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In this paper, the author examines the main features of musical tradition in the Bulgarian part of the Rhodope Mountains, as Ivan Vazov presented them in his travelogue In the depths of Rhodope. The book contains valuable and very interesting information and descriptions on which comparisons and researches can be made. Furthermore, the paper intends to show the link between the daily life and culture of the inhabitants of Rhodope Mountains and the musical expressions and the repertoire of their songs. The main specific features of the Rhodope music and songs are described and parallels with Greek and Balkan folklore are marked. The paper offers literature, folklore, music and other routes in space and time in the Rhodope Mountains
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The paper offers a framework for better understanding of the folklore song in primary school. Its nature is informal. The teacher has the right to model and re-model the methods discussed and to ignore/adapt some of them in regard to the audience involved. The project is based on the fact that a given piece of certain education content and its understanding is compulsory affiliated to the type of the text and genre identification (myth or folklore or a literary one). The methods discussed involve revealing of the characteristics that are part of the folklore culture and the expression of which is the song itself. The genre of the song motivates the problems in its understanding and the examples show the way they function.
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This inquiry focuses on the question of how the figure of the passionate Gypsy has become so fashionable lately at costume parties, in soap operas and reality shows, yet without strengthening the Roma cultural identity itself. The fact that the Roma people are missing from the Romanian theatrical palette also sheds light on how the Roma are excluded from the institutional and state-supported forms of national culture.
More...Ioana Szeman Staging Citizenship című könyvéről
Ioana Szeman’s new book, Staging Citizenship, reviewed by social anthropologist László Fosztó, discusses both the difficult socio-economic conditions and damaged cultural identity of the Roma people in Romania, as well as their performances and performative actions, carried out in different cultural spaces. The fieldwork conducted in the Roma community, depicted under a fictional name in this volume, sheds light on a series of stereotypes and representational problems associated with the Roma, as well as on the chasms in citizenship and on the cultural and political contexts of their characteristic art performances in Romania.
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The instrumental Macedonian ethnopop music is particularly interesting phenomenon because of its development and prolonged existence in conditions with persistent internal influences of the social and economic environment, but also external influences from the neighboring and distant music cultures. These influences have determined the way of the creation of this music and its final musical products. Regarding the fact that the instrumental Macedonian ethnopop music had its peak especially in the 1980ties, the subject of interest in this paper will be the musical pieces from the mentioned period. Also, a special at¬tention will be dedicated to the creativity, in other words to the process of creation of the instrumental Macedonian ethnopop music and the reproductive process of this music. The conclusions will be based on the analysis of the music characteristics of the recorded material which forms the database of the sample of 100 music pieces.
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The review deals with the publication "Valdis Āboliņš. Avangards, meilārts un kultūras sakari aukstā kara laikā = Valdis Āboliņš. The Avant-garde, mailart, the New Left and Cultural Relations during the Cold War", eds. Ieva Astahovska and Antra Priede-Krievkalne (Riga: Latvian Centre for Contemporary Art, 2019). The book comprising articles by art historians, curators and other contemporaries as well as Āboliņš' correspondence, writings and mailart is seen as a significant effort to establish the significance of this Latvian in exile, art curator and leftist activist.
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What happens when the genre you are developing dies? What happens with the Estrada musicians when the whole industry of socialist Estrada entertainment dies with the abandonment of the word ‘Estrada’? The text summarizes the results from a research of 10 newspapers, 2 online publications and the so called music reality TV shows on Nova TV and bTV as well as ‘The best years of our lives’ show on BNT in the period 1990 – 2017. The music contests add another category which the contestants abide by: ‘we must be proud as nation’ – the country is not doing well, but we are a nation of talented singers. The main results show that the musicians recreate this specific ‘national mystical language’ as Milena Iakimova defined it (Iakimova, 2011:76). The fault for the state of the Estrada music after 1990 is in ‘our own media’ which don’t play their music. Patriotism is seen as a main strategy for their role on the stage of the folk entertainment.
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Headlines from around the region: traditions, modernity and outrage in the Caucasus; Poland and a Jewish museum; you say Romanian, I say Moldovan; three Russian sisters; and Armenians in Turkey.
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Slovak translation of De institutione musica (I,1-14) from Boethius.
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In the article, the author investigates 24 musical manuscripts belonging to former Miners’ Orchestra of Wałbrzych (Waldenburger Bergkapelle), which used the sources for concerts of the orchestra. The analysed manuscripts have not yet been researched or catalogued in RISM (Répertoire International des Sources Musicales) database before. The ensemble’s repertoire was analysed and the collection’s characteristics, including copyists, watermarks and stamps, were examined. It allowed to assess the provenience of the manuscripts and make certain remarks about the type of repertoire played by Waldenburger Bergkapelle. The results of the analysis were presented in the context that can be found in secondary sources, widely describing the activity of the orchestra. The author also carried on cataloguing in Warsaw University Library, creating the catalogue in the Muscat RISM system. Considering the numbers on shelfmarks, it can be assumed that the original collection contained circa one hundred of musical sources. However, only a small part of them is known and catalogued. Therefore, the knowledge of the collection remains incomplete and is worth further investigation.
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Edward Mąkosza (born on 13th November 1886 in Lisków, died on 25th April 1973 in Częstochowa) was a Polish composer, pedagogue, conductor, organist and ethnomusicologist. He was the main organiser of the musical life in Częstochowa. He is an author of circa 1000 compositions. He received numerous commendations and was a hero of the Jasna Góra Monastery. The article, presenting Edward Mąkosz’s biography, is to serve as an intro-duction to the comprehensive study of his work. The subsequent periods of his life (childhood, youth, professional work until World War II, professional work after World War II) are discussed. Then, we focus on the composer’s broadly understood activity: social, pedagogical and artistic undertakings. The article aims to show the professor’s entire life.
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Review of: Ulrike Schröder - Jiří Vysloužil: Musikgeschichte Mährens und Mährisch-Schlesiens vom Ende des 18. Jahrhunderts bis 1945. Übers. von Věra Vysloužilová. (Wiener Schriften zur Stilkunde und Aufführungspraxis, Sonderbd. 7.) Böhlau. Wien u. a. 2014. 292 S., Ill., Kt. ISBN 978-3-205-79528-5. (€ 49,–.)
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Well is one of the important sources to reach water in rural areas where technological opportunuties are limited in. It’s seen that, this source has a place in Turkish culture, in the world of literature and thought in both real and figurative meanings. The reality is well theme has been using as a powerful symbol in daily life idioms and proverbs, mânis and folk songs, tales, mythes, legends, classical poems, modern literature apart from it’s worldly meaning. Therefore, the reflection of well theme to Tukish movie theatre has a parallel direction with its’ common using in both Turkish culture and literature. It is seen that; material, legendary and psychological aspects of well are emphasized in dramas and horror movies. In this article, the transfer of well theme from folk culture and Turkish literature to movie theatre is examined with a functionalist point. It is tried to be analysed over the well theme that; although there is a thought of a materialistic factor has lost its’ function apparently, with the changing of context, it has gained new functions. With this research besides its’ water resource, these functions of well are determined; it is a socialising means, a source for taboo, useful as a witness for people who fix their faults, a milestone in the life of people who are seen as holy figures, a symbol to describe impossibilities and desperations. Also, it is a way to descibe beauty of lover in classical literature, has various functions as a metaphor to impress the “death, sexuality, past, unknown” and complicated feelings in both modern literature and movie theatre.
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