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Симфонична поема „Тутраканска епопея” от Димитър Ненов

Author(s): Polina Antonova / Language(s): Bulgarian Issue: 4/2015

During my research on the scores contained in the personal archives of Dimitar Nenov, kept at the Scientific Archives of BAS (Holding 216), I found an unknown for the time being music manuscript of the symphonic piece The Epic of Tutrakan. The work belongs to the earliest period of his oeuvre. It could not be dated precisely, but the period of its composition is more or less determinable: 1917–1918. Its title, The Epic of Tutrakan serves as a guide mark as it is identical to that of Dobri Hristov’s overture, also com​posed in 1917–1918. A comparison of the two pieces makes it clear that both works were composed for the same competition. Nenov has left a detailed note/programme of his work. The score is rather of the compressed score type. Dimitar Nenov has never written a score until then. In some places, he has specified his propositions for instruments. Dimitar Nenov’s early pieces are almost unknown. They provide information about the shaping of the style, manner, ideas, aesthetical influences, genre choices of one of Bulgaria’s most talented and interesting composers of the early twentieth century.

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XIX a. Lietuvos dvariškių menai ir pramogos

Author(s): Jolanta Širkaitė / Language(s): Lithuanian Issue: 2(31)/2003

Lithuanian manor culture has been extensively studied by both historians and art researchers. Rich art collections housed at manors have been widely discussed; the day-to-day life of the gentry has been addressed less frequently. However, routine activities, entertainment and hobbies of people residing at manors - an area constituting a somewhat ulterior part of culture that has never risen to the professional level - has never been a focus of research of Lithuanian scholars. This article is an attempt to fill in this gap. Drawing upon the reminiscences and diaries of Joseph Frank, Stanisław Morawski, Gabriela Puzynina, Edward Jan Römer and others as well as scanty archival material, the article does not merely discuss habitual leisure-time activities; rather, it concentrates on those forms of self-expression that involve active participation of creative force.The author singles out different forms of expression of creative thought and imagination in Vilnius and periphery. It is shown that in urban societies collective artistic activities, such as staging of amateur performances and playing theatrical and operatic roles, participation in amateur concerts, occasional gatherings, and live performances, were more popular. Similar collective forms of expression existed in periphery, but here people, being free from the routine of urban pleasures, could spend more time on individual activities - accurate needlework, painting, drawing, environment design, literary experiments, and music composition. Special attention is given to amateur artworks of the gentry - a theme, which has never been discussed by Lithuanian art historians.

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Lejtmotyw Miłosierdzia Bożego w kulturze muzycznej od średniowiecza do współczesności

Author(s): Franciszek Koenig / Language(s): Polish Issue: 13/2017

The leitmotif of God’s Mercy has been present in the musical culture of all eras, from the Middle Ages, when it was present in Gregorian chants, to present times. The basis for the songs created in the course of centuries were usually biblical texts praising the mystery of God’s Mercy and Grace. The way of expressing the leitmotif of God’s Mercy depended on how the text was combined with the factors of a musical style of a given era.In our times, we can witness the creation of many compositions including the leitmotif of God’s Mercy. This is connected with the cult of Divine Mercy being intensively developed in recent years, especially during the pontificate of St. John Paul II. What triggered the development of the cult was first the revelation given to St. Sister Faustina in the 1930s, written down in her diary, and later the cult of St. John Paul II and the blessed Rev. Michał Sopoćko. Therefore, the basis for the content of contemporary compositions connected with the cult of Divine Mercy are first and foremost the words from the diary of Sister Faustina.Contemporary compositions including the leitmotif of God’s Mercy were and are created among others by I. Pfeiffer, S. Ziemiański and R. Twardowski.

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Organy w kościołach dekanatu ożarowskiego diecezji sandomierskiej (cz. I). Instrumenty niezachowane w świetle źródeł archiwalnych

Author(s): Maria Szymanowicz / Language(s): Polish Issue: 13/2017

The following article opens the series of texts about the organs and organists of the Sandomierz Diocese. This cycle will inscribe itself in the 200 years anniversary of the Diocese establishment, which will take place in 2018. This article concerns the organs that were not preserved in the churches of Ożarów Deanery. It was created on the basis of the 18th, 19th and 20th Century sources stored in the archives in Cracow, Sandomierz and Radom.The analysis of the data enabled drawing the following conclusions. There were 21 instruments sequentially functioning within the Ożarów Deanery in 10 parisches. They were rather small organs, 4 up to 15 voices. Most of them were placed on the choir above the main church doors. The instruments were painted and carved, many of them were in bad state. The information on six organists, who were building or fixing the organs in the given area, were also obtained.In order to analyse the full monography of the Polish organ building still many contribution works have to be done, and such is the character of this article.

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Роль і значення духовної музики в розвитку української культури на зламі ХХ–ХХІ століть

Author(s): Margarita Antonenko / Language(s): Ukrainian Issue: 28/2012

The article analyzes the Ukrainian Orthodox sacred music traditions, most mass religious movement state. The study is an attempt to observe and identify the main trends in the spiritual culture of the Ukrainian people at the turn of XX-XXI century.

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Korak do dokolice

Author(s): Dina Puhovski / Language(s): Croatian Issue: 61.7/2001

Ožujak, 2000. O nedavnim koncertima Ramba Amadeusa u Hrvatskoj možda ne bi trebalo pisati. Ne zato što koncerti to ne zaslužuju jer, riječ je, barem što se tiče zagrebačkih nastupa, o odličnim koncertima, već zato što su ipak neke druge stvari zasjenile koncerte te zato da se, nakon što je prvi jugoslavenski izvođač odradio gostovanje u Hrvatskoj, cijela priča pospremi u ladicu s natpisom normalna stvar. [...]

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Pomiędzy Projektem A Strategią – Zarządzanie Wydarzeniami Muzycznymi W Instytucji Artystycznej

Author(s): Alicja Kędziora,Anna Kościelna / Language(s): Polish Issue: 3/2017

The Polish Sinfonia Iuventus Orchestra (POSI) is a unique artistic music institution with an educational profile. Its main goal is to prepare young musicians – graduates of master studies – to enter the labour market well-geared both artistically and organizationally. This paper describes the specific nature of working at POSI, highlights its main objectives and tasks, illustrates difficulties that arise in fulfilling the facility’s mission with the project-based work style (prevailing in such institutions), and portrays a profile of an artist/musician educated at POSI, based on the conducted quantitative and qualitative research. The purpose of this paper is to present a musical institution in which the organization of artistic work should be carried out at the highest possible level, being a source of great satisfaction to all external and internal stakeholders. Unfortunately, as it turns out, concentrating solely on projects and forgetting about the reasons why the institution was established in the first place can be a major threat. Constant care for the implementation of the adopted strategies with the focus only on individual projects and their goals is the challenge the musical institutions of culture are facing now. As indicated by Heraclitus of Ephesus, the only constant thing in life is change.

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Управление на самодейността в България непосредствено преди появата на Централния дом за народно творчество (1948 – 1954). Що е „събор“ и как се организира „празник“

Author(s): Goritza Naydenova / Language(s): Bulgarian Issue: 9/2018

This article follows the formation of governing structures (on a national and local level) that are to administer organized amateur art activity [samodeynost, самодейност] before establishing the Peoples’ Art Central Home in 1954. Following the administrative documents and publications there are two events that develop over time: 1. “Subors” (old country traditional fairs, holidays, church/religion related traditions that undergo changes because of the rigid ideological frame) and 2) “all-nation” holidays organized by the government, surveyed here as a deliberate step to supersede the traditional holidays with new, “socialist” ones. In this article a special emphasis is given to the various repertoire lines in the amateur activity for the mentioned historical period, and to the special attention shown by the government to the policy related in one way or another to folklore (“amateur activity” and “folklore” become equivalent as “peoples’ art”), attention is also given to Bulgarian folklorists’ attitude with respect to these processes.

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Kakva muzika, takva država – Platon

Author(s): Olivera Ševo / Language(s): Serbian Issue: 3-4/2016

Počev od 2009. godine u Ivanjici se svake godine krajem avgusta održava Nušićijada. Reč je o kolaž festivalu satkanom od muzičkih koncerata, pozorišnih predstava, sportskih događaja, performanasa, izložbi i filmskih projekcija, začinjen ceremonijama i paradom kostimiranih građana kao svojim zaštitnim znakom. Ona predstavlja spoj kulture i zabave, tradicionalnog i modernog, mladosti i iskustva, individualnog i kolektivnog. Poznato je da je Branislav Nušić bio odličan besednik i da je napisao jedan od najboljih priručnika za retoriku na srpskom jeziku Retorika – nauku o besedništvu. Imajući to u vidu u okviru Nušićijade u Ivanjici počev od 2012. godine organizuje se Besedničko veče: „NUŠIĆ I REČ“. Ono se sastoji iz dva dela. U prvom delu ugledna ličnost iz javnog života po pozivu govori „Besedu o Nušiću“ na temu o Branislavu Nušiću kao besedniku i teoretičaru retorike. U drugom delu „U slavu reči“, nastupaju revijalno najuspešniji takmičari u besedništvu u Srbiji u tekućoj godini. U ovoj rubrici Hereticusa objavljujemo besede dr Slaviše Orlovića, redovnog profesora Fakulteta političkih nauka Univerziteta u Beogradu i studenata Olivere Ševo, Stefana Dragićevića i Bojane Petrović, koje su održane 27. avgusta 2016. u Ivanjici. Na kraju je beseda dr Đorđa Sibinovića notarima Srbije. [...]

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VIS Jukić u akademskoj godini 2017/18.

Author(s): Josip Ivić / Language(s): Croatian Issue: 1+2/2018

Proteklu akademsku godinu VIS Jukić započeo je nastupom u Bučićima 2. listopada 2017. gdje su framaši proslavljali primanja i obećanja, a istog dana Jukići su nastupili i u Gučoj Gori na slavljenju svete mise. Nekoliko dana nakon toga obilježen je najznačajniji dan naše visokoobrazovne ustanove, a to je spomendan blaženog Ivana Duns Skota, na kojem je bogoslovski bend odsvirao poznatu pjesmu „Uhapšen u svojoj magli‟.

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Взаимодействие на класическа и съвременна хармония в хроматиката

Author(s): Andrey Diamandiev / Language(s): Bulgarian Issue: 1/2015

The interaction between classical and modern harmony is seen from a methodological aspect as a systematic and structural category, namely as a tone system that more or less destroys tonality, and from a historical aspect – the time when that happened, namely at the end of the nineteenth century and approximately by the end of the mid-twentieth century. During that period, we can find out a number 75 of ‘border’ examples representing the opposite poles between the so-called classical and modern harmony, where tonality can be perceived in an atonal environment and vice versa – it can be an environment in a context beyond its borders in the works of composers as Brahms, Wagner, Wolf, Bruckner, Mahler, Reger, Strauss, Schönberg, Berg, Webern, Debussy, Bartok, Shostakovich. We can find such occurrences earlier by composers such as Mozart, Beethoven and Schubert. Such a process is technologically and structurally implemented mostly in chromaticism, which should be seen simultaneously, not separately, in the two types of harmony. Such an approach is suggested by the author as a new aspect in the teaching methods of the subject of Harmony in Bulgaria.

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The embodied and the cultural in the conceptualization of pitch space in Croatian

Author(s): Sanja Kiš Žuvela,Ana Ostroški Anić / Language(s): English Issue: 2/2019

Most conceptual metaphors that conceptualize musical pitch rely heavily on human perception, images and experience structured through spatial and orientation image schemas such as the schema of VERTICALITY. The paper analyses conceptual metaphors that structure pitch relations in terms of vertical space, thickness and size as they appear in the Croatian musical terminology. The image schemas of VERTICALITY and SIZE are analysed within the conceptual metaphors PITCH RELATIONS ARE RELATIONS IN VERTICAL SPACE and PITCH RELATIONS ARE RELATIONS IN SIZE in order to define to what extent their motivation is embodied and universal, and what can be attributed to cross-cultural and cross-linguistic influences present in the creation and understanding of music terminology in Croatia.

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Внесок вихідців Бережанщини в музичну культуру західної української діаспори

Author(s): Olena Gaidychuk / Language(s): Ukrainian Issue: 1/2019

The purpose of the article is to make a retrospective analysis of people from Berezhany region by four waves of emigration during the last quarter of 19 up to the beginning of 21 century; to systematize forms, kinds, genres of musical art which they have worked in; to highlight artists achievements and their role in the popularization of Ukrainian musical culture on the geographical world map. The methodology based on the analysis and comparison of the historical, culturological, art critic literature, review of the artist`s personal archives, highlighting the musical activity of persons during emigration waves. The scientific novelty. In the study for the first time are considered the musical artistic activity outside Ukraine separately the Berezhany territory in Ternopil region; are introduced to the scientific circulation the little-known in Ukraine personalities. Conclusions. The artists from Berezhany region during the four waves of emigration have presented in diaspora the vocal (opera singers, concert chamber performers and choirs soloists), instrumental (bandura players, mandolin players, violinists, pianists), choir (conductors), composers art and they have also made a significant contribution in notes publications and spreading the note music literature abroad, they did the big scientific researches in the musicological sphere, musical critic and musical pedagogy. On the geographical world map the most they are represented in Canada, USA, and Great Britain.

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Рок пророк – българският рок и метъл на хартия и онлайн

Author(s): Plamena Petrova / Language(s): Bulgarian Issue: 6/2019

The report focuses on the presentation of Bulgarian rock and metal in specialized media. It accentuates metal. Rock is included as the music, which metal is a part of and as a comparison. To what extent are Bulgarian performers included, compared to international ones? How do the two types of media cover events? Do they have a specific “metal” vocabulary? Which are the primary genres and media images? The text attempts to answer these questions and outline the differences in print and online media. The additional ways to present content online are addressed. The text analyses primarily “Pro-Rock” magazine and two websites – Metal Hangar 18 and We Rock. Non-specialized media is included briefly for comparison, as well as to outline specifics of rock and metal media, related to their characteristics and target audience.

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Культурно-історичні прогресії напрямів естрадно-музичного мистецтва

Author(s): Marianna Druzhinets / Language(s): Ukrainian Issue: 1/2019

The aim of the article is to consider the cultural and historical evolution of pop music on the basis of scientific research, to explicate the concept of " pop modern art" in the scientific aspect of art; to characterize the specifics of the trends of pop music art; to highlight the cultural and historical evolution of pop music art on the basis of scientific research. The methodology of the research includes comparative, historical and logical methods, analytical methods. This methodological approach allows us to reveal and analyze the cultural and historical progressions of pop music art, genre of pop art. Scientific novelty. For the first time in this article we tried to determine the directions and ways in which our pop art can develop. However, the insufficient development of the topic and the tasks and features of the musical art in science makes some provisions open to discussion, the solution of which is important for contemporary cultural life. Conclusions. Musical art is a reflection of the traditions of the Ukrainian people, the peculiarities of mentality, consciousness of the Ukrainians. Each of the pop art styles and genres has specific artistic features and means of expressiveness; nowadays pop music art is characterized by versatility, a peculiar transformation of the style structure. It preserves folk roots, ethnic traditions and occupies a separate place as an independent phenomenon of artistic culture in the second half of the XIX and the beginning of XX century. Thus, in the second half of the 19th and the beginning of the 20th century, musical genres of their own, formed by the unity of musical style, were formed and established. During the last two centuries, the national musical stage was formed in a broad, multifaceted direction of art.

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До питання національно-стильових детермінант мистецтва Стефана Турчака

Author(s): Olga Tarasivna Katrych,Ihor Mikhailovich Pylatiyk / Language(s): Ukrainian Issue: 1/2019

The objective of this paper is caused by the actual problem of comprehension the Stefan Turchak creative style as a phenomenon of national cultural scale through the identification and comparison of the individual-style dominant and the typical national style determinants of the conductor's art. To achieve the goal the semantic field of the essential characteristics of the Ukrainian national character is considered, the scientific idea of the main intonational idea of the conductor's style is formed, the peculiarities of the individual- style approach of the performer, coherent with the Ukrainian national constants are analyzed on the example of the interpretation of the J. Brahms The First Symphony c-moll. The research method is combination of cultural and musicological methods which allows to form a coherent picture of Turchak's arts phenomenon. The scientific novelty of the work is in the deepening understanding of the interaction of individually stylistic and national-style factors in the formation of the phenomenon S. Turchak‘s conductor art and creating theoretical basis of his works style analysis. Conclusions. On the basis of the interpretation analysis of J. Brahms the First Symphony done by S. Turchak, the main intonation idea of his performing style, which described as the transforming reality of emotionalism, was conceptualized as the conclusion. According to S. Turchak the originality of the interpretation Brahms‘ style is defined as the individualstyle dominant of his art (subjective factor) and Ukrainian national-style determinants (objective factor). It is known that individual style and national style in music (and in the art as a whole) are the most genetically related. It can be argued that the nationally determined specificity of S. Turchak‘s worldview provides an honorable place to his original interpretative concepts in the process of forming the world music culture text of global scale which is still going on.

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Еволюція київської вокальної школи в другій половині ХХ століття: проблеми і творчі здобутки

Author(s): Pavlo Ivanovich Pokhodzei / Language(s): Ukrainian Issue: 1/2019

The purpose of the article is to trace on the historical facts how Kyiv opera school developed during the second half of the twentieth century and which role in this process was played by the Opera Studio because this period is characterized an active evolution of it despite the Soviet engagement. The methodology of the research is to apply analytical, historical and art-study research methods for determining the ways of development of Kyiv opera school of the specified period. The research is based on the practical experience of specialists in the field of musical and theatrical art. The scientific novelty of the research is to analyze the methods of disseminating on the educational process of the NMAU named after P. I. Tchaikovsky the acquired traditions and experience of many generations of leading opera singers who formed the national vocal-performing school. Conclusions. As a result of the research, it was found that the history of the functioning of the department of solo singing of the Academy testifies to the tradition of attracting to the teaching work, as a rule, the most talented and experienced singers-actors who in their creative heritage have at least 25-30 years of work on a professional opera stage and get performing experience (through studying, internship or touring in Italy, France, Germany, etc.), gained recognition at the state and beyond and have become indisputable carriers of their teachers' schools. This conclusion applies both to the founders of the department and the subsequent generations of teachers.

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Поетика вокального циклу П. Хіндеміта «Житіє Марії» в руслі духовних і стильових шукань німецької культури і музики першої половини ХХ століття

Author(s): Olga Viktorivna Muravskaya / Language(s): Ukrainian Issue: 3/2019

The purpose of the article is to identify the poetic-intonational uniqueness of the P. Hindemith‘s cycle ―The Life of Mary‖ in the context of the religious and aesthetic attitudes of the composer‘s work and the spiritual and stylistic specificity of German culture of the first half of the 20th century. The methodology of the work is based on the cultural-historical approach in musicology; inherited from B. Asafiev and his followers, as well as on interdisciplinary, etymological and historical-culturological approaches. The scientific novelty of the work is determined by the fact that the mentioned cycle of P. Hindemith is first considered in Ukrainian musicology and art history from the perspective of not only the spiritual and creative position of the composer but also the evolutionary paths of the vocal cycle in the German cultural, historical and musical traditions of the XIX-XX centuries. Conclusions. For P. Hindemith, the emergence of the «Life of Mary» cycle is connected not only with the transition to neoclassicism positions, but also with an interest in the specifics of the so-called «new spirituality» or «new religiosity» essential for the culture of the entire twentieth century. For the cycle, genre synthesis is indicative, bringing it closer to mono-opera and the German spiritual cantata. This cycle is also characterized by equality of vocal and instrumental parts as components of a single polyphonic whole at the level of «contrapuntal unity». Polyphonism as defining the texture-style quality of the «Life of Mary» cycle is manifested in the extensive use of basso ostinato, fugato, canons, and methods of contrasting polyphony, which demonstrate the dominance of the linear principle and determine the neoclassical style of this work. The latter is also revealed through the rhetorical-semantic aspects of the Baroque forms and the symbolic-allegorical interpretation of tonalities.

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Символіка Монсальвату і Валгалли у музичній драматургії оперного міфу Р. Вагнера «Лоенгрін»

Author(s): Olena Georhiyivna Roshchenko / Language(s): Ukrainian Issue: 3/2019

The aim of the article is to specify the symbolism of Monsalvat and Valhalla in the chronotop-sacra of the opera myth by R. Wagner ―Lohengrin‖. Research methodology is based on the principles of the mythology opera studies, music onomatology (the study of the mythologized toponymy); intromythological, encyclopaedic (the consideration of a ―new myth‖ as a romantic docta stilo), functional and typological, mythological and symbolic types of analysis. Scientific novelty. An attempt is made at revealing the characteristic aspects of functioning of the mythologized oronyms in the chronotop-sacra. Instead of the mythologized oronym Valhalla in Ortrud‘s ―prayer‖, the proper names of the former rulers of the German-Scandinavian world are introduced, which contain a hidden plot of the sacred mountain of the old world. Valhalla and Monsalvat had similar functions in different historical epochs (the world mountain of resurrection, a castle with a sacred hall, a lodging of celestial warriors of light), providing them the meaning of semantic twins. Christianization has caused the displacement of pagan mythology outside the sacral chronotop: in one mythological picture of the world there is no place for two sacred objects whose functions coincide. Valhalla, having taken an underground locus, turns into the rival of Monsalvat. The opera transmythology of ―Lohengrin‖ is based on the unification of mythologized stories of Valhalla and Monsalvat in the plot unity. Their confrontation is considered as the battle of Wunder and Zauber, an important role in the development of which has a mythologeme-image of the enchanted knight. The introduction of the name of Parsifal contributes to the addition of plot analogies with Klingsor – the castle-mountain, the embodiment of Zauber, another rival of Monsalvat from the last Wagner‘s opera. The time of the development of the action of ―Lohengrin‖ is considered as the day of the destroyed Klingsor. Conclusions. The theme of the confrontation between light and darkness often translates into the mythologeme ―magic mountain‖ through the composer‘s usage. The symbolism of Monsalvat and Valhalla in the musical drama is identified through the usage of mythology opera studies as an art based on the synthesis of the basic principles of mythology and opera studies, the application of the fundamentals of musical onomatology, common in both areas of mythologized onomastics: anthropo- and toponymy. Through the symbolism of the explicit (Monsalvat) and implicit oronyms (Valhalla and its analogues – Venus the mountain, Klingsor) in the mythologized toponymy operaasmyth there is an elucidation of the insight of confrontation between light and darkness, Christianity and paganism. The drama of the opera is interpreted as a duel of Monsalvat and Valhalla for dominating over the Brabant (Midgard) and Asgard.

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Civic and Patriotic Motivation of Kyrylo Stetsenko’s Life Creativity

Author(s): Natalia Tadeyivna Synkevych / Language(s): English Issue: 3/2019

The purpose of the article is to outline aware and persistent efforts of K. Stetsenko in the areas of creative, pedagogical and social work for the national-patriotic education of youth, as well as the Ukrainian society as a whole. The methodology of the research lies in application of historical, biographical and system-analytical methods. The scientific novelty of the research is in the discourse of cultural and educational basis of Kyrylo Stetsenko‘s musical creativity, his pedagogical and social activities; in systematizing materials about his achievements as a composer, conductor, critic, teacher and public figure motivated by his national and patriotic priorities. K. Stetsenko inherited his love for art, folklore, and respect for Ukrainian sacral traditions from his parents‘ home. During his studies at the theological educational institutions and in M. Lysenko‘s Music and Drama School the grounds of his national self-awareness were set. This was also facilitated by his personal acquaintance with Mykola Lysenko. K. Stetsenko‘s managerial and choral activities, foundation of music publishing house, his work as a music critic and educator were motivated by his devoted commitment to the Ukrainian idea. The composer‘s patriotic attitude was reflected in his selection of freedom-loving poetry for vocal music, in composing a number of spiritual pieces, in interpretation of folk-verse and paraliturgical samples, in children‘s art. Conclusions. Due to his tireless social work, talent of a composer, pedagogical and managerial skills, the artist responded to the needs of the Ukrainian society and school, realized the demand for artistic-concert and didactic material, understood its significance for musical education and upbringing. Both musical and theoretical works of K. Stetsenko were based on national patriotic principles, and therefore they remain relevant to this day.

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