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Unlike certain genres of popular music, various aspects related to the domain of art music (composing, performance, musical institutions) were rare subjects of analysis in a wider context of the social and cultural crisis in Serbia. This paper considers the functionality of the Niš Music Festival (NIMUS), a festival of art music, as an important segment of musical life in the cultural whole of the city during the 1990s, a decade which represents a paradigmatic example of the crisis period in the country. Approaching the festival as a form of institutional organization and expression of music within the framework of general socio-political and cultural characteristics of a given time, we noticed the direct consequences of the crisis on the organizational level, in the program concept and artistic reaches of NIMUS and the presence of performers from neighbouring regions (former Yugoslav republics) and abroad, which confirmed the initial assumption concerning the interconnection of this manifestation both with the national and local cultural movements and with social reality.
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The subject-matter of the empirical studies is the measurement of the attitude of the academic teachers under the influence of the concert activity. The studies covered 21 teachers from the University of Music in Katowice. The results showed that the teachers’ attitudes change according to the personality features, value system, attitude to the work performed and emotional resistance to various audience reactions of the pedagogue-artist. The text was enriched with the model examples of research tools, as well as theoretical considerations within the scope of the concept of attitude.
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The great achievements that belong to Prof. Dr. Adam Sołtys, a conductor, composer and pedagogue and who taught the world-known conductors such as Stanisław Skrowaczewski, Witold Krzemiński, Jerzy Kołaczkowski, Eugeniusz Kozak and such composers as Tadeusz Machl, Szandor Kallas, Andrzej Nikodemowicz, Szymon Niemand, Mirosław Skoryk and many others have not seen fundamental scientific researches nowadays. This gap is filled out by souvenirs of his daughter Maryla Sołtys, his disciples, professors Andrzej Nikodemowicz and Leszek Mazepa as well as short slogans that can be found in music encyclopadias. Because of this fact the name of this honoured man who worked for Polish culture is relatively little known both in Lviv and in Poland. That is why in our report we are trying to give a short description of his work as a conductor, composer and, what is the most important, a pedagogue of the first half of the XIX century and 1939—1968, to go into the root of his performing as a conductor and his methodology as a pedagogue, to shed a light on his huge influence as a well-known person who taught young composers and conductors.
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Johann Wilhelm Gabrielski (1791—1846, born and died in Berlin) is interesting not only because of his Polish origin but first of all due to the fact that he was one of the greatest flute virtuosos of the 19th century as well as a composer of numerous pieces for this instrument (over 100 opuses). Today, however, not only the musicologists but even the flautists, both concert musicians and teachers of flute-playing, do not know anything about him. The paper offers a general presentation of Gabrielski’s music, among them pieces in a concert style (i.a. five "Concertos"), pieces for music making at home, for amateur performances, and some that even today can be used for didactic purposes. The questions of value and reception of Gabrielski’s music are also considered.
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The purpose of the article was an introduction to the main issues addressed during the conference. An artistic education of students future conductors, musicians, teachers, amateur movement activists is a conscious learning and experiencing meanings of musical art during studies, which lead to the selection of values and realisation of a specific life purpose. Thinking in accordance with values always translates into action, for instance learning, developing, experiencing and others. The process of understanding music and getting to its values is a multistage and complex operation. Understanding music means its conscious reception i.e. features of structure, semantic and expression meanings as well as a judicious reception of its beauty as a value. The research results were also presented by the students of the Institute of Music who carried them out in respect of values they preferred mostly.
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The essence of education is to show a quantum of knowledge and skills recognized by a given community as necessary in educating a young man. The criteria of determining its range and content are different for humanities and scientific disciplines. In the former case the scientifically verifiable topicality of the knowledge and its accordance with reality are the decisive factors. In the latter, it is the aesthetic-axiological cultural factor. The form of subjects referring to the artistic disciplines — literature, art or music — is the function of the adopted axiological perspective, while aesthetic education — in its deepest roots — is being axiologically oriented in a natural way: the axiological issues address it to the same extent (or even a greater one, as it shapes the future) as they address music education, performers, artistic criticism, editing publications, and lastly — everyday decisions of individuals. In the face of aesthetic and methodical abuses frequently found in music education it is necessary to devise such a way of approaching a work of music in which it is shown as a piece of work with a culturally determined genesis, aesthetic-musical context, artistic form and aesthetic influence. It seems that distancing the aesthetic perspective and further axiological relativizing is one of the primary causes of the crisis in music education: it fails to show the credible picture of music and, as a result, is unable to satisfy the aesthetic needs of the youth.
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The author proves that the world is full of sounds and melodies, recognition and experience of which require adequate preparation. Soundmaking and natural activities of a small child enrich successively through the contact with a fable, a fairy tale, a poem and music of an every-day life. The second part of the article treats the notion of poetry musicality as a metaphor, considering three important aspects of poem fluidity i.e. its origin connected with a song, the type of the relationship between music and word; an inferior, an equivalet, and a superior one, as well as the organization of poem words and music elements creating a general structure of a work. The two subsequent sequences, i.e. the Art of beauty and good recognition in fluid poems and Child contacts with poems and polyaesthetic space constitute a concise lecture presenting different shades of beuty included in music, poetry, as well as few examples of an axiological education of students and shaping their sensitivity. Numerous references to the books in a series of Teachers to teachers and creative actions described in a volume: "Wiersze naszych dzieci" could be an inspiration especially for teachers innovators. The notion of a polyaesthetic space, though important here, undergoes realization by means of making different ways of poem instrumentation, such as anaphora, aliteration, disjunction, onomatopoeia and cocophony closer. Children use these forms without any restriction. They are close to them like the world of folk sound tools such as a whistle, a pipe, a rattle or a drumle, etc. The text closes with a formulation of 5 varieties of sensitivity including a moral, social, linguistic, aesthetic and existential one.
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The author presents the importance of music in life of the small child and bases of developing the musical interests in a family, kindergarten and school. The paper depicts the implementation of musical education by the kindergarten and primary school teachers, who are not well prepared to develop sufficiently the musical interests and skills of their learners. Then, the author presents the scope of knowledge, skills and competence that should be developed during in-service teacher education for the primary schools. However, the focus is on the proper selection of students that want to be teachers in the future, defining requirements for this profession.
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The article is a general reflection on the issue of cognitive values of Silesian folk songs. The song repertoire was looked at in the article from several perspectives, taking into consideration its connections with a folk tradition. Much onus fell on the lexical layer characterizing the reality and diversity of song content and function. The basic scope of artistic means within poetics and song melody was discussed. Important comments concerned the means of transmission, rules of functioning and folklore communication. The suggestions encouraging the audience to read the song parts proved the fact that Silesian folk songs are the book of knowledge on traditional, family, social and artistic culture, and a fundamental source of getting to know the past, as well as consolidating the feeling of one’s own identity.
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In her paper, the author presented a short biography of Stanisław Kwiatkowski, a Pomeranian composer and organist. She described the genesis of his "Academic Mass" and quoted a few reflections of the audience on the piece after they had heard it in Polish and international musical theatres. The text also provides a lot of information on the music and rhythmic structure of the piece, on the composer’s techniques and means of expression, and ways of performing some of the works. The output of the Academic Choir of the University of Gdańsk, which was the first to perform the "Academic Mass" by Stanisław Kwiatkowski, is also included in the paper.
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In her considerations, the author of the article proved both in theory and practice (through the students’ plastic works) that the languages of the music and plastic art have a lot in common making the performer closer to a better understanding of art. This skill should be taught to the future pedagogues of the art subjects during their studies. The stydents’ plastic works presented in the article confirmed the hypothesis that beauty and values can be expressed by means of different art languages.
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This article deals with the problem of musical competence which, together with the listener’s knowledge of music, fulfills a very important role in the process of musical perception and, at the same time, in the process of its valuation. The author starts from the general cultural competence and going through language and artistic competences comes precisely to the musical competence. She presents the world famous model of musical competence by Gino Stefani in which there are five levels of competence: General Codes (GC), Social Practices (SP), Musical Techniques (MT), Style (ST) and Opus (OP). She applies the Stefani’s theory to the perception of the outstanding example of Polish art music: "Sinfonia sacra" by Andrzej Panufnik. The aim of this article was to indicate the relationship between the listener’s musical competence and the possibility of apprehension of a musical work’s values.
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A deep penetrating into the music composition’s contents, building up a logical conception of its performance were always decisive in the upbringing. It gets especially up-to-date these days to find a suitable method of a young conductor — interpreter to solve the issue because of style difficulties of modern music and often the lack of a fixed model of its interpretation. Basing on the example of “Paskhalna utrenya” (Devine service on Easter morning) — a choir composition written by one of the eminent lviv composers Wiktor Kamiński — we try to explain some aspects of this score deep understanding by a young conductor and also give the opinions we have got from Prof. Jurij Lutsiv, the chief of Conductor’s Department at Lviv Music Academy. Being a great intepreter himself and often the first performer of many music opuses, Maestro Lutsiv, in his pedagogical work, emphasizes detailed analyses of the score, penetrating in the composer’s intention on the one hand and creating one’s own performing conception on the other.
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Listening to music is a long-lasting process that demands gaining abilities in remembering, understanding and feeling. Kindergarten children should be systematically introduced into an aural „observation” of a composition; they should be made sensitive about music elements, such as rhythm, melody, tempo, timbre, dynamics, articulation, composition’s structure, etc. Children are most interested in well-differentiated compositions, which are contrastive, characteristic and have a distinct articulation, which are full of surprises and are played in a lively tempo. Joining music with extra-musical contents facilitates noticing musical phenomena. Practice and research show that ‘live’ listening to music is ideal in accordance with children’s needs. Children should be provided with appropriate conditions regarding individual receiver’s possibilities (inter alia type of music, performance, and way of transmission).
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In the face of increasing knowledge, fewer and fewer arguments supporting teacher’s actions can be found in philosophy and epistemology, but more in the culture. The sense of modern education is creating, not giving the news, that is why there is a need of changing a role of the teacher — Leaving the method based on introducing him into certain roles and replacing it with the method promoting the attitude to culture. The teacher should learn how to create human’s educational space — As a student defending himself against the capture, the teacher should serve its development, not only the interest of different social ranks or political classes. Situated in culture, mostly because of speech, the teacher accomplishes various aesthetics, close to postmodern forms of communication between the human and the world. I understand aesthetics, as M. Bachtin thought, not only as a sphere concerned with beauty, but as a surface of thinking about the world, acceptable behavior and complex social experience. In this context aesthetics allows analyzing forms of arranging educational situations. So basically it is the answer to the need of avoiding traps, in which modern man falls, it says how to get along with them, starting from childhood (and perhaps above all). Among educational aesthetics, reflecting the educational specifics of childhood, we can mark out: Situation of being first; Situation of being second, in the background of the role, task, and person; The triad, or a situation implicating a normative postulate „Allowing this third” to act (A play, a game, special action). Music, as Aristotle said, is an example of an integrated aesthetical educational situation supporting a child in its development.
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The present text displays music as a means stimulating creative imagination of young people, assuming that every contact with music is a school of imagination, makes it possible to create another reality and frees the creative courage of the receiver. The thesis is proved in the text by the analysis of the novels written by students while listening to music. The analyses in question suggest the agreement between the intersemiotic translation and a construction of a musical text. Moreover, the analysis reveals the richness of the young people’s fantasy and imagination who, in the texts, reveal the truth about themselves, when facing fate adversities, looking for the sense of humanity and human existence. It shows a person who does more than a simple recording of what he or she knows and thinks about the work under the influence of music. Some of the novels have an unquestionable aesthetic value. Although the music was a means of doing, its value was not ‘hidden’ for the young who have not only read it, but also translated it into the system of new aesthetic qualities. At the same time, music, as an educational method and value, appears as a weapon in the fight for the education ‘to imagination’ and ‘with imagination’.
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In the paper the author describes some possible application of musical therapy as a method of therapy towards a person with „a deficit”. Basing on his own experiences as an educator of music and a music therapist, the author of the article points that musical therapy has a very wide influence on the disabled. He also says that musical therapy can be used in practice. The author emphasizes that musical therapy is especially positive for the disabled in their individual therapy development and it is also a way to overcome a barrier between them and other people. He gives many examples of how musical therapy can be the main element of correction and disorder level nivellation. He writes that therapists, teachers and people who work in places like rehabilitation centres, patient clinics, specialized service agencies, need to enrich their elementary knowledge about musical therapy and its influence on disabled people. They also should know how to use different methods in their work to minimize deficits, disabilities and disorders.
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The art of conducting developed through the centuries and its development was affected by the development of music as well as the growth of interpretation difficulties of music compositions. The contemporary conductor shows all the performance elements, like rhythm, metre, dynamics, tempo, phrasing and articulation by the movements of the hands, the baton or by miming. The conductor’s movement should be economical, dynamic, flexible, vivid, aesthetic, suggestive and expressive. The technique of conducting can also be regarded as the thought, the consciousness, the intuition of the conductor and the means and methods used to achieve the aim. The art of conducting lies not only in the reading of the lifeless and imperfect music notation. It is a synthesis of the conducting technique and the art of interpretation connected not only with the reproduction of the given music piece, but also with creating it. The vocal and vocal-instrumental music needs to be looked at from two perspectives: the perspective of music and the perspective of the word. The performer and the interpreter, at the same time, who undertakes the interpretation of a music piece, should first look for this music interpretation guidelines to be able to reach the true value of the piece of music.
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