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Ono što ostaje snazi glazbe

Author(s): Jacques Derrida / Language(s): Croatian Issue: 29/2024

»Snaga«, rabim ovu riječ ovlaš i pomalo mračnjački, nadasve retro, sa zakašnjenjem o tekstu Rogera Laportea: koji doista ispisuje i raspisuje i protupisuje jezik snage, praktično ga propitkuje i diskvalificira. Preciznije, ne diskvalificira ga, nego upisuje i postavlja na scenu, scenu ne naprosto reprezentativnu, upisuje i protu-upisuje, dakle, ekonomsku ili energetsku točku motrišta. Započinjem citiranjem Dodatka [Supplement]: »Posvuda je u ovom post-scriptumu izgledalo kao da se struktura i funkcioniranje literarnog pogona mogu opisati terminim a investiranja, dezinvestiranja, protuinvestiranja, nadinvestiranja: ne odričem se takve interpretacije...«. Doista, ono što ću provizorno imenovati potpisnikom Fuge/Dodatka [Fugue/Supplement] ne odriče se nikada ničega i u tom smislu piše također kao nesvjesno, kao netko tko je nesvjestan, postavlja izvanrednu budnost, kulturu bez mane mjeri želje nesvjesnog: ne odriče se ničega nego iznovice ispisuje neumornim tumačenjem, neumoljivim, sve ono što se pričinja kao da će napustiti, izbrisati, učiniti zastarjelim, u prostoru puno moćnije i puno šire igre, da, u prostoru igre. Preuzimam citat: »jer ekonomska točka motrišta, daleko od toga da bi bila odbijena, bila je proširena u teoriju igara ili prije integrirana u stratešku točku motrišta«.

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Najviša muzika. Muzika i politika

Author(s): Giorgio Agamben / Language(s): Croatian Issue: 29/2024

Filozofija je danas moguća samo kao reform a muzike. Ako nazovemo muzikom iskustvo Muze, odnosno izvora i zbivanja riječi, onda u određenom društvu i određenom vremenu muzika izražava i upravlja odnosom ljudi s događajem riječi. Zapravo, taj se događaj - to jest arche - događaj koji konstituira ljude kao bića koja govore - ne može reći unutar jezika: može se samo evocirati i prisjetiti ga se muzički ili glazbeno. U Grčkoj su muze izraz te izvorne artikulacije događaja riječi, koji se, događajući se, udešava i dijeli na devet oblika ili modaliteta, a da govorniku nije moguće vratiti se iza njih. Muzika je upravo ta nemogućnost pristupa izvornom mjestu riječi. U njoj dolazi do izraza nešto što se u jeziku ne može reći. Kao što je neposredno jasno pri muziciranju ili slušanju glazbe, pjesm a u prvom redu slavi i oplakuje nemogućnost kazivanja, slavi i oplakuje - bolnu ili radosnu, himničnu ili elegičnu - nemogućnost pristupa događaju riječi koji ljude čini ljudima.

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Glazba kao uzvišenost, spektakl i događaj - Dva ogleda

Author(s): Žarko Paić / Language(s): Croatian Issue: 29/2024

Dekadencija je u 19. stoljeću pronađeni izraz za ozbiljenje biti nihilizma. Kao »silazna putanja« umjetnosti od klasičnoga razdoblja do romantike, ona se neizbježno pojavljuje kao simptom rasapa metafizike kroz vladavinu fragmenta nad cjelinom, izdvojene riječi nad sklopom rečenica, primatom slike na jezikom, a čini se da je u tom sveopćem procesu obezvređivanja bitka i ništavnosti obezboženoga svijeta posebno mjesto dodijeljeno metafori bolesti koja zdravlje ljudskoga tijela iz sfere duhovnosti svodi na doživljaje histerične duševnosti. Nietzsche u svojim spisima iz 1880ih godina koristi ovaj izraz na francuskome kao decadence. U taj pojam pripadaju stoga estetika ružnoga, fragmentarnost sadržaja, »umjetnička religija« (Kunstreligion), ironija. U bitnome smislu dekadencija otpočinje s romantikom kao radikalnim obratom u biti modernosti koji pretpostavlja preuzimanje onog što je zahvaljujući filozofiji i umjetnosti, osobito u Njemačkoj u 19. stoljeću, označilo novo razumijevanje grkstva, grčke kulture i države klasičnoga doba.

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U dosluhu s izvanrednim interpretacijama Glenna Goulda

Author(s): Krešimir Brlobuš / Language(s): Croatian Issue: 29/2024

U neposustaloj potrazi za savršenom interpretacijom, Glenna Goulda najviše je smetalo neumjereno pseudo oduševljenje prema samoj muzici, ponajviše Bachovoj, koje su pokazivali tašti i neuki posjetitelji njegovih koncerata. Zato je odlučio da vrlo rano prekine s javnim koncertima, koji su bili obilježeni dosadnom površnošću i nadmenim snobizmom, ne bi li se, što je više mogao, sklonio u tišinu, živeći u osamljenu odmaku od teško podnošljiva prisuća nemaštovite prozaičnosti, muzici strana i posve neprimjerena svakodnevlja. Gould podjednako nije podnosio teatralnost u kompozicijama. Tako primjerice nije odviše cijenio Mozartove posljednje sonate zbog njihovih dramskih svojstava.

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THE EVOLUTION OF HIP HOP CULTURE

Author(s): Eduard Ștefan DUMITRU,Virgil Tudor / Language(s): English Issue: 2/2022

I'M THINKING ABOUT HOW THE WORLD HAS CHANGED, ABOUT MODERNIZATION, AND I WONDER HOW HIP HOP CULTURE HAS DEALT WITH THESE THINGS. STREET DANCE IS ONE OF THE FOUR WELL-KNOWN ELEMENTS OF HIP HOP CULTURE, ALONG WITH DJ-ING, MC-ING AND GRAFFITI. CURRENTLY, THE INTEREST IN THE ORIGINS OF THIS CULTURE HAS GROWN AND A NEW ELEMENT HAS BEEN ADDED, CALLED KNOWLEDGE. BORN IN THE STREET, HIP HOP CULTURE HAS BEEN IN THE CONTINUOUS EVOLUTION OF SEVERAL PHASES OVER TIME. THE 1970S, THE ECONOMIC CRISIS IN THE SOUTH BRONX, THE RACIAL DIFFERENCES BETWEEN THOSE THAT COEXISTED THERE, LED TO THE TRANSFORMATION OF THAT BEAUTIFUL AREA PERHAPS INTO ONE OF THE MOST DANGEROUS IN THE WORLD AT THAT TIME. WITHOUT MUCH HOPE, ALMOST OUT OF NOWHERE, THE MUSIC THAT COULD BE HEARD FROM THE BLOCK STAIRS WHERE DJ SUCH AS KOOL-HERC, BAMBAATAA, MANAGED TO GATHER MANY PEOPLE IN THE SAME PLACE, REGARDLESS OF THE BREED, COLOR OR BAND TO WHICH IT BELONGED. THIS GAVE HOPE TO THE BRONX, MANAGING TO USE THE HIP HOP CULTURE AS A MEANS OF INTEGRATION. SO, THE MUSIC, DANCE, COMMUNICATION AND GRAPHIC ART WERE THE WAY THEY BECAME A COMMUNITY THAT GAVE BIRTH TO A CULTURE THAT IS DEVELOPING EVEN TODAY AND WILL PROBABLY BE HERE FOREVER.

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Enhancing the Efficiency of Piano Learning Through Self-Regulated Learning Training

Author(s): Suqi Dong,Genutė Gedvilienė,Salomėja Karasevičiūtė / Language(s): English Issue: 3/2024

Self-regulated learning (SRL) is a powerful method to enhance learning efficiency. This study explores its application in piano education, focusing on goal setting and strategy use. Involving 32 piano students from the Vytautas Magnus University (VMU), the research showed that participants practicing SRL significantly improved their technique, expression, and rhythm after 8 weeks. A counterbalancing method confirmed SRL's effectiveness over traditional learning, highlighting its practical value in piano pedagogy.

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O interpretacji intermedialnej

Author(s): Paweł Regiewicz / Language(s): Polish Issue: 3/2024

The paper offers an interpretation of intermedial texts; an interpretation to which Andrzej Hejmej’s comparative theories serve as a basis. Such a method of interpretation may prove beneficial in understanding songs and other polymedial works in that it vastly expands the scope of meanings included into the core medium. The article focuses on analysis of three pieces from the album Gospel, namely “Bóg zapłać” (“God Bless”), “Czarne Kowboje” (“Black Cowboys”), “Zbawiciel Diesel” (“Diesel the Saviour”), released by a music group Lao Che. The studies are special developments of Hejmej’s conception since the subject of analysis is a set of lyrics, their musical layer, the singer’s voice, as well as the visual sphere—all levels combined form an unusually original and innovative transmission mode which can be sufficiently described in the intermedial context.

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On Musical Topics and Tropes. Definitions, History, Theoretical Amplifications, Pedagogical Applications, and Extensions

Author(s): Robert S. Hatten / Language(s): English Issue: 24 (33)/2023

This overview of the current state of musical topic theory is orga- nized in six parts: definitions and scope of the theory, origins and development of the theory since 1980, reflections on reconstructing a tacit competency for interpreting topics and tropes, a pedagogicalapproach to categorizing topics and tropes based on markedness theory, analysis and interpretation of topical troping in three brief Classical examples, and contributions to theorizing topics and tropes both before and after the Classical era.

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Musical Dialogue in John Harbison’s String Quartet No. 4

Author(s): Kheng K. Koay / Language(s): English Issue: 1/2024

The study explores different instrumental dialogues that experimented in Harbison’s String Quartet No. 4 (2001). Harbison imagines each instrument as an operatic character in the composition. The musical dialogues are presented in different fashions, including between two or more instruments in either confrontation, or with agreeable manners. The piece significantly displays Harbison creatively reintroducing the late 18th century musical dialogue fashion in a new way. Not only is Mozart’s and Bach’s music the main source of inspiration for Harbison, but also stresses of the off-beats and syncopated jazz fashion are at times heard in the fugal-like imitation passages.

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Liturgical Song in the Statutes of the Viennese Monastery of the Canons Regular of St. Augustine from the 15th Century

Author(s): Pavel Krafl / Language(s): English Issue: 1/2024

The statutes of the individual monasteries of the Order of Canons Regular of St. Augustine, inter alia, normatively regulate the form of the liturgy. Information concerning music or song is also scattered throughout the statutes in connection with this. The article focuses attention on the statute of the Monastery of St. Dorothea in Vienna from the 15th century. There is considerable information on song in the statutes of the Viennese convent of St. Dorothea, the statutes primarily concentrating on the sung mass and the singing of psalms. References to song can be found, in particular, in the first book of the statutes: in Article IX, regulating the form of psalm singing; in Article X, on the form of canonical hours; and in Articles 13, 14, and 19, which specify when to sit and when to stand during canonical hours, when to pay respect by bowing, kneeling, and so on. The statutes define the roles of the representatives of the monastery and convent, namely the prior and the dean, in liturgical song. The statutes also regulate the form of canonical hours. Emphasis is placed on the uniform nature of singing, with individual manifestations precluded. Deviations in singing are penalised, although the sanction is not of a public nature. The statutes of the Viennese Convent of St. Dorothea are a valuable source of information on the form of liturgy and liturgical song in the environment of the Order of Canons Regular of St. Augustine in the late Middle Ages.

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Educare alla musica sacra: 100 anni di esperienzanella Scuola Diocesana di Bergamo

Author(s): Gilberto Sessantini / Language(s): Italian Issue: 22/2024

The diocesan school of sacred music, today the Accademia Musicale S. Cecilia of Bergamo, turns one hundred years old. In the light of this centuries-old experience, the report, after a brief historical excursus, identifies some key elements of the training in sacred music that it offers today to the parishes of the Diocese of Bergamo. The first and essential element is training in music in general, especially for the new generations. The academy carries out this task through musical preparatory courses, aimed at the youngest (0–6 years), and the children’s choir, aimed at older students (7–12 years). These two educational activities constitute the musical literacy and ear-training course. The second element concerns training in sacred music. It is carried out by specialized teaching of Gregorian chant, choir conducting, liturgical musicology and vocality, organ. The strong point lies in the convergence of several people and institutions towards this same goal, since they are involved in various capacities, the Cathedral with its organs and its Schola gregoriana, the Basilica of S. Maria Maggiore with its renowned and historic Cappella musicale, the Bergamo Conservatory. This collaboration network effectively makes the two most important churches of the Diocese also a dual center for the production, education, and promotion of sacred music. What is actually taught in the Academy is what is implemented in these two churches, and given their exemplary nature, it is subsequently implemented in the parishes despite the diversity of the means available.

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Church music degree programmes at the University of Catholic ChurchMusic and Music Education (HfKM) Regensburg (Germany). The historyof an unusual university

Author(s): Christoph Hönerlage / Language(s): English Issue: 22/2024

The Regensburg University of Catholic Church Music and Music Education (HfKM), founded in 1874 as the Regensburg School of Church Music by Franz Xaver Haberl, is the world’s oldest Catholic institution for church music. With international significance from its inception, the institution was officially affiliated with the Pontificio Istituto di Musica Sacra in Rome in 1962. In 1973, it was transformed into an academy and, in 2001, the HfKM was formally established. The university offers Bachelor's and Master's programs in Church Music, Gregorian Chant, and New Sacred Music, emphasizing both artistic and pedagogical training. The curriculum prepares students not only for liturgical and pastoral responsibilities but also for broader cultural roles. Students gain expertise in areas such as Gregorian chant, choir conducting, and organ performance. HfKM maintains close ties with the church, combining artistic training with liturgical practice. This comprehensive education equips students for significant roles in both church and society, ensuring church music’s contribution to religious and cultural life.

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The theological dimension of selected Polish Easter songs

Author(s): Karol Litawa / Language(s): English Issue: 22/2024

The theology of Polish Easter hymns focuses on the mystery of Christ’s resurrection and is directed towards the eschatological dimension of human existence. Through the victory of the Son of God over sin, death and Satan, man has an open gate to eternal life. Easter songs are rooted in the biblical account of the Lord’s resurrection and are a form of prayer expressed both during and outside the liturgy, and should therefore bring the faithful closer to God. The oldest hymns, dating back to the 14th century, were composed throughout the centuries of the existence of the Polish nation and state, and often referred to the historical and social situation of Poles, especially during the partitions. However, their content and melody have always expressed the essence of man’s faith in the resurrection of Christ and the hope of eternal life.

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Magnificat: an exploration of sacred music in the United States

Author(s): Jacob Benda / Language(s): English Issue: 22/2024

The landscape of sacred music in the United States is broad and wide and cannot be neatly defined into a collective approach or style. The boundaries of Roman Catholic sacred music in America have been expanding further and further since the establishment of the liturgical reforms outlined by the Second Vatican Council’s Constitution on the Sacred Liturgy (Sacrosanctum Concilium), and it was through this new sense of “freedom” that alternative styles of liturgical music emerged during the past 60 years. Interestingly, the state of Minnesota was at the center of this liturgical music revolution as composers associated with the University of St. Thomas, St. John’s University, and St. Catherine’s University composed a large portion of ‘new’ liturgical music. This article explores the musical trends of the past 60 years in the United States, and offers suggestions regarding the practice and education of sacred music in America and beyond.

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Varietas metryczna „Musicorum libri quattuor” (1512) Václava Philomathesa

Author(s): Sebastian Baranowski / Language(s): Polish Issue: 1/2024

This paper concerns a Latin treatise on the theory of music entitled Musico­rum libri quattuor [Four Books about Music], written in the form of didactic poem by a Czech humanist, Václav Philomathes, and printed in Vienna in 1512. The treatise, although written solely in dactylic hexameter, shows a certain degree of variety within the metre that can be thoroughly examined. The pa­per offers a collection and analysis of such data, which includes: distribution of spondees in each line of the poem, frequency of occurrence of particu­lar metric patterns within the treatise, deviations from the norms of verse composition, and occurrences of rare metric patterns. The analysis reveals a noticeable variety in the metre of the piece in question — and one that seems to be deliberate. Furthermore, it can be observed that the author pre­ferred patterns with a spondee in the second foot over the other and avoided using more than two metrically identical verses in a row. Whilst the treatise does not employ many poetic devices and contains a limited technical vocab­ulary, the variety within the poem’s metre is significant.

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Opera jako świątynia wszelkich sztuk — refleksje na temat sztuki operowej w „Kronice paryskiej” Zofii Węgierskiej

Author(s): Mirella Kryś / Language(s): English Issue: 1/2024

The article analyzes Zofia Węgierska’s columns on opera plays, published in 1853–1869 in Biblioteka Warszawska. The columnist sees the field as a synthe­sis of the arts — theater, painting, sculpture, music and literature. Her opera criticism therefore uses terminology and modes of expression appropriate for describing other arts. In this regard, the journalist is particularly inspired by the journalistic output of Théophile Gautier and the Gesamtkunstwerk theory of Richard Wagner. In her writings one can also find reflections of Madame de Staël’s Romantic comparatist theory and the classicist “return to the sources” (ad fontes).

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Pauza i cisza jako konstytutywny element kompozycyjny piosenki. Próba analizy

Author(s): Łukasz Piaskowski / Language(s): Polish Issue: 1/2024

The basic form-forming unit of a song is a rhythmically ordered series of melonic sounds, i.e. sounds that are in a mechanized movement. This movement cor­relates with the rhythmic structure of the text, thus creating a harmonized conglomerate of interacting elements of the composition. The movement of melody and lyrics is subordinated to a structure that at first glance cannot be seen — a pause and functionalized silence, and thus “empty spaces” of the song. Paradoxically, they are the most constitutive for the genre. They interact on many levels and layers of composition, ranging from elementary quantitative classification, i.e. instrumental, vocal and performative levels, to individual poetological and expressive qualities — ordering the movement of sounds, regulating tensions or a kind of “shading” thanks to the skillful combi­nation of contrasts. “Empty spaces” participate in the game of form elements on par with sounds and murmurs.

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,,Grechuta z Chopina jest i basta!”. Ślady Chopina we wczesnej lirycznej twórczości Marka Grechuty

Author(s): Barbara Piotrowska-Rzeźwicka / Language(s): Polish Issue: 1/2024

In this article the author examines the influence of Fryderyk Chopin’s work and style on the early work of Marek Grechuta based on his 1970 concept al­bum Marek Grechuta & Anawa. The author claims that Grechuta’s early work can be classified as lyrical. She outlines common features, such as: poetic musical language, references to Romantic traditions, motifs from Polish folk music and references to jazz music. She then points to and discusses specif­ic songs from the album in which Chopin’s influence resounds: Wesele [The wedding], W dzikie wino zaplątani [Tangled in Ivy], Zadymka [Blizzard], Będziesz moją panią [You Shall Be My Lady]. Following Wojciech Majewski, she defines the representative Grechutian waltz variety inspired by the singer’s work. In reference to Grechuta’s perception as a “tender poet,” she discusses the lyr­ics from the first album, which were published in two volumes of poetry — pointing out the differences between them. The author uses literary and musi­cological analysis in her work, focusing on music studies and song studies.

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„Krajobraz z burzą. Bajka o Pawle Mykietynie” J. Mikołajewskiego w kontekście pejzażu dźwiękowego i surkonwencjonalizmu

Author(s): Katarzyna Bartos / Language(s): Polish Issue: 1/2024

In recent years, the Polish publishing market has seen an increase in interest in publications intended for young art connoisseurs, including young music lovers. An interesting proposal that presents the biographies of contemporary musi­cians in a fictionalized way is the series Gama i pasażerowie [Scale and Passen­gers]. Among the series of twelve illustrated texts, there was one written by J. Mikołajewski entitled Krajobraz z burzą. Bajka o Pawle Mykietynie [Landscape with a Storm: A Fairy Tale about Paweł Mykietyn]. In the text, the protagonist — Pawełek — sets off on a journey that is interrupted by a storm. Finally, he writes down his impressions in a composition titled Epifora. The specific narrative, quasi-refrains or their variants, and numerous intertextual and intersemiotic references suggest that the work should also be interpreted in the context of music. The author analyzes the soundscape presented of the text and consid­ers references to the contemporary style in Polish music — surconventionalism, which is characterized by, among others, a postmodern game with the listener and the processing of quotations, conventions and allusions.

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“TO BE A ROCK AND NOT TO ROLL”. ARTISTS AND THEIR DRUG OF CHOICE

Author(s): Claudia Constantinescu,Laura-Alexandra PINZARIU / Language(s): English Issue: 3/2022

This study analyses the relationship between artists and the use of illicit drugs, the causes and circumstances that determine the use, the types of agreed drugs, the manners of consumption, the effects produced, as well as their opinions on the drug phenomenon. Many artists performing in various fields experimented with drugs, their effects were and still are often appreciated as positive, while the artists believe that, under the influence of drugs, they become more creative. In this paper, we made a brief history of the connection between artists and the phenomenon of drugs, a short presentation of the theories regarding drug use, of the institutional context. For better understanding, we referred to previous research by specialists in the field who analysed the artist-drug relationship. We used documentary analysis and biographies to conduct the study. The results of the research describe the general image of a group of individuals with a lifestyle which does not exactly match the classical pattern considered by society to be "normal". They are open to experiences with drugs, non-conformists, and rebels, and this is noticeable not only from their actions and values, yet most of the time from a physical point of view.

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