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KORO DERSİNİN UYGULAMADAKİ GÖRÜNÜMÜ

Author(s): Timur Vural / Language(s): Turkish Issue: 29/2016

Music education department, which continues to operate in overall in our country, have eight semesters of training processes, in the six semester of department given by choir course, choir and management course are given in one semester. Music teacher candidates, including seven semesters and receive a total of 308 hours of training choir. The handling of the choir and choir management course has been determined how the evaluation and implementation of the concerts. As a result of research, the problems of contemporary music education in choral education department were exhibited.

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Joseph Woelfl – życie i działalność artystyczna

Author(s): Ewa Bogula-Gniazdowska / Language(s): Polish Issue: 02 (37)/2018

The present article constitutes an introduction to the artistic profile of Austrian composer and piano virtuoso Joseph Woelfl. This forgotten creative personality left an artistic legacy of instrumental music, stage works, numerous orchestral compositions, piano concertos, a concerto for piano and violin, and a chamber concerto. Beyond this, he wrote numerous other chamber works scored for various ensembles; but above all, he created an array of works for solo piano or two pianos, as well as piano pieces of pedagogical character.The artist was born on 24 December 1773 in Salzburg, where he began his musical education. In 1790, he left his hometown of Salzburg and, probably following in Wolfgang Amadeus Mozart’s footsteps, set out for Vienna. He did not remain there long, however, because in 1791, he was accepted for service to Prince Michał Kleofas Ogiński in Warsaw. The pianist-composer returned to Vienna probably ca 1795. He set out on his next conquest of European cities in 1799. This period of tours lasted until 1801. At this time he visited, among other cities, Prague, Leipzig, Berlin, Hamburg and Dresden. In 1801, he arrived in Paris, where he spent the next four years of his life. In 1805, he left the French capital and set out for London, where he remained until his death. He passed away on 21 May 1812.In his intensive artistic career, Joseph Woelfl devoted himself mainly to piano performance and composition; beyond this, he also engaged in pedagogical activity. His abundant artistic output is nearly forgotten today, so it is worthwhile to remind a broader audience of this distinguished figure.

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На армане с тъпане: фестивал на традиционните хорà в град Разлог

Author(s): Evgenia Grancharova / Language(s): Bulgarian Issue: 2/2018

Events

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ТЕРНОПІЛЬСЬКА ФІЛІЯ ВИЩОГО МУЗИЧНОГО ІНСТИТУТУ ІМЕНІ М. ЛИСЕНКА ЯК КУЛЬТУРНО-ОСВІТНІЙ ЦЕНТР ТЕРНОПОЛЯ (ПЕРША ПОЛОВИНА XX СТОЛІТТЯ)

Author(s): Olena Volodymyrivna Spolska / Language(s): Ukrainian Issue: 40/2021

The purpose of the article is to analyze the historical and cultural background and the main aspects of the formation of professional piano performance in Ternopil in the late nineteenth - first half of the twentieth century on the example of VMIL branch activity. Methodology. The methodological basis of the publication is historical-stylistic and comparative approaches, methods of historical-cultural discourse (according to V. Cherkasov). The formation of professional piano performance is considered in terms of musicological and stylistic approaches in broader cultural, educational, and musical-pedagogical contexts. The problem of studying the regionalism of music and performance centers and schools as a dynamic historical and cultural phenomenon is actualized. A thorough study of the history of regional piano educational centers and performing schools has been the subject of a number of musicological studies. In particular, the works of N. Kashkadamova, T. Starukh, L. Mazepa, and others are dedicated to the piano art of Lviv, its artistic education, and cultural institutions. Scientific Novelty. Based on the study of scientific and archival sources, we can see that the educational and pedagogical traditions of the Higher Music Institute named after M. Lysenko as the first Ukrainian professional center and its branches in Eastern Galicia have continued in the activities of pianists, teachers, and performers in Ukraine and abroad, mainly Western Of Ukraine. Attention is focused on the opening and initial stage of the branch of the Lysenko Higher Music Institute (VMIL) in Ternopil, in particular, on the activities of piano teachers. Based on historical, comparative, and individual approaches, the role of individual performers, composers, and teachers as the founders of piano performance in the region is highlighted. Thus, the novelty of the article is to trace the initial stage of the formation of piano performance in Ternopil in the late nineteenth - first third of the twentieth century. as a process of transition from the amateur period to academic performance and professional music education. Conclusions are made about the decisive role of the branch of the Higher Music Institute named after M. Lysenko (VMIL) in Ternopil and its founders, in particular, Iryna Krykh (Lyubchakova) and Yuri Krykh, in the development of music education and performance in the region.

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МУЗИЧКИТЕ СОСТАВИ ОД ИНСТРУМЕНТАЛНАТА МАКЕДОНСКА ЕТНОПОП МУЗИКА ОД 80-ТИТЕ ГОДИНИ НА 20-ТИОТ ВЕК

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МУЗИЧКИТЕ СОСТАВИ ОД ИНСТРУМЕНТАЛНАТА МАКЕДОНСКА ЕТНОПОП МУЗИКА ОД 80-ТИТЕ ГОДИНИ НА 20-ТИОТ ВЕК

Author(s): Alexander Dimitrijevski / Language(s): Macedonian Issue: 19/2021

The instrumental Macedonian ethnopop music was the main subject of interest in one of my previous researches dedicated to its most profound development especially in the 1980ties. In this paper the primary focus is set to the instrumental ensembles which characterize this music 347 as a unique music phenomenon and its musical pieces as its primary product. The conclusions are based on the analysis of the music characteristics of the recorded material which forms the database of the sample of 100 music pieces (generated from a large population of 610 pieces). Also, a special attention is dedicated to the creativity, in other words to the process of creation of the instrumental Macedonian ethnopop music versus the reproductive process of this music.The instrumental Macedonian ethnopop music was the main subject of interest in one of my previous researches dedicated to its most profound development especially in the 1980ties. In this paper the primary focus is set to the instrumental ensembles which characterize this music 347 as a unique music phenomenon and its musical pieces as its primary product. The conclusions are based on the analysis of the music characteristics of the recorded material which forms the database of the sample of 100 music pieces (generated from a large population of 610 pieces). Also, a special attention is dedicated to the creativity, in other words to the process of creation of the instrumental Macedonian ethnopop music versus the reproductive process of this music.

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СБОРНИКЪТ „НАРОДНИ ПЕСНИ ОТ САМОКОВ И САМОКОВСКО“ – ДОКУМЕНТ ЗА МУЗИКАЛНОФОЛКЛОРНИЯ ДИАЛЕКТ НА ЕДИН РЕГИОН ПРЕЗ 30-ТЕ ГОДИНИ НА XX ВЕК

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СБОРНИКЪТ „НАРОДНИ ПЕСНИ ОТ САМОКОВ И САМОКОВСКО“ – ДОКУМЕНТ ЗА МУЗИКАЛНОФОЛКЛОРНИЯ ДИАЛЕКТ НА ЕДИН РЕГИОН ПРЕЗ 30-ТЕ ГОДИНИ НА XX ВЕК

Author(s): Veselka Toncheva / Language(s): Bulgarian Issue: 20/2021

The text analyzes the capital collection “Folk Songs from Samokov and Samokov Region” 45 years after its compilation and publication by ethnomusicologist Elena Stoin and 85 years after the recording by her father Vasil Stoin. The song collection is a “snapshot” of the folk musical dialect of the region in the 1930s.

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ТОНАЛНИТЕ И ФОРМАЛНИТЕ КАРАКТЕРИСТИКИ НА ИНСТРУМЕНТАЛНАТА МАКЕДОНСКА ЕТНОПОП МУЗИКА ОД 80-ТИТЕ ГОДИНИ НА 20-ТИОТ ВЕК

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ТОНАЛНИТЕ И ФОРМАЛНИТЕ КАРАКТЕРИСТИКИ НА ИНСТРУМЕНТАЛНАТА МАКЕДОНСКА ЕТНОПОП МУЗИКА ОД 80-ТИТЕ ГОДИНИ НА 20-ТИОТ ВЕК

Author(s): Alexander Dimitrijevski / Language(s): Bulgarian Issue: 20/2021

The instrumental Macedonian ethnopop music is particularly interesting phenomenon because of its development and prolonged existence in conditions with persistent internal influences of the social and economic environment, but also external influences from the neighboring and distant music cultures. These influences have determined the way of the creation of this music and its final musical products. 353 The instrumental Macedonian ethnopop music was the main subject of interest in one of my previous researches dedicated to its most profound development especially in the 1980ties. In this paper the primary focus is set to the tonal and formal characteristics of this music as a unique music phenomenon and its musical pieces as its primary product. The conclusions will be based on the analysis of the music characteristics of the recorded material which forms the database of the sample of 100 music pieces. Also, a special attention will be dedicated to the creativity, in other words to the process of creation of the instrumental Macedonian ethnopop music versus the reproductive process of this music.

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

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Prikazi

Author(s): Katja Hrobat Virloget,Ruža Šutalo,Dajana Vlaisavljević,Vilma Benković,Ivana Filip,Simona Delić,Ana Stojanović,Suzana Marjanić,Marijana Hameršak,Sanja Đurin,Ana Gurić Parać,Davor Nikolić,Lidija Bajuk,Lada Stevanović,Barbara Majnarić,Ljubica Anđelković Džambić / Language(s): Bosnian,English,Croatian,Serbian Issue: 2/2021

Review of: Ljubica Anđelković Džambić - Stef Jansen, Razlog za dom, Institut za etnologiju i folkloristiku, Zagreb 2020., 277 str. Barbara Majnarić - Music and Dance in Southeastern Europe. Migrations, Carnival, Sustainable Development, Liz Mellish, Nick Green i Tvrtko Zebec, ur., Institute of Ethnology and Folklore Research, International Council for Traditional Music, Study Group on Music and Dance in Southeastern Europe, Zagreb 2020., 230 str. Lada Stevanović - Encountering Fear, Natka Badurina, Una Bauer, Renata Jambrešić Kirin i Jelena Marković, ur. Institut za etnologiju i folkloristiku, Zagreb 2020., 394 str. Lidija Bajuk - Damir Zorić, Silva rerum. Bilješke o ishodištima pučkih tradicija, Synopsis, Zagreb, Sarajevo 2020., 363 str Davor Nikolić - Ivan Marković, Uvod u verbalni humor, Disput, Zagreb 2019., 284 str. Ana Gruić Parać - Aida Brenko, Mareta Kurtin, Vesna Zorić, “Kapa dolje!” Priča o (ne) pokrivanju glave, Etnografski muzej, Zagreb 2019., 344 str. Sanja Đurin - Simon Beames, Chris Mackie, Matthew Atencio, Adventure and Society, Palgrave Macmillan, London 2019., 205 str. Marijana Hameršak - The Balkan Route. Historical Transformations from Via Militaris to Autoput, Florian Riedler i Nenad Stefanov, ur. Walter de Gruyter GmbH, Berlin/Boston 2021., 241 str. Suzana Marjanić - Lidija Delić, Mirjana Detelić i Ljiljana Pešikan-Ljuštanović, Glavit junak i ostala gospoda. Analize narodnih pesama, Zavod za udžbenike, Beograd 2017., 443 str. Ana Stojanović - Ekofeminizam. Između zelenih i ženskih studija, Goran Đurđević i Suzana Marjanić, ur. Durieux, Zagreb 2020., 486 str. Simona Delić - Bruno Ćurko i Stipe Surać, Mediteranski armerun. Jadranske letere i litrati. Fotobrevijarij s interaktivnom kartom Jadrana, Udruga za poticanje neformalnog obrazovanja, kritičkog mišljenja i filozofije u praksi “Mala filozofija”, Zadar 2019., 172 str. Ivana Filip - Tora Holmberg, Urban Animals. Crowding in Zoocities, Routledge, London, New York 2015., 178 str. Vilma Benković - Maurizio Catino, Mafia Organizations. The Visible Hand of Criminal Enterprise, Cambridge University Press, New York 2019., 346 str. Dajana Vlaisavljević - Groblja. Književno-kulturna materijalizacija smrti, Dragan Bošković, ur. Filološko-umetnički fakultet Kragujevac, Kragujevac 2019., 555 str. Ruža Šutalo - Drugi bosanskohercegovački slavistički kongres. Zbornik radova, knj. 2, Senahid Halilović, ur., Slavistički komitet, Filozofski fakultet u Sarajevu, Sarajevo 2019., 562 str. Katja Hrobat Virloget - Jadran Kale, Raprostiranje kulture. Kako ljudi stvaraju prostor, Naklada Slap, Sveučilište u Zadru, Jastrebarsko, Zadar 2021, 248 pp

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Ludwik Wawrzynowicz jako organizator życia kulturalnego w regionie częstochowskim

Author(s): Katarzyna Pietroń / Language(s): Polish Issue: 01 (48)/2021

Ludwik Wawrzynowicz was a graduate of the Music Conservatory in Warsaw. He started his professional career in Warsaw as a singer of the Warsaw Opera. In 1902 he came to Częstochowa, where he took the position of artistic director of the "Lutnia" Singing Society and choir conductor. In 1904 he founded the L. Wawrzynowicz Music School in Częstochowa. He ran the facility and was an active teacher for 42 years, until 1946. The school contributed significantly to the flourishing of Częstochowa's musical environment and the city's cultural life. Wawrzynowicz was an animator of musical culture and an organizer of numerous concerts. He has performed as a conductor, pianist, organist and speaker. He was also a journalist and regular music rapporteur for "Goniec Częstochowski" in the years 1906-1939. He also published articles in other periodicals. He was a versatile activist, an active popularizer of musical culture. He exerted a significant influence on the development of the musical life of Częstochowa.

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Към нова тактилност в текстилния и интериорния дизайн

Author(s): Evelina Gebreva / Language(s): Bulgarian Issue: 11/2022

The situation in Europe over last few years roughly snatched us from the comfortable sense of predictability and sustainable political and social climate. Going back to the years around the two World Wars in the 20th century, it is certainly noticeable from our distance how these shocks change the pulse of the designers work, change the face, the philosophy of the product of their work. Today we are in the moment of serious test, again. The designers won’t stop working and offering alternatives, ideas and solutions. Interior and textile design companies are increasingly turning to the emotional nature of their products, and social networks have proved to be a lifeline for their relationship with the customers and the connoisseurs. Social isolation, limited live communication has led to a serious revaluation of the values. As a result, however, the approach to communication with the audience unexpectedly took on a much more human dimension. Broadcasting of live videos, interviews and various similar events has become a common practice, as You Tube channels, as well

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Ukrainos operos diva XX a. pradžios Vilniuje. Solomijos Krušelnickos (1872–1952) 150-osioms gimimo metinėms

Author(s): Vida Bakutytė / Language(s): Lithuanian Issue: 3/2022

The object of the article is the tours of Solomiya Krushelnytska (Соломія Крушельницька, 1872–1952), one of the most outstanding Ukrainian opera singers of the twentieth century, in Vilnius on 10 February and 21–22 March 1901. Not only Lithuanian but also Ukrainian, Polish, and Russian historiographies fail to reflect this significant fact in the history of musical culture of Lithuania. The concert of the world-renowned Ukrainian opera prima donna and her participation in two performances of an Italian opera troupe in Vilnius were important events in the cultural life of the city. They were warmly welcomed by the public of Vilnius and received glowing reviews. The acquaintance with the singer of extraordinary talent was a new and significant experience for the admirers of operatic art in Vilnius. The aim of this article is to publish the results of an in-depth analysis providing an opportunity to find out the circumstances of the tours of the world-acclaimed soloist in Vilnius. It also seeks to present a precise sequence of events that accompanied her visits and their reception in the city, as well as evaluate the artistic importance of her performances for the residents of Vilnius. At the same time, the article intends to fill the gap in the research on this particular theme and to enrich the material provided in the publications of the biographers of Solomiya Krushelnytska with her “Vilnius page”.

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The Significance of the Putna Music School in the History of Orthodox Church Music

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The Significance of the Putna Music School in the History of Orthodox Church Music

Author(s): Svetlana Kujumdzieva / Language(s): English Issue: 1/2021

The features of the music manuscripts from the Putna music school are discussed. Special emphasis is put on new findings from the studies of Bulgarian scholars. Two manuscripts are under special scrutiny – the famous Book of Eustatie from 1511 and Manuscript 816 from the library of the Church Historical and Archival Institute at the Bulgarian Patriarchate in Sofia, dating from the third quarter of the 16th century, identified as belonging to the Putna music school. There arises the question about the connection between the music activity of Putna and the 14th-century Tarnovo literary and hymnographic school. The article emphasizes that the Putna music manuscripts document the complete adoption of the late-Byzantine (known also as “Koukouzelian”) musical system in the Slavic language of Bulgarian redaction, according to the new redaction of the Jerusalem Typikon of the 14th century. The activity of Hieromonk Eustatie, the most prominent representative of the Putna music school, is discussed. Two important stichera included in his books are considered – the one for St. John the New of Suceava and the one for St. Petka (Paraskeva) of Epivat. It is argued that the text of the first was written by Gregory Tsamblak, a pupil of the last Bulgarian Patriarch, Euthimios. Tsamblak wrote an entire office for St. John the New at the beginning of the 15th century, when he was a presbyter of the Moldavian Church. The sticheron for St. Petka (Paraskeva) turns out to be the first fully notated sticheron for the saint stemming from the Orthodox Balkans. It is concluded that one of the major tasks being accomplished at Putna was to preserve the Orthodox memory in the context of foreign religious domination in the Balkans. The repertory performed there was notated, including the music for particularly revered saints that were praised in the Orthodox countries of Slavic language. Researching the activity of the Putna music school allows us to look centuries back and reveal the foundations of what is sacred to every national culture: the creative power of memorable personalities and events that have become an example and inspiration for future generations.

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Putna Musical School and Tradition of Ukrainian-Belarusian Church Chant of the 16th–18th Centuries: Some Points of Interaction

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Putna Musical School and Tradition of Ukrainian-Belarusian Church Chant of the 16th–18th Centuries: Some Points of Interaction

Author(s): Yevgeniya Ignatenko / Language(s): English Issue: 1/2021

The connection between the Moldavian and Ukrainian-Belarusian chant traditions of the 16th –18th centuries is not easy to materialize at the level of the chant repertoire. Firstly, the comparative analysis of chant repertoires is complicated by the use of different musical notations. Secondly, the Ukrainian-Belarusian chant repertoire, the roots of which go back to the chant tradition of the Old Rus, is almost 100% anonymous. In the 16th–17th centuries, new chants appeared in Ukrainian and Belarusian manuscripts, often with accompanying toponymic remarks indicating their foreign origin: Greek, Bulgarian, Serbian, Wallachian, and so on. The comparison of the same chant in different manuscripts reveals differences in the designation of its origin. The connections between the Putna and Manyava monasteries are outlined. The results of Elena Tončeva’s research based on the Manyava manuscripts are analyzed and considered in a broader context. To date, we have identified five Greek-language chants common to Moldavian and Ukrainian-Belarusian manuscripts. There are the Cherubic songs Οἱ τὰ Χερουβεὶμ of Ioannes Glykys, Manuel Chrysaphes and Anthimos Lavriotes; the Cherubic song of the Presanctified Gifts’ liturgy Νῦν αἱ Δυνάμεις of the monk Longin and Sunday Communion Αἰνεῖτε τὸν Κύριον of Joakeim Harsianites.

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