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Образи фортепіано в "Piano Gesang" Ігоря Щербакова

Author(s): Fan Lu / Language(s): Ukrainian Issue: 39/2017

Purpose of Article.The article reveals images of the piano in the oeuvre by Igor Shcherbakov, especially in his piece "Piano Gesang," traces their continuity and transformations relative to images of the piano formed in the Ukrainian and world musical culture of previous epochs. Methodology. The research methodology lies in using a holistic analysis of a musical work. Logical methods of analysis and synthesis are used to identify images of the piano when considering the name of the piece, its ideas, and contents. The use of culturological and comparative methods allows us to trace the evolution of the melodious and nostalgic images of the piano and their reflection in the work of I. Shcherbakov. Scientific Novelty. In the article, a significant work of contemporary Ukrainian music "Piano Gesang" by I. Shcherbakov is analyzed for the first time. Innovative is also the consideration of this composition in order to identify typical images of the piano formed in modem Ukrainian professional music culture. Conclusions. The image of piano of Shcherbakov consists of two main interconnected components: the image of the piano as a singing instrument and the nostalgic image of the piano as a symbol of the "golden age" of musical art. In the formation of these images of the piano, an important role is played by both artistic and stylistic, as well as cultural and social factors. The nostalgic image of the piano is a manifestation of postmodern artistic consciousness, which is characteristic of modern Ukrainian and world art.

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Медіальна перспектива мовно-знакової еволюції музики (на матеріалі українських камерно-інструментальних композицій межі ХХ – ХХІ століть)

Author(s): Anastasia Igorivna Kravchenko / Language(s): Ukrainian Issue: 40/2018

The aim. The aim of the work is to justify the appropriateness of using the term "media" in relation to music and to identify ways of functioning of unrelated sign codes at the system-structural level of organizing musical information, which is based on the material of chamber music of Ukraine at the turn of the 20th and 21st centuries. Methodology. In the analysis of the polysemyotic compositional integrity of modern Ukrainian chamber pieces the musicological, structural-semantic, semiotic, intermedial, comparative-typological methods were used. Scientific novelty. For the first time on the material of the semiosphere of Ukrainian chamber creativity, medial perspectives of the sign-language evolution of music are highlighted and general criteria for the typological classification of intermedial links in music are outlined. Conclusions. At the present stage, philosophical and cultural universalism of musical aesthetics, which is reflected in the polylogue of musical and extra-musical stylistics, becomes the decisive semiotic and conceptually meaning. This trend causes the expansion of the logical-conceptual apparatus of musicology to polymethodological vectors – the discursive synthesis of research paradigms. Proceeding from the cultural and semiotic positions, it is quite legitimate to use the term "media" in music, the cultural and iconic complex of which demonstrates the ability to interpret and translate not only a rich palette of cultural and semantic meanings, but also a wide range of cultural and symbolic codes, which confirms the presence of medial functions musical semiotics. The presented typology of intermedial links is based on the definition of explicit and implicit principles of the functioning of unrelated symbolic codes and stylistics of artistic and extra-artistic origin in the semiotic space of musical compositions. We are talking about: 1) the multisemiotic way of organizing artistic-semiotic integrity based on the principle of explicit synthesis of stylistic-technological and expressive possibilities of music and other arts as an combination of different semiotic series; 2) the monosemiotic method, based on the principle of implicit synergy of semiotic music codes and any other artistic and extra-artistic symbolic systems, presupposing the "recoding" of some semiotic codes in the language of others. Thus, the medial perspective of the linguistic and linguistic evolution of music is the path to a universal, polyfunctional semiotics, directing the structuring of musical matter in semiotically complexly organized texts with a doubled semantic potential.

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Завдання та особливості сучасного естрадного мистецтва

Author(s): Valerii Borisovich Matushenko / Language(s): Ukrainian Issue: 40/2018

The purpose of the work. The importance of the tasks and features of pop art is considered in the article. The historical-theoretical study of the internal structure of the world of arts, the relationship between types and varieties of art, as well as genres and genres is described in many works. To date, there has developed a certain tradition in the study of pop art, which is also preserved in the study of colloquial, musical-song, plastic-choreographic and original genres of pop. The basis of the study was the material accumulated by the author in the field of stage, cultural studies, sociology, musicology, as well as publications of a factual nature, which highlight the essence of the issue. Methodology. The methodology of this work is the methods of scientific research that the author proposed in this scientific article. These are historical, analytical and comparative methods. Scientific novelty. However, the lack of elaboration in science of the topic of tasks and features of the stage makes some discussion points, the solution of which is important for modern cultural life. Conclusions. Today, cultural workers, in particular, pop music figures, have a great responsibility towards their people who want to think freely, objectively assess the situation, be aware of all aspects of life, in order to build a real, European, free, democratic Ukraine together, throughout the country. One of the aspects of this development is acquaintance with pop art, its features, tasks and ways of development. Future experts in the field of culture and arts of Ukraine - graduates of our academy and other higher educational institutions of Ukraine must know the history, development, main features, tasks and ways of development of pop art, as many of them will work in the national culture management bodies at different levels of our the state, namely: in the Ministry of Culture of Ukraine, state administrations, cultural departments, public, public, private artistic institutions, mass media, etc. - and precisely ID of socially active part of our society and will depend on future cultural policy throughout Ukraine. One of the aspects of this development is acquaintance with pop art, its features, tasks and ways of development.

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Історико-теоретичні передумови дослідження жанру багателі в музиці

Author(s): Julia Volodymyrivna Furdui / Language(s): Ukrainian Issue: 40/2018

Purpose of the article. This study is related to the study of genre specificity bagatelle in music from early samples (XVIII century) to the present time (the beginning of the XXI century). The author considers the interpretation of the genre of bagatelle in different epochs. The analysis is subject to bagatelle who were written not only for pianoforte but also for a variety of instrumental compositions. The methodology of the research is formed by the historical-style and comparatively comparative approaches and the traditional analysis of the musicologist, which together make it possible to present the instrumental bagatelle as a genre that already has a three-hundred-year history of development and existence. The scientific novelty of the article is to find and uncover the signs of the instrumental bagatelle genre. Conclusions. Bagatelle at the stage of formation was mainly written for pianoforte and string band. Over time, its instrumental composition expanded – in the twentieth century, both wooden and wind instruments and folk instruments are used. In the 21st century, the piano presentation is in the forefront. Genre characters Bagatelles, in addition to the primary piano timbre, are also program, cyclical (gradually separated from the program, "plot"), in the work of V. Silvestrov - a deep philosophical meaning.

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Балетмейстерська діяльність Вадима Федотова в контексті розвитку українського музичного театру останньої чверті ХХ століття

Author(s): Olha Sergeevna Bilash / Language(s): Ukrainian Issue: 41/2018

Purpose of the article is to analyze the choreographical work of V. Fedotov and the ways it was realized on the stages of leading musical theatres of Kyiv: Kyiv Musical Theatre for kind and youth, Kyiv Theatre of the Classical Ballet, National opera and ballet theatre named after T. Shevchenko. Methodology: use of the next culturological methods of research: historical and comparative, structural and functional, semiotic, systematical. Scientific novelty: the study of the choreographical heritage of V. Fedotov, which was created and realized during his work on stages of leading musical theatres of Kyiv. Conclusions: The main points of staging conception lied in the convincing display of choreographical characters, successful combination of classical and folkstaged choreographic systems, a creation of the logical compositional structure of ballet performances, getting rid of excessive illustrative and domestic detailing.

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Балет «Лускунчик» редакції В. Вайнонена: генезис та композиція

Author(s): Hanna Oleksiyivna Perova / Language(s): Ukrainian Issue: 41/2018

Purpose of the article – to trace the genesis and reveal the peculiarities of the composition of V. Vainonen's editors Ballet P. Tchaikovsky's The Nutcracker. Мethodology. Analysis of the scientific literature and sources, systematization, application of the chronological principle allowed to conduct a scientifically objective study. Scientific novelty. The prerequisites for the creation, the basics of the ballet master method, and the compositional features of the editors of The Nutcracker by V. Vainonen are revealed. Conclusions. The impetus for the incarnation of V. Vronsky's version of the Nutcracker ballet by P. Tchaikovsky-L. Ivanov became sociocultural (changing the policy of state bodies in relation to classical ballet from categorical denial to recognizing its importance in cultural construction) and art (appearing in the first years after the October 1917 coup of a number of avant-garde performances based on classical heritage figurative music and ideas ballet) factors. The performance has a tendency to return to classical dance in the editorial in accordance with the modern development of dance vocabulary, performing technique of ballet dancers. The ballet master updated the score, the scenario solution, provided the images with a new meaning. The source of figurativeness for V. Vainonen was the music of P. Tchaikovsky, which caused a combination of external structural orderliness and internal mood in the dance, preservation of strict classical forms. The main feature of the poetic generalization of the choreographer, realized in The Nutcracker, is the authenticity of events and characters, and despite the realistic interpretation of the approach to the aesthetics of a children's play, taking into account the peculiarities of the perception of the children's audience.

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Liu Danli: Visualising the Chinese Dream

Author(s): Yue Wang / Language(s): English Issue: 7/2018

This essay examines how the performance art of Chinese national soprano Liu Danli narrates successfully the Chinese Dream and thus arouses new hopes and a rising sense of confidence in Chinese people’s minds. Her masterpieces Si Qing Ji, Hong Hu Chi Wei Dui, and You Ai Cai You Jia have been building our own culture from different angles. Her unique style, with elegant and poetic interpretation, is formed due to her tough training and abundant stage experience gained in early years at the theatre group. She has been integrating the scientific methods of opera singing in occidental bel canto to her later arias, combining Chinese Xiqu techniques in phrasing, singing and body movement into vivid characterization, thus making daring reforms in script adaptation, voice appropriateness, ballet footwork, action design, melody design and singing style to canonic plays and recreating new canons.

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PIRANDELLO OVVERO LA MELODIA DELL’ ALTROVE

Author(s): Sara Loranzetti / Language(s): Italian Issue: 12/2019

The paper aims at studying the relationship between literature and music in Pirandello’s Novelle per un anno, an aspect of the work that scholars not developed so far. Firstly, the paper examines the short stories where musical references occur; secondly, it analyses the selected texts, using Wolf’s intermediality to understand the artistic conception they imply and how they can be put in relation to Pirandello’s essays.

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Гармонізації професором Одеської державної консерваторії С. Орфеєвим Степених і Прокименів для богослужіння

Author(s): Dariia Volodymyrivna Androsova / Language(s): Ukrainian Issue: 2/2019

The purpose of the article is a study written for church Religious service of harmonizations of canonical melodies, realizable professor, rector to Odessa state conservatoire S. Orfejev, which composer creative activity ate his participation in church divine service practical person writing the music, especially of the temple destination. The methodology of the work is the intonation approach of the school B.Asafiev in Ukraine. The base place occupies the method of the genre-style comparative analysis, hеrmеneutics method, as well as positions performance analysis, as this is presented in works of V.Medushevskiy, E.Markova, as well as in work of S.Skrebkov and others. The scientific novelty of the study is determined to appeal to carried in musicology typology analysis, in which not author's unique of work, but executed on canon creative variants given expressive typology forms the sense artistic-aesthetic presentation of the music. For the first time information is incorporated in the scientific everyday life of Ukraine about harmonization by composer S.Orfejev of canonical melodies to temple Services. Conclusions. The analysis of the harmonizations made by S.D. Orfeev demonstrated a high ability to typologically express the ideas-images of music set by the Service, defining the cant-partisan style character of the invoice. An individual perspective of the typological presentation of harmonization is found - by relying on N. Leontovich's "Palestinian", by drawing on bar-form effects both by organizing individual Power (in the first voice) and by defining the compositional alignment of this kind in the recording of Power and Prokymen. The harmony of the typological correlations is obvious - individualized by the Orfeev-composer, defined by high education, inherited from the family and the first professors of the Odessa Conservatory, professionalism and regency skills, finally, the fullness and sincerity of the Orthodox Faith.

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Musical Ethos of the Epoch of Middle Ages

Author(s): Tetiana Borisivna Kablova / Language(s): English Issue: 2/2019

The research is aimed at studying the concept of musical ethos, as a characteristic universal in the conditions of the cultural space of the Middle Ages. The mentioned topic forms the following task: to indicate the main aspects of the formation of the concept of ethos of music in the Middle Ages. The methodology of work is to use comparative, historical and logical methods, a hypothetical and deductive method, which suggests the need for the existence of universal concepts in artistic cultural space, where there are certain concepts that are studied in the Middle Ages. Music is considered by the author as a form in which spiritual and real are combined. Scientific novelty. The musical ethos of the Middle Ages is primarily studied from the standpoint of the church, while at the same time not losing its material essence of scientific novelty. In the cultural space, the musical ethos is a spiritual core, a moral and psychological platform, on which the figurative and aesthetic model of contemporary humanity of life and worldview is built up. The musical ethos is characterized as the perfect embodiment of the material musical substrate, in the process of mastering the typical signs of time. Conclusions. The musical ethos is seen as a definite universal notion. It is the musical ethos that embodies the socio-psychological orientation of the world picture and the general mental setting for the formation of the cultural-civilizational process, its ability to generate and cultivate new types of reactions, ideas, and tastes in these forms. Thus, the musical ethos appears to be the genesis for the implementation in artistic forms of the preferences and cultural images.

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Художньо-інтерпретаційний дискурс Бахіанства у глокалізованому просторі (на прикладі рецепції клавірної творчості композитора у Львов)

Author(s): Stepan Stepanovich Solansky,Zoryana Mykolayivna Lastovetska-Solanska / Language(s): Ukrainian Issue: 2/2019

The Purpose of the Article is to investigate the artistic and interpretive discourse of J.S. Bach’s clavier creativity, its reception in Lviv as an object of globalized cultural and artistic surroundings. The methodology of the research is based on the application of historical, musicological, artistic and critical, culturological and analytical approaches, which enabled to analyze the basic principles of the criteria of globalization, the intensity of global and local interactions and the speed of the global reactions on the example of reception and the spread of Bach’s creativity, to trace certain models of interpretation in the historical perspective, taking into account historically formed artistic priorities and tastes of Lviv residents. Such a methodology made it possible to accentuate the modern and postmodern stages of the globalization of cultural and spiritual processes in the projection into the interpretive discourse of Bach’s creation in a specific region. The scientific novelty consists in formulating the definition of artistic and interpretive discourse, in expanding the notions of the globalized and glocalizated socio and cultural surroundings, in the study of the performing discourse of the Bach’s clavier works in Lviv through the prism of its artistic and cultural traditions and achievements. Conclusions. The dominant views of the interactions between global and local are the active apperception of recognized world models of the interpretation of Bach’s clavier music in Lviv. Its artistic and interpretive discourse and traditions of reception are characterized by a symbiosis of external factors and internal conditions. The simultaneous existence of romantic, authentic performances, the performing of works by the German composer with jazz pianists enriches the rich palette the Bach’s Compendium in the glocalizated artistic and interpretive space of Lviv.

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Парадигма християнського славослів’я у творчості г. Ф. Генделя

Author(s): Anzhelika Anatoliyivna Tatarnikova / Language(s): Ukrainian Issue: 2/2019

The purpose of the article is the identification of the poetic-intonational uniqueness of «Te Deum “Dettingen”» by G. F. Handel in line with the christian worship tradition. The methodology is based on the intonational concept of music from the perspective of intonational-stylistic, etymological analysis inherited from B. Asafiev and his followers, as well as on interdisciplinary and historicalcultural approaches. The latter allow revealing the spiritual-semantic and stylistic specifics of «Te Deum “Dettingen”» by G. F. Handel in the context of not only the individual author's style, but also the evolutionary paths of the spiritual choral art of Europe. The scientific novelty of the work is determined by the fact that it first summarized the poetics of «Te Deum “Dettingen”» by G. F. Handel in the spirit of the christian worship tradition. Conclusions. Choral art G. F. Handel is associated with England, its political, cultural, historical and choral tradition. One of the “signs” of this connection can be considered his five compositions on the texts of Te Deum (in the english version). The two largest Handel Te Deum – Utrecht (1713) and Dettingen (1743) – are dedicated to ending the war of the spanish inheritance and the victory of the british and allied austrian troops over the french near Dettingen. «Te Deum “Dettingen”» by G. F. Handel was born at the intersection of, on the one hand, the arsenal of musical rhetoric, coupled with images of glory, praise (quarterliness, trumpet sounds, d major, etc.), on the other – appealing to the invoice-intonation formulas of spiritual and singing praise of praise, genetically going back to the tradition of the early middle ages, in particular, to ambrosian singing (antiphon, responsory, melismatic anniversary singing, etc.).

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Musical and Instrumental Foundations of Modern Composition Techniques

Author(s): Alla Dmitrivna Chernoivanenko / Language(s): English Issue: 2/2019

The purpose of the work is to analyze the instrumental nature of modern composition techniques in the unity of their cognitive (performing and composing) and instrumental and sound parameters. The methodology of the research consists in application of aesthetic-cultural, comparative, theoretical and historical methods, as well as the analytical approach, which form a unified methodological basis. The scientific novelty of the work consists in expanding the notions about the genesis of musical art basing on the analysis of relations of the musical and instrumental principles and the nature of modern composition techniques. Conclusions. Instrumental nature of modern composition techniques is determined by the ongoing processes of individualization of composer's work in the areas of the author's vision of sound material, the relation to musical text, musical chronotopes, musical language, timbres, texture, shaping, etc. The factor of marginal diversity, technical complexity, and often the impossibility of the vocal embodiment of the sound material of compositions – not only sonorist, pointillist, aleatory, timbral-characteristic, etc., but also extramelodic (with a higher order melody consisting not of individual tones, but of the whole texture, when the entire texture becomes a melody) directly demonstrates the instrumental nature of the technique, reproduced in genres of music - mainly without the use of voices or their use in "unvocal", an instrumental sound format, often with the nonverbal meaning. Finally, the very musical thinking in modern composition techniques acquires the qualities of instrumentalization.

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Традиції культури мистецької франції та фортепіанні концерти К. Сен-Санса

Author(s): Lilia Mykhaylivna Shevchenko / Language(s): Ukrainian Issue: 2/2019

The purpose of the article is a realization of organic character to the lyrical concept of piano concerto in the French tradition, presented Concerto С.Saint-Saёns, actual intonation expressiveness which is determined "nеоcymbolism" (on E.Markova) to pоstvаnguard in music and "nео-Gоthic in art" in Ukrainian refraction of post-pоstvаnguard (see to work O.Novikova and others.) The methodology of the work is culturology approach in science about art, presented including school of B.Asafiev in Ukraine, begin which are fixed french Ars nova begin XIV century and are turned in riverbed theatrical mimеsis of J.-J. Rousseau. The base place occupies the method of the genre-style benchmark analysis, hermeneutic, historian-descriptive methods, allowing within metaphysicians of the histories (A.Losev, N.Konrad) fix the semantic parallels of the formation of the humanitarian sphere and expressiveness of art. Scientific novelty of the work is concluded in that for the first time in musicology of Ukraine matches up the intonation formation is proto-symbolism, symbolism and nео symbolism begin XXI centuries in concrete manifestation of the genre filling in themes and in composition particularities of the structure of the artifact; for the first time Concertos Network-Sansa and, first of all, Second and Fifth became the theme and hermeneutic analysis in aspect actual intonation fullness of the manifestation, in correspondence to symbolism gravities of post-avanguarg. Conclusions. The creative activity of C.Saint-Saёns chronology and by style preferences is connected with proto-symbolism and proto-neoclassicism trends, which assist the ascent a symbolism, but subsequently nеоsymbolism art of verges XIX-XX and XX-XXI cent., differing salon estheticism and animated honouringп of national tradition and French artistic insight first of all. The majority from created Sant-Saёns of symphonic compositions pertains or to the genre of the concerto directly, or are such essential expressiveness and instrumental composition, presenting composition; including this 5 Piano Concerto. Of them, popular Second demonstrates style eclectic significant for the symbolism approach, but brilliant play-off reproduces "diamond style" of classicists french pianism, which osculation find beside S.Rahmaninov and, more so, besides A. Skrjabin. The concert principle of the thinking of Sant-Saёns is determined by address to spiritual headwaters creative activity and forms natural parallel to the ascent of the interest to church art, lifted on height by the creative activity of C.Franck and V. d'Indy.

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Естрадний вокал як відмінна риса урбаністичної культури

Author(s): Oksana Oleksandrivna Sinenko / Language(s): Ukrainian Issue: 2/2019

The purpose of the article. This article has the main purpose to analyze pop vocal as a specific phenomenon generated by urban culture and way of life of the big city, which implies, accordingly, the rhythmic features of pop performances. The methodology of research is based on an interdisciplinary approach to the pop vocal as an object that exists not only on the stage, it is not isolated, but penetrates into different spheres of life. In addition, pop performance is the background, which due to its accessibility is perceived as a backdrop, not just as an independent phenomenon. Significant role here also belongs to the sociology of music. Scientific novelty of the article is that in this article pop music is considered not only as an isolated phenomenon, the place of deployment of which is a scene. The performance and field of performance of the pop artist is a product of urban cul ture and reflects its rhythm. Accordingly, pop performance is a complex phenomenon that does not exist separated from other cultural patterns, but is a background that accompanies the dynamics of urban processes. Conclusions. Various aspects of pop vocal are studied by scientists in works devoted to different fields of culture. As a cultural phenomenon, pop performance is inappropriate to consider from the point of view of its stage isolation, because it penetrated almost all spheres of life, everyday life of man. Not least this was due to the support of the pop music, which has become like a kind of city ambient, on the part of the media. Thus, pop performance expresses the specifics of the urban way of life. Hence, such essential characteristics of pop vocal as the frequency of changes in the rhythm of songs and the sound of the performer’s voice, the lack of stable norms and rules, the combination of achievements of different layers of culture (both academic and folk based on folk-based basis), standardization and an attempt to develop their own style and manner of execution, variety of subjects, accessibility for any listening audience, dynamism, unity. It is also possible to characterize the very urban culture. Variety performance is nothing more than a “rhetoric of steps”.

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За музикалната среда в документалния филм (представяне на културноисторическо наследство)

Author(s): Valeri Pastarmadjiev / Language(s): English,Bulgarian Issue: 3/2019

Cultural heritage preservation for posterity is a special challenge and an ever-topical subject. There are a number of tools allowing to preserve and present historical memory to the general public. Among the most effective ways to do so is its recreation by using audiovisual media and its objectification in documentary films. Film, and in particular documentary film, uses a set of devices to achieve the desired goal. Musical environment, in holding the potential for creating an overall feeling of a certain period, plays a special role in effectively representing events of cultural and historical significance. In this respect, the goal of this study is to bring forth the role and specifics of the musical environment of documentary films in preserving cultural and historical heritage. The object under study here is the musical environment in a documentary dealing with Bulgaria’s cultural and historical heritage, namely The Masters Who Turned Time Forward. Another important focus is also the process of composing music as an impactive element with its own specificities. The article presents some aspects of the interplay between musical atmosphere and visual environment in the documentary as a symbiosis between the act of presenting and capturing and, in this sense, preserving cultural and historical heritage. An overview has been made of the role of music in films and more specifically, in documentary filmmaking. The correlation between the film story, the sites on which historical events unfold, and the film score has been analysed. The reasons behind the choices of genre, musical instruments and merging musical styles have been provided. The documentary shows historical sites of architectural value constructed by master builders from Bratsigovo. The author presents the above-mentioned devices as an effective tool in creating the musical atmosphere of a documentary viewing cultural and historical heritage as a prerequisite for facilitating the reception of and social commitment to the presented cultural values.

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Unitate și diversitate în cântarea liturgică din Biserica Ortodoxă Română

Author(s): Mircea Florian Pădureanu / Language(s): Romanian Issue: 02/2019

Music and singing are inseparable, the text being on the first place. The singing of words, their living, works wonderfully on the soul, the Christian truths deeply penetrating the heart of the believer, as the Blessed Augustine says. The appearance of the Byzantine music in Romania is closely related to the appearance and spread of Christianity on the territory of our country. The liturgical song of the Orthodox Church has holy sources, being filtered by the experiences of the Romanian soul. The result of this selection was the appearance of a traditional melos performed by national church music heroes, Macarie Ieromonahul and Anton Pann. The old church singers worked and enriched the old music of the Eastern Church according to the musical genius and the practical Romanian genius, we having the duty to preserve, cultivate and develop this singing, identified with the “Romanian and religious taste and sense” as Bishop Melchisedec Ștefănescu said.

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Lovranu, autor Zlatko Špoljar. Prilog istraživanju kulturne i socijalne povijesti Lovrana sredine 20. stoljeća

Author(s): Zorica Manojlović / Language(s): Croatian Issue: 1/2018

The subject of the paper is the development of cultural institutions in the earlier socialist period, but also the role of individuals who, besides their obligations, included their knowledge, talent and belief that it is worth investing in culture regardless of political and social circumstances. One of them was a Croatian pedagogue, composer and writer Zlatko Špoljar (1892-1981), an urban intellectual who, by decree, arrived in the Kvarner region and Istria from Zagreb in 1945, after a very productive professional period of his younger years behind him. He came to Lovran in 1956 from Pula, in whose post-war educational and cultural life he played a prominent role. Retired but still an active creator, as well as everywhere, in Lovran he continues to develop music and stage culture in collaboration with the local cultural societies and school. In addition to working with Lovran amateurs and children, amongst other things, he leaves his own author mark in the unknown composition dedicated to Lovran, preserved in his legacy. The results of the research of the archival material in the State Archives in Rijeka, daily press and oral sources have been presented.

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The psychology of music in Poland: Theoretical considerations and current directions in empirical research

Author(s): Rafał Lawendowski,Zofia Mazur / Language(s): English Issue: 2/2019

The psychology of music has a long tradition and continues to develop both in Poland and abroad. The current issue of Roczniki Psychologiczne [Annals of Psychology] is devoted to topics related to the scientific study of music, addressed by Polish scholars from different research units. In the current introductory article we aim to describe the context in which the psychological study of music develops. Assuming that the psychology of music is a science dealing relationships between music and human listeners, performers, or composers, we explain the meaning of that notion, presenting the characteristics of such relations. We also describe the beginnings and development of the psychology of music in Poland and abroad, introducing the main goals of this multidisciplinary and integrative science. Finally, we present the contents of the current issue of Roczniki Psychologiczne [Annals of Psychology].

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Cântece de dragoste bilingve ale sașilor transilvăneni

Author(s): Sanda Ignat / Language(s): Romanian Issue: 33/2019

Die vorliegende Abhandlung präsentiert zwei- und dreisprachige Volkslieder der Siebenbürger Sachsen aus dem Tonbandbestand des Instituts „Folklorearchiv der Rumänischen Akademie” in Cluj-Napoca und skizziert deren Liedbiographie, indem auch Belege aus anderen deutschsprachigen Liedlandschaften herangezogen werden. Unsere Liedbeispiele stammen von Audioaufnahmen, die in den 60er-70er Jahren auf Feldforschungen in ethnisch gemischten siebenbürgischen Dörfern durchgeführt worden sind. Eine Umfrage zu diesen Liedern unter den heutigen Siebenbürger Sachsen ergänzt die Analyse mit aktuellen Informationen. Die gemischtsprachigen Volkslieder sind von der Form und Funktion her mit den Kunstmischliedern verwandt und zeichnen sich meist durch die humoristische Wirkung der Sprachmischung aus. Diese für die mehrsprachigen Gegenden charakteristische Liedgattung ist nicht nur für die Erforschung der Mehrsprachigkeit, sondern auch musikalisch interessant. In diesem Sinnekann sie im Hinblick auf die interethnischen Wechselbeziehungen in der südosteuropäischen Volksmusik, sowie für das Problem der Zirkulation der Volksgüter relevant sein.

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