Осмисляне на фолклорната песен в началното училище

Author(s): Rumyana Yoveva / Language(s): Bulgarian Issue: 1/2016

The paper offers a framework for better understanding of the folklore song in primary school. Its nature is informal. The teacher has the right to model and re-model the methods discussed and to ignore/adapt some of them in regard to the audience involved. The project is based on the fact that a given piece of certain education content and its understanding is compulsory affiliated to the type of the text and genre identification (myth or folklore or a literary one). The methods discussed involve revealing of the characteristics that are part of the folklore culture and the expression of which is the song itself. The genre of the song motivates the problems in its understanding and the examples show the way they function.

Grime jako muzyka i etnografia kryzysu

Author(s): Jacek Drozda / Language(s): Polish Issue: 03/2017

This article provides the reader with an overview of selected aspects of cultural significance of grime music and related phenomena. This musical genre creates an explicit background of contemporary social relations existing in multicultural, popular neighbourhoods of British cities. Grime’s relations with the media and the political surrounding partly resemble some features of the 1990’s “cultural boom”. However, grime and its network of relations live in the times of crisis. The overview of grime’s attributes presented hereinafter is an introduction to a wider study, currently in the process of development.

„Na kwadracie i na jego obwodzie”. Ursynowski rap lat 90.: konfrontacje, identyfikacje, aspiracje

Author(s): Piotr Kubkowski / Language(s): Polish Issue: 03/2017

The text is an attempt to define the relationship between the urban space of Ursynów housing estates and the early works of Polish rap created in this district. The first Warsaw rappers were coevals of the district (born in late 70. and early 80.), also their nicknames were borrowed from the elements of its space, and most of the songs – in which they imitate the practices of black American rappers – were also devoted to Ursynów. Nevertheless, a crack in this narrative can be observed – the artists mostly origin from good families, their sterile auto-creations seem not to be compatible with American rap stereotypes as imitated. The author follows and interprets these narrative discontinuities.

Откровение. Случайност или съдба…

Author(s): Nelly Pinteva-Bance / Language(s): Bulgarian Issue: 15/2017

The text “confessions” gathers the memories of a Bulgarian musician who has lived abroad, in France, for over 30 years. She is one among the thousands who were “officially migrated” by “the Bulgarian Music Depart¬ment”. These people were granted a passport and visas in exchange for a percentage of what they earned abroad. The Bulgarian musicians were very much appreciated and sought for in Europe and in the whole world and they made up the core of the most renowned symphony and opera orchestras in the world. As she confided in her memoir, the conductor Nelly Pinteva-Bance has always thought it was arduous to tell who she really is: on the one hand, she is convinced she is a citizen of the world as Music is a universal language, on the other, she feels entirely integrated into her French family and France that is for her the symbol of Liberty and Democracy. But, deep down in¬side, regarding her sensitivity and emotional world, she has the feeling she remains Bulgarian which entails for her the awareness that she must em¬body and perpetuate Bulgarian culture, the sole riches of her small and poor homeland. On the occasion of Bulgaria joining the EU, Nelly Pinteva-Bance con¬ducted a Bulgarian orchestra in a series of concerts in France as well as in Switzerland, at the United Nations building in Geneva and at the Town Hall in Bern, with members of the diplomatic corps and of the Swiss government as well as simple citizens and Bulgarians living abroad. The interpretations of classical Bulgarian music, which Western Europeans are hardly familiar with, received an extremely enthusiastic reception and emotion was at its highest when the public started chanting “Welcome to Europe”.

Binaural and Ambisonic Sound as the Future Standard of Digital Games

Author(s): Tomáš Farkaš / Language(s): English Issue: 2/2018

The author of this study suggests an idea that the auditive element of digital games is soon going to be one of the most important factors influencing their overall success, popularity, and originality. He analyses the phenomenon of binaural and ambisonic sound, its evolution and uses in the context of modern audio-visual work, primarily focusing on games. The auditive component and its increasingly important role are analyzed in connection with the graphic design of games, virtual reality, as well as the popularity of specific games. This paper also focuses on audio-games, the use of binaural sound (which was first used ona large scale in Hellblade: Senua’s Sacrifice) and various hybrid digital games, which are balancing between classic games and audio-games. Argumentation is based on an assumption that binaural sound is the way to ambisonic sound, which (within the context of the immersive and interactive character of digital games) predestines the new standard and shows an entirely new way of creating and using digital games at the same time. All of this is reflected in the context of the graphic design of digital games and their future.

FÓKUSZ / Ioana Szeman: Láthatatlan színházak

Author(s): Ioana Szeman / Language(s): Hungarian Issue: 4/2018

This inquiry focuses on the question of how the figure of the passionate Gypsy has become so fashionable lately at costume parties, in soap operas and reality shows, yet without strengthening the Roma cultural identity itself. The fact that the Roma people are missing from the Romanian theatrical palette also sheds light on​ how the Roma are excluded from the institutional and state-supported forms of national culture.

Színre vitt állampolgárság. Romák, performansz és identitás az európai uniós Romániában

Author(s): László Fosztó / Language(s): Hungarian Issue: 4/2018

Ioana Szeman’s new book, Staging Citizenship, reviewed by social anthropologist László Fosztó, discusses both the difficult socio-economic conditions and damaged cultural identity of the Roma people in Romania, as well as their performances and performative actions, carried out in different cultural spaces. The fieldwork​ conducted in the Roma community, depicted under a fictional name in this volume, sheds light on a series of stereotypes and representational problems associated with the Roma, as well as on the chasms in citizenship and on the cultural and political contexts of their characteristic art performances in Romania.

Slovenska etnomuzikologija v letih 1848-1941

Author(s): Julijan Strajnar / Language(s): Slovenian Issue: 6-7/1984

Ethnomusicology is a special discipline closely related to musicology and ethnology. There has always been a split, sometimes even misunderstanding, between historians of music and ethnomusicologists. In Slovenia, the interest in recording folk music grew strong in the second half of the 19th century, and the collections by Vraz, Ziljski, Štrekelj, Kocijančič, Murko, and others, resulted. In the first half of the 20th century, the most distinguished person in the field was France Marolt. The author analyses in more detail works of M. Bajuk and R. Hrovatin. Early ethnomusicological studies were based on the material collected mostly by amateurs (travelers, priests, teachers, Slavists, organists etc.) who did not have adequate training, sensibility, nor technical means for recording subtleties of folk music performance. The research into instrumental folk music did not start in Slovenia before World War II. It still remains a major task of Slovene ethnomusicologists.

Olici hrvatske etnomuzikološke djelatnosti od 1848-1945 (orijentacijski uvidi - koreferat)

Author(s): Jerko Bezić / Language(s): Croatian Issue: 6-7/1984

In that period, the basic forms of ethnomusicological activity were: collecting data, their publishing, their scientific analysis and discussions of certain theoretical questions. The published material consisted of: direct registration of music phenomena; arrangements for chorus performances; and single-voice recordings with piano accompaniment. (Folk instruments and instrumental music are subjects of another paper prepared for this conference.) Following individual research efforts, more systematically organized fieldwork was carried out in the 1920’s and 1930’s by the Ethnographic Museum in Zagreb, as well as by activists of Hrvatska seljačka sloga in connection with folklore festivals. Illustrating theoretical issues of the time, the author presents researchers' views of the subject of ethnomusicological research. It is pointed out that F. S. Kuhač included urban folk songs among folk music as early as 1890’s. Among the theoretical problems, the ethnomusicologists of that period paid most attention to the question of tonal relations, especially to the so-called Istrian scale.

Формати и фрагментиране в дигиталното детство

Author(s): Delyana Nesheva / Language(s): Bulgarian Issue: 1/2017

Internet has inevitably the media landscape and the way we communicate with each other. The trend has an immense impact on childhood, too. Today, children are “digital natives”. They are always on, always connected, living in a world of communication fragments. Attention spans are shrinking, so do media formats. The aim of this article is to identify and analyze trends in content production and consumption in the digital era. A small-sized yet focused empirical study on the Bulgarian television programmes for children is also presented.Internet has inevitably the media landscape and the way we communicate with each other. The trend has an immense impact on childhood, too. Today, children are “digital natives”. They are always on, always connected, living in a world of communication fragments. Attention spans are shrinking, so do media formats. The aim of this article is to identify and analyze trends in content production and consumption in the digital era. A small-sized yet focused empirical study on the Bulgarian television programmes for children is also presented. The publication is part of the research results of the project N145/2016, supported by Science Sector Fund of Sofia University “St. Kliment Ohridski” on topic “The Film Proposals of the Televisions in Bulgaria in the Period 2010-2015”, headed by Assist. Prof. Zhana Popova. Participants: Bistra Velichkova and Deiana Dragoeva, the Department of “Radio and TV”.

Tенденции в развитието на видео блоговете в периода 01.10 – 31.12.2015 г.

Author(s): Victoria Marinova / Language(s): Bulgarian Issue: 1/2017

The main aims of the text is to present what are the prevailing trends and processes that take place in YouTube video blogs from 01.10. to 31.12.2015. For this purpose, a total of 50 video blogs have been compared, divided into five thematic categories, by examining the activity of the authors in the period, the approaches used to attract and retain the customer attention, the content theme and the degree of inclusion of products and services in mentioned period. The text is a part of the bachelor’s degree thesis, which was presented in the Department 'Radio and Television' of Faculty of Journalism and Mass Communication in 2016.

Неформалната култура и медиите в България през 80-те години на XX век. Диалогът не/възможен?

Author(s): Mihaela Samardzhieva / Language(s): Bulgarian Issue: 2/2017

The aim of this paper is discussing the points of interaction between Bulgarian media and non-formal culture in the 1980s. Given the complexity of the phenomenon, the tension is explained rather briefly, with some bright examples on non-formal culture incentives during that period. First, time frames are set and working definitions on the key terms are provided, i.e. non-formal culture and media. Following are the concrete examples on how media and non-formal culture interact over the period. More specifically, the selected examples are: the case of „Committee to Save Ruse“, a „public secret“ and an example for a semi-dialogue between media and non-formal culture; the installation of Nedko Solakov called „Looking at the West“ that exemplifies outstanding censorship or „dialogue made impossible“ and the „We from Kravai“ movie as an example for „dialogue made possible“. The text is a small part of my doctoral dissertation with a title: „Non-formal culture and the Bulgarian radio during the 1980s“.

Формы социальной активности молодой интеллигенции 1960-х годов в пространстве провинциального города

Author(s): Natalia Yurievna Krivopalova / Language(s): Russian Issue: 3/2018

The article shows the activity of the young Samara intelligentsia as a part of City youth club as reflection of new social, ideological and art tendencies of the 1960-s. Forms and content of work of the clubmen seeking to become participants of public life of the city are analyzed. The main projects of club which have changed space of a country town and put significant cultural traditions are revealed.

Can Transhumanism Help People Turn Their Lives into Art?

Author(s): Zoltan Istvan / Language(s): English Issue: 1/2018

Transhumanist artists have recently been increasing in popularity and numbers. Whether it’s metal-welding sculptors, futurist-oriented video game developers or techno-musicians celebrating life extension, there is more of it being created every day, some of it in new forms of media.

Izganjanje jazza iz slovenske glasbene scene po drugi svetovni vojni

Author(s): Aleš Gabrič / Language(s): Slovenian Issue: 1/2009

As the Communist Party took over the power in 1945, in Yugoslavia/Slovenia the attitude to the cultural influences of the West became tenser. On the music scene, jazz became synonymous of unwanted Western influences. In the period of total imitation of the Soviet cultural model, the authorities prevented the performance of jazz in various ways, but after the Cominform dispute between Yugoslavia and the Soviet Union, jazz returned to the programme of Radio Ljubljana. The controversy whether jazz was acceptable for the Slovenian cultural scene started in 1951, when the authorities indicated they would not forcefully banish jazz from the programmes of cultural institutions. The attitude towards jazz in the 1950s was the subject of several discussions within various political bodies and debates in the media. At the turn of the 1950s, the Slovenian political leadership finally realised that there was actually nothing wrong with jazz in Slovenia.

Flagging Support for Rockabilly Rebels: the Confederate Battle Flag’s Place in the Current European Rockabilly Scene

Author(s): Paul Glavey / Language(s): English Issue: 1/2019

The continued presence and place of the Confederate battle flag in the modern United States of America is the focus of significant contemporary debate. Originating from the American Civil War the presence and use of the flag has spread through the United States of America and internationally, and its meaning has developed and changed far beyond its origins as a military flag. This paper addresses some of the contemporary uses of the flag. It situates the flag within current U.S. domestic political debates and considers how these relate to its usage in the UK and continental European rockabilly scene. It explains the reasons for the recent, widespread focus on the flag as a symbol of racism and white supremacy. The paper argues that despite some members’ shared view of the flag as a supposedly apolitical, longstanding symbol of the rockabilly scene, the rising threat of white supremacy and far right politics internationally has made the defence of the flag in these terms insufficient. It goes on to conclude that the rockabilly scene in the UK and Europe could, and should, abandon their use of the flag with no loss to its identity. Konfederatų kovos vėliava vis dar plačiai diskutuojama šiuolaikinėse Jungtinės Amerikos Valstijose. Atsiradusi JAV pilietinio karo metu vėliava išplito tiek Amerikoje, tiek už jos ribų, o jos reikšmė smarkiai pasikeitė; ji prarado ir originalią karinės vėliavos reikšmę. Šiame straipsnyje analizuojami keli šiuolaikiniai konfederatų vėliavos naudojimo atvejai. Autorius aptaria dabar vykstančias politines diskusijas apie vėliavą JAV ir mėgina paaiškinti, kaip jos susijusios su vėliavos naudojimu Jungtinės Karalystės ir kontinentinės Europos rokabilio muzikoje. Straipsnyje paaiškinamos priežastys, dėl kurių vėliava laikoma rasizmo ir baltųjų suprematizmo simboliu. Autoriaus teigimu, nepaisant kai kurių rokabilio muzikos atstovų požiūrio į vėliavą kaip tariamai nepolitinį, ilgalaikį rokabilio simbolį, vis didėjanti baltųjų suprematizmo ir radikalios dešinės politikos grėsmė tarptautiniu mastu paverčia šį požiūrį nepagrįstu. Straipsnyje daroma išvada, kad rokabilio muzikos atstovai tiek JK, tiek Europoje galėtų ir turėtų atsisakyti vėliavos neprarasdami savo kultūrinio tapatumo.

Върху някои аспекти на хибридността в българския рок и метъл

Author(s): Plamena Petrova / Language(s): Bulgarian Issue: 5/2019

The text outlines some aspects of hybridity in Bulgarian rock and metal. The focus is on metal music, rock is included, primarily because metal is a part of it, some of the external elements, used in metal, are from other types of rock music and some hybrid forms have a controversial status – they come from metal, in part, but are they metal? In addition to stable hybrid forms, the text includes examples of milder hybridity, wherein external elements are used, without creating a new metagenre. Another accent is the hierarchy of hybrid forms, tied to the way the source genres and micro cultures are perceived. An attempt has been made to explain the importance of self-defining and “external” (or outsider) definitions for the understanding of different musical categories, their use and perception, which can affect the genre-cultural hierarchy of hybrid musics.

Проблясъци от старо злато

Author(s): Ventsislav Dimov / Language(s): Bulgarian Issue: 5/2019

A review of professor Rosemary Statelova’s book “Estrada and Socialism: Glimpses”

Образи на близкия и далечния друг в изкуството в България от края на ХІХ и началото на ХХ век

Author(s): Irina Genova / Language(s): Bulgarian Issue: 39/2019

Berlin Theater Treffen 2019 – актьори, материали, фабули

Author(s): Violeta Decheva / Language(s): Bulgarian Issue: 39/2019