Относно концепта за чешки национален танц: защо и за кого?

Author(s): Daniela Stavělová / Language(s): Bulgarian Issue: 4/2015

Dance like obkročák, polka, and sousedská have become so familiar by now that there is no doubt about them being folk, national Czech dances; they have made their way as Czech dances into the works of prominent Czech composers such as Bedřich Smetana, Antonín Dvořák or Bohuslav Martinů. The research is mostly interested in what helped the dances gain the status of Czech folk ones as well as national dances, when, for whom and why they worked as symbols of Czech citizenship and in what way the concept of ‚national dance‘ developed.

От ритуалните жертви към ръченицата в минижупи (Импресии от България)

Author(s): Lubomír Tyllner / Language(s): Bulgarian Issue: 4/2015

За предизвикателствата в науката: Ружа Нейкова на 60 години

Author(s): Veselka Toncheva / Language(s): Bulgarian Issue: 4/2015

Наталия Рашкова на 60 години: от музикалната фолклористика към музикалната антропология

Author(s): Evgenia Grancharova,Veselka Toncheva / Language(s): Bulgarian Issue: 4/2015

Васил Стефанов, Виолета Дечева, Кристина Тошева, Ромео Попилиев. 100 години Народен театър "Иван Вазов"

Author(s): Svetlana Baychinska / Language(s): Bulgarian Issue: 2/2005

Никола Вандов, Антония Каракостова, Асен Константинов. "Народен театър "Иван Вазов". Летопис януари 1904-юли 2004"

Author(s): Elena Vladova / Language(s): Bulgarian Issue: 2/2005

Камелия Николова. Модерната европейска драма в Народния театър между двете световни войни

Author(s): Nikolay Yordanov / Language(s): Bulgarian Issue: 2/2005

Йоана Спасова-Дикова. За две актьорски съзвездия

Author(s): Svetla Beneva / Language(s): Bulgarian Issue: 2/2005

Искра Цанкова, Кристина Тошева, Иван Драгошинов. Хрисан Цанков. Наследство

Author(s): Violeta Decheva / Language(s): Bulgarian Issue: 2/2005

Ромео Попилиев. Театралната критика на две критични десетилетия

Author(s): Kamelia Nikolova / Language(s): Bulgarian Issue: 2/2005

Николай Йорданов. Театрите в България между двете световни войни

Author(s): Romeo Popiliev / Language(s): Bulgarian Issue: 2/2005

Аглика Стефанова. Жанрови полета в българската драматургия на 90-те

Author(s): Joanna Spassova-Dikova / Language(s): Bulgarian Issue: 2/2005

Бели пътища, черна музика

Author(s): Lozanka Peicheva,Ventcislav Dimov / Language(s): Bulgarian Issue: 3/2003

Типове художествени фестивали и артистично многообразие

Author(s): Lyubomir Kutin / Language(s): Bulgarian Issue: 2/2015

Art festivals, particularly in recent years, have participated increasingly actively in the exchange of cultural values in artistic life. An adequate evaluation of their role for the contemporary society requires a more precise definition of their specifics, potential, benefits, and possible adverse consequences. The paper analyses the attempts at classifications of the arts and types of festivals. Using the provided data, a model of a typology of art festivals is proposed. The model takes into account both the achievements of the theoretical apprehension of the arts, and the specifics of the festival practices, which draw energy from various systems of social life.

Документалност и развлечение

Author(s): Mihail Meltev / Language(s): Bulgarian Issue: 2/2015

Documentarism is a dominant gene in TV nature. The ‘participation effect‘ on the scene has been part of the immanent specifics of the e-media ever since their advent. It is believed to protect major civil liberties because of ensuring publicity to the processes going in the society and allowing for investigative journalism and media control. The development of technologies and media markets during last decades, however, established the phenomenon of the ‘reality format’, which, in its essence, is a transformation of documentarism into a popular entertainment, replacing its civil significance. This transformation is subject to an overview and analysis in this article.

IDENTITÄT UND DIVERSITÄT EINE AUSEINANDERSETZUNG MIT KONZEPTIONELLEN BEGRIFFEN DER INTERKULTURELLEN MUSIKPÄDAGOGIK

Author(s): DOROTHEE BARTH / Language(s): German Issue: 2/2013

The concept of diversity entails the development of strategies that capitalize on the diverse cultural potential of the members of a heterogeneous group and explores that potential in a constructive way. In principle, this might be a good idea but it runs the risk of binding cultural potentials within so-called multicultural (learners) groups (of pupils) to their origins/descents, thus strengthening positive racism. In contrast, the new concept of identity operates in terms of a plural or fragmented self, or a patchwork biography, in which the individual is no longer bound by the predetermined factors of one’s identity, such as gender, place of residence, profession of parents or origin/descent. Rather, one has to solve the task of constructing one’s identity over and over again throughout one’s whole life, balancing and integrating different senses of cultural belonging. This article presents both concepts referring to multicultural learners/learning groups. It also discusses whether the theoretical base of diversity and identity rule themselves out in the end or whether there are common assumptions, which reflects the precepts of intercultural music education

MŁODZIEŻOWA KULTURA HIP-HOP JAKO TEKST WIELOKULTUROWY

Author(s): Krzysztof Sawicki / Language(s): Polish Issue: 2/2013

This article analyzes hiphop as a multicultural manifestation of the youth culture. Theyouth culture is understood as the content offered for the young generation by the popularculture. It is perceived as the result of complex processes that start with local youth groups,cultural innovations and various rituals. The author describes the beginning of hiphop culture in the urban ethnic dimension and goes on to analyze its core manifestations such as rap, graffiti, and break dance. The author traces ways in which rap, graffiti and break dance were created, interpreted, and assimilated according to the needs of multicultural exemplification of youth’s local identities. This article also indicates the possibility of using elements of hiphop youth culture in the prevention projects realized in multicultural environments.

CYGAŃSCY MUZYCY W EUROPIE – SZKIC HISTORYCZNY

Author(s): Anna G. Piotrowska / Language(s): Polish Issue: 2/2013

The article begins by explaining the origins of Gypsies with an emphasis on the linguisticand anthropological theories tracing Indian decadency of Gypsies. Drawing from historicaldocuments as well as poetry and other sources, the authors presents the associationof Gypsies with music. The aritcle offers an explanation why Gypsies were often engagedin music making for money and linked with medieval travelling troupes performing entertainment shows. The article also highlights the origins of stereotypes associated with Gypsies. The author pays special attention to the forming of the image of a Hungarian Gypsy claiming that the widely spread vision of a Gypsy musician is stereotypically associated with Gypsy musicians from Habsburg Monarchy, playing in so-called Zigeunerkapellen. In addition, the musical traditions of Spanish Gypsies are presented, since the author believes that the Gypsy-musician stereotype is closely linked with the fate of Gypsies in Europe.

THE PASSACAGLIA – A PRIMER FOR TEACHING BAROQUE IMPROVISATION

Author(s): Dariusz Terefenko / Language(s): English Issue: 2/2013

During the lifetime of Bach such disciplines as harmony and thoroughbass were realized directly at the keyboard by the student, providing a solid foundation for later and more elaborate improvisatory skills – skills which were mandatory for all clavier players of that period. Unfortunately, the great majority of today’s Baroque counterpoint classes rely on the more academic process of committing notes to paper, thereby subjugating aural and performance skills. In this article, I propose amending music theory curricula with topics in baroque improvisation. To that end I will employ one of the most accessible variation forms from common practice music: the passacaglia.

MIĘDZYKULTUROWE INSPIRACJE W TWÓRCZOŚCI AUGUSTYNA BLOCHA

Author(s): Joanna Schiller-Rydzewska / Language(s): Polish Issue: 3/2014

In Bloch’s works, the world of different meanings, ideas, and nonmusical contexts is ofparamount importance. The composer often uses words as a medium intimately entwinedwith music. The reason for such an artistic declaration is the array of different events in Bloch’s life: his interest in the organ influenced by his father, his adventures with illustrative music, and the relationship with his wife – the excellent Polish singer – Halina Łukołomska. All these elements are the reason why Bloch’s works are inspired by poeticaltext, images, associations, and aesthetic sensations. Multicultural aspects in Bloch’s works stem from his contacts with German artists and patrons. These collaborations resulted in many outstanding works written for German artists. Some of his works were inspired by Bloch’s friendship with German painter Ingeborg zu Schleswig-Holstein (Denn Dein Licht Kommt/ Albowiem nadejdzie światłość Twoja; Du sollst nicht töten/ Nie zabijaj!; Empor/ Wzwyż).Three of Bloch’s works: Wordsworth Songs, Die Verscheuchte, Anenaiki were primarily inspired by formal and verbal construction and not as much by foreign cultures.