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The Contribution of Wrocław-Based Composers to Silesian and National Musical Culture in Poland after 1945

Author(s): Anna Granat-Janki / Language(s): English Issue: 2/2020

When attempting to discuss and appraise the contribution of Wrocław-based composers to the Silesian and national musical culture in Poland, one should remember that the Wrocław music milieu came into existence only after the Second World War, and it developed from scratch, with no Polish roots it could refer to. However, in spite of difficult conditions in which it emerged, the milieu of Wrocław-based composers has always been open to new trends and movements. The article presents the achievements of the composers during different periods in the post-war Polish music history of the 20th and 21st centuries in the context of political and cultural changes, which provide a reference frame for the critical discourse. The aim is to determine characteristic features of the music of Wrocław-based composers and assess the significance of their cultural achievements from a local and national perspective.

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Michaela Žáčková Rossi: The Musicians at the Court of Rudolf II. The Musical Entourage of Rudolf II (1576 – 1612). Reconstructed from the Imperial Accounting Ledgers

Author(s): Hana Studeničová / Language(s): Czech Issue: 2/2020

Review of: Michaela Žáčková Rossi: The Musicians at the Court of Rudolf II. The Musical Entourage of Rudolf II (1576 – 1612). Reconstructed from the Imperial Accounting Ledgers, Praha : Koniasch Latin Press, 2017, 209 s. ISBN 978-80-87773-03-1.

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Neznámy fragment Graduálu sine sign. z 13. storočia zo Štátneho archívu v Bratislave

Author(s): Eva Veselovská,Rastislav Lutz / Language(s): Slovak Issue: 2/2019

In Slovak archival holdings there are currently a great many medieval liturgical fragments with notation, dating from the late 11th to the early 16th century. The majority of them served as reinforcing material (top cover, alternatively front or back boards) in administrative books, later manuscripts, or prints. These precious medieval musical sources are found in this secondary function to this day, often without their own deposit signatures. Among the old musical sources deposited in Slovak archival, museal and library holdings, there are fragments of codices with Neume notation. These were imported to our territory from German, Austrian and Bohemian-Moravian Benedictine scriptoria. Among the unique examples of these very old musical monuments is the bifolio fragment of the Gradual sine sign. from the State Archives in Bratislava with German adiastematic Neume notation.

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Eduard Lazorík: Stredoveké rukopisné fragmenty na tlačiach 16. storočia z fondu františkánskych knižníc Slovenskej národnej knižnice

Author(s): Eva Veselovská / Language(s): Slovak Issue: 2/2019

Eduard Lazorík: Stredoveké rukopisné fragmenty na tlačiach 16. storočia z fondu františkánskych knižníc Slovenskej národnej knižniceCatalogus fragmentorum. Tomus I. Martin : Slovenská národná knižnica, Odbor správa a spracovania HKD a HKF, 2019, 277 s. ISBN 9-788081-494416

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Marta Toncrová – Silva Smutná (ed.): Lidové písně z Podhorácka II. Třebíčsko, Hrotovicko, Moravskobudějovicko a Jemnicko

Author(s): Miriam Timková / Language(s): Slovak Issue: 1/2017

Marta Toncrová – Silva Smutná (eds.): Lidové písně z Podhorácka II. Třebíčsko, Hrotovicko, Moravskobudějovicko a JemnickoTřebíč; Brno : Muzeum Vysočiny Třebíč; Etnologický ústav Akademie věd České republiky, v. v. i., Praha – pracoviště Brno, 2013, 512 strán. ISBN 978-80-86894-25-6

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Grzegorz Joachimiak: Lutnia w klasztorze. Fenomen dworskiego instrumentu w kulturze Śląska XVII i XVIII wieku (= Musicologica Wratislaviensia 14)

Author(s): Janka Petőczová / Language(s): Slovak Issue: 1/2022

Review of: Grzegorz Joachimiak: Lutnia w klasztorze. Fenomen dworskiego instrumentu w kulturze Śląska XVII i XVIII wieku (= Musicologica Wratislaviensia 14). Wroclaw : Wydawnictwo Uniwersytetu Wrocławskiego, 2020, 349 s. ISBN: 978-83-229-3750-1

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Dobroslav Orel a počiatky výskumu stredovekej hudby na Slovensku

Author(s): Eva Veselovská / Language(s): Slovak Issue: 2/2022

The essential aim of this paper is to conduct a brief exploration of Prof. Dobroslav Orel’ssystem of musicological work, in connection with researching medieval musical culture fromthe territory of Slovakia. Slovak musicology, its foundations, goals, and methods of treatmentof sources, are closely connected with this outstanding figure in Czechoslovak musicalculture. The consideration of Orel’s activity in Slovakia includes an analysis of research,treatment and publication of our oldest music sources.

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Michal Hottmar: Lutnová hudba na území dnešného Slovenska v 16. – 18. storočí

Author(s): Renata Kočišová / Language(s): Slovak Issue: 2/2022

Michal Hottmar: Lutnová hudba na území dnešného Slovenska v 16. – 18. storočí. Bratislava : STIMUL, 2018, 200 s. ISBN 978-80-8127-262-2

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Masculinity (Re-)Formulation and Nation (Re-)Branding: Takarazuka Revue’s Cooperation with Dove Attia

Author(s): Maria Grajdian / Language(s): English Issue: 2/2022

This paper focuses on the five performances resulted from the cooperation between the French-Tunisian composer and producer Dove Attia and the Japanese all-female popular musical theater company Takarazuka Revue. Based on in-depth ethnographic research and extensive literature review, the phenomenological interpretation aims at highlighting the intricate relationship between the construction of masculinity by means of on-stage representation and off-stage advertising and a progressive sense of national identity in tune with late-modern global tendencies.

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A magyar reformátori istentisztelet kontúrjai Huszár Gál rubrikáiban (1560/61)

Author(s): Dezső Karasszon / Language(s): Hungarian Issue: 6/2022

Gallus Huszár’s Debrecen church hymnal (1560/61) is a rich source for 16th century Hungarian Reformed service singing, uniquely distinguished by its musically notated melodies. The current study investigates its so-called rubrics, short (or sometimes longer) liturgical annotations, which, on the one hand, outline the course of the church services of his era, and, on the other hand, provide a glimpse into the contents of the individual liturgical moments, both on a theological and an emotional (or poetical) level. They allow us to distinguish the genres of hymns used within the worship services (chief services, canonic hours, para-liturgical occasions). The current article would like to contribute to the renewal of today’s Reformed worship that is long overdue, and which ought to follow the spirit of the Reformation. One will find here the most important pieces of information, as well as the inspirational bases for such a reform.

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Kulturelles im Tirnauer Wochenblatt

Author(s): Georg Schuppener / Language(s): German Issue: 4/2024

The article deals with the role of cultural reporting in the Tirnauer Wochenblatt weekly, which was first published in German and later in Hungarian (as Nagyszombati Hetilap) in the Slovak town of Trnava between 1869 and 1918. For this purpose, the article analyses its 13th volume published in 1881 as an example. In analysing the content, four thematic areas of focus in the cultural coverage can be identified: theatre, music, literature, and other aspects of cultural life. The newspaper lacked a separate section devoted to culture and a closer examination of the German-language section of the newspaper reveals that the relevant texts largely focused on the local area. The high importance of theatrical performances is evident from the frequent reports. The same applies to musical events. Literature – apart from the publication of serialised novels in the Illustriertes Sonntagsblatt supplement – receives little attention. Superregional themes only appear in the case of special events or events somehow connected with the region. The newspaper provides a lot of information on the important role of the associations in the cultural life of the city.

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Nápevy žalmu invitatória v Bratislavskom antifonári I

Author(s): Sylvia Urdová / Language(s): Slovak Issue: 2/2024

Fifteenth-century Bratislava Antiphonary I in the library of the Bratislava Chapter is anexceedingly important source for research into the genre of invitatories in the context ofcompletely preserved medieval notated codices in Slovakia. The invitatory psalmodyit contains has not yet been comprehensively discussed in musicological writings. Theantiphonary contains nine invitatory psalm tunes in Messine-Gothic notation on folios208v to 221v. This study contains the results of their research, which focused on their modalclassification and analysis but also paid attention to their occurrence and references in thecontext of other relevant European sources of Offices.

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Възникване и развитие на валдхорновото изкуство. Интеркултурният професионален диалог между различните национални традиции и влиянието на Българската изпълнителска школа в Бразилия

Author(s): Asen Angelov / Language(s): Bulgarian Issue: 1/2018

Origin and historical development of the instrument. Technical improvement of the French horn. Corno da caccia (hunting horn). Birth of the Bohemian School. The presence of the French horn in baroque and classical music - composers and works. Creation of modern horn and reflection on instrumental repertoire. A look at the works and composers of Romanticism, modern and contemporary music. 178 Formation of the Bulgarian French horn School - traditions, guidelines, the most prominent representatives. A brief historical overview of the traditions of performing and teaching horn in Brazil. Influence of the Bulgarian horn School on the Brazilian tradition. The intercultural process of interaction between the Bulgarian and Brazilian horn schools

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Празникът на Празниците ”песнопения от пловдивската синагога „Цион”

Author(s): Zoya Mikova / Language(s): Bulgarian Issue: 1/2013

Every Friday, solemn chants are sung in the synagogue. They are easy to memorize and can be performed by everyone present. My first participation in the service provoked many questions: What is the holiday? Should we, when analyzing the musical material that accompanies it, proceed from our knowledge of folklore patterns and look for signs of oral culture in it? Is it appropriate to use the criteria that we apply when working with Bulgarian folk songs for these chants? This material is part of a larger work, for this reason I present here the order of the service and the musical text of the chants that accompany it.

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1944 NUANCES DE GÉOPOLITIQUE SUR LA SCÈNE DE L'EUROVISION. L’UKRAINE TRIOMPHE, LA RUSSIE DÉCHANTE

Author(s): Laurent Léothier / Language(s): French Issue: 6/2016

When strangers are coming. They come to your house, they kill you all and say we're not guilty. Qui penserait que ces quelques mots sont issus des paroles de la chanson ukrainienne ayant remporté l'édition 2016 du Concours Eurovision et non extraits d'un discours politique populiste ? En effet, le 16 mai, à l'issue de quatre heures d'émission en direct de Stockholm, la chanteuse Jamala, d'origine tatare de Crimée, portant les couleurs de l'Ukraine, remporta le grand prix européen avec un score à ce jour inégalé.

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RÉUNION DU CONTINENT EUROPÉEN SUR LA SCÈNE MUSICALE DE L’EUROVISION 2023

Author(s): Laurent Léothier / Language(s): French Issue: 32/2023

The author highlights the political nature of the Eurovision music contest, which brings together 37 mainly European countries. The 2023 edition, coming one year after the invasion of Ukraine and Ukraine’s contested victory in the contest, seems to be a springboard for the dissemination of Ukrainian identity. The outcome of the contest seems to have left no doubt. A contest with a democratic and consensual air but still taking on a political nature that is increasingly contested by certain European countries.

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EUROVISION 2017 : PAILLETTES SUR SCÈNE ET GUERRE EN COULISSES

Author(s): Laurent Léothier / Language(s): French Issue: 9-10/2017

Tout le monde l’annonçait, l’Eurovision 2017 qui se tenait à Kiev serait le théâtre d’un affrontement terrible entre la Russie et l’Ukraine. Or il n’en a rien été ! Ou du moins, c’est ce que l’on a pu penser en regardant le show derrière son écran de télévision. Toutefois, si sur scène l’ambiance était plutôt aux réjouissances, les mois qui ont précédé le concours ont été chargés en tensions géopolitiques.

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Lubomír „Čaroděj“ Drožď. Příběh představitele roszakovské kontrakultury

Author(s): Mirek Vodrážka / Language(s): Czech Issue: 04/2024

Lubomír "Čaroděj" Drožď, a significant figure in the Czechoslovak underground, was deeply influenced by Western subcultures and the political climate post-1968. His life was marked by a blend of artistic endeavors, pseudonymous writings, and resistance against the communist regime. Drožď's work spanned various mediums, including visual arts, music, and samizdat publications, reflecting his commitment to countercultural ideals. Despite facing numerous challenges, including police scrutiny and societal ostracism, he remained a pivotal figure in promoting alternative cultural expressions. His legacy includes a rich tapestry of underground activities, from organizing happenings to producing samizdat literature, all while navigating the complexities of a repressive political environment. Drožď's story is a testament to the resilience and creativity of the underground movement in Czechoslovakia.

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Естетическата нагласа на Мориц Гайгер и нейните музикално-феноменологически измерения

Author(s): Hari Rangelov / Language(s): Bulgarian Issue: 2/2025

This article examines the main concept in Moritz Geiger’s aesthetics – the aesthetic attitude – which, as an extension of the phenomenological concept attitude, describes the art-oriented (art-attuned) self. The very concept of attitude always refers to the intimate turning towards (orientation) either the world or art. At the same time, however, there exists another third attitude, which is capable of describing the intimacy of both the aesthetic and the world attitude, and which is inferred as a logical necessity without any evidence of what precisely this third attitude is. This indicates the existence of methodological ambiguity in contemporary music philosophy and musicology. The possibility of elucidating it – by revealing the musical-phenomenological dimensions of Geiger's aesthetics – is one of the conceptual horizons of this article, while the relations between the three attitudes are part of the conditions in which its theme unfolds. In order to clarify the aesthetic attitude, Geiger introduces additional concepts, namely outer concentration and value perception. Geiger analyses their modus operandi phenomenologically, and this makes it possible to reveal the musical-phenomenological dimensions of the aesthetic attitude, which directly links it to themes and ideas in musical-philosophical literature. Musical-philosophical concepts such as musical nomos, transcendental musical synthesis, and the faculty of co-being enable Geiger's ideas to be developed and placed into a concrete musical-philosophical perspective that sees the relationship between the self and music as fundamental and autonomous.

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Първото общобългарско състезание за майстори на естрадното изкуство и ролята му за дефинирането на популярната култура на социализма

Author(s): Anton Anguelov / Language(s): Bulgarian Issue: 3/2024

The First All-Bulgarian Competition for Masters of Estrada Art in 1954 was an initiative of the Committee for science, art and culture, which has its кey role for defining and importing the Soviet concept of the estrada art in Bulgaria in terms of aesthetics, functions and organization. This concept would be reproduced in the following more than three decades and would set the frames of the state-supported official popular culture. Through quoting and analyzing the preserved archival documents related to the preparation and holding of the event, I offer my conclusions about the nature of this event and the art of estrada – a composite scenic art, combining spoken word, music, singing, dancing, acrobatics, circus acts – all together building up a unitary performance. The discussions within the jury in the course of the competition make clear the specifics of this art and its differences to the classical academic genres. After the competition, the estrada art became a centralized technology for covering remote audiences by a centrally approved cultural content between entertainment, satire and propaganda.

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