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Kronika kulturnih događanja u Mostaru, travanj – rujan 2021.
Cultural events held in Mostar from April to September 2021.
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Cultural events held in Mostar from April to September 2021.
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In the structure of radio experiments, the pattern is present and not every sound composition composed in any way fits into this pattern and is artistically valuable as well as it is not necessarily experimental radio drama oravant-grade music. The common features and structural aspects are the base of the for the main aim of this article, which is to describe the nature of radio experiments, establish their genre pattern in four aspects (stylistic, pragmatic, structural and cognitive) and to define the ruling principles of this form. The chosen research methods include literary analysis and criticism as well as some elements of structural analysis. The hypothesis of this article is the radio experiment as an autonomic radio genre, even though it is a very complex and internally diverseform. This article describes the matters of structure, aesthetics and non-aesthetics in the field of radio experiment with the examples from Polish Radio Experimental Studio and others.
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Insights into relevant scientific theoretical sources have indicated the existence of educational values of musical content, since it evokes emotions, and various emotions stimulate different thoughts, reactions and behavior. Furthermore, it has been concluded that music education presents an important part of overall esthetic and artistic education, and it impacts the overall affective, social, cognitive and psychomotor development of a person. The aim of this paper was to find out through a comparative analysis whether there is a difference in the educational values promoted by sevdalinka and turbo folk music. We assumed that young people listen more to turbo-folk music, and older to sevdalinka, and that sevdalinka promotes and turbo folk does not promote educational values. We used a method of theoretical analysis and a descriptive-analytical survey method, while we collected data using a survey. A Questionnaire on general data and a Questionnaire on the values of sevdalinka and turbo-folk music were used as the instruments. The research sample comprised 200 participants: 50 high school students from Sarajevo and Zenica-Doboj Canton, 50 university students from Sarajevo and Zenica-Doboj Canton, 50 people aged 35 to 60 years, and 50 people older than 60. The results showed that younger people listen to turbo-folk music more, while older people listen to sevdalinka more, and that sevdalinka promotes educational values and turbo-folk does not. Moreover, the findings indicated that the greatest number of the participants consider that the musical quality of sevdalinka is significant, that their lyrics are educational, and that they promote educational values, that their content is meaningful and of great quality, that sevdalinka affects feelings and behavior positively, while listening to it improves one’s mood.
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Ladino oral children’s literature served as a tool for educating and imparting values, and Ladino children’s songs played a very important part in the family’s routine. These songs and rhymes were extremely important – while the women did housework, they sung or told rhymes to the children, thereby enriching their language. Likewise, their content was also very significant – until the beginning of the twentieth century, most girls did not have a formal education, but rather learned stories, songs and rhymes according to the oral traditions passed down from one generation to the next. The uniformity and uniqueness of the oral Ladino creations for children as an integral part of the same collection are recognisable by their fixed beat and rhyme. The language is neither flowery nor high-level, with their content centring on the child’s experiences. This lecture aims to identify the thematic and folkloristic aspects of the Ladino songs and rhymes transmitted orally in my family. The compositions were written down from the following informants – my grandmother, Fanny Afia (1911-1991), and my mother, Susan Levi (born 1934). Both were born in Istanbul, Turkey, and immigrated to Israel in 1948. The storytelling took place during housework or childcare, and was documented from their memories. The lecture will include a discussion of two rhymes about a hakham (rabbi) and a rubisa (rabbi’s wife), two lullabies, and six rhymes for playing with babies or young children. The discussion includes a folkloristic, linguistic and literary analysis of the songs.
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The aim of the research is to make a comparative analysis of the vocational knowledge courses in the music teaching undergraduate programs implemented between 1998-2018. In line with the stated purpose, what are the vocational knowledge course names of the related programs; Similarities and differences were determined in terms of applied-theoretical distribution of course hours, course credits and periodic changes of courses. The survey model was used in the research, and the analysis of the data was made with content and descriptive analysis methods. As a result of the research, it has been determined that the programs in question differ in terms of the number of courses, course hours and theoretical-applied courses, and the theoretical content increases with each program and moves away from the application.
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This article discusses the trend of neo-folklore in the second half of the twentieth century in the field of Azerbaijani art and composition, as well as the a cappella choral music that emerged in that period. To be more precise, the capella choir of the famous Azerbaijani composer, one of the valuable figures of our musical history Agshin Alizadeh's "Ancient Lullaby" was thoroughly analyzed, its compositional structure, connection between sound parts, national affiliation, points of harmony with mugam intonations, harmonic language, as well as melodic features investigated. These features are illustrated by short examples from the work. In addition, the article provides information about the work of our musicologists who have studied the embodiment of neo-folklore in Azerbaijani art. as one of the examples of this trend , Aqshin Alizadeh's capella chorus, “Bayatilar” is also mentioned here. Thus, names ,brief description as well as principles of development are highlighted in the article.
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This case study presents the process of music therapy in a clinical setting, under the professional supervision of Dr. Catherine Warner, a music therapist with over 25 years of experience in this field. The music therapy sessions were conducted with a client displaying early-stage dementia symptoms. Over twelve weeks, with an eight-week hiatus due to the Covid-19 Pandemic lockdown, the client benefited from music therapy sessions which helped her navigate through the challenges of the disease, as well as providing a safe environment to express feelings and emotions. This case study presents the main themes of the work, such as combining poetry with singing, and listening to soothing music. This paper also illustrates the challenges of the sessions, especially in relation to memory loss and anxiety. Lastly, the therapist’s reflections are presented to complete the overview of the work.
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The pandemic has greatly accelerated the need for modernisation and digital transformation of education and training systems. NERa (A New Era of Digital Platforms in Music E-ducation) Erasmus+ Strategic Partnership emphasises digital creativity in teaching and focuses to actively contribute and support the process of recovery. The partnership promotes intercultural dialogue approaches linking digitalised music education and training. Higher education institutes from various parts of Europe bring their digital music pedagogical expertise to provide a universal and comprehensive tool for the international academic environment based on real practice and experience. The study examines NERa’s implementation of digital components and viewpoints into the traditional music teaching and training systems.
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The aim of the work is to arrange the scientific achievements on the category of “musical performing style” and identify mechanisms for practical testing of theoretical provisions in the pedagogical activities of higher musical education institutions. The research methodology is based on a combination of general scientific and musicological approaches, in particular: system approach hermeneutic, historical, comparative, genre-style, interpretive method, as well as performance analysis. The results of the study indicate that domestic art schools were formed by synthesizing several national and historical style traditions. Music and performance schools were actively developing in parallel with the compositional work in Ukraine in the second half of the twentieth century; the work of representatives of those schools presents a fairly wide range of style research. A natural result of the studied problem of musical performing style should be its transfer to the practical plane of professional education of musicians and performers, formation of musical style competence in students. Kotlyarevsky Kharkiv National University of Arts was selected as an experimental platform for its formation. During 2019-2021, a pedagogical experiment continued to test the formation of musical and style thesaurus, performance and intellectual skills, professionally important qualities of music students. In the context of studying of different styles in the system of musical performance by the students of higher music education institutions, it is important that the art of music is constantly evolving and new directions and trends in music styles emerge almost every day in Ukraine and the world as a whole. This undoubtedly makes the need for further research on this issue urgent (usually with the use of advanced domestic and foreign experience in music education).
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This study presents the evolution of the Italian melodrama of the nineteenth century, having as a major composer exponents such as Gaetano Donizetti and Giuseppe Verdi. The rich culture of the Italian Romantic space, as well as the socio-political events of the 19th century, influenced the mentality and style of opera composers. Thus, titles such as “La donna del lago” (1819), “Wilhelm Tell” (1829) – G. Rossini, “I Capuleti e i Montecchi” (1830) – V. Bellini, foreshadow the new directions of Italian romantic opera. The maturation process of Italian romantic opera is crowned by Gaetano Donizetti and Giuseppe Verdi, who, through melodrama, achieve important stylistic synthesis.
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In this study, I explore the life and work of three outstanding pianists and composers in the late 19th and early 20th century: Medtner, Rachmaninoff, and Scriabin, who were not only contemporaries and colleagues but also supportive friends to each other. All three were largely influenced by their years at the Moscow Conservatory, where they became prominent pianists and first showed promise as composers. They received similar impulses and could learn from the same teachers. As a defining common element in their lives, they explored and strived to combine Russian musical traditions and Western classical music. At the same time, their different personalities are apparent from their music, so despite their common roots, their individual musical language is unmistakable. Even at the beginning of their careers, it was clear that despite the commonalities, their lives and careers took a different direction. All three tried their luck abroad, but only Scriabin returned home for the rest of his short life. In addition to their distinct life paths and musical language, their recognition is quite different. Scriabin’s name sounds familiar to many, but he does not belong to the most popular composers of our time. Rachmaninoff’s widespread popularity can be observed among professional musicians as well as the public. In contrast, it is not impossible to meet a professional for whom Medtner’s music is unknown. This is not necessarily explained by disparities in talent and abilities but rather by differences in circumstances, opportunities, and personalities. In this study, I attempt to shed light on the reasons for the three composers’ contrasting popularity from the perspective of their life and work.
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The presentation of the book The Evolution of Opera Performance, from Scenographic Miracles to the Opera Productions of the 19th Century, offers a synthesis of our work as a musical theatre director. Our aim is to stimulate the public’s interest in the opera genre and opera staging, by revealing aspects in the history of opera performance(s), as they have been shaped, century after century, by following the gradual effort and the tireless passion of its creators. Our aims are also to illustrate the original charm and the infinite resources of this genre, which continues to delight the public at large and the knowledgeable even today.
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This article tries to identify the breathing techniques proposed in the Paris Singing treatise, published in 1803. The method gives us the description of the respiratory movement practiced by singers before the institutionalization of knowledge according to scientific research. The aim of the French school was to produce a natural tone and to deliver beauty in the act of singing without physical limitations or excesses imposed on the body or voice. We found that the French school aims to respect the length of the sentences and this to the detriment of the quality of the sound emitted. Regarding the physiology of breathing, the method uses analogies with images that allow singers to imagine what is “hidden” in their body, and explain the functioning of different parts, according to the “tasks” assigned to them. The teachers of this method suggest to the practitioner not to think about breathing and uses the term natural breathing, as there is no difference between the breath needed to sing and the breath needed to speak. Their abstraction is that the performer does not think about breathing while speaking, so there is no need for a breathing-oriented thinking process even during singing.
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The present study is focused on the musical genre of the polonaise and its particularities in Chopin’s creation, with precise reference to Andante Spianato and The Grande Polonaise Brillante, Op. 22. Chopin’s substantial contribution to the genre consists of the transformation of a gallant dance of conventional harmony into a veritable heroic chant of prodigious harmonies. Due to a proficient transformation of a folk motif, Chopin is able to introduce folklore in his major works, according to the larger trend of national awareness that required the artists’ return to the folklore sources of inspiration that were able to express the national yearning for freedom. Far from the solemnity of the courteous dance, these pieces become programmatic musical poems, sprung from the most noble of emotions, the love for one’s country. The nostalgic chromatics, diffused throughout Chopin’s entire creation, is augmented by the call for resistance in front of the historical events (Poland’s loss of political independence). The polonaises Chopin composed at maturity had a new form, transforming into veritable epic poems which depicted images of Poland’s heroic past as visions impregnated by lyric pathos and pain for the country’s troubled history. Although their common feature is the epic and grandiose tone, Chopin’s polonaises are extremely varied and versatile, characterized by grandeur and dramatism. The work proposed for analysis – Andante spianato in G Flat – is based on the principles of stanzas and variation and has the structure of two stanzas of A B type, followed by a Coda. Chopin added the coda as an introduction (only around 1843-1835, in Paris) to The Grande Polonaise Brillante, Op. 22 (composed in 1831). Although intensely contrasting, the two parts seem to be connected exactly by this difference. This is the process that describes the genesis of The Grande Polonaise Brillante prédécès d'un Andante Spianato Op 22.
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When we purchase an automobile, we are also acquiring an amorphous but very real image, that is, the statement which the automobile makes about its owner to the public. Such images are forged in popular culture, and Mercury is an automobile brand that had an auspicious post-WWII popular culture debut. In 1948, K.C. Douglas recorded “Mercury Boogie” on a 10-inch 78-RPM, with its memorable line in the chorus “I’m crazy ‘bout a Mercury.” Five years later in 1953, George and Sam Barris transformed a 1951 Mercury Club Coupe into the Hirohata Merc, creating a classic of customization that has been described as “the most famous custom of all time” (Taylor 2006: 56). Ford occasionally attempted to take advantage of these strong roots in popular culture formed in the make’s earliest days, but the company’s efforts were not notably successful. In spite of Mercury’s promising beginnings in media, it has had only a slight presence in music and film. Mercury’s image never influenced the automobile market beyond the first few years, and it was unable to prevent the brand’s 2011 demise.
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This article was inspired by the first author’s observations in the teaching process, which refer to different learning patterns in studying a piece of music. I have noticed that although I teach all the students by using quite the same methods, part of them remember the pieces rather quickly and they prefer to play and practise them from memory. Some others, on the other hand, prefer to play from notes, and they continue doing it during the whole learning process. The aim of this article is to find, by an evidence-based method, the occurrence of the abovementioned learning patterns and describe their characteristic features. In case peculiarities occur, which can be projected against the typology of different learning patterns, it is possible to study connections with the earlier learning styles and learning and information processing theories. It also enables us to offer applications for a more person-centred approach in piano pedagogy to enhance both the learning process, student-teacher collaboration, and the student’s development as well as make them subjectively more pleasant for both parties. To investigate the learning patterns in basic piano studies, I video-recorded the classes with students of possibly similar backgrounds, giving them tasks testing their memory and note-reading skills. Based on the analysis of the collected information, I made conclusions about the existence and nature of hypothetical intuitive learning patterns. The interesting observations made by formal and non-formal examination add material for future in-depth studies, as the described phenomenon should be approached, above all, as a continuum, which enables us to estimate students’ inclination towards one or the other side to a greater or lesser extent, and consequently, the application of a better adapted teaching strategies.
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The significance of meanings that characterizes the work of a great personality of the 21st century, such as the illustrious figure of Pope Francis, we can see how important the union of all Christendom is under the same cause of human dignity and religious freedom. It has often been the call of His Holiness for understanding brotherhood, human dignity, and the eradication of dissensions that have marked centuries of mankind’s history. From a certain point of view all the differences found in the many religious practices from a dogmatic and cultic perspective, are also due to an insufficient knowledge of all ideas presented. Within this context music demonstrates to need for this unity amongst christian factions, with the superior idea of faith as a vital guiding principle that has the purpose of combating the essential evil. The present paper advocates the understanding of the perennial values of the great Romanian Christian communities that could serve the knowledge of the truth by which the Christian faith, through music, gains an important stage in the dialogues between the main Christian orientations - Catholic, Orthodox and Protestant-Evangelical. Humanity continues its struggle to reach a superior level of affirmation of its ideals, and Christianity, under its many forms strengthens these efforts.
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The paper explores the connection between artificial intelligence and music production and consists of two main chapters. The theoretical part provides general knowledge on artificial intelligence. The empirical part tries to answer how experts perceive the phenomenon of artificial intelligence in music production, also confronting and explaining their findings. Artificial intelligence is currently being implemented in various areas of human life. With its effect, many people rightly fear that they will remain in their jobs, but it should be added that the main goal of artificial intelligence is not to destroy and replace human individuals, but to help them and speed up their work process. It is scientifically proven that when listening to music, different parts of the brain are involved in the thought process; As for the creative process of playing a musical instrument, both hemispheres of the brain participate in this process. Exploring the implemented artificial intelligence in music production is an interesting direction of research.
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In this article, the activity of the main representatives of organ building in the United States in 1815–1860 is discussed. This was a time when organ building moved from traditional organ workshops to organ factories. There were both individual organ builders and organ-building families and firms. Three centres – New England, New York and Pennsylvania – were in the lead. The main organ builders of those particular centres were: the Goodrich Brothers, Thomas Appleton, Thomas Hall and Henry Erben, as well as the Krauss and Dieffenbach families. In the other states, the building of organs was developing to a smaller extent, but it was under the influence of organ builders from the above-mentioned centres. Most organs were designated for churches, but chamber organs for home usage (Alley and Pool) were popular as well. In time, they were replaced by reed organs. Initially, organs were built according to English and German patterns, but a domestic style of organ building also started to take shape.
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Dated December 5, 1935, The Catalogue of S. Krukowski and Son’s Organ Factory in Piotrków Trybunalski is a hitherto unknown source revealing extensively (albeit incompletely) the activities of the organ-building company of Stanisław and Stefan Krukowski. The document, found in the archive of the parish of the Assumption of the Blessed Virgin Mary in Krynica-Zdrój, is a home-made compilation of various sources, such as organ acceptance protocols, letters of recommendation, instructions, sketches and organ case photos, which are arranged in neither chronological nor factual order. The leaflets and machine copies of the original documents selected by the builders were subjected to a comparative analysis via the historical method. The information thus obtained allowed me to add to our current state of knowledge; also, it indicates the need for detailed source research to be done in the parish archive, concerning both organ building and the activity of the organ builders themselves, as carried out in the territory of Poland within its historical borders.
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