Темата за „социалистическото преобразование на Родопите“ в изкуството на социалистическия реализъм: оперетата „Айка“ на софийска сцена през 1955

Author(s): Kristina Popova / Language(s): Bulgarian Issue: 7/2021

The paper presents how the Communist Party politics toward Bulgarian Muslim women in the Rhodopes reflected in the art of socialist realism in Bulgaria on the example of an operetta in 1955. In the time of the so called ‘Late Socialism’ the control upon art became stronger and the method of the socialist realism was established in Bulgaria under Soviet influence starting a struggle against ‘formalism’. Arts had to be‘comprehensible’ for the people. The topics had to be oriented to the main political tasks: industrialization, agrarian collectivization. The famous composer Parashkev Hadjiev (1912 - 1992) wrote in 1952 the operetta ‘Delyana’ on the topic of the socialist agrarian collectivization. Criticising young people who opposed to the working enthusiasm and preferred entertainment and Western music, he involved a ‘Western’ youth dance in the musical, which was aclamated by the audience. The Bulgarian Communist Party leader Valko Chervenkov was disgusted by the Western dance and the public acclamations. He left the presentation demonstratively and published a very critical review which was discussed at a Party meeting of the Composers Union. In order to improve his positions, Parashkev Hadjiev wrote the operetta ‘Ajka’, build on a folklore base. The premiere was in May 1955. The story was about a Rhodope Mountain Muslim village, which was already on the way of its socialist transformation. Muslim population and especially Muslim women at that time were an important target group for the politics of the Communist Party in its attempts to form the new generation in a political loyalty group. The operetta settings presented the village as a changing but still conservative place near a dam and tunnel building place. Young women and men were working there fulfilling working plans and having political courses. The young Muslim girl Ayshe (Ajka) fall in love with the building brigade leader Milko. Their love however was not possible because her conservative father promised her to a rich Muslim man, who prepared for her a life in a ‘golden cave’. A picturesque traditional wedding party was prepared but after a serial of comic turns and dressing up, the young couple Ajka and Milko got together and had their wedding party at the dam. The play answered the claims of the socialist realism; it was in accordance to the official lines toward Muslim women. The Socialist realism helped the communist power to differnciate the Rhodopes as a topos with important ideological significance presenting the mountain as a place of victory of the new social order, as heterotopia, where the construction of dams, power plants, tunnels and mines transformed young people's lives beyond religious differences in a homogenious group of Socialist youth.

Песенно наследство отвъд границите. Наблюдения върху сбирката „Písně makedonské“ (1928) на Лудвик Куба от поредицата „Slovanstvo ve svých zpěvech“

Author(s): Veselka Toncheva / Language(s): Bulgarian Issue: 2/2024

The article examines the collection "Macedonian Songs" (part of the "Slavism in Songs" series) by the Czech artist, folklorist and writer Ludvik Kuba (1863–1956). It was published in 1928 and contains song samples recorded by him in the territory of today's Republic of North Macedonia in the period 1925–1927. The purpose of the research is to determine the cross-border nature of a song heritage between several modern countries, whose borders are the result of the geopolitical changes in the Balkans in the last more than 100 years – Bulgaria, the Republic of North Macedonia, Albania, Serbia. In the text, variants of specific songs from the collection of L. Kuba are selected, ethnomusicological analyzed and compared – some of them popular in Bulgaria as well, and others – performed in the Golo Brdo area on the territory of the Republic of Albania since 1913, third – also known in Serbia. The L. Kuba's collection contains song samples recorded and arranged by him with piano accompaniment in the style of Western European music and harmony. In this case this compositional approach is not the subject of research, and the focus is placed on the melodic-rhythmic signs of the variants documented from Cuba. In the study, they are researched in a comparative plan with variants within and beyond the borders of Macedonia.

Příběh Karla Gotta jako československá moralita

Author(s): Přemysl Houda / Language(s): Czech Issue: 2/2024

Karel Gott (1939–2019) was the most popular Czechoslovak singer in the genre of pop music from the 1960s o the late 1980s and, for the more conservative Czech audience, remained so practically until the end of his life. He anchored himself in the so-called mainstream, and as a performer of hits with an extraordinary voice and supreme vocal expression, he had many fans in other socialist countries and also – and in particular – in West Germany. Many, however, perceived him as a kind of symbol of conformity with the communist regime during the period of Czechoslovak normalization. According to the reviewer, the biographical book "Gott: Československý příběh" [Gott: A Czechoslovak Story] written by the well-known music publicist Pavel Klusák, can be read in three ways. Firstly, as a story of Czechoslovak show business from the 1960s to the early 1990s. In this respect, Klusák, who has an excellent command of the subject matter, has done a great job, which is matched by his insightful and factually rich interpretation. Secondly, as a story with moral lessons about the social responsibility of a significant protagonist of popular culture. Here, Klusák is too much in thrall to evaluative ethical judgments and to the notion of the artist as the conscience of the nation, which the reviewer finds anachronistic. Thirdly, Klusák tells a typically Central European story about a man in history, but ends it on the threshold of the 1990s, thus giving up the possibility of grasping it comprehensively. According to the reviewer, his justification that by that time Gott was a fully profiled personality and artist and did not change in any way does not hold up in the context of the turbulent events after the fall of communism. The polemical review concludes by stating that while Klusák has removed the layer of myths and Gott’s own retouches from his portrait, the image he now presents to his readers is somewhat one-sided and burdened.

Снежана Николајевић и Бранка Радовић АЛЕКСАНДАР ВУЈИЋ ОД А ДО Ш: КОМПОЗИТОР, ДИРИГЕНТ, ПИЈАНИСТА...

Author(s): Aleksandar Vasić / Language(s): Serbian Issue: 36/2024

Review of: Снежана Николајевић и Бранка Радовић АЛЕКСАНДАР ВУЈИЋ ОД А ДО Ш: КОМПОЗИТОР, ДИРИГЕНТ, ПИЈАНИСТА... Београд: Камерни оркестар „Симфонијета”, 2023. ISBN 978-86-901126-3-0

Stani – kilka słów o internetowych fandomach muzycznych

Author(s): Maria Rutkowska / Language(s): Polish Issue: 3/2024

With the expansion of the New Media, fan communities have become widespread. Nowadays, being a music fan is a commonly used colloquialism. As a result – for over a decade now – we can observe a discursive change within the music fan communities: the emergence of the concept of a “stan”. In this article, the author traces this discursive change and reflects on why music fans needed it to emerge. For this purpose, she presents affective and consumer engagement of “stans”, which may constitute a distinctive characteristic distinguishing – characteristic distinguishing “stans” and fans.

Nowa perspektywa. Leksykograficzne badania nad afektem w operze przełomu XVIII i XIX w.

Author(s): Kamil Falentin / Language(s): Polish Issue: 3/2024

Културните събития в София – значимост и възможности за развитие

Author(s): Lyubomir Krastev / Language(s): Bulgarian Issue: 1/2024

The events sector, as part of the tourism industry, is dynamic and has enjoyed wide popularity in recent years, as we live in the so-called experience economy. It enables not only the generation of income from tourism, but also creates prerequisites for the promotion and protection of tangible and intangible cultural heritage sites. Cultural industries also occupy a serious place in the life of the city of Sofia, which hosts a number of events related to cinema, music, art, theatre, and others. Since cultural tourism is wide-ranging, the basic research task of this report is to attempt to analyse the state and offer of cultural events on the territory of the capital and to highlight opportunities for the creation of new ones and the sustainable development of existing ones.

„I zawsze w sercu obraz twój nosić będę…” – kobiety w pieśniach Mordechaja Gebirtiga

Author(s): Anna Jeziorkowska-Polakowska / Language(s): Polish Issue: 1/2011

Mordechaj Gebirtig (1877-1942), robotnik, stolarz, kupiec, poeta, aktor. Ze względu na niewielką ilość faktów biograficznych z jego życia, jego twórczość stała się jedynym źródłem informacji o latach życia poety. Debiutował w 1905 roku w krakowskim czasopiśmie „Socjaldemokrat”, piętnaście lat później ukazał się jego pierwszy tomik poezji Folkstimlech (Melodia ludowa), składający się z dwudziestu wierszy. Wydany w 1936 roku zbiór Majne lider (Moje pieśni) zawierał pięćdziesiąt cztery teksty piosenek wraz z melodiami (lata 1920‑1936). Analiza dorobku Gebirtiga, poza ujawnieniem jego biograficznych tajemnic, pozwala na stworzenie typowego portretu żydowskiej kobiety – od narodzin do śmierci. W twórczości poety zdaje się odbijać każdy etap: dzieciństwo, młodość, małżeństwo, macierzyństwo i starość. Powyższy cytat z ballad Mordechaja Gebirtiga ilustruje kobiety w różnych scenach. Wyłaniający się obraz wydaje się nie być jednorodny i klarowny, w dużej mierze determinują go ograniczenia wspólnotowe, z jakimi zetknęły się wszystkie te kobiety. Po prostu odgrywają role, które im przydzielono. Córki mogą być albo posłuszne, albo zbuntowane, żony – pokorne, niezadowolone, wymagające, panny są wspaniałe, piękne, kochające, przywołujące wspomnienia miłosne, czasem nawet upadłe… Takie jest życie. Można powiedzieć, że nie ma w tym nic nowatorskiego – zwyczajność i rzeczywistość. Ale w tym pozornie zwyczajnym i realistycznym portrecie jest cecha wyjątkowa i osobliwa: wyidealizowana wizja matki. Prawdziwe sanktuarium tradycji żydowskiej, chroniące rodzinę, wiarę i wszystkie najcenniejsze cnoty.

RECLAIMING JOY BY SINGING ABOUT SADNESS: EXPLORING FEMINISM, FRIENDSHIP, AND RELIGION IN THE MUSIC OF BOYGENIUS

Author(s): Mihaela Frunza / Language(s): English Issue: 69/2024

This philosophical text explores the profound thematic and emotional depths of boygenius' music, composed of Lucy Dacus, Julien Baker, and Phoebe Bridgers. Through an analysis of joy, inspiration, feminism, friendship, and religion in their songs, the text unveils a tapestry of intellectual depth and emotional honesty that resonates deeply with their audience. Highlighting the band's unique blend of joy and melancholy, the analysis reveals how their music turns personal suffering into collective catharsis, offering listeners a transformative experience. The ethereal qualities of their compositions, enriched by diverse inspirations, feminist perspectives, and intimate bonds, create a profound connection with fans, illustrating the enduring power of friendship and teamwork in their collaborative spirit. Ultimately, boy-genius emerges not only as a musical force but as a philosophical touchstone, inviting listeners to explore the complexities of human emotion and societal reflection through their evocative melodies and lyrical narratives.

Muzica corală bulgară ca mediu de comunicare interculturală şi formare a atitudinilor muzical-estetice

Author(s): Tatiana Jeleapova / Language(s): Romanian Issue: 1/2024

Music can be used as a means of intercultural communication,since the art of music is a manifestation of the ideas of a society, an expression of its experience and unites the cultures of other peoples, requiring knowledge of those characteristic cultural elements that can be used by the ability to be part of the musical interpretive and creative process. It is important to teach school children and students respectf or other cultures in a multinational environment, which affects the aesthetic values of students. The article highlights the issues of the formation of musical and aesthetic relations through Bulgarian choral music. Today, at the school level, there is a process of introducing the ethnocultural component, which is crucial for the assimilation, preservation and development of the Bulgarian heritage and strengthening interethnic communication. The ethnocultural heritageof the people consists of the following structural components: material culture, symbols and holidays, traditionsand customs, theatre, art, rituals, ceremonies, language andfolklore, including musical culture and choreography. Ethnocultural education as an integral educational process oftransferring traditions, social norms, and cultural values ofthe people to the youth is an integral part of the processof personality formation, affecting its social, moral, mental and physical development. Conclusions are drawn about its increasing role in the regulation of intercultural relations inthe Republic of Moldova.

Neuropedagogy as an Aspect of Developing Spiritual Culture in the Context of Vocal Musiс

Author(s): Oksana Gorozhankina,Mykola Nesprava,Viktor LUTSENKO,Wang ZHEQING,Viktoriia MYKHAILETS,Halyna Shpak / Language(s): English Issue: 3/2024

Music education significantly influences personality development and considers self-expression, self-realization and self-actualization as critical sociocultural and pedagogical tasks. This article aims to explore theoretical and practical aspects of vocal art’s influence on nurturing one’s spiritual culture within educational activities, viewed through the prism of neuropedagogy. It addresses challenges in applying psycho-pedagogical techniques of neuropedagogy in vocal education for competency development. The main focus of the study lies in the methodological underpinnings of neuropedagogy and its impact on overall personal development. Various methods, including explanatory and descriptive ones, analysis and deduction, were used to determine the purpose of the article. The findings are not comprehensive. However, they provide a foundation for asserting that the need for social grouping leads to tensions where the pursuit of the common good for a specific social group may conflict with the concept of individual well-being. This dynamic is particularly relevant in the context of neuropedagogy. The article concludes that understanding the role of vocal music education is crucial for personality development as it is related to neuropedagogy.

МУЗИКАЛНОПЕДАГОГИЧЕСКИТЕ ВЪЗГЛЕДИ НА ДИМО БОЙЧЕВ ПРЕАМБЮЛ НА СЪВРЕМЕННИТЕ МУЗИКАЛНООБРАЗОВАТЕЛНИ СТРАТЕГИИ В БЪЛГАРИЯ

Author(s): Diana Petkova / Language(s): Bulgarian Issue: 5/2024

Music as a subject area and object of pedagogical interaction provokes debates, which prove an aspiration to build a complete system of music education. At the end of the 19th century until the middle of the 20th century series of articles, collections of songs, methodological developments and models for teaching music in various educational levels are published. There are public debates about music curricula, the development of music education activities, resource provision and the pedagogical competence of music teachers. Born in 1878 Dimo Boychev is one of the bright figures in the society of musicians. Having worked as a music teacher, he created the first Children's Flower in Plovdiv in 1902. The aim of the present work is the projection of Boychev's musical pedagogical views to the current SES (state educational standards) for the educational major "Music". The conceptual model for music education activity, described in his book "Singing in primary schools and folk schools. Methodical Notes“, published in 1922. The proposed system emphasizes the vocal activity at school as a synergistic component of the phonological and musical lexicon, a mechanism is presented for a smooth transition from listening imitative reproduction to the formation of reading technique through musical literacy, the role of the school song as an educational tool is highlighted and the its artistic parameters. Musical realization is integrated into various forms of collective music initiatives: choirs, orchestras and what Boychev defined as musical societies Children's Flowers. The research methodology includes a comparative analysis of methodological notes and the transfer of music education paradigms from the beginning of the 20th century to the modern cognitive environment. The validation of the main components of the competence approach: knowledge, skill and attitude structurize a holistic educational environment adaptable to different historical eras.

The mythical and technomagic aquatic metaphors of digital aesthetics as a semiotic empowerment of the female, oneiric, and translucent imaginary in the techno-art

Author(s): Paulo da Silva Quadros / Language(s): English Issue: 1/2025

This essay aims to reflect critically on how the technomagic concept, elucidated by the French philosopher Michel Maffesoli, proposes itself as a new way of understanding the contemporary aesthetics of the digital based on the immersive visual effects of liquid, dreamlike, and ethereal poetic sounds and visualities present in several examples of artistic contemporary productions. ​ This philosophical and aesthetic perspective, brought about by technomagic evocates liquid and aquatic metaphors of digital artistic creations, as well as a way of understanding social human relationships in the digital sphere in an optimistic context of re-enchantment for human existence. ​ For him, it was a process of feminization of the world, evocating mythical metaphors of cultural imaginaries and symbolics. ​ Methodologically, this work intends to contemplate cultural semiotics as an enlightening approach by understanding digital culture as technological mediation for analyzing digital language which reflects the paths of technomagic in the expressions of technological art characteristics of digital media.This essay aims to reflect critically on how the technomagic concept, elucidated by the French philosopher Michel Maffesoli, proposes itself as a new way of understanding the contemporary aesthetics of the digital based on the immersive visual effects of liquid, dreamlike, and ethereal poetic sounds and visualities present in several examples of artistic contemporary productions. This philosophical and aesthetic perspective, brought about by technomagic evocates liquid and aquatic metaphors of digital artistic creations, as well as a way of understanding social human relationships in the digital sphere in an optimistic context of re-enchantment for human existence. For him, it was a process of feminization of the world, evocating mythical metaphors of cultural imaginaries and symbolics. Methodologically, this work intends to contemplate cultural semiotics as an enlightening approach by understanding digital culture as technological mediation for analyzing digital language which reflects the paths of technomagic in the expressions of technological art characteristics of digital media.This essay aims to reflect critically on how the technomagic concept, elucidated by the French philosopher Michel Maffesoli, proposes itself as a new way of understanding the contemporary aesthetics of the digital based on the immersive visual effects of liquid, dreamlike, and ethereal poetic sounds and visualities present in several examples of artistic contemporary productions. This philosophical and aesthetic perspective, brought about by technomagic evocates liquid and aquatic metaphors of digital artistic creations, as well as a way of understanding social human relationships in the digital sphere in an optimistic context of re-enchantment for human existence. For him, it was a process of feminization of the world, evocating mythical metaphors of cultural imaginaries and symbolics. Methodologically, this work intends to contemplate cultural semiotics as an enlightening approach by understanding digital culture as technological mediation for analyzing digital language which reflects the paths of technomagic in the expressions of technological art characteristics of digital media.

Music and Change in the Eastern Baltics before and after 1989

Author(s): Liutauras Kraniauskas / Language(s): English Issue: 4/2024

Review of: Music and Change in the Eastern Baltics before and after 1989. Hrsg. von Rūta Stanevičiūtė und Małgorzata Janicka - Słysz. (Studies in the History and Sociology of Music.) Academic Studies Press. Boston 2022. VI, 355 S. ISBN 978-1-64469-894-5. ($ 149,–.).

Destrukcija kao stimulans za nove oblike kreativnosti: Umjetnost i kultura u vrijeme opsade Sarajeva

Author(s): Asja Mandić / Language(s): Bosnian Issue: 1/2023

Through insight into the cultural events that marked the period of the siege of Sarajevo (1992-1995), which were a phenomenon not only because of the number of events held and the unprecedented attendance, but also due to their improvised creativity and innovation, the question arises as to how the city continued to live, not only in the face of the negation of everything that made it urban, but also in maintaining civilizational values. The art events enabled its citizens an escape from the everyday life of the siege, but also created places where social space was produced, places that revived the notion of the city as a place of meeting, social interaction and communication. Their emancipatory character in social, even political aspect, is being observed through the Foucault’s concept of “other places” or heterotopias, as well as through the creation of micro communities that played a significant part in revitalization of social body as well as humanizing the reality of war.

The National Folklore Festival of Gjirokastër: An Analysis of its Audiovisual Representation

Author(s): Mikaela Minga / Language(s): English Issue: 24/2024

The Gjirokastra National Folklore Festival has been the most important showcase for staged performances of traditional expressive culture during the Communist regime. It was held every five years in Gjirokastër from 1968. More than 1500 people participated, and almost all Albanian institutions - on local and central levels – were involved in the organization. Alongside, an entire machinery of media coverage was involved, from sound and audiovisual recordings for scholarly purposes to TV broadcasting and the production of documentaries and feature films. My focus is the documentaries produced for each of the five editions, now found in the Albanian Film Archive. Through these films, we engage with the Festival as an event per se and not just as a scene for staged traditional expressive culture. This can shed light on different aspects of audiovisual representation, that is, how it has been captured, shaped, and represented as a cinematic experience. This is not supposed to be just a film analysis but a way of simultaneously engaging and interpreting what we see and hear, through a conjunction between film studies, ethnomusicology and anthropology.

Nirha Efendić, Sevdalinka – od prve vijesti do savremenih pjevača

Author(s): Tamara Karača Beljak / Language(s): Bosnian Issue: 51/2022

Review of: Nirha Efendić, Sevdalinka – od prve vijesti do savremenih pjevača, Sarajevo: Zemaljski muzej Bosne i Hercegovine, 2022. 93 str.

Uticaj makamske muzičke kulture na modernu sevdalinku: primjer makama hidžaz

Author(s): Damir Imamović / Language(s): Bosnian Issue: 2/2024

Sevdalinka, an urban love song of Bosnia and Herzegovina, has sprung from a local oral melopoetic tradition that had been under the strong influence of Ottoman musical culture over several centuries. As part of the modernization of musical traditions in the 19th and 20th centuries, professional performers of Sevdalinka gradually adopted a modern twelve-tone system by using tempered instruments such as the accordion. That process resulted in what we today might call “modern Sevdalinka”. The main thesis of this article is that certain elements inherited from oral musical practices not only survived this change but were also preferred in the modern transformation of the repertoire. Particularly prominent among them were influences from the Ottoman musical culture that can still be recognized in the melodic idioms of Sevdalinka today. One among them, “makam hijaz”, can be seen as representative of this whole process and is recognized even in authorship within modern Sevdalinka.

What Can We Find by Comparing Archives and Oral Sources: The Case Study of the Chinese “Epic of Darkness” and Shijing Chanting

Author(s): Patrick Huang / Language(s): English Issue: 2/2024

The traditional methodology of archival research has faced challenges posed by the emergence of “New Musicology” since the 1990s. The application of new research methods has prompted the exploration of fresh inquiries: What is the contemporary significance of archival methods for scholars? What strengths and weaknesses does this methodology present for music historians? Furthermore, how has archival research been effectively combined with other methodologies in recent music scholarship? This essay aims to address these questions by delving into two examples within the realm of traditional Chinese music: the unearthing of the Epic of Darkness and the exploration of the oral tradition of Shijing chanting recorded in Fang county. Through these cases, I endeavour to shed light on oral-textual studies in the present-day landscape of music scholarship.

Maja Vasiljević: Jevrejski muzičari u Beogradu: od Balfurove deklaracije do Holokausta

Author(s): Fatima Hadžić / Language(s): Bosnian Issue: 2/2024

Review of: Maja Vasiljević: Jevrejski muzičari u Beogradu: od Balfurove deklaracije do Holokausta, HERAedu, Muzikološki institut SANU, Beograd, 2021, str. 323, ISBN 978-86-7956- 181-7 (The Jewish Musicians in Belgrade: From the Balfour Declaration to Holocaust, HERAedu, Institute for Musicology SASA, Belgrade, 2023, ISBN 978-86- 7956-198-5).