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Being a Modern Serbian Composer in the 1930's: The Creative Position of Ljubica Marie

Author(s): Melita Milin / Language(s): English Issue: 1/2001

Ljubica Marić belongs to (hose rare Serbian composers who were fully involved in the international developments of modern music during the thirties I ler output shows that she was able to take over some dominant ideas of the period and transform them in a personal way. In the article are investigated all four of her preserved works composed before the outbreak of Work! War 2. Among them are two compositions that were until recently' believed to be lost: Longing for the (Hr! for choir (1929) and Music for orchestra (1932).

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Modernity and the Avantgarde in Romanian Music, 1920-1940

Author(s): Clemansa Liliana Firca / Language(s): English Issue: 1/2001

Thanks to the works of George Enescu. Romanian music achieved its first breakthrough onto the European scene in the years preceding World War I. In the inter-war period the number of Romanian composers who joined modern trends, often without breaking their links with nationalism, significantly grew in number: Mihail Jora. Sabin Dragoi. Mihail Andricu. Marcel Mihalovici. among others. The music of Stravinski and Bartók produced the strongest impact on Romanian music of the 1920‘s and 1930’s.

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The status of chanting codices in the Serbian chant tradition

Author(s): Vesna Sara Peno / Language(s): English Issue: 11/2011

The status of chanting codices, which is directly associated with the phenomenon of musical literacy, is examined in this paper by means of the examples of a few scarce neumed manuscripts that represent a primary source for the reconstruction of the Serbian music past. The following reasons have been stated in the Serbian musicological literature as an explanation for the lack of a larger number of preserved neumed books: 1) melodies were transmitted orally, 2) an intensive liturgical practice, in which chanting had a primary place and 3) historical circumstances due to which manuscripts were exposed to decay. For the sake of an objective evaluation of the probable level of chanting skill in the Middle ages in Serbia, the aforementioned reasons have been reconsidered and revised.

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Experiences in adapting post-byzantine chant into foreign languages: Research and praxis

Author(s): Jaakko Olkinuora / Language(s): English Issue: 11/2011

This article presents the current state of the research and practical methodology of the adaptation of Byzantine melodies written in the “New Method” into foreign languages, with Romanian, English and Finnish serving as examples. The adaptation of independent, “fixed” melodies as well as metrical liturgical texts (prosomoia and canons) are examined. The challenges emerging in adapting Byzantine chant into Finnish are also discussed. The author also suggests some future subjects for research, which include the synthesis of examining arrangements in both “Old” and “New Method”.

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′Czech-Slovene′ musicians?: On the question of national identity in Slovene music at the turn of the 19th to the 20th century

Author(s): Jernej Weiss / Language(s): English Issue: 7/2007

In this article, the author observes and discusses the questions of national identity in the context of Czech and Slovenian music at the turn of the 19th to the 20th century. The Italian and German influences dominating Slovenian music in the past began from the mid 19th century onward to be replaced by predominantly Czech elements as the consequence of the numerous Czech musical immigration in Slovenia. Many of Czech musicians were naturalized in Slovenia and can therefore be included among Slovenian musicians. Although they actively supported the building of a Slovenian national style, they did not feel the need for the repeated аesthetic evaluation of traditional frames.

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Europa im wandel. Musikalische angleichungsprozesse im spannungsverhältnis Ost-West

Author(s): Helmut Loos / Language(s): German Issue: 5/2005

Not only culture, but even more so the methods of historiography in the cultural field are shaped by the period of the 19th century in which these disciplines emerged. In contrast, research approaches have been developed in recent decades that are oriented towards structural history and seek to relate the history of composition, institutions and ideas to one another. Social-historical approaches play a special role, for example in the sense of a comparativist social history. Regional aspects are thus becoming more of a general interest. Nevertheless, a dominance of national categories can still often be observed, which neither corresponds to a historical awareness of the period of the 18th century and earlier nor is likely to be appropriate in today's time of unifying Europe.

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Eastern naturalness versus western artificiality: Rimsky Korsakov's influence on Manoles Kalomoires' early operas

Author(s): Aikaterini Romanou / Language(s): English Issue: 5/2005

In this article the writer investigates the relations between perceptions of the East and the West in nineteenth century Greece, their connection to national identity, to the language question and to political tendencies. The composer Manoles Kalomoires was influenced by a group of progressive intellectuals striving to liberate Greek literature and language from its dependence on Ancient Greek legacy, a dependence motivated by Western idealists (who saw in the Greek Revolution of 1821 a renaissance of Ancient Greece). Most were educated in the West, but promoted an oriental image of Greeks. Kalomoires’ musical expression of this image was inspired by Rimsky-Korsakov’s Sheherazade and the Golden Cockerel. In 1909–910 he wrote an unfinished opera, Mavrianos and the King, on the model of the Golden Cockerel. He later used this music in his best known opera, The Mother’s Ring (1917). In the present article the similarities in the three works are for the first time shown. An essential influence from RimskyKorsakov’s work is the contrast between the world of freedom, nature and fantasy and that of oppression.

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Исток-Запад у полемичком контексту српске музике између два светска pata

Author(s): Katarina Tomašević / Language(s): Serbian Issue: 5/2005

This article represents a fragment of the author's doctoral dissertation Serbian Music at the Crossroads of the East and the West? On the Dialogue between the Traditional and the Modern in Serbian Music between the Two World Wars (the review of the thesis see on www.newsound.org.yu, issue No 24). The thesis (mentor: prof. Dr Mirjana Veselinović-Hofman) was defended at the Faculty of Music, Belgrade, on January 2004. A revised text of the dissertation is forthcoming, in an edition of the Institute of Musicology of the Serbian Academy of Sciences and Arts. The article describes the creative orientation of composers Miloje Milojević, Petar Konjović and Josip Slavenski as the key figures of the epoch, indicates their choices of an Eastern or Western orientation, and explains the antagonism between the poetics of the "Europeans" and the representatives of avant-garde trends. The topicality of the East-West dichotomy in the critical consciousness of the protagonist of this period is marked as one of the main and the most important dilemma of the polemical context of the Serbian art after the World War I. Conducted from standpoints "Pro et Contra Europe", East-West discussion was also the part of the debate of Serbian national art's development strategy in the new, modern epoch of its history.

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Relacje polsko-niemieckie piórem malarza spisane na podstawie Pamiętników Juliana Fałata (1935) i Wspomnień Wojciecha Kossaka (1913/1973)

Author(s): Justyna Krauze-Pierz / Language(s): Polish Issue: 44/2023

This article is an analysis of two autobiographical texts by famous Polish painters of the turn of the century: Julian Fałat’s Pamiętniki (Diaries) from 1935 and Wojciech Kossak’s Wspomnienia (Reminiscences) from 1913. These texts constitute a source of information not only about the life of Polish artists at the imperial court in Berlin, but also a treasury of historical knowledge about the moods prevailing in the Wilhelmine era, the Polish–German relations in particular. In both texts, the most important figure is that of the German emperor, his involvement in the affairs of art and concern for the fate of outstanding Polish painters. The analysed texts allowed, above all, for showing the difficulties in Polish–German relations at the turn of the century, the ambivalence of the German emperor in relation to the Polish issue and individual Poles, and the difficulties of Polish artists in maintaining the balance between being the court painter of the German emperor and a Polish patriot.

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Mărturii documentare despre muzica naţională în cultura europeană. Periplu istoriografic (secolele XVI—XVII)

Author(s): Victor Ghilaş / Language(s): Romanian Issue: 2/2021

The study brings to the forefront some reference information on the connections of national oral music with the European space. The sources of documentation, to which we turn, allow a first finding, according to which our music enters the attention of the West in the XVI century. Firstly, we refer to the first records of folklore, which appeared in publications in Poland, Germany and France, and which are found in tabulations, anthologies and (or) collections of music. Once they have come out of print and have been put into circulation, they reach the creative laboratory of European artistic personalities, who have gone on to capitalize on our ethnic music in various forms and genres. We catalog some creations through concrete examples, having as a source of suggestion the local melody. Along the way, the actual musical documents from the period under investigation are supplemented with data and information from adjacent fields. The paper takes into account the contribution of foreign authors in a limited period of time (XVI–XVII centuries), who through their contribution have facilitated the promotion of the originality of our musical culture, increasing its visibility and value on the European continent.

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Documentary sources and methodological landmarks in the research of the creation of the singer Veronica Mihai in the „Folclor” Orchestra

Author(s): Vasile CHISELIŢĂ / Language(s): English Issue: 2/2021

The study aims to identify the main theoretical and methodological criteria, important in shaping the scientific vision applied to the approach of the subject. The author delimits two distinct periods in the evolution of the singer’s repertoire: the late Soviet period (1968–1991) and the post-Soviet period (1991–1999). The main focus is on the Soviet epoch. Among the documentary sources are the materials stored in the IPNA archive – “Teleradio-Moldova” Company, the personal files of the artists, the minutes of the Artistic Council, the musical scores, the library of the editorial offices within the institution. To substantiate the theoretical framework of the study, the author argues the need to instrumentalize the concepts of „Soviet folk song”, „mass song”, „creator&producer networks”, „modernization”, „revitalization”, „invented traditions”, „folklorization”, „new folk songs”, „neo-traditional music”.

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Constituirea artei academice acordeonistice din RSS Moldovenească în perioada anilor 1940–1960

Author(s): Dumitru Calmîş / Language(s): Romanian Issue: 2/2021

With the annexation of Bessarabia to the USSR, the process of professionalization of accordionists, convering all levels of artistic education in the country, is influenced by the evolution of performing arts in Eastern Europe (especially Russia, Belarus, Ukraine). The academic bases are consolidated by illustrious pedagogues, such as Iziaslav Birbraier, Valentin Zagumionov (I. Birbraier’s student), Ivan Folomkin (one of the first graduates of the Gnesin State Musical-Pedagogical Institute in Moskow) and others. Durind the years 1940–1960, the establishment of the accordion interpretive art in the Moldavian SSR was directly conditioned by the massive ideologization of the ex-Soviet cultural space, which largely blurred the national identity aspect in the accordion academization process. Based on the classical-romantic aesthetics „adjusted” by the doctrine of socialist realism, the professionalization of Bessarabian instrumentalists is distinguished by a prominent conservatism compared to other accordion schools of that period, such as German, Danish, Czech etc. (we refer primarily to the compositional domain). Even if in this time segment the accordion failed to fully integrate into the „family” of European academic instruments, taking into account some areas (organological, compositional, pedagogical, interpretive) that needed to be intensely perfected, the first postwar decades can still be considered the reference point for establishing the academic status of chromatic harmonics in the Moldavian SSR.

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Разговор с прошлым в современной хореографии

Author(s): Anna Królica / Language(s): Russian Issue: 2/2021

The present paper starts from the idea of “archival return” in scientific discourse and its possible uses in choreographic practice. In Poland, many choreographers have tried to reconstruct the works of famous artists from the 20s and 30s of the XX century. The works of Pola Nireńska, Yanka Rudzka and Marie Rambert are brought to the stage from today’s perspective. This phenomenon would contribute to the completion of a history with new valences. In the context of reconstructing the choreography of the past, we will refer to the memory of the body and “the body as an archive”. We will analyze how contemporary choreographers work with memory and bodily memories, trying to find traces to get in touch with historical stagings. The research is based on the concept of the body as an archive and the experience of previous generations in choreographic practice. At the same time, we will try to find the answer to the question: how is the process of including choreography in the archival context treated and how does it manifest itself as such today. We will highlight the connection with the past, but also the contribution to knowing and promoting choreographic values.

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Spectacolul muzealizării și literaturizării lumii în societatea post/postmodernă

Author(s): Elena PRUS,Ludmila Braniște / Language(s): Romanian Issue: 2/2021

This article discusses current issues in the evolution of museums worldwide, influenced by global phenomena. The globalization of culture, on the one hand, and the musealization of the world, on the other hand, become the plays of a spectacle of the contemporary world. The museum cultural model becomes dominant in today’s society, influencing all spheres and finding representation in the world’s literatures. Among the various approached theories, the concepts of musealization of the modelled world as a cultural spectacle, “the world as a museum”, imaginary museum, the literaturization of the museum and the musealization of literature. From this perspective, the theses of the Nobel laureates in literature Mario Vargas Llosa and Orhan Pamuk are analysed. In Pamuk’s novel The Museum of Innocence, the museum is the structuring narratological axis of the novel, its theme and compositional nucleus.

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Film, muzică și noile medii – noile provocări în industria festivalieră în era digitală (post) pandemică

Author(s): Valeria Barbas / Language(s): Romanian Issue: 2/2020

Tranziția la era digitală în secolul XXI este un fapt inevitabil și ireversibil, iar ceea ce privește transferul în zona virtuală aceasta nu mai este o noutate. Cu toate acestea, odată cu situația pandemică provocată de noul Corona virus COVID 19 în rețeaua artistică festivalieră în sfera artelor vizuale, film și muzică s-a accelerat sau chiar a forțat schimbarea formatului de produs cultural, la nivel de prezentare și experiență.

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Samorealizacja – potencjał dziecka w twórczości plastycznej. Propozycja programu kształcenia plastycznego w klasach początkowych

Author(s): Urszula Szuścik / Language(s): Polish Issue: 2 (57)/2023

The article presents a proposal for the development of the creative and artistic potential of a child in early school age. Potential is treated by the author as discovering the possibilities and abilities that, thanks to the conditions and atmosphere in the education process, a child develops and shapes. This is related to the issue of creativity and self-realization through creative activities, with discovering and exceeding one’s abilities in the course of the creative educational process. The education of a child should go towards the development of his creativity, understood as shaping a person who is integrated in the cognitive, emotional and operational spheres. A free person, independent in making decisions, valued, without a sense of guilt. The result is the development of the child’s natural abilities and skills, and thus its potential mental strength in current activities. Based on research, including her own, the author presents a proposal for the development of a child’s creative potential in the field of art based on the education of his visual perception.

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Grafica satirică din RSS Moldovenească. Anii 1945-1950

Author(s): Lucia ADASCALIŢA / Language(s): Romanian Issue: 1/2022

Until now, satirical graphics, as a genre of visual arts, has not received much attention from our researchers of artistic phenomena. However, this genre undergoing several stages of development, is of great interest in the study of the arts, starting from the fact that several fine arts artists have developed this kind of artistic creation, and some of them have managed to equip the images created with original expressions and messages. The study examines the thematic and artistic guidelines (figures of style, materials, techniques) for image production in the field of Moldavian SSR satirical graphics in the period 1945-1950. This period was marked by plastic experiments conducted in this field by the painters Iurie Rumeantsev, Simion Polinger, and Boris Shirocorad. The satirical graphics becomes promoted and known to the general public thanks to the display of works at exhibitions of fine art, but also through regular editions. The study is complemented by historical and archival references that made it easier to bring up to date aspects that were unknown but important for the knowledge of the specific nature of the satirical graphics evolution during the reference period.

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Contested Indetities, Hunger, and Emigration: Themes in Ukrainian Cinema to Explain the Present Day

Author(s): Mark Sachleben / Language(s): English Issue: 1/2024

Storytelling is an essential aspect of the creation of a community of the mind. Shortly after its invention, film became instrumental in cultivating national identity. States and national groups are keen to have their stories told in order to reinforce a sense of identity internally and claim relevance externally. This paper explores how film and popular culture help to explain politics and identity in Ukraine, examining how films are reinterpreted, reformulate a canon, and facilitate new political arguments. Therefore, through the films of Alexander Dovzhenko, we can see how the struggle to balance political ideology and national identity depicted in them helps to illuminate and explain politics today. A feature of Ukrainian cinema that is often overlooked is how films made by the diaspora perpetuated national identity, language, and culture through periods of hunger and subjugation. These films are both a statement of political and cultural identification and the basis for current political claims.

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Identitatea spectacolelor teatrului moldovenesc academic muzical dramatic de stat „A.S. Puşkin” în anii ’70 ai secolului trecut

Author(s): Elfrida Coroliova / Language(s): Romanian Issue: 2/2022

The present article analyses the performances of the Moldovan Academic Musical Dramatic State Th eater „A.S. Pushkin” staged in the 1970s, in which cultural and civic identities were manifested, and namely: Egor Bulâciov and others by M. Gorki, Th e tiger and the hyena by S. Petőfi , Th e armored train 14-69 by Vs. Ivanov, Romeo and Juliet by W. Shakespeare, On the Night of a Moon Eclipse by M. Karim, Th e Inspector General by N. Gogol, Beyond the Green Door by R. Ibraghimbekov, Th e Blue Deer by A Kolomieț, An interview in Buenos Aires by H. Borovik, Servant to two masters by C. Goldoni, As long as we are going live by O. Iosseliani, Th e Prize by A. Ghelman, Night Asylum by M. Gorki, Solo for the clock by O. Zagradnic, the trilogy Th e Paths, A boat in the forest and Th e Dogs by N. Haitov, Th e Lark by J. Anouilh. Th e article also examines the shows marked by cultural, national and civic identities, among them: Love is not a bad counsel by A. Marinat, Th e Birds of our youth by I. Druță, Two girls and a nanny by V. Alecsandri, Th e Leader by D. Matcovschi, Childhood Memories and Harap Alb (Once upon a time…) by I. Creangă, Father by D. Matcovschi.

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DRAMA LANGUAGE AND THEATRICAL LANGUAGE FROM THE PERSPECTIVE OF THE PERSONAL DEVELOPMENT MODEL. EDUCATIONAL APPROACH

Author(s): Mirela Mihaela Doga / Language(s): English Issue: 1-2/2023

Starting from the place of drama texts in the middle school curriculum and the challenges in their reception and comprehension, the author emphasizes that the curriculum model of personal development allows for the appreciation of theatrical language, which, due to its specificity, promotes personal growth and development. The article explores the connection between children's role-playing games and the origin of dramatic art, highlighting the importance of drama language/theatrical language and the concept of "theatricality" in the intellectual and personal development of students. From the perspective of "exceptional learning," the role of education is to provide diverse learning contexts and various activities, and improvisation exercises can be integrated as learning activities oriented towards personal development.

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