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Historie a živá paměť slovenského folku. Ohlédnutí za fenoménem písničkářství v dobách normalizace

Author(s): Tomáš Herman / Language(s): Czech Issue: 2/2019

The study attempts to open the topic, especially from its historical perspective. Based on the existing literature, but mainly through the memories of involved people (organizers, musicians), it briefly introduces the issue of folk music and song writing in the last two decades of socialist Czechoslovakia. It deals with issues such as cultural transfer of the phenomenon to Slovakia, or specifically with the information channels through which musicians drew the inspiration for their own work. The main part is devoted to the placement of folk music in the socialist culture and the forms of its regulation by the authorities, security forces and fellow citizens; this develops particularly into two micro historic case probes comparing State Security writings and respondents' memories.

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Marcel Proust e la musica come modello per la letteratura

Author(s): Roberto Russi / Language(s): Italian Issue: 2/2010

The paper aims to point out to an unbreakable bond between reading, writing and listening to music in Proust’s oeuvre. In his essay On reading, Proust gives us, while discussing the purpose and significance of reading, a hint of the narrative technique which utilizes some of the specific features of musical language. It is exactly the technique that the writer’s subsequent writing titled The quest for the time lost will be founded upon. Thus music becomes the literary model in Proust’s oeuvre and binds itself to the workings of random memory, simultaneously binding the principle capable of selecting and organizing the elements necessary to expand the possibilities of a literary word.

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Препрочитане на текстове от 1956: критически полета срещу сталинизма

Author(s): Angelina Petrova / Language(s): English,Bulgarian Issue: 4/2019

In terms of meaning and events, 1956 was among the most significant years after the fall of the Iron Curtain. At the Union of Bulgarian Composers that year began as a time of protest letters, of an initial expression of resistance against the ideological canon. An overview of the musicology of March 1956 unleashes unexpectedly severe criticisms of the Zhdanov Decree against musical formalism of 1948 by both renowned historians, humanitarians, musicologists and classical composers in an attempt to put an end to the Stalinist regime. It was the first recorded effort ever made by Bulgarian musicians to denounce the Decree of 1948 as seen from the shorthand reports of the Review of Musicology and Criticism. The year 1956 saw the most stringent control over twelve-tone music and the works of Konstantin Iliev and Lazar Nikolov, who established a ‘creative under-ground’ by withdrawing their participations in the 1956 Third Review of Musical Oeuvre held in December, which occurred in the wake of the Plenary Meeting of the Bulgarian Communist Party in April 1956. The Review attempted to promote a young generation of composers such as Tsvetan Tsvetanov, Dimiter Christoff, Zdravko Manolov, who were in quest of a contemporary language outside the twelvetone system (except for Vassil Kazandzhiev). One of the goals of the official discussion held after the Review was to reaffirm the Decree of 1948 in setting new limits to socialist innovation. Konstantin Iliev’s article Ignorance or Malevolence of 1957 rekindled but did not finalise the 1956 discussions, making yet another attempt to ideologically criticise the dogmatic cannon. The plethora of 1956 texts is multidirectional. They evince, first and foremost, an act of rebellion against dogmatism, illiteracy, gross simplification, and ultimately, represent an attempt to break down the ideological canon.

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Освещаване чрез Ангелската песен: Sanctus – Benedictus – Post-Sanctus (принципи в изследването на евхаристийната ангелология на древните анафори)

Author(s): Ivan Ivanov (Kyumurdzhiski) / Language(s): English,Bulgarian Issue: 1/2020

As this study relates to the early Christian liturgical tradition, I consider it necessary to clarify terms and problems in the following research directions: 1) The clarification of the so-called liturgical prototypes – πρωτότυποι and archetypes – ἀρχέτυποι in the context of the Eucharist on which liturgical practice and related liturgical phenomena are built and developed; 2) The prayers dedicated to the Angelic song – sanctus – benedictus – post-sanctus, as well as questions concerning their development in liturgical practices (Jewish and Christian) and their differentiation in the socalled Eucharistic angelology; 3) The influence of ancient liturgical texts containing the Angelic song in liturgical and Jewish and Christian singing practices, and the reflection on the development of the liturgical ritual in the East and in the West. Therefore, particular attention is paid to the problems associated with identifying the process of returning to the prototype and the ancient principles of the Church’s eucharistic and liturgical tradition with regard to the preserved texts, hymns and prayers of the Jewish and early Christian periods of worship in the Church. The answers are found in the texts of early Christian eucharistic prayers, biblical texts, the decisions of the Ecumenical Councils, the Apocryphal literature and the studies of contemporary scholars – these are answers that show us the truth about the sanctifying and blessing power of the Angelic song in the Eucharist of the Church in the East and in the West.

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За богослужебната музикална интерпретация на псалмите в средата на IV век

Author(s): Stefan Harkov / Language(s): English,Bulgarian Issue: 1/2020

Around the middle of the fourth century Athanasius, Bishop of Alexandria (ca. 293 – 373), wrote a didactic letter (epistle) known as The Letter to Marcellinus on the Interpretation of the Psalms (Προς Μαρκελλίνον εις την ερμηνείαν των Ψαλμών / Ad Marcellinum in interpretationem Psalmorum), which contained valuable information on fourth-century liturgical music. This study focuses on the particular question of how the Psalms were supposed to be performed with music during the time of St. Athanasius according to the letter to Marcellinus. The practices of singing the Psalms like spiritual songs and reciting them with melody like intoned biblical readings are described by St. Athanasius as synonyms. Most probably, for the Christians in the fourth century both singing the Psalms and reciting them with melody were accepted as an undeniable unity (existing since the Apostolic Age), which was later abandoned for the purpose of the Church’s public worship.

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Markian Prokopovych, In the Public Eye. The Budapest Opera House, the Audience and the Press, 1884-1918

Author(s): Katharina Wessely / Language(s): German Issue: 2/2016

Review of Markian Prokopovych: In the Public Eye. The Budapest Opera House, the Audience and the Press, 1884-1918. (Musikkulturen europäischer Metropolen im 19. und 20. Jahrhundert, Bd. 12.) Böhlau. Wien u.a. 2014. 350 S., Ill. ISBN 978-3-205-77941-4 (€ 49,–.). Reviewed by Katharina Wessely.

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Innovative Approach in the Application of Computer Technology in Music Education Process in Elementary School

Author(s): Pavel Stefanov / Language(s): English Issue: 1/2016

There are numerous opportunities for computer application in sound and music education of pupils of primary school age. Digital technologies provide endless possibilities for sound processing and learning of music. The proposed method aims to add a new aspect in terms of musical skills, which is directly related to the basic principles of the creation and processing of an accomplished music product. The new software implements sound and musical training in the form of a game in which the complexity of tasks increases.

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Аристоксен и всеобхватната образованост на музикоса

Author(s): Kristina Yapova / Language(s): Bulgarian Issue: 1/2018

Henry Macran – translator and author of a commentary on The Harmonics of Aristoxenus – observes that the Greek philosopher had already been described as (‘μουσικός’ = musical) by ancient writers. My essay takes this as its point of departure to pursue two goals: firstly, to discover how Aristoxenus’ work justifies his title ‘mousikos;’ and secondly, to outline what his writings reveal about the knowledge of music in general. Aristoxenus’ approach is twofold: music theory and philosophy. And, while it is well-known that he was the first to establish ‘music theory’ as a discipline and to make it the main component in the general science of music, the method he uses deserves special attention. His system might be described as laying the philosophical foundations of music theory.

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Creating, practicing, and reacting to music: A content analysis of research

Author(s): Zofia Mazur,Rafał Lawendowski / Language(s): English Issue: 4/2019

Psychology of music, a science of the relations between humans and sound structures, is continuously developing. Given the growing number of publications in this domain, reviews of the literature are of value, as they integrate knowledge, informing and guiding future research endeavors. This article presents the results of a 47-year (1973–2019) content analysis of research on creating, practicing, and responding to music featured in The Psychology of Music journal. The purpose of our study was to identify and describe the themes in research on creating, practicing, and responding to music, indicating which study topics were the most often present in publications. We identified 17 categories of research topics and found that the largest number of publications dealt with predictors of music creating, self-regulated practice, or affective responses to music. Suggestions for developing and bolstering research and practice are provided.

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Spontaneous creativity: An overview of theories crucial to musical idea generation

Author(s): Natalia Copeland / Language(s): English Issue: 4/2019

The aim of this article is to present selected concepts related to idea generation in musical com-position. Different approaches towards creativity are discussed in order to delineate how they describe spontaneous creativity. The typological view of composers and theories of the creative process are discussed. Further advances in studies of creative cognition are scrutinized: research on unconscious and conscious processes in creation, followed by the development of the concept of innovative Involuntary Musical Imagery (InMI) in composers. Current research on internal auditory phenomena suggests that composers’ InMI can be potentially innovative and serve composers as a source of ready ideas to be used in their compositions. The current overview is informed by cognitive sciences and creative process studies, especially compositional studies.

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Differences in the stress coping styles and social skills between classical and jazz musicians

Author(s): Anna Antonina Nogaj,Izabela Czarnecka,Roman Ossowski / Language(s): English Issue: 4/2019

The musical milieu raises a number of challenges for artists. Coping with these depends not only on the level of musical abilities but also on a number of personal skills. The diverse styles of music education and the expectations set for musicians performing various music genres have inspired research exploring the differences between classical and jazz musicians. Of the psychological areas important for functioning effectively as a musician, stress management styles and social skills have been examined in this study. It was assumed that the genre of publicly performed music, and thus the different modes of music education in the field of classical and jazz music performance, can cause significant differences in the psychological functioning of musicians. Of the 73 musicians who participated in the study, 38 were classical musicians and 35 were jazz musicians. The jazz musicians revealed a significantly higher level of social competence in terms of social exposure compared to the classical musicians. There were no differences in the style of coping with stress between the two groups. The results of the study might inspire psychologists working with musicians to plan therapeutic programs aimed at psychological preparation for public performances, with the specificity of musical genres taken into account. Future research may investigate the extent temperament and personality of musicians representing different specialties influence their stress coping strategies and social skills.

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Mental practice of musically gifted adolescents

Author(s): Stella Kaczmarek / Language(s): English Issue: 4/2019

In the last decade, the growing interest in the subject of musicians’ mental practice has produced a significant increase in research on mental and instrumental practice. More than half of all the studies concerns professional musicians, and relatively little research is conducted on children or adolescents. The article will describe research on the mental practice of teenagers attending music schools in Poland and Germany. Questionnaire surveys answer the question of whether young people use mental practice, how they do it, and what the content of mental training while practicing an instrument is. The analysis suggests that gifted adolescents from both countries (1) do not use mental rehearsal very often and (2) use mental practice strategies in a similar way. What they differ in is the frequency of using mental practice as an integral part of their instrumental learning, using musical-analytical strategy, and the quality of mental practice. The study indicates the need to teach mental practice and its importance in increasing the effectiveness of instrumental practice.

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What do we actually measure as music-induced emotions?

Author(s): Maciej Janowski,Maria Chełkowska-Zacharewicz / Language(s): English Issue: 4/2019

The paper presents the results of a systematic review of 61 empirical studies in which emotions in response to music were measured. The analysis of each study was focused on the measurement of emotion components and the conceptualization of emotion both in hypothesis and discussion. The review does not support the claim that music evokes the same emotional reactions as life events do, especially modal emotions. Notably, neither a high intensity of feelings, nor intentionality were confirmed in relation to musical experiences, the emergence of specific action tendencies, or specific physiological changes. Based on the obtained results, it is recommended to use the terms “affect” or “music emotions” with reference to emotions experienced in reaction to music and to abandon the term “emotions” as misleading.

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Composers as Symbols: The anti-parallels of Pancho Vladigerov and Fernando Lopes-Graça

Author(s): Ivan Moody / Language(s): English,Bulgarian Issue: 2/2020

This article compares the trajectories of the near-contemporaries Pancho Vladigerov and Fernando Lopes-Graça as symbolic representatives of their countries (respectively Bulgaria and Portugal), their relationships with the political regimes under which they lived, and the importance their attitudes and outputs had in public and political perception of their work. It also discussed the importance of the folk traditions of their respective countries in their work and the way in which they negotiated their relationship with these traditions in the light of the new political orders which came to dictate cultural policy in Bulgaria and Portugal.

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Музикалното наследство на Асен Овчаров в българската популярна култура

Author(s): Mihail Lukanov / Language(s): English,Bulgarian Issue: 2/2020

Often named “father” and “founder” of Bulgarian Jazz, Assen Ovcharov (1906 – 1972) is undoubtedly a key figure in Bulgarian culture. His diverse work as a jazz band leader, music arranger and pedagogue was instrumental in shaping popular music in Bulgaria over the course of the 1930s and the decades to follow. The article seeks to delineate Ovcharov’s creativity through an overview of the most important aspects of his professional activities. This features: 1) Articulating his essential role in establishing the first Bulgarian jazz band and the continuity between this orchestra and subsequent ensembles of this type; 2) Focusing on the musician’s arrangements which laid the foundation of jazz bands in Bulgaria; 3) Calling attention to some personal misfortunes in his biography resulting from the adverse sociopolitical climate surrounding Bulgarian jazz in the early 1950s; 4) Reflecting on Ovcharov’s pedagogical activity and its lasting effect on shaping various musical practices. Thus the text, being grounded in and referring to the musician’s creative work, relates to an even broader historical panorama of the processes within the Bulgarian popular music scene circa and after the Second World War.

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Az ideológiai éberség árnyalatai

Author(s): Gábor Győrffy / Language(s): Hungarian Issue: 1/2020

Zsuzsa Plainer edited her doctoral thesis and published it in a book in 2019, in Romanian with the title: Despre vigilența ideologică. File din istoria cenzurii instituțiilor (maghiare) orădene în regimul: presă, filarmonică, teatru. (About Political Awareness. Pages from the History of the Censorship of Hungarian Institutions in Oradea during the Ceaușescu Regime: Press, Philharmonics, Theatre). Gábor Győrffy reviews the book published in Cluj. Next to the research about the press in Oradea, the volume dedicates significant space to the presentation of the political control of the local State Philharmonics and the Oradea State Theatre, as well as to the nuanced presentation of the mechanics of censorship.

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Gurbet Türkülerinde İstanbul İmgesi: “Yârim İstanbul’u Mesken mi Tuttun”

Author(s): F. Gülay Mirzaoğlu / Language(s): Turkish Issue: 100/2019

Istanbul, which is one of the main centers in the shaping of Turkish music culture, in the process of creation, performance and dissemination of music, has been visualized with striking beauties in many of folk songs as in our classical music according to the socio-cultural contexts of the era, time and place. Istanbul is known with love in both folk and classical music traditions and on the contrary, in the songs of love, separation and folk songs originating from the events that took place in various regions of Anatolia; Istanbul is an insurmountable obstacle that separates the lovers. In this research, Istanbul image will be examined in the songs on the themes of love, separation and expatriate, its main features will be revealed and the social and cultural realities that form this image will be examined.

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II.Dünya Savaşı Yıllarını Müzik Üzerinden Okumak: Savaş Dönemi Müzik Politikaları (1939-1945)

Author(s): Dilşen İnce Erdoğan,Esra Çetin / Language(s): Turkish Issue: 64/2019

World War II, which started in 1939, caused both countries entering the war and countries which were succeed in not entering the war until last moment thanks to following a certain policy of balance and neutrality such as Turkey to experience really difficult times both economically and socially. Due to the war economy, the decrease in many basic consumption items from food to clothing, coal to gasoline, the onset of black market and the tax policies applied worsened the socio-economic situation of the people. The absence and scarcity experienced were felt intensely in all segments of the society, and these difficulties experienced economically and socially reflected on art, as well. The burden of war economy on the people, especially in literature, painting, cinema and especially music was mentioned as the subject of emerging artworks. In an environment where people tried to survive under such difficult conditions, the main venues where cultural and artistic activities were held were cinema, theater, exhibition, fair, school buildings and especially public house halls. The concert halls and musical activities performed in these places were the sharing of works with society, and they also served as a function for mass entertainment for the Turkish society who were overwhelmed by the war environment. In this study, music policies and the impacts of the war on music in Turkey will be discussed. Besides, music institutions and musical activities and activities carried out during the war period will be included in the study.

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Güzel Sanatlar Fakültelerinde Müzik Eğitimi Alan Öğrencilerin Geleneksel Türk Müziği Derslerine Yönelik Tutumlarının İncelenmesi

Author(s): Cantürk Bayrakçi,Ülkü Sevim Şen / Language(s): Turkish Issue: 65/2020

The objective of this research is to determine students’ attitudes toward “Traditional Turkish Music” courses, who study music at Faculties of Fine Arts. It is aimed to contribute to the quality of education with determination of attitudes toward these courses. This is a qualitative study designed in the correlational survey model of descriptive research methods based on quantitative data, and the questionnaire technique was used. According to the results, considering Traditional Turkish Music course hours students receive at the universities they study, it has been found that students taking more Traditional Turkish Music courses differed highly and students' attitudes do not vary across gender and classes. It has been resulted that attitude levels of the students taking more Traditional Turkish Music courses are superior to those taking fewer, attitude affects and the gender and class differences do not make significant differences in students’ attitude levels.

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Yapısal Özellikleri ve Çalım Teknikleri Bakımından Gitara Benzeyen Geleneksel Türk Müziği Çalgılarında Performans Normlarının Belirlenmesi

Author(s): Şevki Özer Akçay / Language(s): Turkish Issue: 67/2020

The basic purpose of the present study is to determine the performance norms in Traditional Turkish Music [TTM] instruments that resemble the guitar in terms of structural characteristics and playing techniques. To achieve this purpose, the purpose was to determine the teaching and performance evaluation criteria of the faculty members who taught guitar-like instruments (Oud, Tambur, Qanun, and Baglama) among TTM instruments that are played with picks and fingers in higher education institutions that provide vocational music education. The data of the study were collected from the 10 faculty members who worked in various higher education institutions in Turkey by using the Expert Interview Form, which was prepared by the researcher. The data obtained with the Interview Form were analysed by using the Content Analysis Method. The results of the study showed that musical expression and interpretation are at the forefront of the performance evaluation of Traditional Turkish Musical instruments, not technical dimensions in general. When considered from this viewpoint, we believe that the development of measuring tools with the ability to measure the norms identified in this study as well as the criteria that includes general musical norms will be helpful and useful to educators in the measurement-evaluation stages of TTM instrument performance. In this way, an important gap in measurement and evaluation in TTM instrument training can be filled.

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