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A Test Battery created in Canada, aimed at mapping the musical development of children of different ages and in different cultures, was piloted within a group of Estonian children (N = 26, age 4 to 12 years) with varying degrees of musical training. The verbal parts of the test were translated into Estonian and adapted, where necessary, to the temporal structure of the sub-tasks involving rhythmic and metric aspects. Participants were able to successfully comply with the majority of the test components. The most interesting discrepancy regarding the rationale of the original Battery was related to the different possible concepts of the term ‘song’ by the participants. As many children exhibited considerable shyness during testing, a longer warming-up period may be required for them in order to overcome the effects of an unfamiliar environment and the unexpected nature of some tasks within the Battery. Various suggestions are presented for the further development of the Test Battery.
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This article presents experimental results of the subject gaze registration in simultaneous listening to music and watching the score. The aim of this research was to identify the consistent patterns of the relationship between the sounding music, its printed score followed by subjects, and the trajectory of eye movements in the text of the score. The experimental research was carried out using eye movement register Eye Gaze System. The experiment revealed that the chosen research method can be implemented and used as a mean to evaluate score reading skills of music specialists.
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The problems of identification and typology of Lithuanian folk idiophone musical instruments are analyzed in this article. Descriptions of sound instruments in the description of field researches, archival documents and even scientific literature found do not always allow precisely identify musical instruments, their construction. And conversely idiophone musical instruments of similar construction are often named differently.
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Со последното албумско остварување “Religion & Sex“, инаку прво за етикетата „Трето уво“ и саундтракот за филмот на Милчо Манчевски „Прашина“, Кирил Џајковски го затвори кругот чие исцртување своевремено (средината на осумдесеттите) започна со првата македонска електро-поп постава БАСТИОН. Конечно, неговата музика, тој неверојатно возбудлив спој на современи електро „лупови“ со емотивната возвишеност на македонското фоклорно наследство, е бележит сегмент на вкупната денешна глобална звучна понуда.
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With the last album RELIGION & SEX, first for the "Third Ear" Production label and the soundtrack for the Milcho Manchevski's film DUST, Kiril Dzhajkovski finishes the circle which drawing started (in the midst 80's) with the first Macedonian electro-pop band BASTION. Finally, his music, that incredibly exciting juncture of contemporary electro "loops" with the emotional heights of the Macedonian folklore and ethno legacy, is a noticeable segment of the whole contemporary global sound offer.
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Dan Dediu is very interested in enlightening the importance of George Enescu International Festival that takes place once in two years in Bucharest. The journalist makes some comments about the musical program, about the audience and about the value of the contest, first-class in 2003.
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The article presents the subject of authenticity. How to understand the authenticity of a man? How to seek authenticity? The Author notes that genuineness, authenticity and being yourself are important categories in the works of blues artists. The answer to the question of what is the genuine blues and who is a real bluesman, can be a starting point for discussion about the authenticity of life.
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J. Gyôri László beszélgetése Kocsis Zoltánnal a „Mózes és Áron”-ról
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