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Różnica i powtórzenie jako aspekty reprezentacji w "Variationen für Orchester" op. 31 Arnolda Schönberga

Author(s): Iwona Sowińska-Fruhtrunk / Language(s): Polish Issue: 02 (37)/2018

The article focuses on the issues of difference and repetition, as defined by Gilles Deleuze, and their possible application to Arnold Schoenberg’s dodecaphonic work, Variations for Orchestra Op. 31. Although Schoenberg’s reflection on these problems comes from the earlier years than Deleuze’s, the correspondence of understanding the difference and repetition between them is striking. Two other terms by Deleuze and Guattari applied to the work are becoming and refrain. Repetition and refrain are associated with the representational moment in the work (motif B-A-C-H as a quote and as a type of refrain) while difference and becoming are associated with the anti-representational moment (dodecaphonic technique, developing variation technique, etc.).

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Jadwiga Szajna-Lewandowska dzieciom

Author(s): Aleksandra Machura / Language(s): Polish Issue: 02 (37)/2018

In the second half of the twentieth century, music for children was enriched by the works of Jadwiga Szajna-Lewandowska (1912–1994). The Wrocław’s pianist, composer and pedagogue wrote most of her pieces for the youngest and thus the most sensitive recipient. The vast majority of her works is stage music for children, mainly ballet. In this category, Szajna-Lewandowska has no equal. She is the one of the rare composers who devoted most of their works to children. Her music for the youngest comprises not only stage works, but also compositions written for children as performers or listeners. Among them, there are instrumental, vocal--instrumental and choral pieces. Therefore, it can be claimed that Jadwiga Szajna-Lewandowska is a composer who made a significant contribution to Polish children’s and young adult literature.

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U ljubavi sa vanzemaljcem. Tajna istorija crnog SF-a u muzici

Author(s): Mark Sinker / Language(s): Serbian Issue: 58.4/2000

[...] Širom srednje Amerike vesela, zdrava i blesava narodna umetnost slavi nastupajuću invaziju. Dolazak vanzemaljaca iz letećih tanjira koji će nam doneti spas: plastične, limene i betonske rakete-skulpture načičkane su duž pejzaža, ispred parkinga i motela širom zemlje. Ako nije razgovor sa Isusom ili viđenje Elvisa, onda su ljudi sa Marsa. Još od početka atomskog doba, svake sedmice pojavljivao se neko sa novom pričom o tome kako su ga vanzemaljci kidnapovali, obučili i vratili da spase Zemlju. [...]

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Brother from another mother. Hip-hop scena i pojam zavičaja u Nemačkoj

Author(s): Ursula Kolert / Language(s): Serbian Issue: 55.1/1999

Kod nas u Nemačkoj pojam zavičaja ima nesumnjivo nacionalističku konotaciju, pa već i zbog toga on ne postoji kao "zaokružena prošlost". Zavičaj ima ne tako malu ulogu i u tzv. subkulturi hip-hop-scene nemačkog govornog područja, ali u potpuno drugačijem semantičkom sklopu. Hip-hop postoji u Nemačkoj oko deset godina, a u međuvremenu su se razne grupe ovog pravca pojavile i na top-listama. [...]

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“Фауст” И. В. Гёте И А. Г. Радзивилла: Поэтика И Проблематика Музыкальной Адаптации

Author(s): Tatsiana Suprankova / Language(s): Russian Issue: 97/2018

The pinnacle of the Faust literary processing became the great Goethe’s embodiment. He created three versions of the plot. They are “Urfaust”, a well-known literature “Faust” and opera libretto of the same name. It was coauthored by the Belarusian composer A. H. Radziwill and became popular in the 19th century. Its staging in the National Academic Grand Opera and Ballet Theatre of the Republic of Belarus in 1999 was dedicated to the 250 anniversary of Goethe’s birthday. The version by A. H. Radziwill was the first according the time of writing musical work, the result of long years of the composer‟s and the writer‟s talents‟ joined effort, the product of mutual contacts of the cultures. Therefore, the libretto of “Faust” represents the interest as a work of the romanticism drama, as the great philosophic and esthetic embodiment of Goethe’s genius. The direction of transformation of certain characters by the author, of changing the accents on them in view of the peculiarity of the libretto genre represents considerable interest. The work is also of great interest, because it sums up the interaction of two cultures (the German and the Belarusian ones) and two epochs (the Enlightenment and the romanticism).The article analyzes influence of the opera-libretto upon the development of J. W. Goethe‟s views about Faust-concept in the process of writing his work. Attention is given especially to aspects such as philosophical content of artistic images and the adaptation of the metrics.

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Konferencja „Archiwa muzyczne i spuścizny kompozytorskie w zbiorach bibliotek polskich” (Warszawa, 1–2 grudnia 2016 r.)

Author(s): Bogumiła Celer / Language(s): Polish Issue: 2/2017

W grudniu 2016 r. w Bibliotece Uniwersyteckiej w Warszawie odbyła się konferencja „Archiwa muzyczne i spuścizny kompozytorskie w zbiorach bibliotek polskich”, przygotowana przez Sekcję Bibliotek Muzycznych Stowarzyszenia Bibliotekarzy Polskich – Polską Grupę Narodową IAML oraz Gabinet Zbiorów Muzycznych BUW. Głównym celem konferencji było zaprezentowanie wachlarza zagadnień, z jakimi spotykają się pracownicy bibliotek muzycznych i archiwiści, sprawujący pieczę nad spuściznami muzycznymi. Inauguracji konferencji dokonał Piotr Maculewicz (Gabinet Zbiorów Muzycznych BUW). Następnie Stanisław Hrabia (przewodniczący Sekcji Bibliotek Muzycznych SBP – Polskiej Grupy Narodowej IAML) przywitał uczestników w imieniu Zarządu Sekcji.

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Kelam Felsefe İlişkisi

Author(s): Metin Özdemir / Language(s): Turkish Issue: 29/2014

The relationship of theology and philosophy have started as a result of a need that the scholars of Kalam Science feel when they have forced to confront the intellectuals belonging to foreign systems of cultures, beliefs and thoughts. A group who are fond of the rational contemplation and of philosophical thought understood that they could only defend their faith and world views against their competitors through the use of their style and their methods in the best way. Thus, they have great interest in the study of philosophical sciences and methods. This interest starting with the Mu’tazila followed after al-Gazzali, the initiator of the philosophical theology in the true sense, by a rapidly increasing trend until the period of annotation and commentary. Then this gradually weakening relationship has come to a standstill. Then this relationship began to become active again with the beginning of the era of the neo Ilm al-Kalam in the early twentieth century. I shall try in this study to assess the process in question with its important aspects and outlines.

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MEMORIES OF MUSIC IN THE CROATIAN COMMUNITY IN SYDNEY, CAPE BRETON

Author(s): Jelka Vukobratović / Language(s): English Issue: 1/2018

Croatians populated Cape Breton Island in Canada in the early 20th century to work in the mines or in the steel industry, and were one of the less visible minorities of the Island. As evident from narratives about music in their interviews, music played multiple roles in their lives, both as a vehicle for social cohesion and as part of creating family bonding. The interviews with the members of today’s Cape Breton Croatian community also reveal that tambura is highlighted as an instrument which represented Croatian culture in the previous generations, as opposed to the traditions of gusle and ganga that were appreciated only privately.

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Към разбирането на медийната музика

Author(s): Ventsislav Dimov / Language(s): Bulgarian Issue: 1/2018

The study presents the need to explore media music by providing theoretical and terminological bases for its understanding. There are two types of understanding of the concept: instrumental (narrower and concrete) and cultural (broader and more general). The choices of basic approaches to studying media music are justified: cultural, sociological, anthropological, media studies.

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Връзката политика-естрадна музика в българските вестници в периода 2006 – 2009 г.

Author(s): Zhana Popova / Language(s): Bulgarian Issue: 1/2018

The text presents part of the results of a larger research about what and how the media write about the „estrade” and the „pop” music after 1990. How was the connection between music and politics during socialism and the transition to democracy portrayed in the newspapers after 1990? What are the political messages in the journalistic stories that come from the figures of the estrade music? Here you will find the results and the analysis of the selected research questions only between 2006 and 2009. This is a period after and before elections during which rallies, and party concerts are not key events. Instead the TVs start to use the estrade musicians in a new way. They invite them to be part of the juries of blooming TV reality shows. The Estrada musicians are turned into a public „censor” dictating what is the role or the musician in the society.

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Приспивни песни от български композитори в училищния репертоар от края на XIX и първата половина на ХХ век

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Приспивни песни от български композитори в училищния репертоар от края на XIX и първата половина на ХХ век

Author(s): Rossitsa Draganova / Language(s): Bulgarian Issue: 2/2018

This study deals with lullabies by Bulgarian composers composed at the turn of the twentieth as well until the mid-century. The specifics of this genre are interpreted in the light of the changed musical thinking and the establishing of a national composers’ school. The role of the genre is broached in the development of a school repertoire that has been ultimately shaped into a music-cultural layer in the post-Liberation era. Lullabies are defined as a tool of a kind meant to form and develop students’ abilities in the practice of Bulgaria’s music education. Information has been summarised of examples by Bulgarian and foreign authors published in 65 textbooks and collections grouped by time periods (until the end of the nineteenth century; until the 1930s and until the mid-twentieth century). Some of the most popular to this day lullabies by Bulgarian composers are presented.

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Walc albo inscenizowanie nowoczesności

Author(s): Wojciech Tomasik / Language(s): Polish Issue: 4/2017

The waltz was the most popular musical genre of the nineteenth century. On the one hand this dance represented a product of modernity, and on the other hand it was an artistic form that allowed to stage the processes of modernization, to play them out in the ballroom. The dancing couples’ quick movements demanded precise coordination. They had to happen according to a fixed plan, an “itinerary”. The somatic impressions of rotating couples recalled other modernized forms of entertainment, similarly subjected to a rigorous plan: the merry-go-round or the train. The waltz’s relationships to modernization (and programme music) was highlighted by the compositions’ titles.

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O hiphopowej intertekstualności jako rozmowie. Rap i popkultura: follow-upy i hashtagi

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O hiphopowej intertekstualności jako rozmowie. Rap i popkultura: follow-upy i hashtagi

Author(s): Adrianna Chorąży / Language(s): Polish Issue: 5/2017

This article explores intertextuality in contemporary Polish rap (Dwa Sławy) by examining hip hop techniques that create intertextual references such as follow-ups and hashtags. Chorąży’s conclusions bear on literary studies (patterns for deciphering hashtags, the definition of the follow-up) as well as cultural studies. Focusing on references to pop culture and other rap texts, Chorąży argues that in most recent hip hop songs, intertextuality represents both a real dialogue with the audience and a subversive intervention in the thought patters of reception.

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Symfonia smutku – Valse Mélancolique Olhy Kobylańskiej

Author(s): Iwona Boruszkowska / Language(s): Polish Issue: 1/2018

The article is a proposition of interpretation Valse Mélancolique – short stories written by the Ukrainian women writer Olha Kobylianska (1863–1942). This is an example of literary research devoted to synthetic overview of the phenomenon of insanity / mental illness in Ukrainian Modernism literature (late nineteenth and early twentieth century). Insanity, being one of the main themes of modernist literature, today does not live to see a proper discussion in the Ukrainian literary studies. The resulting so far work has moved this issue only into a selective and fragmentary way, always on the margins of the main range of research interests, thus far definitely without exhausting problem. Madness constituted for Kobylianska one of the most important and dramatic forms of exclusion, hence the belief that the mentally ill is not so much a sick man, as enslaved, subjected to the pressure of power, deprived of the right to subjectivity, of their own forms of existence.

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Usta milkły, dusza śpiewała. Wokół ostatnich nagrań Marka Grechuty

Author(s): Włodzimierz Karol Pessel / Language(s): Polish Issue: 03/2017

In the following article the author tries to show the artistic model presented by MarekGrechuta (1945-2006) on his last music album Niezwykłemiejsca (Wondrous places), as well as various consequences of this model`s realisation. It is stressed that they were determined by singer`s psychomotor form and emotional health. Focusing on peculiar Grechuta`s case the author engages in the much wider project of anthropology of reception. It ought to explain how ambitious code of culture has collocated with pop culture over the years in Poland.

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Lisa Jakelski “Making New Music in Cold War Poland: The Warsaw Autumn Festival, 1956-1968”

Author(s): Marcin Strzelecki / Language(s): English Issue: 2/2017

Review of: Lisa Jakelski “Making New Music in Cold War Poland: The Warsaw Autumn Festival, 1956-1968” by: Marcin Strzelecki

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Laughter and Forgetting. Moritz Csáky: Ideologie der Operette und Wiener Moderne: Ein kulturhistorisches Essay zur österreichischen Identität

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Laughter and Forgetting. Moritz Csáky: Ideologie der Operette und Wiener Moderne: Ein kulturhistorisches Essay zur österreichischen Identität

Author(s): Nicholas T. Parsons / Language(s): English Issue: 04/1996

James Joyce once remarked that the soul of a culture is to be found in its music halls; by the same token, the gospels of Postmodernism preach that popular entertainment is as worthy of academic study as any other cultural phenomenon, a laudably democratic stance that neatly side-steps the thorny question of aesthetic value by subsuming it in sociology or history.

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Transkrypcje. Tradycja i eksperyment w polskich powojennych wierszach-partyturach

Author(s): Piotr Bogalecki / Language(s): Polish Issue: 32/2017

The article is focused on the score-poems – experimental poetic texts which use a musical score as the interpretant (in M. Riffaterre’s understanding of the notion), whether as the idea or in one of its historically developed forms. The first section of the article situates the avant-garde and post-avant-garde specimens of such texts against the backdrop of the avant-garde dialectics of tradition and experiment. In the second and more substantial part, having observed the low representation of score-poems in the Polish poetry of the interwar period, the author attempts to introduce an ordered perspective into the field of Polish post-1945 score-poems with regard to their authors’ relation to the tradition of avant-garde experiment they came in contact with. The proposed typology of interpretative styles within this tradition identifies five approaches, or models: research (M.Białoszewski, M.Grześczak, S.Czycz), continuation (S.Themerson, J.Bujnowski), ac cess (W. Wirpsza), critique (A. Partum) and selection (R. Nowakowski, A. Sosnowski).

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Origins of postmodern music in Latvia: its historical background and manifestations in the work by Marģeris Zariņš

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Origins of postmodern music in Latvia: its historical background and manifestations in the work by Marģeris Zariņš

Author(s): Baiba Jaunslaviete / Language(s): English,Bulgarian Issue: 2/2017

In the first decade after World War 2, there was nothing resembling avantgarde in Latvian music, because the position of Soviet ideology was that art should be understandable for the people. However, toward the end of 1950s, ideological pressure eased, and the role of stylistic experiments significantly increased. For example, allusions to baroque in Marģeris Zariņš’ music were presented within the interaction with contemporary composition techniques. He can be considered the first Latvian postmodernist. Furthermore, Zariņš was an influential writer, and postmodern features are also seen in his literary works. The paper on his music and its literary parallels could be a significant contribution to the research of cultural processes in certain regions of the former USSR where postmodernism appeared without prior serious experience of modernism.

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Имитационни фантазии в лютневата книга на Емануел Вурстисен (CH-Bu Ms. F.IX.70)

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Имитационни фантазии в лютневата книга на Емануел Вурстисен (CH-Bu Ms. F.IX.70)

Author(s): Yavor Genov / Language(s): English,Bulgarian Issue: 2/2017

Wurstisen lute book emerges as a very late source of German lute tablature. Written down n the last decade of the 16th century, it stands out for its remarkable size and repertory. The latter is organized in eight books. Fantasias are placed in the third book. Their variety is in respect of chronology, origin, technique, required instruments. The paper in presence is concentrated on the imitative fantasias. Observation leads to the notion that monothematic ones are generally a later part of the repertory, while on the contrary, the polythematic ones refer to a layer preceding with decades the time of copying the manuscript.

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