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Review of Janice B. Stockigt, Jan Dismas Zelenka (1679–1745). Český hudebník na drážďanském dvoře, přeložila Vlasta Hesounová, odborná revize Robert Hugo, Praha: Vyšehrad 2018. 404 s.
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The present paper, focused on the Grottaferrata version of Digenes Akrites, offers an investigation of the poem’s episodes dealing with music and songs, from a double, socio-cultural and literary perspective. The description of Digenes and his Girl as musicians and the constant association of music with sweetness and enjoyment appear at odds with the standards of a Christian, orthodox society: they suggest a world open to the pleasures of the senses, that is an aspect of Byzantine life that the ideologically correct discourse tried to conceal. The depiction of the protagonists under the guise of musicians is also original from a literary point of view, as shown by the comparison with ancient Greek and Komnenian novels, for only Longus’ and Eugenianos’ works, deeply indebted to the pastoral tradition, offer a significant place to musical sequences. On the contrary, in the Late Byzantine vernacular novels, musician heroes of the same kind as Digenes become standard characters, and the authors of all these texts follow the model of the Byzantine epic in inserting love-songs into the narrative. Thus, the Digenes poem seems to have played a seminal role in paving the way for new literary developments in the Late Byzantine period.
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This article defends Noël Carroll’s incongruity theory of humour from the pressing criticism that his articulation of incongruity is too vague to serve as a key notion of the theory. I first distinguish between two versions of the criticism of vagueness: the claim that Carroll’s notion of incongruity is vacuous, and the claim that it allows for shoehorning. To reject the first claim, I put Carroll’s notion of incongruity to the test by analysing complex comic texts, demonstrating that it is not vacuous as it allows for capturing their similarities and differences. In response to the second claim, I claim that Carroll’s notion of incongruity should be amended adding a pertinence condition, which requires that the elements establishing the incongruity are part of the same context. Finally, I show that the pertinence condition helps Carroll, replying to a set of counterexamples moved to his sufficiency conditions too.
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Ve dnech 23. až 25. 10. 2017 hostil Ústav hudební vědy Masarykovy univerzity již 52. roč-ník mezinárodní muzikologické konference, největší svého druhu periodické aktivity v České republice. V posledních letech Colloquia dochází k pravidelnému střídání roční-ků věnovaných hudbě před rokem 1800 s ročníky věnovanými hudbě mladší, což mimo jiné vyplývá i z tradičně silného badatelského zázemí, které právě hudba 18. století na brněnské hudební vědě má.
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8. marca 2017 sa na pôde Francúzskeho inštitútu pod záštitou Centra pro barokní hudbu ve Versailles a Letních slavností barokní hudby v Praze konal seminár s cieľom organizácie dlhodobého štúdia kultúrnych, resp. hudobných väzieb medzi Francúzskom a českými zemami v 17. a 18. storočí. Ako už program seminára napovedal, tento bádateľský okruh ponúka perspektívny počet nespracovaných námetov a spôsobov ich poňatí. Jednotlivé príspevky obhájili význam pokusu o zahájenie väčšieho projektu, ktorého plné uskutočnenie ale bude závisieť predovšetkým na dostupnosti fondov zásadných pre toto bádanie.
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I shall start by drawing a line of division between the practice of foundation sacrifice and its representations or references to it in the form of songs, legends or tales. The practice is well-known and well documented by different historical sources in different times and in various parts of the world, definitively in Euro-Asia from Japan and China to England, but also in such remote places like New Zealand. Its existence since early historic times is supported by direct archaeological data, and indirectly by myths and legends referring to human sacrifice. Representations, or spiritual reaction to these practices, do vary and include songs (mostly in the Balkans and Hungary), legends (in the Caucasus), tales (in western Europe and England), and even historical accounts (in Germany and France). The songs, mainly in the forms of the ballads, were documented and collected especially in the area south of Danube, all throughout the Balkans and stretching further east to modern Turkey and the Caucasus, where the motive embodies mostly in legends, tales and stories.
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The second half of the 18th century marked an extraordinary flowering of music, especially church music in the Czech lands. Monastic churches, in particular, were characterised by a high level of music production performed by choral scholars whose liturgical music was conducted by chosen monks. Some members of religious orders also composed. These were for example M. J. Haberhauer (1746–1799), a member of the Benedictine order situated in Rajhrad near Brno and P. J. Marek (1748–1806) who belonged to the Augustinian monastery in Brno. Both of them got a musical education as choral scholars and remained musically active also after entering orders. Eventually these two authors both performed as chorregents in the 70’s and early 80’s of the 18th century and they collected sacred and secular pieces of music of their more famous and popular contemporaries (C. Ditters, F. X. Brixi, Haydn, etc.). Apart from a few exceptions they were only composing liturgical works. Haberhauer bequeathed 90 compositions, most of whom composed of Mass for choir and solo accompanied with instrumental ensemble as well as vespers and motets. Marek, however, composed only 21 church compositions and most of them consist of Marian antiphons and litanies of Loreto. These were necessary at the Augustinians, given the honor rendered to the picture of Virgin Mary placed in their church. The two monasteries ran a mutual cooperation which can be proved by Haberhauer music collection preserved at Augustinians in Brno. Haberhauer work can be also found in the collections of other Moravian churches and also at Prague Benedictine order. While Marek’s compositions were exclusively connected to the Augustinian monastery in Brno. Their pieces of music are purely purpose‑ full showing features of a musical classicism. Lives and works of both composers are now the subject of research of the author and of Pavel Žůrek from the Institute of Musicology, Masaryk University in Brno and it will result in more extensive studies.
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This article aims to analyze the presence of musical elements as well as the importance ofthe use of music in the process of learning a foreign language with a focus on the teachingof Spanish as a foreign language. Music and language have numerous common characteristics that arerecognizable through rhythm, melody, intonation, dynamics and represent a form of continuous mutualcommunication. Music stimulates the activity of the right hemisphere of the brain, thus encouragingcreativity and imagination as key motivators in the learning process. Our research deals with the analysisof the presence of elements related to music in the textbooks used in the teaching of Spanish as a foreignlanguage at the Faculty of Philosophy, University of Novi Sad. A quantitative analysis of the corpus identified examples that represent musical content or refer to musical elements within the teaching. The aimof this research was to identify which musical content is present in the textbooks and at what level of learning Spanish as a foreign language (A1-B2) and which language competences and skills develop withthe help of the identified content. The hypothesis of this research was that musical content would be morepresent at lower levels of learning when the student is expected to memorize new words and grammaticalconstructions. The corpus analysis showed that music in foreign language teaching provides lexical andcultural input. The results of this research confirm that musical content can be used for the purpose ofpracticing and improving both receptive and productive language skills, and for the purpose of developingand enriching students’ lexical, grammatical and intercultural competence, especially at lower levels oflearning. With music, we can improve our pronunciation, practice intonation, expand our vocabulary,learn grammatical structures and understand the culture of the other
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The History of the Life and Deeds of Scanderbeg, Prince of the Epirotes (Historia De Vita Et Gestis Scanderbegi Epirotarvm Principis) by Marin Barleti (Marinus Barletius Scodrensis), was published in Rome in 1508. This basic work was translated from Latin into a number of European languages. Barleti’s work inspired many other authors, some of whom produced other remarkable creations, including musical ones.
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The proposed article examines the relationship between verse and music in the context of the popular Bulgarian song and the lyric poetry itself. Its aim is to offer a way of incorporating poetry in the classroom using one of the media for realisation of the language. The object of the analysis are poetic texts written by authors who are part of the required and elective school program. Thus, the proposed way of learning literature expands not only the spectrum of dimensions of seeing the arts but also the knowledge about the poets themselves.
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Wprowadzenie: Badania dotyczące kompetencji percepcyjnych osób młodych w obszarze muzyki artystycznej oraz określenia roli wieku jako ich predyktora prowadzone są rzadko. Ich wyniki mogą przyczynić się do podjęcia wielozakresowych działań, w szczególności koniecznych reform w systemie powszechnej edukacji muzycznej. Szkoła bowiem pozostaje jedynym miejscem, w którym systemowo i wieloetapowo kształtuje się kompetencje dotyczące tego gatunku muzyki.Cel badań: Celem badań było określenie poziomu, na jakim ukształtowane zostały percepcyjne kompetencje muzyczne osób młodych w okresie adolescencji i wczesnej dorosłości w zakresie muzyki artystycznej. Istotnym zamierzeniem było również ustalenie ich związku z wybranymi uwarunkowaniami, spośród których wyodrębniono wiek, aby określić, czy jest on zmienną, która różnicuje poziom tych kompetencji.Metoda badań: W badaniach zastosowano strategię ilościową i metodę testu.Wyniki: Wiek badanych zróżnicował statystycznie całościowy wynik testu oraz jego poszczególne zakresy – identyfikację epok stylistycznych w muzyce, stylu kompozytora, instrumentów i głosów oraz znajomość literatury muzycznej. Wyższe wyniki uzyskali młodzi dorośli.Wnioski: Badani wykazali się znacznymi deficytami w zakresie słuchowej identyfikacji istotnych aspektów muzyki artystycznej. Poziom analizowanych kompetencji uznano za niski. Wiek okazał się czynnikiem istotnie różnicującym wyniki testu na korzyść osób ze starszej grupy wiekowej. Badania wskazują, że powszechna edukacja muzyczna wymaga transformacji.
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Opera is a musical theatrical branch that takes its narration from mythology, history or daily life, is presented on a stage with a polyphonic orchestra, using all the subtleties of drama, dance and music arts, and is a combination of the "fine" artistic approach, in which the lines are sung accompanied by songs. It is known that opera, the first examples of which were seen in Florence, Italy, at the end of the 16th century, reached Germany, England and France, and then all over Europe, from the 17th century onwards. In the Ottoman Empire, European style polyphonic music and opera were the result of the interest that arose among the sultans (Selim III, Mahmud II, Sultan Abdülmecid, Sultan Abdulaziz, Abdulhamid II) as a result of the ambassadors sent abroad after the 18th century and the reports they prepared. From the first years of the 19th century, its name began to be heard and its influence began to be seen, as foreign communities came and performed their arts, first in Istanbul and then in Izmir. In Republican Turkey, the administrative level of the period was closely interested in this branch of art, realized the influence of "fine arts" in the country's harmonization process with Europe, and in order to increase the interest of young people in opera, in other words, European music, modern conservatories were established and students were sent abroad. Importance was given to inviting famous foreign artists of the period to the country. In the study, it is aimed to convey the influence of the European style of art, which started in the Ottoman geography and palace since the 19th century, and the changes and developments experienced in its transfer to Republican Turkey, throughout the historical process. For this reason, efforts were made to benefit from archive documents, first-hand sources, as well as other printed works related to the subject, in the study.
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Due to the lack of extensive specific historiographical data on the distribution of the flute in today‘s Northern Macedonia, we use the findings of recent studies, comparing them with previous ones that are directly or indirectly related to the history, distribution and development of the simple flute. Northern Macedonia has its own specific geographical location, suitable for the penetration of various influences and cultures on its territory. It is quite natural that all the historical upheavals of our continent have had their specific impact on the lives of the local population, which in turn has affected the musical and cultural past of the people.
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As the Korean Wave in Thailand continues to gain sensational popularity, along with the development of the Korean Wave, the negative influence of the Korean Wave in Thailand has also been highlighted. The beauty of Korean-style whitening provides a new symbol of beauty in Thailand, and the desire to unconsciously imitate Korean beauty can be said to have political implications that go beyond simply personal desires and superficial issues. This research analyzes how the whitewashing of K-pop as a cultural imperialist element of the Korean Wave is affecting Thai society. Specifically, in-depth interviews were conducted with Thai Korean Wave fans who envy K-pop idols. Based on the interview results, it analyzed Thai beauty standards and perceptions of whitewashing that have become typical through K-pop and the political meaning of the stereotypical beauty standard of “white skin” and its influence on Thai society.
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As the global epidemic eases, college students face increasing Social-Skills problems, especially when Social-Skills are reduced due to prolonged home isolation. This study investigated the effectiveness of Orff-Schulwerk in enhancing the Social-Skills of college students. Taking students of Z College School in Southern China as the research object, the current social status and needs of college students were analyzed through questionnaires and in-depth interviews. The findings suggest that Orff-Schulwerk significantly improves students' Social-Skills through its unique collective participation and creative expression, especially in enhancing teamwork, communication skills and self-confidence. This study not only provides new perspectives on the application of music education in higher education, but also provides empirical support on how to promote the development of college students' Social-Skills through art education in the post epidemic era.
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The purpose of the study is to identify the specifics of the ethnic-national content of the cultural and artistic heritage of Odesa, taking into account its polyethnic-polynational status of the city and the cultural dominance of the Ukrainian- Slavic factor due to its military-expansive genesis. The methodological basis is the artistic indicators of the intonation concept in the traditions of the school of B. Asafyev in Ukraine, presented in the works of the authors of this study, as well as in the works of D. Androsova, O. Muravska, O. Roshchenko, I. Shevchuk, among others. Special attention is paid to the biographical and descriptive method, evidenced in the research of V. Shulhina and O. Yakovlev. The scientific novelty of the study is based on the selection of regional features of Ukrainian culture, with an emphasis in this case on the multi-national and poly-ethnic content of the South of Ukraine, which allows us to emphasise the conclusions about a certain plurality of representations of outstanding masters involved in the Ukrainian cultural aura – and this applies to the characteristics of such outstanding personalities as K. Szymanovskyi, V. Malyshevskyi, S. Richter, H. Neuhaus. Conclusions. The specificity of Odesa and the Ukrainian South in general is marked by intersections of national-ethnic and religious beliefs, covering numerous family-family relations, despite the fact that the ethnic core was a SlavicUkrainian fusion of Russian-Ukrainian and Polish-Ukrainian combinations, and the participation of Germans and other national inclusions was significant. Stormy social vicissitudes corrected the life path of many natives from the cultural environment of Odesa and the Ukrainian South in general, who later found themselves in other national and cultural dimensions, without losing the cultural "charge" received in the "small homeland" of the regional southern Ukrainian destination. And vice versa, being born and released into the art world outside of Ukraine, they organically later "fit" into the cultural space of Odesa and the South of Ukraine in general. Therefore, we introduce clarifications in the characteristics of national belonging (in the mental and cultural sense) in relation to the following authors: V. Malyshevskyi – Ukrainian, Russian, and Polish composer, K. Szymanovskyi – Polish, Ukrainian composer, V. Rebikov – Ukrainian, Russian composer and theorist, S. Richter, G. Neuhaus – Ukrainian, Russian pianists, in analogy to the duality of Ukrainian – Russian artists in relation to M. Vrubel, V. Kandinskyi, M. Roslavets.
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The pandemic period has created certain specific situations in many fields, one of them being the educational field. The transfer of activities to the online environment has also brought, beyond the specialized technical vocabulary of the platforms and computer applications used, new concepts that interfere, at times, with the “classic process of learning, teaching and development of new skills. The present article proposes, based on an empirical study, a lexical and terminological investigation on the technological musical language in the context of the virtualization of music education during the pandemic. Using a corpus of texts from specialized journals dealing with various topics in the field of music didactics, an attempt is made to systematize the denominations used for musical didactic methods and techniques during the abovementioned period.
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This paper presents a cross-curricular approach to musical composition supported by ICT, an experiment based on the model of Phil Kirkman. The investigation was carried on in the 2021-2022 academic year. It was realized in collaboration with teachers from the Sigismund Toduță High School of Art in Deva and the High School of Art in Sibiu, respectively, involving middle school and high school students from year 7, year 8, year 9 and year 10. The experiment started with a debate on a recommended topic suggested by images, which constituted the visual stimulus. The path to achieving the final goal supported students in developing creative skills, the primary purpose of musical composition, and building musical knowledge. It also enriched learners with information from different areas and knowledge fields belonging to several other subjects. Following the received information on the composition topic and the debates in the classroom, the students developed their ability to understand the world by building their own opinions on the issues. These opinions could be supported by historical, geographical, philosophical, economic, and psychological data they achieved. The cross-curricular approach to music composition offered a creative way to develop understanding, knowledge, and practical skills through an interconnected study of multiple disciplines. This approach to music education that transcends its boundaries brought educational benefits to both students and teachers, who took advantage of the learning situations within the experiment to broaden both their musical knowledge and their across-the-board knowledge beyond the subject taught or studied, respectively.
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The purpose of this study is a comprehensive examination of Wolfgang Amadeus Mozart’s song creativity as a key communicative component of the era, focusing on its innovative essence and style genesis. This research explores Mozart's song compositions to provide a deeper understanding of the cultural and musical contexts of the time, as well as to uncover the influences and innovations he introduced into the genre. The significance of this work lies in studying song compositions as reflections of the social and cultural processes of the period. Research methodology. The research employs a multidisciplinary approach, combining historical musicological analysis, textual methodology, and comparative analysis. The examination of literary sources, including works by Angermüller, Giegling, Knepler, Lebrecht, Rattalino, Vill, and Wysocki, provides insights into various aspects of Mozart’s song creativity, its impact on the musical tradition of the era, and allows for comparisons with the works of other less-known composers. Scientific novelty. The article delves into the analysis of the communicative component of song creativity as a basis for creating a continuous link in the development of the era, both in Mozart’s work and in comparison with other lesser-known composers of the time. It reveals that the genesis of song serves as a foundation for the evolutionary process of genre formation and its integration into the characteristic features of the period. The study highlights the influences Mozart incorporated into his work and his contribution to the evolution of the song genre, demonstrating his exceptional ability to adapt and innovate. Conclusions. Wolfgang Amadeus Mozart significantly influenced the development of European musical tradition through his song creativity, elevating the quality of chamber vocal music and introducing innovations that became the foundation for the further development of the genre in the 19th century. His works reflect a profound understanding of contemporary trends and influences, creating a rich and emotionally nuanced musical dialogue that impacted subsequent generations of composers.
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This paper aims at discussing the process of multimodal meaning construction called multilevel grounding, according to which meaning emerges hierarchically, through six recursive levels of constraint: formal, cross-modal, affective, conceptual, culturally rich, and individual. Given that this theory has found application in the cognitive science of meaning generation in music, language, and visual art, this study aims to investigate more thoroughly the nature of meaning construction when linguistic and musical data are cointegrated. To that end, we analyse 5 TV show scenes in which the dialogue and the tones heard in the background seem to be sending out contradictory signals on one/some of the six grounding levels this theory presupposes. By doing so, this study attempts to come one step closer to learning in what way language and music, even when they appear to communicate a conflicting message, still work together to create novel meaning. The results of the present study indicate that such linguo-musical mismatches occur on each of the five levels of interpretation, with the sixth level being excluded from the analysis on purpose due to its inherently subjective nature. The same phenomenon has been observed in each of the five analysed scenes, and we believe that its use was both intentional and necessary on the part of the shows’ creators to communicate the intended message in its entirety to the keenest of viewers. Namely, we argue that it is exactly these contrasts on each level of constraint that are responsible for the complex understanding of the scenes in question by introducing entirely new elements into the narrative, such as plot twists, which further leads to often humorous, but always non-composite, interpretations.
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