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The article reviews the opportunities of creative musical exercises in primary school, as an opportunity for development of the social activity of the primary school students and the establishment of their social and emotional culture.
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In this paper, the author examines the main features of musical tradition in the Bulgarian part of the Rhodope Mountains, as Ivan Vazov presented them in his travelogue In the depths of Rhodope. The book contains valuable and very interesting information and descriptions on which comparisons and researches can be made. Furthermore, the paper intends to show the link between the daily life and culture of the inhabitants of Rhodope Mountains and the musical expressions and the repertoire of their songs. The main specific features of the Rhodope music and songs are described and parallels with Greek and Balkan folklore are marked. The paper offers literature, folklore, music and other routes in space and time in the Rhodope Mountains
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Since the middle of the 19th century, Franz Schubert’s song cycles Die schöne Mullerin and Winterreise are not only considered as an outstanding contribution to the Lied genre, but also as “romantic” compositions par excellence, whose protagonists might be depicted adequately only by performances of male singers. The “masculine nature” (Carl Lafite) of these thoughts, emotions and actions might be inappropriate for female singers. This attitude, which is still present today (even amongst professional musicians and musicologists), though, contradicts not only the performance practice of the early 19th century, but even Schubert’s handling of his songs. In fact, the idea of these two cycles as “men’s cycles” has only developed in the course of the 19th century, when various impacts such as the general upvaluation of the Lied genre, the transfiguration of the composer, the interpretation of his songs as being a personal statement, and the idea of Werktreueshaped the reception of Schubert’s compositions. These factors led to the consolidation of strong and still valid power structures, in which men are regarded as the norm, whereas women (and other alternative voice categories like countertenors) appear as deviation from this norm. These structures are tightly related to similar conditions and principles which have been outlined in the past decades by the masculinity studies on higher levels of our society. In this paper, I will set out this whole process by delineating the performance practice at Schubert’s time, his own attitude (insofar as it is possible), the various influences of romantic musical aesthetics, and the development of the mentioned performance tradition towards the end of the 19th and the beginning of the 20th century. Furthermore, a number of statements from the 21st century will demonstrate that these concepts are still common today, and I will correlate them with some certain principles pointed out by masculinity studies from the last decades.
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The work concerns Giovanni Battista Bassani’s output and its reception with a particular emphasis on manuscripts preserved in the collection from parish church in Grodzisk Wielkopolski. The oeuvre of this composer has been preserved to a huge amount today—there are 441 manuscripts and 67 prints preserved in 287 copies.The article consists of two parts. The first chapter presents a list of sources of the composer’s works, created using the RISM database with special attention to the Polish sources. In addition, a list of sources identified as the transmission of Bassani’s output is presented. The second part of the article characterises the composer’s works preserved in the collection from parish church in Grodzisk Wielkopolski.
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Dresden played no role in Carl Ditters von Dittersdorf’s life, but history made this city one of the most significant places regarding preserved sources of his works. In the Department of Special Collections (German: Sondersammlungen) of the Sächsische Landesbibliothek—Staats- und Universitätsbibliothek in Dresden (English: Saxon State and University Library Dresden, abbr.: SLUB), there are, among others, more than thirty archival sources containing Carl Ditters von Dittersdorf’s symphonies. That makes it the third richest collection of symphonic works by this composer. The majority of them comes from court’s theatre of Duke Frederick August Braunschweig-Oels in Oels (Öls, Polish: Oleśnica). It is one of the most representative collections of Dittersdorf’s symphonies from all known archives. There are several composer’s autographs, partial autographs, a large variety of works from all periods of his activity, and a few unique copies of symphonies as well. A minor body of Dittersdorf’s symphonies comes from two different sources, until recently unknown. One group is the set of partbooks (contemporary with Dittersdorf), including—apart from Dittersdorf’s works—several dozen movements of serenades, symphonies, string quartets etc. of G.B. Sammartini, J.G. Graun, J.Ph. Rameau, the Stamitz family and J. Haydn, apparently used in performances on the occasion of court activities, not in concerts. The second, from 1860s, is the set of scores, prepared by C. Mehner.
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The purpose of this article is to present a broad spectrum of relations between Arthur Honegger—a composer, and Jean Cocteau—a poet and playwright. They are often associated with the group under the patronage of Cocteau called Les Six, to which Honegger undoubtedly belonged. The poet gathered young composers around himself and became the initiator of artistic meetings and concerts. Most of them took place between 1917 and 1921. Cocteau wanted to show the path French music should follow. In accordance to that, his aesthetic manifesto Le Coq et l’Arlequinwas published in 1918.In the first section, Honegger’s and Cocteau’s aesthetic views concerning music, its elements expression are presented and confronted. Next, the composer’s as well as poet’s work is presented by the example of their cooperation.The analysis of mutual relations leads to the conclusion that, despite many different views, Honegger and Cocteau respected each other and were very kind. The composer significantly departed from the ideals of Cocteau and developed his own individual style resulting from a wide range of musical inspirations. Les Six was a short-lived group and Cocteau himself was gradually moving away from his controversial and radical views.
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Piotr Hertel (1936–2010) – a composer of film, theatrical and stage music (among others the hit Parasolka to words of Janusz Słowikowski). He is the author of music for numerous cartoons made in the animation studio Se-Ma-For in Łódź, including soundtracks for legendary TV series Miś Uszatek and Plastusiowy pamiętnik. The aim of the article is to characterize music composed by Hertel for the above-mentioned as well as several other movies in the context of his views on the role of music in cartoons and his compositional technique. The broader knowledge on this topic was gained thanks to the interview made with the members of Hertel’s family: his wife Jadwiga and son Michał.
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Although nowadays the output of Johann Baptist Schiedermayr is almost completely forgotten, in the 19th century the composer was widely recognized as an author of both sacred and secular music. His compositions were performed mostly in Central Europe, but it should be underlined that the preserved manuscripts display an impressive area in which he must have been known. There are thousands preserved sources that confirm his popularity in the past; therefore, it is disturbing as well as intriguing that Schiedermayr is usually overlooked by scholars investigating music of the early 19th century. In my paper, I present life of the composer, including existing literature that concerns this topic, and I make an attempt to reconstruct his output as hitherto no one have done it. It appears that Johann Baptist Schiedermayr was well-educated and played a crucial role in the musical life of Linz at his time. Besides his achievements as a musician, conductor and teacher, he composed a vast variety of musical pieces, although he focused mostly on church music. Based on the studies done so far, we can assume that he created hundreds of compositions presenting his excellent compositional technique as well as musicality; many of them were also printed. Nevertheless, further research is absolutely necessary in order to broaden knowledge of this brilliant persona and his oeuvre.
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Since the middle of the 19th century, Franz Schubert’s song cycles Die schöne Mullerin and Winterreise are not only considered as an outstanding contribution to the Lied genre, but also as “romantic” compositions par excellence, whose protagonists might be depicted adequately only by performances of male singers. The “masculine nature” (Carl Lafite) of these thoughts, emotions and actions might be inappropriate for female singers. This attitude, which is still present today (even amongst professional musicians and musicologists), though, contradicts not only the performance practice of the early 19th century, but even Schubert’s handling of his songs. In fact, the idea of these two cycles as “men’s cycles” has only developed in the course of the 19th century, when various impacts such as the general upvaluation of the Lied genre, the transfiguration of the composer, the interpretation of his songs as being a personal statement, and the idea of Werktreueshaped the reception of Schubert’s compositions. These factors led to the consolidation of strong and still valid power structures, in which men are regarded as the norm, whereas women (and other alternative voice categories like countertenors) appear as deviation from this norm. These structures are tightly related to similar conditions and principles which have been outlined in the past decades by the masculinity studies on higher levels of our society. In this paper, I will set out this whole process by delineating the performance practice at Schubert’s time, his own attitude (insofar as it is possible), the various influences of romantic musical aesthetics, and the development of the mentioned performance tradition towards the end of the 19th and the beginning of the 20th century. Furthermore, a number of statements from the 21st century will demonstrate that these concepts are still common today, and I will correlate them with some certain principles pointed out by masculinity studies from the last decades.
More...
The work concerns Giovanni Battista Bassani’s output and its reception with a particular emphasis on manuscripts preserved in the collection from parish church in Grodzisk Wielkopolski. The oeuvre of this composer has been preserved to a huge amount today—there are 441 manuscripts and 67 prints preserved in 287 copies.The article consists of two parts. The first chapter presents a list of sources of the composer’s works, created using the RISM database with special attention to the Polish sources. In addition, a list of sources identified as the transmission of Bassani’s output is presented. The second part of the article characterises the composer’s works preserved in the collection from parish church in Grodzisk Wielkopolski.
More...
Dresden played no role in Carl Ditters von Dittersdorf’s life, but history made this city one of the most significant places regarding preserved sources of his works. In the Department of Special Collections (German: Sondersammlungen) of the Sächsische Landesbibliothek—Staats- und Universitätsbibliothek in Dresden (English: Saxon State and University Library Dresden, abbr.: SLUB), there are, among others, more than thirty archival sources containing Carl Ditters von Dittersdorf’s symphonies. That makes it the third richest collection of symphonic works by this composer. The majority of them comes from court’s theatre of Duke Frederick August Braunschweig-Oels in Oels (Öls, Polish: Oleśnica). It is one of the most representative collections of Dittersdorf’s symphonies from all known archives. There are several composer’s autographs, partial autographs, a large variety of works from all periods of his activity, and a few unique copies of symphonies as well. A minor body of Dittersdorf’s symphonies comes from two different sources, until recently unknown. One group is the set of partbooks (contemporary with Dittersdorf), including—apart from Dittersdorf’s works—several dozen movements of serenades, symphonies, string quartets etc. of G.B. Sammartini, J.G. Graun, J.Ph. Rameau, the Stamitz family and J. Haydn, apparently used in performances on the occasion of court activities, not in concerts. The second, from 1860s, is the set of scores, prepared by C. Mehner.
More...
The purpose of this article is to present a broad spectrum of relations between Arthur Honegger—a composer, and Jean Cocteau—a poet and playwright. They are often associated with the group under the patronage of Cocteau called Les Six, to which Honegger undoubtedly belonged. The poet gathered young composers around himself and became the initiator of artistic meetings and concerts. Most of them took place between 1917 and 1921. Cocteau wanted to show the path French music should follow. In accordance to that, his aesthetic manifesto Le Coq et l’Arlequinwas published in 1918.In the first section, Honegger’s and Cocteau’s aesthetic views concerning music, its elements expression are presented and confronted. Next, the composer’s as well as poet’s work is presented by the example of their cooperation.The analysis of mutual relations leads to the conclusion that, despite many different views, Honegger and Cocteau respected each other and were very kind. The composer significantly departed from the ideals of Cocteau and developed his own individual style resulting from a wide range of musical inspirations. Les Six was a short-lived group and Cocteau himself was gradually moving away from his controversial and radical views.
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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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The object of the considerations in the present study is the prohibition of the use of female voice in Orthodox synagogues and similar restrictions which were in force in the Christian Church, as well as changes that have taken place in this regard While in the female monasteries religious music began to flourish relatively early, the Jewish women could turn to perform liturgical chants only in effect of resistance against the dictum called in brief Kol isha. Beginning of these changes coincides with the period of the Jewish Enlightenment, Haskalah, in the nineteenth century, and they have been proceeding to modern times.
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Antiphonary of abbot Mścisław (Pl-Wn 12720 V) dating from before 1409 year and being one of the oldest surviving Tyniec books, documents not only its own history but also the history of the musical script in the Tyniec scriptorium from the turn of the 14th/15th century until the end of the 16th century. The manuscript testifies both one of the musical notations used in the scriptorium of the time, and the evolution of the musical notation in the scriptorium, including apart from the basic square notation various notation forms – both in the original and later layer (palimpsest fragments, margin entries, added cards) – which had been forming in this scriptorium over many years. In the scriptorium, first we can follow the changes of neumatic forms leading to square notation, and at the moment of its full formation, return to Gothic neumes. This study presents all the forms of musical record present in this book.
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The article introduces the figure of Redemptorist, rev. prof. Józef Ścibor, a well-known musicologist, expert in the theory and history of medieval music, a specialist in the field of Gregorian chant, and respected organist – composer of liturgical music. Father Ścibor for almost all his life was associated with the Institute of Musicology of The John Paul II Catholic University of Lublin. A short biography is therefore not only a reminder of J. Ścibor, but also a contribution to the history of his University and the Institute.
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One question that has emerged from recent studies on sentence processing pertains to the nature of a specific cognitive mechanism implicated in maintenance of unintegrated syntactic information in ongoing sentence processing. In addition to evidence from language, recent research on musical syntax has suggested that processing of musical sequences may require a similar cognitive mechanism. In this paper evidence is discussed for the implication of syntactic working memory (SWM) in processing of language and musical syntax, arithmetic sequences, as well as in complex motor movements used with a specific expressive purpose. The idea is that an anticipatory structure-building component governs interpretation in each of these domains by processing relevant integrations within sequences of structurally dependent elements. The concept of SWM is anchored in representational modularity and the shared syntactic integration resources hypothesis, and empirically supported by neurophysiological and neuroimaging evidence.
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The article concerns the analysis of a special kind of the twentieth-century song described by Zbigniew Adrjański as a "Warsaw song with an address", its genesis and genre links. A key point is the reference to the city from the songs to the knowledge gathered in the Warsaw address books and city plans, the aim was to sketch a few thematic maps of the capital, which emerged from the analysis.
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In the paper I analyse the ways in which a city, urbanism, city space and people living in urban environment are portrayed in Polish popular music, especially in the songs of Polish alternative bands of the 80. inthe 20th century. In popular music, the city is pictured in several ways, among which the most important is the use of words as song lyrics that illustrate urban way of life. The city should be treated as an immanent part of the rock music mythology present in the songs and in the names of bands. In the case of Polish alternative rock music of the 80.such elements are found in songs of such artists as Lech Janerka, Variete, Siekiera, Dezerter, Deuter, AyaRL. The visions of urbanism taken from their songs are the exemplifications used in the paper.
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