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Der Gegenwart mit der Vergangenheit beizukommen, ist ein für Ungarns Musikschaffende bereits bestens erprobtes Stilmittel: Die Nationaloper »Banus Bank« von Ferenc Erkel — in der zweiten Hälfte des 19. Jahrhunderts, nach der Niederwerfung der bürgerlich-demokratischen Revolution 1848 geschrieben — enthielt ebenso flammende Appelle der nationalen Unabhängigkeit, wie es Verdi etwas früher verstanden hatte, den Gedanken des nationalen »Risorgimento« der Italiener musikalisch zu fasjsen.
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Die Kammerjäger im Auftrag des ZK und des Ministeriums für Kultur standen diesmal vor einer besonders schwierigen Aufgabe: An den wachsamen Augen und Ohren der Hüter des sozialistischen Plakatrealismus vorbei hatte sich allerlei künstlerisch schwaches Ungeziefer in die ideologisch nicht gefestigten Köpfe der sowjetischen jungen Generation geschlichen. Dort schwirrten sie und surrten sie herum, gesteuert von den elektromagnetischen Impulsen ihrer Absender, den Brutstätten minderwertiger Musik und provokant-schnoddriger Kommentare über die Wünsche und Gefühle der dekadenten young generation of the western and eastern world. „Hallo, molodzy“, meldet sich Abend für Abend eine propagandistisch- angeheizte Stimme aus dem westlichen Äther, die aus dem Roman Clockwork Orange des sozialkritischen Autors Burrough gesprungen sein könnte.
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The study was carried out in the period 2017-2022 among the first-year students attending the Aerobics discipline at New Bulgarian University (NBU). A quantitative evaluation (based on visual measurements) was carried out by the teacher during the classes according to the following criteria: changes in the quality (purity) of the performed exercises, changes in the volume of repetitions, changes in motivation in different musical schemes where the tempo is decisive. The main arguments for the selection of musical themes for cardio training in physical education classes at NBU are: selection of a playlist with an optimal overall tempo for the whole class (moderate – medium moderate – fast – medium moderate – slow), emphasis on more melodic songs; selection of current hits with a preference for the „Latin“ style, selection of songs and melodies with a strong associative context, i.e. works related to the personal experience of the participant.
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The article seeks to establish a foundational framework for comprehending crucial definitions and concepts related to auditory space in digital gaming, particularly focusing on audio games designed for visually impaired individuals (VI), often devoid of graphical interfaces. While existing studies often emphasize players’ interactions with interfaces and the acquisition of real-life skills, this text explores audio games through the lens of entertainment and immersion. Numerous studies indicate a demand among visually impaired players for more intricate and challenging games, incorporating elements usually used in standard digital gaming experiences. By combining definitions from both audio and traditional digital games, this article broadens the scope of sound design considerations, encompassing various aspects and classifications. It presents several auditory dimensions, consolidating them into a comprehensive dimension called attenuation, putting their roles within a game’s context. The author is a sound designer currently working on an audio game; therefore, many of the presented definitions are also a guide that will represent some of his own considerations while working on this game. These include not only the use of binaural or ambisonic sound but also understanding the ways and means of how to work with (3D) space in the context of audio and its possible functions.
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The Hezhe people (Nanai people) are a minority ethnic group with a long history in Northeast China, who are good at singing and dancing. Their music mainly records their life and daily production, especially their fishing traditions. The article analyzes the song "Mountains and Rivers Bewitched the Nanai people", exploring the musical culture and expressions of the Nanai people and focusing on the musical structure, melody, rhythm, force, tempo and structure of the accompaniment. The role of the emotions that the song evokes is also discussed. The purpose of the article is to expand the interest in Nanai folk music, familiarization with it for the further study and even better performance of Nanai music and songs.
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Although most well-known for his plays and prose, the Irish writer Brendan Behan also recorded a number of songs, some of his own composition and others either traditional or written by contemporaries. His best-known recording, Brendan Behan Sings Irish Folk Songs and Ballads, remarkably captures not only his voice, but also his wit and distinct joie de vivre. The collection from 1960 includes not only the songs themselves (with Behan still in fine singing form), but also his introductions and wry comments on a range of subjects. The article looks at the circumstances behind the recording, the actual songs included on the album, and Behan’s ongoing commentary about a range of topics. The focus is on the first half of the recording which consists of songs from his play The Hostage, with an additional short discussion of one of his most well-known pieces, “The Auld Triangle,” which serves as an ongoing leitmotif in his earlier play, The Quare Fellow.
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The article reviews the ideology of the É. Jaques-Dalkroze musical-rhythmic education system, the eurythmy method is described, as well as its practical significance in developing a sense of rhythm through a case study, in the 7th grade music lessons of X Pro-Gymnasium.The results of the qualitative activity study revealed that students with good coordination, reaction, and motor skills have a good sense of rhythm. The sense of rhythm of weakly sensitive/anti-arrhythmic research participants during the practice of eurythmy exercises developed positively: the reaction of the participants improved, the internal sense of time duration, body movements became more expressive during the rhythm, and anti-rhythmicity no longer appeared during the practice of eurythmy exercises. Also, after practicing eurythmy exercises, better social skills, emotional state, and positive classroom climate of the participants were observed.
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Music education, which complements formal education, is, in the essence of the realization of its educational process, close to the essence of the self-directed learning process, therefore there are theoretical and practical possibilities for the realization of self-directed learning in a music school. The application of self-directed learning redistributes the power and responsibilities of the participants of the educational process, therefore opportune preconditions are created for the change of the interaction between the pupil and the educator and for the transition from teaching to learning. Therefore, the provision is observed that the implementation of self-directed learning in educational practice changes the quality of the educational process. The article analyzes how the self-directed learning, established in the educational process of a specific music education institution (music school) that complements formal education changes the interaction between the pupil and the educator, what circumstances are significant, what are the links with the quality of the educational process. The analysis of the results of the empirical research allows us to state that teachers understand self-directed learning and its importance theoretically, but teaching itself has not become a natural strategy for organizing the educational process; fragmentary features of pupils’ self-direction are seen, positions of learning power are more characteristic of teachers than pupils.
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The article presents a study of piano work by Iannis Xenakis in connection with the peculiarities of the composer’s personality. A comparison is made between Martin Heidegger's philosophy and the writings of Iannis Xenakis. Biographical paradigms of I. Xenakis’s compositions with the focus on his opuses for piano accompanied by a symphony orchestra, are studied. The primary themes of the composer's work including antiquity, alienation, loss of mother, experience of a trauma are established. The philosophical aspects of the compositions Eonta, Synaphaï, Erikhthon, and Kegrops are compared with the concepts of Heidegger's Being and Time. The issue of “being thrown into being” mentioned by M. Heidegger is investigated in I. Xenakis’ Concert Erikhthon. It is concluded that I. Xenakis and M. Heidegger share common views on the unity of the ancient Greek philosophical foundation and its relation to the modern world.
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Drawing on the example of the “Golden Snail Opera”, the article discusses the essential aspects of the cultural, scientific and political impact of contemporary art, which is rising ecological awareness and appealing to the understanding of the challenges of the Anthropocene. By transcending the distinction between nature and culture through works of art or artistic political events, the prevailing idea of the aesthetic relationship with the work of art and the theoretization based on it are becoming meaningless. The primary is an artistic exploratory political process involving the wider community. The group of 4 women artists and scientists who created the "Golden Snail Opera" is an example of the unbreakable globalization of East and West, as well as the cultures and scientific institutions of the global South and North. In the video of 7 actions with a prologue and an epilogue, there are three characters, whose texts can be read by one or three voices, and the connection of the work is performed on Taiwanese drums. The work was created by filming and recording the specific experience of a particular farming in the cultivation of rice in an area of Taiwan, it collected and summarized large-scale, diverse scientific data that showed how lifestyles and people's self-awareness changed in this area, how modern capitalism "broke" traditions, how people were forced to adapt to new living conditions, which increasingly began to be associated with the events of globalization and their consequences. The main character of the opera is a golden snail appearing in its own sounds and images, brought from Argentina and became a harmful invasive species with which humans began to learn to coexist. The article also uses other works of ecological scientific artistic research that develop a "more than human" attitude towards the world or an "ontological turn", and highlights the aspect of the world's multispecies consciousness and spirituality that emerges in these arts. In this aspect the experience of the life of mankind is accumulated.
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Review of: Радмила Стојановић, Озренка Бјелобрк Бабић (2023): Универзитетски уџбеник вокално-инструменталне наставе/музике. Бања Лука: Филозофски факултет Универзитета у Бањој Луци и Арт Сцена д. о. о., стр. 194.
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The paper deals with the analysis of using the Motherland symbol by the Soviet popular songs in order to represent the Cold War issues. Using quantitative and qualitative content analysis, the authors examine more than 1500 Soviet songs (1946-1991); 350 of them employ this symbol. The article demonstrates that the -Soviet Motherland served as one of the most significant components of the -cultural Cold War. The meanings of the symbol reflected the basic traits of the USSR-U.S. confrontation. In its own turn, exploiting this symbol introduced additional characteristics to the Cold War, representing it as not only ideological conflict but also as national by nature. The authors also point out that the cult of the Motherland had an influence on the perceived value of maternity in the USSR, contributing to the fact that mother serves as ideal Soviet woman.
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The article reveals meaningful forms of work for verbal interpretation when working with musical works - for students, for children and schoolchildren.
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The article deals with the role of cultural reporting in the Tirnauer Wochenblatt weekly, which was first published in German and later in Hungarian (as Nagyszombati Hetilap) in the Slovak town of Trnava between 1869 and 1918. For this purpose, the article analyses its 13th volume published in 1881 as an example. In analysing the content, four thematic areas of focus in the cultural coverage can be identified: theatre, music, literature, and other aspects of cultural life. The newspaper lacked a separate section devoted to culture and a closer examination of the German-language section of the newspaper reveals that the relevant texts largely focused on the local area. The high importance of theatrical performances is evident from the frequent reports. The same applies to musical events. Literature – apart from the publication of serialised novels in the Illustriertes Sonntagsblatt supplement – receives little attention. Superregional themes only appear in the case of special events or events somehow connected with the region. The newspaper provides a lot of information on the important role of the associations in the cultural life of the city.
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The theoretical system of Ottoman music was developed through the works of Safi al-Din alUrmawī (d. 693/1294) and ʿAbd al-Qādir Marāgī (d. 838/1435). Considering the first period, although the 24-tone sound system was not developed in theory, it is clear that it was used in practice. However, in a theoretical sense, the 17 sound system initiated by al-Urmawī continued to be used until the 20th century. In this century, the Turkish theoretical musical system evolved into a different point with the efforts of Raūf Yektā (d. 1935). Here we have an unequal 24-track sound system. The first written traces of the 24-tone sound system can be seen in the work of La Borde (d. 1208/1794). Later, Muhammad al-‘Attār (d. 1243/1828) and his student Mīkhāʾīl Mishāqah (d. 1305/1888) found fame with their 24-tone sound system. Mishāqah's work named Riṣālah alShihābiyyah fī al-ṣināʻah al-mūsīqiyyah, which also includes this system, has become an important cornerstone in the shaping of modern Arabic music. Raūf Yektā, who noticed this system through a newspaper article, determined that this note system, which is divided into 24 equal parts, provides great convenience in Turkish music, especially in naming intermediate sounds. This determination of Yekta is largely similar to the note names in Mishāqah's system, despite some differences. The main difference between this system that Yektā introduced to Turkish music and Mishāqah's system is that Yektā prefers unequal sounds. In this study, information about who first introduced the 24-tone sound system is included. However, no clear data on this subject has been found. From the perspective of Turkish music, this systematic breakthrough succeeded by Yektā - although not put forward by Yektā - enabled him to lay the foundations of today's theory with the Arel-Ezgi-Uzdilek trio. In this research, it has been determined that some of the concepts included in Mishāqah's work are the same in terms of content with the concepts in Turkish music. The focus of this study is the work named Riṣālah al-Shihābiyyah fī al-ṣināʻah al-mūsīqiyyah, written by Mīkhāʾīl Mishāqah, which Murat Bardakcı clearly stated in an article and which we think Raūf Yektā used in creating the sound system of Turkish music. The aim of the article is to reach the first traces of the 24-tone sound system and to reveal its connection with Turkish music. In the literature study, it is founded that no detailed study has been conducted on both Mīkhāʾīl Mishāqah and where the traces of the 24-track sound system can be traced. In this respect, seeking answers to these questions constitutes the originality of the article. Qualitative research method is used and, the information obtained through literatüre review was discussed with data analysis.
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In each period of the development of the flute art, the evolution of the instrument is determined by the creative searches of composers and performers, by the daring and experiments of masters and constructors in the pursuit of achieving a quality adequate to the requirements of the time. The refinement of the instrument through the 19th century leading to the characteristics of the modern flute is followed. The main credit for the modernization of the instrument goes to the Bavarian flautist and composer Theobald Boehm, whose revolutionary reform aimed to improve the mechanics and remove the shortcomings of the flute. Innovations are also considered, contributions of flute masters from various national schools such as A. Buffet, L. Dorus, G. Brichialdi, L. Lot, etc.
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The article introduces the views of Prof. Peter Feuchtwanger (1930 – 2016) regarding the correct posture for playing the piano and the causes that lead to the appearance of specific diseases in the hands and back. To overcome these problems, Feuchtwanger created his own pedagogical methods and technical exercises, using non-standard fingering, the natural weight of the hand and the feedback energy of the keyboard.
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The article gives a vision to motivation for being music teacher in time of variable work, social and living environment.
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Thanks to my many years of practice, as well as extensive research, analysis, induction and comparison, I have come to the conclusion that Pinyin is the bridge between Chinese and Italian. As the two languages have many similarities, we can use the Italian scientific method of singing to sing in Chinese as well, using pinyin according to the melody. This article discusses the origins of consonants in the Chinese Pinyin and Italian alphabets, and many of the consonant pronunciation positions, pronunciation methods, and production sounds that are often the same or similar.
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