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ЗАХІДНОЄВРОПЕЙСЬКИЙ МУЗИЧНО-ВИКОНАВСЬКИЙ ПРОФЕСІОНАЛІЗМ В ІСТОРИКО-ЕВОЛЮЦІЙНОМУ ТА СУСПІЛЬНО-КУЛЬТУРНОМУ КОНТЕКСТАХ

Author(s): Ostap Maychyk / Language(s): Ukrainian Issue: 4/2022

The purpose of the article is to reveal the regularities of the polymorphism of the Western European music performance paradigms of professionalism in historical and socio-cultural coordinates from the Middle Ages to the end of the 19th century. The research methodology: source studies for the formation of ideas about the scientific and applied practical basis of performance principles and educational systems of different eras laid out in treatises, methods, instrumental schools of European thinkers, teachers, and performers-practitioners of the past; retrospective and system-analytical in the selection and analysis of scientific literature; cultural-historical to trace the historical dynamics of musical and performing expertise in the lens of the aesthetic and spiritual superstructure of society. The scientific novelty lies in the fact that the consideration of the problem of epochal changes in performing traditions is carried out contextually. Taking as a basis the definition of the musical professionalism of the performers, their activity as the main profession, provided with relevant skills and knowledge, which is the basis for obtaining a means of livelihood (not a related occupation, a form of leisure, or hobby), the musical and performing forms characteristic of certain historical eras and are relevant to public demands and requirements for specialists in various performing industries. In parallel, methods and means of understanding musical professionalism are considered. Conclusions. The detection of regularities in the evolution of the criteria of performers’ musical professionalism in the historical and sociocultural projection demonstrates a gradual shift from church and court performance to secular (concert and every day) performance. This dictates the polymorphism and adaptability of the category of musical and performing professionalism. At the same time, there were processes of deeper differentiation of individual specialties, improvement of tools, development of a system of special education centres, development of music science from philosophical generalisation to the study of specific practical-executive and special-pedagogical issues. The named objective manifestations of evolution were accompanied by an increased concentration of attention on the personal and individual growth of the performer and their spiritual and intellectual development.

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Tentativele de recuperare a modernității creatoare în muzica și artele vizuale din România la mijlocul anilor '60 ai secolului trecut

Author(s): Veronica Turcuş / Language(s): Romanian Issue: 2/2022

The insertion of Soviet models in Romanian culture after the Second World War and the imposition of socialist realism as a unique method of creation from 1948 were outclassed in the mid-1960s, when an attempt was made to revalue artists and writers' modernity and creative integrity. The phenomenon is also noticeable in the evolution of Romanian cinema, which now records a revitalization of co-productions with the participation of Western directors, actors and production houses, in parallel with the affirmation of the Epic of National Film's project, which represents the national reaction and delimitation of Moscow policy in the field of culture. The Romanian documentary film comes out of the tight strap of politics and subjects pertinent to socialist realism, choosing subjects from the fine and elitist universe of the arts; the fiction film begins to deal with sometimes awkward themes in the era, the controlled opening of the second half of the seventh decade also allowing for less rigid productions, which leaves room for interpretation. The gradual overcoming of ideological conventions is observable in action, adventure, love, comedy, western, detective, thriller, SF movies. After 1965 and in the '70s, comedy films, westerns or inspired by cape and sword films were made, in accordance with the filmography of the period in the West, and the Romanian musical presented other characteristics and sources of inspiration compared to the musical art proposed in USSR and in a number of Eastern European states, referring directly to classical productions of the genre in the West. In the mid-1960s, there was an evolution of music in the sense of modern forms (at that time symbolized by the dodecaphonism of the second Viennese school). In the field of visual arts, there was an emancipation of creative models and techniques, alternative art becoming a symbol of connecting the Romanian cultural process to Western Europe.

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Kes või mis oli Jörru?

Author(s): Külli Prillop / Language(s): Estonian Issue: 7/2022

In 1695 Christian Kelch, the then pastor of Järva-Jaani, published his chronicle “Liefländische Historia”, which also contained an Estonian folk song titled “Jörru, jörru”, with German translation. This was the first Estonian folk song to appear in print; owing to Johann Gottfried von Herder it became known even more widely. Despite repeated analysis of the text, the meaning of jörru has remained a mystery to this day. In Herder’s “Volkslieder” there is a note explainig Jörru as the male name Georg. This interpretation has been predominant, although it contradicts Kelch’s original explanation of Jörru being a young man’s word of address for his beloved girl. Possibly Herder did not find the text in Kelch’s chronicle but in a Königsberg newspaper, where the song had been published in 1764 without Kelch’s comment. Kelch, however, had a good reason to explicate the meaning of Jörru, as he wanted to refute an earlier claim that Jörru refers to Jerusalem and the song as a whole expresses the longing of a people for their former homeland. The article hypothesizes that jörru is the Middle Low German gör ‘girl’. In the local variant of Low German it was normal that before a front vowel g would be pronounced as j; another expected change is ö > õ. The word-final vowel u is a diminutive suffix. The lengthening of the r-sound can be accounted for by diminutive gemination. In addition to the etymology for jörru the meanings of some other archaic words and expressions occurring in the song are specified.

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Lühikroonika

Author(s): Not Specified Author / Language(s): Estonian Issue: 10/2022

Chronicle of events.

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Mineviku Teejuht - Ruth Mirov 24. XI 1928 - 26. IX 2022

Author(s): Pille Kippar / Language(s): Estonian Issue: 12/2022

In memoriam of Ruth Mirov (24. XI 1928 - 26. IX 2022)

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Изучаването на старата българска музика - предизвикателства и проблеми

Author(s): Svetlana Kujumdzieva / Language(s): Bulgarian Issue: 1/2022

The field of Old Bulgarian music has as a subject of study the church music. It is one of the youngest fields of research in Bulgarian musicology. The historical and methodological grounds of it were laid by Petar Dinev and Elena Toncheva in the 60s of the twentieth century. Until present day the research in this field went through a great development. Various approaches were applied: historical, theoretical, palaeographical, codicological, liturgical, and theological. The history of Bulgarian church music from the ninth through the nineteenth century was reconstructed: many musical sources, musicians and musical schools became known. Several generations contributed to this field and changed the research perspectives especially in terms of characterization of its national specification. Today the field of Old Bulgarian music is considered as an interdisciplinary area of study and as part of the whole Christian culture. The results, including the digitization of some important musical collections preserved in Bulgarian libraries, are released in vast majority of publications in Bulgaria and abroad.

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Бегъл поглед върху музикалния ни живот половин век назад (Хвърля ли миналото сянка върху настоящето?)

Author(s): Velislav Zaimov / Language(s): Bulgarian Issue: 1/2022

This essay briefly describes the phenomena, circumstances and comparisons of the musical life in our country, which originated mostly after the Second World War and reach to the present day. The information given has three main directions: performing work, musical creativity and music education units. I hope that the presented information will be useful especially for the younger generation of musicians, whose training and work take place in conditions very different from those described in the following lines.

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Интегралната музикална теория в практиката на пианиста. Принципни положения

Author(s): Rositsa Todorova / Language(s): Bulgarian Issue: 1/2022

There are several remarkable pianists in the Bulgarian music culture – performers and pedagogues who, along with their concert practice, are also scholars in another field of knowledge – musical or nonmusical (namely, apart from composition and musical journalism). Consciously, as well as intuitively, this second area of knowledge builds and defines their view of pianism and music as an art form and assumes the role of the integral music theory in their piano practice. The forms are completely individual for each representative: Angel Bukorestliev, Andrey Stoyanov, Dimitar Nenov, Tamara Yankova, Mara Petkova, Trifon Silyanovsky, Bogomil Starshenov, Dzhulia and Konstantin Ganevi, Lili Popova, Milena Kurteva, Margarita Krasteva. This paper sets out the basic concepts.

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Дисциплината „Четене и свирене на хорови и оркестрови партитури“ - специфика, методология, история и развитие от основаването на НМА „Проф. Панчо Владигеров“ до днес

Author(s): Yavor Gotchev / Language(s): Bulgarian Issue: 1/2022

An indispensable stage for the professional development of every musician is the ability to work with the score, which is a key factor in the professional approach to almost all musical subjects. The discipline “Reading and playing choral and orchestral scores” has a significant place in the academical music education. The structure of the training is formed as a result of many years of practice and reflects the experience of generations of prominent musicians. This presentation is a brief overview of the historical development of the subject in the National Academy of Music “Prof. Pancho Vladigerov”, inextricably linked with the names of a great number of prominent Bulgarian artists and music creators.

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Полифония: строг стил. Учебникът по полифония на професор Димитър Радев (1874 - 1954)

Author(s): Sabin Levi / Language(s): Bulgarian Issue: 1/2022

Professor Dimiter Radev (1874 – 1954) was a notable Bulgarian music teacher, who is the author of the first Bulgarian textbooks of counterpoint, harmony (voice leading) and musicalforms. This study discusses aspects of his counterpoint textbook, particularly its part for strict style. His teaching and analytical approach is discussed and examples of his music are displayed.

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Съвременни предизвикателства пред хоровия диригент

Author(s): Galina Lukanova / Language(s): Bulgarian Issue: 1/2022

The pandemic, which swept the world in late 2019 and early 2020, has greatly changed people’s lives. It has affected both our normal daily routines and the work of each of us. This report examines the challenges the choral conductor faces today – from the struggle for survival of the choral art, to the current requirements for the education and the shaping of individual qualities and approaches.

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Възгледи за музикалното време от ХХ век и приложни идеи за слухов анализ на метроритъма

Author(s): Angelina Petrova / Language(s): Bulgarian Issue: 1/2022

The main problematic of the metrorhythm, in its expanded interpretation of the twentieth century, provoke the creation of new forms of dictation and auditory analysis. Interpreting the relativity of the rhythm/meter ratio of the last century, this article considers the forms of practical work such as the development of specialized methods for the auditory analysis and dictation, including examples from works of the french composer Olivier Messiaen, Bulgarian irregular meter examples from works of the composers Lyubomir Pipkov and Stefan Dragostinov and as a special section of the auditory analysis – both serial and sonorous examples. The music of the second half of the twentieth century (serialism, some sonorous and/or aleatory examples) – is also one of the subjects of the studies in auditory analysis found inthe systems of Ulrich Kaiser and Violaine de Larminat.

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Удвоени форми на периода. Творчески решения и теоретични проблеми. Опит за съвременно осмисляне

Author(s): Snezhina Vrangova / Language(s): Bulgarian Issue: 1/2022

The doubled forms of the period are considered through the prism of exposition, which they express and also in the perspective of the possibility within them to achieve a smooth transition from one to another formal function of the musical form. The many ways in which this can happen are considered historically, genre-wise and terminologically. The starting point of the discourse is the classical understanding of the period, as a basic expositional unit of musical form and functional unity of two subordinate parts, on the one hand, and the options for expanding the exposition space through repetition, varied repetition and repetition with harmonious development and syntactic dynamics, on the other. A panorama of the terminological approaches, applied to the semantic field of the doubled forms of the period, is proposed.

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Представяне на СУПРИМ към ЕМУ и сътрудничеството ѝ с ВУ за развитие на изкуството в България

Author(s): Velichka Nikolova / Language(s): Bulgarian Issue: 1/2022

The report presents a young but already well-known educational non-governmental organization “Section of schools with specialized and extended study of music in the Republic of Bulgaria” within the European Music Association (SUPRIM within EMU). It describes its development over the seven-year period, the achievements and the problems we face. The work and interaction of SUPRIM with higher education institutions teaching music, as well as the advantages and challenges we have and which we must comply with and overcome are presented here.

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Професионален профил на учителя, преподаващ музика в българското училище - съвременни аспекти

Author(s): Penka Marcheva / Language(s): Bulgarian Issue: 1/2022

The main focus of the publication is the presentation of results from a survey aiming at building a summarized idea of the professional profile of the music teachers, which are part of the initial stages of the primary education. The main indices used for this purpose are age, length of work experience, sex, size of the location where the music teachers work and degree of their educational qualification. The self-assessment of the preparation for higher education is also studied, along with the degree of preparation for the implementation of basic activities in the music teaching. The extent, to which the musical-pedagogical activity is effective for the students in order to achieve the expected results set in the curricula, is also studied.

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Художествено-творческият опит на студента като основа на образователен модел за музикално-педагогическото му изграждане и усъвършенстване

Author(s): Dimitar Damyanov D. / Language(s): Bulgarian Issue: 1/2022

Modernity offers and at the same time requires opportunities for quick and quality adaptation to musical-pedagogical work. The holistic principle in the organization of the specialty “Musical Pedagogy” in Higher Education allows students with different prior knowledge and skills to be brought to the level of music tutor. This requires the development of teaching models for faster overcoming moments of difficulties in learning, using as a basis the past creative experience of the student. Individually adapted to each specific case, the joint work of teacher and student leads to success only in in-depth research of all the determining relationships.

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Пеещ или музикалноинформиран млад човек - концепции за музикалното обучение в горния курс на общообразователното училище в България от 50-те години на ХХ век до днес

Author(s): Boryana Mangova / Language(s): Bulgarian Issue: 1/2022

The modern curricula and music textbooks for the high school course of the Bulgarian general education school should bring excellent results for the graduating students. But practically they graduate with poor musical proficiency and singing skills, with little knowledge of the music, unless they have gone through independent training. This article examines the probable cause of this educational problem by analyzing the development of the concepts of the subject reflected in the relevant textbooks from the early 50s of the 20th century to the present day.

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Знанието за източноправославната музика в учебниците по музика

Author(s): Klara Mechkova / Language(s): Bulgarian Issue: 1/2022

The report offers a critical analysis of the knowledge of the music of the Orthodox world as a part of the curriculum, developed in the music textbooks of four publishing houses – “Prosveta”, “Anubis”, “Bulvest” and “Izkustva”. The object of analysis is the substance of the relevant educational content. Based on the drawn conclusions, suggestions are made for the overcoming of the observed problems.

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Композиторът Никола Атанасов (1886 - 1969) в културно-историческата памет на негови съвременници и ученици

Author(s): STEFANKA GEORGIEVA / Language(s): Bulgarian Issue: 1/2022

Based on the only biographical study of the composer Nikola Atanasov, written by Petar Ljondev more than six decades ago, the article traces the fate of his creative heritage, as well as the assessments of his historical place in the chronicles of the new Bulgarian musical culture. In parallel with this the paper includes unknown evidence of the early creative formation of the composer, supplementing and clarifying with facts and circumstances the first performance of his diploma work – Symphony in g moll. The pedagogical activity of Nikola Atanasov, which has not been the subject of a special study so far, is illuminated through the memories of his students and contemporaries. Emphasis is also placed on some creative initiatives in the contemporary music life that keep alive the memory of his work and a new research reading that “breaks” stereotypes in the interpretation of his creative legacy in order to preserve it in the historical memory of the generations.

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Индивидуални стратегии за учене при работа с многоглас в музикалнослуховото обучение

Author(s): Teodora Dimitrova / Language(s): Bulgarian Issue: 1/2022

A learning strategy is an individual’s way of organizing a certain set of skills and using it in order to learn something new or accomplish other tasks more effectively and efficiently. Learning strategies are widely used in language learning, mathematics and in other sciences, but they are still not studied enough in connection to the ear training. Hereby I make a short review of the present knowledge of learning strategies across different fields of research, and in the second part I make comments on some of the strategies particularly used in the polyphonic and harmonic perception as well as for the musical memory.

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