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Годините минуваат, но скопскиот блуз и соул фестивал сè уште претставува институција, непресушен извор на одлична музика и позитивни вибрации. Годинашното издание не беше исклучок, а тоа можеше да го потврди секој што беше присутен. Дводневното случување ги задоволи сите љубители на блузот и на добрата музика воопшто и повторно ја заживеа идејата овој настан да трае подолго. Одличната листа на изведувачи презентираше разновидна блуз програма која ги покажа современите аспекти на светската блуз сцена.
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Years may come and years may go, but Skopje Blues & Soul Festival is still an institution, undisputed well of great music and positive vibes. This year’s edition was no exception, as anybody in attendance can confirm with ease. Two-night event of cool sounds left everybody happy and wondering if it could possibly be expanded to more days. Great line-up of artists which presented their kind of blues and confirmed their status within blues community and were in great form, doing justice to this musical genre, mother of them all (almost!).
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The subject of the article is the variety of genres in the contemporary wind band repertory of the 20th century. Works written in the previous century by composers from the USA and Western Europe were chosen for the investigation. The musical pieces analyzed were selected according to their significance in the repertory of contemporary wind bands as well as according to other criteria of their artistic merit. Five categories (blocks) of genres were distinguished. The compositions grouped into these blocks reveal their specificity, quantitative growth of the number of pieces in each block, their place in the Western wind band repertory. The peculiarities of the programme indications are surveyed.
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The theoretical and methodical system created by the author of the article alongside with his music textbooks, teacher’s books, phono-readers (CD sets) and other means of education have been used in secondary schools of Lithuania (forms V–X) for more than 30 years. The system has been under constant development and update (the latest music textbooks and phono-readers (6 textbooks and 6 CD sets) were published in 2000–2004). The article discusses the historical foundations of music education in Lithuania, traditions of folk music education, the peculiarities of music education after Christianity was established in Lithuania and the first schools appeared and mainly focuses on the basic principles of present music education in secondary schools (forms V–X) of Lithuania.
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The subject of the article is the variety of genres in the contemporary wind band repertory of the 20th century. Works written in the previous century by composers from the USA and Western Europe were chosen for the investigation. The musical pieces analyzed were selected according to their significance in the repertory of contemporary wind bands as well as according to other criteria of their artistic merit. Five categories (blocks) of genres were distinguished. The compositions grouped into these blocks reveal their specificity, quantitative growth of the number of pieces in each block, their place in the Western wind band repertory. The peculiarities of the programme indications are surveyed.
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Article researches cultural situation that emerged in the beginning of the 19th – the end of the 20th centuries after czarist Russia prohibited Lithuanian press in the territory of Lithuania subdued by Russia. During the years of press prohibition (1864–1904) book-bearers surreptitiously conveyed Lithuanian publications that were printed in Lithuania Minor to Lithuania Major. Song collections and ecclesiastic hymnals, periodic publications that published Lithuanian songs and ecclesiastic hymns contributed a lot to the conservation and maintenance of Lithuanian word and spirit in Lithuania that was russificated. Newspapers that were published in Lithuania Minor were also very important: „Tėvynės sargas“ (“Custodian of the Homeland”), „Žinyčia“ (“News”), „Aušra“ (Dawn”), „Varpas“ (“Bell”), „Saulėtaka“ (“Sunrise”), „Prūsų Lietuvos savaitraštis“ (“Weekly of Prussian Lithuania”). Especially significant were collections of Lithuanian folk songs and folklore (“Lithuanian Songs” v. I, 1880; v. II, 1881; v. III, 1882) surreptitiously published by Antanas Juška in Kazan (Russia) and distributed in subdued Lithuania; novella „Palangos Juzė“ (“Joseph of Palanga”) by Motiejus Valančius (1869) with verbal texts of songs and hymns. Lithuanian song and ecclesiastic hymn were of no less importance and efficiency during the years of press prohibition than all other published literature in Lithuania.
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Applying the methodological principle of triangulation (combining both quantitative and qualitative methods), the paper analyses attitudes of music teachers towards live playing while listening to the music. It was stated that, due to intensive qualification courses and purposive work, music pedagogues’ attitudes may positively be influenced and corrected, also, the pedagogues may be convinced and encouraged to apply live playing during music lessons.
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M.K.Čiurlionis’ musical workis marked by a spontaneous cyclic character, which lies in a chronological sequence of his works written. The article concerns with a detailed analysis of his last summer (15–21 May 1909), comprising a spontaneous as yet unrecognized cycle (VL 337 a, 338–344, 344 a).
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Article researches cultural situation that emerged in the beginning of the 19th – the end of the 20th centuries after czarist Russia prohibited Lithuanian press in the territory of Lithuania subdued by Russia. During the years of press prohibition (1864–1904) book-bearers surreptitiously conveyed Lithuanian publications that were printed in Lithuania Minor to Lithuania Major. Song collections and ecclesiastic hymnals, periodic publications that published Lithuanian songs and ecclesiastic hymns contributed a lot to the conservation and maintenance of Lithuanian word and spirit in Lithuania that was russificated. Newspapers that were published in Lithuania Minor were also very important: „Tėvynės sargas“ (“Custodian of the Homeland”), „Žinyčia“ (“News”), „Aušra“ (Dawn”), „Varpas“ (“Bell”), „Saulėtaka“ (“Sunrise”), „Prūsų Lietuvos savaitraštis“ (“Weekly of Prussian Lithuania”). Especially significant were collections of Lithuanian folk songs and folklore (“Lithuanian Songs” v. I, 1880; v. II, 1881; v. III, 1882) surreptitiously published by Antanas Juška in Kazan (Russia) and distributed in subdued Lithuania; novella „Palangos Juzė“ (“Joseph of Palanga”) by Motiejus Valančius (1869) with verbal texts of songs and hymns. Lithuanian song and ecclesiastic hymn were of no less importance and efficiency during the years of press prohibition than all other published literature in Lithuania.
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“The audience is a real being in a search for a little fun, or – who knows – maybe some kind of e real bondage with us. They stand in front of us and they wait to hear something from us, they expect to be told something. What we tell them – they seem to like! And maybe we are kindred souls with our audience, maybe we really are. And they really seem to like what we are telling them. Who knows, maybe this is a start of a wonderful friendship? And if I contemplate this further, either that's the case, or we're just good for circulation”, says Branko Nikolov, the leader of the band Foltin, the band that managed to raise from the local art-attraction into one of the original sound phenomena in the widest global plan.
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Публиката е вистинско битие во потрага по малку забава или, којзнае, можеби некаква сериозна врска. Стои пред тебе и чека нешто да ù кажеш. И можеби сме навистина сродни души. Она што ù го зборуваме почнува да ù се допаѓа. Којзнае? Тоа може да биде почеток на едно убаво пријателство. А ако подобро размислам, или е тоа или сме добри за циркулација, вели Бранко Николов, лидерот на Фолтин, бендот што од локална арт-атракција израсна во една од оригиналните звуковни појави во глобални рамки.
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Expression of ethnical music in modern socio-cultural environment is becoming increasingly problematic. It is most clearly reflected by attitudes and value orientations of schoolchildren, as potential successors of traditions. Negative tendencies in respect of ethnical music among pupils become evident. Combined with the fading need for traditional music it makes the cognitive educational process of ethnical music more complicated. The paper analyzes the problematic aspects of this phenomenon and presents one of the possible methods to make the cognition of ethnical music more efficient. The method is based on the application of modernized forms of folklore expression in the process of musical education. Declarative research results disclose the situation of attitudes towards traditional and modernized forms of folklore expression among senior forms’ pupils in the country. Based on the results of the executed educational experiment, the paper presents the tendencies that form attitudes towards ethnical music through modernized forms of folklore expression in the process of musical education.
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In this article we focus on appearances of multiple cultures in the field of Finnish music education. The goal is to clear the conceptions of enculturation and acculturation in music educational surroundings. We use a theoretical method and form a reviewstyle glance in Finnish school reality and teacher education today. Finland as well as other western countries has, in recent decades, received numerous new immigrants from many different cultures. Immigrants to Finland have come from Ethiopia, Somalia, Vietnam, different parts of Russia as well as many other countries in Africa and Asia. This poses a lot of new challenges to the Finnish educational system and especially teachers. In this article we focus on the use of music and other art and skill subjects as a means of multicultural education. We consider the essential elements of art and skill subjects and their use in usual everyday work helping teachers cope with the rapidly changing situation in classrooms.
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The article is based on the report material delivered at the international scientific conference “Singing and Music Education” on the 3rd of July in 2009 which was held on the occasion of Lithuanian Song Festival 2009. The article studies the significance of singing for people and the overall culture of the nation as well as it reminds the deep traditions of overall singing and singing in groups and choirs. Singing is the most natural and the easiest obtainable artistic form, it is an overall feature of people‘s musical sophistication and it serves as an especially effective condition for the musical education of children and the youth. The article also reveals some peculiarities in folk hymn singing, it accentuates several common features of hymns singing and song singing and, finally, it discloses the significance of the various stages of Lithuanian culture development as well as the present situation. The generalizations raise the most topical present day singing development problems and conditions for improvement.
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1835-ben Párizsban egy huszonnégy éves, távoli országból származó fiatalember – fenomenális zongoravirtuóz, akinek a legendák szerint már születése pillanatában csodás égi jelek vetítették elôre üstökösszerû mûvészi pályáját – az idegen próféta hangjának különös és ellentmondást nem tûrô erejével terjesztett elô a Gazette musicale-ban egy nyolc pontból álló kiáltványt a mûvelt közönség (és nem utolsósorban Lajos Fülöp adminisztrációja) számára.
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