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ХИМНА СЛАВОСПЈЕВ СВ. ЋИРИЛУ И МЕТОДУ МЕДА ПУЦИЋА

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ХИМНА СЛАВОСПЈЕВ СВ. ЋИРИЛУ И МЕТОДУ МЕДА ПУЦИЋА

Author(s): Vera Crljić / Language(s): Serbian Issue: 49/2020

The paper is about the song Slavospjev St. Cyril and Methodius by Medo Pucić, dedicated to these Slavic apostles and educators. It was sung as part of the millennium anniversary of their Moravian mission (863). The music for this song was composed by Franz Liszt. It was performed for the first time in the Serbian language at the celebration of the jubilee in Rome on July 5, 1863, in the presence of Pope Pius IX. In addition to the basic bio-bibliographic data on the author Medo Pucić (Orsato Pozza 1821–1882), the paper brings data on the first editions of the poem with notes by Franz Liszt. The focus is on the first Serbian edition of Slavospjev with Liszt’s score published by the Braće Jovanović Bookstore in Pancevo (1879 or 1881), as well as the Dubrovnik edition from around 1867/1868 of the Lithographic Institute and the bookstore of Vasilije Lainović and Dragutin Pretner. The paper provides data on how the poem was listed in the Serbian bibliography (books 1868–1944) and other relevant manuals, as well as data on the performance in our region during the 19th century.

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The distinctive contribution of psychology to the art of conducting

Author(s): Theodora Pavlovitch / Language(s): English Issue: 1/2021

The profound complexity of conducting as a human activity is attracting increased interest from psychologists. Scientific investigations, and reflections by conductors themselves are now widely available in the form of monographs, articles in academic journals, and interviews. This paper interrogates the significance of the conductor’s artistic personality, his relationship with composers on the one hand and musical ensembles on the other, and their expressive consequences for listeners.

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Polyphony in orthodoxy: General principles and preconditions for its existence

Author(s): Vesela Boyadjieva / Language(s): English Issue: 1/2021

The matter of style in Orthodox Church polyphony can be clarified by comparing Eastern and Western polyphonic practice and – more specifically –their models for sacred music. This investigation is based on the parallel between Russian and Western modality and the principles of connecting textural voices. The voices in Orthodox polyphony are not equal, which is why the universal principle in the vertical events could not be derived. Nevertheless, Orthodox scores do possess a high degree of vertical organization.

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Einer, ‘…der die seele der musik vernommen, ihre gesetze im sinne der grossen verkundet wie keiner vor ihm’: grasping Heinrich Schenker’s theory of harmony

Author(s): Nicholas Rast / Language(s): English Issue: 1/2021

Heinrich Schenker’s Theory of Harmony (1906) ‘is unlike any other music treatises of the period or, for that matter, any other period.’ Robert Wason and Matthew Brown have pursued the evolution of Schenker’s musical thought throughout their careers, culminating in Heinrich Schenker’s Conception of Harmony. A thorough investigation of the theorist’s constellation of theoretical essays, both published and unpublished, yields a fully formed exegesis that grasps the significance of Schenker’s unique contribution to musical art.

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Vesela Naumova’s attempt to systematize ‘The multiple functions of the augmented sixth chord’

Author(s): Andrey Diamandiev / Language(s): English Issue: 1/2021

Naumova’s observes the augmented sixth chord and its relationship to multiple functions from historical and geographical perspectives. With the theories of various authors as context, she traces the chord’s use from the Baroque, Classical and Romantic eras to examples of jazz harmony. Her flexible approach, which encourages students to develop informed opinions based on appropriate textual evaluation, will make a worthy contribution to the harmony classroom.

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Aspecte etnografice în Chestionarul VII. Instrumente muzicale al Muzeului Limbii Române

Author(s): Cosmina-Maria Berindei / Language(s): Romanian Issue: 22/2022

The present paper’s aim is to introduce in the anthropological research the replies to the Romanian Language Museum’s 7th Questionnaire. The Musical Instruments. The manuscripts are the result of the indirect inter-war linguistic survey led by Sextil Puşcariu, including eight thematic questionnaires. The 49 replies to the indirect linguistic inquiry were wandered, but all the manuscripts were discovered during an archive organization activity. The manuscripts were kept in the envelopes in which the correspondents sent them, the documents did not undergo any processing. The replies to the Romanian Language Museum’s 7th Questionnaire. The Musical Instruments are waiting to be explored equally by linguists, ethnographers, anthropologists, musicologists, and organologists.

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ЗАСОБИ ВИРАЗНОСТІ В РЕКЛАМНОМУ АУДІОВІЗУАЛЬНОМУ ТВОРІ

Author(s): Svitlana Zarya / Language(s): Ukrainian Issue: 41/2022

The purpose of the work. The study focuses on expressiveness in an audiovisual advertising work. The methodology consists in applying the methods of observation, analysis and theoretical generalization of practical data in the field of audiovisual art. Scientific novelty. The type of television audiovisual advertising, which is divided by types, is defined: social advertising with national-patriotic symbols, social-household and commercial musical-image advertising. The system of means of artistic expressiveness of audiovisual works is revealed, and the visual means and the musical-linguistic structure are described, where the functions of music, noise and language in the television advertising audiovisual works are specified. Conclusions. Audiovisual TV advertising is today the most popular cinematic work. Due to the different stylistic direction of the audiovisual work, all means of expressiveness adhere to a certain image. The synthesis of visual and musical sound scores and the whole range of expressive media adds an audiovisual product of saturation and bright palette, which has a strong influence on the viewer and an incredible impression.

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Концепт «ф’южн» у сучасній рок-музиці України

Author(s): Olena Schevchenko / Language(s): Ukrainian Issue: 41/2022

The work aims to explore the significance of the concept of "fusion" in the development of modern rock music in Ukraine. The research methodology consists of the application of several approaches: historical - in the accumulation of data obtained from primary sources, musicological and art literature on the selected topic; analytical - in the use of art and cultural literature; system, which allowed to summarize the artistic and aesthetic features of the genre of rock music, theoretical and prognostic method - allowed to summarize the study and substantiate proposals for solving complex issues facing Ukrainian rock music. Scientific novelty: for the first time in national art history, the concept of "fusion" is represented in Ukrainian rock music, which synthesizes ancient Ukrainian song traditions with the latest achievements of Western European musical culture. Conclusions. The concept of "fusion", as a multi-valued term, by its nature, has a unique creative meaning and contains an innovative idea. The concept of "fusion" in Ukrainian rock music has a certain nature of conflict, because, on the one hand, Western European influences, which began in the early twentieth century, embraced the cultural life of young people, and stimulated the emergence of new genres in contemporary Ukrainian music. On the other hand, the rethinking of Ukrainian folklore, ie the transformation of traditional Ukrainian folk songs (renditions of ancient family songs, calendars, and rituals, etc., containing ethno-trends identified and outlined the further development of rock music in Ukraine.

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РОЛЬ В. ВШЕЛЯЧИНСЬКОГО ТА ЙОГО ВИХОВАНЦІВ У СТАНОВЛЕННІ ФОРТЕПІАННОГО ВИКОНАВСТВА В ТЕРНОПОЛІ

Author(s): Olena Spolska / Language(s): Ukrainian Issue: 41/2022

The purpose of the work. The publication is devoted to the presentation of famous personalities who played an important role in the initial stage of the formation of professional piano performance in Ternopil in the late XIX – early XX centuries, on the example of Vladislav Vshelyachinsky and his pupils. The research methodology. The research methodology is to use historical-comparative and personalistic approaches. This allows us to highlight the figure of musician-teacher Vladislav Vshelyachynsky and his pupils associated with Ternopil, in particular Denis Sichinsky, in the context of the cultural and educational life of Ternopil during this period. Scientific novelty. The line of piano pedagogical and performing tradition of K. Mikuly as a student of F. Chopin in the next generations of musicians connected with Ternopil is traced. Among them: Vladislav Vshelyachynsky, Denis Sichynsky, Maria Soltysova (Bibulych), Denis Leontovych. Attention is focused on various aspects of V. Vshelyachynsky's activity, in particular as a teacher, and D. Sichynsky. He entered the history of Ukrainian music as a composer and choral conductor, the first professional Ukrainian musician in Galicia. The example of the analysis of two-piano miniatures by D. Sichynsky (as pupils of K. Mikuly and V. Vshelyachynsky) illustrates the characteristic features of writing associated with the piano style of F. Chopin and, at the same time, with folk song intonation, features of Ukrainian solo singing, song-romance. Conclusions. The role of musician-teacher Vladyslav Vshelyachynsky in laying the foundations of piano performance in Ternopil, on the formation of the creative personality of Denis Sichynsky as the first professional composer-pianist is traced.

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AESTHETIC DIMENSION OF SACRED MONODY IN CULTURAL AND EDUCATIONAL ENVIRONMENT IN UKRAINE IN 17TH CENTURY

Author(s): Svitlana Huralna,Natalia Syrotynska / Language(s): English Issue: 4/2022

The purpose of the article. The paper is devoted to the influence of the Greek-Byzantine spiritual heritage on the Ukrainian cultural and educational environment. The methodology of the study uses the historical-chronological method to reproduce the sequence of development of the sacred monody in European culture, primarily in Ukraine. The method of analysis and comparison has been used to identify common and distinctive international features of the development of sacred monody. The method of material synthesis helped summarise all the important conditions for the development of Ukrainian monophonic singing. The scientific novelty of the work is that it consistently examines the influence Byzantine monody on Ukrainian liturgical practice. The study is based on the practice of colophonic style of the Byzantine sacred monody. Conclusions. The aesthetic canons of the Greek-Byzantine spiritual culture were fully adapted with the Christian rite and reflected in the sacred monody. In the future, this determined the implementation of important church and educational reforms in the 16th century and the development of all layers of Ukrainian culture. At the same time, educational centres were developed, and printing houses at brotherly schools provided schoolchildren with the necessary textbooks. And what is important, all children without exception already at the initial stage of education got to know and studied the first notated collections of sacred monody, spreading the ancient traditions of singing in all social strata of society.

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Lana Šehović, Fatima Hadžić, Jasmina Talam, Tamara Karača Beljak: Stories about Music in Bosnia and Herzegovina: Dedicated to Folke Rabe

Author(s): Gerda Lechleitner / Language(s): English Issue: 2/2022

Review of: Lana Šehović, Fatima Hadžić, Jasmina Talam, Tamara Karača Beljak: Stories about Music in Bosnia and Herzegovina: Dedicated to Folke Rabe, Academy of Music, University of Sarajevo, Institute of Musicology, Sarajevo; Svenskt visarkiv, Caprice Records, The Swedish Performing Arts Agency, Stockholm, 2022, pp. 221, ISBN 978-9958-689-29-1

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Muzica și Puterea Politică - O Abordare Conceptuală

Author(s): Eduard Rusu / Language(s): Romanian Issue: 41/2022

In order to be able to observe the connection of music with political power, but also the way in which it is done, we will have to see the context and the elements that help put this fact into practice. We propose an incursion into the European history of the music-power relationship, referring at the same time to the Oriental conception regarding the same aspect. We also want to see the pattern or support in which this relationship can be applied, referring to the ceremony and ritual and to how they are used in the aid of the public expression of the monarch. Here we will also discuss the main hypostases in which music is visibly an instrument in the arsenal of political power. The framework that we will try to expose is intended to familiarize us with the subject of this text and to be a starting point in analyzing political power from a music perspective.

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SURADNJA AKADEMIKA LOVRE ŽUPANOVIĆA I MAESTRA VLADIMIRA KRANJČEVIĆA NA VARAŽDINSKIM BAROKNIM VEČERIMA

Author(s): Ennio Stipčević / Language(s): Croatian Issue: 33/2022

This article provides an insight into the cooperation of musicologist Lovro Županović and conductor Vladimir Kranjčević at the Varaždin Baroque Evenings festival. This cooperation lasted for nearly three decades (1971 – 1999) and was one of the most significant projects promoting early Croatian music at the time. Županović studied, discovered and transcribed works by little known Croatian composers, and Kranjčević staged them at the Varaždin Baroque Evenings, as evidenced from numerous published records and twelve volumes in the series of music editions entitled Monuments of the Croatian Musical Past, edited by Županović. As the director of the Varaždin Baroque Evenings, conductor Vladimir Kranjčević embraced the concept of openness to various interpretative aesthetics. Moreover, the Baroque Evenings frequently featured repertoire from the 16th up to the early 19th century. Thus, Županović was in a position to prepare sheet music for contemporary Varaždin premieres of pieces by composers such as Wisner von Morgenstern and Leopold Ebner, as well as the vocal oeuvre by the preeminent Croatian master of Renaissance polyphony, Julije Skjavetić. In adition, a number of professional and scholarly conferences were attached to the festival, and Županović also staged several concerts in cooperation with his Zagreb musicology students. There is no doubt that the first thirty years of the Varaždin Baroque Evenings were marked by the cooperation between Županović and Kranjčević.

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Clopotele din Gura Râului, județul Sibiu – ce ne comunică ele?

Author(s): Maria Șpan / Language(s): Romanian Issue: XIX/2022

Science has proven that, since intrauterine life, the human being perceives and recognizes sounds. The bell, one of the oldest musical instruments of humanity is heard in the life of each of us, communicating something to us. This article proposes a foray into one of the villages of Sibiu County – Gura Râului – to discover what the bells communicate here to the villagers. Starting from the bells heard in the village – the bells of the animals, the bells of miller, the bells of children performing a tradition on the occasion of the New Year, the bell of the Holy Altar, the clock in the tower of the big church –, we will focus on the communication of the bells of the two churches of the village: when they ring, who rings the bells, the significance of the manner or the moment of the day in which they ring, how they ring at someone’s death or when they call the villagers to prayer, or in bad weather, or when there is a fire, if the behavior of people changes in any way during or after the bells rang

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“Michael Cavendish’s” 14 Airs in Tablature to the Lute (1598)

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“Michael Cavendish’s” 14 Airs in Tablature to the Lute (1598)

Author(s): Anna Faktorovich / Language(s): English Issue: 2/2022

This article is part of A Comparative Study of Byrd Songs: Volume 17 of the British Renaissance Re-Attribution and Modernization (BRRAM) series. Volume 17 offers evidence to re-assign the authorship of the 29 texts in William Byrd’s linguistic group. Volumes 1-2 of the series present a new computational-linguistic attribution method that reassigns all of the tested 303 texts from the British Renaissance to a Workshop of only six ghostwriters: Byrd, William Percy, Josuah Sylvester, Gabriel Harvey, Richard Verstegan and Gabriel Harvey. This article is a fragment from Volume 17 that presents new evidence, beyond the quantitative linguistics, for one of the Byrd re-assignments, “Michael Cavendish’s” Airs (1598), together with a modernizing translation of a representative sample of poetry from the linguistically-tested text. Airs is a rarely commented on work that tends to appear in studies of the self-plagiarisms within it, or between it and other texts. Only a single private copy of Airs has survived; this closeting is likely to have been the result of its dedication addressing Lady Arbella, who repeatedly unsuccessfully plotted with the Cavendishes and Percys to gain the British throne, first after Elizabeth I’s reign, and then after James I’s. The dedication appears to have been a propagandistic marker of support during Arbella’s attempt in 1609 to marry Seymour to challenge James I’s claim which ended with Arbella’s imprisonment and premature death. The Airs book is likely to have been published to encourage this effort and was probably closeted and had its title-page backdated to 1598 when the attempt failed. Additionally, a comparative study is included in the Appendix between a poem in Airs and a translation of a song it echoes from Giovanni Croce.

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THE FIRST WAVE OF ROCK'N'ROLL IN YUGOSLAVIA AND ITS IMPACT ON THE SOCIALIST YOUTH

Author(s): Mirjam Vida Blagojević / Language(s): English Issue: 1/2022

By taking advantage of abundant literature that has been written on the subject, the paper aims to give an overview of the history of rock music in Yugoslavia from its introduction in 1956 to the mid-1970s, when the new wave emerged. It also intends to remind the reader of this topic’s relevance and open possible new research questions for history and related fields. Particular emphasis will be placed on the impact that this musical, cultural, social, and political phenomenon had on the lives of Yugoslav and other socialist youth while highlighting the changes rock’n’roll brought to their lives, including opening up to Western cultural influences through new fashion, different forms of youth entertainment, new understanding and redefining of gender relations. Also, the paper will review the cooperation of Yugoslav rock musicians with Eastern Bloc musicians. Through the analysis of articles found in Džuboks, a youth music magazine deemed popular at the time; the paper will attempt to illustrate how the Yugoslav youth rock press helped shape the minds of young people. This paper intends to remind the reader of this topic’s relevance and open possible new research questions for this and related fields.

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Европейски стандарти за качество на висшето образование

Author(s): Momchil Georgiev / Language(s): Bulgarian Issue: 1/2022

The set of 8 groups of quality standards for the higher music education aims to guide the providers of higher music education by evaluating their activities in order to improve the quality of the education offered. Also the guidelines can be used in different contexts and adopted in all directions. They are elaborated and implemented by MusiQuE – Music Quality Enhancement – an independent agency for quality improvement and accreditation in higher music education. MusiQuE standards are designed to help universities and academies to demonstrate that they are fulfilling their goals. When considering quality improvement in the accreditation, the institutes are encouraged to use these standards to reflect the strengths and weaknesses of their institute or programs; to evaluate what works and what does not in their institute or in the individual programs; what is unique about their supply and operation, and in particular how the situation can be changed and improved; how the institution (or program) can cope with the challenges and meet the requirements for change. The results of the evaluation process may also provide evidence to the institution or program, as well as to the external stakeholders, that the requirements and objectives have been met.

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Voice Academy - съвременно частно училище за обучение и развитие на млади таланти

Author(s): Boryana Naidenova / Language(s): Bulgarian Issue: 1/2022

Voice Academy is a private school for extra-curricular music education founded on 1 October 2009 by a team of musicians and teachers. The teachers are all accomplished professionals in their respective fields: singing, music theory, instrumental art, lyric-writing, dance, musical management, and sound recording. The students at Voice Academy are between 4 and 44 years of age, all attracted by the idea of holistic vocal training both as performing artists and as composers of original music. The study plan and its contents have been adapted from bachelor’s programs in leading music academies in the US and Europe. The teachers at Voice Academy apply an innovative approach to rhythm, melody, harmony, and lyric-writing. From the earliest phases of education, the students are encouraged to compose, improvise, and sing with their own instrumental accompaniments and arrangements. The students of Voice Academy go on to pursue degrees in a range of prestigious universities, most often in the UK and the Netherlands, where they study pop and jazz singing and musical management. Voice Academy is a cutting-edge music school with a prominent place in the Bulgarian education system. With its approach and learning outcomes, it is comparable to the best musical institutions across Europe and the world.

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Музикалният стил в учебните програми по музика. Идеи за интегративен подход към проблема

Author(s): Zornitsa Atanasova Dimitrova / Language(s): Bulgarian Issue: 1/2022

With the adoption of the conception of key competencies and its integration into the training process in the form of a competency-based approach to the training, the new curricula have undergone some changes. In them the priority should be given to concepts, which lay the foundations of the given field of study, and which correspond to the widest possible range of knowledge acquired in other teaching disciplines. Against this background, the questions remain open as to the reasons why exactly the concept of “style”, which fully meets the criteria set and is contained in normative documents regulating the teaching content in music, is excluded from the curriculum in music and whether on the whole it is possible to teach the training information in the upper course of study without introducing stylistic issues. The report presents the idea of teaching the training content through a theme-centric, style-oriented approach that synthesizes training information about the style based on the Ockham’s principle. The sequence of teaching the stylistic issues in the context of the educational content, covering the history of musical art, is presented in tabular form, giving examples of which concepts can be successfully connected with the knowledge of style. The categorial nature of the style provides an incredible number of opportunities for implementation of interdisciplinary links within the framework of music training, planning and implementation of binary or integrated lessons, which could contribute to re-create the idea of a competency-based approach to training. Some examples of such lessons are suggested.

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Denunciando al estado. Los artistas como Campaneros en América Latina de los 60.

Author(s): Alicja Fijałkowska-Myszyńska / Language(s): Spanish Issue: 81/2022

The term bell‑ringer is relatively new, however, it is derived from the concept of whistleblower, which emerged in the 1960s. In that decade, many Latin American countries experienced coups and military dictatorships, which oppressed the political opposition and censored the media. In the absence of the institutions of control and independent journalism, artists began to denounce the abuses of power and the vices of societies in their works, which led to the creation of new artistic movements in Latin America. This article seeks to test a hypothesis that as a result, the artists became bell‑ringers, perfectly fitting the definition framework of the theory presented by Marcia P. Miceli, Suelette Dreyfus, and Janet P. Near.

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