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Literacki kontekst dzieła muzycznego

Author(s): Agnieszka Sozańska-Ławniczak / Language(s): Polish Issue: 01 (28)/2016

The following article describes a phenomenon of the correspondence of arts using the works of Frederic Chopin and Alexander Scriabin as an example. The author is interested in the relations between music and literature and Chopin’s ballads and Scriabin’s piano poems, the genres, which are an effect of such relations. The analysis of those works shows that both composers have a different understanding of the essence of music and literature but there are also similarities. The ballads and poems do not convey a literary programme or music illustration but their sound matter is additionally complemented by the genre category, title or commentary instead.

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Rola Jane Wilhelminy Stirling w życiu Fryderyka Chopina oraz w kultywowaniu dziedzictwa i pamięci o kompozytorze

Author(s): Paulina Pieńkowska / Language(s): Polish Issue: 01 (32)/2017

The role of Jane Wilhelmina Stirling in Fryderyk Chopin’s life, as well as in the cultivation of his legacy, is underestimated to this day. Jane Stirling was not only Chopin’s pupil, but also his patron. She organized a concert tour to England and Scotland for Chopin, and tried to provide the composer with a donation for his living expenses. She financed his funeral, as well as the costs of erecting his gravestone. After the composer’s death she turned her attention to what Chopin had left behind. It is thought that she purchased most of the items from his last apartment; in a separate transaction she acquired the last piano the composer had played. She tried to protect the autographed manuscripts he had left, and attempted to arrange the publication of compositions left only in sketch form.

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Kompozycje mszalne Mikołaja z Radomia w kontekście twórczości mszalnej Antonia Zacary da Teramo i Johannesa Ciconii

Author(s): Joanna Miszke / Language(s): Polish Issue: 01 (32)/2017

The aim of the article is to bridge the gap in the study of Nicolaus de Radom’s output by presenting a comparative analysis of his works as juxtaposed with other European artists. The prevailing opinion of musicologists, such as Maria Szczepańska and Mirosław Perz, is that Nicolaus de Radom’s music is closely related to the works of northern Italian composers. However, such a claim has not yet been supported with the detailed comparative analysis. The article presents the analysis of the manuscripts Kras 52 and Wn 378, signed by Nicolaus de Radom, confronted with selected masses by Johannes Ciconia and Antonio Zacara da Teramo. A detailed analysis of a two-sectioned cyclic mass helps to distinguish certain similarities and differences in the unification of the Mass pairs, as they are exemplified in the music of the composers. The works of all of the three artists manifest secular songs’ influence on the shaping of the Mass as a genre, although each composer adapts it in a slightly different way. Moreover, it is stated that a thorough analysis of the 15th-century Masses is necessary to determine whether there are any links between Nicolaus de Radom’s, Antonio Zacara da Teramo’s and Johannes Ciconia’s works, and whether there are any similarities in their compositional technique. Presented analysis of de Radom’s, Zacara da Teramo’s and Ciconia’s Masses refutes the claim that Nicolaus de Radom’s output bears closest relation to those of Zacara da Teramo’s. The results of the study reveal that there are no straightforward examples which would support such a theory.

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Dwie strony olimpijskiego medalu – kontrowersje wokół II Symfonii „Olimpijskiej” (1948) Zbigniewa Turskiego. Przyczynki do analizy

Author(s): Karolina Bindel / Language(s): Polish Issue: 01 (32)/2017

The main topic of the article is II Sinfonia Olimpicaby Zbigniew Turski, a composer who is barely known in Poland nowadays. The reason of this is the socio-political situation of the country after World War II. The composer was one of first victims of Stalinist cultural policy. At a conference in Łagów Lubuski in 1949, his II Sinfonia Olimpica was named formalistic, pessimistic and incompatible with the socialist realism standards. However, the composition had won a gold medal at the XIV Olympic Games in London in 1948 and this success had had a great resonance in Polish music press before the conference.The article has several objectives. The first of them is to present socio-political situation in musical environment. Moreover, it shows the reception of the symphony after its premiere at the conference in Łagów Lubuski. Finally, an attempt to analyze the II Sinfonia Olimpica is made. It is noticed that the symphony stands out against other compositions created in the mid-twentieth century particularly by dint of its deeply emotional and dramatic character. The achieved mood results from traumatic war experience of the composer. Although the neoclassical tradition is visible, Turski used the innovative musical language and his attempt to create his own music style is noticeable. According to the author’s opinion, if it had not been socialist realism in the mid-twentieth century, II Sinfonia Olimpica could be now perceived as one of the most important symphonies created within the last century in Poland.

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Türkiye'deki Yeni Pop Arabesk Kültüründen Ortasinifin Geleneksel Kültürel Kodlarini Aramak

Author(s): Hürriyet Konyar / Language(s): Turkish Issue: 59/2009

During the process in which the global cultural occurs, as we try to follow the cultural change in turkey pop music form arises as an important phenomenon. The cultural flows are formed and reflected as pop music. Pop music phenomena in Turkey evolves in accordance with the changing social and cultural structure. Specially the new social structures which arise during the conduction of global policies joined the values of the center afterwards. The cultural identity of the middle class which emerged as a result of the new enrichment channels composes a case of "snobness". The new enrichment channels lead to aspirations of being modern and the aspiration of experiencing the new. They cause to identify their cultural styles as arabesque but it is observed that their consumption of music tends to your evolve from pure arabesque Music to pop arabesque. The new middle class which composes the new social basis of pop arabesque changes its cultural structure by time. In parallel with being coherent with rightist political systems, Their Music consumption gradually becomes insisting to be conservative but attempting to be modern. The enrichment of the new middle class is observed by its new colors. The emergence of pop arabesque music in the new era is furnished by the Music market determined by the global markets and the cultural industries formed by the global restructuring of media. The structure of pop arabesque music coherent with the conservative political systems keeps to preserve its characteristics in global culture climate conditions of the new era. While the new identities of global culture are reconstituted in pop arabesque culture with conservative codes at the same time, global/local oppositions take place of modern traditional duality in arabesque music.

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Z ducha (nie)podobni: Słowacki — Chopin

Author(s): Włodzimierz Toruń / Language(s): Polish Issue: 2/2017

The sketch From spirit (not)similar: Słowacki — Chopin, referring mainly to their biographies, it tries to show the relations that existed between these outstanding people. They first met in Warsaw before 1830, and although they later met a few times in Paris, where they emigrated after the fall of the November Uprising, they did not establish closer ties. Despite a certain physical similarity, a similar psychological sensitivity and some parallels in experiencing the Polish vicissitudes, they looked at each other with reserve. In a sense Słowacki tried to be resistant to a peculiar Chopin cult that his mother practiced. The relations between the men were rather asymmetric. Słowacki showed a greater interest in the composer than vice versa. Also the relations that existed in the circles of the Great Emigration, where the leading role was played by Adam Mickiewicz, influenced their opinions about each other. The discussion may be concluded with the statement that in the case of Słowacki and Chopin the Romantic theory on the correspondence of arts was not confirmed here by the “correspondence of personalities.”

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Апликатурните принципи и тяхното приложение при обучението по акордеон

Author(s): Diana Stancheva / Language(s): Bulgarian Issue: 2/2017

The main principles for the selection of fingering when performing music accordion pieces are presented. An emphasis is placed on the advantages of fingering “Liszt – Busoni”, which is up to now completely neglected in Bulgarian accordion methodology – it is absent from the printed music, it is not included in the training manuals, it is not the focus of attention in the theoretical methodological works and is not applied in the practice of performance in our country. Some of the most important factors that affect fingering, the fingering specific features in the performance of monophonic and polyphonic texture, as well as characteristics associated with differences in the structure of the right and left manual on accordion are covered in short. The briefly presented principles and technological guidelines are derived from the theoretical and practical teaching and performing experience – both personal and that of others.

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Педагогическа система за изграждане на начални нотночетивни умения

Author(s): Iliana Chervenakova / Language(s): Bulgarian Issue: 2/2017

Imperfect practice from the past is making the music notes literacy and the technical mastering of the instrument into an end in itself in the musical and pedagogical work of teachers, while the musical and hearing development of the children, and the emotional experience of the musical piece of art remains in the background. In this way many talented children are diverted from music and from mastering a musical instrument. Based on the curriculum of musical instrument and solfeggio for the children from the preparatory group I focus my pedagogical work on the implementation of my goal as an explorer, i.e. the musical and hearing education being the first step of musical literacy. This I achieve through organizing the following specific activities and approaches, presented in their sequence. All concepts and terms in music are learned through games and the implementation of game approaches. The introduction of the musical literacy thus opens the opportunity to write the notes of songs known by the children, while later on reading of unknown note text. The achieved results demonstrate a quality positive leap in the competence of all children included in this education, as well as professional satisfaction in the teachers.

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Интеграция между формиране на математически представи и музикално възпитание в детската градина

Author(s): Daniela Girdzheva-Valacheva,Maria Kaloferova / Language(s): Bulgarian Issue: 2/2017

The article seeks for the essence of interdisciplinary relations in education. The integration between math and the rest of the studied disciplines is not only an application of math’s knowledge. We take notice on the relationship between mathematical activities and music, as well as we analyze the possibilities of a complete integration between those two educational activities during pedagogical interaction in kindergarten.

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At the Intersection of Musical Culture and Historical Legacy: Feminist Musicology in Poland

Author(s): Marta Beszterda / Language(s): English Issue: 03 (34)/2017

In Poland, feminist perspectives in the field of musicology are still notonly very rare, but also hold a highly problematic status. Both an overviewof relevant Polish literature and scholars’ experiences reveal a two sided problem within Polish feminist musicology, where there is on theone hand a great disregard for the study of intersections between sex,gender and music, and on the other hand a significant controversy overhow to approach the subject once it is acknowledged. The challenges which today’s feminist musicology in Poland needs to confront, areconnected with complex and very often ambivalent way in which classicalmusic culture and the feminist discourse have been shaped sincethe beginning of the communist era (1945-1989). Reaching back to thatperiod, various historical, political and social factors have influencedthe study of women and gender in the contemporary Polish musicology.Three equally crucial issues are investigated in order to understandthe status of feminist musicology in Poland: 1) the challenges Polishmusicology has had to face due to the communist propaganda; 2) theway in which communist reality has shaped the attitude to feminismin the society; 3) the way in which history of Polish classical music isinfluenced by the figure of Grażyna Bacewicz. The essay characterizes each of these phenomena and presents how they may have contributed to the problematic status of feminist musicology in Poland nowadays.

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The Presence of Jewish Music in the Musical Life of Interwar Prague

Author(s): Michał Jaczyński / Language(s): English Issue: 03 (34)/2017

The interbellum was a period when the spontaneous popularity of Jewish music was born. Its expansion in the area of general culture coincided with the rise of a strong institutional and media backing for the musical activities (which means that this music had to have a market value), and on the other hand—with the revival of the national Jewish movement in its various ideological forms, all of which acknowledged a significant role for fostering their own culture. At that time, Prague was the third most important (after Vienna and Berlin) center of Jewish culture in Central Europe, and it strongly influenced the neighboring centers such as Bratislava, Budapest, or—the closest to the author of this abstract—Warsaw. In this paper, various aspects of the Jewish music’s presence in the general musical life of the interwar Prague are being discussed, namely: the open musical activity of Jewish organizations and synagogues, Jewish instrumental and choral music, as well as Jewish songs (synagogal, folk and artistic) performed in the concert halls of Prague, the activity of the group of young Jewish composers (among others: Walter Süskind, Mieczysław Kolinski, Berthold Kobias, Hermann Weiss and Frank Pollak) who formed the so-called “New Jewish School” in music, and finally, writing about Jewish music.

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Contemporary Music Publishing for Children in Poland

Author(s): Katarzyna Babulewicz / Language(s): English Issue: 03 (34)/2017

The following article concerns contemporary Polish music publishing houses, which in their offer have publications for children who start musical education during professional training. The author presents this area of Polish market in a synthetical way, as well as observes and analyzes tendencies which are visible there. Key market operators are mentioned with short descriptions of their publishing profile, preferred instruments and composers, editorial conditions etc. Few examples of publications are described in a more detailed way—i.e. publications from the offer of three publishing houses: Studio Bis, Crescendo and Euterpe. In the last case, the author interviewed Małgorzata Flis, the illustrator of this publishing house. All the examples are analyzed in an interdisciplinary, editorial-musicological way.

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Platforma electronică – instrument multifuncțional al învățământului la distanță

Author(s): Pop Ciprian Gabriel,Nedelcut Nelida / Language(s): English,Romanian Issue: 2/2015

The electronic platform of the Distance Learning Department of the “Gheorghe Dima” Music Academy in Cluj-Napoca, Romania is the main means of student-teaching interaction that supports the teaching/learning activity on all levels. The educational dynamics is largely enhanced by the modular system in which the working environment has been oriented according to study objects. Due to the particular features of music study at university level, this platform benefits from software opportunities specially tailored to meet the demands of this specific kind of teaching, interaction and coordination of the continuous evaluation of users. The results we have had in our experience with this platform very clearly show the availability both of the content providers (teaching staff) and of the beneficiaries (students) for using this technology. Given the implementation, in the platform’s interior, of global systems for its evaluation, we have been able to follow the users’ requests. The analysis of requests and evaluation of assessment systems’ outcomes have led to a continuous development of the platform. By making on-line technologies more flexible so as to meet the demands of music pedagogy, superior level music education has much to gain by implementing specific instruments.

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Dezvoltarea potenţialului creativ al corpului – Muzică şi mişcare în improvizaţia de grup

Author(s): Levens Ulla / Language(s): English,Romanian Issue: 1/2016

The study presents experiments of the members of Group Improvisation at the Oldenburg University which promotes multi-disciplinary pedagogical concepts. According to these, teaching music and performing music are closely connected, as music accompanied by movement develops the human creative potential. Within the seminars organized at the Oldenburg University we experienced the way movement combines with live music as well as various digital media, the participants having the opportunity to develop personal performing concepts and to test them in teaching activities in primary school.

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“DID YOU BRING NEW SONGS?” THE ROLE OF CONTEMPORARY CATHOLIC MUSIC IN HUNGARY

Author(s): Kinga Povedák / Language(s): English Issue: 1/2011

Contemporary Christian music appeared in Hungary in the 1960s. In a unique period of Hungary when religion was suppressed and rock and roll was denounced, the merging of the two, Christian rock music was even more disapproved during the communist regime. For many, contemporary Christian music was more than simply music; it indicated opposition against the political system. Therefore contemporary Christian music was an alternative music not only from a clerical but also from a political point of view. This article tries to analyze the function of contemporary Christian music in listeners’ religious folklife, their experience during listening to contemporary Christian music.

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DANCE FILM AS A SUITABLE FORM OF PRACTICAL MEDIA EDUCATION

Author(s): Anton Szomolányi / Language(s): English Issue: 1/2017

In contemporary decrease in perception of film and television through classical means, searching for new forms of audiovisual expression becomes indispensable in education of the rising generation. Creation and perception of emotional structure by the means of contemporary film language is a challenging part of education of future film creators. Dance film may be referred to as a psychosenzoric perception without verbal communication, convenient for collective school work. In this work dance is referred to as a form of nonverbal expression in shot by shot continuity, where picture and sound plays active role. The text analyses system of practical teaching of movie language by the means of transformation of scenic art into the art of motion picture. It designates main differences between the recording of scenic art and active creation of dance film. If a student is delimited in the creation of school work, thus he does not use speech, but dance movements recorded by the elements of film language, it is possible for him to learn new forms of expression by the means of motion picture and sound. Furthermore this article offers the analysis of elementary elements of expression by the means of film language in dance movie in the form of dynamic composition, movement of camera, characters and in addition film cut and soundtrack. The text originated from my pedagogical experience during the dance film student project.

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От традиционно кеменджийско свирене към оркестров гъдуларски стил (Регионални особености в Югозападна България)

Author(s): Petyo Krastev / Language(s): Bulgarian Issue: 1/2018

The folk music in South-west Bulgaria evolves in conditions determined by the regionally specific influence on the development of the traditional music by the professional art on the basis of folklore. As a result of that the innovations in the instrumental styles follow several different models: a comparatively planned one which happens due to the changes in the intonation system, diffusion of music from other regions, development of the instrumental technique, improvement of the structure of the instruments, etc. (the zurna and the tapan playing styles); due to the opposition of the “old” and the “new” styles build on the basis of some elements from traditional music playing as a result of professional education and creativity (styles connected to playing the tambura); changing of the old styles with new orchestra ones which result from the professional musical art and have a supra-regional nature (the kemene playing, the gadulka playing style). The article reviews some elements of the traditional kemene playing styles in the different regions of South-west Bulgaria and the specifics of the professional styles of playing the gadulka in the orchestra of the Pirin State Ensemble.

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Artyści na uniwersytecie. Sytuacja zawodowa twórców zatrudnionych na wydziałach nieartystycznych (na przykładzie pracowników Uniwersytetu w Białymstoku). Marzanna Morozewicz i Dorota Świdzińska w rozmowie z Joanną Sacharczuk

Author(s): Marzanna Morozewicz,Dorota Świdzińska,Joanna Sacharczuk / Language(s): Polish Issue: 2/2017

The conversation focuses on the current professional situation of visual artists, musicians, film makers and dramatists employed at non-artistic faculties of universities, illustrated with the example of the Faculty of Pedagogy and Psychology of the University of Białystok. The texts discusses the difficulties these artists experience, as well as the needs and expectations of the University as their employer. The goal of the interview is to describe the professional situation of artists employed at non-artistic faculties before and after the introduction of parametrization of scientific output. We will point to the problems that may arise in their jobs, resulting from the fact that artistic work at non-artistic faculties is not subject to parametrization. We will outline the differences between artistic work and research work and we well enumerate the benefits of artistic education of students at non-artistic faculties.

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My City, My ‘Hood, My Street: Ghetto Spaces in American Hip-Hop Music

Author(s): Lidia Kniaź / Language(s): English Issue: 1/2017

As a subculture created by black and Latino men and women in the late 1970s in the United States, hip-hop from the very beginning was closely related to urban environment. Undoubtedly, space has various functions in hip-hop music, among which its potential to express the group identity seems to be of the utmost importance. The goal of this paper is to examine selected rap lyrics which are rooted in the urban landscape: “N.Y. State of Mind” by Nas, “H.O.O.D” by Masta Ace, and “Street Struck,” in order to elaborate on the significance of space in hip-hop music. Interestingly, spaces such as the city as a whole, a neighborhood, and a particular street or even block which are referred to in the rap lyrics mentioned above express one and the same broader category of urban environment, thus, words connected to urban spaces are often employed interchangeably.

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Paul Hindemith a idea postępu, tradycja i neoklasycyzm

Author(s): Joanna Księska-Koszałka / Language(s): Polish Issue: 04 (35)/2017

Paul Hindemith is one of the most famous composers of the 20th century as well as the most important thinkers in the field of music. His aesthetic beliefs are inspired mainly by Boethius and Saint Augustine. He raises an issue of ideas of tradition and progress, which seemed quite disputable in the music of the 20th century. Hindemith believes that in the world exist some universal spiritual principles, which must be integrated by composers in the process of creating music. He criticises the approaches in which the technique itself appears to be predominant, therefore he negates such techniques as the twelve-tone chromatic scale. According to Hindemith, the development of music must be based on traditional fundaments, which, however, can be linked to modern styles and ideas. That seems crucial not only in the process of composing, but also in teaching music, both in theory and in practice.

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