Издательское дело в России
Publishing in Russia, Among artists, From the musical life, The caftan of Peter the Great, Cinema, Monument to the deceased anarchists
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Publishing in Russia, Among artists, From the musical life, The caftan of Peter the Great, Cinema, Monument to the deceased anarchists
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Незаурядная личность Владимира Семеновича Высоцкого (1938-1980), популярного московского актера и автора песенных и стихотворных текстов, привлекает внимание самой широкой публики уже почти тридцать лет. Не всем его текстам, однако, литературоведы уделяли одинаковое внимание. Многое было сказано по поводу его ранних (т. наз. блатных) стихов и песен, должное было отдано корпусу военных песен, а также многие сатирико-бытовые тексты (наш термин. - Г. Ф.) стали предметом научного интереса. Такой зачастую односторонний взгляд на поэзию Высоцкого, который можно, кстати, объяснить сложным и медленным процессом ее изучения из-за отсутствия точных текстологических данных, приводил к несколько упрощенному взгляду на автора как на поэта-хулигана, разрушающего своим хриплым голосом все доселе обусловленные рамки, причем, на первый план выступал идеологический момент. В поисках ключа к раскрытию сущности творчества Высоцкого, мы не можем пройти мимо жанрово-тематического спектра его поэзии.
More...Škvoreckého jazzman Herbert Ward optikou zpráv FBI
One of the key characters of Josef Škvorecký’s short story Prague’s Little MataHara (1955) is an American musician named Robert Bulwer. “Music-hungry fans of Prague” skillfully use his political refugee’s status to smuggle a jazz revue ontostages of Prague at the time the music style is still viewed as something suspicious.The fictitious character of Bulwer was based on a realistic archetype, American double-bass jazz player Herbert Ward (1921–1994), who together with his wife,dancer and choreographer Jacqueline Ward (1919–2014) and two sons asked for a political asylum in socialist Czechoslovakia in 1954 and then lived in Prague until 1964. Using declassified files of the US Federal Bureau of Investigation (FBI), but also information from Czech and other archival sources and period press, the author depicts the life story of the Wards, in particular their presence in Europe,circumstances under which the asylum was granted, and their life in Czechoslovakia. He sets the story in to the context of persecution of so-called un-American activities (McCarthyism) in the United States after the outbreak of the Cold War; in addition to other left-wing artists, the campaign also affected many jazz musicians, and Petr Vidomus sees motives for the 1950 departure of the Wards from the USA to Denmark in it. He pays a lot of attention to the issue of the Wards’ membership in the Communist Party of the United States and related left-wing organizations and reasons of the FBI’s interest in their activities. In so far as their life in Prague isconcerned, the author is interested primarily in their artistic activities, in particular Herbert Ward’s revues describing the history of jazz to Prague’s audience, and later, in the 1960s, their disillusionment with the life in Czechoslovakia, which made them return to the United States. The article is, inter alia, a contribution to a recently started discussion about the English-speaking left-wing community in Czechoslovakia after the beginning of the Cold War, and also illustrates the work of the FBI during the era of McCarthyism in the United States.
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This paper charts the friendly relations between painter Herbert Masaryk and Prague lawyer Pavel Bächer, documenting not only Herbert’s difficult financial situation, but also his painting work.
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Hymnography of the 16th century, hymnbook, the Unity of the Brethern, the Utraquist, the Habrovany community, Jan Blahoslav, Jan Augusta, indexes of composers of protestant songs, authorship. Jan Augusta is one of the most prolific song composers of the early modern times. The list of his songs that were allowed to be printed in the hymn-book of Unity of Brethren is to be found in Jan Blahoslav’s index of song authors. Many of Jan Augusta’s songs can also be found in the only preserved handwritten hymn-book called Brother Jan Augusta’s Songs that was prepared by him in prison. However, there are five songs in the index whose authorship is uncertain. Our intention was to verify their authorship using the handwritten hymn-book that has never been used by any researchers. The results reveal that the above-mentioned hymn-book from 1598 can be regarded as a relatively reliable source. By contrast, we recommend analyzing the data from Urban’s index critically. The study tries to present the differences of songs if authorship were ascribed to the person who edited the text as it was common during those times. Such approach is based on work with the specific song material as well as on comparing the songs from Habrovany and Utraquist hymn-books. The various text alterations show that the Brethren terminology and doctrine principles were used there. We found that in one case there are two different songs in hymn-books but their differences have never been examined by researchers. Other songs have undergone a variety of different modifications ranging from marginal ones to several texts edited more times in various editions. Jan Augusta as the editor could be hypothetically, in some cases, the person who made the text editing. According to current standards, however, Augusta cannot be considered as the author.
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The research subject for this paper is the musical and educational activity of Vladimir R. Đorđević, as understood through the lens of his selected writings on music teaching and the climate of music education in Serbia in the late 19th and early decades of the 20th centuries. Đorđević’s versatile work in the field of music pedagogy encompassed several domains of activity and was related to other aspects of his artistic and academic scientific work. The aim of this study is to highlight, through an analytical approach to Đorđević’s writings, his contribution not only to the modernisation of music teaching, but also to the improvement of the status of the subject itself in the educational system of that time.
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The novel „Femeile insomniacului” (”The Insomniac's Women”) by Radu Tuculescu interweaves contrapuntally two basic themes against a background of vital rhythms, erotic quests, culinary incentives, jazz and luxuriant sensoriality. They are the ethos created for and modelled by the main character, the insomniac. The novel is interwoven from two aspects: the unravelling of life with its inherent illusions in counterpoint to the gravity of death. Radu Ţuculescu is a writer who can be both sincere and versatile, cynical and naive. He has the power to keep himself in perfect equivocity. Paradox becomes a caveat of the text. The fragile essence of human ambiguity is always well expressed in Tuculescu's writing. It is never flattened into one-dimensional thinking.
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Today, in higher artistic and artistic-pedagogical educational institutions, emphasis is placed on the formation of the technological culture of future music teachers through the application of innovative technologies in vocal education. In higher artistic and artistic-pedagogical educational institutions, special attention is paid to the formation of the technological culture of future music teachers through the application of innovative technologies in vocal education. The teacher is considered to be a professional with personal phenomenon thinking, technical knowledge, practical skills, and the ability to use creative pedagogical tools, based on the value of technological culture, the ability and the way of technology worldview, and this is formed and applied to creative artistic and pedagogical activities. In this study, it was requested to determine the opinions of the music teachers who teach in modern education conditions on the pedagogical approaches to the concept of emotion. Within the scope of this research, interviews were conducted with 25 music teachers. The study group was selected on the basis of volunteerism for the research. Three unstructured interview questions prepared by the researcher were asked. As a result of the research, it was explained by using the content analysis method. It has been concluded that emotional intelligence gains positive attitudes in the music education process.
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So far, a separate musicological work on the musical activities in the church of the Carmelites of the Ancient Observance of Bialyničiai (Belarusian Бялы́ нічы, Polish Białynicze) has not been prepared. The lack of a sheet music library prompted the study into several manuscript sources from the second half of the eighteenth century to the first half of the nineteenth century, which are stored in manuscript libraries in Vilnius and Minsk. Using the book of registration of income and expenses of the Carmelites of the Ancient Observance of Bialyničiai, which was the primary source of information, a list of the members of the chapel of the Carmelite Order of Bialyničiai, who were paid in the second half of the eighteenth century, was compiled, with their names, surnames, time of service, and positions. The exact information on the size and the composition of the chapel that used to play in the church of the Carmelites of the Ancient Observance in Bialyničiai in 1824–1825 and in 1832, found in the inventory, the visitation, and the audit, is also provided. With the help of sheet music lists, attempts were made to determine the musical genres predominant in the chapel’s performances and the composers whose vocal-instrumental works were performed. The names of the composers are often distorted in the manuscript lists found, but it is possible to identify some of them or to make assumptions. The seventeenth-to-nineteenth-century heritage of the vocal-instrumental chapels of the Catholic monasteries of the Grand Duchy of Lithuania requires further research in order to produce a synthetic summary of this phenomenon.
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Review of: Agata Klichowska - McFerran, K., Derrington, P., Saarikallio, S. (red.). (2019). Handbook of music, adolescents, and wellbeing. Oxford University Press.
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The aim of the study was to determine the independent variables of self-esteem and the understanding of emotions in musically gifted students. The current educational objectives focus on comprehensive development of the pupil. It has also been pointed out that it is necessary to provide pupils with special educational needs, such as highly capable and gifted students, with appropriate conditions for study (Limont, 2005). It is increasingly often that attention is drawn to the need for modernising school curricula and the teaching methods used with gifted pupils and recognising their individual properties and needs. In the process of fostering talent, cognitive abilities play as important a role as personality and the emotional sphere of an individual (Kuśpit, 2018). The subjects included students of music schools (N=231) and grammar schools (N=188) who made up a comparison group aged 15 – 18. The study made use of the Five Factor Inventory NEO-FFI by Costa and McCrae, the SES self-esteem scale by Rosenberg and the Test for Understanding Emotions (TRE) by Matczak and Jaworowska. An analysis of regression was carried out using the introduction method. It was found that in the group of music school students, extroversion and neuroticism were variables crucial for self-esteem, while in the group of grammar schools students - they were neuroticism and conscientiousness. As for understanding emotions, the key variables in grammar school students included extroversion, neuroticism, openness to experience and agreeability, while no significant correlation between personality traits and the understanding of emotions was found in the music school student group.These findings may be helpful in adapting the school curricula to the specific needs of the pupils and in managing the development of talent in such a way as to enable the students to achieve their goals and succeed in different fields of activity.
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A challenge for educational professionals is how to know and understand a child. Given that each generation has a set of characteristics that are inextricably linked to the time and prevailing culture in which it grows up, it is essential in early childhood and preschool education to address children's current needs in a timely manner. Today's children growing up in the 2010-2025 time frame are referred to as the Alpha Generation. Theorists, together with practitioners of early childhood education, espouse a humanistic orientation to the preschool education curriculum that focuses on the image of the child and the attitudes and actions that arise from it. Although the National Curriculum for Early and Preschool Education in the Republic of Croatia integrates digital technologies as one of the key competencies for lifelong learning, there is still insufficient knowledge about the current generation of children and a discrepancy in the perception of the provision of more modern educational strategies. In accordance with these settings, musical activities that favor the use of digital music technology in work with children can also stimulate children's purposeful motivation and support their self-actualization. This paper problematizes the possibilities of self-actualization of children of the "Alpha generation," incorporating as a starting point the National Curriculum for Early Childhood and Preschool Education and its possibilities, Abraham Maslow's humanistic theory and the benefits of using digital music technology in work with preschool children.
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The article explores embodied critical thinking (ECT) for engaging with the enfleshed and trans-corporeal self on an affectual and experiential level. By discussing three exemplifying affectual instances that expose the experiential level of processuality, emergence, and intercarnality, the article shows the methodological use of ECT as a fruitful approach to developing embodied ontologies and a toolkit for the experiential reflection of one’s enfleshment, as tuning into the body-environment.
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Óscar Escudero and Belenish Moreno-Gil, as artists of the millennial generation, proposed an approach to musical composition that takes into account the new ways of being and relating to the world, which has been modified by the irruption of social networks. Their work represents an understanding of the mediatised and globalised world in which we live, making it clear that the philosophical and aesthetic paradigm has changed and must adapt to these new ways of communication. In order to understand their works, it is necessary to understand how social media and the physicality-virtuality continuum work and the effects they have on us. In this article I try to outline this with the help of literature in this respect and to relate it to the different forms of artistic presentation that make up their works. This article is to be understood as an attempt to conceptualise Moreno-Gil and Escudero’s aesthetics through specific examples of the works Custom #X Series and Flat Time Trilogy. The concepts of ‘simultaneity’, ‘hyperreality’ and ‘flat time’ or the ‘struggle for visibility’ and ‘profile subject’ help us to understand the new forms of communication through social media and are the philosophical basis for the works of Escudero and Moreno-Gil.
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In this paper, the ballet of Igor Stravinsky The Rite of Spring is interpreted from the perspective of Gaston Bachelard's philosophical thought. Bachelard's systemiatic psychoanalysis of literary images in The Psychoanalysis of Fire is applied to the interpretation of musical images in The Rite of Spring. Bearing in mind that rythm is a key characteristic of Stravinsky's composition, the paper analyses the immediate correspondences between Stravinsky's and Bachelard's perception and interpretation of rythm in the works under consideration.
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Two main tendencies which represent the basis of theatricality during the XX-th century, interdisciplinarity (stimulated by the visual artists interferences, emerged from the avantgardes area, and also from contemporary music) and multiculturalism (generated by the interest of contemporary art for both middle-east and far-east influences) remain the important orienting points towards the performance accelerated complexity. The most visible changes are created by the European directors interested in the regeneration of European art, through artistic oriental solutions, process followed by a „tip of scale” in favour of a reversed trajectory, during the median part of the century. Recently, the international stage offers an image completed by artistists of oriental provenience, who not only combine the experiment with a very personal philosophy, but also demonstrate their integration in expressive codes both occidental and universal.
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The opera performance approached from the stage directing perspective is continuously redefined by theatricality, scenic compositions, where the dominant aspect is the artistic concept imposed by the director, by his/her strategies of interpreting the musical material through theatricals reforms. In the opera presented by the most important European festival the evolution is strongly visible, from different “traditional” approaches of the genre where the priority is the musical score, towards the transformation of this genre into an experimental field for the stage director, who uses (or not) the music as basis for his scenic composition. For example, Bayreuth Festival evolves towards Regieoper, applied to Richard Wagner’s repertory, Salzburg Festival which demonstrates a recent search for balance between music and direction, and Glyndebourne where, by the benefic interference of Peter Hall, if visible an ideal version based on the harmony between music and stage directing.
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In their conference, Stan Lai and Octavian Saiu start by a very broad theme: the interplay and the dynamics between tradition and innovation in Chinese theatre. In Stan Lai’s work, there is a very tight connection between these two dimensions, thus the dialogue the two of them will carry out will focus on this particular detail. As the conference will expand from this premise, they will discuss and analyse important themes in contemporary performing arts: the way the theatre of the absurd is performed, multiculturalism, famous festivals in China (Wuzhen Theatre Festival), tradition and modernity.
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The article constitutes a detailed analysis and interpretation of one of the most important texts written at the turn of the twentieth century, which was devoted to the reception and interpretation of Frédéric Chopin’s compositions in the Young Poland period. In his work, Cezary Jellenta presents the nervous perception of the Polish composer’s music typical of the era and refers in his reflections to numerous works of painting and both Polish and world literature, which perfectly illustrates the fascination with the idea of the correspondence of arts. It is also a testimony to the foundations of the emerging music criticism and evidence of the undying adoration for Frédéric Chopin’s works.
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A controversial film director, with a creative style placed at the border between geniality and imposture, Lars von Trier is a “destoyer” of norms, imposes his own manner which combines inside ecuations, elements like tragedy and melodrama. As an avangardist, always with one step ahead the art cinema, he creates codes of images through manoeuvres of tones and colours which compose the theatrical consistency of the movie (image, music and events). One of his outstanding pieces is Dancer in the dark oriented toward a “tragic music hall” style (Gavin Smith), a demonstration of what the tragic contemporary character means for Lars von Trier.
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