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Communication Through Dance– Therapeutic Method in Working with Young People

Author(s): Daniela Aurelia Tănase Popa / Language(s): English Issue: 2/2021

At the basis of the current study lies the project “LOVE Life and Dance: Expressive therapy for empowering youth” and documentation will be focused in the direction of the project’s scientific purpose: development and testing of innovative methods for working with young people, by means of art-therapy expressive techniques. As this project is focused towards a scientific standardization of these expressive techniques, the purpose of this article is to share the results of the research component of this project. The objectives of this project start from the benefits of dance and movement therapy for the improvement of certain key psychological indicators: empowerment, self-esteem and decision-making. Dance as physical movement on a proper musical background appears as a basic notion in the studies on expressive therapies. It has been observed that young people are more receptive to non-formal working methods, given the fact that dance and/or movement therapies provide meaningful results in case of anxiety disorders, depression, low self-esteem and social isolation.

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Medieval Chant and Digital Technology: A Website for Liturgical Prosulas

Author(s): Luisa Nardini / Language(s): English Issue: 19/2021

Chants Hypertexts is a companion website for a forthcoming book that is a study and editionof a substantial body of liturgical music from medieval southern Italy, that of theprosulas of the Proper of the Mass included in the so-called Beneventan manuscripts.This repertory is significant under many points of view. It allows us to detect the manymulticultural influences of an area with a highly diversified population. Romans, Byzantines,Lombards, Normans, Franks, Jews, and Muslim were present in the regionat different times and with different political roles. They all left their marks on its culturalproduction, including the liturgical music used for the rites of the Latin Churchand women, in particular nuns, were active participants in this musical and liturgicalproduction.In addition to addressing the issue of female creativity, the website also tackles the questionsof “ethical collaboration” by being fully transparent about its contributors. This waythe website will show its commitment to give full voice to the artists of the past and to thescholars and technicians of today.

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Vasile Alecsandri și afinitățile sale cu arta sonoră românească

Author(s): Irina Zamfira Dănilă / Language(s): Romanian Issue: XIV/2021

Vasile Alecsandri, one of the great patriots with substantial contributions to the creation of modern Romania, stands out for the significant part played in the development of our national literature. Excelling in most literary genres, from poetry to theatre and prose, Vasile Alecsandri also kept music and Romanian folklore close to his heart. As one of the key figures of the cultural life of Iași, he often collaborated with famous musicians as Alexandru Flechtenmacher, who set to music some of his most appreciated works (Coana Chirița sau Două fete și-o neneacă, Întoarcerea Chiriței sau Chirița în provincie, Cinel-cinel, Barbu Lăutarul) or Eduard Hübsch. His constant interest in both folk literature and music led to the editing of various volumes of Romanian literary folklore, of great importance for the second half of the 19th century: Balade (Cântece bătrânești), vol. I-II (1852-1853), Doine și lăcrimioare (1853) and Poesii populare ale românilor (1866).

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Mbi krijimtarinë e Molla Hysen Dobraçit

Author(s): Edmir Ballgjati / Language(s): Albanian Issue: 1/2019

Molla Hysen Dobraçi is relatively unknown and mentioned mainly as a representative of the so called bejtexhiliterature in Albania. His output is still by and large unknown and unstudied, despite the high regard with which he was mentioned in Zef Jubani’s anthology, in 1871. Dobraçi’s established authorship of some traditional songs adds another important dimension to his persona, marking him as the first documented author in Shkodra’s aheng tradition and even in Albania’s urban traditional song generally.Besides adressing some moot points in his biography, this paper tracks that part of Dobraçi’s output which passed and was preserved in Shkodra’s traditional urban song. Cross-searching the available sources, eight such songs are identified and then analyzed as to their lyrics, music and culturalimport.Dobraçi’s lyrics display clearly the fundamental traits of the oriental poetic code that characterized Albania’s bejtexhi literature generally. On a musical level, his songs display a more complex melodic and modal conception, as well as some peculiar features that bespeak an individual style. Keeping in mind the role of bejtexhi literature as a conduit of islamic high culture, some of the broader meanings of Dobraçi’s output have been considered within a broader context. As the typical traits of Shkodra’s aheng song are fully fledged in his songs, we come into the conclusion that the origins of this tradition must be traced back before the eighteenth century.

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Polyphony, the Memory of Earth’s Voice

Author(s): Ermir Nika / Language(s): English Issue: 19/2020

Albanian and international cultural heritage couldn’t be understood without Polyphony and vice versa, Polyphony would be an endangered value if it was not included and valued as one of the main limbs of cultural heritage. Studies have shown that in it, Polyphony is not and constitutes only a value of the past but at the same time and manner it represents even the most representative features of contemporaries. It still preserves the identity characteristics which have defined it as one of the most original genres of folklore, which testifies to its non-alienation over the centuries against the assimilative spirits that have described the History of Albania. Many local and foreign critics have shed light on and analyzed the artistic evidence of polyphony in different regions, the forms of interpretation and the features of the lyrics in its entirety as well as the history and graphical context. In addition to different opinions, unanimity but also polemics and in different ways of view on this cultural and artistic phenomenon, all scholars have shed light and treated Polyphony from different perspectives by continuously completing the research angle and at the same time emphasizing on its role and importance in preserving and further strengthening the identity of the Albanian society, despite the conditions and influences from other cultures that have described the Albanian socio-cultural climate. Despite the different points of view in period of time spanning, Polyphony is considered as a space where verse joins the sound in completed harmony between them, preserving intact the form and peculiarities of artistic interpretation, as a sign the directness of the country and the role it has played in tradition, as well as in the contemporary and at the same time the future that does not tend to tear or touch this foundation of our society.

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UTJECAJ GLAZBE NA TJELESNO VJEŽBANJE I ZDRAVLJE

Author(s): Željko Kovač / Language(s): Croatian Issue: 1/2016

Cilj ove analize bio je da se istakne utjecaj glazbe na psihofizičke reakcije sudionika i motivacijske osobine glazbe u vježbanju i sportskom okruženju. Istraživanja su pokazala da slušanje glazbe za vrijeme vježbanja može poboljšati rezultate vježbanja. Slušanje odabrane vrste glazbe za vrijeme treninga može pozitivno utjecati na sudionike vježbanja. Glazba na više načina može poboljšati osobno uživanje i prihvaćanje fitnes programa, stoga osigurava dugoročnu korist, kao što su poboljšanje kvaliteta života i smanjenje rizika za koronarne bolesti srca i druge uzroke smrti. Kada odaberemo dobre pjesme, koje imaju izrazit ritam i tempo odgovarajući za odabrane aktivnosti, to može dovesti do visokog intenziteta treninga. Istraživači su također identificirali učinak povećanih uzbuđenja vezanih uz tempo glazbe, tako intenzivne vježbe izgledaju manje stresno. Sinkronizirana glazba omogućuje veći intenzitet vježbanja. Neki ljudi koji ne vole tjelesno vježbanje, uživali su vježbati uz glazbu. Koristeći adekvatne vrste glazbe tijekom aerobnih vježbi postižemo korist u više vrsta tjelesnog treninga. Glazba može pomoći mnogim koji pokušavaju pronaći motivaciju za vježbanje. Prednost glazbe se može koristiti kao sredstvo kako bismo poboljšali kvalitetu tjelesnog vježbanja.

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Abdallik Geleneği Ve Günümüz Abdallari

Author(s): Pınar ŞAHİN / Language(s): Turkish Issue: 53/2022

The universe, human imaginations and the musical worlds that reflect this imagination, the Abdal society and poet musicians belonging to the minstrel tradition transferred from Central Asia to Anatolia appear as very important important figures in Anatolian culture. The connections of the Anatolian Abdals, who adhere to the Alevi-Bektashi tradition and adopt a nomadic-traveler lifestyle, with music go back to the 14th century. Today's Abdal ensembles, which put music on the basis of their lives, should be accepted as a part of both the Abdalân-ı Rum tradition and the tradition of minstrelsy. Abdals' relationship with music is more important in religious rituals and belief traditions. This study is a descriptive research; emphasizing the importance of Abdal culture and its musical traditions; It contributes to the continuation of the Abdal culture and reveals the general characteristics of this culture. In addition to the literature studies conducted while determining the findings of the study; Abdal culture and the field of music were examined together, and he showed an approach to the subject under various headings.

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LABORATORUL DE FOLCLOR AL ACADEMIEI DE MUZICĂ, TEATRU ȘI ARTE PLASTICE: REALIZĂRI ȘI PERSPECTIVE ȘTIINŢIFICO-DIDACTICE

Author(s): Nicolae Slabari / Language(s): Romanian Issue: 4(41)/2021

The present article refers to the activity of the Folklore Laboratory of the Academy of Music, Theater and Fine Arts, being made a retrospective of its existence and its scientific-didactic perspectives. It is known that the laboratory has a history reflected in several stages of operation, nowadays it is known as the Folklore Laboratory with the largest number of records in the Republic of Moldova. Its intangible cultural heritage consists of over 16 thousand creations, stored on 1696 magnetic tapes and audio files in digital format, representative of various cohabiting ethnic groups in the Republic of Moldova. Undoubtedly, its scientific-didactic perspectives constitute a huge field of research, each subject waiting for its researcher. In recent years, several remodelling actions have been undertaken, the laboratory is involved in national and international activities

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Uticaj muzičko-plesnog edukacijskog programa na razvoj koordinacije tijela i brzine pokreta kod djevojčica s oštećenjem sluha uzrasta od 11 do 15 godina

Author(s): Ivana Hadžihasanović,Merima Čaušević,Indira Mahmutović / Language(s): Bosnian Issue: 2/2021

Throughout most of history, children with hearing impairments were on the margins of society. Because of their place in society, research about the possibility of music perception and engaging actively as a professional musician and dancer, started at the end of the 20th century. Although that progress started at the end of the 20th century, children with hearing impairments from Bosnia and Herzegovina don't have enough support of educational system which could include them in art education. This situation we can especially see in field of music and dance, which are very hard for adjustment because of their sensory impairment. To prove that children with hearing impairments can perceive music and improve their motor ability with the help of dance which is not at their age level, we created a special educational program which consists of music-dance workshops, where the main goal is to improve body coordination and speed of movement with musicrhythmic stimulations and dance. In this program, which last four and half months, we included 14 girls with hearing impairments from eleven to fifteen years of life. At the beginning of this program, we performed initial measurement of body coordination and movement speed, and at the end of this four-and-a-half-months long program, we performed final measurement through five standard tests: Eight with banding (MKOS), Steps aside (MKKS), Envelope test (MKKT), Slalom with three medical balls (MKS3M) and Long jump backwards (MKSUU). For effect analysis of applying musical-rhythmic stimulation, we used t-test for final samples (paired samples test). The results of this research are showing us that there is statistically significant difference in ability of body coordination and movement speed and that this musical-dance workshop program has positive impact on development of chosen motor ability.

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"PSYCHANALYSE ET SORCELLERIE – LA PSYCHOLOGISATION DE L’ANTHROPOLOGIQUE"

Author(s): Noemina Câmpean / Language(s): French Issue: 1/2022

Book Review : Ioan Pop-Curșeu, Études comparatives sur la sorcellerie. Anthropologie, cinéma, littérature, arts visuels (Școala Ardeleană Publishing House, Cluj-Napoca, 2021)

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MUZIKOTERAPIJA U NASTAVI GLAZBENE KULTURE, GLAZBENE UMJETNOST I I FUNKCIONALNE MUZIČKE PEDAGOGIJE

Author(s): Lucija Hrstić / Language(s): Croatian Issue: 32/2021

After the presentation of the common elements of music therapy and music teaching, i.e. theoretical music courses (music culture and art, solfeggio, Carl Orff’s music pedagogy and Marie Montessori’s pedagogy), it is necessary to notice some similarities between them. This primarily refers to the use of music and its elements in music teaching and music therapy. Teacher and therapist need flexibility in the realization of the established program in order to successfully realize the process in the performance of music therapy sessions and music teaching. Thereby scientific methods of analysis and observation are key to achieving student and/or client progress. The child’s cooperation in activities and the teacher’s desire for an individualized approach to each child are the key to success. The answer to the question on the awareness of music therapy lies in the encouragement of self-expression and spontaneity of the child in making music and improvisation, and the awareness of diversity and responsibility of the roles of music therapists and music teachers. The purpose of this paper is to contribute to the development of general musical and cultural awareness and gratitude to those who have instilled a part of themselves into this mission.

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CANTEMIR AND THE 'ORDER OF THINGS' IN OTTOMAN SOCIETY

Author(s): Zeynep Sözen / Language(s): English Issue: 3/2021

The source of inspiration for this paper is Cantemir’s book on musical theory, Kitâb-i ‘ilm al-musîqî ‘ala vechi’l Hurûfât (Book of the Science of Defining and Performing Music with Letters), written in Turkish somewhere between 1703 and 1705, followed by a Collection of melodies. The two works are known as Kantemiroğlu Edvarı, which is a massive attempt to impose order on what seemed to be a chaotic mess based on oral transmission through a notation system invented by Cantemir himself. In a similar vein, Cantemir’s History was far more than a passive narration of the Rise and Fall of the Ottoman Empire; it was a search for a taxonomic system by graphing and codifying Ottoman society for the purpose of understanding and communicating the logic of transformation.

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THE ARTISTIC-PLASTIC EXPRESSION - FIELD OF INTEREST OF THE CANTEMIRS

Author(s): Victor Ghilaş / Language(s): English Issue: 3/2021

Our paper aims to present, in general lines, the relationship of the Cantemirs with the visual arts, a relationship that has manifested itself in various forms. The first information regarding the filiation of this kin with the artistic-plastic expression is attested at Constantin Cantemir, lord of the Land of Moldavia. His son Dimitrie was not only an exceptional musician, but a gifted painter, who also had extensive knowledge in the field of architecture and sculpture. He got the most out of the mastery of technical and expressive means in his activities of practical creation. Dimitrie Cantemir’s talent and artistic occupations were inherited by his descendants - Antioh, Maria and Ecaterina. The given paper comes to denote once again the intellectual depth of the Cantemirs and, at the same time, emphasizes the fact that the visual arts had been an organic part of the spiritual nourishment of this noble family for several generations, serving as a powerful means of aesthetic education and cultural formation in the spirit of the European Enlightenment.

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Zadarski tanac. Geneza i dinamika novonastale tradicije

Author(s): Dora Dunatov / Language(s): Croatian Issue: 44/2021

This paper observes the origin, development process, and influence of zadarski tanac [the dance of Zadar], the only dance that the local community considers specifically its own. It belongs to the field of so-called “cultural-artistic amateurism,” and is approached first from the perspective of dance, and then from that of music. The choreography emerged in 1997 and soon after disappeared from the scene, only to resurface in 2013. It is performed by two folklore societies currently active in Zadar, whose recent emergence is closely linked to the recognition of this dance as their own tradition. Apart from the music and dance, the paper deals with the lack of folklore amateurism in Zadar for almost two decades. The aim of this paper is to shed light on the genesis of zadarski tanac, legitimately recognized as Zadar’s heritage (primarily thanks to the activities of two Zadar folklore societies), and thus contend with numerous ideas about the origin of zadarski tanac.

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Drept de autor şi drepturi conexe. Drepturi patrimoniale de autor. Comunicare publică a operelor muzicale. Scop ambiental. Autorizaţia licenţă neexclusivă pentru utilizarea operelor muzicale

Author(s): Nicoleta-Elena Heghes / Language(s): Romanian Issue: 1/2022

Civil decision no. 911 / A of June 9, 2021;

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Dažu vācu muzikālo tradīciju pārnese latviešu kultūrtelpā 18. gadsimta otrajā pusē

Author(s): Māra Grudule / Language(s): Latvian Issue: 41/2020

The article gives insight into a specific component of the work of Baltic enlightener Gotthard Friedrich Stender (1714–1796) that has heretofore been almost unexplored – the transfer of German musical traditions to the Latvian cultural space. Even though there are no sources that claim that Stender was a composer himself, and none of his books contain musical notation, the texts that had been translated by Stender and published in the collections Jaunas ziņģes (New popular songs, 1774) and Ziņģu lustes (The Joy of singing, 1785, 1789) were meant for singing and, possibly, also for solo singing with the accompaniment of some musical instrument. This is suggested, first, by how the form of the translation corresponds to the original’s form; second, by the directions, oftentimes attached to the text, that indicate the melody; and third, by the genres of the German originals cantata and song. Stender translated several compositions into Latvian including the text of the religious cantata Der Tod Jesu (The Death of Jesus, 1755) by composer Karl Heinrich Graun (1754–1759); songs by various composers that were widely known in German society; as well as a collection of songs by the composer Johann Gottlieb Naumann (1741–1801) that, in its original form, was published together with notation and was intended for solo-singing (female vocals) with the accompaniment of a piano. This article reveals the context of German musical life in the second half of the 18th century and explains the role of music as an instrument of education in Baltic-German and Latvian societies.

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Latviešu komponistu adaptācijas varianti pēckara Eiropā

Author(s): Arnolds Klotiņš / Language(s): Latvian Issue: 42/2020

This article discusses the stylistic and aesthetic transformation of the work of the most prominent Latvian composers, who, as refugees of the Second World War, arrived in Western Europe in 1944 and encountered a different, innovative musical environment there. For those whose creative work in Latvia had been focused on traditional national romanticism, the encounter with musical expressionism and the avant-garde caused a certain shock. The stark differences in style were not only a matter of compositional technique; they also revealed the contradiction between a positivistic worldview and a more adequate musical reflection of the common man during the era. Longīns Apkalns learned from the ideas and style of expressionism most radically, but Alberts Jērums was much more moderate in this respect - he had already approached expressionism during his studies at the Latvian Conservatory. In his studies at the Paris Conservatory (1945-1950), Tālivaldis Ķeniņš studied the traditions of French neo classicism and constructivism. Volfgangs Dārziņš adapted neoclassical trends in combination with Béla Bartók’s interpretation of folklore. Jānis Mediņš radicalized his traditional language of music, but did not abandon the paradigm of the music of romanticism. Similarly, Jānis Kalniņš’ music, even in the pre-war period, was not unfamiliar with the border between romanticism and expressionism. The composers who, with their creative work, chose to serve only Latvian society in exile continued in the romantic style.

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Dainas kā Lejaskurzemes izlokšņu fonētikas un morfoloģijas iezīmju avots

Author(s): Liene Markus-Narvila / Language(s): Latvian Issue: 42/2020

It has been a long time since linguists have spoken about the levelling of subdialects in Latvia, for instance, linguist Jānis Endzelīns already in the middle of the 20th century, when he spoke about the language of the district of Vidzeme said these significant words: “As elsewhere also in Latvia the standard language exterminates subdialects and partly has already exterminated them. There are many areas where it is hard to find a person who speaks only in subdialect.” Therefore, it is important to identify the most important sources of the acquisition of subdialects, which would be useful to all who are interested in subdialectic studies. One of these sources is Latvian folksongs, which vividly preserve the most prominent phonetic and morphological features. The phonetical and morphological features of the subdialects of Lejaskurzeme have been identified in both folksong materials and in later linguistic sources—in the descriptions of Anna Ābele “Par Rucavas izloksni” (On the Rucava Sub-Dialect (1927)), “Rucavas izloksne” (The Rucava Sub-Dialect (1928)), “Gramzdas draudzes izloksne” (The Sub-Dialect of Gramzda Parish (1929)) and also in the description of Emma Valtere “Pērkones izloksne” (The Pērkone Sub-Dialect (1938)) as well as in late 20th century and early 21st century linguistic sources, which allow a comparison between characteristic subdialectical peculiarities and to track their changes over the years. This article analyses the most prominent peculiarities of the subdialects of Lejaskurzeme both in folksongs and in subdialectal sources: in phonetics and morphology. The analysis of the folksongs shows that the treasures of our language are still living; moreover, especially the sources of folklore, including folksongs, are still an actual source of studying subdialects, which, if we use correctly, can reveal grammatical, phonetical, and morphological peculiarities.

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Mythological Matter: Folklore Images in the Landscape of Latvian Textile Art in the Second Half of the 20th Century

Author(s): Rita Ļegčiļina-Broka / Language(s): English Issue: 43/2021

20.gadsimta 60.–80. gados Latvijas tekstilmāksla piedzīvoja uzplaukuma periodu, kas bija saistīts ar politiskām izmaiņām, profesionālās izglītības reformu un jaunu tēlveides paņēmienu apgūšanu. Īpaša loma šī perioda tekstilmākslas attīstībā pieder Latvijas Mākslas akadēmijas profesoram Rūdolfam Heimrātam, kura ieviestā izglītības metode, kā arī personīgie radošie mērķi ietekmēja kopējo nozares virzību vairākas sekojošās desmitgades. Attīstot tekstiliju par pilntiesīgu mākslas darbu, kurā iespējams vizualizēt māksliniecisko tēlu sižetiski vēstošā nozīmē, izveidojās īpašs laikmetīgajai tekstilmākslai raksturīgs tēmu loks. Tajā nemainīgi aktuālu vietu ieņēma folklorā un tautas mītiskajos priekšstatos balstīti tēlojumi. Raksta mērķis ir sniegt ieskatu folkloras tematikas atklāsmē Latvijas tekstilmākslā ietverot periodu, kad par vienīgo radošo metodi mākslā tika noteikts sociālistiskais realisms. Pētījumā tiek skaidrots, kādi apstākļi ierosināja un veicināja folkloras tematikas izvērsumu tekstilijās, aprakstīta tēlu atveides tekstiliskā specifika, kā arī ir izveidots pārskats par raksturīgākajiem piemēriem, kuros konstatējama ne tikai nosaukumā minētā atsauce uz folkloras avotu, bet arī plašākā simboliskā nozīmē attiecināms vēstījums. Papildus atsevišķiem piemēriem tiek pētīts, kā interese par folkloru un tautas garīgo mantojumu kopumā ietekmējusi atsevišķu tekstilmākslinieku radošo darbu, īpaši izdalot Heimrāta skolas pārstāvju Aijas Baumanes un Ingas Skujiņas daiļradi. Pētījumā izmantotās metodes ir lietisko un rakstisko avotu analīze, biogrāfisko datu analīze, intervijas un etnogrāfiskā datu ieguves metode. Pētījumā ir secināts, ka folkloras tēma Latvijas profesionālajā tekstilmākslā atklājas īpašā, tekstilmateriāla īpašību ietekmētā veidā, kas ļauj izteikt māksliniecisko tēlu ne tikai tēlojoša satura veidā, bet arī materiālā kontekstā.

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Бележки за музикално образование по българските земи през XV век

Author(s): Svetlana Kujumdzieva / Language(s): Bulgarian Issue: 1/2019

One of the valuable Bulgarian musical sources of the 15th century, the so-called Rila musical notes, is in the focus of the article. It is a unique document in teaching on church music during the late-Byzantine period. More than 25 neume signs along with some of their combinations are read in the source and discussed in the study. The basic term used is “quiver in the throat”. It is suggested that the notes were written by Vladislav the Grammarian in Rila monastery when he moved there after 1469. The Rila musical notes reveal a great closeness to two important manuscripts that were in use in the same area, N 928 from the National library in Athens, and N 93 from the National library in Belgrade. The three sources show the efforts of maintaining the church singing on a high level. Some of the most distinguished men of letters took part in the maintaining this level – Vladislav the Grammarian, Nikola the Serb, Isaja the Serb and Dimitar Kantakuzin. The sources discussed are extremely valuable evidence of education in the field of church music in a very tough time when the Balkan Orthodox countries have lost their political freedom and the Christian faith had to be preserved.

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