino Muzika: Leit Motyvo Vaidmuo

Author(s): Domantas Milius / Language(s): Lithuanian Issue: 90/2017

The article gives an overview of the leitmotif, as the principal composing technique of musical drama in the works of the late Romantic German composer Richard Wagner who reformed the opera genre. The role of the leitmotif in the drama (story) development context, as well as the use of it as a creative principle are defined. The ability of music to establish psychological associative relationships that characterize emotional changes of actors is also defined. In practice, to get a deeper insight into the importance of the leitmotif, the film by Vytautas Zalakevicius Adam wants to be a man is invoked, The music author is Eduardas Balsys, who, using the principle of leitmotifs in the plot drama, constructs emotional integrity and multiplicity in the film. By this example the article concludes that Richard Wagner’s leitmotifs system and philosophy are directly applicable to film music.

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Прикази

Author(s): Ana Banić Grubišić,Marija Krstić,Marija Ristivojević / Language(s): Serbian Issue: 2/2012

Ana Banić-Grubišić - Saša Nedeljković. Kultura i nasilje: antropološki pristup proučavanju naličja nasilja. 2011. Beograd: Baštinik i Odeljenje za etnologiju i antropologiju Filozofskog fakulteta u Beogradu, str. 518. Марија Крстић - Нина Куленовић. Социјална онтологија у филму „Аватар“. Антрополошка анализа. 2011. Београд: Универзитет у Београду - Филозофски факултет, Одељење за етнологију и антропологију Marija Ristivojević - Popularna muzika kao zvuk nacije. Ketrin Bejker, 2011, Zvuci granice. Popularna muzika, rat i nacionalizam u Hrvatskoj posle 1991. Beograd: Biblioteka XX vek

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Rokenrol kao lokalni muzički fenomen

Author(s): Marija Ristivojević / Language(s): Serbian Issue: 1/2012

The paper considers the process of localization of a pop cultural and musical phenomenon – rock ’n’ roll. My basic premise is that rock ’n’ roll as a global music genre can be perceived as local, and hence represents a recognizable identification element for the local population. In this case the label r ’n’ r pertain to the phenomenon of Belgrade "new wave" music, which was popular during the 1980’s. Based on the analysis of narratives from relevant documentary films, it is my intention to find out whether "new wave" was initially perceived as a local phenomenon, and what the means of constructing this image are, as well as what it is that gives this phenomenon local legitimacy and credibility.

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Musical Life of the Jewish Community in Interwar Galicia. The Problem of Identity of Jewish Musicians

Author(s): Sylwia Jakubczyk-Ślęczka / Language(s): English Issue: 03 (34)/2017

The article discusses the issue of Jewish musicians’ identity by the ex-ample of prewar Galician artists. It emphasizes the role of social andpolitical divisions within Jewish community and the impact of assimi-lation, liberalism, socialism and Zionism on the musical life of Jewsin Galicia. Then, it discusses their influence on individual musicianslike: Bronisław Gimpel, Bronisław Huberman, Józef Koffler, StanisławLipski, Wilhelm Mantel, Paweł Anhalt, Stefan Schleichkorn, HenrykGuensberg, Józef Neger, Henryk Apte, Izaak Lust, Zofia Lissa, Mor-dechaj Gebirtig, Nachum Sternheim and musicians active on the stageof popular music. Its aim is to encourage musicologists to reconsiderthe issue of prewar Jewish musicians’ identity and to use findings ofhistorians and sociologists in musicological literature. They indicate rather complexity, not unilaterality, of the self-identification of Jewsin diaspora. Understanding of the Jewish musicians’ work conditions allows to discover the hidden meaning of their actions.

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CULTURAL INSTITUTIONS AND THEIR BENEFICIARIES (IN YUGOSLAVIA)

Author(s): Tomislav Kojović / Language(s): English Issue: 1/1971

According to official statistics the following cultural institutions were operating in Yugoslavia in 1969: 1,645 cinemas, 183 theaters (professional, children’s and amateur), over 14,000 libraries, 366 museums and museum collections, a large number of institutions and societies for so-called general culture, including 450 workers’ and people’s universities and about 1,300 culture and art clubs (there are no statistical data for cultural and similar centers). To these should be added 8 republican and provincial and 119 local radio and television stations which broadcast cultural programs for about 3,320,000 radio and about 1,550,000 TV subscribers, i. e. virtually for the entire population. There are furthermore 60 publishing houses which annually publish about 8,000 new books and pamphlets, close on 1,400 newspapers, about 1,200 periodicals, and over 20 film companies which in 1969 produced 34 feature firms and over 300 documentaries. About 32,000 people work in cultural institutions and enterprises, including several thousand creative and performing artists (writers, painters, sculptors, musicians, film and theater actors, etc.).

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Archetipas Muzikologijos Akiratyje

Author(s): Jūratė Landsbergyte / Language(s): Lithuanian Issue: 77/2013

The archetype rises in the philosophical ideas of the XX c. as an especially important paradigmatic dimensional connection of the past, nowadays and future. According to I. Froud and C. G. Jung’s theories of psychoanalysis, and especially the influence of depth psychology on the creation of art, the conception of archetype is more often evoked in art study. It helps to go deeper into the motivation and into the resources of the creation of artistic ideas. It opens the depth of their archaeological layers. Musicology here has got many possibilities: to look at the archetype as a universal, the model of the process of world formation (Karbusicky, Mache), to look from the perspective of psychoanalytical “archaetology“ – as the symbol of myth, dramatic gesture of the turn of the history of humanity, the signal of the rise (Maché, Kutavičius), as the demiurge of nature, cosmos and human processes and as the model of musical dramaturgy – canon, “eternal circle“, from the repetitions of which there begins the universal sequence of the fluctuation, the paradigm of creation (Kutavičius, Pärt).

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PEDAGOGIKA ARTYSTYCZNA W SYSTEMIE PROFESJONALNEGO PRZYGOTOWANIA WYKŁADOWCÓW SZKÓŁ MUZYCZNYCH UKRAINY

Author(s): Tetiana Aleksinceva / Language(s): Polish Issue: 2/2017

The article highlights the need for modernization of artistic education. It is emphasized on the expediency of using different kinds of arts at music schools. The Art Pedagogy as an innovative educational discipline in the program of professional training of music school teachers is described.

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Tautosakos Rinkimo Ištakos Šilutės Apylinkėse: Objekto Ir Konteksto Sąveika

Author(s): Lina Petrošienė / Language(s): Lithuanian Issue: 69/2011

The article discusses the first period of documenting Lithuanian folklore in East Prussia from its beginnings in the 18th century up to the 20th century. The melodies of Lithuanian songs documented in the 19th century in the environs of Silute – a small and relatively peripheral territory during the period under study – are analyzed. The study found that those most interested in Lithuanian folklore and language in East Prussia at that time were the initial, non-Lithuanian, scholars of Indo-European studies whose attitude and initiatives mobilized the rural intelligentsia as well. This cooperation laid the tangible foundation for Lithuanian folklore and ethno-musical studies. Defects in methodology for documenting folkloric musical material in the 19th century, however, raise many problematic questions. These questions are addressed by comparison of the Lithuanian songs of the 19th and 20th centuries. Study of the musical material of the Silute region leads to the formulation of an hypothesis about the survival of the ancient stratum of local folklore into the 19th century, its existence alongside the invading German secular and religious worldview, and its gradual extinction. The ancient musical stratum was “covered up” by the newer, because a specific portion of songs popular with and sung by the East Prussian Lithuanians have not been found in the 19th century, or perhaps were never there at all.

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Buhûrîzâde Mustafâ Itrî Efendi’nin Segâh Âyîn-i Şerîfi’nin Elde Bulunan Beş Önemli Nüshasının Karşılaştırılarak İncelenmesi

Author(s): İsmail Yörükçüoğlu / Language(s): Turkish Issue: Special/2017

The aim of the study is to determine if there are any differences between available five copies of Buhûrîzâde Mustafâ Itrî Efendi’s Segâh Âyîn-i Şerîfi in terms of lyrics, melodies, rhythms, to search 118 whether there are distinctness among the copies in terms of absence or plus and if any to present what these differences are. In line with this purpose, conclusions are made about what kind of changes Buhûrîzâde Mustafâ Itrî Efendi’s Segâh Mevlevî Âyîn-i Şerîfi underwent in the way of musical practice and what the differences between the copies are. In the research, information is given about the copies and the authors, inferences are made about on which date or dates the copies may have been written. During the research, the entire copies are translated according to the Arel-Ezgi-Uzdilek system and notes are rewritten as being comparable. Among the copies, the lyrics which were written by the Ottoman Turkish are translated to the Latin Alphabet and written under the copies. Then, the differences in the copies are examined by comparing lyrics, melodies, rhythms, levels, absence or plus and conclusions and interpretations are made in relation to these issues.

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Žemaičių Kalvarijos Kryžiaus Kelio (Kalnų) Giesmių Literat Ūrinių Ir Muzikinių Tekstų Kilmė: Vietos Ar Iš Svetur Atkeliavusi Tradicija?

Author(s): Alfonsas Motuzas / Language(s): Lithuanian Issue: 67/2011

The article analyzes the origin of the religious literature and music texts of Žemaičių Calvarias Cross ways (Kalnai-the Mountains in English). It seeks to answer the question of whether the religious literature and music texts of Žemaičių Calvarias Kalnai are original or borrowed. The results of the research indicate that the biggest part the religious literature and music texts of Žemaičių Calvarias Kalnai are translation from Polish material. This shows that they were borrowed.

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Folkloro Ansamblių Etninės Kultūros Interpretacijų Kontekstas

Author(s): Eglė Aleknaitė / Language(s): Lithuanian Issue: 62/2010

The aim of the article is to analyse how the inclusion of folk culture to national identity influences interpretations of folklore in the movement of Lithuanian folklore ensembles. From Lithuanian academic texts and publications in press intended for specialists of folklore ensembles, the author discusses the revival of ethnic music as an expression of national identity; analyses how the revival of ethnic music is perceived in discourses of scholars who include folklore in Lithuanian national identity; reviews interpretations of folklore ensembles as representative of alternative notions of folk culture and their evaluation. Lithuanian national discourses and the alternative practices of the ethnic music revival perceive the aim of the revival and many important concepts (authenticity, tradition, etc.) differently. Folklore interpretations and their conflicts in the Lithuanian movement of folklore ensembles depend on changing views of national identity.

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It‘s Rock‘n‘Roll, Man! Competing Visions of History in Reviews of HBO‘s Vinyl

Author(s): Patricia Rose Boyd / Language(s): English Issue: 06/2016

In this article, the author analyses the ways in which competing views of history shape cultural interpretations of television‘s representations of past events and people. Drawing on Memory Studies to critique and highlight the limits of more conservative, traditional definitions of what history is, the article argues that history is not a ―fixed‖ truth but is, instead, constructed through the retellings of the past. If history is positioned as a singular ―truth,‖ we miss opportunities to understand the ways in which particular historical representations index cultural issues that relate both to the time period being represented as well as the current cultural moment. Through an analysis of the critics‘ reviews of HBO‘s historical drama Vinyl, the article highlights the benefits of a new view of history and the impact of this view on our understandings of histories‘ significances.

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«Фантазія для джентльмена» X. Родріго: втілення барокових традицій іспанської гітарної музики

Author(s): Ivannikov Tymur / Language(s): Ukrainian Issue: 8/2017

The study is devoted to revealing the Baroque traditions of the guitar music of the Spanish composer Gaspar Sanz in Joaquin Rodrigo’s «Fantasia para un gentilhombre». Methodology. The research methodology is based on the use of phenomenological, comparative, structural-functional methods that provide more in-depth and versatile study of the chosen musical phenomenon. Scientific Novelty. The scientific novelty of the study lies in the introduction of the well-known guitar opus of the Spanish composer of the 20th century into circulation of analytical musicology, as well as the involvement of baroque sources – the guitar music of Gaspar Sanz in the context of its contemporary artistic implementation. Conclusions. The conducted analytical experience reveals the semantic links of the guitar work with its original sources – baroque dances from the manuscript of G. Sanz (villano, ricercar, espanoleta, canarios and others). Their neoclassical restoration is recreated thanks to the methods of citing old dance tunes in new artistic-style conditions, as well as the use of national traditions of guitar playing.

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Технологія організації міжнародного телевізійного конкурсу естрадної пісні «Євробачення»

Author(s): Sovgyra Tetyana / Language(s): Ukrainian Issue: 8/2017

The purpose of the article is to study the issues of the technology of the international TV song contest «Eurovision» organization. Methodology. The research methodology is the application of general scientific and concrete-scientific approaches such as analytical – to consider fine art and culturological literature on the research topic, historical – to trace the song contest «Eurovision» steps, comparative-typological – to analyse the competition features in various European countries; structural-functional – to determine the general nature of the «Eurovision» international song contest. Scientific novelty. The scientific novelty consists in the following statements. Firstly, a comparative analysis of the competition conditions in Ukraine (in 2005 and in 2017), as well as in different countries (Sweden, Denmark, Morocco, etc.) has been carried out for the first time. Secondly, the main objectives and features of the director-production group work in organizing the Eurovision Song Contest have been studied for the first time. Conclusions. Taking into consideration the long-term and multi-stage holding of the competition and the involvement of a large number of international delegations, the main task of the competition director-production group is the audience arrangement during the contest concert and promotion (advertising) actions (the opening, press conferences, flash mobs, dating evenings («Euroclub»), fan zones and parades). This feature dictates the specific requirements for the venue choice, tent city organization, facilities for the competition management and the public view of the contest final television live broadcast, dressing rooms, scenery, dry cleaners, baggage compartments, and even the preparation of the competition city hotel complex. It also requires a large number of professionals from different industrial sectors, the organizational group action coordination with the leadership of the city state administration of the competition, security services, information policy and mass media.

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Полісемія понять: інтермецо, інтермедія, інтерлюдія

Author(s): Lu Do / Language(s): Ukrainian Issue: 8/2017

The study deals with the research of the origin of the concept «intermezzo»; the commonness, interaction, closeness and individual characteristics of genres «intermezzo», «intermedia», «interlude». In a musicology genre intermezzo didn’t attract researchers’ attention, although it emerged in the context of the bright romantic artistic tendencies of XIX century. This fact actualizes the consideration of the origin and interpretation of «intermezzo» as a concept. Methodology. The methodology of the research involves the application of the etymological and comparative methods. The mentioned methods allow us to analyse the concept «intermezzo» and the genres – «intermezzo», «intermedia», «interlude». Scientific Novelty. The definition of the concept «intermezzo» and genres of «intermedia», «interludia» are suggested. The peculiarities of the appearance of «intermezzo» as an independent genre are defined. Conclusions. Intermezzo as an independent genre is quite complicated work, which appeared in the Romantic epoch for the piano. It expresses a certain and quite diverse picture of humans’ deep emotions. At the same time, intermezzo as an independent instrumental play of the second half of XIX – XX centuries, keeps also performing its more early function, being an integral part of a larger work. Finally, inside it, intermezzo may perform transitional or contrast and also an independent function.

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Оздоровительно-развивающий подход к системе музыкального обучения детей младшего школьного возраста

Author(s): I.A. Malashevskaja / Language(s): Russian Issue: 46(1)/2017

The study reveals the formation stage of pedagogical research of implementation of the theoretic and methodological model of musical education of primary school age children using the musical therapy. Stages of musical and promoting work with children of primary school age, its aims and tasks, methods and approaches have been highlighted.

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