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The paper examines the origin of the curious relic collection of Robert of Clari, a crusader knight from Picardy and a chronicler of the Fourth Crusade, which he brought back from Byzantium after the conquest of Constantinople in 1204. In 1213 he donated 54 Constantinopolitan relics to Saint Peter’s Church in the Benedictine Abbey in Corbie in Picardy. The eight years gap between his return from the East (before April 1205) and the date of the donation, as well as Robert of Clari’s surprising silence on the matter and the lack of information on the circumstances of the relics’ acquisition in his otherwise quite elaborate in details Chronicle, probably suggest the remorse and the unclean conscience of the crusader knight, who seems to have taken his secret to the grave in 1216. At the same time Robert of Clari’s Chronicle of the Crusade to Constantinople may also be interpreted as an attempt of justification of his concealed “furtum sacrum”.
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Jelena Erdeljan, Chosen Places. Constructing New Jerusalems in Slavia Orthodoxa
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Strict counterpoint and Palestrina style are interchangeable terms in current usage. Establishing a definition provokes repudiation, because the ‘clearness’ of the techniques in historical and geographical context cannot be guaranteed. There is always a pre-history; a stylistic analogy always exists.The common European system of teaching, based on Josef Fux’s Gradus ad Parnassum, provides the necessary certainty and reliability of the method. The complex understanding of the style as completeness makes us reconsider Fux’s theory, because a mere technical examination of the music risks completely misunderstanding the meaning of the discipline. Remoteness from the text incorrectly places the music in the role of an abstract art. Sacred art, however, is in its essence always symbolic. Two-part composition appears to be the broadest scheme, the skeleton of the strict style that conveys technique but deprives us of this music’s transcendence. The general overview of the problems presented here permits a summary of the cases that both threaten and confirm the strictness of the style.
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Pascal Dusapin (1955) is one of the most noteworthy French contemporary composers. His output includes seven operas, symphonic, and chamber music. Dusapin’s conception of form and structural handling of sound material reference the entire scope of 20th-century culture. His works embrace musical interpretations of passages from the literature of Samuel Becket, Gertrude Stein and Olivier Cadiot; the theory of morphogenesis by the French mathematician Rene Thom; the philosophical conceptions of Gilles Deleuze; the experiments in light by artists Barnet Newman and James Turrell, and the constructive experiments of film directors Ingmar Bergman and Federico Fellini. This paper illustrates Dusapin’s aesthetic position through the example of his musical interpretation of Samuel Beckett’s literary style. Such is the case of the Fifth Quartet for strings, which takes Beckett’s novel Mercier and Camier as its model. Dusapin’s methodical approach is observed in the context of contemporary music’s tendency to appropriate the prototypes of an extramusical form.
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Im späten 16. Jahrhundert war das erstmalige Erscheinen eines neuartigen räumlichen Rahmens für die Darstellung von Abbildungen zu verzeichnen: der Gemäldegalerie. Diese kulturelle Innovation vereinte christliche Gemälde sowie mythologische Szenen, Stillleben und Landschaften unter einem Dach. Seit den 1990er Jahren haben Kunsthistoriker die Meinung vertreten, dass dieser neue Ausstellungsraum derart erfolgreich die bis dahin unüberbrückbaren Differenzen zwischen religiösen und profanen Abbildungen eingeebnet habe, dass ein säkularisiertes und entzaubertes Kunstwerk entstanden sei. Dieser Aufsatz argumentiert, dass die Aufhängung christlicher Gemälde in einer Kunstgalerie diesen Bildern nicht notwendigerweise einen unveränderlichen säkularen Status verliehen habe. Bezogen auf das Gebiet Polen-Litauens unter der Herrschaft zweier Monarchen aus der Wasa-Dynastie, Sigismund III. (reg. 1587-1632) und Ladislaus IV. (reg. 1632-1648), wird in dem Aufsatz die Ansicht vertreten, dass die katholischen Eliten der Wasa-Zeit beim Umgang mit christlichen Gemälden, unabhängig vom Ort der Aufhängung, zwischen künstlerischem Genuss und religiöser Hingabe wechselten. Zwei Örtlichkeiten wird besondere Aufmerksamkeit gewidmet: dem Königsschloss in Warschau und Mikołaj Wolskis Galerie in Schloss Krzepice. Beide Fallstudien offenbaren, dass der Status eines Bildes in der Frühen Neuzeit von den Praktiken und Anschauungen des Besitzers abhing und folglich kein Galerieraum – wie säkular auch immer – die Bedeutung und Funktion der ausgestellten Bilder festlegen konnte. Der Beitrag untersucht den vorgegebenen katholischen Diskurs in Polen-Litauen über religiöse Bilder und die Art und Weise ihrer Darstellung und stellt so die vermeintlich klare Abgrenzung zwischen der Gemäldegalerie als einem angeblichen Garanten säkularer Kunstwerke und der Kirche als Raumhülle, mit der die kultische Funktion des Bildes garantiert worden sei, infrage. Indem man den Darstellungsräumen, die zwischen dem Heiligen und dem Profanen oszillierten, Aufmerksamkeit schenkt, erschließen sich Anhaltspunkte, um sich kritisch mit den bestehenden Theorien über die Kunstgalerien in der Frühen Neuzeit auseinanderzusetzen.
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Visual arts from the oldest ages to the present day has established relations with the artspace. The artspace where the artwork is presented is extremely important in meaning and understanding the artwork. In fact, sometimes the value of an artwork can be claimed to be not sufficiently understood without considering the effects of artspace. In explaining the effects of this perception, apart from its architectural and sociological effects, it can be considered that the meaning of the artwork has an effect. Especially in this case, the transformations and progress of art has a share. Considering the possibilities of today's technology tools, you don't need to travel for hours to see any artwork at the farthest distances. This situation is also likely to change the detection and meaning of the artspace to artwork. Especially not only in the presentation of the artwork, but also in the sharing of information cannot be denied these effects. In this study, it is aimed to examine the impact of the search for innovation in artspace after 1960 on the important art organizations that are seen today in the context of the subject. In addition, the contribution of today's technologies to this perception has been discussed within this framework. The contribution of alternative artspace experiences to the development of art has been discussed also in this context. In addition, how this situation affects the production and presentation of artworks in today's conditions will affect the near future. In this context, the artspace has an important impact on perception of the artwork.
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The main subject of this study is the two musical works composed by Zekai Dede, considered to be the last representative of the Classical Era in the Turkish Music, in the theme of Dilkeş-Hâverân. A detailed analysis has been carried out in this study on the theme of Dilkeş-Hâverân, which is rarely used nowadays, and on the forms of Ağır Semai and Yürük Semai, which are the old types of Turkish Music and which are not currently sought after by composers, in order to provide useful information to researchers. This article intents to introduce the life of Zekai Dede as a composer, his position in the Classical Turkish Music and, his composition focusing on the two different types of works he has composed. Moreover, the theme of Dilkeş-Hâverân has been explained using the descriptions of various theorists in the music books called “edvar” from the 15th century.
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In terms of the themesand verbal elements folk songs are the building block that Express Turkish people’s feelings in the simplest way with culture as well as literature. The tradition of composing folk songs, in other words singing Turkish folk songs are based on Central Asian music culture, accompanied with ancient instruments such as “Kopuz” and “Bağlama”, still used at the present time as well. This article which is based on a descriptive research on Folk music covers 67 songs that belongs to Ordu province and its districts. While mentioned folk songs were predominantly chosen from the pre-existing musical pieces in TRT Turkish Folk Music repertoire, they were also selected from the folk albums recorded in various time periods and Ordu folk songs that have been sung among the public. Briefly the path followed in the findings section of our research is; classification of the subjects of the Ordu folk songs, determination of their contents, tabulation of symbols and motifs and interpretation of these tables.
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Renaissance period classical movement gets main strength from Ancient Greek Literature. There are rules in the classical movement and following these rules strictly is expected. One of the rules which are supposed to be followed is that the creations be realistic and convincing. On this point, it is stuck to the content of Poetics by Aristotle. Main factors grounding on realism and persuasiveness are: mind/common sense, ethics and threee unities. Mind/common sense is reviewing incidents in accordance with logic and reality; ethics is acting proper to common courtesy; three unities is abiding to the association of location (all incidents taking place at the same location from the beginning to the end), time (incidents including within a period of twenty-four hours) and event (narrating only one incident ). In this article, drama piece named Le Cid by Corneille, who is one of the founders of French tragedy, is discussed over classical movement laying context on realism and persuasiveness.
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Review of: Anja Rasche: Studien zu Hermen Rode. Imhof. Petersberg 2013. 224 S., zahlr. Ill. ISBN 978-3-86568-846-0. (€ 49,95.). Reviewed by Burkhard Kunkel.
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Jovan Zograf is among the most significant members of the Samokov painting workshops in the 19th century. Data on his activity are mainly known from the memoirs of his son, Nikola Obrazopisov, with whom he has been working together since the fifth decade of the nineteenth century. The information from Nikola’s memoirs indicates their work in Leskovac, which was completed independently by Nikola Obrazopisov in the year followings Jovan’s death. Recent research has shown that the record refers to the iconostasis of the Church of the Holy Apostles in the village of Turekovac, west of the city. Jovan Zograf signed with the year 1853 on the back of the royal icons, in some cases together with the son. Compared with the known material, this iconostasis is the most mature and iconographically developed work of Jovan Zograf. With his son Nikola, Jovan painted 44 icons in total, while the only preserved osculating icon is attributed to Nikola Obrazopisov. The icons rely on iconographic solutions frequently used by the painter. Icons are well preserved, which provides an insight into the technique and original coloring. Contributory inscriptions testify of the patronage system guided by Church-school municipality in Leskovac that hired painters from Samokov, whose poetics were in line with the aspirations of ecclesiastical authorities.
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Bubryák Orsolya: Fantomkép egy 17. századi bécsi műgyűjtőről. MTA Bölcsészettudományi Kutatóközpont Művészettörténeti Intézet, Budapest, 2017. 343 oldal
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Mythology has been a source of inspiration for many kinds of arts such as literature, music, painting and sculpture. In particular, the Western art, which was nurtured from the ancient Greek civilization and Greek mythology, has found its special place today. As in many different areas of music, the flute repertoire also has works inspired by mythology. It can be said that the flute is perhaps the most suitable instrument for describing a semi-goat half human Pan who is an important mythological character in music. In this study, in order to interpret better the Pan themed works in the flute repertory, it is firstly focused on to present Greek mythology, the place of music in mythology, the importance of the instruments and the ethos of the instruments in the mythology, who is the character of Pan, the relationship of Pan with the flute, how the composers process Pan in their flute work. As a result of the literature reviews, it is concluded that there is a special relationship between the flute and the Pan character, and in the flute works it is concluded that the the flute plays Pan theme with the scales which are reflecting the Greek modes.
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The conductor of “Bodra Smyana” Boncho Bochev has been actively involved in the issues of music education in Bulgaria for four decades: he teaches, organizes teacher training courses, writes textbooks and school curricula. Through his choir he sets a successful model for working with children’s voices, which also contributes to improving the quality of singing in the classroom. Bochev has taken concrete steps to improve the qualification of teachers. He provides them with the opportunity to work with a more extensive repertoire and achieve higher results in vocal work with students. These systematic efforts for proper vocal work, for emotional and expressive singing in the classroom are the subject of interpretation throughout this text.
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Radio programmes for children were among the earliest activities from the beginning of Bulgarian public radio and within the structuring of a nationwide radio programme. Children’s radio hours on a regular basis were a natural stage for Bulgarian writers, composers, actors and other performers. New works had premieres to be then published in books, collections of poems or made into musical performances. The programmes featured concerts, poems and various music genres realized by school choirs, orchestras or soloists. The Bulgarian Radio in its capacity as a cultural institution actively produced original children’s songs. The article deals with the history of children’s music radio programmes in the said decades, bringing to the fore the contribution of certain figures in the field of culture and music. Dimitar Nenov was the first music editor of the Bulgarian Radio in the 1930s. Gjurga Pindjurova, Ivanka Miteva and Petar Raykov sang live. Composers Parashkev Hadjiev and Yossif Tzankov (in the 1930s/1940s) as well as Petar Stupel and Alexander Raychev (in the 1940s) among others, contributed to children’s radio programmes.
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Hans-Georg Gadamer defines the hermeneutical problem as “universal” in the field of modern philosophical hermeneutics, meaning not only the problem of language, but also that it “encompasses all of the Greek-speaking religious realm as art-religion as a way to reach the Divine in the flexible response of Man” (“die ganze griechisch-heidnische religiöse Welt mit umfaßt, als die Kunst-Religion, als die Weise, das Göttliche zu erfahren in der bildnerischen Antwort des Menschen”). A musician seeks not only to find the words towards another musician (the pedagogical problem) but also towards music itself, because approaching it is something more than a translation from one language into another. It encompasses the person as a whole, i.e. the emotions, mind, and the ability to foresee, to be active or contemplate his or her whole life. By mentioning the figure of “the theologian” Gadamer reminds that philosophical hermeneutics is an echo from biblical hermeneutics with roots so deep that they reach the interpretation of the holy or divinely inspired texts of humanity in general. Yet, this is pertinent to music or the musically sacred word. An example of how Antiquity foreshadows the long centuries of European music and cultural development (in this case the principle of cantus-firmus) is an excerpt of Plato’s Laws (657a, b): “To be established and made into laws those melodies which by nature represent the right way. This, however, can be the work of God or a Divine human; therefore, it is insisted that the melodies preserved for so long are the work of Isis.” At the basis of West European development of polyphony lies a sacred melody, namely the Gregorian chant chosen for that purpose [cantus pruis factus], and it is the uniting principle that holds together the whole polyphonic structure [cantus firmus]. This study briefly follows the connections of musical hermeneutics with biblical and philosophical hermeneutics by focusing on two of its founders – Hermann Kretzschmar (1848 – 1924) and Arnold Schering (1877 – 1941).
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Robert Schumann (1801-1856) was one of the most important composers of the romantic period and his Op. 129 A Minor Violoncello Concerto is one of the most important works of cello repertoire, and it is frequently performed by interpreters. What makes the work so important in the cello repertoire from the past to the present is that the concerto is the only cello concerto written by Robert Schumann throughout his life, and the concerto has a reflection of the original musical language of the last period of the composer's life. Due to lack of adequate academic studies about Robert Schumann’s Op. 129 A Minor Cello Concerto in Turkey, main goal of this study is to create a source about the Op. 129 Cello Concerto and to make comparative analysis about the interpretation techniques for researchers and interpreters who will perform Schumann’s Op. 129 Cello Concerto. In this study, the importance of A Minor Violoncello Concerto in the cello repertoire has been emphasized from historical perspective of the composer’s life and formal aspects.
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Philther is an extensive research project in the field of theatre history, covering the entire Hungarian linguistic area. It is within the framework of the project that the volume Erdélyi magyar színháztörténet – Philther-elemzések (Transylvanian Hungarian Theatre History – Philther Analyses) was published. Krisztina Kiss writes a review about the volume. The authors of the book are teachers at the University of Arts in Tg-Mureș as well as graduates of the Theatre Studies program, who have written the professional analysis of significant performances of Hungarian theatres in Transylvania in the book edited by Magdolna Jákfalvi, Árpád Kékesi Kun and Ildikó Ungvári Zrínyi. The author of the review presents the performances and their directors in a few lines.
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