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İRAN MÜZİK KÜLTÜRÜNDE KADIN MÜZİSYENLERİN SOSYOLOJİK DURUMUNA GENEL BİR BAKIŞ

Author(s): Songül Çakmak / Language(s): Turkish Issue: 21/2018

Iranian music has been hosting a wide variety of musical cultures for centuries because of the cosmopolitan nature of the country. Within this diversity, the role of women in music has been suppressed, resulting in frequent chaos in the country. In women’s folklore studies, the socio-cultural structure of women is regarded as the basis for their behavior and actions. Provisions of Shari'a Law subject the behaviors and actions of women to male-Patriarchal authority. Yet there is much disagreement among Islamic scholars and authorities regarding the socio-cultural structure of Iran. It is seen that gender differences are influenced by culture, gender emerged in different forms in all societies, and increased awareness in this area has brought forth new models. This article examines the position of women in Iran, a patriarchal society that practices gender inequality , and advocates that we should focus on women’s socio-cultural issues. The writers questioning this great change in Iranian music culture have written articles on how women living in Iran are influenced by this change /transformation and their negative effects on their musical direction. Research for this article was carried out in the form of a literature review of the relevant authors' work, publications, and related considerations of the national / international media, and interviews with Iranian women who came to Van to make music.

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Music and FLL - A theoretical approach -

Author(s): Adnan Bujak,Senad Mujičić / Language(s): English Issue: XVI/2018

Although considered as two separate entities, language and music share a wide variety of features making the distinction between the two more blurred as deeper research is conducted. Music and music-like utterances appear alongside language from fetal phase to maturity linking it closely to first language acquisition and language development. Such insight immediately provokes the interest of educators who are in never ending search of language learning methodology that imitates the process of first language acquisition. Being universal and one of the top favorite leisure activities, music arises as an ideal tool for exploring both the linguistic and cultural features of the target language.

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Българският метъл от двата края на Желязната завеса – подстъпи към темата

Author(s): Plamena Petrova / Language(s): Bulgarian Issue: 2/2017

Bulgarian metal music and its media images have changed significantly since the appearance of this music in Bulgaria. Metal functions in a different way in society and media before and after 1989. The differences in metal music and its media coverage in the two outlined periods are significant, due to the differences in the socio-political system and the media environment. During the 1980s, metal faces challenges, related largely with the attitude towards it. At the end of the decade, heavy music starts to become a part of the media landscape and festival programs. The mainstreamisation of Bulgarian metal starts to unfold in the 1990s. Bulgarian metal and its media images continue to change.

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Софийската опера и балет – комуникатор на българската култура по света

Author(s): Dimitar Sotirov / Language(s): Bulgarian Issue: 2/2017

Opera is not just an art. The opera is communication. The colossal work of the hundreds of Bulgarian composers, conductors, directors, librettists, singers, musicians, choreographers, dancers and other persons associated with the opera who have built with their art over the years the Bulgarian opera glory can also be described as building a dialogue between cultures. In this long-term building, the Sofia Opera and Ballet has a key place and deserved recognition as a communicator of Bulgarian culture around the world. This text is devoted to the recent contributions and acknowledgements that have won the performances and artists of the Sofia Opera and Ballet in the last few years, their media images that strengthen the role of our first opera theater (established in 1890) as a communicator of Bulgarian culture around the world.

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O CRKVENO-GLAZBENOM ŽIVOTU ĐAKOVA

Author(s): Đuka Marić / Language(s): Croatian Issue: 1/1995

Čovjek je vrlo interesantno biće. Ens intelligens, pa otud onda: ens loquens, ens cantans et ludens, ens scribens et - creans. Biće koje shvaća stvari oko sebe i zbivanja u sebi. I izražava to: govorom, pjevanje, pisanjem i svojevrsnim stvaranjem. Biće nad sva bića oko sebe. I takav je manje-više svaki čovjek. Takvi su ljudi po svojoj naravi.

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ПРИМЕНА НА ИНФОРМАТИЧКО-КОМУНИКАЦИСКАТА ТЕХНОЛОГИЈА НА СТУДИИТЕ ПО МУЗИЧКА ПЕДАГОГИЈА: МУЗИЧКА АКАДЕМИЈА ВО ПУЛА, ПРИМЕРИ НА ДОБРА ПРАКТИКА

Author(s): Lada Duraković / Language(s): Macedonian Issue: 3/2015

The competence for the use of advanced technologies is considered an extremely important competence for working in the teaching process. Their importance for education has been recognised at all levels, most of the basic documents linked to education point out that during their education young people have to acquire the basic competences which will qualify them for their use. The direct work with students at institutions of high education and the research of pedagogic practice have shown that the use of ICT influenced the visible improvement in the preparation of teaching tasks, the performance of individual lectures and the realisation of teaching units during faculties or schools’ lessons. This article offers examples of application and design of multimedia tools by which the students of the Pula Music Academy have contributed to the music-educational practice.

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Aktivnosti pjevačkog zbora Fra Nenad Dujić i Tamburaškog orkestra Franjevačke teologije

Author(s): Fra Nikola Matošević / Language(s): Croatian Issue: 1+2/2018

Pjevački zbor bogoslova Franjevačke teologije Fra Nenad Dujić akademsku godinu 2017/2018. započeo je 3. listopada nastupom na svečanom prijemu u povodu proslave svetkovine sv. Franje Asiškog u Provincijalatu Bosne Srebrene na Kovačićima. Istog dana zbor je svojim pjevanjem animirao Obred preminuća svetog Franje u oratoriju sv. Pavla na Nedžarićima.

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Teškometalni zvuk na dugosvirajućoj ploči

Author(s): Nevenka Bjelica / Language(s): Croatian,Serbian Issue: 4/1981

Danas bi se teško našao ijedan jezik bez prisustva tuđica u sebi ili, pak, riječi iskovanih po uzoru na strane riječi. I sve teže postaje čuvati tzv. »čistotu« jezika. Mogućnosti i brzina komunikacije su takve da očigledno predstoji jedan period sve većeg posuđivanja iz drugih jezika. Nekada je jednoj squaw trebalo i mjesec dana plovidbe preko velike vode da stigne do europskog kontinenta, dok danas, zahvaljujući radiju, televiziji, satelitima, teleksima,... taj vremenski razmak se drastično smanjio. .Sjetimo se samo kako malo vremena je trebalo punku da stigne do nas.

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Jura Karlsona dejas teātris. Balets “Karlsons lido...”

Author(s): Andris Vecumnieks / Language(s): Latvian Issue: 1/2015

Alongside with theatre, a bright feature of Karlsons’s music is choreography and the corresponding space of dance theatre because ballet is a dance theatre. Karlsons’s contribution to the genre of ballet is laconic in quantity while substantial in quality. All ballets have been composed at different stages of his creative life, and their themes differ in style, genre and imagery. Another title of the ballet “Into the Fire” (a play by the Latvian playwright Rūdolfs Blaumanis Ugunī) is “A Concerto for Orchestra in Five Movements after Reading Blaumanis”. The first artistic achievement of the genre lies both in the field of ballet and concert. It can be considered a substantial and qualitative impulse for his future creative work, as the symbolism of this ballet lays ground for the next ballet that was created as a result of studying the writings of the Latvian poetess Aspazija and her play “The Silver Veil” (Sidraba šķidrauts). This ballet is the quintessence of Karlsons’s symbols and signs. The composer’s success (and that of the whole creative team) lies in the fact that the national and creative ideas are not presented in a declarative and conspicuous manner; they are presented as a national generalisation in a subtle language of symbols and subtexts. “The Symphonic Pages of the Ballet “The Silver Veil””, which followed nine years later, can be viewed as the quintessence of the ballet “The Silver Veil”, and it can be compared to a film adaptation or staging production of a literary work. We can feel an individual autobiographical tone in the musical message of the ballet “Karlsson Flies …”. Karlsons lays special emphasis on the meaning of fairy tales in the life and consciousness of a human being, and he offers another conception of theatricality. We observe a synthesis of acts and a continuous development of musical dramaturgy. The principle of acts has allowed the composer to accomplish vivid scenes and effective fragments of music whereas the continuous dramatic development has filled the ballet numbers with leitmotifs since the composer has performed very thorough work in directing the musical material. A special type of theatre that the composer offers in the second act is a discovery. The fashion theatre is synthesised with the dance theatre. In the composer’s creative work, this ballet is truly crowned with success in children’s music, as the dance genre is an essential means of expressing genre personification.

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"The Message of Protest”: Artistic Expressions of Punk / Hardcore Subculture Ideas

Author(s): Reda Šatūnienė / Language(s): English Issue: 1/2008

Nekomerciālā panku / hārdkora subkultūra izveidojās no britu pankiem un amerikāņu hārkora 20. gadsimta septiņdesmito un astoņdesmito gadu mijā. Galvenās panku / hārdkora subkultūras iezīmes iemieso pankroka brīvības, kritiskās domas un vienlīdzības principus. Lietuvā daudzas jauniešu subkultūru paražas ienāca pēc valsts neatkarības atjaunošanas 1990. gadā. Raksts pievērš uzmanību nekomerciālās panku / hārdkora subkultūras idejām un vērtībām, kādas ietvertas lietuviešu trafaretu mākslā. Raksta empīriskais materiāls ir savākts, pateicoties atbilstošai metodoloģijai un kvalitatīvam (etnogrāfiskam) lauka pētījumam, kas veikts 2005.-2007. gadā. Raksta autore secina, ka panku / hārdkora subkultūras idejas - protestēšana pret "Sistēmu", ekonomisko un politisko uzkundzēšanos, patērētājfilozofiju, konformismu un starptautiskajām aliansēm - izpaužas trafaretu mākslā. Tā atklāj globālās un vietējās sociālās, politiskās un ekonomiskās aktualitātes.

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Korizmeno-uskrsni običaji u Posušju

Author(s): Josipa Kelava / Language(s): Croatian Issue: 50/2019

The paper presents contemporary field notes about customs, ceremonies, processions, beliefs, prayer songs and prayers related to the period of Lent and Easter. The greater number of prayer songs and prayers were written in 2010 and 2011, while the notes of customs, ceremonies, processions and beliefs were written in 2017 and 2018. The notes were taken at the area of Posušje. Lent begins with the holiday of Ash Wednesday. This day represents introduction to the period of preparation for the greatest Christian holiday. Christians prepare for Easter by praying, fasting and doing good deeds. That can specially be seen at the holiday of Great Friday when it was not allowed to do anything in filed unless it was to help the people in need. Numerous written notes of prayer songs and prayers testify to the great importance of religion for the people in Posušje, as well as to the rich oral tradition at this area.

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Оперознанието в изследователска група „Музикален театър“. Ракурси

Author(s): Emiliya Zhunich / Language(s): English,Bulgarian Issue: 4/2018

Innumerable are the publications on operatic art, operatic stagings in Bulgaria and opera singers; still, specifically targeted studies of operatic art in this country were first undertaken by Prof. D.Sc. Rosalia Bix. Her name of a respected scholar is justifiably associated here with the academic opera studies. Her own published works along with that of her colleague at the Musical Theatre Research Group, founded and led by her at the Institute of Art Studies, BAS, spans the years 1890 to 2010 inclusive. The Group has for two decades searched, scientifically systemised and published comprehensive infor-mation about the foundation and development of the numerous private, public and half-professional musical theatre companies across the country along with their repertoires, directors and performers, as well as the topical reviews published over the years and reflecting on the genres of opera, ballet, operetta and musical. Presently, the team of the Research Group together with the doctoral students continues and extends the knowledge of musical theatre.

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Oblicza czeczeńskiego gazawatu: imam Szamil i Bajsangur Bienojewski w utworach współczesnych bardów czeczeńskich

Author(s): Kamila Filipczyk / Language(s): Polish Issue: 2/2018

The article concerns two songs by contemporary Chechen bards – Imam Alimsultanov (1957– 1996) and Timur Mutsuraev (born 1976). The analysed works have the same title (Gunib) and present the conflict between Imam Shamil and Baysangur Benoevsky during the last stand of Shamil’s uprising against Russia – the siege of the mountain fortress Gunib. The two Chechen songwriters create a symbolic picture of two different attitudes towards honour, bravery, duty and self-sacrifice, represented by the characters of Shamil and Baysangur. The author of the article analyses the structure of the two songs and differences in constructing the narratives, that influence the interpretation of Shamil’s and Baysangur’s characters and their arguments. At first glance their attitudes are completely different. Shamil is motivated by pragmatism, whereas Baysangur seems to be the quintessence of unbroken resistance in the Romantic spirit and a perfect realisation of “quonahallah” – the specific Chechen “chivalric code”. The political context of Alimsultanov’s and Mutsuraev’s works (who were, first of all, composers of patriotic songs during the Chechen-Russian conflict in the 20th and 21st centuries) allows to believe that the attitudes of Shamil and Baysangur are somewhat complementary. Despite some controversy around Shamil, the leader of the 19th-century uprising has a place in the Chechen pantheon of national heroes, being the symbol of gazavat – the sacred national liberating war in the Caucasus. This conclusion is indicated not only by the message of the analysed songs and their context, but also by the opinions of contemporary Chechens cited in the article.

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От началото към безкрая – от първообраз към образ и отобраз – изследователски парадигми в изследването на ангелската песен в християнската химнография и пеене

Author(s): Deacon Ivan Ivanov (Kyumurdzhiyski) / Language(s): English,Bulgarian Issue: 1/2019

The guiding principle utilized in the present study is the relationship and balance between the principles of faith and reason. These are methodological concepts which help to clarify the problems concerning the topic of angelic archetype (prototype) in the Liturgy and liturgical music, and they also point out the possible ways of solving them. The perception of Christian faith, its real and at the same time mystical experience for the believer, leaves a mark on ecclesiastical art (liturgical, musical and hymnographic), which praises the glory of God and His deeds for the salvation of all people. Therefore, angelic glorification is a mystical pathway towards the Creator. The liturgical hymnographic and musical heritage bears witness that the medieval authors were gifted creators of liturgical treatises, hymnographic forms and song genres. The Fathers of the Church and chanters experienced their worship of God as a creative process, as a mystical act of communion, and always emphasized faith and the knowledge necessary for both these who perform and those who listen to the “angel’s song” in the pursuit of godliness. Thus, angelic theology responds to the praise inherent in human prayer, which is present in the heart, mind and mouth of the believer. All this is made clear within the context of the Orthodox faith and the teaching of the Holy Fathers, as well as in their theological and liturgical treatises, directly related to the liturgical tradition, Eucharistic practice, the musical and hymnographic creations, as well as to the mystical perception and interpretation of the liturgical texts.

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Семиотични аспекти на американския филмов мюзикъл от началото на XXI век

Author(s): Petar Odazhiev / Language(s): English,Bulgarian Issue: 1/2019

The art of the film musical at the end of the 20th and beginning of the 21st century has been greatly influenced by contemporary mass culture. If the specific aspects and issues related to the personal taste have been left aside, and have been turned to the aspect of meaning and aesthetics, an obvious connection with postmodernism can be easily noticed. Given with the premise, that the film musical genre is mainly related to postmodernism in arts, which requires a different approach to artistic analysis, this article focuses on the thesis stating that semiotic instruments are particularly useful in determining the specifics of the aesthetic phenomenon of the film musical genre.

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Faşizm Propagandasında Müziğin Rolü: Mussolini İtalyası Örneği

Author(s): Derya Karaburun Doğan / Language(s): Turkish Issue: 97/2019

In the 20th century in Europe, the fascism ideology emerged first time in Italy. When the Black shirts came to power in 1922 in Italy, they declared fascism as the official ideology in Italy and their leader Benito Mussolini became the dictator (Il Duce) of Italy. In this process, the effects of the ideology of fascism began to be seen in every corner of Italy. In fact, the Italian fascists under the leadership of Mussolini embarked on the intense propaganda of fascism all over the country. In this process, one of the most important propaganda weapons of the fascists became the Giovinezza Anthem. In the song, the Blackshirts overpraised the facism and put Mussolini on a pedestal. In this study, the Giovinezza Anthem, which was used by Italian fascists as the de facto national anthem in Mussolini Italy, was examined within the terms of the period. Within the scope of the study, the words in the song were analyzed using the semiotic method included in qualitative research methods.

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Potential for Incidental Vocabulary Learning in Songs: A Corpus-based study

Author(s): Macpaul Chukuemeka Hirata / Language(s): English Issue: 2/2018

Listening to songs is one of the most casual activities we do, and in recent years there has been a push to incorporate this activity into the L2 classroom as a pedagogical tool. While other studies have focused on songs and their use in the L2 classroom, this corpus-based study examined the potential for L2 learners to incidentally learn vocabulary from casually listening to songs outside the classroom. Results showed great potential for incidental learning because of the high coverage of the high-frequency word families, the repeated encounter with both function and content words as well as the repetitive nature of songs themselves, and the rich informative context in song lyrics. However, songs might not offer great potential for incidental learning of low-frequency words. Nevertheless, teachers should encourage their students to listen to songs outside the classroom.

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Vocabulary Load of English Song Lyrics for EFL Learners

Author(s): Meral Öztürk / Language(s): English Issue: 2/2017

English songs are very popular with EFL learners and thanks to the natural repetitions of vocabulary they provide through choruses, repeated listening as well as through a special type of ‘language din’ in the head, they offer great opportunities for vocabulary learning. While most authentic texts have been shown previously to be too loaded with unfamiliar vocabulary for lower level learners, there are suggestions in the literature that songs have a light vocabulary load consisting mainly of high frequency vocabulary. The present study investigates these suggestions in a corpus of 177 English song lyrics that appeared in fourteen most recent albums by four artists. The data were analysed through vocabulary frequency profiling. The results indicated that around 95% of words in the songs were made up of the most frequent 1,000 words of English, suggesting that the vocabulary load of English songs is lighter than other authentic spoken genres. There were, however, differences among different artists and among different albums by the same artist. The vocabulary load of chorus sections was lighter than the rest of the songs. Songs are recommended as suitable for lower level EFL learners.

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Neşet Ertaş Türkülerinde Bir Metafor Olarak Kadın

Author(s): Ceren Kabadayi / Language(s): Turkish Issue: 61/2019

It is possible to find the joys, sorrows, sadness, happiness and cultural characteristics of the Turkish people in the folk songs. There are also universal sides of folk songs with regional characteristics because they are the interpreters of common feelings. The folk songs of Neset Ertaş, the prominent representative of tradition of the Abkhazian tradition, which have entered the list of intangible cultural heritage among the folk songs bearing these universal values in Turkish culture, have an important place. The very strong expressions are seen in the transmission of emotions in the folk songs of Neset Ertaş. The use of metaphors carries importance in the transfer of these mentioned feelings. Metaphor, called differently as simile, figure of speech, can be described as using another concept in the transfer of the concept or idea to the language and thus embodying the narrative. In this study, it will be tried to explain the metaphorical examples used in the narration of woman, the subject of the folk songs and the party of love, and the way they are handled in folk songs based on the folk songs of Neşet Ertaş. In the study, a compilation will be made of the folk songs that Neşet Ertaş wrote the lyrics himself and the metaphors related to the women in those songs will be determined. Thus, the use of metaphors as an expression element and the importance metaphors carry will be pointed out through the love subject of folk songs in the axis of woman.

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RAP MÜZİKTE DEYİMLERİN KULLANIMININ SAGOPA KAJMER ÖRNEĞİ ÜZERİNDEN METİNLERARASILIK BAĞLAMINDA DEĞERLENDİRİLMESİ

Author(s): Nagihan ÇETİN / Language(s): Turkish Issue: 26/2019

Music, when considering the forms of performing it, its functions and its effect on people, is a very difficult branch of art to define. As music can be performed with instruments, it is also possible to perform it vocally. In addition to the music itself, the verbal elements that accompany it carry the traces of the culture, as well as the emotions, thoughts and dreams of the person who makes it. When considered from the viewpoint of intertextuality, no text comes into existence independent of the culture in which it is created; the one who creates the text, adds cultural elements to the text consciously or unconsciously. These cultural elements may be faith, belief, value judgment, or a phrase. In the introduction of this study, intertextuality is emphasized in the theoretical framework.It is pointed out that cultural values, as a way of continuing their existence, should be included in the intertextual process and they should be used in new contexts as needed.

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