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Nowadays, music education is facing with the process of accelerated digitalization of the teaching process, which is realized in limited technological and specific social circumstances. Given that the process is further complicated by the Covid-19 pandemic, teachers, as the main bearers of quality music education, more than ever, have the task, responsibility and obligation to adequately respond to the challenges of preparing, creating and applying various digital materials and teaching models. Regardless of the stated circumstances, the teachers had the obligation to fully realize the teaching process, while respecting the principles of quality and specifics of music teaching at the academic level. This posed a bigger challenge in the process of digitizing content and using different platforms and programs that could not always meet the set goal, tasks, outcomes and criteria of music education. The paper will present the results of research on the preparation, development and application of digital content and platforms in online teaching, difficulties in implementing the entire process, but also new ideas that could improve teaching in the time of digital transformation in music education. Teachers managed to meet the basic requirements of online teaching in a timely manner, but in the future it is necessary to allocate more time, space and investment for compulsory education in the field of digitalization, to be ready for new challenges in the teaching process in academic music education.
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The paper presents a historical overview of the development of musical theatre at the University of Sarajevo through the education of students at the Music Academy and the Academy of Performing Arts, whom participated in music and stage projects in the period from 2013 to 2021, produced by the Sarajevo Institute for music, theatre and multimedia. Research includes detailed review and comparison of theatre projects through quantitative analysis, that shows their importance for the development of the field and through the teaching process on the subject Voice, on the I and II cycle of studies at the Department of Acting of the Academy of Performing Arts. The aim of this paper is to point out the need to start the first regional interdisciplinary specialist master study for music theatre modeled on world higher education institutions, for which there is student interest, and which as such can be offered as part of internationalization projects at the University of Sarajevo. Finally, through the first art research project "Voice as an actor tool in musical theatre" of the Academy of Performing Arts, which will, in 2022, result in a theoretical template for this study, the author draws attention to the contextualization of artistic research processes as scientific research in education for the performing arts.
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The art of Chinese opera performance goes hand in hand with the art of Chinese opera. During the development of Chinese opera for more than a hundred years, Chinese opera performing art has shown national, contemporary and global characteristics. The cosmopolitan nature and national nature of Chinese opera performances have always been closely related and interrelated, and have become more obvious in the changes of the times. The early Chinese opera performing arts were influenced by both drama performing arts and traditional drama performing arts. "Acting" on the stage was the main thing, and "singing" was not. The actors mostly followed and used traditional freehand performing techniques. After the outbreak of the Anti-Japanese War, this kind of "light singing and dancing" performance form could no longer carry and express the historical mission of the opera created because of this historical event. The opera workers in Yan'an used it according to the needs of the opera works in line with the plot requirements, and were deeply loved by the opera workers. The stage performance presentation method welcomed by the audience combines the Western systematic realism performance system with the traditional Chinese freehand performance system, establishing the unique performance style of Chinese opera. After the founding of the People's Republic of China, with the changes in opera aesthetics and opera concept construction, opera performing artists have higher requirements for their own singing skills and performance abilities. The diversified creation of operas requires actors not only to sing on stage with smooth high notes, deep bass, bright and tense timbres, but also to present diversified characteristics in stage performances. After the reform and opening up, exchanges between domestic and foreign opera performances have become increasingly frequent. More and more Chinese opera singers have systematically studied the Western opera performance system, and their performance practice has integrated more of the advantages of Chinese and Western performances and moved closer to the world.
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Roman Triptych by Ottorino Respighi (1879–1936) is a musical impression of the Eternal City: each of the tone poems – Fountains of Rome (1916), Pines of Rome (1924), and Roman Festivals (1928) – contains four part-images evocatively described in a literary commentary. The object of musical meditation involves not solely the monuments and views of Rome, but also the town’s history as well as urban folklore. This dazzling musical vision, characteristic for its masterly instrumentation, is entwined with dilemmas from the epoch. The composer belongs to the generazione dell’ottanta, i.e. a formation of composers striving towards a renaissance of Italian instrumental music and hence opposing the degeneration which, in their opinion, affected European music under the impact of the expressive subjectivism of German compositions. Certain aspects of the role which they ascribed to Italy were concurrent with Fascist conceptions. An assessment of Respighi’s actual ideological involvement, however, remains an open question – his aesthetic attitude assumed shape prior to 1922 and the composer did not take a stand regarding political issues.
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The musical merits of Ljudevit Gaj (1809-1872) have already been discussed and referred to, concerning primarily his participation in the creation of the songs, most widely known as budnice and davorije (rousing songs of lyric and more militant type). Among them the most popular was the Horvatov sloga i zjenjenje [The unanimity and unification of Croats], better known under its textual incipit “Još Hrvatska nij’ propala” [Croatia has not fallen yet], the origin and the context of its spread was meticulously presented by the historian Nikša Stančić. However, almost all information on the topic “Gaj and music” originates from the writings of the musicologist and ethnomusicologist Franjo Ksaver Kuhač (1814-1911), who placed him among the so-called Illyrian musicians, and dedicated many lines to him published in books/booklets and newspaper articles. Among them are Gaj's often cited ideas about what “national” music should be like, which, within the overall view of Gaj's (“musical”) activities, is also the topic of this paper. Further, Gaj's cultural involvement also influenced Zagreb's opera impresarios, such as Heinrich Börnstein, and besides the composer Ferdo Livadić, he was also in contact with other contemporary composers, such as Dragutin von Turanyi. The paper is articulated in four sections in which information is provided about Ljudevit Gaj's relationship to (musical) theatre, about his collaboration with some Croatian composers, about the relationship between Gaj and Franjo Ksaver Kuhač – either directly or mediated by Ferdo Livadić – and, finally, about Ljudevit Gaj and music. Gaj's ideas on music might point to what extent was he himself trained in music, but also to the role of music in his milieu and his views on music as art, figuring as the concluding part of this work.
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Musical performance is the key content in the process of music education. Therefore, it is important for us to explore the current situation and factors affecting musical performance and further develop relevant skills for prospective music teachers. This study surveying 586 prospective music teachers using a questionnaire, the results indicate that physiological factors are the most important factors affecting musical performance, followed by psychological factors.
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The purpose of the study is to determine how communicative skills and emotional intelligence are cultivated in students under the impact of arts on the example of music education. The research involves comparing social and emotional competences of undergraduates and postgraduates with the help of standardized psychological tests and interviews. The article proves that integrated arts education transforms students into emotionally and socially competent individuals.
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The present study covers the presence of Richard Wagner in the sense of real-sounding music, Compositional, Aestetic and Philosophical views in the various spheres of the cultural life of the Third Bulgarian Kingdom. The earliest information about performances of Wagner’s work in Bulgaria dates back to 1880 in the field of choral and chamber- instrumental ensembles seeking contact with the music of the Great Maestro. The reign of Prince/ Tsar Ferdinand (1887– 1920) undoubtedly stimulated the unclusion of orkestral fragments, overtures or phantasies from the composer’s operas and musical dramas in the Repertoire of Sofia Court Orchestra and in the programs of provincial bands with the edition of full time string section. Factors for building un understanding of Wagner’s ideas and music are also: a) the performances of German opera companies that presented two of his three middle period operas: Der Fliegende Holländer and Lohengrin as early as 1910; b) the growth of Bulgarian musicians – singers, instrumentalists, directors, conductors, musicologists etc., educated abroad, in Austria, Germany, Italy, Russia; c) the growth of highly educated Bulgarian intellectuals, open to the philosophical, aestetic and art history trends of modernism from the end of the XIXth and the first half of the XXth century. The publications of this Bulgarians with European knowledge/ consciousness support the growth of our society to the level of Wagner’s music, of his theoretical, theatrical and social ideas.
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This article presents Adorno’s remarks on musical form at the Darmstädter Ferienkurse as a late turn in his musical thinking. Texts such as Vers une musique informelle and Form in der neuen Musik are notable not only for their particularly practical engagement with technical problems of composition, but also for their reconsideration of Adorno’s critique of traditional and abstractly schematic (e.g. serial) musical forms. Increasingly, Adorno comes to understand form itself as a sphere of musical material and advises composers to develop their “Formphantasie”: an ability to inventively imagine particular forms, treating form as composers had traditionally treated other domains of music material such as melody or rhythm. In contrast to Adorno’s earlier thought, composing ‘with’ forms as a technique of composing form offers itself as a way forward. By contextualizing Adorno’s call to “Formphantasie” within his theory of articulation, within the history of the musical genre of the fantasy, and within Adorno’s shifting reception of formal innovations in the music of composers such as Schönberg, Webern, and Stravinsky, this essay considers some of the implications of this late turn for Adorno’s musical thought.
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This report presents the life and artistic work of the French pianist, organist, composer, orchestra conductor, arranger and screenwriter André Popp (1924 – 2014). He is the author of the world famous (but unknown in Bulgaria) symphonic story tale for children called “Piccolo, Saxo et Compagnie ou la Petite Histoire d’un grand orchestra” (“Piccolo, Saxo and Company or the Little Story of a great orchestra”, written in 1956, text by Jean Brussol), which aim is to get children acquainted with musical instruments and orchestra (including the family of the saxophones). An author of a large number of songs, as well, which were performed by the greatest stars of his time. From a time distance of more than six and a half decades, already through the insight of current knowledge and sound experience, and long since in the era of digitalization, the gramophone plate “Dellirium in Hi-Fi” (1957) is discussed, containing arrangements of 12 pieces known at the time. The original of the arrangments have been extensively studied. The arrangments are filled with various, very fascinating until today sound effects (work of Pierre Fatosme, 1925-2010), achieved only by using microphone and analog magnetic-band technology. With similar ideas and achievements Beatles become famous whole 10 years after those of the artistic “tandem” Popp – Fatosme...
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Whistling was one of the early auditory and ideographic means of humans. As a unique cultural phenomenon, whistling had been spreading in China for a long time, and was once called ‘xiao’. It had even become an early religious magic and a way of keeping fit for alchemists and Taoists. This study will further elaborate that as a primitive form of musical expression, whistling has unique significance in its development process. Whistling is a casual and joyful art of music, and this pleasure comes from the pursuit of the spiritual realm triggered by whistling. On the one hand, whistling has the function of expressing personal emotions and lifting the mood; on the other hand, it can create a realm that is the unity of heaven and humanity. From an aesthetic perspective, whistling is not a simple skill, but a return to nature by humans.
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A selection of the correspondence between composers Alban Berg and Erwin Schulhoff is translated and analysed for the first time in English in this study. The aim is to demonstrate the opposing views these two contemporaries held regarding modern composition and music’s role in the tumultuous landscape of post-WWI Weimar society. The ideological divergence that ensued is a fascinating dichotomy of values between the radicalism of Schulhoff and the traditionalism of Berg. As a counterpoint to this polarity, a comparative analysis of philosophical symbolism is presented between Berg’s opera Wozzeck and Schulhoff’s opera Flammen to emphasize how both composers shared a penchant for expressionistic dramaturgy predicated on an explicit display of metaphysical temporality.This phenomenon is expressed in the overlapping treatment of how reality and illusion is juxtaposed in both works, which the composers’ prose works reflect as palpable aspirations of theatricality. What emerges is a mutual connection of discord and harmony that provides a greater understanding of both idealistic composers.A selection of the correspondence between composers Alban Berg and Erwin Schulhoff is translated and analysed for the first time in English in this study. The aim is to demonstrate the opposing views these two contemporaries held regarding modern composition and music’s role in the tumultuous landscape of post-WWI Weimar society. The ideological divergence that ensued is a fascinating dichotomy of values between the radicalism of Schulhoff and the traditionalism of Berg. As a counterpoint to this polarity, a comparative analysis of philosophical symbolism is presented between Berg’s opera Wozzeck and Schulhoff ’s opera Flammen to emphasize how both composers shared a penchant for expressionistic dramaturgy predicated on an explicit display of metaphysical temporality. This phenomenon is expressed in the overlapping treatment of how reality and illusion is juxtaposed in both works, which the composers’ prose works reflect as palpable aspirations of theatricality. What emerges is a mutual connection of discord and harmony that provides a greater understanding of both idealistic composers.
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The set of miniatures Piano Impressions by Tadeáš Salva (1937 – 1995) was composed during a short period of the composer’s inspiration by Schönberg’s atonality. The presented paper examines the harmonic frame of the work based on set analysis. The analysis demonstrated the use of specific pitch-class sets, which the composer developed and applied in a variety of vertical and horizontal forms. Pc-sets 3-5, 3-8 and 3-9 are used in the work both as constituents of higher supersets and also as separate harmonic units, in their own way substituting traditional consonant triads. Together with the set 2-1 (semitone interval) and 3-11 (major/minor triad) they form the harmonic basis of the work. The study deals with the application of their specific forms (transposition and inversion) and examines the validity of the hypothesis about their unifying function of the composition as a cycle.
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Doc. PhDr. František Matúš, CSc. (1936 – 2023) worked as a senior lecturer in the field of music education at the University of Prešov. He specialized in musica historiography and ethnomusicology and, at the same time, he was actively engaged in the regional musical life of Prešov as a publicist and publisher of sheet music and musical editions. In his regional musicological research focusing on the historical regions of Spiš and Šariš he dealt with 1) outstanding personalities linked to the region (Béla Kéler, Samuel Marckfelner, Zachariáš Zarevúcky, Leonard Stöckel, Anton Cíger, Mikuláš Moyzes), 2) folk musical instruments (gajdica) and 3) the repertoire of unique regional performers of folk songs (Monika Kandráčová). František Matúš is the author of several monographs (S hudbou v srdci Tatier [Musical Inspirations in the Heart of the High Tatras], 1996), dozens of scientific studies and articles; he is also the recipient of several awards (Pavel Tonkovič Award, 1993; Prešov City Award, 1996; Memorial Medal of the Rector of the Prešov University in Prešov, 2017).
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After the adoption of the Byzantine form of Christianity by the Slavs in Great Moravia, some Byzantine liturgical books were also translated into the Slavic language. Their aim was to convey the Byzantine form of Christianity to the Slavic peoples, but also to better understand the mysteries of the Christian faith from the so-called theologia prima, i.e. liturgical celebration. However, such communication also required the adaptation of Byzantine melodies to Slavic texts, which was all the more difficult because at that time there was no musical notation capable of capturing individual melodies.
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Rastislav Adamko – Janka Bednáriková – Rastislav Luz – Adam Sýkora – Eva Veselovská – Zuzana Zahradníková: Missale Notatum Lundense Pars Aestivalis. Results of Previous Research on the Source and Facsimilies. Berlin : Peter Lang, 2022, 774 s. ISBN 978-3-631-85830-1.
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Gregor Hermann: Die mehrstimmigen Musikhandschriften des 15. bis 17. Jahrhunderts der Ratsschulbibliothek Zwickau.Baden-Baden : Tectum Verlag, 2023, 276 s. ISBN 978-3-8288-4836-8.
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The article investigates and substantiates, with scholarly arguments, the identity of the genotype of the artifact Sun and Sea (2017) by Rugilė Barzdziukaitė, Vaiva Grainytė, and Lina Lapelytė. The author’s concept of the music genre (music genotype 1990, 2021) is used as a theoretical base and a research method. The conception of a ‘musical genotype’, or a dynamic music genre, proposed by the author of the article, is based on the idea of a ‘spiritual organism’. Meanwhile, the concept signifies not only the fact of an inherited type of opus (in a sense, a kind of DNA, genome of an opus) but also the fact of its self-organisation and live change (transformation). The genotype is a mark of identity of the products created by individual artistic intelligence, a recursive self-organising system that pervades the development of music art with its changing actualisation. The proposed theoretical model of the music genotype forms a new approach to the identity of the phenomenon, its origin and development, structural elements, and ontology and promotes the development of the discourse of dynamic processes. From this point of view, the music scene of contemporaneity and its sound art represent the ‘chromatic’ phase of the change in genotype (macro)systems. The author proposes that the structural elements of the genotype are naturally grouped under determinants of different origins. The tetractys structure of the music genotype is formed by: (a) factors of sociocultural determination; (b) factors of communicative determination, and (c) factors of artistic determination, covering the aspects of the genre poetics (ideas), and the formal structure, introduction of poetics through the sounds of music. From this point of view, the article investigates the factors representing the music genotype of Sun and Sea, however, particular attention is paid to the analysis of the artistic determinants of the music genotype. Sun and Sea” is tested as an opus-hybrid, the genotype structure of which is dominated by the opera segment and the performance component interacts in a subordinate manner. The transformations and atypicality of traditional genres and the mixed forms of genres (poly-genres, hybrid genres, music in-between genres, Musik zwischen den Genres, etc.) have become historical facts in the second half of the twentieth through the twenty-first century. In the course of the research, the artifact Sun and Sea is contextualised in the environment of the cultural paradigm of metamodernism, Regieoper theatre, and the mainstream transformation of music genotypes.
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The article analyses the phenomenon of free improvisation through the prism of the perception of the contemporary artist. The aim is not to frame improvisation in stylistic terms; on the contrary, it highlights the pervasiveness of the art of free improvisation in many different artistic movements and the constant adaptation of artistic tools and concepts. The article identifies and analyses the essential qualities of improvisational music and questions absolute freedom. The processuality of free improvisation is emphasised, and the main artistic products that emerge from this process are identified and discussed. The inevitable contradictions, complexity, and multidirectionality are presented in the article not as factors of chaos but as tools that enable innovative thinking inherent in the artistic research.
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