The Motivation for Studying Music at Conservatory

Author(s): Taťána Jurčíková / Language(s): English Publication Year: 0

The article deals with the subject of motivation for professional studies of music at conservatory, especially with the reasons for choosing this school, motivation in studies, study and professional aims of the students at the beginning of the studies. The results of the research which examined the mentioned questions and was conducted in the form of a questionnaire survey in the first year conservatory students are presented. The results showthe main motivational factors of the studies and also an interesting disproportion between students’ aspirations and possibilities of their realistic fulfilling.

Using Students‘ Talent in Music Lessons

Author(s): Kamila Sokolová / Language(s): English Publication Year: 0

Education seems to be a determining element of culture which by its own support and by using talent expects and refers to the interpretation of pedagogical experience of also music education teachers in changing school conditions and educational connections and at the same time to the adjustment of their professional behaviour to reflected and accepted reality of the educational environment.

Prolegomena do badań nad twórczością religijną Amanda Ivanschiza

Author(s): Maciej JOCHYMCZYK / Language(s): Polish Publication Year: 0

Vocal-instrumental religious works of early Classical composers remained in the shadowof secular music for a long time in musicological studies. Despite the fact that our state ofknowledge has undergone a gradual improvement, still many interesting authors of that timeremain unknown. One of the representatives of a temporary period between the Baroqueand Classicism is father Amandus Ivanschiz (1727—1758), a Pauline monk and composerwho stayed in an Austrian Wiener Neustadt and Mariatrost near Graz, and, as the latest researchclaims, was also seen in Rome. In the context of father Amand’s early death, we haveto pay a special attention to a large number of found works (over 100 compositions) andtheir stylistics, clearly introducing Classicism in music. It is expressed in a definite divergencefrom a polyphonic texture and linearism in favour of clear and early Classical “lightness”.The very feature can be observed both in the secular and religious music.Vocal-instrumental compositions by Ivanschiz, the most popular of which are known forits few or even several copies, were maintained in over 260 manuscripts stored in about 70archives in the territory of 8 countries in Central Europe. These are above all masses, litanies,settings of Marian antiphons and other religious works of a cantata structure. One ofthe most serious challenges connected with the research of the repertoire in question is theissue of establishing and confirming the authorship of the composition (the autographsdevoid of doubts have not been found so far), as well as the issue of the variant nature of themessage. It takes on every possible form in father Amand’s music, from small differences insound pitch or transposition (of a whole composition or a part of it) to voice changes or additionof subsequent instrumental parts and a deep recomposition or a change of longerfragments of works. A substantial majority of known copies of his works was created between1760 and 1800, so after his death whereas some of them were copied even in the 19thcentury. It shows how long father Amand’s works functioned, but also calls for a far-reachingcarefulness when making an attempt to locate little-known composers in time on the basis ofthe dates of their work copies

Z problematyki dziejów i wariabilności pieśni kościelnej Kto się w opiekę... w śląskich przekazach źródłowych

Author(s): Antoni Reginek / Language(s): Polish Publication Year: 0

Utwory Tadeusza Kasserna z okresu „spotęgowanego napięcia” Sonatina kolędowa na fortepian i Tryptyk żałobny na głos z fortepianem

Author(s): Violetta Kostka / Language(s): Polish Publication Year: 0

In her article, the author discusses Tadeusz Kassern’s Sonatina kolędowa for piano andTryptyk żałobny for voice and piano from the period of “an intensified pressure”, that is, thefirst months after the end of the World War II. She formulates a hypothesis that both works,the second of which was devoted to the memory of Roman Padlewski, apart from performingan aesthetic function, were to unite people around the past tragedy, replace the words ofprayers, as well as decrease pain and suffering. Following the methodology of LeonardB. Meyer’s music style, the author defines the style of Kassern’s selected compositions asneoclassicist of an archivising-romanticising type. She reads that the compositions werebased on the rules of neomodality, strategies of exposing basic human feelings and replicapatterns, among whom are among others modal motives, polyphonising texture, dissonanceco-sounds, simple rhythms, irregular and asymmetric phrases as well as deep expression.Having presented both interopus styles in a detail, the author discusses the reception ofworks, underlining two facts. The first one is that right after composing Sonatina kolędowa, itwas played in Poland and the United States of America, the second that Tryptyk żałobny hasappeared on the stage again recently.

O nirwanie po polsku i innych toposach Orientu indyjskiego w muzyce polskiej pierwszej połowy XX wieku. Próba rekonesansu

Author(s): Renata Skupin / Language(s): Polish Publication Year: 0

What is crucial for the issues dealt with in question is a differentation between the no-tions of the Orient and orientalism (as understood by E.W. Said and in a non-Saidian under-standing), Indianism, exoticness, and exoticism. Our native (national) variation oforientalism needs to be considered from the point of view of a borderline location of Polandat the meeting of two cultures: eastern and western, as well as Asian and European one, anda reference to a “passion for the Orient wonders” grounded in the Polish tradition.The Indian Orient became the source of inspiration for Polish composers of the first halfof the 20th century in a peculiar way, determined by the very location and tradition, as wellas a delay of the Orient renaissance in our country as compared to the countries of WesternEurope. As a result, an exceptional mingling of reception sources and values was observed.The Indian orientalism in music at that time constitutes above all a reception of a literary(Young-Polish) topos of nirvana as a result of the polonization of Indian elements. The se-cond main source of inspiration is connected with a reception of Rabindranath Tagore’sworks. The wave of this inspiration developed song works to the texts of an Indian poet. Be-sides, what is worth mentioning is an attempt, though rare, to look for the sources of the re-novation of the scale material of the Polish music in the Indian one.“Otherness” and “dissimilarity” as an advantage of the Orient in a dichotomic system.The East and West, in relation to the Indian Orient in a Polish form in the first half of the20th century did not have raison d’être because of Polish conditions and ideological intrica-cies Indianness was then understood, also by composers, as “native”, not foreign.

Licht Karlheinza Stockhausena — współczesny teatr sakralny?

Author(s): Agnieszka Draus / Language(s): Polish Publication Year: 0

Karlheinz Stockhausen’s Licht is his seven-volume, and almost a thirty hour intertextual,intersemiotic, intermedia, interterritory, and, finally, intertextual stage work opus vitae.Acy-cle absorbing him for over one third of his active artistic life is a synthesis of both the topicsinteresting him for a longer period of time, and music solutions. It constitutes an interpreta-tion of not only the music language or an interopus style, but Stockhausen’s individual composing idiom. Important issues, volume of work, combination of links in the cycle —a heptalogy, as well as his contribution to many phases of the realization of the stage workincluding an interpretation of the composing style and personal worldview, inspired manyresearchers to look for often false analogies to the idea of Richard Wagner’s total work.Stockenhausen himself was asked many times about the type of references to the dramaticideas of the author of Tristan and Isolde. In his answers, he always paid attention to the sur-face nature of the analogies in question. He treats his heptalogy as an example of the realcontemporary opera Die zeitgenössische Oper. The paper makes an attempt to answer thequestion on what Licht is from the perspective of the text and music, but also a general mes-sage of the work.

Dies irae Krzysztofa Pendereckiego — między sacrum a profanum

Author(s): Magdalena Chrenkoff / Language(s): Polish Publication Year: 0

Krzysztof Penderecki, Pieśni chińskie i Kadisz. Między pięknem natury a grozą historii

Author(s): Regina Chłopicka / Language(s): Polish Publication Year: 0

The aim of the text is on the one hand to show the composer’s attitude toward the issuesraised in the compositions, and his inspirations and references to different cultural traditionson the other. The interpretation of Pieśni chińskie is an attempt to read composer’sattitudes toward nature, inspired by a different cultural tradition of the Far East. Kadisz, onthe other hand, gives rise to noticing composer’s attitude to the tragic character of historicalevents. It is reflected in Krzysztof Penderecki’s special reference to two traditions: a Christianand Jewish one, maintaining their otherness. The first and third part of Kadisz, though beingdifferent in nature, derive from the tradition of European music. The first part Szła śmierć ismournful in character and refers to the European genre of the hymn with an orchestra andconstitutes a form of continuation of the music language and an existential nature of theEighth Symphony. The third part Prosimy Cię, abyś nas na wieki nie wydawał... raises the issueof an idiom of the sacred music for choir a cappella again, deriving from the Renaissance-Baroque tradition. The second and fourth part are inspired by a religious Jewish tradition.The former „Leży na ziemi...” due to a recitation and sublime performance of theBiblical text bring the visions of dangerous reprimands and calls voiced by the prophets ofthe Old Testament. The final part Kadisz Jatom, performing the role of a culmination ofa dramatic and expressive whole of the text, refers directly to expressive and ritual Jewishsongs connected with the danger of a historical event.

Działalność muzyczna parafii bielsko-żywieckich w Porąbce i Chybiu. Próba charakterystyki

Author(s): Jolanta Gwizdoń / Language(s): Polish Publication Year: 0

The author makes a characteristic and comparative analysis of the musical culture of twoparishes belonging to the Bielsko-Żywiec diocese, an emphasis being put on the differencesin the repertoire and performance of liturgical songs. A big advantage of the article is numerouskey examples written in a manuscript. Besides, the circumstances of the formation ofthe parish dedicated to the Blessed Virgin Mary in Porąbka and the one dedicated to theLord Jesus Christ in Chybie, as well as the history and specificity of pipe organs arepresented.

Chór mieszany Dei Patris — 15 lat działalności kulturalnej (1991—2006). Informacja ogólna

Author(s): Jan Mikos / Language(s): Polish Publication Year: 0

The aim of the article is to present the cultural activity of Dei Patris mixed choir in thecourse of fifteen years of its artistic work in Katowice. The very work includes the formationhistory of the mixed choir, its repertoire, artistic achievements and values. The role of thechoir in question was to serve in liturgical rituals, church ceremonies, but also serve thehomeland — in various ceremonies organized at a town, region and country level. The choirrepertoire covered carols, passion, sacred and patriotic hymns, as well as music compositionsduring various church and outside-church services. The choir received many rewards, diplomasand written thanks. The choir singers experienced the evidence of gratitude for the repertoireand performance of songs.Dei Patris popularised a singing culture of Silesia all over the country and the Polishsong in many places of Europe. The name of “Dei Patris” is read as “to a God, Father”, butalso as “to a God and Homeland”. This is the way the choir was perceived, invited and received.The text presents a rich documentary material gathered in the choir archive in a nutshell.

FIZIOLOGIA ȘI FUNCȚIONALITATEA APARATULUI FONATOR

Author(s): Cosmin Grigore Marcovici / Language(s): Romanian Publication Year: 0

The human voice is a true miracle that lives in the human body, the most important, the most beautiful and the most perfect instrument created by nature, an instrument that cannot be matched, a true treasure that must be treated with great care and respect. The human voice is one of the biggest puzzles, and this is primarily due to the fact that we can not see its origin at the time of formation or the trajectory insideus. The stamp of the human voice is one of the elements that mark the unique identity of the individual, it is the one that can reveal human characters, behaviors, feelings, desires, anxieties, depressions, emotions and has the ability to enchant, to seduce, to stimulate, to critique or create characters. The more delicate the natural voice, the more assiduous will be the work and the preoccupation to keep its original freshness, because the sung voice develops, is cultivated through study and can acquire new valences and qualities.

Transformácia hudobného umenia na hudobnú edukáciu - Hudobno-výrazové prostriedky v edukácii.

Author(s): Tomáš Boroš / Language(s): Czech Publication Year: 0

In the musical educational process is necessary transpose the music into specific physical form – activity. The paper deals with theoretical and practical dimensions of the transformation of the music in the physical, bodily experience and vice versa the musical experience transforms into music abilities. The paper includes a draft scheme of musical means of expression with respect to musical pedagogy.

Otvorené partitúry a voľná improvizácia ako priestor pre rozvoj ansámblovej hry

Author(s): Daniel Matej / Language(s): Slovak Publication Year: 0

The topic of this conference contribution is the current state of, and perspectives on, ensemble performance practice education at primary and secondary art schools and at art and arteducation universities through the implementation of the repertory and radical artistic concepts and procedures from the field of so called “new” (resp. “experimental”) music. The author of this contribution follows the development of this topic in the last 15 years (a period corresponding with his own pedagogical practice in this field), presents a few partial positive results of its implementation, and also notes a few arguments to support the integration of the above-mentioned repertory in the teaching process; he also proposes some practical solutions. Special attention is given to the problems of so called “open scores”, “free improvisation”, but also the use of so called “do-it-yourself instruments” (DIY), and small “lo-fi electronics” etc.

Hudební aplikace při výuce hudební náuky na ZUŠ

Author(s): Kristina Rafailov / Language(s): Czech Publication Year: 0

The paper deals with musical applications for smartphones and tablets and their contribution to the process of music theory education at primary music schools. Each application is described and discussed with special attention to their functionality, applicability and benefits when being used in the lessons.

Hudební vizualizace režiséra Vladimíra Síse

Author(s): Ondřej Musil / Language(s): Czech Publication Year: 0

The contribution is focused on a specific area of artistic work of a noted Czech film director Vladimír Sís, which is represented by music visualizations. Generally, these are documentary films made on basis of compositions by famous Czech and foreign composers. In the introduction a short Sís’s biography is outlined. It is followed by an informative overview of various kinds of music film in consideration of certain genres such as music visualizations and documentaries. Afterwards there is a presentation of Sís’s film Antonín Dvořák: Symfonie č. 9 e moll. op. 95 „Z Nového světa“ (Symphony No. 9 „From the New World“), that is preceded by a brief description of the original intention of the director, the popularization of classical music. The aim of the contribution is to open up the possibility of discussing about Vladimír Sís’s work and the educational aspects of music visualizations and film in general.

Nonartificiálny spev, ako súčasť vokálnej edukácie v súčasnom hudobnom školskom systéme na Slovensku

Author(s): Iveta Štrbák Pandiová / Language(s): Slovak Publication Year: 0

Theme paper highlights the current state of the music school system (elementary music schools, conservatories and artistically oriented high schools) in the context of vocal education, primarily aimed at nonartifitial genres of music and singing technique.

Výsledky hudebně výchovných výzkumů ve vztahu k RVP

Author(s): Alžběta Hrbáčová / Language(s): Czech Publication Year: 0

The article deals with recent state of knowledge and abilities of leavers of compulsory music education. First, it introduces curricular structure and desired outcomes of FEP, then it lays the outcome of research dealing with this topic, and in the end it compares this outcome with desired outcome of FEP.

Metódy rozvoja improvizácie na klávesových nástrojoch

Author(s): Tibor Feledi / Language(s): Slovak Publication Year: 0

Issue of the development of musical improvisation in pedagogical practice is constantly confronted with the lack of experience and the lack of knowledge of the pedagogues. The paper presents studies in the field of musical improvisation as well as the author's methodical procedures developing improvisation on keyboard instruments.

Единствена родина е музиката: песните ребетика в гръцката музикална традиция

Author(s): Zdravka Mihaylova / Language(s): English,Bulgarian Publication Year: 0

Rebetiko music lies at the intersection of East and West. The “Greek Blues”, as it is often referred to, emerged from the hash dens and prison cells of Greece around the beginning of the 20th century. Through the life story (as presented in the documentary My Sweet Canary directed by Israeli film director Roy Sher) of notable rebetiko singer Roza Eskenazi, a vanished world is evoked and its influences today followed. „Roza Eshkenazi, the most famous singer of 1930s Greece, the Diva of Rebetiko, with her posters displayed in every gramophone store, with her bohemian looks would drive even the toughest men crazy”, asserts Thessaloniki writer Dinos Christianopoulos in his short story ‘Roza’. Roza Eskenazi sang and lived with passion, fire and love. The origins of rebetiko – a musical style emerging in urban surroundings typical for commercially developed port cities (and distantly related to Buenos Aires milongas and ‘blatnye’ songs of the Odessa underworld), is inextricably related to the cultural and economic progress of Smyrna during the mid-to late 19th century. Rebetiko music as it evolved in this cosmopolitan city received both western and Oriental influences: Italianate mandolin ensembles and violin solos, as well as indigenous instrumentation (santouri, oud) characteristic of the Levant. In the wake of traumatic 1914–1922 events culminating in the Asia Minor Catastrophe, these songs were brought by Greek Orthodox refugees to almost all the major urban areas of metropolitan Greece, especially Athens, Piraeus and Thessaloniki, and also flourished amongst the remaining Greeks of Constantinople. Rebetiko music also accompanied Greek emigrants overseas, particularly to America, leaving a valuable legacy of unique archival recordings from the 1920s and 1930s. The paper will trace the history of rebetiko studies by ethnomusicologists, such as the Greek intellectual Ilias Petropoulos, and the Australian researcher Gail Holst who spent years in Greece amongst rebetiko musicians playing with them. Light will be shed upon the main music instruments used in rebetiko ensembles, places where this music was performed, the social impact of the rebetic way of life and the reaction of mainstream society (especially the 1930s Metaxas dictatorship and the military junta 1967–1974) to these musicians’ nonconformist and often underground lifestyle. Roza Eshkenazi’s biography, starting from her Sephardic Jewish origins in Istanbul and Thessaloniki and debut in Athens – where she attained fame by the late 1920s, becoming the most recorded rebetiko performer, with more than 500 sides sung in Greek, Turkish and Ladino – up to the tragic end of her life, will illustrate the history of a music genre still alive and popular in Greece, while gaining ever more admirers in Turkey, Israel, Australia, Germany, the USA, Sweden and elsewhere.