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TARGETS OF MUSIC INDUSTRY IN THE CONTEXT OF DIGITAL TECHNOLOGIES: A SHORT REVIEW

Author(s): Dorotėja Būdaitė,Agota Giedrė Raišienė / Language(s): English Issue: 1/2023

The object of this paper is to set grounds for future research in music business by carrying out scientific literature review analysing music industry from global economy perspective. Since technologies are sensitive to time a time frame for the research was set from 2020 until 2022. Only articles in English and Lithuanian were analysed. In total there were 75 articles used for the basis of the research in “Web of Science” database. According to their content, these articles were categorized into 5 sections: ICT (information and communication technologies) and neural networks; New business ventures; Creativity and education; Intellectual property rights and blockchain technology; Digitization, streaming. Research of scientific articles was a result of a compound search of keywords music industry and technologies. In order to widen the search keywords were used with a logic operator “or”. Scientific review of the articles showed that technologies affect the music business in these areas: lessened limitations, satisfied customer needs, digital economy force, overtaking old systems, collaboration, staying relative and creative, fighting against homogenization, digital education, increased safety and security, increased financial gain and market share, autonomous and transparent intellectual rights, eliminating piracy, content accessibility, artistic relevance. In order to carry out representative and valid research in music business, more research has to focus on the global aspects of how this industry operates. This article is a steppingstone in that direction showing which aspects of the business are discussed at the moment thus enabling other scientists to start narrowing the gap and provide more in-depth research. The findings suggest that research towards providing solutions to music industry participants on how to effectively deal with fast approaching technological advancements is necessary.

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Altaripiltide maalija Carl Siegmund Waltheri pärand

Author(s): Reet Pius / Language(s): Estonian Issue: 01+02/2023

This article discusses the altar design of Lutheran churches in the first half of the 19th century through the work of the artist Carl Siegmund Walther, who painted 27 altar paintings for churches in Estonia and Livonia, making him the most productive altar painter in Estonia’s history. A recent discovery in the collection of the Tartu Art Museum reveals that Carl Siegmund Walther was not only an altar painter but also a designer of retables.

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Imaginary and unbuilt

Author(s): Dina Suhanova / Language(s): English Issue: 01+02/2023

Architectural drawing is a powerful medium not just as a tool for documentation but also as artwork and as a fully-fledged component of visual culture, shaping architectural theory, artistic creation and visionary thinking. Architectural drawing is the cornerstone of every architect’s education and practice: the ‘craft of drawing’ has always been a trademark of architects. The digital turn and development of technology have provoked discussion on the death of hand drawing. However, despite the digital transformation, the interest in hand drawing has seemingly been reborn, and is studied as a valuable part of architectural culture. The purpose of the paper is to examine hand drawings from the Latvian Museum of Architecture archives, focusing on unbuilt and sometimes visionary architectural drawings from the Soviet period of Latvia: original drawings dating from the period of the 1960s-1980s. The selection of drawings offers an overview of architectural thoughts, ideas and visions of the Latvian Soviet architecture scene through artistic abilities and available analogue techniques, as well as looking at the drawings as independent art pieces.

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Pisci u centru ili tko nam brani lijepo/dobro/sveto u umjetnosti?

Author(s): Sanja Nikčević / Language(s): Croatian Issue: 113-114/2023

I was happy when, in 2022, I was invited to be a member of the committee in the Competition for a Drama Text organized by the Croatian National Theater in Mostar. Firstly, because the program of the Mostar theater has become very canonical (which means plays that say that the world has no meaning), so I hoped that they wanted to ease the canonical pressure a little and find some good texts, and that's why they call me to help them with that. Namely, I am known as a person who advocates our right to the beautiful/good/holy in art, and as a serious professor I can explain my arguments. I can defend what was banished from the canon and explain how and why it happened to us. I did that in my book Truth and lies about the canon or how we lost the right to the beautiful/good/holy in art due to our worldview (Citadela Libri, Zagreb, 2021), and I can also do it for an individual drama. All the more so since it was publicly written in the competition that it "establishes HNK Mostar as an institution that wants to provide continuous support to the development of contemporary dramatic text as an essential component of Croatian cultural and national identity". Canonical blackness has neither space nor identity, only trendy darkness with wearable themes, so it's no wonder it alienates the audience. I really hoped that they gathered the strength to resist the all-powerful blackness.

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A STUDY ON THE CHARACTERISTICS AND INHERITANCE OF CHINESE YAZHENG

Author(s): Xiaohong Zhong / Language(s): English Issue: 1/2023

Why do the yazheng have different shapes and production processes in different places? What is the effect of the reformation of yazheng in modern times? Based on the survived real yazheng in modern time and historical documents, this study gives an overview of the similarities and differences of yazheng found in different places and discusses its contemporary inheritance and development. Using the theoretical lens of ethnomusicology and perspectives including the origin of musical instruments and playing methods, this study investigates the development of the yazheng in the same historical context and crosscontexts. I believe the strategy for the survival of the yazheng originated from the influence of the strong culture at that time and was also driven by the social power hierarchy and historical environment.

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Doświadczenie sztuki w fenomenologii kontr-intencjonalnej i nie-intencjonalnej

Author(s): Andrzej Krawiec / Language(s): Polish Issue: 61/2023

The article raises the subject of intentionality of art in the light of transformations that counter-intentional phenomenology and non-intentional phenomenology have undergone. The changes to the way intentionality was understood substantially influenced aesthetic reflection and for that reason the starting point for the article is the analysis of Edmund Husserl’s intentional phenomenology followed by counter-intentional phenomenology of Jean-Luc Marion and non-intentional phenomenology of Michel Henry. Next, we will analyse how the ideas were absorbed by the developing phenomenological reflection on art, which paradoxically resulted in counter-reduction of the world and existential opening to experiencing its contents thanks to art. At the same time, the changes in understanding intentionality opened new directions for research into the intentionality of art itself. Therefore, the article aims at pointing towards contemporary research areas for phenomenological aesthetics and also indicates major methodological problems related to counter-intentional and non-intentional research perspective.

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სამყაროს მითოპოეტური ხედვის სპეციფიკა

Author(s): Nugzar Abramishvili / Language(s): Georgian Issue: 4/2022

In the creation of myth from the skills of human consciousness is dominated by artistic imagination; mythical thinking is poetic-metaphorical thinking. Both poetry and myth are artistic embodiment. Embodiment is always bringing out, manifesting the inner, hidden, basic general, when content becomes a form, when the form exists as much and for that, as it is the manifestation of the content, when the form and the content are completely coinciding. This is an artistic image that penetrates us through the influence on feelings, emotions and produces aesthetic pleasure. Even in myth, the cognitive aspect is full of and Overlaid by the artistic, and the formative power of poetry coincides with the creative power of myth, but there is also a fundamental difference between them. In particular: If poetry (and art in general) is indifferent to the content of poetic creations, as well as to the reality of the story conveyed to the unreal, such indifference is unimaginable for a myth. For a mythical subject, the story conveyed in the myth is the highest reality. Myth will reflect on the nature anthropomorphically, so emotions play a crucial role in building the mythical world. In emotional terms, nature acquires dramatic qualities. Myth is characterised by syncretism, which manifests itself as follows: a) In syncretic unity there are the forms of spiritual culture, such as religion, philosophy, art, morality, law .... b) natural and supernatural, material and ideal, objective and subjective, artificial and natural are not separated from each other and are in syncretic unity. Mythical gods and cultural heroes are archetypes for man of the mythical age as they transformed world chaos into cosmos, they established the rules of human activity and behaviour and thus ensured the viability of man, and society. Man living and acting like archetypes, is becoming the participant of maintaining the stability of the cosmos, and thus avoids the many calamities that is posed by the chaotic world.

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Tichá přátelství: Vladimír Fuka, Eva Fuková, Jiří Kolář, Zdeněk Urbánek, Jan Rychlík, Kamil Lhoták, Josef Schwarz-Červinka, Jan Hanč a Emanuel Frynta

Author(s): Anna Strnadlová / Language(s): Czech Issue: 1/2021

The period after February 1948 meant great change for the cultural sphere in Czechoslovakia. The art groups and clubs were dissolved; artists who did not want to squeeze into the limits of socialist realism had no choice other than to close themselves in the privacy of their homes and studios. However, after 1950, a group of friends formed around Jiří Kolář in Prague, having shared the same views on political and cultural development and, despite various artistic orientations, captured everyday experience in pictures or texts. This article focuses on the friendship of Jiří Kolář, Vladimír Fuka, Eva Fuka, Zdeněk Urbánek, Jan Rychlík, Kamil Lhoták, Jan Hanč, Josef Schwarz-Červinka, Emanuel Frynta, and others, and tries to portray this period of time, their mutual inspirations and relationships, and especially the extremely creative atmosphere, which was originated in this friendly circle. This thesis is based on diary entries, drawings, collages, poems, and literary texts which they created together and for each other in this unique, free, and inspiring environment.

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„Děti, děti, z toho kouká buď blázinec, nebo vězení!“ Vídeňský akcionismus jako reakce na válečné, osobní i společenské trauma

Author(s): Tomáš Kubart / Language(s): Czech Issue: 1/2021

A group of “Viennese Actionists” was formed in Austria around 1961, ceasing to be active in 1970. One decade of their collaboration comprised creation of a series of multimedia artistic works, often in the form of provocative actions using the so-called Schweinvocabular (“nasty vocabulary”): fake violence, vulgarity, explicit sexuality, profaning state and church symbols, etc. The aim of such aesthetics was not a dull provocation; it was rather an artistic means by which the first generation of post-war artists, who personally experienced the horrors of World War II and the reverberations of the first, responded to the lack of denazification and the internal conflicts in the Austrian society. The paper will present the thesis that the designation of the group as “Viennese Actionism” is probably not derived from the noun “action”, but it is a reference to the current in behavioral psychology called sensomotoric actionism, which originated in the early 20th century and emphasized physical and performative coping with the trauma the Actionists experienced in young age (pain, suffering, loss of loved ones, mass scale of murders, etc.); sensomotoric actionism as a metaphor of artistic response to social trauma. One of the main impulses for the Actionists was thus the war trauma, both on an individual and socio-cultural level. The aesthetic means they employed were based on the actual contemporary methods of treating trauma. Using repulsive “images” that presented the horrors of war, the Actionists “forced” their audience to confront them and, if possible, go through social catharsis, giving back to the theater its ritual function it had in the society of the Classical Athenian polis.

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The Influence of Political Regimes on Romanian Psaltic Music in the Second Half of the 20th Century

Author(s): Elena Chircev / Language(s): English Issue: 1/2020

During the second half of the 20th century, the Romanian society was marked by two events that had a profound impact on its destiny: the establishment of the communist regime after the abdication of King Michael I in 1948, and the Romanian Revolution of 1989, which marked the end of this regime. The Byzantine monody has had a millenary tradition in this part of Europe, and the contribution of the local chanters to the perpetuation of Orthodox church music – also through their own compositions – is evidenced by the numerous manuscripts written by Romanian authors and by the works printed in the last two centuries. In 20th-century Romania, the music written in neumatic notation specific to the Orthodox Church manifested itself discontinuously due to the historical events mentioned above. The church chant in the traditional psaltic style managed to survive, despite being affected by the Communist Party’s decisions regarding the Church, namely the attempt to standardize the church chant. This paper captures the way in which the preservation of tradition and the perpetuation of church music succeeded through the difficult times of the communist period, with special emphasis on the religious music written in neumatic notation and on certain peculiarities of the period, due to the political regime. The musicians trained before the establishment of Communism – by teachers concerned with the preservation of the good tradition of church chanting, in monastic schools and prestigious theological seminaries of the interwar period – were the binding forces who ensured the rapid revival of the music of Byzantine tradition in the last decade of the 20thcentury and who enriched the repertoire of the Romanian churches with valuable original works.

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Roko maršai fotografijoje: Roko subkultūra ir simbolinė politinių permainų reprezentacija

Author(s): Tomas Pabedinskas / Language(s): Lithuanian Issue: 114/2023

The period of Reform Movement of Lithuania (1988–1990) is established in institutional and collective memory of Lithuanian society by the photographs of important political events. However, only a few photographs of Rock March music festivals (an important part of Reform Movement) are published in the albums dedicated to these historical events, although their symbolic importance is equal to the pictures of political events. The paper discusses Virgilijus Usinavičius-Augulis’ photographs of Rock March in years 1987 and 1988. Some of the photographs have never been published before. They are analyzed from anthropologic perspective in the wider context of historical development of rock subculture in Lithuania. So far author’s works have reflected the development of rock music in Lithuania more than general political changes of 1990’s due to its limited public dissemination. However, the content and the visual form of the author’s photographs correspond to the features of photography, which has a potential to symbolically represent political changes.

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Идеологема «космос» в образах советской визуальной пропаганды 1957–1965 гг.

Author(s): E. A. Fedosov / Language(s): Russian Issue: 42/2023

The aim of the article is to reveal and to elaborate on the figurative and symbolic frameworks in visualization of the topic of space in the Soviet print propaganda of 1957–1965 as well as to evaluate the effectiveness of the information and propaganda campaign in terms of public political sentiments. The source base is made up of several thousand of posters, caricatures, cartoons, and other thematic illustrations. The context of their creation, semantics, and distribution are reconstructed by means of bibliographic analysis and content-analytical methods. Analysis of personal sources (diary entries, memoirs, and “letters to the authorities”) is used to describe of the presence of the theme of space in everyday life. Visual propaganda embraced space in relation to almost all key aspects of the life of Soviet people through 1) political ideals; 2) self-identification as belonging to a particular entity; 3) a sense of active personal responsibility for the country; 4) understanding the USSR’s global role during the Cold War. In general, initially there were a genuine interest, pride for the country, and no rejection of propagandistic campaign about the space exploration. However, at the end of the period, some aspects were treated with skepticism due to a lack of novelty in the coverage of events and presence of problems in other fields. At the same time, visual propaganda contextually matched the Soviet citizens’ opinions, and some of them participated in creation of the “space” pictures, that indicate the audience’s attention to visual content. Anyway, its ideological role gradually underwent transformation from ideological to routine meaning.

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Въведение към една дълбинна онтология на изкуството

Author(s): Nikifor Avramov / Language(s): Bulgarian Issue: 2/2023

I present the concept of creative art as a junction of the fundamental situations that make of art – art. I shed light on the concept through connecting creation, as an impulse corresponding to the concept of φύσις, to art, as a frame corresponding to νόμος and the human form. I demonstrate that the concept, as much as it presupposes a depth ontology (possible as a metaphysically reflected ontology) speaks of categorical dyads, such as those of inner and outer, and immaterial and material. The later I consider as already grasped by the metaphysics of antiquity, according to which I therefore clarify the historical situation of my attempt: the reflection of the continuation of the metaphysical tradition through the topic of art, considering how this tradition always pushed itself against the consideration of art in its metaphysical light.

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PRODUKCIJA POZORIŠNE FESTIVALSKE TV HRONIKE

Author(s): Jakov Amidžić,Zoran Pavljašević,Srđan Vukadinović / Language(s): Bosnian Issue: 3-4/2022

The producer of a theater festival in the production plan, in addition to the activities related to the organization of performances, and all that is necessary for a festival to take place according to plan and program, in modern social circumstances must take into account how he will present the events to the public with and around the festival. There are various ways and means of promoting and presenting the festival to the public (posters, posters, program booklets, flyers, press conferences, audio and video advertising jingles, press announcements, media appearances, social networks, internet, etc.). The process of promoting the festival takes place continuously and in different stages of its production; in the preparation phase, during and after the festival itself. One of the successful forms of creative promotion and presentation of a festival is certainly television chronicles. In a special way, the chronicle provides an insight into what happens at a festival, from its main and supporting content, participants at the festival and other interesting things that accompany festival events.

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REDITELJSKOM MAŠTOM PROTIV BESMISLA I TRAUMA

Author(s): Srđan Vukadinović / Language(s): Bosnian Issue: 3-4/2022

Stage presentation is a mirror of social and theatrical reality in any reality. Although it is idyllic, it is also important from the other side of the stage, it can determine behavior and action towards a better world. The content of the XXXVIII Meeting of theaters / theaters of BiH in Brcko is in those determinants and structures. Directors as creators of theatrical imagination and its incorporation into a better world sublimate the beauty of permeation and encounter, which are reflected in the first level in detecting problems, and in each subsequent layer in the components of imagination that can make that world better and more perfect for life. Theater must go one step further from reality. It must step where society has not yet stepped. If it is not so, then the theater has not fulfilled its purpose and its mission. And the director is there to make a social tragedy into a seismography of the structures of consciousness of the visitors of the theater act. He establishes relationships that convince theatergoers that they are all much better than they think. And that I can do and achieve much more.

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TEATROLOŠKI IZVORI KAO NEIZOSTAVNI DIO KAZALIŠNOG TRAJANJA

Author(s): Zoran Pavljašević,Srđan Vukadinović / Language(s): Bosnian Issue: 3-4/2022

There are many theatrical sources that are used in research about theater and its duration. All of them can be classified into two large groups: primary and secondary sources. In addition to primary (immediate) theatrical sources, which come from the closest environment of stage practice, for the most faithful reconstruction of a past theatrical act, it is necessary to use secondary (indirect) theatrical sources. The primary (immediate) sources of the reconstruction speak directly about the play that is the subject of research, while the secondary sources indirectly offer certain knowledge related to the mentioned theatrical event. Primary theater sources include programs, catalogs, posters, posters, as well as original archival documents. Secondary theater sources are: theoretical discussions about the theater, drafts and templates for future stage works, all forms of public feedback on the play and its accompanying phenomena (criticisms, reportages, polemics), news about the theater in the most diverse means of public communication (press, radio, film, television). The whole of the theatrical being is constituted by a complex of theater segments, and it is significantly and significantly completed by primary (posters, programs, catalogs, archival documents) and secondary theatrical sources (film, radio, television, press...).

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INSCENACIJE DJELA JUŽNOSLAVENSKE DRAMSKE BAŠTINE U REŽIJI AHMEDA MURADBEGOVIĆA

Author(s): Mirsada Suljić / Language(s): Bosnian Issue: 3-4/2022

The subject of the work „Staging works of the South Slavic dramatic heritage directed by Ahmed Muradbegović“ are the directing settings of drama works by Miroslav Krleža, Skender Kulenović, Branislav Nušić and Svetozar Ćorović, which Muradbegović directed as a guest on the stage of the National Theater in Tuzla from 1959. to 1964. director. Ahmed Muradbegović as a guest in the indicated period directed Messrs. Glembajs, Djelidba, Suspicious Face and the drama Zulumćar. The aim of the paper is to point out the selection of works by the author Ahmed Muradbegović, who staged local and world classical works on professional theater stages in Bosnia and Herzegovina, with the very goal of bringing them closer to the environment in which he works, raising and educating the theater audience in accordance with classical drama and theater values. The research and analysis of the subject in the paper required an interdisciplinary approach. Theater history, theatrography, theater sociology, dramaturgy, scientific disciplines, each in their own way, according to their methods, have contributed to new knowledge regarding Ahmed Muradbegović as the director of the aforementioned dramatic works on the Tuzla theater scene (1959‒1964). Synthesis and analysis methods, inductive‒deductive method, content analysis method, interview method was used in the paper, with the aim of reaching new results by questioning and analyzing the subject in the title of the paper and thereby contributing to the science of theater. Based on the basic theatrical material, that is, direct (posters) and indirect sources (scenic photos, newspaper articles, theater reviews, theories that talk about the subject being analyzed), it was concluded that Ahmed Muradbegović in the period from 1959 to 1964. carefully selected and staged dramatic works of the South Slavic dramatic heritage on the Tuzla stage and treated current human problems. The research contributed to the knowledge that Ahmed Muradbegović had an authentic theatrical expression when directing dramatic works of South Slavic dramatic heritage on the professional theater scene in the mentioned time.

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GAZİANTEP’DEKİ CAMİ HAZİRELERİNDE BULUNAN MEZAR VE MEZAR TAŞLARI

Author(s): Meliha YİLAN / Language(s): Turkish Issue: 20/2022

Gaziantep is one of the largest cities in the Southeastern Anatolia region, whose history dates back to ancient times. The city was conquered by Iyaz Bin Ganem, one of the commanders of Hazrat Omar, and joined the Islamic lands, and the city settlement was formed around the castle. At the present time, the city has grown much larger and with this growth, the city's cemeteries and some historical areas have been destroyed. Our study deals with the graves and graveyard stones found in the graves of Ömeriye, Boyacı, Ağa, Şeyh Fethullah and Nuri Mehmet Paşa mosques in the center of Gaziantep. At the present time, there are few graves and graveyard stones in the cemeteries. The graveyard stones were made of local mortar stone, black stone and marble stones of different colors in the form of sarcophagi and Ottoman style tombstones. The language used in the inscriptions of the graveyard stones are predominantly Ottoman, and with a little Arabic. Based on the epitaph texts, it is seen that the construction dates of these tombstones are 1890-1909 Gregorian.

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KONYA MEVLÂNA MÜZESİ’NDE BULUNAN 1069 NOLU EVRÂD-I MEVLÂNA ADLI ESERİN KİTAP SANATLARI BAKIMINDAN İNCELENMESİ

Author(s): Mutluhan Taş,Emine TÜRKEŞ / Language(s): Turkish Issue: 21/2022

Manuscripts have gained a place in the life of mankind with the manufacture of paper starting from the discovery of writing. After the spread of Islam, different art schools emerged due to the need to multiply the Holy Qur'an. We can say that branches of art such as calligraphy, illumination, miniature, binding, marbling emerged for the decoration of manuscripts or for other reasons. The preservation of these valuable works is also of utmost importance. For this reason, it is also important to research manuscripts, to bring them to light and to transfer scientific studies to future generations. The work was prepared in 1886 (H.1304) by Hattat Vahdeti Efendi in accordance with the request of Sheikh Osman Selahaddin Dede, one of the dervishes of Yenikapı Mevlevi House. The lives of Sheikh Osman Salahaddin and Calligrapher Vahdetî Efendi were determined as a result of researches and it was registered that they were prepared by these people in the foundation on the last page of the work. In addition to the fact that the work titled "Konya Mevlânâ Müzesi 1069 Inventory Nolu Evrâd-ı Mevlânâ" that we have examined contains information about the Mevlevi Evrâd Tradition, it has been deemed worthy of research because it also contains the calligraphy, illumination and skin art features of the period. Manuscript was examined in terms of binding, calligraphy and illumination from Turkish Book Arts.

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STİLİZE HAYVAN BETİMLEMELERİ VE BİR UYGULAMA ÖRNEĞİ

Author(s): Yasemin Tümer Çelik,Meltem Demirci Katırancı / Language(s): Turkish Issue: 21/2022

The research includes the 11th grades of Ankara Anatolian High School of Fine Art. The knowledge and interest levels of the students whose application examples were made in Anatolian Fine Arts High Schools were measured with qualitative data. The behavional pattein of teachers have been evaluated with the use of actual sampling. By throughly resource seaiching, the importance of culture and the position of animals in a culture have been searched. Pointing out the importance of culture, how important animals are in Turkish and Anatolian culture has also been emphasized. Culture is a formation of asociety and is very important for asociety to survive and its generations to exist. Experience is important because art education is linked to the artistic and cultural upbringing of individuals and societies. It can be seen as important for the permanence of learning that students experience and associate their own culture at the same time while learning. In order to continue and survive, a culture not only needs to protect its values but also requires art to bring these values to the next generations. Art Education is directly related to the artistic and cultural upbringing of individuals and societies. Students' experience and association while learning about their own culture can be considered important for the permanence of learning. Generations should preserve culture and art, which is a part of culture, and pass it on to other generations.

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