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This article offers an introduction to cultural aspects of listening and hearing, voice, as well as the modern and contemporary soundscape. As an alternative to the visual paradigm, Momro outlines a cognitive paradigm based on the voice and sound. He also foregrounds these aspects in theoretical writings that focus on the soundscape of human experience.
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In this article Losiak juxtaposes the reception of the soundscape with the aesthetic category of the picturesque. He outlines the concept of the soundscape, emphasizing its rootedness in the tradition of R. Murray Schafer’s acoustic ecology. He also relates the problem of the soundscape to the category of landscape and its interpretation in cultural studies. He points to the meaning of the aesthetic experience in relation to the soundscape, referring to the question of sensual perception as well as to aesthetic values. The neglected category of picturesqueness, Losiak concludes, is particularly useful in the aesthetic analysis of the soundscape, as it allows us to interpret our experience of a landscape within as well as outside of aesthetic contexts.
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Kremer raises the problem of voice in poetry. Engaging with research on the poet’s voice as it is encoded in texts, she discusses traditional studies of recitation, treated as an art that is separate from poetry. She also presents more recent scholarship on performance poetry and analyses well-known recordings of twentieth-century poetry performed by its authors. Drawing on instances of phonetic, sound, and performance poetry together with poetry readings, Kremer points to hitherto overlooked spoken versions of Polish poems. Finally, she examines the category of voice as an object of research and proposes a method of close listening.
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This essay deals with the relationship between language and the voice in contemporary theory and musical performance practice. Building on Julia Kristeva’s work, Barthes makes a distinction between the phenotext and the genotext. The first denotes the dominant scheme of performing and listening to music, while the second, postulated by Barthes, covers all those elements of both musical and broadly acoustic experiences – elements that are not subject to the laws of representation but to those of jouissance. In order to conceptualise this experience, the author introduces the notion of the ‘grain of the voice’: it allows us to describe the subjective experience of aural perception.
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Der Musik wohnt die Kraft zur Völkerverständigung inne – falls Ausübende und Publikum dies intendieren. Genauso zielgerichtet kann sie aber auch der Abgrenzung dienen. In Siebenbürgen verstand man über Jahrhunderte hinweg die Musik als Instrument zur Identitätsbildung. Die protestantische sächsische Bevölkerung pflegte den „kämpferischen“ lutherischen Kirchengesang, ganz zu schweigen von der Praxis, die eigene Musikkultur durch „Importe“ aus den deutschsprachigen Ländern anzureichern, das 19. Jahrhundert brachte mit dem Aufblühen der zahlreichen Musikvereine zusätzlich bürgerliche „deutsche“ Musik in die sächsischen Haushalte, und im Zuge nationalistischer Bestrebungen erarbeiteten Musikforscher und Komponisten ein Konvolut sächsischer Volkslieder. Dementsprechend praktizierte man in den Schulen eine schulmusikalische Ausbildung, die diesen Bedürfnissen Rechnung trug.
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The traditional tamboura performance style is part of the folk culture in Southwestern Bulgaria, as well as in the region of Velingrad. Its being is deeply connected with the characteristics of the musical dialects of the region. Preserved to the present days, its existence is overwhelmingly based on the interaction with modern mandolin and relies on the combining of traditional techniques with new instrumental tools. The article traces the changes and novelties of the traditional style as well as its basic parameters: bourdon playing, specifics in breaking note durations, rhythmic patterns, ornaments, sound lines, morphology and functions of the instrument as accompanying mostly male solo singing. The complex relationships and routines are followed on the basis of the individual way of playing of the musician.
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The kumpanjija, or chain sword dance, of Blato, Croatia, is also danced each April in Sydney, Australia. This paper explores the perpetuation of the kumpanjija in Sydney since 1965, culminating in the fiftieth anniversary performance in 2015. Based on data from ethnographic fieldwork, the paper provides an ethnochoreological analysis of this event and illustrates how the performance fosters experiences of bonding, embodies nostalgic sentiment and provides community focus. The relationship between the dance as performed currently in Blato, and the performance troupe in Sydney is also explored. This event demonstrates the significance of the annual event for this section of the Croatian immigrant community in Sydney.
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The article deals with the characteristics of music education of early age children , music education programmes as well as pedagogue's and parents' roles in music education of early age children. Also, the influence of early music education on children's behaviour is described , changes in children's abilities underwent during music classes, the influence of sensing musical rhythm and focusing of attention on early age children's behaviour are presented.Research results on parents' attitudes towards music education of early age children, its impact on infants' behaviour and further developement are introduced.
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The present paper is dedicated to the symbols of musical culture in semiotic and cultural discourse, as reflected by the category “cultural artefacts” (musical instruments) in the Bible. At the same time, it is as an attempt to demonstrate the literary critical and musicological potential of the problem. The category “musical instruments” in biblical texts has been discussed in a historical perspective. Another issue analysed in the paper are the rhythmic and metric structures of Byzantine and Bulgarian hymnography. Both these questions are viewed from the perspective of musical and poetical homology in Bulgarian symbolist poetry, specifically in the lyric poetry of Nikolay Liliev, and of the connections of Orthodox hymnography with broadly understood musicality of poetry.
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The present publication consists of a number of sections presenting challenges in the field of educational innovations regarding the context, continuity and changes in academic education as evidenced by the example of UAM WPA (Adam Mickiewicz University, the Faculty of teaching and Art) Big-band in Kalisz. The first section of this publication presents big-bands as a form of musical ensemble with instruments in use. In accordance with the preliminary assumptions, modelled on the history of establishing big-bands, the subsequent section deals with the creation of UAM WPA Big-band in Kalisz. The final section of this publication presents students’ opinion on the activities of the band. It is a favourable opinion supported, for example, by the fact that students from other departments of the faculty are willing to join the band. Finally, the publication presents a number of conclusions prepared by the author.
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The actuality of a paper is stipulated by nessesity to study the sources of Soviet identity and gender ideals of post Soviet society on the material of film, literature and songs as forms of culture which are the best representations of the gender ideals. The aim of the studies is to analyze the evolution of gender politics and myths, owing by to socio-political changes in the Soviet and post-Soviet societies. The methods of research are gender critics, psychoanalysis, poststructuralist deconstruction, semiotics. The sources of Soviet identity and gender ideals are typologized in the conclusion.
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The article is devoted to the comparative analysis of the four songs about Moscow, written in different epochs of the Soviet period of history. These are “The song of the old horse carrier” (1935), “The song about Moscow” from the film “The pig-tender and the shepherd” (1941), “I walk around Moscow” (1964), and “Alexandra” from the film “Moscow does not believe in tears” (1979). The analysis allowed the author to reveal the significant features of the mental and the artistic style of the four different epochs, which had reflected in those songs. Each of them marks a unique model of the world, specified by a certain emotional and ideological orientation of the world view. The first model (the early 1930s) is defined as a compromiseconformist: it attempts to conciliate the everyday patriarchal habits of the NEP-period with the desire for comfort, scientific and technological, and social advance. The second model, appeared in the pre-war years, can be called pseudo-sacral and to the highest degree utopian. It most adequately expresses the essence of the “socialist dream”. In the years of the Khrushchev thaw the third model emerged, combining the fashionable in those times neorealism with the utopian idealism, expressed in the relatively soft form. And, finally, the forth model of the world, in which the 1970s’ mentality has reflected, and which logically completes the Soviet period of history, - the organic model, with a slight touch of historic fatalism. It appealed to the “eternal”, objective laws of nature and traditional values.
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The article analyzes the image of the Motherland as it appears in the Soviet mass song of 1930-80th. The author identifies basic substantive elements of the image, traces the dynamics of its development in a changing socio-political context, and demonstrates its continuity and integrity. The author raises the question concerning the reasons for enduring popularity of Soviet songs on the Motherland. According to the author’s understanding, such popularity is rooted in the conformity of the emerging Soviet identity with the spirit of the agents of the construction of the socialist state. Considering interpretations of the song’s image of the Motherland in the research literature, the author concludes that the value of the image could not be reduced to the need to address particular ideological and mobilization tasks. The author notes that the emotional impact of the song’s image of the Motherland is not related directly to the support or rejection of specific socio-political system, but it is connected with the primary need for a sense of the homeland.
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The present essay considers a cultural reception of gramophone records produced in the Warsaw Pact members by the Soviet youth. Unlike rare and deficient goods from the capitalist world, mainly restricted for distribution, gramophone LPs and the supporting printed materials played a significant role in informing and spreading of international trends behind the rusting Iron Curtain and, last but not least, contributed to its erosion. The free genre selected for the text allows hybridizing the approaches of description, thus the research materials are being combined here with the author’s personal views and memoirs.
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In this article the consumption of music is analyzed in the context of do-it-yourself (DIY) culture. DIY is a creative culture of music production that is opposed to mainstream production of music by corporations and industry. The author unfolds the notion of DIY culture in the sphere of music. DYI emerges as a form of protest to the mainstream music culture and to capitalism. Drawing from data of autoethnography, the author investigates the experience of participation in DIY music culture in Russia, DIY practices and their meanings from the participants’ point of view.
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Music influences the human on the psychological and physiological level. This article centres on the selected mechanisms of the impact of music on emotional and somatic processes of a listener. The paper discusses the phenomenon of acoustic driving and mechanism for adjusting the emotional state of a listener to emotional expression of music. Publication also concerns the impact of music on the emotions through the activation of imagination and memory. Musical expectations and evaluative conditioning as sources of emotional reactions are analyzed too.
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In this article the author examines the Town’s Day holiday as performance: the successful or unsuccessful performance of a particular message—that of the unity of urban community—for a particular audience (that same community). Using Jeffrey Alexander’s theory of cultural pragmatics the author concludes that in the case of Town’s Day held in Gorokhovets in 2011 the message performed during the official part of the celebration was not successful. Although the message (in the form of congratulatory speeches, nominations, awards, and musical numbers) was that of the declaration of the community’s unity, it was delivered to only a segment of the town’s community. But even that small segment of the community did not engage with the performance fully. In conclusion, the author suggests that Town’s Day cannot function as a ritual that brings together a segmented community, although it may function as a ritual that revives existing community solidarity.
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In Portugal, the suffering and struggle of the East Timorese people for independence started a social movement of solidarity with strong repercussions in the arts, namely music and literature. Children’s Literature depicted the theme of this period of oppression in East Timor, as well as the recognition of its independence and its right to freedom, in a picture book selected for the White Ravens List in 2003 called East Timor – Island of the Rising Sun (2001), by João Pedro Mésseder and André Letria. This unusual picture book, characterized by a very simple and sparse, almost poetic, text combined with large-format pictures, depicts this chapter of the contemporary history of East Timor in very specific way, resembling fairy tales or legends. The text and images are combined in order to promote symbolic readings, suggesting a magical/mystical environment that impresses readers. More than a decade later, recent struggles and stories from East Timor are still present in Portuguese pic- turebooks such as Lya/Lia (2014), by Margarida Botelho. The social change, path to democracy and educational development, as well as daily life and children’s pastimes are now the center of a narrative that establishes the similarities and differences between modern-day Portugal and East Timor. Our aim is to analyze both the political and ideological perspectives present in these picture books aimed at very young readers, offering a broad vision of different realities and contexts, even when they deal with war, death and suffering, as was the case of the East Timorese fight for independence.
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„Jedź i kradnij, co możesz” – według Fryderyka Járosyego do tego sprowadzała się praca nad programem rewiowym nadwiślańskich twórców epoki dwudziestolecia. „Dyrektor artystyczny jedzie do Paryża, odwiedza z miną bogatego Anglika wszystkie music -halle i bucha wszystko, co nie jest przykute łańcuchami albo wmurowane w ściany. Potem wraca do Warszawy i zmienia obiekty kradzione przy pomocy członków swej bandy w taki sposób, że trudno je poznać” (Kałużyński,2013,300). Ciekawa strategia, która jednak nie odbiegała zbytnio od zwyczajów panujących w ówczesnym show -businessie. Florenz Ziegfeld, twórca słynnych amerykańskich Ziegfeld Follies, regularnie odwiedzał Londyn, podpatrując tamtejsze rozwiązania i podkradając nieco uboższym krewnym gwiazdy, Londyn kopiował rozwiązania berlińskie, zapożyczone zresztą czasem z tak odległych estetyk jak japoński teatr kabuki, a wszyscy demokratycznie zżynali z Folies Bergère, rewii paryskiej, która, należy dodać, również powstała jako amalgamat popularnych widowisk rodzimych i angielskiego music -hallu (Bailey, 2014, 137-139). Pod tym względem wcześnie dobiliśmy zatem do standardów światowych, dołączając do uprawianego w pierwszej połowie qq wieku bez większych skrupułów intelektualnego rabunku, który szczęśliwie i o wiele bardziej elegancko możemy dzisiaj nazwać transferem kulturowym i objąć pogłębioną reveksją badawczą.
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From the very beginning opera underwent transformations, keeping up with the changing world. The seemingly homogeneous form developed into different subgenres, tailored to the needs of their specific audiences. The notion of an opera soloist evolved together with the form. In this way a soloist transformed from a castrato with an angelic voice, singing both male and female parts, to a rock man performing a rock -opera. The development of technology and the marriage of opera with popular music established a new face of an opera singer.
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