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Like numerous talented Serbs of the early 20th century, Djordje Marinkovic tied his carrier to France. Numerous musical pieces that he authored represent a result of his attempts to merge homeland inspiration and modern experimental trends. This paper presents his possible family roots, the authorship of the central Serbian song “There, Far Away” and his creative period in France.
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Article researches works by M. K. Čiurlionis based on the theme suggested by composer‘s pupil Halina Volman. The analysis allow to assume that the entirety of these creations constitutes the spontaneous multiple cycle, which was not named by the composer himself and musicologists did not indicate its actual boundaries.
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The Finnish national core curriculum for preschool education (2000) and basic education (2004) includes an idea of integration and cross-curricular themes. The objective of integration is to guide pupils examining phenomena from the perspectives of different fields of knowledge, thereby elaborating themes and emphasizing general educational goals. Integration needs co-o peration between subject specialists and generalists as well as between schools and the cultural environment. The aim of this presentation is to study the new educational challenges of our time which are met in the new curriculum especially through the arts. This research is a case study of (N = 18 + 18) university students in kindergarten, classroom, and music teacher education, who were asked to reflect on the new curriculum, find integration of music and arts in educational themes and new ideas to develop co-o peration between schools and other cultural institutions. The research methods used were open writings and group interviews of students. The thoughts and experiences of students about the new curriculum and integrative themes in it are introduced especially through a focus on multi- and inter-cultural arts and music education. Co-o perative ideas of students while planning integrative arts education are introduced. Personal growth of pupils with respect to their cultural identity and internationalism are also focused on through students’ experiences of this new curriculum. Pluralism and creativity of students’ artistic thoughts in multi- cultural integrative education have been indentified.
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In the article the results of the study of Lithuanian wind bands instrumental structure in recent period (2006-2007) is presented and analyzed. The way of activity of Lithuanian wind bands is one of the forms of musical culture which is rather obviously orientated towards Western countries standards and patterns. Structures of 50 Lithuanian bands of different types and categories were analyzed in the research in different aspects. New trends and probable ways of bands development were identified. The assumption has been raised that Lithuanian bands now are in the intermediate stage orienting towards Western bands instrumentation standards.
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The 1956 Revolution in Hungary had a strong echo within the students in Timisoara. Ioan Holender brings back the memories of these days in this article which is a fragment from his book “Der Lebensweg des Wiener Staatsoperndirektors”Vienna 2000, (Life of a Vienna Opera Manager) being published in Romania by the Universul Dalsi Publishing House. Despite de the hard times he had to go through after his expulsion from the university until finally he was allowed to emigrate Holender remained deeply attached to the place where he was born.
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The personal relationship between Béla Bartók and Paul Sacher was brief, lasting for a mere five years from the summer of 1936 until the composer’s final departure for the United States in the autumn of 1940. Short-lived as it was, however, it contributed to three masterpieces; compositions that eventually turned out to be fundamental works of twentieth-century music history. They turned out to be not only cathartic masterworks in their own right, but also significant, epoch-making works that would greatly influence the musical development of many decades to come. Even the conductor commissioning them may have only gradually become aware of their full significance.
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Musical-stage performance with a creative dimension that surpasses the frames of a simple concert presentation of Goran Trajkoski’s theatre music
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