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Nowy bard. Twórczość i działania Tomáša Hnídka w dyskursie czeskiej skrajnej prawicy

Author(s): Tatiana Witkowska / Language(s): Polish Issue: 15/2020

This article aims to present the songs and activity of Tomáš Hnídek and their reception among extreme right-wing sympathisers in the Czech Republic over the last decade. The study analyses the use of selected elements of collective imagery related to the singer-songwriter convention, with particular reference to the figure of Karel Kryl. It also draws attention to persuasive techniques of creating an image and to their influence on the reception of the singer-songwriter genre in the context of hate speech and struggle over a new politics of memory in the Czech Republic, pursued by extreme right-wing politicians and their followers.

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Sprawozdanie z działalności Diecezjalnego Instytutu Muzyki Kościelnej w roku szkolnym 2017/2018

Author(s): Grzegorz Poźniak / Language(s): Polish Issue: 1/2019

Rok szkolny 2017/2018 był XLIV rokiem pracy Diecezjalnego Instytutu Muzyki Kościelnej w Opolu. Działalność edukacyjną rozpoczęliśmy w pierwszych dniach września 2016 r., przystępując do zajęć dydaktycznych. Uroczysta inauguracja roku szkolnego miała miejsce 18 października 2017 r. w ramach tzw. Tygodnia DIMK. Po Mszy św. odbyła się akademia inauguracyjna, podczas której wręczone zostały indeksy nowo przyjętym uczniom, absolwentom zaś – dyplomy muzyka kościelnego-organisty (II kategoria muzyka kościelnego). Otrzymali je: Maciej Albert, Piotr Kochoń, Marta Mularczyk, Mikołaj Szczęsny oraz Lidia Świtała. Rozdane zostały także świadectwa uczęszczania do „Ogródka muzycznego”.

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The historical overview of the choral singing in Kosovo

Author(s): Adhurim Rasimi / Language(s): English Issue: 13/2019

This research presents the historical development of Choral Singing in Kosovo within the context of general cultural and educational development at various historic times to present days. It mentions chronologically the choral groups that have been involved in the progress of amateur choral singing, especially at the beginning of this cultural activity. The first composers who contributed to the development of this musical genre are also pointed out. In this paper, we talk about the choral singing in general education (in primary and secondary schools), proceeding with choral singing in the context of music education (in primary and secondary schools of music). In addition, it provides the reader with the insight about the contribution of most significant educational and cultural institutions that participated in the professional development of choral singing such as: Faculty of Music, Choir „Collegium Cantorum“, Choir of RTP (Radio and Television of Prishtina), Kosovo Philharmonic Choir, etc. It also deals with the cultural situation in the 1990s as a result of the difficult time that Kosovo had in this period. In addition, it deals with the development of choral singing after the 1999s, i.e. after the war when Kosovo was under the international protectorate till its independence in 2008; then it proceeds with the development of choral singing to the present day.

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Специфични особености в интерпретацията на пианиста според Алфред Корто и днешните ни разбирания за нея

Author(s): Aleksandra Gadzheva / Language(s): Bulgarian Issue: 13/2019

The report looks at the position of the pianist Alfred Cortot (1877 – 1962), a notable figure in the musical art, in the field of musical interpretation. By marking her analysis with milestones from the life and artistic career of Cortot, the author presents an overview of the book „Cours d‘interprétation“ (1934). From a distance of 85 years from its original edition and 60 years from its publication in Bulgarian (translated into Bulgarian) and through her own viewpoint, she sets apart Cortot’s views in parallel with modern trends in musical interpretation. Also, the report discusses the compositional system, compositional and performance practice system, genre and stylistic specifics.

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Функции на музикалната теория в обучението на актьора

Author(s): Assia Ivanova / Language(s): Bulgarian Issue: 13/2019

The development of modern theater poses new challenges for the actor and the means of expression he has. The terms rhythm, tact, timbre, melody, tempo – belonging to the musical theory – become obligatory in the theoretical and practical arsenal of the actor. Interactions with music are obvious when we work with a particular musical form or working with musicality of the dramatic text in the show. The musical elements, however, are present not so obvious in the actor’s work, even without himself realizing it. They are most recognizable in constructing the vocal and physical character of the image, and their conscious use in the creative process would help „create the life of the human body (of the role).“ [Stanislavski 2016, p. 189]. One of the main aims of this text is to focus on certain interrelations between musical theory and the actor’s work on the stage image. Also presents in part the methodology of teaching and various practical developments, which support the theoretical introduction to musical theory (in the training of acting at NBU) and its application in practice of the actor.

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Принципи на музикалното образование в Австрия и сравнение с педагогическите практики за класическа китара в България

Author(s): Bozhana Pavlova / Language(s): Bulgarian Issue: 13/2019

The present report focuses on the specific characteristics of classical guitar education and music studie at Austrian music schools. The detailed analysis of the curriculum, the recommended literature and the teaching methods will outline the common pedagogical practices there. Furthermore, it will define the didactic, pedagogical and psychological aspects of the curriculum which aim to develop the emotional sensibility and music aesthetics of the students. The focus of the education in Austrian music schools is on establishing a long-term relationship with the instrument and developing musical creativity. The report presents a comparison between the pedagogical methods in Austria and Bulgaria, and presents its conclusions from the presented arguments and theses. Finally, it draws a parallel between the guitar music education of pupils in both countries.

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Представи за реалност - Едуард Хопър в киноизображението

Author(s): Boryana Mincheva / Language(s): Bulgarian Issue: 13/2019

Each frame of the movie is a picture of all the elements it contains. There is storyline, composition, lightness, proportions and perspective, color and balance of all components. Edward Hopper (1882-1967) is an American realism artist, a modern impressionist, graphic and illustrator. He is one of the greatestAmerican painters. The text looks at the parallel between Hopper’s works and his influence in the cinematography. Based on the film „Shirley: Visions of Reality“, Austria, 2013, 93 min, color director:Gustav Deutsch.

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Изработване на музиката в радиотеатъра при създаването на пространствена звукова картина

Author(s): Dimitar Vasilev / Language(s): Bulgarian Issue: 13/2019

When creating a spatial sound picture in the radiotheater, the music is also fully involved. It can be composed especially for the production or it may be present as a musical arrangement from excerpts or entire musical works. With the help of the music, the artistic and aesthetic radio dramatic built andcertain dramatic moments are reinforced.

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Вокално-педагогическата наука в помощ на методическата работа с мутиращи гласове

Author(s): Doroteya Lyutskanova / Language(s): Bulgarian Issue: 13/2019

The report examines the complex relationship between vocal science and singing, the application of scientific researches and discoveries about the physiology of sound formation as a necessary part of the methodical work of the vocal pedagogue. In recent years, the requirements for building a healthy voice,especially during a mutation, pose a number of questions to the vocal teacher: „How to interpret and apply scientific knowledge in practice? What methods should be used to achieve effective outcomes in adolescent learning? How will scientific advances in voice science enrich the methodological tools for building and preserving adolescent voices? Is science needed to interfere so deeply in the art of singing and whether the students will sing better if they are aware of the physiology and anatomy of thelarynx?“ The answer to these questions can be found in the shared experience of a number of emblematic names in vocal pedagogy, which have left many vocal books, articles and teaching aids inherited.

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Репертоарна политика на хор "Бодра смяна" в периода 40-те - 70-те години на XX век

Author(s): Iva Georgieva / Language(s): Bulgarian Issue: 13/2019

In the history of „Bodra Smyana“ choir, conducted by Boncho Bochev, there are three stages, during which some smooth changes are noticed in the repertoire of the choir. The Bulgarian composers, mostly contemporary, occupy a central place. During the different stages of its development, the choir performs songs by the composers involved in the choral work: Dobri Hristov, Svetoslav Obretenov, Lyubomir Pipkov, Georgi Dimitrov, Dimitar Petkov, Todor Popov and others. The circle of foreign authors, atfirst predominantly Russian and Slavic, gradually encompasses the western classics and pre-classics: Monteverdi, Pergolesi, Bach, Bela Bartok, Zoltan Kodaly, Kabalevsky and others. Including varied genre and thematic content, Boncho Bochev’s successful repertoire policy is raising the choir on a world level.

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The historical overview of the choral singing in Kosovo

Author(s): Ismet Bexheti / Language(s): English Issue: 13/2019

This report describes the inclusion of festivals of classical music in Kosovo from 2000 to 2017. Besides the short history of musical life in Kosovo, in our focus is the evidence of classical music festivals in Kosovo from 2000 to 2017, the number of editions held, the character of these festivals. Based on thecollected data, for the period from 2000 to 2017, six festivals were evident. These festivals have an international character. Two of these festivals have also a competitive character. Based on theorganizations, festivals’ content and in their concept, we can say that from 2000 until now, classical music festivals reflect a special period in the history of festivals in Kosovo. In the absence of a concert hall in Kosovo and the necessary financial support of these festivals, Kosovo should have as soon as possible a proper institutional policy on music activities.

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С почит към Петко Стайнов - сборник с клавирни пиеси по теми от композитора

Author(s): Jasmina Stoyancheva / Language(s): Bulgarian Issue: 13/2019

The report examines the relation „modern music – Bulgarian composer classics“. Petko Staynov’s piano pieces collection is related to the pianist contest „Vivapiano“, which is intended for non-professional pianists (founded by the pianist prof. Daniela Dikova, PhD). Seventeen authors’ piano works and pieces on musical themes from the symphonic suite „Thracian Dance“ by Petko Staynov are included in the edition. The variety of compositional approaches will be traced, and the piece „Ruchenitsa (full version)“by Gheorghi Arnaoudov is analyzed. The author presents his composition in another „short version“. He also creates „Two easy pieces on themes from „Paydushko“, and 3 easy pieces, composed for 4 hands on songs by Petko Staynov. The formulation of the topic and the related materials – text, publications, armticles, etc. are part of my research work related to my dissertation. It focuses on the integral research, analysis and completion of the electronic archive of the composer Petko Staynov.

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Традиционната турска музика и колективното пеене

Author(s): Mete Gökçe / Language(s): Bulgarian Issue: 13/2019

The report presents characteristics of traditional Turkish music and the late entry into Turkish culture of choral singing, under Western influence. It commented the history and evolution of performing and educational institutions in Turkey, parallels between instrumental and vocal music, the views andcontributions of Turkish musicians. The information is drawn from various sources, but is presented in author’s „Puzzle“. It also acquaints with professional attitudes and personal experience of Mete Gökçe as a choral conductor and pedagogue.

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Защо операта обича Библията?

Author(s): Natalia Afeyan / Language(s): Bulgarian Issue: 13/2019

When did Bible enter the realm of Opera? Which stories and characters are welcome on an operatic stage and how do they change? What determines the affinity of composers and librettists? Is there a specific biblical dramatism cherished by the operatic authors? How does a musical interpretation revampbiblical characters and plots on the stage? The report is an attempt to answer some of these questions.

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Новата документалност за Димитър Ненов (1901-1953)

Author(s): Polina Antonova / Language(s): Bulgarian Issue: 13/2019

The text presents briefly the contents and reveals details of the original autobiographical document authored by the composer Dimitar Nenov. Тhis extensive work was discovered in the personal archives of the musician Mirko Karavasilev (1904-1966, Shumen, fund 1068, op. 1) in the beginning of 2018. The content of the autobiography was completely unknown. This text focuses on the personal diary, will, and correspondence of Dimitar Nenov. This newly discovered autobiographical document helps demystifyquestions and misconceptions about the personal and creative evolution of Dimitar Nenov and cast a doubt on the myths, legends and misunderstandings of his persona conceived over the years.

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За трилогията на Симо Лазаров: „Светлина“ (DVD) – „Притча за Савската царица“ (CD) – „Архангелите“ (Двоен CD), по книгите на Мони Алмалех: „Светлината в Стария завет“, „Тъмнината в Стария завет“, „Савската царца, Лилит и Гарванът“, „Архангелите"

Author(s): Rositsa Becheva / Language(s): Bulgarian Issue: 13/2019

About the Simo Lazarov`s music in the trilogy – a philosophical reflection and interpretation of the theme and the text of Mony Almalech’s books, the eternal themes of good and evil, transmitted through the means of electronic music. About the electronic sound – as an object and subject, for its role and dramaturgical potential, for the stylistic features of this music.

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Реформите в образованието по музика в Англия през периода 1988 - 2012 като модел на успешна културна и образователна стратегия

Author(s): Svetlina Terzieva-Angelova / Language(s): Bulgarian Issue: 13/2019

The text looks at the educational reforms in England during the period 2008-2012, which preceded the National Plan for Music Education published in 2012. This is undoubtedly the most ambitious and significant step of the British government and society in this sphere. The National Plan aims to provide every child in England with fair opportunities to access highquality music education in and out of school. It imposes new forms of instrumental training and organization of the activities of institutions involved in musical education. But the decision to implement this plan was reached after the many years of joint efforts of professional musicians – artists, teachers, composers, charities for art and education, the scientific community and political leaders, who gradually built the effective principles and models included in the National Plan for Music Education.

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Musica theologica. Religious Aspects of Die Kunst der Fuge, Musikalisches Opfer, and Goldberg Variations of J. S. Bach

Author(s): Józef Majewski / Language(s): English Issue: 13/2019

Today, a reference to Johann Sebastian Bach as a “theological musician and musical theologian” (Robin A. Leaver) is no longer surprising. The discovery of theology in the composer’s religious vocal/instrumental works or ones which are purely instrumental, but have religious titles, is not surprising, either. However, musicians increasingly suggest that Bach wrote musical theology also in his purely instrumental works, which have “always” been considered secular. The author of the article outlines theological interpretations of three such works dating to the last period of Johann Sebastian’s work: Die Kunst der Fuge, Musikalische Opfer i Goldberg-Variationen.

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Of Flesh and Steel: Computational Creativity in Music and the Body Issue

Author(s): Mattia Merlini,Stefano Maria Nicoletti / Language(s): English Issue: 4/2020

Could machines ever take our place in the creation of art, and particularly music? The outstanding results of some well-known AIs (e.g.EMI, Flow Machines) might make us believe that this is the case. However,despite this evidence it seems that machines present some intrinsic limits both in creative and non-creative contexts (already highlighted by John Searle and the debate around mechanism). The arguments of this paper are centered around this very belief: we are convinced that the utopian claims regarding all-round machine intelligence are not plausible and that our attention should be directed towards more relevant issues in the field of computational creativity. In particular, we focus our attention on what we call the “body issue”, i.e. the role of the body in the experience and creation of music, that we consider problematic for the idea of a truly creative machine (even if we take into consideration weaker renditions of artificial intelligence). Our argument is based on contemporary findings in neuroscience (especially on embodied cognition) and on the theories of Maurice Merleau-Ponty and Roland Barthes.

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Transmedial (R)Evolution: {SinOsc.ar(400, 800, 0, 0.1)multisensory.experience}.play;

Author(s): Marija Mitrović / Language(s): English Issue: 4/2020

The digital revolution and technology has led us towards a more intimate understanding of the acoustic instrument and its sound. What was the modern piano for Chopin was a tape recorder for Schaeffer. Today, there is little distinction between the sounds of acoustic, natural or electronic. In this paper I describe the shift of musical perception throughout recent technological developments. My starting point of exploration is the spectral attitude of1979, which inspired further sonic evolution and changed our perception of the sound, performance and instrumental body of instruments, as well as introducing the computer as an essential instrument for composing. Further, I highlight the importance of software and discuss the ways in which softwaregeneratedmusical ideas can incite human creativity and influence a post-digitalvision of gesamtkunstwerk. The evolution of hybrid instruments and real-time audio-visual interactive software has led to changes in temporal freedom and created a multisensory experience. I explore how this transmission breaks down the barriers and limitations of the human creative mind and discusses how this can potentially lead to the new musical era. Finally, I reveal some art experiments within the concept of transmedial composition in recent times.

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