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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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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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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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Purpose of Article. The article considers the status of Ukrainian music and drama theatre in the socio-political conditions of the Russian and Austro-Hungarian empires of late XIX – beginning XX century. The research methodology is based on the usage of historical-cultural, comparative, and art-historical methods. The mentioned methodological approach allows to explore the ideological and aesthetic content of the creative activity of Ukrainian music and drama theatre, determine its contribution to the cultural-artistic panorama, and the initiation of interethnic national dialogue. The scientific novelty of the work is the analysis of specific features of the Ukrainian music and drama theatre in as a sociocultural phenomenon, determination of its role in the ethnocultural space of the Russian and Austrian-Hungarian empires of late XIX - beginning XX century. Conclusions. The Ukrainian music and drama theatre was researched as a component of the social aspect, was integrated into the cultural and historical form of a polycultural society, acquired the status of a socio-cultural phenomenon, that performs ethnic consolidating function, promotes national culture as well as national theater art.
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Purpose of Article. The purpose of the work is to find the generalizing features and trends of the appeal of the Chinese drama (spoken) theatre to the works of classics of the world drama - W. Shakespeare, H. Ibsen, A. Chekhov in the status of objects of artistic reception, as well as to find their alterations in the concrete and historical context of cultural life and society. To generalize the reasons for expanding the circle of authors of world literature and outstanding playwrights for a more reliable and full coverage of the influence on Chinese drama and "spoken" theatre. Methodology. The methodology of research, first of all, lies in applying comparative and historical-logical methods. The given methodological approach allows us to disclose and analyze the certain patterns of applying ideas and images of Russian and Western literature about the ideological models of Chinese society in specific historical conditions; these models being close to the relevant plot motives and ideological sources of a certain period. Scientific Novelty of the work is to expand the notion of the influence of classical world drama on the repertoire and the means of interpreting the plays by the new theatrical troupes of China. In particular, the differences between the "spoken" theatre and the "Beijing Opera," as well as the ways of the formation of the national theatre, considering the influence European dramaturgy - from Shakespeare to Chekhov. Conclusions. It is important for perception problems of a translated text of the work of art in a different cultural environment, that receptive aesthetics accentuates the question of historicism and social principles of this interpretation - in literature and drama, and in the theatrical culture in general. It is proved that in the mentioned period of time there was a transition in Chinese drama from the legends of xi qu theatre to the real life of a man. That is, Chinese playwrights have learned from the classics to create true, viable models of plays, to combine drama and lyricism together, to create new types of characters, a special genre of "lyrico-psychological drama." At the beginning of the XX century, the educated youth refused to adopt the norms of behavior determined by Confucian ethics; the adherence to well-doing, the external standards of decency and the family farm management were gradually becoming obsolete. This circumstance can be vividly illustrated by the reaction caused by the play "A Doll's House" by Henrik Ibsen when the female movement in China began to be called "Noraism" after Nora - the protagonist of this play.
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The purpose of the article. The features of the combination of traditional and innovative elements in modern choreography and their main stages of formation are considered in the report. A striking example of this synthesis is the so-called folk trends that meet current requirements, while at the same time retaining the hallmarks of national traditions. Methodology. The methodology of research consists in application of art-criticism, comparative, historical and logical methods. The novelty of research. The genre varieties of modern choreography are found out, and the transformation of traditional symbols in them is noted. In choreographic art, as a developing process, there are two components; stable - a cultural tradition and innovative - updated and enriched in the form and content of new artistic discoveries. In today's conditions, the danger of the loss of a rich heritage of folk art, traditions of folk folklore in all its genre diversity is becoming more and more understood. Conclusions. The innovative approaches to the teaching of classical dance are highlighted, the effectiveness of which depends directly on the teacher's knowledge of modern technologies and their ability to correctly and timely apply, taking into account the structure of the lesson, the selection of material for a particular topic, the choice of educational line and the construction of educational process.
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Purpose of the article: In the surroundings of the Kyiv voivodes and governors, one of the most influential officials of the city and surrounding administrative territories, in the 15th–18th centuries formed a special cultural environment, where music was also given a certain place. The main purpose of our study is to characterize the musical life of these environments in the language of historical documents. In addition, to determine the functions and composition of musical chapels, musical repertoire, instruments, identify musicians, and so on. The methodology of the research is to apply predominantly general-historical methods: historical-genetic, historical-comparative, historical-typological and historical-systemic. Scientific novelty: The musical life of Kyiv voivodes and governors has never been the subject of a special study. The collected materials, first presented in such configuration, deepen and specify the knowledge about the secular musical culture of Kyiv in the 15th–18th centuries. Conclusions: The musical culture of Kyiv of the 15th–18th centuries has not yet been sufficiently well studied, but almost completely forgotten knowledge and ideas about secular Ukrainian music of this time are gradually resurfacing. In addition, our research partially eliminates the artificial problem of Ukrainian historical musicology – the ways of reception of professional European musical culture in Ukraine, because, as can be seen from the collected documents, musical chapels existed in Kyiv during all this period, and judging by musical instruments and repertoire, they embodied the Western European musical theory and practice. The musical chapels of the voivodes differed little from those that existed in other areas of the Polish-Lithuanian Commonwealth. In the service of voivodes and governors there were both local and foreign singers and instrumentalists, which contributed to the spread of foreign musical achievements in the city. Subsequently, the presented direction of the study can become a model for the analysis of musical chapels in other Ukrainian historical areas.
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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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Goal – to identify the spiritual and moral guidelines of a great musician according to the notions about the spiritual values of modern Ukraine in the presentation of the theme "Creativity of J. S. Bach" in a music school at the level of V class. The methodology - cultural, interdisciplinary approach, as well as musicological hermeneutics in the interpretation of semantic fillings of creativity J.S. Bach. The scientific novelty - for the first time in the practice of studying the theme "Creativity of J.S. Bach" emphasis is placed on the denominational peculiarities of Pietism-Lutheranism, which differ, due to objective historical circumstances, by parallels to the religious-orthodox principles that are understood to a large extent by those who study. Conclusions - nomination of ritually organizing the stimulus of expression, justified by the deep religiosity of the composer and direct support of him in the adopted Lutheran life melodies of hymns in the analysis of works of Bach recommended for study in the musical school (in this case it is Cantata No. 21 and Prelude and Fugue C-dur from the first and second The Well-Tempered Clavier). The latter capture in the artistic whole the moral and behavioral complex, which is indicative for the Lutheran-Pietist, and which has a collision with the Orthodox ethics of the joy of perception of the world as the basis for moral orientation in the world. Special meaning is emphasizing in the text and in the music recommended for showing in the lesson of Cantata No. 21 of the aspect of rejection of disbelief, that is, the departure from negative emotions as incompatible with church affection, in the execution of the highlight of the presentation, and in the perception – of sensitivity to it. This same attention to the temptation and to the emotional positive expression is important in the hearing-perception of the Invention (two-voiced C-dur and F-dur) and the Prelude and Fugue C-dur (I v. of The Well-Tempered Clavier). Thus, the educational and cognitive complex is connected with the moral-educators, as it is laid by the music of J.S. Bach.
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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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Headlines from around the region: traditions, modernity and outrage in the Caucasus; Poland and a Jewish museum; you say Romanian, I say Moldovan; three Russian sisters; and Armenians in Turkey.
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Slovak translation of De institutione musica (I,1-14) from Boethius.
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Research on popular folk music in Serbia and other parts of former Yugoslavia in the 1990s has claimed close ties between performers and Serbian nationalism.1 Authors have pointed to symbolic links between singers and the regime of Slobodan Milošević and ultra-nationalist public figures. The most notorious example of connections between of folk music performers and Serbian nationalism was the 1995 marriage between popular singer Svetlana Veličković-Ceca and paramilitary leader Željko Ražnatović-Arkan.2 This cemented the idea of a symbiotic relationship between pop-folk music and warmongering nationalism that aimed to foster an immoral value system. For example, Ivana Kronja writes that ‘This system of values aimed to establish the cult of crime and violence, war-profiteering, national-chauvinism and provincialism, together with the abandonment of morals, education, legality, and other civic values.’3
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The article discusses the issue of Jewish musicians’ identity by the example of prewar Galician artists. It emphasizes the role of social and political divisions within Jewish community and the impact of assimilation, liberalism, socialism and Zionism on the musical life of Jews in Galicia. Then, it discusses their influence on individual musicians like: Bronisław Gimpel, Bronisław Huberman, Józef Koffler, Stanisław Lipski, Wilhelm Mantel, Paweł Anhalt, Stefan Schleichkorn, Henryk Guensberg, Józef Neger, Henryk Apte, Izaak Lust, Zofia Lissa, Mordechaj Gebirtig, Nachum Sternheim and musicians active on the stage of popular music. Its aim is to encourage musicologists to reconsider the issue of prewar Jewish musicians’ identity and to use findings of historians and sociologists in musicological literature. They indicate rather complexity, not unilaterality, of the self-identification of Jews in diaspora. Understanding of the Jewish musicians’ work conditions allows to discover the hidden meaning of their actions.
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