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Considering the fact that there are few studies (in Serbian, as well as in Serbian translation) that deal with Derrida’s deconstruction and music, this paper’s goal is to offer the possible angles of thinking deconstruction and music relations. This is achieved through four sketches “entitled”: deconstruction in music; deconstruction of music; deconstruction by music and, finally, deconstruction and music, showing that music has everything to with deconstruction, almost asserting that music is and has always been deconstructive art par excellence.
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In her considerations, the author of the article proved both in theory and practice (through the students’ plastic works) that the languages of the music and plastic art have a lot in common making the performer closer to a better understanding of art. This skill should be taught to the future pedagogues of the art subjects during their studies. The stydents’ plastic works presented in the article confirmed the hypothesis that beauty and values can be expressed by means of different art languages.
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MIXER, Jelena Gligorijevć: EXIT FESTIVAL; CEMENT, Goran Cvetković: Lukrativni stereotipi; ŠTRAFTA, Saša Ćirić: Šamar časti; VREME SMRTI I RAZONODE, Tomislav Marković: Ti si sav moj bol; BULEVAR ZVEZDA, MIHAILOVIĆ, Kosta; BLOK BR. V, Kosmoplovci: Tehno
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MIXER, Aleksandar Pavlović: Rađanje srpstva iz duha paganstva; CEMENT, Goran Cvetković: Cirkus u muzeju; ŠTRAFTA, Miloš Živanović: Šumadijski treš, Saša Ćirić: Čemu još Akademija?; VREME SMRTI I RAZONODE, Tomislav Marković: Čitaj za život, droga ne!, Ivan Pravdić: Dlakava politika; BULEVAR ZVEZDA, VITEZOVIĆ, Milovan; BLOK BR. V, Kosmoplovci: Fakato
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Resolution of the Central Committere of the Sovjet Communist Party revoking a decision of February 1948, while emphasizing that "in general", the 1948-decision had "a positiv impact on the development of the Soviet Music-Art".
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Alexej ARBUSOV: A Story from Irkutsk // Juri BONDAREW: The last Volleys // Rimma KASAKOWA: At the Sea of Okhotsk / The path of discoveries // Dmitri BLYNSKI: In front of the door / The Sorbier // Vladimir FIRSSOV: Summer Morning // Andrei VOSNESSENSKI: Travel Song // Yevgeny JEWTUSCHENKO: Communists // Valeri KIRPOTIN: Truth about Life // Yevgeny SURKOW: Alexej Arbusow // Alexander MAKAROW: "My Dear Ones" // Vera INBER: My Way // Vladimir KOSTIN: Feeling for the Present // Grigori KOGAN: Notes about Chopin -Interpretation // Alexander GOLDENWEISER: Lev Tolstoy on Chopin's Music // Juri SNAMENSKI: A very common Miracle // Alexander MARKIN: The Energy Industry takes the floor // Michail DOLINSKI and Semjon TSCHERTOK: The City of Books
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The cultural climate of Claude Debussy's formative years is represented by Paris, during the years of the legendary fin de siècle, in the last two decades of the 19th century, in which a remarkable artistic emulation, expression of numerous exhibitions, publications of posters, music performances, ballet or music-hall, the frequent meetings between artists wrote their history on the background of a radical change of an aesthetic conception. During this period, exhibitions of his own works initiated by painters from the original Impressionist circle, such as Pissaro, Monet, Degas, Renoir and Sisley, led, step by step, to the affirmation and recognition of Impressionism, which promoted a new vision of the world. A meeting with a decisive impact, at the level of the evolution of Claude Debussy's aesthetic vision, would be the one with Stéphane Mallarmé, one of the outstanding personalities of the symbolist French poetry. A few years later, Mallarmé's prose poem, Afternoon of a Faun, will provide the title and inspiration for one of Claude Debussy's most important works for orchestra. Thus, this artistic emulation found its unifying vector in the animus and common interest of overcoming artistic conventions, in the openness to novelty and exoticism, through the power of suggestion and evocation, in the freedom of expression to which Mallarmé or Laforgue's free verse urged, as an innovative form of a spirit that constantly seeks the mystery of life, evading the limits and patterns of an outdated academic tradition. Debussy's affinities in the field of painting will find their correspondence in the vision of the relationship between art and nature articulated by J.A. McNeill Whistler in his Ten O’Clock famous reading and William Turner, being considered the greatest mystery creator in whole art by the French composer. Thus, his work remains a testament to the mastery of his musical instinct to assimilate the essence of the visionary aesthetic ideas of the era, to translate them into artistic creations capable of communicating the sensitivity of his dreams and what he sees in his mind’s eyes. But Debussy's genius intuits the emancipatory power of music in recognizing and eluding description, narrative, or illustration as far too restrictive forms of artistic representation. So the French composer will affirm music on the evolutionary path of an aesthetic, which recognizes the importance of imagination and the vital need for freedom of expression as literary symbolism had generated the liberation of language from the usual uses and meaning of words.
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Nevolje koje su došle sa pandemijom virusa Korona podstakle su mnoge umetnike u svetu, pa tako i u Srbiji i drugim zemljama našeg regiona, da tim nevoljama posvete pažnju, da na njih reaguju na svoj, umetnički način. Kad je reč o Srbiji i susednim zemljama, dobrom voljom i trudom da na pojavu Korone kreativno odgovore posebno su se istakli pesnici, razne vrste pesnika, od uvaženih književnika do kantautora, repera, hiphopera i folkera. Neki su išli za tim da sa publikom kojoj se obraćaju podele osećanje frustracije koje je doneo život u strahu od virusa i nametnutoj izolaciji, ne vodeći mnogo računa o tome šta vlast o epidemiji govori i preporučuje da se govori.
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Ovo nije tekst o Đorđu Balaševiću. Ni o njegovoj smrti. O njemu pišu i pisaće oni koji su ga poznavali bolje i njegove pesme slušali i voleli više od mene. Ovo je tekst o Jugoslaviji i njenoj smrti. U tekstu se pita: koliko puta može umreti jedna zemlja, to jest, konkretno, Jugoslavija? Sinoć su poruke zajedništva u žalosti vitlale Jugoslavijom. Opraštajući se od Balaševića, još jednom su se mnogi od nas oprostili od Jugoslavije.
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Usmanbas was influenced by many contemporary movements in his music life and successfully blended these styles with his own musical language. The technical diversity he used in his compositions is of such a nature that it is rarely seen in Turkey and even in the world. He remains to be an important value of our country with his numerous awards and compositions which are still being performed by musicians, studied by composition students, and analyzed by music theorists. In this chapter, the second of the Five Etudes for violin and piano composed by Ilhan Usmanbas between 1953 and 1956 is subjected to a multi-dimensional analysis. In this etude, the use of the series, note values, dynamics order, musical texture, form and grouping-instrumentation relationship are discussed. Each element, especially the series that are used, has the potential to create an independent composition on its own. The combination of all these in four pages of music once again reveals Usmanbas's mastery of composition.
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With recent advances in technology, it is essential that music educators become knowledgeable of various software programs that could assist in the teaching of students with special needs in applied music lessons. Computer software music programs can be categorized into six areas: listening, transcribing, tuning, developing a steady tempo, accompanying and recording. When listening to music to be learned in the applied lesson, two applications that could assist special needs students are Spotify and YouTube. When transcribing music, Anytune and Tempo SlowMo are two programs that could assist students with transcription. Before beginning a lesson, it is necessary that students tune their instrument. InsTuner is an application that allows performers to chromatically tune any instrument. During a performance, it is essential that students keep a steady tempo. Pro Metronome is a software program that assists in developing this skill. When special needs students are learning their repertoire, Smart Music and Band in a Box are two popular software programs that will accompany them. When recording a performance, Audacity and Garageband are two software programs that will allow students to make a quality recording. Incorporating computer technology into the teaching of applied lessons allows students with special needs to progress at a faster rate and makes learning more exciting and enjoyable. With so many advances in technology occurring every day, applied music teachers should take full advantage of new software applications when teaching students with special needs so maximum learning can take place.
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La regione menzionata nel testo di questo celeberrimo canto è, evidentemente, quella del Peloponneso. Ma se si legge attentamente il testo nella sua versione integrale...
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Příspěvek se zabývá tematikou hudby v poezii významného básníka Víta Slívy. V centru pozornosti stojí sledování hudebních motivů, prvků a odkazů se zaměřením na zvukové kvality. Především se věnuje zastoupení funkce hudby v autorově sbírce Bubnování na sudy, která získala prestižní knižní ocenění Magnesia Litera.
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The topic of the presentation is the traditions of Hungarian elementary music schools. In this school type, music is taught in a higher number of lessons from the first to the eighth grade, in the lower primary years (from the first to the fourth grade) 4+2, later 3+2 lessons a week, the +2 refers to choir practice. The material is traditionally based on folk music, music eras, and the works of Kodály and Bartók. The presentation collects the works of Kodály and Bartók, taught in the eighth grade, and other significant pieces. New music is represented by Miklós Kocsár’s piano pieces and choir pieces.
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In general, the paper focuses on the potential of film music to transmit and preserve the typical features and character of national musical traditions in their authentic and stylized form. Specifically, the text introduces the musical peculiarities of selected cultures and nations, which we encounter in mainstream audiovisual works in the form of location links. The use of archival (non-original) music in some film genres is also viewed marginally. The aim of the paper is to point out the basic procedures used in film music to express the local or historical character of the narrative, musical traditions of the displayed countries and cultures, as well as the possibilities of their popularization and use in music education.
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The subject of the paper is an insight into the music philetic practice with theoretical and practical grounding. The theoretical part informs about research and publishing activities, innovative principles and presents foreign music-expressive concepts and methods applicable in the Czech music education environment. The practical part conceives the musical techniques of music philetic work with clear descriptions and case studies. The author focuses on individual music-interaction areas. Since we should be based on the needs and individuality of the student in the educational and formative process, the author perceives the importance of musical and non-musical goals as equal partners in music education.
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This paper deals with a number of songbooks “Já, písnička”, the most widespread songbook in the Czech Republic, especially its first part, which is intended for the lower primary school by the publisher. There are several errors, inaccuracies, and misinformation that the songbook contains. Greater attention is paid to the vocal range, which is inappropriate for many songs. In conclusion, it is stated that the songbook is not suitable as teaching material for music education.
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