МІЛІТАРИЗМ ЯК СПЕЦИФІЧНА ХУДОЖНЯ КООРДИНАТА П’ЄСИ «РОЗГРОМ» І. БАГРЯНОГО

Author(s): Alina Zhelnovach / Language(s): Ukrainian / Issue: 4/2017

The research is devoted to the play “Rozghrom” by I. Bahrianyi, which is describing the period of Ukrainian-German conflicts during the Second World War. The purpose of the study is to consider militarism not only as a postulate state ideology, but also to describe this term as a specific metaphorical projection of the Second World War as well as to trace the interpretation of collective militaristic consciousness in the author’s representation in the nativity-scene “Rozghrom”. An insufficient study of both this author’s play and his drama works in general due to the forced inaccessibility of the writer’s artistic texts for a Ukrainian reader during long time is determined. The research uses such methods as biographical (the influence of I. Bahrianyi’s biographical factors on his creative manner as well as on the representation of Ukrainian authentic culture among world community); historical-cultural and sociological methods (allowed to enter the analyzed play in the scope of the contradictory socio-political process of the Second World War); mythopoetic method (conceptual effects of myth-creation on the formation of Soviet ideological practice); structural-semantic and structural-semiotic methods (understanding of the text as a special sign system in the cultural context of its time). Scientific novelty. For the first time the article analyzes militarism as a specific artistic concept which is considered in the author’s play in three versions: anti-colonial, adventurous and intellectual. The anti-colonial direction of the play consists of de-ideologization of the so-called liberating militaristic myth, built on the pathetic heroization of the victories of Soviet Red Army. The adventurous version of the militarism in the proposed writer’s play is marked by tragedy due to ambiguous feat of brigade commander Maxim. The intellectual discourse of the war in the drama metaphorically appears on the chess field, which corresponds to the reality in a symbolic way. Conclusions. The conclusion is made that the fascist attempt to militarize Ukrainian culture, to lower its spiritual potential is collapsed in the author’s dramaturgical version.

Музикалнофолклорните диалекти на Елена Стоин в звук. Съставител Горица Найденова. София: Институт за изследване на изкуствата, БАН, 2015

Author(s): Natalia Rashkova / Language(s): Bulgarian / Issue: 2/2016

Book Review

Музикалнофолклорният архив на Института за музика в ретроспекция (1948 – 1989)

Author(s): Maria Kumichin / Language(s): English,Bulgarian / Issue: 3/2018

The paper deals with key moments in the history of the Folk Music Archive, Institute of Music/ Institute of Musicology, BAS, from the transfer of the Music Section of the Ethnographic Museum (bringing in the collections of manuscripts, print media, equipment and three researchers: Raina Katsarova, Ivan Kachulev and Elena Stoin), to their constant enrichment and development until the Institute of Musicology closed in 1989. Using a large amount of archival items from the Scientific Archives of BAS, the way in which the collections at the Folk Music Archive have been structured in a certain period (1950s–1980s) is traced: phonograph records (vinyl records and tapes); lyrics (fieldwork material on paper); film archive (stock footage and videotapes); stills archive. The changes in the process of the researchers’ work are considered along with their tasks, their direct responsibilities for certain collections and work on fieldwork materials

Музикантът (закир/Имам Джафер) в културата на алевиите и бекташите от Кърджалийско

Author(s): Rumyana Margaritova / Language(s): Bulgarian / Issue: 2/2016

The paper concentrates itself on the figure of the Alevi-Bektashi musician (zakir, Imam Jafer) in Kardzhali region, who has at the same time religious, social, and artistic roles in society. Because of his characteristics, this figure could be categorized as an epic musician. His non-professional, but specialized activity is presented through the insiders‘ views on the specifics, educational manners, musicians’ quality assessment and their differences in performing styles. A young Bektashi musician from the region, whose biography and performing manner are marked by the complex interaction between his great talent and strong religious feelings is also portrayed in the paper. The interaction itself determines his complicated path as a musician and as a member of a community of heterodox Muslims.

Музиката в анимационното кино: композиционни подходи

Author(s): Petar Dundakov / Language(s): English,Bulgarian / Issue: 2/2017

Based on examples from the history of animation and the author’s personal compositonal experience, the article explores major developments and various creative approaches in making music for the animation cinema. It is argued that sound and image here have no universal principle of interaction. Yet, the idea of musical illustration, on one hand, and the free interplay between image and sound, on the other, outlines both sides of common boundaries in the search for specific sound solutions.

Музиката като молитва в дълбините на ума

Author(s): Kristina Yapova / Language(s): Bulgarian / Issue: 2/2003

Музиката на барока в българското музикознание. Съвременна или историческа интерпретация

Author(s): Stefan Dalchev / Language(s): Bulgarian / Issue: 2/2018

This paper makes an overview of the baroque performing art, highlighting the challenges facing contemporary interpreters in the wake of the changes in concert repertoires, as well as the trends in the interpretation of baroque music that have become the norm after the end of World War Two. The text follows how these were covered by Bulgarian musicology, underscoring the challenges facing the scholarly research into music.

МУЗИКОЗНАВЧА ТА НАУКОВО-ПУБЛІЦИСТИЧНА ДІЯЛЬНІСТЬ ЗДІСЛАВА ЯХІМЕЦЬКОГО

Author(s): Oksana Hysa / Language(s): Ukrainian / Issue: 4/2013

The areas of Zdzisław Jachimecki’s musicological work in the context of scientific issues of European musicology have been highlighted in this article. Besides the scientific and journalistic activities of Zdzisław Jachimecki, who was the head of the musicology department of the Jagiellonian University at once, also has been analyzed in this paragraph. The influence of Zdzisław Jachimecki’s scientific and journalistic activities on the establishment and development of the Polish school of musicology has been presented as well.Zdzisław Jachimecki – was the founder of the Krakow's school of musicology which was the first such school in whole Poland and one of the first Polish musicologists with an academic title as well. Besides there is not much detailed information about scientific and pedagogical activities of Zdzisław Jachimecki in printed sources.The issue of scientific activity of professor of musicology of the Jagiellonian University Zdzisław Jachimecki has been researched partially in recent studies of W. Poźniak "Zdzisław Jachimecki as a music and theater critic" [8], J. Parzyński "Promotional activity of Zdzisław Jachimecki",U. Hrab "Lviv's school of musicology of Adolf Chybiński" (1912-1941)" [1], K. Duszyk "Composers' works of Zdzisław Jachimecki", L. Kyyanovska "Milestones of the Polish-Ukrainian musical relationships in Lviv in the XIX – first half of the XX century", Małgorzata Woźna-Stankiewicz "Zdzisław Jachimecki (1882 – 1953) : the founder of the musicology in the Jagiellonian University: catalog of the exhibition".Unfortunately, the coverage of this issue in the Ukrainian and foreign musicology is not enough and requires a more deeper understanding.Purpose of the article: to highlight the scientific and journalistic activities of Zdzisław Jachimecki in the context of cultural and educational traditions of the first half of the twentieth century.Zdzisław Jachimecki was a famous Polish musicologist, professor, doctor of musicology, music and theater critic, teacher and composer. Professor Zdzisław Jachimecki conducted his musicological studies at the University of Krakow since 1911 and till the end of his life. The institution directed by him, extended over a long period of time until it became a department of musicology.Educational work did not interfere to professor Zdzisław Jachimecki to wrote numerous and valuable scientific musicological works as well as a works of popular-scientific nature upon the same themes. All these works are known to musicologists of many European countries, besides they had been widely publicized and won the resonance not only in Poland but also abroad at once. Zdzisław Jachimecki was the author of over 100 publications, including such monograph as "The History of Polish Music", monograph about Richard Wagner, monograph about F. Chopin, monograph about S. Moniuszko [8].Zdzisław Jachimecki combines the figure of the scientist-musicologist with the figure of promoter of music in all these works which have been mentioned above. He acquainted the readers with the life and works of different composers, gathered crowds of listeners and fans of music and served to music in such way. These books were not only welcomed by specialists-musicologists, but, above all, by music amateurs as well. Just because Zdzisław Jachimecki had customized the style of his literary expression for music amateurs, had used terms not only from musicological language, but also from the general humanistic language. That's why they are available for a wide range of people.Zdzisław Jachimecki had published also a series of smaller works, along with the large-scale research works mentioned above, which are also important for the Polish musicology. There are many bold concepts in the scientific contribution of professor Zdzisław Jachimecki, which had collected and meticulously decorated by him in his books, pamphlets and hundreds of articles. The content and the size of the scientific publications of Zdzisław Jachimecki shows us an unusual diligence of this author. The range of interests of professor Zdzisław Jachimecki had been reflected in all his writings. The phenomenon's associated with the musical and theatrical life, descriptions and impressions of travel and even articles upon a social-cultural issues were the main objects of his scientific works.Zdzisław Jachimecki had studied theater events from musicological point of view for many years. However, he became a prominent expert in the topic the theatrical scene with the passage of time. He was invited to take the post of theater speaker at "Illustrated Daily Courier" in 1938. The very first reviews by Zdzisław Jachimecki had proved his proficiency, they were the studies of the highest level, which combined his great erudition, insightful look of creative scientist with the temperament of the unusual writer and easiness of shape as well.Activity of Zdzisław Jachimecki as a critic and essayist is inseparable from promotion of music, and this explains the language which scholar had used: affordable, imaginative, devoid of scientific language. Unquestionable professionalism of journalistic heritage by Zdzisław Jachimecki evident not in unsung by him inaccessible terminology, but rather in meaningful of his judgments which was formulated by him. He preferred to genre of review, elements of report items were also available in that his texts. That is why the collection of his critical essays in periodicals – is infinitely valuable overview of musical events of that time. Form of journalistic style and the level of Deeping of the theme were caused in the works of Zdzisław Jachimecki by a carrier of information, and by "genre loading" of refereed event.Therefore, it is very important to focus on the objective of professor Zdzisław Jachimecki to combine a thorough job of the scientist with interest of the masses, to raise Polish national musical science at the European level at all educational levels, enhance the prestige of musicological sciences as required, basically for a professional musician, as well.

МУЗИКОЗНАВЧІ ТА КІНОЗНАВЧІ ІНТЕРПРЕТАЦІЇ ДРАМАТУРГІЧНИХ ФУНКЦІЙ КІНОМУЗИКИ: історіографія питання

Author(s): Anastasiya Arkhanhorods'ka / Language(s): Ukrainian / Issue: 3/2013

In the article deals with musicological and cinematological interpretations devoted to dramaturgic functions of film-music. During the review of literature were found varying approaches of classification and systematization. In the author's view-known works the 1930s of the twentieth century, Soviet and Western authors until contemporary explorations Ukrainian scientists.

Музикологията като философска дисциплина

Author(s): Kristina Yapova / Language(s): Bulgarian / Issue: 2/2017

The study brings up for consideration the issue of the content-related scope of musicology and hence, of its definability as philosophical knowledge. Traditionally, that would mean either to confirm or to deny the place of musicology among the disciplines referred to as philosophical judging by whether or not it complies with the general principle of defining these disciplines as such. The classifications of knowledge of Antiquity or of the Middle Ages give a historical example of this kind of logic, where the discipline of music is legitimized as philosophical one by the numerical principle, uniting the mathematical disciplines as part of theoretical philosophy. This study advances the thesis that presently, such a move is far from sufficient. A change is needed in the very way of posing the problem. The role of music in its own essence in mapping out new philosophical horizons is put forward and argued to replace the existing criteria or arguments of classing musicology as philosophical knowledge.

МУЗИЧНА АЛОНІМІЯ: СПЕКТР ПРОБЛЕМ

Author(s): Kateryna Chernoz'omova / Language(s): Ukrainian / Issue: 2/2013

The article raises the question of authorship and copyright signature varieties fixation in art. An attempt to systematize the knowledge of a unique phenomenon in the musical art – "allonymy" – its history, theory and design methods with allonyms works on different forms of its manifestation.

МУЗИЧНА ЕСТЕТИКА НОВОГО ЧАСУ ПРО ВПЛИВ РІДНОЇ МОВИ НА НАЦІОНАЛЬНУ МУЗИКУ

Author(s): Oleg Bezborodko / Language(s): Ukrainian / Issue: 1/2013

The article describes the origin and development of the idea that the national language can influence music. Its origins are connected with the general musical and aesthetic mode of the 18th century. The intonational linguistic approach to understanding the concept of "national" in music loses its importance in the Romantic aesthetics due to the decline of musical rhetoric, absolutization of music and preeminence that the folklore obtains as the main criterion of the national spirit in music.

МУЗИЧНА ІСТОРІОГРАФІЯ ТА ЇЇ СУЧАСНІ УМОВИ

Author(s): Volodymyr Ionov / Language(s): Ukrainian / Issue: 3/2014

Contemporary musical creativity with its stylistic accretions and his quest sufficiently rigorous stylistic limitations pushes for changes in the nature of musicology, musicological text. Therefore, the part of musicology (as well as other modern art history research) musical historiography is able to obtain a substantial theoretical assistance. This assistance, for musicological experience, signifies consolidation of ideas about music science possibilities and historical responsibilities, that will light up and clearly define the place of musicological observations in the formation of the individual's consciousness – a necessary part of self-culture.Thus problems of musical semantics appears in the center of the musical historiography as modern musicology. Its new subject orientation we can define as semasiological. In the current musicological positions it is combined with the demonstration of personal views; today it is possible to speak of an emerging "author musicology," not subordinate to the internal scientific and disciplinary authority – the traditional concepts and their application.Works of Lyashenko, I. Yudkin, L. Kiyanovsky, A. Kozarenko present orientation of innovated culture musical historiography. They develop complicated problems of musical art national character peculiarities, of an antinomy of internal and external constraints of the national style in music, that is, the interaction of it "own" – "alien", "centripetal" and "centrifugal" tendencies. Thus, they support the Bakhtin’s idea that culture is "going on at the borders." The works of these authors make it possible to admit that the most appropriate, methodically defined and vindicated meta-theoretical orientation among possible is historiographical.Culture, due to the impermanence of social life, provokes dramatic situations, crises at each stage of its evolution. The end of time feeling has become a necessary feature of every important artistic personality in the history of art. This premonition of the end can be seen as a manifestation of national passionarity that most fully satisfies the romantic system of philosophy. Musical art, artistic activity appears to be a way to harmonize not only internal, but also external world of man, promotes the creation of centers, movements, associations, and other creative groups. This encourages the development of choral liturgical and folk-song genres, explains the leading role of traditional choirs in the Ukrainian musical practice. Musical and linguistic proximity Ukrainian, Polish, German, Austrian, Russian artists promote coordination of borders as between different national communities, and between different types of national consciousness. So there is a phenomenon of modern Lviv composer school.Today the special place of sacred music in the Ukrainian culture is confirmed by the appearance of new synthetic religious and secular models of spiritual works. Priority of the spiritual and religious musical practice becomesan important reason for the constant attention of Ukrainian composers to the Word, to different ways of connection between music and word. This search of "own Word" is complicated by the proximity of the Latinized linguistic tradition, the frame of Catholic texts in Galician work.Today, when we meet Ukrainian Orthodox and Catholic Latin designations in one canonical musical piece, this is not the result of composer’s confessional negligence, it’s the expression of long-standing historical convention, which now takes on a new aesthetic value. This aspect of the verbal-linguistic differences, that becomes differences of music genre history, is still uncertain, although many historiographical and analytical musicological observations lead to it.Performing principles of musical activity become leading in many of the social and cultural situations as in ancient, so in modern musical culture. They may be preceded by composer’s principles, predetermine the choice and interpretation of genres, often entirely subordinate to the development of instrumental ensemble music. The interest to the figure of the musician – performer as a living individual who can and should embody the creative idea, agitate for a certain socio-artistic initiative, is becoming one of the convincing performance personal-romantic nature of Ukrainian art.By studying these phenomena modern Ukrainian musicology creates new historiography (as factual and methodological) coordinates on the way of understanding the problem of national in art. It is eloquent proof of the demand (engagement) for music and historiographical knowledge from the side of the cultural and historical present.Thereby musicological text becomes a subject of musicological reflection; musicology need to look at itself "in the mirror of musicological texts" (A. Berezovchuk). Through the self-actualization of musicology emerges the need to relate musicological text as a whole system, and the semantic content of the music. At the same time, musicological text can be described as a "virtual space", that simulates the researched music piece. This space includes various semantic projection, because it is a fiction, an artificial reality. It acts as an artifact – a mirror of cultural human consciousness, as well as music.Among basic orientations of musicological thought in its focus on the music phenomenon a process of forming in musical and artistic works appears to be leading, it often has a high degree of unpredictability, and therefore a significant information content. As musical creativity, musicology reveals semantics of "possible worlds" more than of "real".Music historiography must discover the historical meanings of culture – and not just in the process of becoming a single composition, but also in the total effect of music on the public consciousness. It is an important way to create a man’s "life-world" in his present and future.

Музичні інтенції Освальда Шпенглера

Author(s): Tetiana Kablova / Language(s): English / Issue: 3/2017

The purpose of the work. The article is devoted to the problems of determination of dimension of existence of music in philosophical and aesthetic views on art. The main theme of research is consideration of Oswald Spengler musical intentions in relation to the ethos of culture. The research deals with his main views of music and draws parallel with the concept of ethos of culture. There are central notions of Spengler’s philosophy on the implementation of culture styles in music and the presence of faustian and apolonian in art. Methodologу of the reseаrсh consists of application of сompаrаtіve аnd hіstorісаl-logісаl methods as well as contextual and systematic methods. The above methodological approach allows to reveal and to analyze artistic phenomena as a part of cultural process. In addition, we used in our research cultural method. This approach allows us to consider all parts and cultural layers in their relationship. Scientific novelty lies in expanding notions of ethos of music as a manifestation of a dialogue between culture and music, as well as classification of definite views of Oswald Spengler on music art in the context of development of cultures and civilizations. The important factor in today's integrative art process is an emphasis on the identifying by philosopher "inner form speech" of art, which actually refers to the ethos as the spirit of culture. Conclusions. The appeals to music in Spengler’s heritage is based on his affirmation about the spirit of music as the spirit of era. This in its turn goes to the ethos of music as the organic embodiment of the spirit of culture. In this context, ornamental ethos acts as a set of basic intentions of the current era and universal logical system that unites us with many cultures

МУЗИЧНО-ТЕАТРАЛЬНЕ МИСТЕЦВО УКРАЇНИ ПЕРШОЇ ПОЛОВИНИ XIX СТОЛІТТЯ: історико-аналітичний підхід

Author(s): Viktor Kavun / Language(s): Ukrainian / Issue: 1/2013

Actuality of the article are consists of creative the famous Ukrainian composer’s at the XIX-th century, which development into the complicated history and cultural condition’s. It is characterize of the basis achievement in to the branch chamber and vocal music of the national theatre and сreative work Ukrainian I.Kotlyarevskogo, G.Kvitky-Osnovjianenka, K.Stetzenka in the context of national culturality during the XIX-XX century. Also present forming of the opera genre in the creative S.Gylaka-Artemovskogo, P.Sokalskogo and M.Lusenka. All these questions of charakterycal in the system of studies of art and Ukrainian study researches on principles of modern gumatitary methodology.

МУЗИЧНО-ХОРЕОГРАФІЧНИЙ СИНТЕЗ У БАЛЕТІ УВЕ ШОЛЬЦА "ВЕЛИКА МЕСА"

Author(s): Iryna Hertz / Language(s): Ukrainian / Issue: 1/2018

The purpose of the article is to find out the specifics of musical -choreographic synthesis in ballet Uwe Scholz "The Great Mass." The methodology of the research is based on the use of the system-analytical method in conjunction with the performance approach. The scientific novelty is to clarify the features of the interpretation of classical music in the work of Uwe Scholz. Conclusions. Uwe Scholz's "Great Mass" refers to a type of choreography in which most delicate details of the musical material and its formation are elaborated. In his productions of Choreo-Aleksika, W. Scholz is not only a scrupulous vision of music as a set of various expressive means, which is the key to the solution of figurative, in this case, the religious symbolism of music, the plastic interpretation of which requires the highest musical professionalism and immense ethical responsibility.

МУЗЫКА И ПЕНИЕ КАК ТЕМА ДИАЛОГА ПЕТРАРКИ И ЭПИГРАФА ПИНИТИАНА

Author(s): Inna Ivanovna Devyataykina / Language(s): Russian / Issue: 3/2015

The analysis of Petrarch’s dialogue “De dulcedine musica” (“On the Sweetness of Music”) allowed to show that the author’s position is inconsistent: from the rejection of music and singing to the metaphor anthem for the musical harmony of the Universe. Petrarch refers with equal respect to both antique and Christian authors; his examples appeal to persons of the pagan Rome and not Christian Medieval Europe. The realities of that time, such as the widespread passion for music and singing responding to the new needs of the society, especially in urban areas, are distinguished in the judgments of this famous humanist and Renaissance poet. The dialogue addresses various ethical subjects of the Renaissance: importance of education, personal nobility despite social class frameworks, and personal right to the satisfaction of esthetic needs. Pinitian’s epigraph narrows the meanings of the dialogue and “frames” it in everyday life, thereby depriving the text of historical space. At the same time, the epigraph does not distort or modify the dialogue. However, it maximally focuses the reader’s attention on its didactic component.

Музыкальное воспитание в трактате Аристида Квинтилиана „О музыке“

Author(s): Lyudmila Alexandrova,Nadezhda Lyamkina / Language(s): Russian / Issue: 5/2014

Aristides Quintilianus is a scientist from the Greek Late Antique period. He is the author of the treatise On Music, in three volumes. This is the most complete treatise, systematically describing music science survived to our time. While Quintilianus is wholly based on his scientific predecessors (frequently citing “ancient” and “divine” sources related to the “musicing science”), he is able to construct his own scientific concept and system. In his First Book, he writes about the place and meaning of music among the other arts and sciences, and its epitome of space law (as defined by the demiurges), as well as the technical side of music – harmony, rhythm, meter. In the third book, Pythagorean music mathematics is displayed – treated by Quntilianus within the context of Neoplatonic cosmology. This article deals with education and ethics, as presented in his Second Book. He is analyzing the soul and its structure, and focuses more on education. Thorough analysis also includes all components of music science, as related to students’ ethic characteristics. This particular case is based mainly on Plato’s concept of the soul; according to it the soul comes to Earth while it has preserved in itself knowledge of the ideal world. In Quintilianus’ scientific narrative one could see a synthesis of the theories of Aristoxenus, Plato and the Neoplatonists.

Музыкально-слуховые представления и их роль в воспитании пианиста

Author(s): Elena Nanieva / Language(s): Russian / Issue: 2/2013

This article studies the musical forms (auditory, visual, motoric and tactile ones) and their role in the formation of the pianist. There were analyzed the methods that contribute effectively to the development of internal musical hearing, to the increase of locomotor apparatus’ skills and to the quality of sound. It also mentions how to overcome pupil’s locomotor apparatus difficulties

МУЗЫКАЛЬНО-ТЕАТРАЛЬНАЯ ЖИЗНЬ ПАРИЖА И РАННИЕ ОПЕРЫ Ф. ГАЛЕВИ (20-е годы ХІХ века)

Author(s): Elena Enskaja / Language(s): Russian / Issue: 5/2016

The article gives a broad overview of the repertoire of opera theatres of Paris during the twenties of the 19th century, analyzes some of the processes of the opera genre renewal. The creative connections of F. Halévy with the representatives of the theatre world, who played at an early stage a decisive role in the creative destiny of the composer (J. Rossini, J. Pixerecourt, G. Saint-Georges, M. Schlesinger) are revealed.The information on the history and fate of the first operas of F. Halévy Two pavilions, Pygmalion, Herostrat, Craftsman is provided. The composition, the principles of musical characteristics of the characters, the peculiarities of the musical language of Two pavilions and Craftsman are analyzed.The connection of the early works of Halévy with the socio-political life of the country, the general thrust of the development of musical culture of France and new trends that have emerged in the twenties (the development of the genre of lyrical comedy about the lives of ordinary people, the opera about the representatives of different professions, an ap- peal to the provincial cultures) is established.