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Jaunesniojo mokyklinio amžiaus vaikų kūrybiškumo ugdymo muzikine veikla kryptys

Author(s): Rūta Girdzijauskienė / Language(s): Lithuanian Issue: 11/2003

In this article are pointed the most significant junior school children's creativity development directions: accumulation of music experience (presentation of music knowledge, development of the ability to arrange, interpret and evaluate music, stimulation of music experience ), encouragement of self-dependence, stimulation of creative self-expression. The results of pedagogical experiment organized in this direction showed that in the experimental groups the children who interpret expressively and purposefully arrange accurately and are non-stereotyped increased double the adequacy and originality of music evaluation improved a lot.

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Vaiko dvasinių galių aktyvinimas etnomuzika

Author(s): Marija Jonilienė / Language(s): Lithuanian Issue: 11/2003

ln this article it is analysed the possibilities of making child's spirit power more active using ethnomusic. Ethnomusic is an art of sounds and can have a deep influence on the emotions of a human being. The primitive means of expressions and simple forms as well the near and understandable heroes of the poetic text suits not only for the elementary abilities, knowledge and skill training but as well has a great influence on the education of the personality. Small children are very emotional so the influence of ethnomusic on them is very great. Musical activity grounded by ethnomusic, induces child's power of spirit to be active. It is manifested in child's communication, moral behavior with adults, other children, animals, nature, toys, things and so on.

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Studentų - būsimųjų pedagogų požiūrio į etninę muziką kaitos ypatumai

Author(s): Rasa Jautakytė / Language(s): Lithuanian Issue: 11/2003

The article deal with the change of students attitude to ethnic music during a decade (1992-2002). The main role in bringing ethnic culture back to schools is played by the teacher and this role makes great demands on the teacher's personality. Our longtime observations proved that it is really important for students - prospective teachers to understand the significance of ethnic music for the development of the child and the child's national self-consciousness. Analysis of the results of our experiment in 1992 and 2002 years brings us to the conclusion that an inadequate interest of students to ethnic music is determined by their scanty and episodic knowledge of national music, by their poor knowledge of the volume of folk songs.

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Un secol de muzică românească: Gavriil Musicescu, Sabin Drăgoi, Paul Constantinescu și Ion Popescu-Runcu

Author(s): Cristian Mihail Paraschiv / Language(s): Romanian Issue: 02/2019

This research wants to present in summary the most important directions in the activity of four titled creators of Romanian choral music: Gavriil Musicescu, Sabin V. Drăgoi, Paul Constantinescu and Ion Popescu-Runcu. During the concerned presentation we will not summarize to a scholastic exposure, the more so as there are already plenty of this kind of studies available in the specialized dictionaries, lexicons and biographical documents, but we’ll try to refer to those aspects of the biography and opera of these composers which are less known or highlighted in the musicology circles of research. In the same time, we propose by the study below to make a brief comparison of the music styles of these four Romanian authors, in order to establish the resemblances and the differences betwen their choral creations. This will help us at the end of the survey to accomplish an honest stylistic perspective of these four musicians, whose compositions comprise about one century of Romanian vocal and instrumental music.

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Regional Innovation Systems and Revolutionized Sectors: the Mobile Gaming and Digital Music

Author(s): Filipe Castro Soeiro,Ana Filipa Conduto / Language(s): English Issue: 2/2014

Mobile gaming and digital music industries’ dynamics and growth show high potential of value network and induce new ways of designing and developing competitive value propositions throughout disruptive innovation processes. These innovative processes have the potential to lead to design and development of new products and services, by combining games with music contents and revolutionizing the current media entertainment sector. In view of that, mobile gaming sector and market analysis were conducted throughout competitive analysis frameworks, analysis of regional innovation systems and online surveys to support the blue ocean opportunities and corroborates its market potential. Hence, the analysis involved the study of the competitive environment and technological convergence of both industries and the impact of this new game in industry dynamics. Moreover, the key drivers and trends influencing the business environment were analysed and competitive strategies were discussed as new trends for the sector, as well as new value chain rearrangements and potential players’ competition models. Finally, there were discussed vertical and horizontal integration processes, industrial clustering and agglomeration economics to lead regional innovation systems, higher knowledge investments and R&D spillovers to support blue ocean opportunities benefiting customers through new and innovative value propositions. Major sectorial changes and societal impacts for the future are also discussed.

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АНТРОПОЛОГІЧНИЙ ПОВОРОТ У МУЗИЦІ ХХ СТОЛІТТЯ

Author(s): Viktor Stepurko / Language(s): Ukrainian Issue: 40/2021

The purpose of the article is to determine the cultural and historical determinants of the anthropological turn in the music of the twentieth century when the civilizational desire to create an artificial environment led to the invention of new forms of compositional structures (twelve-tone system, aleatorics, etc.). The methodology consists of theoretical and interpretive models of analysis of mechanisms of cultural creation to determine their narrative orientation, systemic and comparative approaches to determine the specifics of the musical reality of modern culture to understand the interconnectedness with world social processes. The scientific novelty is to reveal the features of the interaction of social perceptual and artistic image in music at the turn of the XIX-XX centuries as a reality of musicological reflection, as well as to characterize the interaction of globalization processes and ethnic background in the music culture of late XX - early XXI centuries. Conclusions. The musical culture of Ukraine of the twentieth century is becoming one of the priority factors in the dialogue of cultures of both the post-totalitarian "Soviet" space and world music culture, due to the intensification of the search for new ways of human development. Expansion of spheres of interaction, integrative and globalization tendencies are not fixed as restoration of cultural-historical potential, on the contrary, polystylism as a general platform of formation is presented by appeals to Ukrainian baroque culture, the renaissance of sacred music, the revival of the ethnic component in art, search for new ones.

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ГОЛОСОВЕ ВІБРАТО В ІНТЕРПРЕТАЦІЇ ВОКАЛЬНОЇ МУЗИКИ ДОБИ БАРОКО

Author(s): Olga Tabulina / Language(s): Ukrainian Issue: 40/2021

The purpose of the article. The article examines an important component of the performance of baroque works – vocal vibrato, which often becomes an obstacle to the historically informed performance. A scholarly work that draws on a historical context outlines guidelines regarding the appropriateness of the use of vibrato. The methodology is based on the application of observation, generalization, modeling, and analysis using the historical and logical method. The indicated approach allows us to consider, generalize and summarize information about vocal vibrato, which can be useful both for students and teachers of academic singing and for performers who are looking for answers to questions regarding mastering baroque vocal forms and techniques. The scientific novelty consists in the fact that the data on the vocal vibrato is systematized and analyzed based on historical sources, research by leading foreign art historians, as well as on recordings of ancient works. Highlighted important questions concerning the appropriateness of using vibrato in baroque music. Conclusions. When mastering the vocal techniques for performing musical works of the Baroque era, vibrato issues occupy one of the main places. The use or limitation of this characteristic of the voice must be considered from the point of view of the historical context of the works performed, as well as their content. In addition to highlevel technical training, the intellectual qualities, the ability to think analytically, erudition, and musical taste of the performer play an important role.

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Mokytojų įžvalgos apie mokinių, turinčių regos sutrikimų, asmeninės kompetencijos ugdymą muzikos mokyklose

Author(s): Aleksandra Žuk-Butkuvienė / Language(s): Lithuanian Issue: 2 (51)/2021

According to the legal acts of the European Union and Lithuania regulating the aims and peculiarities of the organization of education, non-formal education and learning and educational assistance for pupils with special educational needs, scientific research of Lithuanian and foreign authors, it can be stated that musical activity for pupils with special educational needs benefits revealing and strengthening of their personal competence. However, the research on development of personal competence through non-formal and formal education, complemented with music and art programs for children with special needs, especially students with visual impairments, is insufficient. The aim of the research is to reveal teachers’ insights on the development of personal competence of pupils with visual impairments in music schools. To reveal the aim of this work and to reach its goals qualitative research based on qualitative content analysis is used. The methods to collect information are: semi-structured interviews and monitoring. Personal competence can be defined as corresponding components, that make up three types of skills: self-understanding (well-being, self-expression, independence), self-evaluation (self-assessment, self-esteem, self-confidence), self-control (self-regulation, decision-making, responsibility, sociability). The results of the semi-structured interview with 5 teachers suggest that purposeful development of personal competence of pupils with visual impairments can help to create and implement already existing social skills, to strengthen and expand them with practical experience. Music schools have an opportunity to educate pupils with visual impairments by individualizing curricula, enabling them to disclose their talents and meeting their individual needs for self-expression, nurturing innate powers, preparing for autonomous life, understanding common values, which will later be used as a framework for their future lives.

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MENTORYSTĖS REIKŠMĖ PRADEDANČIŲJŲ MUZIKOS MOKYTOJŲ PROFESINĖJE VEIKLOJE

Author(s): Eglė Bušmaitė,Angelė Kavaliauskienė / Language(s): Lithuanian Issue: 2 (50)/2020

Newly qualified music teachers, when they start their professional career, face challenges and need help from experienced teachers, mentors. Mentoring is defined as collaboration based on a pre-arranged plan that meets personal development needs. The process involves experiential learning in shaping the mentee’s attitude towards pedagogical work, responsibilities and duties. The mentor’s activities are very diverse, so he/she needs to possess a wide range of competences, knowledge, values, personal qualities and abilities. The mentor’s competences are based not only on professional, pedagogical, personal, but also on management, adult education, counselling and administrative skills. The aim of this qualitative research was to identify challenges and difficulties newly qualified music teachers face and measures that would help them integrate into the professional labour market. Scientific and methodological literature was analysed and a standardised open-ended interview with 8 newly qualified music teachers was carried out in April, 2020. This qualitative research revealed that the majority of newly qualified music teachers face challenges during the adaptation period. An assigned experienced teacher, a mentor, can help a newly qualified teacher overcome professional challenges: a lack of a teaching experience and of classroom management skills, unfriendly attitudes of fellow teachers, negative emotions. A newly qualified music teacher needs assistance in three areas: professional (pedagogy and subject teaching), getting to know students, active engagement in school activities. Willingness to communicate and cooperate, an ability to motivate, a positive outlook, commitment and reliability are the mentor’s characteristics that positively affect career success of a newly qualified music teacher.

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J.S. Bach – The Authentic (?) Flute Sonata in E-Flat Major

Author(s): Ricardo M. Alves / Language(s): English Issue: 2/2021

Of all the chamber works attributed to Johann Sebastian Bach, the Sonata in E-flat major for transverse flute and obbligato cembalo, BWV 1031, presents one of the most puzzling enigmas. For much of J.S. Bach’s instrumental music no primary sources have survived and very often some loose ends are found, concerning the “when” and in “which context” his compositions were written. Following this line of thought, this article aims to develop a review of the bibliography concerning the sonata in E-flat major, BWV 1031, making reference to the existing sources to date and presenting the various issues concerning its authorship. Although a final answer is not given, it is ascertained that both J.S. Bach and J.J. Quantz shall have played a fundamental role in it.

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Fyodor Dostoyevsky and music

Author(s): Petruţa Maria Coroiu / Language(s): English Issue: 2/2021

Fyodor Dostoyevsky (1821-1881), one of the most important novelists of all times, lived with maximum intensity in the Romantic century. Its importance in the evolution of art at the beginning of the twentieth century was determined by its major role in the great currents manifested, outlining a stylistic bridge between the realism of the 19th century and the modernity of the 20th century not only in literary art but also in dramatic and cinematic art, from graphic arts to psychology. His relationship with music is also special in terms of his connection with the musicians of his time, but also with his favorite masterpieces.

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A stylistic approach to Mihail Jora's pianistics as reflected in the cycle “Five Songs for Voice and Piano on Poems” by Octavian Goga, op. 11

Author(s): Andreea Dobia / Language(s): English Issue: 2/2021

Jora’s songs are musical architectural miniatures with a significant dramatic component, carefully wrought with regard to prosody and diction. The performer’s stage presence, gestures attitude next to sound and word are constitutive parts of the musical discourse. The philosophical state that the composer projects in his sonorities is specific to the early 20th century. His interest in philosophical concepts and his views on life, the attention to love, nature and symbolism are found in the selection of the lyrics alongside compositional means, prosody, the art of singing and that of piano playing.

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The national specific at Frédéric Chopin and Edvard Grieg – a parallel

Author(s): Lioara Frăţilă / Language(s): English Issue: 2/2021

The present paper aims to identify and analyze the common influences in the works of the two great Romantic composers – Frédéric Chopin (1810-1849) and Edvard Grieg (1843-1907). The juxtaposition of the two composers reveals the parallelism of their musical trajectory and points out the folkloric musical elements, specific to the natal birthplace that they managed to integrate not only in the history of the European arts and music but also in the history of universal music. This article will underline similarities of style in the works of the two composers, as the dominance of the minor, short forms with repetitions, harmonic aspects, and folkloric influences.

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Morpho-functional elements in the miniature genre Chastushki, from the folklore of the Lipovan Russians

Author(s): Mirela Kozlovsky / Language(s): English Issue: 2/2021

The Lipovan Russians have been settling on Dobrogea for more than three hundred years, especially in the villages of the Danube Delta. Due to the isolation provided by the surrounding waters, they have managed to preserve and transmit language, religion, culture, and way of life from generation to generation. The existing musical repertoire in community practice is rich and varied. The traditional creations that are found in most musical genres belong to both the old and the new layer of creation. The present study aims to highlight the morpho-functional elements of a miniature genre - Chastushki - which can be performed exclusively vocally or with instrumental accompaniment. Chastushki, a musical genre based on improvisation, is specific to traditional Russian culture and was brought from the territories of origin by Lipovan Russians from Dobrogea. This genus is currently threatened with extinction.

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Opera Agents in 20th Century (1). Opera business and singers’ careers

Author(s): Cristina Radu-Giurgiu / Language(s): English Issue: Suppl/2021

The key point in promoting singers’ careers in the 20th century was the Agent (known also as impresario, the art manager, the promoter). The business of opera is quite old, starting in the mid-17th century together with the newborn genre of lyric show, but in the 20th century, it has developed in more advanced forms, as a real institution. The “Opera Agents in 20th Century” is built in 2 parts. This first article presents the impresario throughout history, focusing on the development and the notable transformations of the opera business in the 20th century. The second part will consist of a related article, focusing on the role of the agent in developing and promoting the singers’ careers, different models of business contracts, agents’ fees (Compensation), and the modern agencies.

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Msza h-moll BWV 232 Jana Sebastiana Bacha w świetle estetyki teologicznej Hansa Ursa von Balthasara

Author(s): Andrzej Krawiec / Language(s): Polish Issue: 57/2021

In the first part of his magnum opus Hans Urs von Balthasar presents his project of theological aesthetics where the experience of art becomes an entrance to a religious act and an ennobling way leading to the contemplation of God. Defining the essence of being human as a spiritual being directed towards God bears a deep ethical meaning in this consideration. H.U. von Balthasar’s reflection over the religious dimension of the essence of art is shaped within theology but at the same time in the opposition to aesthetic theology which is described as ‘aesthetisation’ of the Mystery of Revelation. The art of music occupies a particular place in this reflection. For this reason Mass in B Minor BWV 232 by Johann Sebastian Bach, which is an emblematic example of the revelation of the glory of the Lord (Herrlichkeit), will be analysed not only from the perspective of philosophical or musicological aesthetics, but also theological aesthetics. This article outlines characteristic features of theological aesthetics specifically developed from traditional philosophical aesthetics whose range was extended by the human being’s relation to God.

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The Idea of an ‘Icon in Sound’ in the Works of John Tavener

Author(s): Joanna Miklaszewska / Language(s): English Issue: 57/2021

The aim of this article is to present an innovative concept of the ‘icon in sound’ created by the English composer John Tavener. The first part of the article presents the intermedial and intertextual features of Tavener’s work, the second shows the genesis of the concept of ‘icon in sound’, to which three factors have contributed: 1) the composer’s interest in religious topics in his pieces, 2) the composer’s conversion to Orthodoxy, 3) collaboration with Mother Tekla, the author of the texts of many Tavener’s works. The last, third part of the article describes issues related to the formal structure and musical symbolism present in Tavener’s musical icons. The composer refers to painted icons by composing works characterised by static form and the expression of spirituality, mysticism and inner peace. These features result from the juxtaposing of melismatic structures, inspired by Byzantine music, with repetitive technique and dynamics often characterised by a low intensity. One characteristic of Tavener’s sound icons is a ‘luminous’ sound, achieved through the use of high registers of voices and instruments, which are combined with contemplative and lyrical expression. An important feature of John Tavener’s musical icons was the introduction of archaic elements, resulting primarily from the inspiration that the composer drew from the musical culture of the Orthodox Church (eg the use of Byzantine scales in Mary of Egypt, the introduction of instruments such as simantron in Mary of Egypt).

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Okołoplebiscytowa Kolęda śląska Henryka Zbierzchowskiego jako przykład propagandowego wykorzystania semantyki kolęd do walki propolskiej w okresie konstytuowania się granic II Rzeczypospolitej

Author(s): Andrzej Albiniak,Elżbieta s. Monika Albiniak / Language(s): Polish Issue: 2/2021

In connection with the actions of the Great War and Poland’s regaining of independence, a series of updated carols was created, leading to the development of this species variety. The development of this form of artistic expression was also used in connection with the preparations for the plebiscite. The project was carried out in the Upper Silesian Voivodship. An example is the Silesian carol by Henryk Zbierzchowski published in “Szczutek” in Lviv in January 1921. It was introduced to the text of the Korfanty carol and thus assigned a sacred role of putting Silesia in order. It was not the only text of the carol updated by the same author because around 1919 he published a whole collection of such works, calling them “poetic variants” of carols.

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Inspiracje gregoriańskie w Łatwej mszy polskiej w stylu choralnym ks. Brunona Schmidta (1895–1961)

Author(s): Dariusz Sobczak / Language(s): Polish Issue: 58/2021

The Rev. Brunon Schmidt was born in Poznań in 1895 (in the Prussian Partition). He took holy orders in the Gniezno Cathedral in 1921. From 1934 he was a parish priest in Łabiszyn. In the years 1934 and 1936 he published prayer-books written by himself. These prayerbooks contained the Litany of the Sacred Heart of Jesus and the Order of the Mass in Polish and in Latin. He was interested in liturgy and church singing. He composed ”The simple Polish mass in a choral style” under the pseudonym ”Brunon Poznańczyk”. Its printed version was probably issued in 1936 or 1937 and it was positively evaluated by the distinguished composer, Feliks Nowowiejski. The Rev. Schmidt tried to preserve in this composition the characteristics of Gregorian chant, such as lightness, free rhythmics, spirituality, calmness, and a smooth male voices’ cantilena. The mass by the Rev. Schmidt is divided into five parts: Kyrie, Gloria, Credo, Sanctus and Benedictus (forming a whole), Agnus Dei. Analyzing the melodics of this composition, it can be seen that some melodic themes were adopted by the Rev. Schmidt from the post-Gregorian Mass VIII ”De Angelis”. Judging by this composition written by the Rev. Brunon Schmidt, he appears a fine musician, liturgist and theologian. His ”The simple Polish mass in a choral style” referring to the Gregorian chant tradition is, at the same time, a pioneering work of the post conciliar period whose aim was to engage more music performers and all the faithful in the liturgy. In the 1960s this composition was made well-known in the Archidiocese of Gniezno by the Rev. Władysław Zientarski. Despite the passage of time, the free parts of the mass: Kyrie,

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PROMJENE U DIDAKTIČKOM STRUKTURIRANJU NASTAVE GLAZBE U REPUBLICI HRVATSKOJ

Author(s): Tihana Škojo / Language(s): Croatian Issue: 2/2018

At the beginning of the 21st century, as part of the reform efforts directed towards the efficiency increase of Croatia’s educational system, the Croatian National Educational Standard has been enacted, with the purpose of pointing the traditional approach to education, based on programs and students, towards the students and the development of their achievements. For elementary school Music classes, the changes HNOS passed marked the start of an open model where, based on the mandatory content core, the teacher was enabled to freely choose the activities. By reducing the scope of the materials and the selection of the teaching content, the teachers were able to create the teaching program on their own and carry out the teaching with a realistically achievable content. Further significant changes in the class have been systematically achieved during the last ten years thanks to the curriculum orientation which requires new shaping of knowledge and changes in the work organization. A significant guideline in the harmonization of the educational system with new educational tendencies has been achieved by enacting the National Curriculum Framework, a developing document focused from knowledge transfer on competence development. The latter, not yet realized, attempt to improve the educational system and harmonize with the modern educational needs and student interests has been imagined as a part of a set of measures under the same title of Comprehensive Curriculum Reform. This work portrays the development which has been enacted with the purpose of determining the current didactical structuring of the Music education curriculum in elementary schools and grammar schools, on a pattern of Republic of Croatia’s certain counties. The gotten results actualized the need to make a more significant breakthrough in certain didactical elements with the goal of practical enlivenment of the open teaching process with the active student participation when it comes to planning and realizing the class.

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