We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.
Beginnings are violent and deceitful. Pretending that they spontaneously emerge from nowhere, these words and thoughts cannot help but feign erasure of all that preceded them. There is thus something bold and presumptuous about claiming the ability to inaugurate and virtually burst onto the scene. In an attempt to mitigate the violence and deception of this particular beginning, I want to clearly contextualize what will follow.
More...
Since the middle of the 19th century, Franz Schubert’s song cycles Die schöne Mullerin and Winterreise are not only considered as an outstanding contribution to the Lied genre, but also as “romantic” compositions par excellence, whose protagonists might be depicted adequately only by performances of male singers. The “masculine nature” (Carl Lafite) of these thoughts, emotions and actions might be inappropriate for female singers. This attitude, which is still present today (even amongst professional musicians and musicologists), though, contradicts not only the performance practice of the early 19th century, but even Schubert’s handling of his songs. In fact, the idea of these two cycles as “men’s cycles” has only developed in the course of the 19th century, when various impacts such as the general upvaluation of the Lied genre, the transfiguration of the composer, the interpretation of his songs as being a personal statement, and the idea of Werktreueshaped the reception of Schubert’s compositions. These factors led to the consolidation of strong and still valid power structures, in which men are regarded as the norm, whereas women (and other alternative voice categories like countertenors) appear as deviation from this norm. These structures are tightly related to similar conditions and principles which have been outlined in the past decades by the masculinity studies on higher levels of our society. In this paper, I will set out this whole process by delineating the performance practice at Schubert’s time, his own attitude (insofar as it is possible), the various influences of romantic musical aesthetics, and the development of the mentioned performance tradition towards the end of the 19th and the beginning of the 20th century. Furthermore, a number of statements from the 21st century will demonstrate that these concepts are still common today, and I will correlate them with some certain principles pointed out by masculinity studies from the last decades.
More...
Since the middle of the 19th century, Franz Schubert’s song cycles Die schöne Mullerin and Winterreise are not only considered as an outstanding contribution to the Lied genre, but also as “romantic” compositions par excellence, whose protagonists might be depicted adequately only by performances of male singers. The “masculine nature” (Carl Lafite) of these thoughts, emotions and actions might be inappropriate for female singers. This attitude, which is still present today (even amongst professional musicians and musicologists), though, contradicts not only the performance practice of the early 19th century, but even Schubert’s handling of his songs. In fact, the idea of these two cycles as “men’s cycles” has only developed in the course of the 19th century, when various impacts such as the general upvaluation of the Lied genre, the transfiguration of the composer, the interpretation of his songs as being a personal statement, and the idea of Werktreueshaped the reception of Schubert’s compositions. These factors led to the consolidation of strong and still valid power structures, in which men are regarded as the norm, whereas women (and other alternative voice categories like countertenors) appear as deviation from this norm. These structures are tightly related to similar conditions and principles which have been outlined in the past decades by the masculinity studies on higher levels of our society. In this paper, I will set out this whole process by delineating the performance practice at Schubert’s time, his own attitude (insofar as it is possible), the various influences of romantic musical aesthetics, and the development of the mentioned performance tradition towards the end of the 19th and the beginning of the 20th century. Furthermore, a number of statements from the 21st century will demonstrate that these concepts are still common today, and I will correlate them with some certain principles pointed out by masculinity studies from the last decades.
More...
The present text interprets the appearance of the book called Music for Everyone, written by the prominent Bulgarian musicologist Ivan Kamburov back in 1937 in the context of the emergence of the public radio in Bulgaria. That process created the need to promote a number of musicological issues among a broad listening audience – aesthetic, historical and theoretical issues referred to the function of fundamental styles, genres, forms and processes of music. Alongside the detailed comparative analysis of the structure, significance and function of Kamburov’s work, the paper highlights some aspects of the social environment, the attempt to form musiccultural consciousness, and specific points of the cultural strategy. Among them are the specific focus on folklore music and its significance for professional music, popular 146 at the time music practices and music. The paper highlights the broad humanitarian basis, vivid modern reflection, emotional fullness, reliance on contemporary knowledge and technologies combined in the author’s professional method, through which the popular Music for Everyone affected the broad public at its time. That could serve today as a motivating example of the specific professional educational methods in the field of music.
More...
The article describes the group of seventeen early English prints from the second half of the 17th century. The prints are part of the collection of the former Preußische Staatsbibliothek in Berlin kept in The Jagiellonian University and contain ayres and religious songs. Fourteen of them were published by John and Henry Playford. The first part of the paper shows the biographies of the publishers and brings the state of research on their work. The second part includes the detailed description of the seventeen of early English prints. The final part presents the content of the prints and biographies of its most important composers.
More...
Die Veröffentlichung des Briefwechsels zwischen Ion Mușlea und den Mitarbeitern des „Folklore-Archivs” hat zu umfassenden Überlegungen zum Briefphänomen geführt, das die wissenschaftliche Recherche und deren Ansatzperspektiven entscheidend geprägt hat. Der Beitrag würdigt die Erudition und Begabung der Klausenburger Herausgeberin Cosmina Timoce-Mocanu sowie ihren wissenschaftlichen Dokumentationsaufwand.
More...
Materials about the nature of personal relationships are an important source of information about everyday life. This article bring information on daily life and attention is focused on the city of Krakow. In addition leading themes, personal relationships contain a lot of information about the difficulties with the supply and quality of housing, the attitude towards the changes taking place in the city, functioning within the official public life and privacy. The purpose of this article is not to criticize source materials such as memoirs, or reflections on the formation and functioning of the memory of the war and occupation.
More...
The article discusses the role of the program article by Ivan Shishmanov “The Importance and task of our ethnography” for the development of modern Bulgarian ethnology.
More...
Angelina Petrova’s book corresponds to the most up-to-date and topical studies on solfeggio worldwide, without breaking the relation with the traditional teaching practices in Bulgaria. The categories of musical understanding, hearing, aural training, consciousness, the latest scientific approaches used in the creation of the so-called neural network structures and neural maps, the terminological and structural study of musical memory, of the so-called ‘auditions’, as well as ‘F0 listeners’ or ‘spectral listeners’ present solfeggio in a completely different light, keeping nonetheless its substance in the strict music educational practices. In Chapter 1, Philosophic and Musical Hermeneutics and Ear for Music the author comments on the postmodern philosophy and its interpretations of musical hearing, drawing on the modern and postmodern theories of Theodor Adorno, Hans-Georg Gadamer, and later also of Gille Deleuze and Félix Guattari, making the important distinction in German language between ear for music and musical hearing, which in the Russian and Bulgarian traditions are fused into the former term, ear for music. In Chapter 2, Ear for Music in the Light of Contemporary Cognitive Psychology solfeggio is studied through cognitive psychology, shaping of musical perception and of musical notions in accordance with the cognitive and neuropsychological studies. Chapter 3 deals with musical memory, broaching the paramount views of cognitive psychology of musical memory: its definition, types, assumptions about its dynamic structure, the issues of the long-term musical memory and the correlation between it and melodic dictation. Chapter 4, Tonal Syntax and Ear for Music interprets melodic dictation, basic theoretical notions in music aural analysis, an analytical aural method in dictation are considered, with the study focusing here on its practical part: 1-, 2-, 3- and 4-part dictation. The section dealing the specifics of the dictations by ‘parameters’ in some systems of West-European methods is especially valuable. Chapter 5 explores the models of the post-tonal ear for music and melodic dictation in post-tonal music. The chosen thematic line evinces the author’s innovative methodology drawing on various modern views and models, e.g. Pierre Boulez, Utz and Kleinrath, including also postmodern composers in the process of solfeggio training such as Stockhausen, Ligeti, Lachenmann, Ferneyhough.
More...
This article is dedicated to the history of Qipchaq language. In this paper analyzing the question whether it is possible to consider the Turkic language of «Codex Cumaniсus» were lanlguage of Qipchaqs in the IX–XIII centuries. Vocabulary of Makhmud al-Kashgari was the only one dictionary which remained Qipchaq language of 11th century. Qipchaq language, other than vocabulary in this dictionary, presents of anthroponyms and ethnonyms in historical sources from different countries. Qipchaq language of 9th–13th centuries should have been closer to Oghuz language.
More...