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Semiotic Aspects of Sound and Music in Science-fiction Films

Author(s): Traian Penciuc / Language(s): English Issue: 28/2015

The development of the sound playback technology has changed the way sound is used in the structure of the film. In addition, the public has become more refined and no longer accepts a mechanical sound rendering. Altered by effects, the sound is called to reinforce the fiction proposed by the image, changing the perception of space and movement, but also highlighting subjective points of view. However, it is always claimed that it should have diegetic fidelity. In the case of science-fiction films, this “fidelity” has specific aspects. First, there are unknown sounds of objects or phenomena, which are supposed to be imagined, created. Nevertheless, particularly in science-fiction these sounds must, to some degree, match the scientific description of the phenomenon they represent, or at least, a popular perception of these scientific theories. Thus results a pseudo-iconicity of sound and music in science-fiction films, which this paper will study.

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Konzervatív fordulat a zeneiparban és a digitális zeneipar új vállalkozói

Author(s): Emília Barna / Language(s): Hungarian Issue: 23/2018

In this paper I argue that by looking at dominant discourses and narratives surrounding the digital music industry – channels of which include the music industry press, the themes and language of music business conferences, the popular media as well as informal interactions in the music industry – we can observe an ideological turn taking place in the last few years. The emergence of the digital music industry was accompanied by the following optimistic narratives and the corresponding consumer image: the “long tail” (Anderson 2006) and the end of the “tyranny of the hit”; technological triumphalism and democratisation; and the power of individual choice, i.e. a mature and conscious music consumer. In recent years, however, contrary narratives seem to have strengthened: “digital music pollution” and the “tyranny of choice”; record companies as the guarantees of quality; and infantile (and feminised) mass consumers who need the guidance of expert tastemakers. By looking at ideology together with the economy of music, it is possible to conclude that the frequently mentioned plenitude of music available via digital and online platforms simultaneously masks and facilitates industry concentration. Based on the results of qualitative interview research conducted in 2014 on the Amsterdam-based platform 22tracks, I explore the ways in which music curation platforms using playlists are able to challenge this concentration process by acting as a counterforce, while, at the same time, also forming part of it.

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The Ever-Evolving Maze – The Analysis of Metal Genres

Author(s): Krzysztof Skórski / Language(s): English Issue: 11/2020

Heavy metal music is often perceived as crude and simplistic by people who are not acquainted with its complexity. In this article, I would like to explore and analyze the (meta-)genre of heavy metal music and its elaborate internal subdivision. Firstly, it is crucial to define metal music and distinguish it from other styles within the larger family of rock music. This section will be followed by a brief presentation of the history of heavy metal and the dominant dichotomy of chaotic and Dionysian themes present in the lyrics of metal songs. Ultimately, I intend to unravel the complex web of metal genres by describing the most crucial ones, demonstrating the “kinship” between particular styles, and providing examples of the representatives of each discussed subgenre.

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YARATICI VE KÜLTÜREL ENDÜSTRİLER VE COVID-19 PANDEMİ DÖNEMİNDE TÜRKİYE’DE KÜLTÜR VE SANAT SEKTÖRLERİNİN DURUMU

Author(s): Zeynep Özarslan / Language(s): Turkish Issue: 2/2021

The COVID-19 pandemic has caused serious restrictions on the activities of some of the sub-sectors of the creative and cultural industries. The aim of this study is to examine the state of art of the arts and culture sectors, which are sub-sectors of creative and cultural industries, during the pandemic in Turkey. In this study, the public supports provided by the government and metropolitan municipalities and the supports of the professional associations, trade unions and civil society organizations to the arts and culture sectors, between March-September 2020, are examined through document analysis technique. The supports offered to the arts and culture sectors under the categories of cinema, television, theater, music and performative arts are analyzed regarding the following themes: Financial support, tax reduction or deferral, digital archive support, early ticket reservation, providing offline or online stages required for the artistic performance, proposing structural solution for the problems encountered during the pandemic. The findings of the research reveal that the arts and culture sector are not adequately supported by the government, while partly supported by the local authorities, professional associations and unions during the pandemic. However, they are not sufficient to influence the policymakers to provide adequate support.

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Bengal’s Folk Music and Rabindranath’s Songs: Influence and Revelation

Author(s): Poulami Roy / Language(s): English Issue: 1/2021

Folk music and folk culture of Bengal had a profound effect on Rabindranath’s musical essence. The various forms of folklore, the beauty of its rhyme and literary value influenced the poet’s literary pursuits in many ways. Rabindranath brought a new form by breaking and re-modelling the structure of various folk-melodies and by mixing those with his self-created tunes. This paper will try to examine the influence of folk music in Rabindra Sangeet and will try to trace the journey of Rabindranath’s perception of the same.

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Lana Paćuka, Ženski identiteti u muzičkom životu austrougarskog Sarajeva

Author(s): Fatima Hadžić / Language(s): Bosnian Issue: 49/2020

The review of: Lana Paćuka, Ženski identiteti u muzičkom životu austrougarskog Sarajeva. Sarajevo: Muzička akademija – Institut za muzikologiju, 2019, 189.

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Alternatywy wobec jednowymiarowości. Fenomen polskiej kultury niezależnej w PRL

Author(s): Dobrochna Dabert / Language(s): Polish Issue: 40/2021

In this article devoted to the independent culture in Polish People’s Republic, I put into dichotomic doubt the concept based on the clear division between the official and independent culture. The forms of creative activity that escaped the state censorship between 1976 and 1989 radically disrespected the directives of the state’s cultural policy, yet many years before the emergence of ‘the second circulation’, there were already numerous initiatives that sparked a rich spectrum of independent activity. The authors’ strategies to remain independent changed over time, to varying extent distanced the authors from the official artistic life and differed depending on the character of the authors’ intellectual activity. In the article, I attempt to prove the relatively weak influence of the ‘official dependent culture’ that fully respected the authorities’ instructions, and I propose a classification of creative strategies that also emerged in the official culture and allowed for a relatively free development of art and science. Using multiple examples from literature, cinema, visual arts, music and science, I discuss ‘controlled culture escaping the ideological instructions’, ‘official niche culture’, ‘culture confronting the limitations’, ‘licensed Catholic culture’, ‘second circulation culture’ and ‘third circulation culture.’ The practice of searching for a way out of the official one-dimensionality allowed Polish cultural identity to continue and save its most valuable intellectual and artistic values.

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The rāg that Burned down Delhi: Music and Memory between 1857 and 1947

Author(s): Richard David Williams / Language(s): English Issue: 1/2021

The Urdu litterateur Shahid Ahmad Dehlvi (1906–1967) recorded a series of reflections and reminiscences about Delhi, its culture, and how that culture was brought to an end by the violence of Partition in 1947. In his essays on music, he documented the performances and personal histories of a range of singers, dancers, and instrumentalists based in Delhi in the first half of the 20th century and considered their plight after Independence. In this article, I examine three of these essays—two in Urdu and one in English—and ask two questions. Firstly, how does this author develop a sense of historical depth to the social and cultural rupture he experienced in 1947? I suggest that his Urdu essays draw upon a longer history of literary nostalgia and connect a Delhicentric understanding of Partition to the earlier crisis of 1857. Secondly, how did attending to music allow Shahid Dehlvi to explore the nuances of cultural rupture and personal loss?

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Father and Academic Professor Niculae M. Popescu - Contributions to the Research of the History of the Romanian Orthodox Church and Byzantine Music

Author(s): Zaharia Matei / Language(s): English Issue: 4/2020

The great priest and academic professor Niculae M. Popescu was one of the most emblematic figures within the Romanian Orthodox Church and within the Theological section of the University of Bucharest in the first half of the XX century. Raised in the Orthodox spirit, Niculae M. Popescu studied in the Theological School “Nifon Mitropolitul” and in the Faculty of Theology in Bucharest, while his PhD studies were completed in Vienna. Because of his critical and rigorous spirit, but also due to his high level theological qualifications, he became distinguishable to the clerical authorities in Bucharest who gave him the title of main editor of a few magazines of the Church. He was highly appreciated for his historical and documentative nature reflected in his studies and researches. For this reason, the teaching body of the Faculty of Orthodox Theology in Bucharest named him University Professor of the History Section. He was praised and appreciated by scholar Nicolae Iorga and thus, became a member of the Romanian Academy and vice-president of the highest academic forum in Romania. Alongside his pastoral and universitary vocations, he was also an accomplished musician. Niculae M. Popescu elaborated his first creations of Romanian musicology dedicated to the Romanian precentor, Macarie Ieromonahul. Due to his bass vocal tone, composer D. G. Kiriac recruited him as a member of the well-known Romanian choir, “Carmen”, which he also conducted for a long time, as the head of the choral association. His historical and musicological published creations, as well as his ecclesiastical and academic stance, made father professor Niculae M. Popescu one of the most enlightening figures within the history of the Romanian Orthodox Church and of the Romanian people.

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Популярната музика през 30-те години в България (I част)

Author(s): Maria Alexandrova / Language(s): Bulgarian Issue: 3/2021

The popular music culture of the 1930s became increasingly cosmopolitan and global. Gramophone records, radio and sound films enriched the city’s repertoire with new hits, which coexisted with fairground, folk and old urban songs. The musicians of this decade mastered several instruments simultaneously. Therefore, they easily performed traditional Bulgarian dances- hora and rachenica, oriental kutcheks and maaneta, and modern dances – waltz, tango, chardash, quadrille, foxtrot, shimi, onestep, quickstep, rumba and paso doble. There was also a shift of genres from “high” to “low” culture and vice versa.

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Raisins and Almonds: A Yiddish Song as a Metaphor of Yiddish Folk Culture in the 21st Century

Author(s): Gila Flam / Language(s): English Issue: 1/2021

In this paper, I will try to explain the construction of songs as cultural artefacts possessing an aura that transcends their musical-poetic structure to make them survive as traditional folk-songs in the perplexing contemporary world. I chose the well-known Yiddish lullaby, Rozhinkes mit mandlen (Raisins and Almonds) which was created by Abraham Goldfaden for the first Yiddish Operetta Shulamith. This popular song is based on a Yiddish folk song which was forgotten, and instead the popular theatre song became the folksong. I analysed several published and recorded versions of the song in order to see the song’s place as a metaphor for Yiddish folk culture. I followed the song’s progress for over 100 years and showed how it combines past present and future, reality, myth, beliefs and identities. I conclude with discovery of the song’s melody as an international instrumental piece called Raisins and Almonds.

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Textul Muzical îN Secolele XX-XXI. Aspecte Semantice

Author(s): Pavel Gamurari / Language(s): Romanian Issue: 3-4/2020

This article addresses some aspects of semantics. Important historical, theoretical and practical landmarks are mentioned in the context of the proposed title. In general, the study of music as a type of language should be considered a separate area, which is undoubtedly related to semiotics, but cannot be reduced to just that. Therefore, the definition of semiotic properties in music should not be associated with a statement of it’s linguistic nature. Apparently, semiotic laws may not have total power in the space of artistic communication. Paradoxical, but by denying semiotics in universalism and it’s full complicity, it may be possible to reveal it’s new explanatory possibilities. In some cases, semiotic models in music have a clear, "open" appearance, in all other situations, they are optional or absent. If in previous stylistic eras the color had at most a structural role, the composers of the twentieth century go beyond this mentality, focusing on the special functionality of the timbre, which has become a main parameter of sound. This direction imposes some changes in the musical language, the formal structures, the compositional techniques, the widening of the possibilities of emitting the sound on the traditional instruments, etc. Theories argued by illustrious musicologists and composers are presented. This article is a part of a more complex research.

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A Possible Contribution of Live Electronics to Modern Education / O posibilă contribuție a aplicațiilor electronice live la educația modernă

Author(s): Mihai Popean / Language(s): English,Romanian Issue: 1/2021

Musical improvisation is as much a form of art as it is a form of education with great potential for transfer. Although associated usually with jazz music, improvisation has a long and unbroken history that can be traced throughout the entire music history. The classically-trained students do not receive education in improvisation, it is not part of the classical music curriculum, the educators themselves do not have such training and are not comfortable improvising and therefore teaching it. However, students can greatly benefit from this type of training by greatly enhancing their technique and performing skills and also by developing a set of other important skills such as creativity, calculated risk-taking, flexibility of mind, capacity to notice opportunities, greater awareness of their environment, intra- and interpersonal skills, enhanced communication abilities and more. One solution that would address teachers’ lack of improvisational skills and students’ need for such educational opportunity is for educators to learn basic visual programming in order to create applications for improvisation that involve live electronics and deploy them in classroom or other educational situations.

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Creative Perspectives of Articulating Musical Messages for Educational Purposes in a Media Context / Perspective creatoare ale articulării mesajelor muzicale cu scop educativ în context media

Author(s): Csilla Csákány / Language(s): English,Romanian Issue: 1/2021

In our contemporary culture, a kind of common agreement between the participants interested in music education is beginning to emerge in terms of recognizing the importance of revaluation of technical and media means in promoting and receiving music culture optimally. In this study we try to outline various creative ideas on two levels of development - cognitive and socio-emotional - in the hope that our thoughts can inspire the work of those interested and involved in using these means and resources in music education.

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Collaborative DIY music production practices in conservatoire settings: findings from a pilot distance teaching-learning project /Metode de producție muzicală colaborativă DIY în cadrul școlilor de muzică: rezultate ale unui proiect pilot de predare-

Author(s): Yannis Mygdanis,May Kokkidou / Language(s): English,Romanian Issue: 2/2021

In the last decades, the vast development of emerging technologies has transformed the ways people engage with music, expanding the affordances of music expression, creation, learning, and education. Music production software allows artists to create songs collaboratively in digital contexts, not necessarily being in physical contact. Likewise, many young people produce songs alone or with peers, constructing musical experiences through informal kinds of learning. Although several studies have focused on integrating technological-based activities in school music education, the research interest in conservatoire education is limited. The COVID-19 pandemic crisis and the need for an urgent shift to online educational environments revealed numerous problems concerning the use of technology. Both teachers and students faced difficulties to operate and effectively continue the studio lessons online. Some recognized the situation as a dead-end for conservatoire education, while others perceived it as a prompt for innovative and creative solutions. The present article discusses the findings of a pilot distance musictechnological project with adolescents in conservatoire education during the COVID-19 pandemic. The primary aim was to investigate students’ musical-technological experiences, the knowledge and skills they acquired, as well as the development of their musical creativity through collaborative DIY music production practices. In particular, our purpose was to develop a more nuanced understanding of how the students experienced their work and their learning using DAWs (Bandlab). The results support the view that merging traditional and online teaching-learning procedures in a hybrid approach can open new pathways in music education

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Peculiarities of Online Lessons in Music and Movement Classes (I) / Particularități ale lecțiilor on-line la disciplina Muzică și mișcare (I)

Author(s): Lucian Ghişa,Dalia Ioana Ghisa / Language(s): English,Romanian Issue: 2/2021

The present research aims to contribute to the optimization of online teaching regarding the Music and Movement subject. The Music and Movement class activities are aimed to facilitate the acquisition of important general skills, such as: learning children’s songs and simple elements of musical language, performing children’s songs, with age-specific means and in order to express ideas, feelings and experiences through music and movement, individually or in groups. We highlighted in this research the provisions of the curriculum, insisting on the competences that need to be acquired. In this regard, the curriculum expresses a series of contents with specific activities, which can be approached in the classroom according to each level of learning. The skills that students have to acquire in the Music and Movement class formed the basis of the concerns which emerged due to the pandemic situation (isolation at home), because at first the resources available were not known, as neither were the methods and means by which to achieve them, taking into account the fact that the transition from traditional classes to those in the online environment was sudden.

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The Importance of Digitizing Archives in Ethnomusicological Research. Case study: Archives Internationales de Musique Populaire (AIMP), Geneva, Switzerland / Importanţa digitizării arhivelor în cercetarea etnomuzicologică. Studiu de caz: Archives Int

Author(s): Andra Pătraș / Language(s): English,Romanian Issue: 2/2021

This article wishes to investigate the phenomenon of folk music research in relationship to archive-specific activities, more precisely to the context of the technological development that led to the digitalization of archives. The importance of this endeavour is reflected by the multiple benefits offered by an archive comprising folk music content that goes through a digitization process. In the introduction, I offer an explanation of certain terms that describe the central points of this research, as well as some neologisms that are frequently used in the process of technological development (digitalization vs. digitization). I provide a brief descriptive framework of the beneficial effects brought about by the involvement of digital technologies in the ethnomusicological research, which are related to the study of an archive. Thereafter, I highlight the contribution made by Constantin Brăiloiu by means of his professional pursuits, to the development of folkloristics, referring mainly to the founding of Archives Internationales de Musique Populaire. Based on my personal experience, I present the research conducted in the Geneva archives and present its content. By describing the “steps” that preceded the visit, the archives structures by providing personal observations, we can regard this paper as a brief handbook, the perusal of which may be helpful before a research visit to this important archive.

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Вспоминая непринятое: Язеп Витолс в первые годы советской власти

Author(s): Alexander D. Malnach / Language(s): Russian Issue: 36/2021

The article examines the relationship of Jazep Vitols, composer and professor at the Petrograd Conservatory, with the Soviet regime during the first years of its existence in Russia and Latvia. The circumstances of his departure from revolutionary Petrograd in August 1918, which the composer believed to be a temporary absence, are described in detail. At the same time, he allowed himself to get involved in the project of creating a private “Latvian Opera” in Riga. Under this pretext, many Latvian musicians and artists were given the opportunity to leave Soviet Russia, and Vitols also took advantage of this possibility. The composer had no personal conflicts with the Soviet regime, but neither he did sympathize with it. He remained a man of conservative views and did not want to change his usual bourgeois lifestyle. The hardships and inconveniences that arose during the revolution, such as hunger and cold, he perceived as unbearable and associated them with the new government, be it in Petrograd or in Riga. In turn, the Soviet government, represented by the governments of Soviet Russia and Soviet Latvia (January — May 1919), did not see any obstacles to cooperation with the composer in the field of musical education. The Bolshevik government of Soviet Latvia offered him to start organizing a higher music school in Riga (a Conservatory) and, according to some reports, the composer accepted the offer and even proceeded to take organizational measures. However, subsequently, publicly and in his memoirs, he denied the moment of cooperation with the Soviet regime.

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Muzica nunţilor domneşti

Author(s): Eduard Rusu / Language(s): Romanian Issue: 67/2021

The princely court has over time hosted everything that was most important in the country in terms of music. Here you could find a great musical diversity, catalogued according to the specifics of the area, with many foreign influences, taking into account the taste of the princes, who commanded and supported financially different events. Nowhere outside the Court could a greater musical diversity be found, as music was for a long time an attribute of sovereignty, through which its exponents could manifest their pre-eminence. Therefore, the music of princely weddings not only had the role of beautifying the atmosphere, but also was intended to transmit a message of power. In the case of weddings held at the Court, great emphasis was placed on pomp and spectacle, and the examples we have clearly show emphasize that music was one of the elements that made the difference. Considering that in general the matrimonial ties were established with important people from outside the country, proving the power and the wealth was a priority for the Romanian princes. Therefore, in this context we have many testimonies of the presence of musical groups and games (intrinsically linked to music) brought from outside the country, especially from Constantinople, which have the role of proving the power of the prince.

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Думи в действие (Опит за вграждане на българската рап музика в съвременната българска литература – текстове, артисти, послания)

Author(s): Assen Avramov / Language(s): Bulgarian Issue: 26/2021

Where does Bulgarian rap stand in relationship to Bulgarian literature? Where can we look for the roots of this artistic presence? What are the heroes, themes, and messages that Bulgarian rap-artists recreate in their work? The author seeks to answer these questions, through purposeful and accidental juxtapositions between the cultured and the “non”-cultured in Bulgarian poetry in the last thirty years.

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