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Феномен камерновокальної творчості М.В. Лисенка: історикостильовий аспект

Author(s): Viktor Kavun / Language(s): Ukrainian Issue: 29/2012

Reflection of the article are consists of chamber and vocal’s creative the famous Ukrainian composer’s at the XIXth century M. V. Lusenko, which development into the complicated history and cultural condition’s. It is characterize of the basis achievement in to the branch chamber and vocal music of the Ukrainian composer M. V. Lusenko as founder of the Ukrainian music in the context of national culturality. In addition, an author puts by a purpose term paper to consider features and historical stages of development of the Ukrainian musical art of the XX century, and also specific of forming of Ukrainian vocal school of this period. All these questions of charakterycal in the system of studies of art Ukrainian study researches on principles of theoretical methodology.

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Ірмолой Артемія Компайського – яскрава пам’ятка української рукописної книги XVII – XVIII століть

Author(s): Liliia Tereshchenko-Kaidan / Language(s): Ukrainian Issue: 27/2011

In this paper the Ukrainian book manuscript in the form of a particular sample – Irmoloya Artemia Kompayskoho. It is a peculiarity of the manuscript and belonging to Muscovite Code tradition of church-singers practice. Also, consider the causes of the two traditions of church music. Shown difference Ukrainian church singers repertoire XVII– XVIII century.

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Формування традицій церковної музики в Україні у XVІІ столітті

Author(s): Viktoriya O. Snytina / Language(s): Ukrainian Issue: 27/2011

It is a question of the formation of the traditions of the creation and performance of the sacred music in the Ukraine of the XVІІth century in the context of the general tendencies of the historical development of musical art and influence of other musical cultures, confession and sociopolitical factors in the article.

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Часопросторові виміри української культури кінця ХХ – початку ХХІ століття

Author(s): Olena Stalyevna Afonina / Language(s): Ukrainian Issue: 26/2011

The article is devoted to measuring of time and space in Ukrainian culture at the end of the 20th – beginning of the 21th centuries. The use of new technologies has impacted the rethinking of time and space in modern architecture, film, visual and musical arts.

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Музична культура Запорізької Січі у образотворчому мистецтві України XVIII – початку ХХ століття

Author(s): Eugenia Arkadyevna Kozlovska / Language(s): Ukrainian Issue: 26/2011

The peculiarities of the musical culture of Zaporozka Sich and its reflection in the Ukrainian fine art of the XVIII – the beginning of XX century are analyzed in this article. The main attention is paid to the dualistic image of Cossack-musician in painting and blackand-white-art of this period.

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Церковний спів України та Греції в контексті історії та сучасності

Author(s): Liliia Tereshchenko-Kaidan / Language(s): Ukrainian Issue: 25/2010

The historical development of Greek chant in Ukraine is revealed in the article. Specifications of the original Greek chant, Ukrainian and Russian Greek tunes contained in the Ukrainian staff-notated Heirmologia of the XVIIth – XVIIIth centuries are given. The current state of manuscript heritage of Greek chant in Ukraine is researched. The question of adoption and performance of Greek chant in Ukraine is considered. Cultural interrelations of Ukraine and Greece are depicted.

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Книга Ванди Ландовської “Старовинна музика” – актуальні проблеми виконавської практики та теорії сучасного мистецтва

Author(s): Natalia Sergeevna Sviridenko / Language(s): Ukrainian Issue: 24/2010

The Polish harpsichordist Wanda Landowska – is crucial figure in the process of revival harpsichord music by XVI–XVIII centuries. In the first half of the twentieth century, her book “Ancient music” – a new methodology in the approach to this process.

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Biranje nasleđa: zašto Amerikanci pevaju pesme sa Balkana

Biranje nasleđa: zašto Amerikanci pevaju pesme sa Balkana

Author(s): Mirjana Laušević / Language(s): Serbian Issue: 65.11/2002

Nakon prvih šest meseci boravka u Americi čeznula sam da osetim neki ukus koji će me podsetiti na dom i bila sam veoma uzbuđena kada sam čula da će u Njujorku nastupiti ansambl Zlatne uste Balkan Bash. Živo se sećam kako sam se pela uz stepenice do trećeg sprata Context Studios na Menhetnu, začula poznate zvuke i osetila poznate mirise. Sva ustreptala stupila sam u bučnu, pretrpanu sobu, vrelu i lepljivu, punu ljudi koji su zbijeni igrali u krugu. Zidovi su bili prekriveni divnim ručno tkanim ćilimima i tapiserijama. […]

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The effect of music background on the emotional appraisal of film sequences

Author(s): Ivanka Pavlović,Slobodan Marković / Language(s): English Issue: 1/2011

In this study the effects of musical background on the emotional appraisal of film sequences was investigated. Four pairs of polar emotions defined in Plutchik’s model were used as basic emotional qualities: joy-sadness, anticipation-surprise, fear-anger, and trust-disgust. In the preliminary study eight film sequences and eight music themes were selected as the best representatives of all eight Plutchik’s emotions. In the main experiment the participant judged the emotional qualities of film-music combinations on eight seven-point scales. Half of the combinations were congruent (e.g. joyful film - joyful music), and half were incongruent (e.g. joyful film - sad music). Results have shown that visual information (film) had greater effects on the emotion appraisal than auditory information (music). The modulation effects of music background depend on emotional qualities. In some incongruent combinations (joy-sadness) the modulations in the expected directions were obtained (e.g. joyful music reduces the sadness of a sad film), in some cases (anger-fear) no modulation effects were obtained, and in some cases (trust-disgust, anticipation-surprise) the modulation effects were in an unexpected direction (e.g. trustful music increased the appraisal of disgust of a disgusting film). These results suggest that the appraisals of conjoint effects of emotions depend on the medium (film masks the music) and emotional quality (three types of modulation effects).

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Black science

Black science

Author(s): Đorđe Tomić / Language(s): Serbian Issue: 62.8/2001

Prvoga dana hoda prešli smo samo dvadeset kilometara što meni nije baš bilo sasvim pravo pošto sam želeo da što pre pređem ovaj deoputa, ali nisam mogao usled mojih nosača koji mnogo sporije idu od mene. Pred veče stigosmo u jedno crnačko selo Sindu, čije kolibe od trske i lišća jedva se vide od šume. Ja izaberem jednu poveću palmu i taman pod njom namestim svoj šator, kad evo crnačkog poglavice, jednog sedog starca, sa još nekoliko ljudi k meni. Pratnja mu ostade dalje od šatora a on približiv se na nekoliko koraka ispred mene, stade da se klanja i metaniše moleći nešto na svome jeziku. Tek posle dugog klanjanja ja razabrah da je došao k meni da me pozdravi i umoli za dozvolu da mogu ove noći da prave "fantaziju". Vojnik moj objasni mi da to znači svadba, odnosno veselje sa muzikom kojim se propraća ženidba nekog od urođenika. [...]

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Duh iz mašine: Pop muzika i tehnologija

Duh iz mašine: Pop muzika i tehnologija

Author(s): Dejan Sretenović / Language(s): Serbian Issue: 62.8/2001

Nakon pojave kompilacije pod nazivom "Techno! The New Dance Sound of Detroit" (Virgin, 1988) kojom je detroitski zvuk (koji se do tada smatrao podžanrom čikaškog housea i nije imao specifičan naziv) doživeo svoju globalnu promociju, prefiks techno počeo je naširoko da oblikuje neologizme korišćene za generalno imenovanje kulturnih formi i umetničkih praksi zasnovanih na digitalnoj tehnologiji (npr. tehno-kultura, tehno-umetnost, tehno-estetika). Stoga je pojava techno-muzike imala dalekosežniji kulturni značaj nego što je isključivo muzička inovacija: ona je predstavljala prvi vidljiv simptom tehnološki orijentisanih kulturnih rekonfiguracija i kao takva je u kolektivnoj svesti doživljavana kao popularni agens ekspanzivne mašinizacije kulture. [...]

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DÜNDEN BUGÜNE AZERBAYCAN MÜZİĞİ ÜZERİNE BİR DEĞERLENDİRME

DÜNDEN BUGÜNE AZERBAYCAN MÜZİĞİ ÜZERİNE BİR DEĞERLENDİRME

Author(s): Hatıra Ahmedli Cafer / Language(s): Turkish Issue: 17/2015

Ancient Azerbaijanian music was found after archelogical excavations. In the first literature The Book of Dede Korkut, then in Nizami's and Fuzuli's literal works a vast of information could be found about the Medieval Age music. The first phase of Azerbaijanian musical history contains arts of bards, laters phases contains classical modes. The researches of Azerbaijanian modes extend to the Medieval Age. The expand of 19th century European music affected Azerbaijanian culture, too. The early years of 20th century is reckoned as a new rising period in Azerbaijanin music. Uzeyir Hacibeyov composed Leyli and Majnun in that period which was the first opera of the East. Meanwhile, several musical high schools, conservatories, symphony orchestras, national instrumental orchestras, and theatres were established. The smphonic music which was established in 1920's had a major development in between 1940 and 1960. In between 1960 and 1980, younger generation, too, participated in artistic activities, alongside the older generation. In 1988-1994 Armenians invaded Karabagh and commited several genocides which some of the most known are called 20 January and Khojaly genocides. In that period, Azerbaijanian composes divided into three stages as 20 January, Karabagh, and Khojaly.

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THE CLASH OF DEFINITIONS: A CRITICAL REVIEW OF FIELD AND FIELDWORK IN ETHNOMUSICOLOGY

THE CLASH OF DEFINITIONS: A CRITICAL REVIEW OF FIELD AND FIELDWORK IN ETHNOMUSICOLOGY

Author(s): Ferhat Arslan / Language(s): English Issue: 1/2018

Over the last century, the concept of fieldwork and its implementation in ethnographic disciplines such as anthropology and ethnomusicology have undergone various changes. Following certain political, cultural and social trends, fieldwork is now considered more than a simple data collection method. The positioning of the field, which was mainly in the direction of east and characteristically exotic, gradually loses its validity. Today, geographically and mentally shifting characteristics of the field concept leads the discovery of new horizons and forces researchers to correct their approaches. Through analyzing the established terminology and closely related identity politics, this paper critically reviews ethnomusicological fieldwork and the positioning of its actors.

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BAĞLAMA EĞİTİMİNDE KÜLTÜREL KİMLİĞİN TEMSİLİ: ŞAHKULU SULTAN DERGÂHI ÖRNEĞİ

BAĞLAMA EĞİTİMİNDE KÜLTÜREL KİMLİĞİN TEMSİLİ: ŞAHKULU SULTAN DERGÂHI ÖRNEĞİ

Author(s): Ali Keleş / Language(s): Turkish Issue: 1/2018

This study presents the findings of an ethnographic research carried out in the Sahkulu Sultan Dergah. The first aim of the research is to understand the perceptions of the actors who took part in the baglama training process on Alevi identity, music and baglama. The second purpose is to explain how these perceptions effect to the musical performance. Participant observation, semi-structured and unstructured interview techniques were used in obtaining the data. Like many modern Alevi institutions Sahkulu Sultan Dergah also arranges various educational activities. The purpose of semah and baglama courses is to educate individuals in a way that they can appropriately represent Alevi identity. Young zakirs who serve in the Dergah were educated in Sahkulu Sultan baglama course. Baglama instructor and trainees have different Alevism insights individually. These differences are reflected in the repertoire and in the baglama performances. In the end, however, all community members agree that the baglama is an integral part of Alevi identitiy.

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THE SOCIO-HISTORICAL BACKGROUND OF THE CLASSIFICATIONS ON POPULAR MUSIC IN TURKEY AND THE WEST: A COMPARISON BETWEEN THE HIERARCHIES OF TASTE

THE SOCIO-HISTORICAL BACKGROUND OF THE CLASSIFICATIONS ON POPULAR MUSIC IN TURKEY AND THE WEST: A COMPARISON BETWEEN THE HIERARCHIES OF TASTE

Author(s): Onur Güneş Ayas / Language(s): English Issue: 1/2018

The theoretical framework built in the West to classify popular music reflects the socio-historical characteristics of the Western societies. This paper argues that this framework is not suitable to understand the music debates in Turkey. Art/popular music (or high/low music) distinction in Western music discourses have reflected a class-based hierarchy of taste. Ottoman-Turkish example differs from this model in many respects. Due to lack of a Western-type aristocracy, land owner ruling class and clergy, Ottoman classical music has developed as a kind of urban music open to all classes of society, exceeding the limits of class-based musical genres and styles. With the start of the Westernization era, however, the East-West distinction reflected in the famous alaturka-alafranga debate has become the yardstick to determine the place of a certain piece of music in the hierarchy of taste built by the Westernizing elites.

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MÜZİK ÖĞRETMENLİĞİ BÖLÜMÜ ÖĞRENCİLERİNİN KEMANA UYARLANMIŞ AĞRI TÜRKÜLERİNİN I. VE III. POZİSYONLARA UYGUN OLARAK KULLANIMINA YÖNELİK TUTUMLARI (AĞRI İLİ ÖRNEĞİ)

MÜZİK ÖĞRETMENLİĞİ BÖLÜMÜ ÖĞRENCİLERİNİN KEMANA UYARLANMIŞ AĞRI TÜRKÜLERİNİN I. VE III. POZİSYONLARA UYGUN OLARAK KULLANIMINA YÖNELİK TUTUMLARI (AĞRI İLİ ÖRNEĞİ)

Author(s): Emre Yüceland / Language(s): Turkish Issue: 39/2018

Our institutions that aim to train musical education in our country are a reality in which classical works and studies accepted all over the world are used in order to raise the quality of violin education and to train more qualified music teachers. In addition to this repertoire, which is expected to be used functionally in the profession of music teaching, it is thought that many works belonging to Turkish music culture, regardless of whether it is local or national starting from the later years of violin education, will contribute to the development of both technical and musical skills of students. The purpose of this research was to obtain a bachelor's degree from İbrahim ÇEÇEN University undergraduate III. and undergraduate IV. classroom violin students learn to use violin music together with position applications of Turkish melodies.

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Müzik Eğitiminde Yeni Yaklaşimlar: Hümanist Felsefenin Müzik Eğitimi Açisindan Önemi

Müzik Eğitiminde Yeni Yaklaşimlar: Hümanist Felsefenin Müzik Eğitimi Açisindan Önemi

Author(s): Banu Mustan Dönmez,Özlem Akın Şişman / Language(s): Turkish Issue: 92/2017

This study is based on the argument that the philosophy of humanity should form the basis of the road map of music education. Giving professional music education which is provided by conservatories such as training virtuoso or compositor, certainly not other institutions’ aim. In this study, the approach to the most general types of music education has been dealt with in terms of reasons This study is a descriptive / interpretive study carried out through literature review / library study and qualitative research method. Music education in this study is seen as one of the important instruments of human education, exactly like in the philosophy of Greek Antiquity and Plato philosophy. It should be the main goal of music education that training the spirit, increasing sensivity, civilizing the spirit by way of aesthetics; it should be the main goal of music education that purifying the spirit from animalism, increasing emotional intelligence, commiseration, empathy and virtue. In fact, educating the people is the common aim for all religions, philosophies and arts, this supreme goal is to create a better world. Here it is much more effective and easier to reach this aim through music than other methods. Because music affects the soul quickly and profoundly, it plays a part in all areas of life like propaganda, war, work and work motivation, love, lament, religious rituals. Therefore, music performs education more effectively and quickly. Most importantly, music is one of the arts that most connected to creativity. Music that covers different areas such as literature, poetry, decor, costume, drama especially in universal arts, should not be imposed upon children and adults forcibly if they do not love in this area; if they love this area they should be supported with special incentives. In addition, those who thought that they are music lovers and have no talent should never be taken away from this area; because love in music is more miraculous than special talent. For this reason, the only art that reduces to the minimum level the barriers of disabled and mentally unbalanced individuals is the music, and it has been attributed to itself the sanctity since Antiquity. Apart from that, in order to be able to work based on love and desire in the music education, the specific inclination and the cultural orientation of the individuals should not be left out, a single musical culture should not be forcibly imposed, in the world, which becomes a global village where ethnic colors have emerged. Such imperatives are incompatible with the idea of love education and humanity in music.

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Osmanli Eğlence Hayatinda Bir Alt Kültür Müzikli Kahvehâne: Amane Kahvehâneleri

Osmanli Eğlence Hayatinda Bir Alt Kültür Müzikli Kahvehâne: Amane Kahvehâneleri

Author(s): Mehtap Demir / Language(s): Turkish Issue: 93/2018

There were some places in the entertainment life of Ottoman addressing to various cultural levels and nearly all of them were musical in nature. Coffee houses as one of these places differ from the other musical entertainment places because of the fact that it has its own varieties as well. And this causes a reason for the purpose of examination of the coffee houses. While there are many researches which were previously carried out and performed on such coffee houses, it is obviously seen that not much researches were carried out on the Amane Coffee Houses. The main subject of this article is the subcultural characteristics within the social class network of the Amane Coffee Houses as one sort of the musical coffee houses in the entertainment life of Ottoman. The difference of the Amane Coffee Houses among the musical coffee house types and what kind of musical and cultural structure it has became the fundamental problem of this study as well. Starting from the fundamental problem in the article, the penetration of the concept of coffee house as a cultural element is evaluated and assessed as it shows its asset in the entertainment and conversation place identity while formed surrounding the coffee drinking habit in the outside social life in the Ottoman period and then the main peculiar characteristics of the Amane Coffee Houses have been determined and specified properly. The genre, form and performance versions of music in the coffee house culture and also the musical characteristics of the Amane phenomenon are also stated, specified and depicted in details. The musical elements of these musical coffee houses, the identities of the performers and why they have a subculture are in the coverage of this study as well. The data of this study in the frame of the historical method of musicology have been gathered together by means of the literature scanning technique and the resources reaches were analyzed properly and the appropriate data were assessed and evaluated in the end. According to the findings obtained, Amane is determined as a multicultural entertainment place and musical genre based on the subculture.

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Anadolu’ya Göç Etmiş Bulgaristan Türklerinin Kutlama Törenleri İle Bu Törenlerde Yer Alan Müzikler

Anadolu’ya Göç Etmiş Bulgaristan Türklerinin Kutlama Törenleri İle Bu Törenlerde Yer Alan Müzikler

Author(s): Zekiye Çağımlar / Language(s): Turkish Issue: 93/2018

Bulgaria is the Balkan country where the Turkish minority live intensively since the time of the Ottoman Empire . During the Republican period, immigration was systematically carried out for a while under the Turkish-Bulgarian residence agreement. Within this context, a total of 198,688 immigrants came during the period 1923-1939. Since this period, immigration has not been carried out systematically, and most of the time immigration has not been done by voluntarily. Immigration is to start from scratch in a new land, leaving behind their lands under the harrow of a nation from their land, their past, their ancestors’ graves, even their future that they dream of in that land. Our citizens, who have been forced to migrate from Bulgaria, in addition to maintaining the activities of daily living and learning the customs and practices of the new lands, have adapted to the local cultures where they settled over time. In this study, celebrative ceremonies, such as weddings, circumcisions and Hıdırellez of our citizens who emigrated from Bulgaria, will be under debate in terms of the past and now. The compilations were made in Adana, Mersin, İstanbul, İzmir, and Bursa. The effectual results to be achieved in the study, which is done by the analysis of written sources and interviewing resource persons, is to give the effect of a cruel concept like migration on the cultural values with the example of Turks forced to migrate from Bulgaria.

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Phonographic Industry: Summit and Decline in the 20th Century

Phonographic Industry: Summit and Decline in the 20th Century

Author(s): Valterlei Borges de Araújo,Leandro de Paula Santos / Language(s): English Issue: 10/2017

By highlighting the Brazilian context as the analytical approach; this article gathers data on the impacts on music consumption brought by the development of the phonographic industry. Since the emergence of the phonograph in the late 19th century until the revolution brought by the digitization and sharing of files in the first decade of the 21st century, this research presents, chronologically, the main devices for sound reproduction or physical music supports that have appeared within this time period, thus creating a record of the technological evolution in the phonographic industry in the 20th century. This article targets the present-day reconfiguration of the means of production and distribution of music, as well as its means of consumption and some of its effects on the industry, the artists and users.

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