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One of the biggest challenges in Poland (1918-1939) was the establishment of a new Polishschool. The main goal of the newly created Polish school was to educate a generation aspatriots and responsible citizens, and unite compatriots from three ex-partitions. The first school curriculum in the independent Poland focused on teaching social knowledge, Polish and European cultures, and, above all, providing pupils with moral and aesthetic experience. Music education played a key role in bringing various ideological objectives to fruition. Music compositions with national themes – both from concert and folk traditions – were worshipped and seen as the rebirth of the national culture. The goal of music instruction was to educate the young generation, bring it closer to the ideas embedded in the masterpieces of art, and deepen their love of music.
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Background: The paper explores the potency of music activities and background musicto support academic performance and behaviour of Slovak middle school pupils. It reviewsdevelopmental, social and emotional changes that children face during the period of preadolescence. School and education is connected with the formation of personality, thus schoolstaff and parents need to pay attention to social and emotional well-being of pupils. The objective of the study is to investigate academic performance and behaviour of pupils (aged 10-11) before and after music intervention. Methods: The target research group consists of forty-four Slovak fifth graders from big urban, municipal middle school. Data were collected by evaluation of rating scale conducting teacher´s professional judgement about pupils they taught the four explored school subjects. Results: The study summarises the results of rating scale of teacher’s opinions of pupils’academic performance and behaviour in the control and experimental groups (with and without music intervention). The results show the potency of music to support academic performance and improve behaviour of pupils.
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Non-formal musical education provided by art/music schools is a relevant scientific field – it significantly contributes to the development of a creative, responsible and open personality and fundamental change in society. It should be noted that the educational process in art/music schools builds on stable and traditional principles, schools have become less attractive and current trends show that the number of pupils has been falling. The research problem was formulated on the basis of the above mentioned reasons. The aim of the paper is to analyse the opinion of art/music school graduates about the educational process and trends there. The topic has not been investigated in Lithuania yet. The research showed that the trends in organising the educational process in art/music schools are mostly affected by the teacher-pupil interactions, the assessment of pupils’ advancement and achievements and the peculiarities of organising public assessment/examinations. The research data could be used aiming to optimize the educational process in art/music schools.
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The nature of music and the nature of the universe reveals a lot of common features. Similarity of both was perceived in mythical era; the world of music and the world of astronomy was devoted under patronage of the sisters – the divine Muses. The discovery of the mathematical nature of the musical intervals, which was made by Pythagoras ordered him to base the harmony of the universe on the numerical relations and to recognize that music accompanies the revolution of the heavenly spheres. Plato gave the „music of the spheres” geometric form, and in the Middle Ages, when the Christianity assimilated the idea of the world as a rational structure, harmonia mundi was a model for the composers as well as for ascetic struggles. Modern times and characteristic development of natural sciences, very clearly supported the argument that the world is mathematical. Metaphorical approach of the modern String Theory, which describes the evolution of the first moments of the universe, permits to assign to God the role of the Great Musician who „playing on the strings” – creates the universe.
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As many researchers claim, we live in the era of intertextual works. The analysis of the 3rd Symphony “Circus Maximus” by the American composer John Corigliano definitely proves this statement. The sym- phony, finished in 2004, had been commissioned by Jerry Junkin – the conductor of the Wind Ensemble and Director of Bands at UT Austin. It is said to be an example of program music. Corigliano’s main purpose was to show connections between the past (Rome Empire) and the contemporary world. The composer notices that animalisation and coerciveness are characteristics of people living in these two eras. The composition consists of eight movements and is written for wind ensemble and percussion. The aim of this article is to show intertext- ual connotations and references present in the composition, such as: allusions, stylization, reminiscences, and memory of genre. In order to achieve this aim, the author used the Mieczysław Tomaszewski’s systematics of music-in-music existence. Moreover, similarities to Gustav Mahler and Charles Ives’ compositions are shown.
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Scordatura is a tuning of a string instrument, which is different than the standard one. It has been used for both plucked and string instruments since the 16th century and it was quite popular in the Baroque era, especially in the case of violins. Because of their specific tuning – based on the same intervals – it is possible to distinguish two types of violin scordatura. The first one relates to the situation when all strings are tuned up or down in the same interval relations. Such tuning is still based on fifths, but the pitches are different than using standard tuning, so it is called transpose scordatura. In the second one, each string is tuned up or down in different interval relation, in another direction or even only some of them are tuned in the unusual way. In this case, violin tuning is based on different intervals than fifths, usually on thirds and/or fourths, although sometimes there are three dissimilar intervals (thirds, fourths and fifths). The second type of scordatura was a very popular technique in the Baroque era and its functions were variable. The main of them were allowing to perform figures, which are impossible in standard tuning, especially double-notes and chords (technical aspect), and changing sound qualities of the instrument (sound aspect). It does not mean that scordatura was used only to achieve these goals. For example, it was sometimes used to imitate other instrument. There are certain examples of such a usage of this playing technique in the oldest (1679–1686) part of the collection of manuscripts connected with activity of Canonesses Regular of St Augustine in Wrocław (provenance St Anna in Arena). The scordatura can be found there in seven manuscripts, and in four of them it is possible that composers (or composer?) tried to assimilate the violin sound and/or technique with other instruments, such as viola, lute or trumpet.
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In this report four newly discovered notated chants for the church service in honour of Saint Naum on 23 December are presented. Written in the 19th century they show how the cult of this notable Saint is renewed during the period of Bulgarian National Revival.
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Transhumanist artists have recently been increasing in popularity and numbers. Whether it’s metal-welding sculptors, futurist-oriented video game developers or techno-musicians celebrating life extension, there is more of it being created every day, some of it in new forms of media.
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As the Communist Party took over the power in 1945, in Yugoslavia/Slovenia the attitude to the cultural influences of the West became tenser. On the music scene, jazz became synonymous of unwanted Western influences. In the period of total imitation of the Soviet cultural model, the authorities prevented the performance of jazz in various ways, but after the Cominform dispute between Yugoslavia and the Soviet Union, jazz returned to the programme of Radio Ljubljana. The controversy whether jazz was acceptable for the Slovenian cultural scene started in 1951, when the authorities indicated they would not forcefully banish jazz from the programmes of cultural institutions. The attitude towards jazz in the 1950s was the subject of several discussions within various political bodies and debates in the media. At the turn of the 1950s, the Slovenian political leadership finally realised that there was actually nothing wrong with jazz in Slovenia.
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The continued presence and place of the Confederate battle flag in the modern United States of America is the focus of significant contemporary debate. Originating from the American Civil War the presence and use of the flag has spread through the United States of America and internationally, and its meaning has developed and changed far beyond its origins as a military flag. This paper addresses some of the contemporary uses of the flag. It situates the flag within current U.S. domestic political debates and considers how these relate to its usage in the UK and continental European rockabilly scene. It explains the reasons for the recent, widespread focus on the flag as a symbol of racism and white supremacy. The paper argues that despite some members’ shared view of the flag as a supposedly apolitical, longstanding symbol of the rockabilly scene, the rising threat of white supremacy and far right politics internationally has made the defence of the flag in these terms insufficient. It goes on to conclude that the rockabilly scene in the UK and Europe could, and should, abandon their use of the flag with no loss to its identity. Konfederatų kovos vėliava vis dar plačiai diskutuojama šiuolaikinėse Jungtinės Amerikos Valstijose. Atsiradusi JAV pilietinio karo metu vėliava išplito tiek Amerikoje, tiek už jos ribų, o jos reikšmė smarkiai pasikeitė; ji prarado ir originalią karinės vėliavos reikšmę. Šiame straipsnyje analizuojami keli šiuolaikiniai konfederatų vėliavos naudojimo atvejai. Autorius aptaria dabar vykstančias politines diskusijas apie vėliavą JAV ir mėgina paaiškinti, kaip jos susijusios su vėliavos naudojimu Jungtinės Karalystės ir kontinentinės Europos rokabilio muzikoje. Straipsnyje paaiškinamos priežastys, dėl kurių vėliava laikoma rasizmo ir baltųjų suprematizmo simboliu. Autoriaus teigimu, nepaisant kai kurių rokabilio muzikos atstovų požiūrio į vėliavą kaip tariamai nepolitinį, ilgalaikį rokabilio simbolį, vis didėjanti baltųjų suprematizmo ir radikalios dešinės politikos grėsmė tarptautiniu mastu paverčia šį požiūrį nepagrįstu. Straipsnyje daroma išvada, kad rokabilio muzikos atstovai tiek JK, tiek Europoje galėtų ir turėtų atsisakyti vėliavos neprarasdami savo kultūrinio tapatumo.
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The text outlines some aspects of hybridity in Bulgarian rock and metal. The focus is on metal music, rock is included, primarily because metal is a part of it, some of the external elements, used in metal, are from other types of rock music and some hybrid forms have a controversial status – they come from metal, in part, but are they metal? In addition to stable hybrid forms, the text includes examples of milder hybridity, wherein external elements are used, without creating a new metagenre. Another accent is the hierarchy of hybrid forms, tied to the way the source genres and micro cultures are perceived. An attempt has been made to explain the importance of self-defining and “external” (or outsider) definitions for the understanding of different musical categories, their use and perception, which can affect the genre-cultural hierarchy of hybrid musics.
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A review of professor Rosemary Statelova’s book “Estrada and Socialism: Glimpses”
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The world we live in is the world of great social, economical and political turbulence,the breakdown of social fabric, wars and conflicts, universal corruption and neglect, brutality and violence, which bring together a general feeling of life's uncertainty and fear. Heavy metal, as a musical direction and a cultural phenomenon, which is often controversial and rebellious, often uses the paradigm of social conscience, and with its view of reality through music texts and symbolic messages, the various aspects of life and the negative phenomena in society are actualized. Such an understanding of heavy metal scenes is often neglected. The reason lies in the fact that given for several decades (even from the very outset of this musical direction) there is concern among some theorists but also accepted public, opinion that heavy metal promotes and glorifies violence and other deviations, all that without takeing in consideration, sociologically speaking, its imaginative approach. Of course, treating many social phenomena and problems of today, heavy metal artists often do not soften their way of, realistically but also metaphorically, showing the crude reality of today and the context of the contemporary world.Using a comparative method, we will analyze the content of two heavy metal online portals and webs, Encyclopaedia Metallum, Spirit of Metal, metal lyrics archive Dark Lyrics and literature dealing with heavy metal scenes. The paper will discuss the most striking forms of violence spoken by heavy metal texts. The analysis will pay attention to the understanding of certain subgenres as well as the names of some heavy metal bands that actualize this phenomenon. Although almost all heavy metal genres actualize violence, the work will focus on extreme heavy metal subgenre.
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The instrumental Macedonian ethnopop music is particularly interesting phenomenon because of its development and prolonged existence in conditions with persistent internal influences of the social and economic environment, but also external influences from the neighboring and distant music cultures. These influences have determined the way of the creation of this music and its final musical products. Regarding the fact that the instrumental Macedonian ethnopop music had its peak especially in the 1980ties, the subject of interest in this paper will be the musical pieces from the mentioned period. Also, a special at¬tention will be dedicated to the creativity, in other words to the process of creation of the instrumental Macedonian ethnopop music and the reproductive process of this music. The conclusions will be based on the analysis of the music characteristics of the recorded material which forms the database of the sample of 100 music pieces.
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Visual documents give us important clues in recognizing about our musical heritage. It can be said that the oldest of the visual documents about Mevleviyeh in the Ottoman Empire was miniature art. Later on, the art of painting became influential (17-18th century) and the figures of music were included in the art of painting. The widespread use of photographs and postcards, a means of visual communication in the 19th century Ottoman Empire, includes both cultural and sociological reflections of this state, which is our historical and cultural heritage today. Research on the printing, spreading of the postcards and the periods in which the pictures or photographs belong to them is extremely limited. Therefore, this research is important. The way in which the religious music represented in the Ottoman Empire through postcards was the starting point of the research. In this research, twenty-four documents were obtained from the Atatürk Library belonging to the Ottoman Religious Music. Each documents were classified as photographs, postcards and anonymous works and they were examined separately. The fact that some documents have information about the typographer, publisher and photographer has made it easier for the determination of the period. According to the data, these documents belong to the 19th century and the first half of the 20th century.
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