„Така ли прави всяка жена?“ – метаморфоза в пролог, две картини и епилог по „Слугинята-господарка“. Естетически и жанрови рефлексии

Author(s): Violeta Gorcheva / Language(s): Bulgarian / Issue: 8/2017

The object of this study is “Every Woman Does It This Way?” – a metamorphosis with a prologue, two tableaux and an epilogue. This is an author’s reworking of the opéra comique “La Serva Padrona”, first staged in Bulgaria in 21st and 22nd of May 2015 by the Student Music Theater in the Grand Concert Hall of the National Music Academy. This analysis is presented in the form of a director’s explicaçion, deriving the meaning, intentions, artistic idea, motivations, main objective’s paradigm, and concrete tasks at hand. Esthetic and art parameters are followed and defined, related to the genre transformations and the newly-produced hybrid of music and theater, uniting the quality specifics and building components of opera buffa, operetta, musical, romantic comedy, epic theater. Art provocation is emphasized, as well as the alternative direction and avant-guarde searches and solutions, coming directly from the libretto, rewritten and set at the present time, with the music added, the music theater dramaturgy (conflicts, plot lines), dramatis personæ (some well-known and some new – a total of 23), scenic transcription, and the final audio-visual art product. The final spiritual and musical bridge between the baroque and present time is achieved by means of archetype ideas, actualization, stylization, idealization and universalization.

Хипотези за броя и съдържанието на музикалните произведения на Филип Николай

Част трета. Втора полемична песен на Филип Николай: „So wünsch ich nun eine gute Nacht“ („Така желая една добра нощ“)

Author(s): Mila Naumova / Language(s): Bulgarian / Issue: 9/2018

This study is the sequel to the second part of the study “Hypotheses regarding the quantity and contents of the musical works of Philipp Nicolai (1566 – 1608)”. It examines the second of the alleged “polemic songs” of Nicolai to which notation is not found. Previous publications explain the setting of Nicolai’s life, times and the circumstances around his other unnotated musical output. Probably written during Nicolai’s voluntary exile at Unna during the plague outbreak of 1597, “So wünsch ich nun eine gute Nacht” (“Thus I wish a good night [to the world]”) features a complaining and politicized tone (a common denominator with the other “polemic song” of his, “Klagelied der Christlichen Kirchen zu Gott über die Calvinianer und Rottengeister, a sad song of the Christian churches about the Calvinists and the spirits of division”), at times nearing desperation of the evil, opposing the true Christianity, the corruption and abusiveness of Nicolai’s enemies. Biblical and folklore metaphors are employed to convey a vivid picture of the calamitous situation as perceived by the author. The method of finding relevant melodies relies on common words, phrases and in this case, a near mot-a-mot vernacular counterpart of the first line of Nicolai’s spiritual poem by the name of “So wünsch ich ihr ein’ gute Nacht” (“Thus I wish her a good night”). From that point of, the study examines available documents offering different melodies by various composers who have undertaken this material, as well as text differences, Finally, in an attempt to analyze the collected data, a table is comprised visually delineating the following: 1. Geographical location of where the composers and melodies were active (using symbols on a map of Central Europe). 2. Time (approximate years) of same. 3. Relationship between text and melody in terms of a successful (or less so) fusion, aiming to further illuminate any proof of a certain melody belonging to the poetry.

Хипотези за броя и съдържанието на музикалните произведения на Филип Николай

Част втора

Author(s): Mila Naumova / Language(s): Bulgarian / Issue: 8/2017

This study continues to reveal connections between the rest of Philipp Nicolai’s alleged “songs”, that are not found accompanied by notation, and possible music that the author may have intended for his texts. The first of two “polemic” poems are examined: the so-called “Klagelied der Christlichen Kirchen zu Gott über die Calvinianer und Rottengeister” (“A sad song of the Christian churches about the Calvinists and the spirits of division”). The other polemic “song” of Nicolai is named “So wünsch ich nun eine gute Nacht” (“Thus I wish a good night [to the world]”) and will appear in a future publication. Probably written during Nicolai‘s voluntary exile at Unna during a plague outbreak, the common denominator of these two poems is the complaining and politicized tone, at times nearing desperation of the evil opposing true Christian world, the corruption and abusiveness of Nicolai‘s enemies. Biblical and folklore metaphores are employed to convey a vivid picture of the calamous situation as perceived by the author. The method of finding relevant melodies relies on common words, phrases, and in the case of Klagelied, the whole first stanza of the text being used in another song, to which the melody is known. Further research, however, reveals several melodies. Because these melodies are set to both sacred and vernacular lyrics, the article sets the theoretical model of Prof. Stoyan Djudjev and his analysis of variants and relashionships in folk music. Then, the name of J. S. Bach and his intended choral by the name of “Mag ich unglück nicht widerstahn” is mentioned, posing the question of a choice of cantus firmus. At that point, a brief discussion is required, dealing with the matter of differentiating between Martin Luther and Johann Walter’s hymnals and imitative such, called Enheridions. The authoress of “Mag ich”, Queen Maria, is presented, together with theories around her song creation. From that point on, this study examines available documents, offering different song melodies, composers, and versions of the materials found. Finally, in an attempt to analyze the collected data, a table is comprised, visually delineating the following: 1. Geographical location of where the composers and melodies were active (using symbols on a map of Central Europe). 2. A timeline (approximate years). 3. A note about the relationship between text and melody in terms of a successful (or less so) fusion, aiming to further illuminate any proof of music belonging to the poetry.

Хора, роботи, андроиди – хипотези за телесност

Author(s): Veneta Doycheva / Language(s): Bulgarian / Issue: 2/2015

The paper treats the issue of robot as a dramatic character. The play R.U.R. by Karel Čapek is analysed focusing on the robots and the idea of the corporeal principle. The contained therein comparisons between robots and humans are followed from the vantage point of the notions of normality, abnormality and monstrosity. The predictive insight of Čapek is accentuated, who has brought up for discussion the coexistence between humans and humanoid robot and has promoted horizons that contemporary practices open up in a new light. A parallel is drawn between Čapek’s problematics and the Oriza Hirata’s play ‘Sayonara’ (‘Goodbye’) meant to be performed by an android actress alongside a human actress. The actual sensitivity about the effect of virtuosity in the anthropomorphism of bio-robots, their theatrical use and audience reception are commented.

Хоризонт-а

Author(s): Maja Cankulovska / Language(s): Macedonian / Issue: 65/2009

Осврт за проектот Хоризонт-а на Гоце Наневски

Хоризонт-а

Author(s): Goce Nanevski / Language(s): Macedonian / Issue: 65/2009

Мала галерија, 23.04.-25.05.2009

ХОРОВЕ МИСТЕЦТВО В КУЛЬТУРНО-МИСТЕЦЬКОМУ СЕРЕДОВИЩІ (на прикладі творчої діяльності жіночого хору Київського інституту музики ім. Р. М. Глієра)

Author(s): Kostiantyn Davydovskyi / Language(s): Ukrainian / Issue: 2/2014

The article is dedicated to cultural senses, contained in a concept "choral art". Historical aspects of the choral singing are investigated as forms of spiritual culture of humanity. A choral art belongs to one of basic areas of the cultural world – spiritual culture. It catches the least changes in spiritual life of people, incarnating the idea of community development in a certain historical period. The degree of chosen research topic and its relevance has been proved. The main aim of this article is to probe a choral art as some cultural and historical phenomenon which has great influence on the art environment of Ukraine. Its task is to decide the noted problem on the example of creative activity of R. Glier Kyiv Institute’s of Music Female choir.Being the specific sort of human thought and activity, a choral art functions to organize a valued-socially person and also will make it cultural and art environment. The foundation of choral art is the collective creative activity, some unique creative process based on principle of artistic interpretation of reality, the phenomenon of artistic culture. In that time the public, collective beginning in choral music lights up an individual, not dissolving it in social aspect. Availability of the choral singing is explained by a vocal vehicle which is a "musical instrument", given to the man of any age, and perfected together with his growth and development. Any man who wishes to express the senses and attitude towards the phenomena of surrounding reality by facilities of musical expressiveness can own them.A choral art is mastery. So being an art which is judicial and dynamic, it exists and appears only at implementation of choral works before listeners. That’s why it is necessary to activate the brilliance exactly, especially extra studying creative activity of students. Activity in understanding and recreation of choral art results in self-development and self-realization of not only personality but also the whole generation. Potential of enculturation is explained by the features of choral art: by acoustic and intonation properties of musical sound, vocal nature of choral activity, combination of music with a poetic art on the basis of collective implementation of choral art works, features of Ukrainian and Russian people national mentality and perception of the world. All of this puts a choral art in position, different from many other types of musical art. The degree of choral art development and its need in society makes considerable influence on forming and transformation of cultural and art environment. The special social and cultural functions have been determined by a choral art, such as: educate, compensatory, pragmatic, communicative, cognitive elucidative, hedonistic, ethics, aesthetically beautiful, social etc. The author of the article comes to conclusion that a choral art as form of spiritual culture and specific type of artistic activity of man owns large social and cultural potential which determines its value in the vital functions of society, influencing on all of sides of consciousness and activity, forming and transforming modern cultural and artistic environment.Historically, the choral singing was the first display of forming the professional musical art. The class of the choral singing is created simultaneously with opening of professional educational musical establishments more frequent. As an example, the history of becoming the choral singing class in R. Glier Kyiv Institute of Music has been reflected. It’s made an accent on the tradition of combination the studies with the choral singing concerto and creative activity. Extra studying artistic activity of R. Glier Kyiv Institute’s of Music Female choir is reflected. The repertoire of choir consists of the best standards of world choral music from Renaissance, the classics, romanticism age to treatments of the Ukrainian folk songs, sacred music, and works of modern choral advance-guard. Important direction of creative activity of choir is the collaboration with the modern composers of Ukraine. Choir has many fund records which sound on Ukrainian radio regularly, its appearances are translated on television, have approving reviews of press, prominent figures of the Ukrainian choral art. R. Glier Kyiv Institute’s of Music Female choir is well known outside Kyiv and Ukraine, as is a permanent participant and winner of many choral competitions and festivals.Due to extra studying creative activity of R. Glier Kyiv Institute’s of Music Female, Chamber and Children choral collectives, which have a different sign-semantic orientation, there is an "environment appeared in the environment" as a wide segment of academic choral music-lovers, which united in the unique circle intelligentsia, artists and creative young people in Kyiv.

Хороводни песни

Author(s): Aleksander Zashkev / Language(s): Bulgarian / Issue: 13/2016

ХОРОВОЙ ЦИКЛ В ТВОРЧЕСТВЕ С. И. ТАНЕЕВА:К ПРОБЛЕМЕ ЦИКЛИЧНОСТИ

Author(s): Svetlana Shchitova / Language(s): Russian / Issue: 3/2013

The article exposes one of key problems of musicology – cycle and recurrence on the example of a stage work of society choral music – choral cycle of S. I. Taneev on words of Y. Polonskiy op. 27. Accenting on analogies between parts of work, similarity of principles of development, voice-frequency dramaturgy, an author underlines a difference in determinations cycle, collection.

Храм „Св. Пророк Илия", с. Беласица (Елешница), Петричко

Author(s): Vladimir Dimitrov / Language(s): Bulgarian / Issue: 4/2016

The paper focuses on a monument painted by the Minovs family of iconographers in the National Revival period. I came across it after publishing my study on the heritage of this family of icon-painters. The church is located in the village of Belasitsa (Eleshnitsa) in the region of Petrich and is dedicated to the Holy Prophet Elijah. The text presents the murals and the icons at the church.

Храмът „Св . Георги” при село Игуменец

Author(s): Vladimir Dimitrov / Language(s): Bulgarian / Issue: 3/2010

The church of St George is situated in the territory of the village Churilovo, Petrich region, but was founded in the village Igumenetz to which belonged the 12 quarters (mahali) situated on the southern slopes of the Ograzhden Mountain . The church of St George, around which was formed the so called Churilovski Monastery was completed in 1858 . The mural paintings have a distinct decorative character . Regarding the iconography we should note some didactic scenes, such as the image if a young woman that is rubbing over her face with a cream from a vessel that is being held by the Devil, which is situated on the northern wall of the women’s section . This scene which is not that popular can be seen in a number of churches in the Southern and mainly in Southwestern Bulgaria . The literary basis of the scene can be found in the edificial collection Lectures for Women and Girls compiled by the monk joseph the Bearded in 1756 . The whole open narthex of the church is covered with paintings . Some of the murals are also painted over by non-professional artists during the 1960s . In the arches of the cross arcs are presented the tortures of the sinners and their attributes . On the Western facade there is the wide composition At the Fortune-teller for Cure, The Confession of the Pious and The Confession of the Sinner and a short version of the composition the Last judgment . The mural paintings in the church are not signed or dated but on the basis of the study of a number of churches in the region it is supposed that they have been created during the last two decades of the 19th c. The anonymous icon painter belonged to the group of unschooled painters that have worked actively during the second half of the 19th and the beginning of the 20th c . in the Southwestern parts of Bulgaria . The church has a three-part iconostasis which almost wholly painted with the exception of some parts that are wood carved . The decorations are mostly with flower elements . Most of the icons on the King’s row as well as some small icons are the work of the icon painter Yakovos Yakoumis . The hierarch’s throne, the pulpit, the ambon and the Holly Table are also with wood carvings and also have polychrome decorations .

Християнски празници и народни обичаи – тяхната символика и отражението им в изкуството

Author(s): Ivaylo Kostov / Language(s): English,Bulgarian / Issue: 2/2016

Culturologically, a feast is a compendium of a kind, encompassing and evincing all elements of cultural identification when it comes both to a community or an individual. Such elements encompass also all the symbolic archetypes associated with the national mentality. Studying the ways in which they are being realised can help to establish the mechanisms of how cultural phenomena are produced. Or taking the liberty of paraphrasing the biblical saying: ’Wherefore by their fruits ye shall know them ‘, there would be similar moral strength and a more clear tendency to the words ‘Wherefore by celebrating their feasts ye shall know them’. This problematics manifestly has its effect on arts to further miraculously translate into the society too, transforming into a creative urge, needed for artistic output.

Христо Илиев Леков – опит за биографичен очерк. На базата на материали за Христо Илиев Леков в архива на отдел „Нова история” на музей „Искра”, Казанл

Author(s): Diana Danova-Damianova / Language(s): Bulgarian / Issue: 6/2010

Хроника

Author(s): Uroš Matic,Monika Milosavljevic,Vladimir V. Mihajlovic / Language(s): Serbian / Issue: 3/2011

Uroš Matić - Lav, veštica i orman: Uporedni prikaz dve sekcije na 16th Annual Meeting of European Association of Archaeologists Моника Милосављевић, Владимир В. Михајловић - Међународни научни симпозијум: Простори памћења: архитектура, баштина, уметност / Spaces of Memory: Architecture, Heritage, Art. Филозофски факултет у Београду - Музеј примењене уметности у Београду, 12 - 15.4.2011. године.

Хронология и распространение золотых нашивных бляшек в раннескифское время (VIII—VII вв. до н. э.)

Author(s): Anja Hellmuth Kramberger / Language(s): Russian / Issue: 3/2015

As a characteristic of the Scythian cultural-circle the custom can be described to decorate clothes, weapons and horseharness, quivers and vessels of wood and ceramics with small golden appliques. In this paper on the one hand the dating of those Kurgans with golden appliques in the Early Scythian Period (8th—7th century BC) shall be discussed, and on the other hand the distribution of finds in the North Pontic Region and in the neighboring and more distant regions as well. Because it can be established, that identical golden appliques as in kurgans of the Middle Dnieper and the North Caucasus occur also in the Eastern Hallstatt region in grave finds of the late 8th/early 7th century BC, primarily in the Slovenian Doljensko. For some of the findings of gold appliques based on the archaeological findings we can establish that they were placed as ornaments on headdresses, and anthropological studies show that in the majority, these are the burials of women. The golden appliques were apparently reserved for a group of women of a special status. Parallels in the Near East as in the royal tombs at Nimrud/Kalhu can be pointed out. According to inscriptions, they belonged to Assyrian queens and we can interpret the outstanding female burials of the North Pontic region in a similar way as queens or priestesses. Maybe even some of the burials represent the exchange of women to stabilize political alliances.

Художествена галерия "Жорж Папазов"

Author(s): Stoika Tzingova / Language(s): Bulgarian / Issue: 4/2004

Художествената галерия и децата – творческо общуване

Author(s): Zdravko Toshev / Language(s): Bulgarian / Issue: 1/2017

The perception of the works of art displayed in art galleries is very important for the development of children’s artistic talents. Field trips leave deep and lasting impressions in the memory of most of them and are remembered for a long time. This intensifies their watchfulness, boosts their thinking and imagination, improves their memory and develops their artistic imagination.The ability to perceive artwork is built gradually, carefully, patiently, with the help of adults. Children could stay indifferent to works of art for a long time, if a teacher or parent does not focus their attention on them. They are supposed to take children to museums and galleries, make them familiar with the variety of artwork by attending exhibitions in art galleries, get children feel love, lasting interest and need of contact with artwork.

Художествената графика – част от изобразителното изкуство

Author(s): Ekaterina Rusinova / Language(s): Bulgarian / Issue: 3/2014

Художествената колекция на Министерството на външните работи

Author(s): Boika Donevska / Language(s): Bulgarian / Issue: 3/2010

The collection of the Ministry of For- eign Affairs is one of the most representative art collections owned by a state institution . Its history dates back to the beginning of the 1960s when the collection of paintings and graphics started . The systematic selection of works includes authors of different generations with different individual and stylistic orientations . As far as the subject matter of this collection is concerned – it is dominated by landscapes . The selected works are characterized with a definite representativeness and outline some of the general tendencies in the development of art . In 2005 the collection was enriched with one of the still rare for the city of Sofia open air sculpture exhibition where there can be found quite versatile artifacts, both in plastic and conceptual respect, from archaeological monuments to works of the youngest generation of sculptors . An important part of the art collection of the Bulgarian Ministry of Foreign Affairs are the works of different forms art that can be found at the Bul- garian diplomatic missions around the world . At present the State Cultural Institute is working on the project Art in Bulgarian Embassies . Its aim is to present the artistic achievements of traditional and modern Bulgarian culture to the international audience. The art works in the Bulgarian Ministry of Foreign Affairs’ collection present a wide specter of styles, characteristic of Bulgarian art of the 1930s until the present times . Preferred, at least in the beginning were the old masters and authors that were connected with the notion of established and permanent art values . The modern artistic works that have been acquired after the 1980s of the past century and especially the sculpture exhibition to a great extent widened the genre- thematic and stylistic scope of the collection .

Художествени открития, аналогии и новаторство в операта „Косара“ от Маестро Георги Атанасов. Размишления на базата на личния диригентски досег с произведението

Author(s): Grigor Palikarov / Language(s): Bulgarian / Issue: 8/2017

This publication is devoted to the opera “Kosara” – an insufficiently researched work. It has not been performed for eighty-one years, and is almost completely forgotten. My desire to emphasize its crucial importance for Bulgarian music culture, as well as its superb artistic values, was mainly inspired by the unique opportunity to prepare and present this work in live performance (albeit a concert one only) in 2010 on the stage of Sofia Opera. In result of my work I discovered that Maestro Atanasov is really successful in creating a highly valuable and modern Bulgarian opera. It deserves its place among the best Bulgarian representatives of this genre with its leitmotive dramaturgy, recitative-declamatory style, action’s contiguity without separate numbers, orchestra’s important role, and numerous other merits – I hope for this to happen by help of this publication.