Tschechoslowakei - No Future für Punks?

Author(s): Andrew Csepel / Language(s): German Issue: 14/1983

1976 zerstörten der Schauprozeß und das Urteil gegen die »Plastic People of the Universe« die tschechoslowakische Untergrund-Rockszene. Die Massenmedien widmeten dem Verfahren beträchtliche Aufmerksamkeit und die Ausschaltung der Gruppewar von großer Bedeutung für die Politik der »Normalisierung« . Nicht etwa deshalb, weil die Band jemals eine ernsthafteBedrohung des Regimes dargestellt hätte, sondern weil diealternative Rockmusik-Szene potentiell ein großer Anziehungspol und ein fruchtbarer Boden für unorthodoxe Ideen und Haltungen innerhalb jener entscheidenden sozialen Gruppierung hätte werden können, die den »Normalisieren« so amHerzen lag — der Jugend

Tantiemy dla współtwórców utworu audiowizualnego w kontekście usług platform streamingowych oraz dyrektywy w sprawie prawa autorskiego na jednolitym rynku cyfrowym

Author(s): Iga Bałos / Language(s): Polish Issue: 2/2023

The aim of the article is to present the nature of remuneration due to film co-authors and performers on the basis of Art. 70(2)(1) of the Act of February 4, 1994 on copyright and related rights (CRRA). The current wording of the provision does not take into account the realities of the contemporary audiovisual industry and changing habits of audience who give up cinema screenings in favor of VoD. The streaming services also replace usage of films stored on DVD or other carriers. According to Article 18 of Directive (EU) 2019/790 of the European Parliament and of the Council of 17 April 2019 on copyright and related rights in the digital single market, the Member Stated shall ensure that where authors and performers license or transfer their exclusive rights for the exploitation of their works or other subject matter, they are entitled to receive appropriate and proportionate remuneration. According to the author of this article, the said article, with respect to coauthors of an audiovisual work should be implemented by extending the scope of Art. 70(2)(1) of the CRRA by introducing an inalienable right to appropriate remuneration for making the work publicly available in such a manner that anyone could access it at a place and time individually selected by them.

Koncepcje strategiczne polskich filharmonii i orkiestr

Author(s): Małgorzata Kaczmarek / Language(s): Polish Issue: 4/2023

The high degree of the environment instability generates the need to apply not only a strategy, but also a range of management practices as well as tools to the day-to-day operations of cultural institutions. Strategy can therefore be seen as a modern way for continuous adaptation to the environment. Having and implementing a strategy, including marketing strategies, is important not only from perspective of the declining participation and attendance in cultural events in the Polish society, but also because of the need to meet the requirements of effective operation. Hence the emerging question: how to manage a cultural institution whose survival nowadays is more than ever dictated by an unclear future scenario? This paper will present the strategic concepts of the Polish philharmonics and orchestras, which are a response to the challenges of the environment with different attitudes and activities.Qualitative research in form of the individual in-depth interviews (IDI), which form the basis of the study, was conducted between May 2022 and May 2023. They were concerned with management tools currently used by managers and directors of public cultural institutions – in case of this study, these were philharmonics and orchestras. Transcripts of a total of 25 in-depth interviews were analysed, then categorised and compiled using qualitative research support software.The conclusions that emerged from the literature review and qualitative research indicate a strong diversification in the attitudes of philharmonic managers. The hybridisation of artistic activities means that, as never before, philharmonics are diversifying not only their identity, but also the range of activities as well as their effect. The environment plays an increasingly important role in this process.

Wiedza boska a wiedza ludzka. Boska synestezja w filozofii Ksenofanesa z Kolofonu

Author(s): Sebastian Śpiewak / Language(s): Polish Issue: 49/2023

The aim of the present article is to analyze the poetry of Xenophanes of Colophon concerning his epistemological considerations with the notion of god proposed by him. Traditionally, Xenophanes is well known as a philosopher engaged in the debate on the meaningfulness of mythological ideas. At the same time, he advocates the concept of god, which is different from pictures transmitted through The Greek epic. It shall be shown how the theological approach of the Colophonian finds its justification in his remarks on cognitive abilities, especially in creatively used opposition between human and divine knowledge. Recently indicated, the connection between Xenophanes’ theology and his epistemological theses is not exhausted in the critique of religious anthropomorphism but is more profound, and based on the awareness of the impossibility of clear knowledge (saphes) for a human being. The latter is, however attributed to god alone, who gains the knowledge in the manner of synesthesia.

The language of multimedia presentation

Author(s): Rumjana Stefanova / Language(s): English,Bulgarian Issue: 17/2023

The present study is devoted to one of the forms of visual communication – multimedia presentation, considered in semiotic terms as a sign system. A structural approach is used in the present consideration and the basic principles for transforming a sign system into a signifying one are presented, as well as the conditions it should meet. The study uses the principles of linguistic analysis as a basis, analysing semantically the form and meaning of each text. In this case, the presentation is analyzed as a text and a part of language. Following the analysis, the study concludes that multimedia constitutes a sign system whose functioning is carried out in two axes: the simultaneity axis and the succession axis, which does not correspond exactly to the two axes in language: the paradigmatic and the syntagmatic. Each multimedia presentation is a complex hierarchical system with a tree-like semantic graph structure, but without meaning units and with syntax principles respected. Multimedia presentation in contemporary presentation forms is a typical example of the synergy of technology and the means of graphic design, and its integrated impact on the senses for marketing and advertising tailored to the specific target group of users.

The Presentation of Popular Music in Yugoslav Socialist Discourses (1945–1952)

Author(s): Dragica Popovska / Language(s): English Issue: 1/2024

This paper deals with popular (entertainment, dance or light) music in Yugoslav socialist discourses, in the period from 1945 to 1952. It is based on newspaper articles of the time, which provide insight into the ways in which the tension, contradictions and possibilities in everyday life related to music and dancing forms of entertainment, were identified. The analyzed data shows that there was an interaction of generative and restrictive practices in Yugoslav society. They indicate the way in which the image of popular music was shaped in the socialist discourse in the 1945–1952 period.

„Styky s Němci, spekulantka, vdavekchtivá vdova, to vše jsem byla“: životní (melo)drama Žofie Veselíkové

Author(s): Pavla Plachá / Language(s): Czech Issue: 01/2024

The article discusses the complex and controversial life of Žofie Veselíková, an opera singer and actress, remembered by her daughter Soňa Červená as a victim of both the Gestapo and the State Security. Born in 1896, Veselíková experienced a tumultuous life marked by multiple marriages, financial struggles, and interactions with various political regimes. Her life took a darker turn during the Nazi occupation, where she was involved with influential figures in the German administration and allegedly worked as an informant. Despite her attempts to navigate the dangerous political landscape, she faced significant challenges and controversies, including accusations of opportunism and betrayal. Her story is a reflection of the complexities and moral ambiguities faced by individuals during totalitarian regimes. Veselíková's life ended tragically in a communist prison, highlighting the harsh realities of the era.

Елементи от традиционния музикален театър в ариите на оригиналните китайски опери

Author(s): Jiangzi Jiang / Language(s): Bulgarian Issue: 15/2024

“The White-Haired Girl“ is the first original Chinese opera. It combines Western music, music from regional Chinese music dramas and Chinese folk music. In this sense, “The White-Haired Girl“ has very high research value. One of the most brilliant vocal performances in the opera is the protagonist's aria “Hate like a mountain, anger like a sea”, which incorporates musical elements from the regional musical theatre of Shanxi province. In this paper, the aria is analyzed in terms of its musical nature, the features of vocal line and emotional expressiveness, the use of elements from Chinese musical theater in operatic arias is explored, and its significance and influence on the creation of opera on local soil is examined.

5–8 klasių muzikos vadovėlių analizė krikščioniškųjų vertybių raiškos kontekste

Author(s): Klaidas Kauneckas / Language(s): Lithuanian Issue: 1 (53)/2023

By applying the method of content analysis, the article analyzes basic (grades 5–8) music textbooks by different authors. The article aims to find out how much and in what way Christian values are presented in the content of musical education. The results of the research revealed that the Christian faith, its meaning and values are most reflected in Balčytis’s series of textbooks “Muzika” (2007). Malikėnienė’s textbooks “Muzika” (2010) and “Muzikos labirintai” (2012) pay more attention to the development of students’ secularity and understanding of music.

Utopia, Sound, and Matter in Ernst Bloch

Author(s): Federico Rampinini / Language(s): English Issue: 2/2023

Bloch’s philosophy of music is one of the most interesting of the twentieth century, particularly in the context of Marxist aesthetics. This article focuses on the various peculiarities of this thought, which seldom are highlighted. Firstly, through a new analysis of the musical sections of Spirit of Utopia and The Principle of Hope, the relation between utopia and music will be discussed in Sections 2 and 3 in order to show the originality of Bloch’s refusal of the Marxist base-superstructure model in the field of aesthetics. In contrast to the other philosophies of music, the study of music inspires theoretical speculation in Bloch’s thought and not vice versa. In order to demonstrate this connection, in Sections 4 and 5, the idea of the sound in Spirit of Utopia will be examined and compared to the conception of the matter as it is presented in The Principle of Hope, The Materialism Problem, its History and Substance, and other works. These paragraphs aim to highlight how the early conception of sound was the model for the later conception of matter.

Musical Instruments of the Turkic Peoples of the Volga Region and Urals

Author(s): Gulnara Khayrullina / Language(s): English Issue: Spec/2023/2023

National musical instruments are part of the culture and history of the people. They reflect the characteristics, temperament and mentality of the people, the conditions for their formation as an ethnos. Variety, rich sound, unusual melody pattern – national musical instruments create all this. Every ancient musical culture has its origins in ancient rites. Folk music of the Turkic peoples of the Volga region and the Urals was no exception. Singing was accompanied by pagan and mystical sacraments, holidays, household and daily rituals such as hunting, harvesting and much more, including military campaigns. The sound of folk instruments has a specific musical pattern and voice that distinguishes the musical instruments of the Turkic peoples from other ethnic groups that have settled since ancient times in the Urals and the Volga region. This is due to the fact that the Tatars and Bashkirs have always preferred melodic musical instruments that allow performing a branched, rich melody in a wide range. Although the list of musical instruments has about fifty varieties, this article analyses the most characteristic and ancient ones.

СВАТБЕНИТЕ ПЕСНИ НА БЪЛГАРИТЕ ОТ ОБЛАСТТА ГОЛО БЪРДО, АЛБАНИЯ И ТЕХНИТЕ ДИАЛЕКТНИ ВАРИАНТИ

Author(s): Veselka Toncheva / Language(s): Bulgarian Issue: 16/2019

This paper compares textual and musical variants of wedding songs from Golloborda Region, Albania, which are known and popular in the territory of Bulgaria and Republic of Macedonia. Golloborda is a Bulgarian populated region that remained in the territory of Republic of Albania when it became an independent state (1912‒1913), but the defined state borders do not change its dialectical unity with Pirin, Vardar, and Aеgean Macedonia. Variants of "Gollobordian" songs exist in territories located to the east of Albania in the ritual female song repertoire, as an older stratum. The relation is at the typological level – certain types of songs are presented at key moments of the ritual and there is propinquity in textual and musical content.

СИТНО КОЛО КАО ЖИВИ ЕЛЕМЕНТ НЕМАТЕРИЈАЛНОГ КУЛТУРНОГ НАСЛЕЂА НА ПОДРУЧЈУ РАШКЕ ОБЛАСТИ

Author(s): Marta Janković / Language(s): Serbian Issue: 52/2023

In the wider area of Raška, the small round, which represents a living element of intangible cultural heritage, is still performed today. The mentioned dance belongs to the kinetic-formal type of round in three, the most widespread and persistent pattern in the dance tradition of Serbia. The small round is practiced in formal and informal contexts, i.e. at various private and public celebrations (weddings, vows, baptisms, prelo, poselo, baptism dances, etc.). The musical accompaniment of the small round can be made by a clarinet and a drum, as well as pipes. The main goal of the work is to look at the specifics of the performance of this round, to determine its basic characteristics as elements of intangible cultural heritage, as well as the scientific interpretation of this form of appearance. In addition, one of the goals of the work is to present the performance style of the Raška region, i.e., to indicate the way of dance thinking on the example of the small round. For the purposes of this work, field and historiographical research was carried out in search of data on the small round. On that occasion, the literature and work of researchers of various profiles, ethnographers, as well as amateur researchers who carried out research in this area were consulted. The results show that the name sitno kolo (small round), as a dance that belongs to the kinetic-formal type of round in three, does not exist in the literature, but based on interviews with representative practitioners, it can be concluded that it is performed in the entire area of Raška, in Podgolia, Podkopaonic and villages at the foot of Rogozna mountain. The expert explanation of the kinesic and musical text describes in detail the factors that ensure the recognizable kinetic impulse of the small round. In addition, the factors and indicators that can influence the fact that the small round, which still lives in current practice as an important identity marker of the Raška region, are characterized as part of the intangible cultural heritage.

Figury afektywne w polskiej piosence

Author(s): Leszek Tymiakin / Language(s): Polish Issue: 1/2024

In the article, rhetorical devices which help to express external emotions are described and supported with examples (exclamatio, evidentia, sermocinato and similar prosopopeia, expolitio and similitudo). In the song genre, apart from the main constitutional role, these devices perform two other interdependent tasks: the first one is related to the sender, the second one – to the recipient. In addition to their expressive and conative functions, the supporting role is assigned to the following functions: amplifying, motivational and aesthetic. It is important that the beauty and charm of short, vocally performed pieces are to a large extent dependent on not only on the music but also on the words used in them to successfully express and engender emotions.

KOMODIFIKACIJA I KULTURNA INDUSTRIJA: RAZUMEVANJE TREP FOLKA I „GASERSKOG“ STILA U SRBIJI I POSTJUGOSLOVENSKOM PROSTORU

Author(s): Dragana Mrvoš,Barbara Frey / Language(s): Serbian Issue: 1/2024

The capitalist market system of post-industrial society gradually encompasses all social relations as it subsumes the entirety of social and cultural realms under its profit-making logic. Music is also deeply immersed in economic transformations of society and is a significant determinant of youth identities and style. In this study, we analyze the origin and characteristics of trap folk music and gaser style among young people in Serbia and the former Yugoslav region. In order to better understand the peculiarities of the new music genre and the style associated with it, we primarily analyze the importance of commodification and the cultural industry. Methodologically based on a qualitative analysis of popular trap folk songs, visual representation and slang among the most popular trap folk artists, our study points to the presence of global consumer culture and political apathy among young people in the Balkans, which also reflects the formation of fluid identities without visible authenticity and deeper meaning. Despite the apparent absence of political resistance, we conclude that class affiliation is an important determinant of the emerging gaser style and identity, which is not the case in post-subcultural sociological discussions about youth subcultures.

„NEUKUS“ KAO OBLIK KULTURNOG OTPORA: FESRAM I DEBATA O LOŠOJ MUZICI U SRBIJI

Author(s): Irena Šentevska / Language(s): Serbian Issue: 1/2024

The recent social developments in Serbia have established a new model of political monopolies and an effective return to the one-party regime. Such absence of alternatives in the official political sphere provokes three basic forms of resistance: complete disillusionment with the political system and its major exponents which results in political abstinence; mass protests in response to concrete instances of abuse of political power and informal cultural initiatives which communicate political messages through the critique of the politicisation of the cultural sphere. In this paper, the case study for this form of political resistance is the independently produced, low-budget music festival Fesram (Festival sranje muzike or Festival of Crap Music), active between 2012 and 2019, which at the same time challenged the political and cultural systems in the country, and their respective core values. The introductory part of the article situates Fesram in the context of the existing forms of political resistance to the currently dominant political regime. The second part discusses the concept of „bad music“ in the Serbian cultural context, its history and academic treatment (or lack thereof), and its wider cultural and political implications. The third part discusses Fesram, its background, and practices. The fourth part discusses Fesram’s manner of dealing with the cultural stereotypes prevailing throughout Serbian history and the perceived absence of social criticism in Serbia’s official cultural sphere. In the concluding part Fesram is observed as a form of „discreet activism“ resorted to in circumstances in which other forms of political resistance seem to fail. Without permanent funding, venues or a fixed time-frame, Fesram changed its dates and locations, spontaneously responding to current goings-on in Belgrade and Serbia, and communicated with its audiences mainly through its Facebook page. Playing with ideological opposites, confronting them in „outrageous“ combinations (musical, verbal and visual) Fesram invited its audiences to critically (or even un-critically) distance themselves from the extreme poles of the political spectrum. Although it parodied characters from the official political and cultural spheres and mocked the language of tabloid media and the prevailing political jargon, Fesram did not align with any established political option, inviting its audience to think beyond the existing political system and question the society’s core values. Fesram was not didactic: it communicated exclusively by annoying anyone who failed to receive its messages. And Fesram’s probably most important message is that Serbian society has nurtured false cultural values and associated political doctrines for far too long and that it has only itself to blame for the condition it has found itself in. This erratic music festival had not only shaped an alternative form of activism, but a new type of „activist citizen“ who understands the meaning of „crap“ (whether in music, culture, politics or society in general) and the importance of this understanding. Fesram also showed that political resistance goes hand in hand with resistance to the cultural values propelling political action.

Gesamtkunstwerk i multimedija – između auratskog i tehničkog

Author(s): Livia Pavletić / Language(s): Croatian Issue: 25/2024

The idea of the text is to question the similarities and differences between the concepts of gesamtkunstwerk and multimedia. These are terms that presuppose the search for a new form of unification of artistic forms, at different times and in different ways. The key thinker (and artist) of gesamtkuntwerk or that orientation is the composer Richard Wagner. The theoretician who was at the crossroads of the worlds of traditional art and the contemporary technical sphere was Walter Benjamin. He begins a new line of writing about art, which is supported by theorists such as Marshall MacLuhan, Vilem Flusser, Friedrich Kittler, Jean Baudrillard, Dona Harway, Lev Manovich and Maurizio Lazarato. The text will present the idea of gesamtkunstwerk and compare it with some of the views of theorists who accepted or rejected this idea.

Beat music, sláger, and different song translations in Socialist Hungary [Ignász, Ádám (ed.) (2023). Translation, adaptation, and intertextuality in Hungarian popular music. (Jazz under State Socialism. Volume 8). Lausanne et al: Peter Lang. Pp. 282]

Author(s): Johan Franzon / Language(s): English Issue: 15/2024

Research on the Impartment and Inheritance of Tea-picking Dance in Southeastern Guangxi

Author(s): Li Xie,Weibo Dang / Language(s): English Issue: 7/2024

The Tea-picking Dance of Southeast Guangxi Intangible Cultural Heritage project has great local characteristics and high cultural value. However, the current situation of protection and inheritance is not optimistic. Countermeasures research on the protection and inheritance of Tea-picking Dance of Southeast Guangxi is conducive to further improving the Intangible Cultural Heritage related disciplinary system, providing countermeasures references for local intangible cultural heritage protection and inheritance, and at the same time is conducive to empowering rural revitalization and promoting the economic development of the region.This paper uses the methods of literature investigation, interviewinvestigation and SWOT-AHP to carry out weight analysis and explore the dilemma of protection and inheritanceThe research results show that there are certain dilemmas in the protection and inheritance of Tea-picking Dance of Southeast Guangxi. Such as the lack of innovative content, the aging phenomenon of the inheritors, the lack of inheritance awareness, the lack of Intangible Cultural Heritage staff, the low application of digital protection, the lack of cooperation between theIntangible Cultural Heritage protection departments, and the lack of the development of cultural industry chain for the Tea-picking Dance. Based on this, the constructive countermeasures for the Intangible Cultural Heritage protection and inheritance of the Teapicking Dance of Southeast Guangxi are proposed, hoping to provide a path reference for the protection and inheritance of other Intangible Cultural Heritage projects in China.

Нотирани паметници от Югозападните български земи до XV век

Author(s): Svetlana Kujumdzieva / Language(s): Bulgarian Issue: 1/2023

The notated manuscripts from the South-Western Bulgarian lands up to the fifteenth century are discussed. The sources are an evidence for the adoption of the musical systems that were in use at that time in the Balkan Orthodox countries – ekphonetic, palaeo-, middle- and late-byzantine. The systems were adopted on a high professional level. Numerous Triodia manuscripts testify to the work started in the Ohrid school at the time of St. Clement of Ohrid on the preparation of the repertory in Old Bulgarian language that was necessary for the worship in the newly founded Bulgarian Church: for Great Lent, Easter and post-Easter time, as it was pointed out in the Vita of St. Clement. The adoption of the musical systems on a high professional level suggests the maintenance of the church music by a strong liturgical and educational center, such as the Bulgarian Archbishopric in Ohrid.