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Swing a jeho posluchači v době protektorátu

Author(s): Vít Hloušek / Language(s): Czech Issue: 3/2017

KOURA, Petr: Swingaři a potápky v protektorátní noci: Česká swingová mládež a její hořkej svět. (Šťastné zítřky, sv. 23.) Praha, Academia 2016, 922 strany, ISBN 978-80-200-2634-7. The reviewer presents the monograph Swing fans and zoot suiters in the Protectoratenight: Czech swing kids and their bitter world as the outcome of long-term,comprehensive, and almost exhaustive research of sources, impressive in both itscontent and its scope. The author concentrates on the Czech youth subculture associatedwith jazz (swing) music at the time of the Protectorate of Bohemia andMoravia (1939–1945), their lifestyle, habits, fashion, speech, and attitude to theoccupation regime, as well as the attitude of Nazi and Protectorate authoritiesto them and the music they professed. He sets the topic into a broad historical,social, political, and cultural context, for example when describing in an eruditeand gripping manner the evolution and propagation of jazz dances, formation andexistence of similar youth subcultures in Western Europe and United States, or thesurvival of jazz and its fans in the Nazi Third Reich. The author covers in depththe criticism aimed at jazz and its fans in the Protectorate and repressions againstthem, analyzes the relationship between jazz music and freedom in an inspiringmanner, and his interpretations and explanations abound with facts. The reviewerwould personally welcome only a better arrangement of some parts and more attentionpaid to jazz music as such.

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Velikonoční symbolika v lyrice Adama Michny z Otradovic

Author(s): Hana Křížová / Language(s): Czech Issue: 1/2016

Seen in the context of previous Catholic song production, the literary and musical work by the Czech baroque organist and composer Adam Michna from Otradovice (c. 1600–1676) was very innovative. The study focuses on an analysis of several symbols in Easter songs from Michna’s hymnbooks Česká mariánská muzika (Czech Marian Music, 1647) and Svatoroční muzika (Holy Year Music, 1661).

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Husák, Jirous a síla historických mýtů

Author(s): Vítězslav Sommer / Language(s): Czech Issue: 2/2020

The review compares two extensive historical biographies the protagonists of which are asdifferent as they can be – the Slovak Communist politician Gustáv Husák (1913–1991), who, having experienced many ups and downs in his life, finally became the Secretary General of the Communist Party of Czechoslovakia in 1969 and the President of the Czechoslovak Socialist Republic six years later, and the art historian and musician Ivan Martin Jirous (1944–2011), who became the most prominent representative of musical underground during “Husák’s rule”. Both were political prisoners for several years; Husákin the 1950s and Jirous in the 1970s and 1980s. The author summarizes reactions to both books – "Gustáv Husák" by Michal Macháček (Prague: Torst, 2017) and "Magor and his time: The life of Ivan M. Jirous" by Marek Švehla (Prague: Vyšehrad, 2017) – and finds remarkable similarities, although the approaches of their authors are hardly compatible. Husák’s biographer Michal Macháček is an empirically oriented historian, who has collected an impressive amount of material and meticulously studies historical sources which he honestly mentions in extensive footnotes; on the other hand, Jirous’s biographer Marek Švehla is a journalist who is, first and foremost, after a story that would attract readers, which means that he treats historical sources rather arbitrarily, uncritically takes over narrations of contemporary witnesses, and presents every juicy story with gusto. However, both authors wrote books which fail to present Husák and Jirous in a broader period context and ultimately just repeat or strengthen existing myths associated with the two historical personalities dealt with in the books. As to Jirous, it is “Magor’s myth” of an indomitable rebel and intransigent opponent of the Communist regime, in the case of Husák a myth of “the smartest Slovak” who could turn every defeat into a subsequent victory and ultimately grasped and retained power thanks to his ability to outsmart his rivals.

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Stalinův černý apoštol

Author(s): Františka Schormová / Language(s): Czech Issue: 1/2021

Paul Robeson (1898–1976), an African American singer, athlete, actor, and Leftist political activist, visited Czechoslovakia in 1929, 1945, 1949, and 1959. He was in contact with official Czechoslovak structures, was writing about Czech music, and learning Czech. This article focuses especially on his 1949 and 1959 visits and Robeson’s economic and artistic relations to Czechoslovakia. It also explores the broader context of relations between Czechoslovakia and the Afro-American community against the backdrop of the early Cold War, decolonization processes, and the onset of the Civil Rights movement in the United States. In doing so, it also looks at mechanism of cultural exchange within the Radical Leftist internationalist networks, including the dominant role Robeson played as the “introducer” of African American music and culture in Czechoslovakia during the 1950s, and also at views of Czechoslovak cultural intermediaries, such as writer Josef Škvorecký (1924–2012) or musicologist, journalist and music critic Lubomír Dorůžka (1924–2013), on jazz and African American spirituals, which contrasted with those of Robeson. In the Czech context, Robeson is mainly remembered through Škvorecký’s critical comments, labelling Robeson “Stalin’s Black Apostle”. US accounts of Robeson, on the other hand, have often, and until recently, presented a depoliticized version of Robeson, understating the importance of his international activities. A view of Robeson’s career based on Czech and US archival sources, as well as new studies on Robeson and the internationalist networks within which he was operating, cast doubts on both of these narratives and offer a chance to reconsider and re-evaluate this historical figure and the transnational dynamics that brought him to Czechoslovakia.

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Сватба и сватбена музика у българите мюсюлмани от Тетевенско

Author(s): Veselka Toncheva / Language(s): Bulgarian Issue: 10/2015

The article presents wedding and the musical component of the wedding ritual among the Bulgarian Muslims from the region of Teteven. Some of the musical examples, examined in it, are “taken out” from the memories of the informants, others are parts of the wedding, as it could be observed today. The text makes an attempt at a reconstruction of the wedding rituals among this population, which is descriptive to some extent. This is necessary for clarifying the ritual context, in which the concrete musical pattern existed, or exists nowadays. Special attention is paid to the music (both vocal and instrumental), performed at the wedding table and the wedding horo dance and especially the regional variant of the Payduchko horo and its place in the ritual. The text draws parallels with the wedding misic of the Christian population in neighboring settlements, and in northeastern Bulgaria, proving the unity of wedding rituals in the region and in northern Bulgaria as a whole.

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(Self-)Portrayals of Mixed Cultural Identities in the Works of Emily Carr and István Fujkin

Author(s): Krisztina Kodó / Language(s): English Issue: 2/2021

The article examines the work of two artists, Emily Carr (1871 – 1945) and István Fujkin (1953), focusing on Carr’s early and mature “Indian paintings,” and Fujkin’s “Blue Owl” series, completed between 2001 and 2005. The paintings chosen from among Carr’s works are thematically linked to Klee Wyck (1940), her first fictional work describing her travels and experiences with the First Nations People in British Columbia. Though the two artists come from different cultural backgrounds, since Carr was descended from English immigrants and Fujkin is a Hungarian born in the former Yugoslavia, there are similarities in their work. Both artists depict work across time and make use of transnational imaginaries of nature and Native Canadian cultural symbols that ultimately function as a bridge between Native and western culture. Fujkin’s talent lies in his ability to “paint the music” composed and performed by Canadian Mohawk musician Robbie Robertson. Emily Carr’s paintings offer images of her visionary world that transcends cultural identities and provides an insight into nature infused with spiritual and magical elements.

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Mit și logos în opera lui Vasile Voiculescu

Author(s): Oana Marin / Language(s): Romanian Issue: 1/2019

This article proposes, on the basis of an incursion in the work of the Romanian poet and prosaist Vasile Voiculescu, a meditation addressed to the practitioner of theatrical art on the need for understanding and exploitation of the written word in order to offer expressiveness to the spoken word. The importance of the “sense of speech” is underlined by one’s need for meaning and significance in its ontological trajectory, and this is accompanied by a heightened attention given to the symbol, the religious act, the myth, and the legend. The work of Vasile Voiculescu is the perfect framework in which the Actant, the living story maker, can practise his vocal capacity – thus understanding not only the possibility of articulation and sound emission, but also consciousness, feeling, meaning and sacredness, in order to dig up the essence, the primitive substance of the theatrical act - the sacrament of sharing and confession.

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Kulturna djelatnost u Dubrovniku 1929.-1932.

Author(s): Franko Mirošević / Language(s): Croatian Issue: 5-6/2021

After the establishment of the dictatorship, several cultural societies operated in Dubrovnik, namely the Dubrovnik Philharmonic, the Dubrava Singing Association, the Sloga Serbian Singing Association, the Church Choir, the Dubrovnik Theater Association and the Workers’ Music Association Zora. These associations were the bearers of cultural activities in the city. They held music and singing concerts, drama performances, public lectures. In addition to the activities of the aforementioned associations, the cultural life of Dubrovnik was complemented by visiting theaters and choirs from Yugoslavia and abroad. On two occasions, in 1929 and 1932, all associations performed together. In 1929 the 300 th anniversary of Gundulić’s Dubravka was celebrated. A total of 300 participants took part in this mass cultural event. The second time they gathered also in large numbers was on June 17, 1932; around 220 participants gathered in Dubrovnik. These were indications of great cultural events in Dubrovnik that are still organized today in the Dubrovnik Summer Festival. The mentioned cultural activity was not limited only to the activities of music and singing choirs, but also to the revitalization of Dubrovnik’s cultural institutions – libraries, archives, museums, public lectures and guest theater performances, singing and instrumental ensembles, and prominent world musicians from Yugoslavia and abroad.

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Głosy organowe w świetle traktatu „Spiegel der Orgelmacher und Organisten” [1511]

Author(s): Piotr Towarek / Language(s): Polish Issue: 18/2017

From the postulates presented in Spiegel der Orgelmacher und Organisten [1511] one can conclude that stops in Schlick’s organ were, in line with the end of the fourteenth century tendency, the solo registers imitating the timbre of certain aerophones [e.g. Gemshorn, Rauschpfeife, Zink]. They were a counterbalance to the mixture stops, consisting of quint and even tierce ranks, resulting in a less clear texture of polyphonic structures. The author of the treatise does not support the construction of a great number of stops in a single organ. In his opinion, eight or ten skilfully differentiated stops can provide the listener with enough aesthetic experiences. According to a suggestion of the Heidelberg organist, the stops could be used alone or in adequate combinations. The stop knobs should be placed in such a way that they do not disturb the player. The model stoplist of an organ proposed by the author of Spiegel seems to be particularly important for the organ literature. Schlick names here Hauptwerk, Rückpositiv and Pedal with their respective stops.

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ПРОЛЕТНИТЕ ПРАЗНИЧНИ ОБИЧАИ ОД СЕЛО ИСТИБАЊА, ВИНИЧКО

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ПРОЛЕТНИТЕ ПРАЗНИЧНИ ОБИЧАИ ОД СЕЛО ИСТИБАЊА, ВИНИЧКО

Author(s): Alexander Dimitrijevski / Language(s): Macedonian Issue: 21/2022

Only a fragment from the complex and vast Macedonian music folklore will be presented in this paper thru the example of the village of Istibanja, Vinica region in which very strong bond with the tradition and active performance of the customs during one year still exists. The focus of the paper will be on the customs of the spring cycle in which intermingling of the spiritual and profane segments shows unique example of amalgam between pagan, orthodox Christian and local traditional beliefs and customs. Special attention will be dedicated to the meaning of the music segment from the festivities and during the performance of the customs.

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MUZICA BISERICEASCĂ ȘI DOMNIA

Author(s): Eduard Rusu / Language(s): Romanian Issue: 58/2021

Although it may seem curious, religious music played an important role in defining the relationship between music and political power, primarily due to the links between the State and the Church, characteristic of Romanian medievalism. Given this framework, we aim to capture how this relationship is achieved. The princely churches concentrated around them the best psalts, and they, apart from the public divine cult, participated in various manifestations at the Court with their music, the most favorable framework being the princely festive dinners. Here they performed specific songs and polychronions, praising and glorifying the ruler, according to the Byzantine model. The church singers also enjoyed a privileged status, endowed with the aforementioned relationship, which is reflected in several official documents, a situation quite rare in the case of other musicians at the princely court. This is why we consider it necessary to take the action we are proposing, especially as a similar attempt does not exist in Romanian historiography.

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PATRIJARHALNA SIMBIOZA: - FALOCENTRIČNE OSI I NJIHOVE POVIJUŠE

Author(s): Venita Popović / Language(s): Bosnian Issue: 35-36/2022

The lascivious habit of the barons and counts, the wine-drinking "Aga of Sarajli" and other merry princes, to nonchalantly pinch the backsides of the maids as they pass by, has survived in a slightly modified form to this day. Everywhere where any kind of power, even a minor one, has congealed. In the case of directors, some public intellectual actors, bosses, tycoons, bigoted pops, mutes and nasrudin-hodžics, skorojević-hostesses, pop moguls, smirante professors... Even if they don't grope, with lascivious macho allusions they choreograph quasi-eroticism where it doesn't belong. Thus, before it was called for, let alone founded, gender ethics was already excluded, suppressed, extinguished and doomed to failure.

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Estetyka jako teoria krytyczna. Filozofia sztuki Theodora W. Adorna

Author(s): Rafał Czekaj / Language(s): Polish Issue: 2 (20)/2022

In his article, Rafał Czekaj presents Theodor W. Adorno’s aesthetic theory as an example of critical theory in the sense given to this term by the Frankfurt School. Czekaj outlines the context of the development of Adorno’s philosophy of art, which consisted of the School representatives’ insights into and diagnoses of contemporary civilization and social structures. He also names those themes of Adorno’s philosophical work which determined the conclusions of his aesthetics, i.e., chiefly the idea of instrumental rationality presented in Dialectic of Enlightenment as well as the so-called identity thinking, both being mechanisms responsible for the oppressive state of reality.

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Метъл по време на пандемия: сценични и медийни трансформации

Author(s): Plamena Petrova / Language(s): Bulgarian Issue: 13/2023

The text analyzes the interactions between metal, media and audiences, in the context of the COVID-19 pandemic. The author explores the formation and transformation of media images, as well as shifts in specialized media and broadcasts in Bulgaria for the period 2020-2022. Тhe transformations in the local metal scene are also analyzed. The main question is: what is changing in the Bulgarian metal scene and specialized media during the pandemic?

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MESTIZAJE Y EXPRESIONES CULTURALES IDENTITARIAS EN LATINOAMÉRICA. Una reflexión sobre el costumbrismo del siglo XIX, la música tradicional y la música pop

Author(s): Diego H. Franco Cárdenas / Language(s): Spanish Issue: 2/2022

The costumbrista illustration of the 19th century in Colombia, after independence, focused on the representation of national cultural expressions. From the iconographic analysis of two representative illustrations, made by Ramón Torres Méndez in that period of time, it is possible to identify elements that contribute to the construction of a cultural identity. The elements that make up these expressions, however, are the result of a mixture of other forms of cultural expression, namely European, American, and African. This miscegenation, always present, extends even today and can be seen in more contemporary manifestations such as pop, in particular, of which is the key focus of this article.

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Творческото мислене в диригентската дейност. Основни фактори и параметри

Author(s): Theodora Pavlovitch / Language(s): Bulgarian Issue: 1/2022

The creative mental process is one of the most essential psychological elements of the conducting art, having a specific position in the shaping and interpretation of the music. It is of a great importance for the entire creative conducting process and underlies the establishing ideas regarding the shape of the music, its structure and texture, as well as the content of the piece in terms of its style, dramaturgy and philosophy. Various factors of the mental process and the qualities of the conductor’s mind are forming the basis of the successful work in any field of conducting – orchestra, choir, ensemble. The convergent and divergent thinking in the conducting process is very important and creates the individual features of the conductor’s personality. Strongly connected to the other basic cognitive processes (perceptions, memory, concentration, attention and performance), as well as to the emotions and willpower, the mental process is playing the role of an “engine” in the conductor’s creativity.

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Кризата като предизвикателство за висшето образование и новата-стара роля на музиката (Идеи за концепция и управление в областта на музикалните изкуства и образованието)

Author(s): Pavlina Velichkova / Language(s): Bulgarian Issue: 1/2022

The new reality forced us to make transitions, resulting in significant rise of psychological problems and disorders. The crisis is a chance for fostering a new scope of music, based on ancient modes of existence and perception: music as a tool for psychological impact, “manipulating” human mood and activities, creating communities through common experience, overcoming distance and self-insulation. New artistic forms present the shared digital performances as a model of socialization and interaction, stimulation of creativity and spontaneity, improvisations. The change of the scope leads to three paths in the higher music education: for highest level musicians, for digital and applied music artists and for music therapy, based on the healing musical impact. The new tools in education point to the priority of intensive as well as hybrid educational forms, including management and selfmanagement in the curriculum and implementing the gamification as a new approach.

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Музикалната образованост и принципи на музикалното възпитание в публикациите на Иван Камбуров

Author(s): Diana Petkova / Language(s): Bulgarian Issue: 1/2022

Ivan Kamburov (1883 – 1955) was a famous Bulgarian musicologist, folklorist, pedagogue and music critic. The article presents his musical and pedagogical approaches, which are based on a more critical view of the responsibilities of the institutions, family and the state for the implementation of musical-pedagogical interaction. The basic principles of the musical-educational process are presented, as well as some extremely innovative standards for musical erudition, discussed in the first part of his book “Music and People”.

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Fires of Joy and Anticipation Wedding Firework Displays of the Central European Habsburgs in the Second Half of the 17th Century

Author(s): Milan Kindl / Language(s): English Issue: 2/2022

Early modern firework illuminations and displays formed part of festivities in both secular and sacred contexts from the end of the 14th century. During the 15th and 16th centuries their designers, often high-ranking artillery officers, became an increasingly important part not only of army but also of court life. The development of fireworks, and especially rockets, gave prominence to intricately conceived displays, which were gradually developed according to the changing tastes of musical theatre productions and the skills of masters of pyrotechnics. In Central Europe, several performances were staged at the Habsburg court from the middle of the 17th century onwards which were clearly among the most costly, complex and, above all, the highest-quality pyrotechnical displays of their kind in the history of human culture. They were instruments of the complex patterns of contemporary propaganda and courtly representation, and their stories reflected the reality, desires, visions and concerns of the ruling dynasty. We can deduce their forms, stories and messages from surviving synopses and printed illustrated sheets.

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Remediating fantasy narratives for participatory fandom: Tolkien’s stories and their translations in films, video games, music and other products of the culture industries

Author(s): Eirini Papadaki,Nestoras Volakis / Language(s): English Issue: 1/2022

The phenomenon of fantasy transmediality (Rebora 2016) has been discussed by many researchers and scholars during the last decade. The need for the creation of alluring cultural products in the highly competitive new media environment has led to synergies between many cultural industries and/or cultural producers, such as film, music, literature and videogame industries, etc. Many well-known and fan-developing narratives have been remediated – repackaged and redistributed – through the various media, answering to the contemporary nostalgia of pastness (Williams 2016), the cherishing of the familiar and intimate, as well as the need to further popularize “a pre-conceived merchandising industry” (Ball 2002), create new side-products for a fan community or even offer escapelands, which fantasy narratives succeed in creating. This paper will examine the translation and adaptation of Tolkien’s Lord of the Rings (LOTR) to different media and cultural industries, such as:- Peter Jackson’s films,- role-playing games (RPGs),- the music industry – with reference to well-known songs and bands.Through comparative analysis of certain segments of the LOTR industry market and comments made by fans on digital platforms, the paper underlines the basic story elements of the Tolkien universe, as adapted to each above-mentioned variant and examines the role of fans in the digital semiosphere.

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