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One of the biggest challenges in Poland (1918-1939) was the establishment of a new Polishschool. The main goal of the newly created Polish school was to educate a generation aspatriots and responsible citizens, and unite compatriots from three ex-partitions. The first school curriculum in the independent Poland focused on teaching social knowledge, Polish and European cultures, and, above all, providing pupils with moral and aesthetic experience. Music education played a key role in bringing various ideological objectives to fruition. Music compositions with national themes – both from concert and folk traditions – were worshipped and seen as the rebirth of the national culture. The goal of music instruction was to educate the young generation, bring it closer to the ideas embedded in the masterpieces of art, and deepen their love of music.
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Background: The paper explores the potency of music activities and background musicto support academic performance and behaviour of Slovak middle school pupils. It reviewsdevelopmental, social and emotional changes that children face during the period of preadolescence. School and education is connected with the formation of personality, thus schoolstaff and parents need to pay attention to social and emotional well-being of pupils. The objective of the study is to investigate academic performance and behaviour of pupils (aged 10-11) before and after music intervention. Methods: The target research group consists of forty-four Slovak fifth graders from big urban, municipal middle school. Data were collected by evaluation of rating scale conducting teacher´s professional judgement about pupils they taught the four explored school subjects. Results: The study summarises the results of rating scale of teacher’s opinions of pupils’academic performance and behaviour in the control and experimental groups (with and without music intervention). The results show the potency of music to support academic performance and improve behaviour of pupils.
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Non-formal musical education provided by art/music schools is a relevant scientific field – it significantly contributes to the development of a creative, responsible and open personality and fundamental change in society. It should be noted that the educational process in art/music schools builds on stable and traditional principles, schools have become less attractive and current trends show that the number of pupils has been falling. The research problem was formulated on the basis of the above mentioned reasons. The aim of the paper is to analyse the opinion of art/music school graduates about the educational process and trends there. The topic has not been investigated in Lithuania yet. The research showed that the trends in organising the educational process in art/music schools are mostly affected by the teacher-pupil interactions, the assessment of pupils’ advancement and achievements and the peculiarities of organising public assessment/examinations. The research data could be used aiming to optimize the educational process in art/music schools.
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The essay is concerned with the topic of archaic “ethological tales”, which often present non‑anthropocentric definitions of an animal as an emotional, rational, aesthetic creature – not formulated in opposition to the human. This point of view also appears in the poetry of Julian Tuwim, who connects the mythical idea of interspecies community with the Darwinian theory of evolution. In “Ptasie radio”/”Bird radio” (1938) he shows, for example, that the concept of melic poetry inherited from the ancient Greeks, has a biological base and comes from birds’ vocalisation. Analysing birds’ mating songs leads him to the idea that not only does man have the ability to generate aesthetic sounds, but that he also shares this ability also with other animals. Today, his intuition can be confirmed also in the field of genetic research.
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The nature of music and the nature of the universe reveals a lot of common features. Similarity of both was perceived in mythical era; the world of music and the world of astronomy was devoted under patronage of the sisters – the divine Muses. The discovery of the mathematical nature of the musical intervals, which was made by Pythagoras ordered him to base the harmony of the universe on the numerical relations and to recognize that music accompanies the revolution of the heavenly spheres. Plato gave the „music of the spheres” geometric form, and in the Middle Ages, when the Christianity assimilated the idea of the world as a rational structure, harmonia mundi was a model for the composers as well as for ascetic struggles. Modern times and characteristic development of natural sciences, very clearly supported the argument that the world is mathematical. Metaphorical approach of the modern String Theory, which describes the evolution of the first moments of the universe, permits to assign to God the role of the Great Musician who „playing on the strings” – creates the universe.
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As many researchers claim, we live in the era of intertextual works. The analysis of the 3rd Symphony “Circus Maximus” by the American composer John Corigliano definitely proves this statement. The sym- phony, finished in 2004, had been commissioned by Jerry Junkin – the conductor of the Wind Ensemble and Director of Bands at UT Austin. It is said to be an example of program music. Corigliano’s main purpose was to show connections between the past (Rome Empire) and the contemporary world. The composer notices that animalisation and coerciveness are characteristics of people living in these two eras. The composition consists of eight movements and is written for wind ensemble and percussion. The aim of this article is to show intertext- ual connotations and references present in the composition, such as: allusions, stylization, reminiscences, and memory of genre. In order to achieve this aim, the author used the Mieczysław Tomaszewski’s systematics of music-in-music existence. Moreover, similarities to Gustav Mahler and Charles Ives’ compositions are shown.
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In this article, I analyzed the discourses devoted to the Macedonian national hero, Todor "Toše" Proeski. This twenty-six-year-old singer and star of the Macedonian pop scene with the day of his death became the greatest national good of the Macedonians. The social image of Proeski is constructed at every level of public discourse (from popular culture to high culture) and by almost all its participants, both those privileged (clerics, journalists, intellectuals and politicians), as well as "ordinary" citizens. In the methodological concept used by me, Proeska was treated as an example of the "emblem of nationality", in other words as „national form of representation". These "emblems" or "forms" allow individuals and groups to identify with the "imagined community" and legitimize the concept of the nation.
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Scordatura is a tuning of a string instrument, which is different than the standard one. It has been used for both plucked and string instruments since the 16th century and it was quite popular in the Baroque era, especially in the case of violins. Because of their specific tuning – based on the same intervals – it is possible to distinguish two types of violin scordatura. The first one relates to the situation when all strings are tuned up or down in the same interval relations. Such tuning is still based on fifths, but the pitches are different than using standard tuning, so it is called transpose scordatura. In the second one, each string is tuned up or down in different interval relation, in another direction or even only some of them are tuned in the unusual way. In this case, violin tuning is based on different intervals than fifths, usually on thirds and/or fourths, although sometimes there are three dissimilar intervals (thirds, fourths and fifths). The second type of scordatura was a very popular technique in the Baroque era and its functions were variable. The main of them were allowing to perform figures, which are impossible in standard tuning, especially double-notes and chords (technical aspect), and changing sound qualities of the instrument (sound aspect). It does not mean that scordatura was used only to achieve these goals. For example, it was sometimes used to imitate other instrument. There are certain examples of such a usage of this playing technique in the oldest (1679–1686) part of the collection of manuscripts connected with activity of Canonesses Regular of St Augustine in Wrocław (provenance St Anna in Arena). The scordatura can be found there in seven manuscripts, and in four of them it is possible that composers (or composer?) tried to assimilate the violin sound and/or technique with other instruments, such as viola, lute or trumpet.
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The communist regime in Czechoslovakia belonged among the most repressive in the former Soviet sphere. It made efforts of ideological indoctrination of youth and used various means in order to isolate young people from the religious life. Solely after the changes in 1989 it is possible to organize structures of many-sided care of youth within the Churches. In the framework of the Catholic Church there belongs a great deal of merits to the Salesian Congregation which operated with youth in the secret structures already in the times of totalitarianism when the male Church orders were abolished. The Czech Bishop Conference established its Section for Youth, also the Church movements as Focolare or Charismatic Renewal take part on the care of young Christians. The care of youth exploits the possibilities offered by the canon law. A special attention is turned to the problem of quality of the Church music for youth. Also the Catholic Traditionalists, Greek Catholics, Orthodox Church and the other Christian Churches employ the religious freedom and establish various organizations for young believers according to the civil law and their inner church prescriptions.
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The review deals with the publication "Valdis Āboliņš. Avangards, meilārts un kultūras sakari aukstā kara laikā = Valdis Āboliņš. The Avant-garde, mailart, the New Left and Cultural Relations during the Cold War", eds. Ieva Astahovska and Antra Priede-Krievkalne (Riga: Latvian Centre for Contemporary Art, 2019). The book comprising articles by art historians, curators and other contemporaries as well as Āboliņš' correspondence, writings and mailart is seen as a significant effort to establish the significance of this Latvian in exile, art curator and leftist activist.
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What happens when the genre you are developing dies? What happens with the Estrada musicians when the whole industry of socialist Estrada entertainment dies with the abandonment of the word ‘Estrada’? The text summarizes the results from a research of 10 newspapers, 2 online publications and the so called music reality TV shows on Nova TV and bTV as well as ‘The best years of our lives’ show on BNT in the period 1990 – 2017. The music contests add another category which the contestants abide by: ‘we must be proud as nation’ – the country is not doing well, but we are a nation of talented singers. The main results show that the musicians recreate this specific ‘national mystical language’ as Milena Iakimova defined it (Iakimova, 2011:76). The fault for the state of the Estrada music after 1990 is in ‘our own media’ which don’t play their music. Patriotism is seen as a main strategy for their role on the stage of the folk entertainment.
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The purpose of the research. The aim of the article is to create a coherent picture of the transformation of the forms of liturgical texts as representatives of the sacredness from the Middle Ages to the Contemporary Period in the context of the medieval and modern its paradigms. Research methodology is a combination of historical, cultural, comparative, liturgical, contextual methods, with the help of which the specificity of the liturgical texts of various Christian denominations from the Middle Ages to the present as representatives of the sacral was characterized. Scientific novelty of the work lies in the fact that in Ukrainian science for the first time the mechanisms of transformation of the forms of sacred texts in liturgical music from the Middle Ages to the Modern and Contemporary Period were shown. Conclusions. In the Middle Ages the sacred text of the divine service appears as a syncretic unity of the verbal and transcendent, where the latter is represented through the aesthetic component. Religious communication in medieval divine service is accomplished through the transcendental dimension of the sacrament of the Eucharist, in which the prayermeditative function is a priority, and the proclamation of the Word of God is in the background. The anthropocentric dimension of the culture of the Modern Period has modified the form of the manifestation of the sacredness in the church art, which led to the separation of the verbal component from the transcendent and, accordingly, from the aesthetic. In the new Protestant churches the modification is associated with the rejection of the sacrament as a transcendent dimension of the rite and is marked by the strengthening of the verbal factor through the proclamation of the Word of God in the sermon. In traditional churches, while maintaining the classical sacramental theology, there is a two-vector approach to the use of liturgical texts, where during the XVII–XX centuries actual become services alternately either in sacral or in national languages.
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This article looks for an answer to the questions how specific media and musical texts and figures (scripts, shows, songs, singers, hosts) are perceived by the audience, i.e. reception. How power narratives, reflected in media and music, and power media practices take on a life of their own, outside of media context and channels from top to bottom – folklorization. How low media-musical idioms, which can be in dissonance with the official ones, flourish from the bottom to the top. Several cases related to the media reception of folk singers (Petkana Zaharieva, Mita Stoycheva, Gyurga Pindzhurovа) and their newly created songs are considered.
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The purpose of the article is to highlight the phenomenon of the influence of the Eastern Christian tradition on the pan-European cultural area of the Middle Ages and Renaissance, which determines the interdependence of world cultures, including music, in which artistic and creative transformation is a symbol and image of the world. The methodology of the work is complex and is built on the unity of means of the cultural, historical-typological, hermeneutical and musical-aesthetic type of research. The scientific novelty of the work is determined by the fact that it first systematized the data of scientific literature regarding the Eastern Christian (Byzantine) culture-making factor in the formation of European medieval Renaissance, as well as the artistic and musical Renaissance area. Conclusions. The history of medieval non-Byzantine revivals (Ostrogothic, Carolingian, Ottоn, 12th-century revival) is traced, revealing the significant role of the Eastern Christian component represented by or through the early Christian European traditions and the spiritual and ascetic experience of Ireland, Gaul, Britain, or directly through Byzantium. The influence of the latter is noted by the cult of scholarship, the development of not only Latin but also Greek, associated with the high liturgical practice, active translation activities, thanks to which works of Eastern Christian patriotism were introduced into the theological everyday life of Western Christianity. The role of the Academies, which united the intellectual, highly educated, encyclopedic erudite European elite grouped around the monarch and his Christian empire, is essential. Interesting is the interest in ancient heritage, but with the dominant role of the Christian cosmos and the adaptation in it of the ideas of Neo-Platonism, which in turn will later determine the spiritual-philosophical and artistic specifics of the Italian Renaissance of the XIV-XVI centuries, the genesis of which was also formed by the Greek-Byzantine elite.
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The purpose of the article is to determine the main vectors of sociocultural changes occurring in modern musical culture under the technical influence of the digital revolution. The methodology is based on the fact that this work has a pronounced interdisciplinary character, using the tools of modern culturology, economics, art history, and sociology. The scientific novelty of the article is to focus not only on the artistic processes, specific practices of musical life but also on the actual properties of the media space in which they exist. The study of the new media environment - the Internet, technical communicative capabilities that provided by the digital era in conjunction with the musical culture, is becoming one of the central principles of this study. Conclusions. It is a combination of personal choices of all participants in a musical life that ultimately determines the proportional ratio of all segments of the musical space, which develop according to different scenarios, and, accordingly, the overall result of the digital revolution in the world of musical culture. Today, when, thanks to the achievements of the digital revolution, most sociocultural tasks are being solved more successfully in the network space, new perspectives and potential directions of development are opening up for society, for the modern ―informational‖ civilization. The same potential paths of development are proposed for the space of musical culture: the way of ―curtailing‖ the network ―freedom‖, strengthening the control and hierarchical regulation of art; the path of complete chaos, network "anarchy" and irresponsibility; a movement in the direction of the potential to become a planetary global civil society that is rooted in the digital network, but is able to actively, responsibly and creatively produce, interpret and assimilate the products of the musical artistic environment.
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The purpose of the article is to consider genesis and specific peculiarities of certain traditions of the archaic and ethnic dance forms, which have survived till the present. Scientific interpretation of the specific internal connections between different constituents of song-dance genres and mass ritual performances allows to ascertain prerequisites of formation of music and dance professionalism within them. The methodology. Historical and culturological, comparative and analytical methods have been applied to characterize archaic public song-music-dance forms, which in conjunction with various ritual tendencies anticipate the origin of phenomenon of music and theatre performance. The scientific novelty of the work lies in understanding of the problems of preserving certain archaic dance forms in modern household, ritual traditions of various peoples as a unique phenomenon of spiritual culture, implementing continuous connection of times and preservation of deep ethnic traditions. Conclusions. Consideration of different forms of archaic dance, which have survived till the present in different genres and manifestations, allows to characterize their as a unique means of human selfknowledge and self-expression. Music, mimics, gesture and dance movements are the only elements of stage adaption of initial magical ritual. Moreover, many forms of archaic dance continue to realize esthetic and even social and cultural function despite the processes of globalization in modern world culture.
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