![Васил Стефанов, Виолета Дечева, Кристина Тошева, Ромео Попилиев. 100 години Народен театър "Иван Вазов"](/api/image/getissuecoverimage?id=picture_2005_24741.jpg)
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Art festivals, particularly in recent years, have participated increasingly actively in the exchange of cultural values in artistic life. An adequate evaluation of their role for the contemporary society requires a more precise definition of their specifics, potential, benefits, and possible adverse consequences. The paper analyses the attempts at classifications of the arts and types of festivals. Using the provided data, a model of a typology of art festivals is proposed. The model takes into account both the achievements of the theoretical apprehension of the arts, and the specifics of the festival practices, which draw energy from various systems of social life.
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Documentarism is a dominant gene in TV nature. The ‘participation effect‘ on the scene has been part of the immanent specifics of the e-media ever since their advent. It is believed to protect major civil liberties because of ensuring publicity to the processes going in the society and allowing for investigative journalism and media control. The development of technologies and media markets during last decades, however, established the phenomenon of the ‘reality format’, which, in its essence, is a transformation of documentarism into a popular entertainment, replacing its civil significance. This transformation is subject to an overview and analysis in this article.
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The time of the Vietnam War was one of the most turbulent in the twentieth-century history of the United States, as the modern contestation movement, which aimed at changing the American domestic and foreign policy, arose then. Widely understood culture, including music, played an important role in this movement. This issue is the subject matter of this article, which will analyse the selection of songs. In addition, the author attempts to catalog the most important music events (including festivals) of that period. What is more, it is important to present the profiles of the most important artists. The most important thing, however, is to prove the following thesis: Music has played a significant role in the movement protesting against the Vietnam War and the music was an important traffic binder. The basic research methods include historical analysis and content analysis.
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By analyzing the political career of Bruce Springsteen’s album “Born in the U.S.A.” (1984), around which the narrative of this article took place, I tried to make a closer insight to the relation between the American politics and popular culture in the mid-1980, considered as the essential aim of this article. Main attention was put on various attempts taken by Ronald Reagan’s administration to co-opt the album’s pop cultural significance for political purposes, especially to reinforce the so called “conservative evolution” perceived as right-wing, libertarian response to the hippie movement. Bruce Springsteen, who through his hard and consistent work achieved enormous success while still remaining himself, a fellow boy from New Jersey, was presented as a role model for the yuppie generation. The title track was read as an anthem for the new American patriotism. This particular interpretation proved to be wrong. In fact, the album’s essential motif is the widening gap between Reagan’s reinterpretation of the American Dream and disappointing reality. However, it did not prevent the Republicans from winning the 1984 election and general misunderstanding of its message.
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Music has accompanied a man from the beginnings of his existence. Especially with the word it has significantly extended the human possibilities of the communication, being an endless means of expression. Traditional highland-style music illustrates the elements which formed its contents, so there are traces of both certain culture arising due to an aboriginally shepherd’s way of life, as well as the specific historical and social conditions. Besides, it gives vent to emotions or inward states, articulating the everyday reality – a work, entertainments and worries. Folk songs can show how a certain highland community was living and perceiving itself and its own “smallest world”. Using the paraphrase of the conception of linguistic view of the world, the main purpose of this article is to recapture some meanings and values essential for a former, but currently resurgent culture of the highlanders. This analysis is based on an example of the Żywiec highlanders.
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In the mid-1960s, Todor Djidjev made two trips to the region of Kazanluk to record folk songs and instrumental tunes from Kazanluk and 12 villages within the region. He went on the first trip in November 1963 to the villages of Turia, Turnichane, Manolovo, Alexandrovo and Asen, and on the second one he went a few months later, in February 1964, to the villages of Buzovgrad, Ruzhena, Gorno Izvorovo, Hadzhi Dimitrovo, Koprinka, Cherganovo, Shanovo and the town of Kazanluk. His recordings are kept at the Music Folklore Archive of the Institute of Art Studies, BAS. The fieldwork materials of 1963 are recorded on two tapes and handwritten in two notebooks containing the lyrics of over 140 songs. During the second trip, Djidjev has recorded five tapes and written down the lyrics of over 200 songs and descriptions of instrumental tunes in three notebooks. These folk songs have different functions: dance, working bee, harvest, wedding, Christmas carols, etc. Some of the informants were immigrants from other parts of this country. Culturologically, especially valuable are the fieldwork notes, containing interesting stories of the performers, descriptions of traditions and historical facts about the places. This paper is part of a more comprehensive study related to the fieldwork recordings from the region of Kazanluk kept at Music Folklore Archive of the Institute of Art Studies, BAS.
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In the documentary heritage of the Scientific Archives of Bulgarian Academy of Sciences there is a small collection of 15 musical manuscripts – 13 church-slavonic and 2 Greek. Archived in the inventory 6 of the music collection 14 which has a variety content, the manuscripts remain undiscovered for long. As a whole the church-slavonic musical manuscripts come from the Institute of Music. The Greek manuscripts entered in the archive by different paths. the 2 Greek – from otherwise. The first manuscript – a fragment of the second half of the 14th century (BAS gr. 22) comes from another collection of musical manuscripts (EHAI) and the second manuscript – short Anastasimatarion (BAS gr. 15) was discovered in the personal fund of Nicola Nachov (f. 63k). In recent years during inventories were found three church-slavonic musical manuscripts from the 19th century: Heirmologion (a.u. 12), Anthology (a.u. 13) and Doxastarion (a.u. 14). This work presents them for the first time with preliminary description. Their analytical description is a future task.
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The article focuses on the analysis of work of pop group Kraftwerk in utopian context. Kraftwerk’ work is treated as a intermedial combination of music, texts, visual art and scenical performance. Its main content is a comprehensive vision of non-existed (yet) world of the man-machine. Kraftwerk’s work is compared to avant-garde musical experiments and to classical literary (and film) utopias because numerous formal and ideological similarities. The article is also an attempt of explanation of social and political background of Kraftwerk’s transhumanist vision.
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This article offers an introduction to cultural aspects of listening and hearing, voice, as well as the modern and contemporary soundscape. As an alternative to the visual paradigm, Momro outlines a cognitive paradigm based on the voice and sound. He also foregrounds these aspects in theoretical writings that focus on the soundscape of human experience.
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In this article Losiak juxtaposes the reception of the soundscape with the aesthetic category of the picturesque. He outlines the concept of the soundscape, emphasizing its rootedness in the tradition of R. Murray Schafer’s acoustic ecology. He also relates the problem of the soundscape to the category of landscape and its interpretation in cultural studies. He points to the meaning of the aesthetic experience in relation to the soundscape, referring to the question of sensual perception as well as to aesthetic values. The neglected category of picturesqueness, Losiak concludes, is particularly useful in the aesthetic analysis of the soundscape, as it allows us to interpret our experience of a landscape within as well as outside of aesthetic contexts.
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Kremer raises the problem of voice in poetry. Engaging with research on the poet’s voice as it is encoded in texts, she discusses traditional studies of recitation, treated as an art that is separate from poetry. She also presents more recent scholarship on performance poetry and analyses well-known recordings of twentieth-century poetry performed by its authors. Drawing on instances of phonetic, sound, and performance poetry together with poetry readings, Kremer points to hitherto overlooked spoken versions of Polish poems. Finally, she examines the category of voice as an object of research and proposes a method of close listening.
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This essay deals with the relationship between language and the voice in contemporary theory and musical performance practice. Building on Julia Kristeva’s work, Barthes makes a distinction between the phenotext and the genotext. The first denotes the dominant scheme of performing and listening to music, while the second, postulated by Barthes, covers all those elements of both musical and broadly acoustic experiences – elements that are not subject to the laws of representation but to those of jouissance. In order to conceptualise this experience, the author introduces the notion of the ‘grain of the voice’: it allows us to describe the subjective experience of aural perception.
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