Нова пътека към корените на националната ни идентичност

Author(s): Mariyana Buleva / Language(s): Bulgarian Issue: 2/2012

Thе book „What is the Authentic Bulgarian Church Singing” (еd. Julian Kouyumdzhiev) comprises 141 texts relating to a discussion unfolding mainly on the pages of the Bulgarian periodicals since the early 1890s to the early 1940s. The discussion about the „аuthentic Bulgarian church singing” („Bolgarskij Rospev” or Eastern chants in their Church Slavonic translation) were exceptionally important for the Bulgarian society. The book documents the public attitudes to the Bulgarian singing traditions in the domain of church services and discloses the cultural and historic meaning of the discussion about the “authentic Bulgarian church chants”, thus opening way for further research into the Bulgarian church music after the Liberation.

Свидетелствата в самооценката на Лазар Николов и тяхното днешно значение

Author(s): Angelina Petrova / Language(s): Bulgarian Issue: 2/2012

Lazar Nikolov’s documentary archive contains a “Notebook of Selected Thoughts” in which the composer has recorded aphorisms, stories and ideas by various authors, some of which are accompanied by his own comments. The present brief article deals also with some other documents, some fragments or notes which he did not publish and have not been studied so far. An attempt is made to comment on the authobiographic aspects and ethos in the composer’s manner of thinking, on the provision that this topic is just a beginning, an impulse and its horizons arе measurlessly rich and unfathomable.

„Славеят на Орхидея“от Александър Райчев и националният модел на съвременна ревю-оперета

Author(s): Rumyana Karakostova / Language(s): Bulgarian Issue: 2/2012

From the position of the today’s critical reflection “The Nightingale of Orchid” by Alexander Raichev remains an episodic creative expression with the value of a generic experiment. Despite of the presence of familiar ideological clichés in the song texts lyrics and in the principles of the dramaturgical structure, the composer succeeds to impose the pattern of contemporary revue-operetta – with a radically new song-and-dance language and with an original author’s stylistics, which turns out to be exceptionally promising. Precisely this pattern paves the way of the musical in the State music theatre’s national repertoire from the mid-60s of the twentieth century.

Клавирното ядро и музикалната речевост у Лазар Николов

Author(s): Tzvetana Ivanova / Language(s): Bulgarian Issue: 2/2012

Контрабасът в джаз музицирането

Author(s): Svoboda Bozduganova / Language(s): Bulgarian Issue: 2/2012

Devoted to the role of contrabass in jazz music making, the article dwells on some general issues in relation to the accompaniment and solo functions of this instrument. It is argued that since the times of jazz emergence contrabass has been a key instrument in jazz bands. Used initially mostly in the rhythm section, contrabass gained more sophisticated solo functions over the years, along with the evolution of jazz styles. Special attention is paid to the so called walking bass as well as to particular improvisation approaches and the way these approaches are performed by contrabass. In conclusion, it is pointed out that in styles like free jazz contrabass is treated as equal as all other solo instruments. Besides, the idea of its accompaniment and solo functions are not anymore as strictly differentiated as they used to be in earlier jazz styles.

Remembering Bartók

Author(s): László Vikárius,John Moseley / Language(s): English Issue: 200/2010

John Moseley talks with Elisabeth Klein Bartók Remembered—this is the title given to an important collection of testimonies by the composer’s contemporaries, extending from family members and the inner circle of friends to pupils and occasional acquaintances.1 The German translation of the book tries to make the point even more obvious in the combined form of title-cum-subtitle, Béla Bartók im Spiegel seiner Zeit: Portraitiert von Zeitgenossen.2 Both are, of course, series titles rather than the author’s own choice. A Hungarian “forerunner” to the English-language volume, Így láttuk Bartókot, “this is how we saw Bartók,” although relegating the actual present of remembering to the subtitle (“recollections”), also emphasizes the unavoidably subjective nature of recollection.3 Remembering is not only subjective but also occasional and is often defined and influenced by circumstances. Despite this, the main interest lies in the past conjured up by memory.

Light in Darkness: A New Work by György Kurtág

Author(s): Zoltán Farkas,Márta Papp / Language(s): English Issue: 200/2010

Musicologists Márta Papp and Zoltán Farkas discussed György Kurtág’s Songs to Poems by Anna Akhmatova, Op. 41, before the broadcast of its New York premiere on Hungarian Radio (MR 3 – Bartók) on 19 February, 2009, Kurtág’s 83rd birthday. On March 15, Márta and György Kurtág met Papp and Farkas in the Kurtág home.

Jono Domarko kūryba pučiamųjų orkestrui: tradicijų ir novatoriškumo sąsaja

Author(s): Rytis Urniežius / Language(s): English Issue: 10/2009

The article deals with the creation for the wind band by Lithuanian composer Jonas Domarkas. It is presented in the context of traditions and novelties of music for the wind band during two last decades of the 20th century in Lithuania. Creation by J.Domarkas for the wind band is not abundant, but is to be treated as a peculiar or even exceptional phenomenon of Lithuanian music, partly approaching the peculiarity of western wind band traditions. It can be presumed that J.Domarkas is one of few Lithuanian composers who evaluated and tested the possibilities of expression of the wind band in the field of art music. The stylistic features of this area of creation by J. Domarkas on the one hand are tightly connected with the earlier traditions of Lithuanian wind bands, but on the other hand they are much related with new approach to wind bands with orientation to experience of the western countries.

Aukštesniųjų klasių mokinių kūrybinių gebėjimų ugdymo muzikuojant, kuriant, klausant, apibūdinant ir vertinant muziką ypatumai.

Author(s): Rūta Girdzijauskienė / Language(s): English Issue: 10/2009

Referring to the documents regulating music education of senior form pupils, in the article the urgency of creative skills’ development is substantiated, the data of music teachers’ questioning is presented, the results of the observed music lessons from the point of view of creative skills’ development are analyzed, the peculiarities of development of creative skills of senior form pupils in individual musical modes (performing, creating, listening to, describing and evaluating music) are revealed.

A nemzeti zenéről, a Bartók-iinterpretációról és a közállapotokról

Author(s): Zoltán Farkas,Zoltán Kocsis / Language(s): Hungarian Issue: 01/2005

It is an interview with Zoltán Kocsis about authentic interpretation of Bartók's music and other interesting questions relating to contemporary music scene.

Recenzie la Constantin Secară, Muzica bizantină. Doxologie şi înălţare spirituală, Editura Muzicală, Bucureşti 2006, 311 pag.

Author(s): Elena Chircev / Language(s): Romanian Issue: 01/2007

Summary Byzantine Music. Doxology and spiritual exaltation

Liszt’s Tours in France (Nicolas Dufetel & Malou Haine)

Author(s): Klára Hamburger / Language(s): English Issue: 192/2008

Nicolas Dufetel and Malou Haine: Franz Liszt, un Saltimbanque en Province. Collection Perpetuum Mobile, Lyon, Symétrie, 2007, 424 pp.

Obiceiuri străvechi redescoperite la poporul maori din Noua Zeelandă şi educarea tineretului în această tradiţie prin tehnologia modernă

Author(s): Iosif Katona / Language(s): English Issue: 2/2013

The polynesian cultural traditions have exerted a great influence on a numerous theatre film directors. The traditional art, ancient customs as well as the ancestral language of the maori community from New Zeeland were forgotten because of historical vicissitudes of these lands. After the 1970’s reconciliations, the Maori natives gradually regained at all levels their freedom of expression. Today, the Maori community are rediscovering and relearning theirs language, culture and ancestral tradition, thanks to the new, tolerant educational system, modern electronic equipment, advanced information and communication resources

When Human Emotion meets Technology:A study of Machover’s Death and the Powers, the Robot Opera

Author(s): Mihaela Buhaiciuc / Language(s): English Issue: 2/2013

In the year of 2013, various opera stages remain reticent to performing repertoire composed after the 1930’s. With very few exceptions of works written by local compatriots of respective regions, operas such as: Wozzeck, Lulu, The Turn of the Screw are barely or never heard in a live production. Performers themselves confine in the traditional mind and the old way of expression, which are unquestionably, vital for any artist’s professional existence. Nevertheless, a vast palette of emotional and mental experiences is missed and often, not understood. The grounds of this behavior are mainly charged to quick judgments such as: absence of melody, of emotions and difficulty in communicating with the audience in the new operatic repertoire. My study offers an assessment: that melody can be identified in the most unusual musical architecture of today’s composed opera; and that emotional delivery and communication in the singing art occur still through text, audio-visual, and now, as never before, through technology. In order to demonstrate this I have chosen one single opera, perhaps the newest, but certainly the most innovating of the 21st century, a masterpiece, that has been in the spotlight since its premiere in 2010 and whose music, libretto and performing production may seem controversial to some of the traditional-oriented performers and audiences. It is Tod Machover’s Death and the Powers, the Robot opera. The article also highlights the importance of sustaining innovation in the opera as a need to naturally adapt to the new conduct of life.

Analiza statistică a tiparelor intervalistice prin utilizarea unei serii de programe

Author(s): Ercsey Ravasz Maria,Ercsey-Ravasz Francisc / Language(s): English Issue: 2/2013

In this paper we present a series of softwares by which we can statistically analyze the distribution of intervals and successive interval patterns. This research aims to identify typical coherencies in interval use and successive interval pattern use in works of different composers, different genres, musical forms, style/period or instrumental idiom. Some of these softwares are already welknown, others less, and one of them was created specifically for the purpose of this research.

Softuri educaţionale pentru domeniul muzical

Author(s): Oana Mihaela Bălan / Language(s): English Issue: 2/2013

In the world of today the avalanche of information being provided with the help of the internet compels educators to adapt their pedagogical activities, by using all the technological resources available. Whether we speak about primary school students or university students, the perspective they have in relationship to their own development is a very lucid and precocious one. Due to the inexhaustible “scientific wealth” that the computer provides unconditionally, the current generations of children may become geniuses before they learn how to write. Does this phenomenon scare, condition or assist us?

Înregistrările muzicale facilitate de tehnologiile informaţionale

Author(s): Radoias Robert Daniel / Language(s): English Issue: 2/2013

Electronic techniques are revolutionizing and will continue to revolutionize the fundamentals of the field of music, especially in terms of the performing tradition of the last 30-40 years. Thus, the controversial phenomenon called Sergiu Celibidache, consisting in the refusal of commercial recordings, ends, one way or the other, in the face of the overwhelming impetuosity of the offers provided by the computer.

Tehnologii informatice și de comunicație în pedagogia instrumentului muzical

Author(s): Pop Ciprian Gabriel,Pop Mara / Language(s): English Issue: 2/2013

The article presents working methods involving information and communication technologies in teaching a musical instrument. The paper only presents methods which have been tested in classroom, especially by piano teachers, the teaching techniques being part of the authors’ personal experience. Conclusions also present a study based on a questionnaire, revealing an opening towards these new methods, adapting the instruments from the ICT area.

Analiza timbrală și registrele dudukului

Author(s): Cristian Mihăescu / Language(s): English Issue: 2/2013

The following article presents a case study on the timbrality of a traditional Armenian instrument, the Duduk. The research was aimed to determine the division of the registers and identification based on spectrographic analysis of frequencies of each register and sub-register. Thus, the analyzes are based on a scientific precision that can always be justified.

Elementi stila ženskog pjevanja Žepča i okolice

Author(s): Kristina Čustonjić / Language(s): Croatian Issue: 39/2013

The role of a woman in proces of creation and interpretation of traditional musical expression is connected with general position of a women and her place in community. Musical practice of women in town Žepče as well as local area is rare prof that a women is creative holder. Musical forms that are connected with female intimate musical practice prove her creative position. Among these musical formes the ones that stand out are one woman song performance in closed, isolated space (lullaby, spiritual songs) or small female circle (singing with casserole, flat songs, sevdalinka song), also singing in wedding costumes, as well as song that accompany work or are about work. Traditional patriarchal society has caused a certain inferiority of a woman in the community. The creation and interpretation of traditional musical expression marked her creative role in all artistic expressions within traditional musical practice on the Žepče and the surrounding area.