Dva prijeloma stoljeća. Čarobna frula i Kavalir s ružom

Author(s): István Fried / Language(s): Croatian Issue: 3-4/1999

Es werden parallel zwei Opern analysiert, beide dem Wiener Kulturmilieu entstammend, Mozarts Zauberflöte und Hofmannsthal-Straussens Rosenkavalier, beziehungsweise ihre musikalischen Strukturen, die als »gedankliche Synthesen« zweier Jahrhunderte interpretiert werden. Während Mozarts Oper wegen der Offenheit ihrer Synthese als eine besondere »musikalische Enzyklopädie des 18. Jahrhunderts « verstanden wird, liest sich Der Rosenkavalier als eine musikalische Parodie beziehungsweise Persiflage auf das vorangehende Jahrhundert.

METAFIZIČKO DRUGOTVORENJE GLAZBE

Author(s): Krešimir Brlobuš / Language(s): Croatian Issue: 03/1977

Uvodno razmatranje - Vezani najstarijom metafizičkom tradicijom vazda smo u žudnji za onim meta, u potrazi za Jednim što nam se mnoštvom bića tamom prikriva i taji. Ne čini li nam mnoštvo neotklonjivu poteškoću ukoliko ga pokušavamo suodrediti s jednim? Ako postoji Jedno, i ako je samo sebi dostatno, čemu onda postoji i raznolikost mnoštva? Ukoliko bitak jest, čemu onda biće? Mnoštvo je nešto što najviše muči metafizičku misao zaljubljenu u identitet. Bitak se, općenito uzevši, određuje mjerom uma, koji je kao osnovno sredstvo metafizike Jedno,što svo mnoštvo jedini u jednu sustavnu cjelinu. Svako biće može biti pri sebi samo toliko koliko je to sukladno podnošljivosti drugih u općem lancu cjeline. Cjelina se tako misli iz obzora uma po kome svako biće stiče svoje, nužnošću sustava, određeno mjesto.

Exit će se ipak održati

Author(s): Author Not Specified / Language(s): Serbian Issue: 37/2004

Erik Satie, a feltaláló

Author(s): Bálint Veres / Language(s): Hungarian Issue: 4/2010

The paper examines Satie's oeuvre in a double perspective. In the first place, the essay interprets his work as a series of independent musical (or sonic) inventions that follow the spirit of the great 19th century technical innovators (like Marey, Muybridge, Edison and the Lumičres) and get out from the ideas of aesthetical autonomy. Secondly, the paper tries to disclose the reason why Satie recommenced his art almost then times in his lifetime.

Rechnet mit uns. Punk und Neue Welle im sozialistischen Jugoslawien

Author(s): Friederike Herbst / Language(s): German Issue: 68/2009

This paper examines the specific context of the punk and new wave scene in Socialist Yugoslavia which flourished before and after Tito’s death in 1980. After a short reflection on the different forms of political articulation in the music scene, the article shows how the state authorities dealt with bands that were perceived as subversive. Instead of rigid censorship like in the Eastern bloc countries, an economic incentive – the so-called trash tax – was used to force bands to consent to the suggestions of their record producers. Despite a few harsh, but still unsuccessful efforts by conservative party officials to shatter the punk scene, a rather liberal strategy of affirmation lead to the support of young musicians via the state infrastructure of the Socialist Youth League which facilitated the development of a vivid and creative punk and new wave scene in Yugoslavia. Further, the article gives a brief overview of the main protagonists and centers of the music scene. The new culture connected young people, regardless of their ethnic or religious background or mother tongue, which put into practice Tito’s vision of “brotherhood and unity” of the Yugoslav people, albeit in an unplanned and delicate manner. The music scene lost its momentum during the economic and political crisis following Tito’s death. It split into explicitly commercial acts on the one hand and avantgarde projects on the other. With the tensions between the Yugoslav Republics growing stronger, the sound became darker, and some bands went with the nationalistic flow. The last part of the article presents the sociopolitical context of the new Youth culture. The punk and new wave music served young people as an outlet for the unease they felt, finding themselves on one side of a generation gap separating them from the unconvincing and pale successors of the heroic partisans and founders of Socialist Yugoslavia who were supposed to be the youth’s idols. Society had come to a halt, after several attempts at reform and opposition had failed. The Socialist rhetoric and rituals seemed outdated to young people. The technique of over-affirmation of empty official phrases, used in the song lyrics, dismantled the socialist ideology which constituted the grounding of the Second Yugoslavia. The slackening of censorship, however, did not promote the democratization of society, but prepared the ground for the nationalist discourse which was previously banned in Yugoslavia.

Struck by Apollo! Remembering György Ligeti

Author(s): György Kurtág / Language(s): English Issue: 188/2007

Orbituary, speech of mourning? For me he’s more alive than ever. For months my small study in St. André has been filled with his compositions, writings and speeches, with essays, articles and commemorative texts about him. Again and again I read the scores and listen to all the recordings I can get my hands on. In front of me is his life’s work—perhaps even his life. No end of things I’d like to tell him, including what I've finally understood about his music after decades. Perhaps there are correlations that only I’ve discovered now. So many things I’d like to ask. Sometimes his later works give answers, but other times it seems hopeless because he's not here to explain them. [...]

The Ultimate Fugue (Zoltán Göncz)

Author(s): János Malina / Language(s): English Issue: 188/2007

Johann Sebastian Bach: Contrapunctus 14 für Orgel aus der Kunst der Fuge. Arranged by Zoltán Göncz. Stuttgart, Carus-Verlag, 2006, 20 pp.

Czarna teologia w przekładzie. O muzyce gospel w Polsce

Author(s): Alina Krajewska / Language(s): Polish Issue: 643/2008