Muzyka chóralna Andrzeja Koszewskiego (1922-2015) i jej aspekt liturgiczny

Author(s): Joanna Cywińska - Rusinek / Language(s): Polish Issue: 47/2016

A. Koszewski was one of the most outstanding Polish composers of the last century. He passed away on 17 February 2015. The most prominent of his works are choral pieces which were briefly characterized and classified according to various criteria. The attention is also given to his sacred music. The author presents arguments for its use in the liturgy. Based on the literature and two masses in a different stylistics it was shown that sacred music of A. Koszewski has got all the qualities of liturgical music. Considering its high artistic level and its deep spiritual expression, the music should be performed not only during concerts but also during the liturgy.

Semantyka tytułu jako klucz interpretacyjny w religijnej twórczości Marka Czerniewicza

Author(s): Joanna Schiller-Rydzewska / Language(s): Polish Issue: 47/2016

Marek Czerniewicz is a young composer from Gdańsk. Works of religious nature play an important part in his achievements. A significant feature of his works is using titles with extra-musical meaning. And this connection between the title of the piece and its musical realization is the most interesting for us in the research field. For such outlined problems analytical concepts of Charles Seeger, Eero Tarasti and Maciej Jabłoński have proven to be helpful. Thanks to them it was possible to track the connection between idea of the piece contained in the title and its sound picture per se.

TÜRKİYE’DE KLASİK MÜZİK ve SAHNE SANATLARI EĞİTİMİ ve İSTİHDAM SORUNU

Author(s): Müge Akpinar / Language(s): Turkish Issue: 31/2016

Art is one of important elements for a nation to achieve contemporary level of civilization. In his speech at the parliament on 1 March, 1923, Atatürk expresses his opinions about fine arts and underpinned the necessity of modern libraries, museums, fine arts exhibitions and conservatory buildings in the main centers of a country. In this study by analyzing the schooling in music and performing arts in our country, the employment possibilities of graduate conservatory students’ will be studied.

BORÇALI'DA NEVRUZ – BAHAR – ÇINAR BAYRAMI

Author(s): Gülnara Gocaeva Mehmmedova,Şureddin Memmedli / Language(s): Turkish Issue: 29/2016

One of the Turks is also important parts Borchaly-Azeri in Georgia today. The population of Turks lived in its purest form. Eternal traditions of folk songs, the pieces are in-store and protect customary in pure form. Borshaly Azeri's and celebrates the feast of Nowruz holiday. Nowruz holidays in Borchaly this; they say fall or Halloween Plane. Offered in Georgia Borchaly Karapapak article describes the customs of Nowruz Turkish.

TÜRK İSLAM MEDENİYETİNDE MÜZİKLE TEDAVİ YÖNTEMLERİNİN UYGULANDIĞI ŞİFAHANELER: AMASYA DARÜŞŞİFASI

Author(s): Haluk Yücel / Language(s): Turkish Issue: 29/2016

Human being has ben very interested in music in every phase of life in history. As it is seen in social life, religious rituels, festivals, music is also important in medical treatment. Music applied medical treatment is seen in almost every civilization and in it is also important in Turkish civilization whose roots goes back to Shaman culture. Ceremonies which are held to puriyf wicked souls are found in Ancient Greek, Egypt, Chine. Information given by El Kindi, Farabi, Ibni Sina imppoved musical medical treatment which is done with the help of music. First examples of musical cures are done by sorcerer doctors however later on this medical treatment is done in a professional way in Ottoman and Great Seljuk Empire in hospitals called '' Darüşşifa'. To make this medical treatment professionally substructures like voice tecniques are improved. The first example of hospital called '' darüşşifa'' is Şam Nureddin Zengi Şifahanesi which is built in 1154. This research is to determine historical progress of musical medical treatment and importance of Amasya Darüşşifa

BÜYÜK SELÇUKLU SERAMİKLERİNDE ÇALGILAR

Author(s): Feyzan Göher Vural / Language(s): Turkish Issue: 29/2016

Musicology and history make use of miscellaneous resources to illuminate the past periods. In addition to written documents, many materials which survived to this day are also included into the fields of these sciences. Ceramic works and ceramic decorations could be evaluated in this context because of their durability. Especially some ceramic works which have rich and detailed decors such as The Great Seljuk ceramics are very important for cultural studies. Great Seljuk ceramics which are located in various museums and collections have been investigated and musical instruments which decorated on this ceramics have been determined in this research.

GÜRCİSTAN'DAKİ TÜRKLERİN ÂŞIK HİKÂYELERİNDEN: “İSMAİL İLE KIZYETER” (“KARS'A DOĞRU BAKIP AĞLARIM”)

Author(s): Şureddin Memmedli / Language(s): Turkish Issue: 29/2016

In Georgia has 500 thousand Turkish Azeri poet pays attention to the art community. Here folk love of storytelling (epic) is common. Borchaly are discussed in this article is an example of folk stories. In this structure, "Ismail and Kizyeter" or "I'm Looking at Right Kars Networks" are known by name, subject in this story, Borchaly Karapapak migration from Turkey, are longing Borchaly between Kars.

TÜRK ASKERİ MÜZİĞİNİN SAVAŞLARDAKİ YERİ VE ÖNEMİ

Author(s): Timur Vural / Language(s): Turkish Issue: 13/2012

In this study, it is mentioned that military music culture’s historical adventure which based on as old as Turkish History. Military music bands have been with Turkish veterans at every time and these bands have encouraged the soldiers to fight, supreme sacrifice for the country and values which they believe. Sometimes this team has been a tactic of war; sometimes its voice has been mercy for heroes who died in wars. In this study of descriptive research, it is indicated that military music is used for what purpose and it is emphasized the importance of historical process of this team in the light of data obtained from literature.

Personifikacje cnót w dramacie liturgicznym „Ordo Virtutum” Hildegardy z Bingen i na romańskich kolumnach kościoła św. Trójcy w Strzelnie

Author(s): Debora Wiąckiewicz / Language(s): Polish Issue: 04 (31)/2016

Composed by Hildegard of Bingen in the Rhine-Hessen region in the middle of the 12th century, the liturgical drama Ordo Virtutum depicts a symbolic internal struggle for the fate of the soul between the virtues and the devil and is originally transposed into the language of low-relief found in the church owned by the Canonesses Nuns convent in Strzelno, a little town situated on the border of Kujawy and Wielkopolska regions in Poland. The aim of this article is to present how two visions of the same concept complement each other in an intriguing way, although they are expressed by two separate, yet merging languages of music linked with the text and low relief. Most of the musical and literary personifications of both Ordo Virtutum and low reliefs featuring figures in Strzelno are still comprehensible, despite being created eight centuries ago. They introduce the audience to the world of medieval sermons, theological treatises, lectures on ethics and moral theology. Both works show a holistic vision of the world, held by people of the medieval era. In that vision what is spiritual, mystical and elusive for the outward physical senses intertwines and is closely linked with what is tangible, material and directly perceptible. Hildegard’s music praised not only the works of God but also the virtues as deeply human attributes, linked with effort and choices of a free human being, capable of establishing a relationship with God. The column of virtues in Strzelno introduces to the sacred sphere a multitude of figures that become an icon of widely accessible perfection. It seems that both artists aimed at educating their audience as beauty was supposed to ennoble by giving the strength to the truth so that it could lead to good, also the ultimate good — God.

KÖK TÜRKLERDE MÜZĠK

Author(s): Feyzan Göher Vural / Language(s): Turkish Issue: 11/2011

Ġslamiyet‟ten önce Orta Asya‟da kurulan en önemli Türk devletlerinden birisi, adında Türk kelimesinin geçtiği ilk siyasal örgütlenme olan Kök Türklerdir. Kök Türkler, sağlam bir devlet ve toplum yapısı kurmanın yanı sıra, sanatın çeĢitli dallarında ve müzikte de önemli geliĢmeler göstermiĢlerdir. Literatür taramasına dayalı betimsel nitelikli bu çalıĢmada, Kök Türklerin müzik hayatları üzerine bilgiler verilmiĢtir.

DIGITAL MEDIA: INVASION OF AMERICAN FILM

Author(s): Lenka Chrenková,Dagmar Valentovičová / Language(s): English Issue: 1/2/2015

The processes of digitalization and technologic revolution have caused that particular international production companies are able to use financial and technical resources –mostly multi-billion budgets and advanced technology – and subsequently they tend to smoothly apply these resources to optimize their own marketing strategies. The main goal here is related to pursuing the vision of successful sale of created media projects which are aimed at wide audiences; such a tendency also makes these media enterprises substantial parts of the very unique world of universal human values and opinions shared by the majority. This text is focused on the topic of production and distribution cycles that are typically applied by major Hollywood film production companies in order to offer mainstream movie audiences their audiovisual works. The authors examine phenomena of globalization and ‘glocalization’ in the context of promoting mainstream content by using (mostly) so-called new media. Their attention is mostly paid to particular advertising tools and propagation methods which are used by major American movie producers and/or distributors in order to deliver their contents to target (mainstream) media audiences – the platform of such marketing practices is created mainly by digital media.

İSLAMİYET’TEN ÖNCE KURULAN ORTA ASYA TÜRK DEVLETLERİ DÖNEMİNDE KULLANILAN MÜZİK ALETLERİ

Author(s): Feyzan Göher Vural / Language(s): Turkish Issue: 9/2011

Orta Asya Türkleri, askeri, siyasi, ekonomik ve kültürel açıdan son derece güçlü devletler kurmuşlardır. Ortaya koydukları kültür ve sanat ürünleri, bu uygarlıkların geldikleri seviyeyi gösterir niteliktedir. Bir ulusun gelişmişlik düzeyi, o ulusun müziğinin yapısına, müzik çeşitliliğine ve müzik aletlerine verilen değere yansır. Bu anlamda Orta Asya Türk Devletleri’nde kullanılan müzik aletleri, incelenmesi ve tanıtılması gereken değerli özelliklere sahiptir. Betimsel tarama yöntemine dayalı olan bu çalışmada, Hun, Göktürk ve Uygurlarda kullanılan müzik aletlerinin neler olduğu; bu aletlerin kullanıldıkları yerler, toplumsal, askeri ve siyasal değerleri vurgulanmıştır.

GAGAUZLARIN ÇALGI ADLARINA DAİR BİR ARAŞTIRMA

Author(s): Güllü Karanfil / Language(s): Turkish Issue: 8/2010

Ta evelden her bir toplumun, halkın kendi çalgıları kendine hass havaları ve musikisi varmış. O halkın geçmişi de, kültürü ve sosyoloji durumu da, yaşam tarzı ve geleceye bakışı da her hangi bir çalgının birinci notalarından belli oluyor. Çalgılarda çalınan havalar hastayı tedavi eden, ruhu dinlendiren, toplulukta birlik yaradan, iyi ruhları çağıran, kötü ruhları kovan, iğitlere güc veren bir mucuzedir. XIX. asrın sonunda Gagauz türküleri, havaları, oyunları için ilk bilgileri rus etnografı V.Moşkov`un, XX.asrın evelinde ise gagauz papazı M.Çakir`in kitaplarından, taa sonra çağdaş musikişünas Dm. Gagauzun makalesinden alıyoruz. Folklor materialları da bir bilgi kaynağı olarak kalmaktadır.

Kategoria groteski w opisach muzyki z obozów koncentracyjnych. „Gry oświęcimskie” Szymona Laksa

Author(s): Bartosz Dąbrowski / Language(s): Polish Issue: 2/2016

The article presents the grotesque as an autobiographical strategy of talking about the experience of concentration camps. In his autobiographical testimony, Szymon Laks describes the music in Birkenau as the part of the Nazi system of exploitation of prisoners. In his memories, music in the concentration camp is deprived of humanistic values, and becomes a symbol of the violence, hierarchy and absurdity of the camp life. For Laks, the grotesque and self‑parody become the only means of speaking about the experience of the concentration camp. Laks chooses the literary tactics of inhuman accustoming, similar to the works of such writers as Tadeusz Borowski and Piotr Rawicz.

ИСКУССТВО КРЫМСКОГО ХАНСТВА В ЛОГИКЕ ИНТЕРВАЛЬНОГО АНАЛИЗА

Author(s): Meryem Idrisova / Language(s): Russian Issue: 3/2016

Purpose of Article. The problem of research of art of the Crimean khanate of XIV-XVI centuries is analysed in the article from positions of interdisciplinary methodology of intervality. The analysis of the literary sources, published by the researchers of different directions is conducted. Methodology. Using historical, cultural, philosophical methods of study and analysis of art, the author of the article gives preference poli-methodological theory of intervality which is the product of Post-modernism. The interval approach is based on exposure and coordination of intervals in the separately taken contexts. Scientific novelty. The author underlines the necessity of the using in modern Cultural discourse the Post-modernism interval methodology, which assists more scalene and multidimensional analysis of different types of art in the arts and culture of the Crimean khanate. Conclusions. The culture of the Crimean khanate represents the Eastern Black Sea type of medieval traditional Muslim culture. It has been developing as many others ethnoses of that region. The author highlights the impact of the different ethoses (Armenians, Greeks, Jews, Circassians, the Georgian etc.) on the art culture of the Crimean Tatars. Since the15th century the Crimean khans, understanding advantage of policy of tolerance, gave the chance to numerous ethnoses to keep and create the culture. Today in the Crimea the art monuments, created during the period of the Khanate by Armenians, Greeks, etc. have been remained. Although, it should be noted that the epoch of the Crimean khanate was interval. So it means that in the Crimea the Islamic culture dominated. Analyzing the art culture of the Crimean Khanate, we should note a role of the cross-cultural interference of different ethnoses. The Intervality allows to consider culture as a multilevel phenomenon in which all intervals are democratic and pluralistic. It is expedient to analyse a phenomenon of the art culture of the Crimean Khanate as a system of intervals such as "fine arts", "literature", "music", "folklore". They are divided into types and genres.

MUSICAL INDICATORS OF HISTORICAL PROCESSUALITY IN THE PARALLELISMS OF THE DEVELOPMENT OF CHINA AND EUROPE

Author(s): Bingqiang Liu / Language(s): English Issue: 2/2016

The purpose of given work is to discover musical signs of historic knowledge in connection with the reality of chronological parallelisms of musical development of China and Europe of the Middle Ages and New Time. Methodological basis of the work is an idea about a tone of epoch, put forward by G.Hegel and evolved in the conception of Renaissance by A. Losev. Scientific novelty of the study is determined by the fact that for the first time it indicates synchronization of culture reformations of development of China and Europe, provided that, historically interaction and interinfluence were excepted. Conclusions. "New relationship" (after C. Jung) reveals itself – "semantic acausal relationship", which allows to understand the regular nature of chronological coincidences in the history of music culture of China and Europe.

Циганите музиканти в Шумен от началото на XIX век до наши дни

Author(s): Dimitrinka Demirova / Language(s): Bulgarian Issue: 4/2016

Поглед отвън, който прониква дълбоко в нещата отвътре

Author(s): Anatol Anchev / Language(s): Bulgarian Issue: 4/2016

Book Review

Научна конференция на Полското народописно дружество – заседанията на секция „Фолклористика“

Author(s): Piotr Grohovski / Language(s): Bulgarian Issue: 4/2016

Scholarly Conference

Sosyolojik Açidan Etnografik Müzik ve Béla Bartók

Author(s): Dursun Ayan / Language(s): Turkish Issue: 58/2009

Even though the music could be product of a genius, the social and historical background that it came into existence within is as important as genius. Consequently, the interaction of tradition and music or traditional elements’ formation of theme and source for classical music which are issues of the day are not new. In the origins and evolution of classical music, traditional music has always been existent as a theme or style before Béla Bartók who is “the most modern of classical composers, the most classical of modern composers.” Hungarian composer Bartók is known for his interest in ethnographic music both as a composer and a researcher. He made folksong compilations in Osmaniye, Turkey in 1936 and emphasized the similarities between Hungarian folksongs and Turkish folksongs. Bartók who contributed to the formation of Western classical music comprehension in Turkey is an important figure for sociology of music. Another important aspect of him is about his efforts to understand the historical reality from musical materials. Turkish music brought up composers who produced works regarding universal polyphonic music with the melodies from their own culture despite that it did not experienced polyphony in European meaning with all its aspects. The importance of traditional music in personal developments of composers and in the evolution of classical music as an art prevents traditionalism- universalism paradox from being a surprising phenomenon in recent music life. Tradition exhibits itself both in compositions and in shorts songs which are written in Western style. Bartók evaluates his predecessors according to the utilization of traditional materials and emphasizes the difference of his style from others. In his compositions, the style of a systematical use of ethnical and traditional materials is a new design action. In this text, it is considered essential to mention that Bartók has an important place and avant-garde role in the development of postmodern discourse. Because, the constructing risks of the discourse that appeared in Turkey during 1980’s and sometimes transformed into a sophistry are not prevented. Recognizing the postmodern via politics is popular and risky. Instead of this, it would be more appropriate to recognize postmodern via music and architecture. The design action is important in arts as basic aesthetical and ontological element. Bartók handled folkloric music itself as a living fact instead of a dead material which is worthy of a museum and has been in a deep relationship with it. It should be stated that Bartók’s tendency to “use traditional music for classical music” is a living and dynamic state more than a didactic one. Today’s individual has a tendency to listen music required by the individual’s life style, regional and political ideology. This tendency results in an aesthetic eclipse and illusion. Every kind of contemporary tendency in music aims to become a legacy for future, in this context utilizing ethnical and traditional elements will render music free and original if it is not constrained by cultural and ideological conditionings. At the same time, confining traditional music elements for conservatism and filling them with ancient and commercial-touristic aims is a dangerous area. If musicianship may establish a relationship between tradition and modern, new channels will be developed between classical music and folksongs, lullabies and hymns which could be expressed as the everyday life that the individual is born in. Thus, the composer will be emancipated to express the owned musical preferences. Tending new synthesis and formations in music is a result of this kind of mentioned requirement.