Tschechoslowakei - No Future für Punks?

Author(s): Andrew Csepel / Language(s): German Issue: 14/1983

1976 zerstörten der Schauprozeß und das Urteil gegen die »Plastic People of the Universe« die tschechoslowakische Untergrund-Rockszene. Die Massenmedien widmeten dem Verfahren beträchtliche Aufmerksamkeit und die Ausschaltung der Gruppewar von großer Bedeutung für die Politik der »Normalisierung« . Nicht etwa deshalb, weil die Band jemals eine ernsthafteBedrohung des Regimes dargestellt hätte, sondern weil diealternative Rockmusik-Szene potentiell ein großer Anziehungspol und ein fruchtbarer Boden für unorthodoxe Ideen und Haltungen innerhalb jener entscheidenden sozialen Gruppierung hätte werden können, die den »Normalisieren« so amHerzen lag — der Jugend

Фонд композиторских заоставштина у Музиколошком институту САНУ

Author(s): Biljana Milanović / Language(s): English,Serbian Issue: 10/2010

The study is dedicated to the Legacy Collection of composers maintained by the Institute of Musicology of SASA. Due attention is paid to the history of its formation as well as to its unique contents which refers to the primary and very important archive sources related to the Serbian musical history. The text also provides a discourse which highlights issues concerning the strategies and perspectives of Serbian musicology. The Supplement gives a short description of each composer’s legacy.

The Birth of Contemporary Russia out of the Spirit of Russian Music

Author(s): Richard Taruskin / Language(s): English Issue: 6/2006

In this article, the author observes and discusses the effects of Russian history on Russian music in the second half of the XXth century. Forming part of author’s long-range persistent polemics against Russian exceptionalism and against the kind of romantic overvaluation of art, the article expresses sharp and provocative views of the main stylistic tendencies in Soviet and Russian music during and after the epoch of the Cold War, as well as after the Second Russian Revolution in 1991. Special attention is paid to the activity and works of the most prominent Russian composers of their time: Andrey Volkonsky, Edison Denisov, Nikolai Keretnikov, Arvo Pärt, Elena Frisova, Sofia Gubaidulina and Alfred Schnittke.

Проблеми проучавања српске музике између два светска рата

Author(s): Katarina Tomašević / Language(s): Serbian Issue: 1/2001

The introductory section of this article comprises a condensed retrospection of previous researches in Serbian music between the two world wars. Basic problems faced by contemporary Serbian musicology have been pointed out. These include: incomplete bibliography, absence of monographic publications, general historic surveys, and system¬atic typological studies. Such a situation resulted from a scries of organizational difficul¬ties that, from the very beginnings of our musicology, accompanied the researchers' work. A section of the article pays attention to current problems of scientific personnel. The stale of material is also one of the essential problems. Unfortunately, the situation regarding finding, recording and expert and bibliographical treatment as well as publishing various material is still an important obstacle for a systematic scientific treat¬ment. historical surveys, analytical and critical evaluation of general tendencies of the period. Composing a single data bank of institutions and private collections where mate¬rial is conserved, as well as publishing scores and sound archives, are the first steps to be made in our musicology towards modern methodological views on the period of Serbian music between the two world wars. In the section Thematic Fields the author emphasizes the importance of contex¬tual studies of the musical heritage as a part of Serbian and European musical and cultural life It has been noticed that musicological views tend to focus on Belgrade with very little work dedicated to dominant music trends and phenomena in other parts of Serbia. Also discussed are problems contained in the notion of Serbian music between two wars. It has been pointed out that certain problems arise when in interpreting evolu¬tionary art trends we try to strictly connect them with lime limits provided by historical events. In the 20th century, Serbian history has recorded al least four wars, so it has been proposed to adopt in the future musicological practice, the expression ‘between two world wars" instead of the term "between the wars". When examining the problem of defining Serbian music in national terms, we find that the previous musicological practice was correct in regarding non-Serbian composers and musicians as well as Serbian authors whose careers were developed abroad as belonging to the same corpus. Il has been sug¬gested that future researchers should make comparative investigations of the activities of Serbian authors in the specific contexts of the ethnic cultures within which they worked during the period. Taking into consideration the tragic events of the recent political his¬tory in the former SFRY. it has been pointed out that especially provocative terms Yugo¬slav and Yugoslav national music as a unique notion, are bound to be revised. Modem comparative research also demands evaluation of the term music itself that ranges from the purely artistic (high-culture) to border-line, subcultural fields. In (his way, by studying the phenomenon of the trivial art, the knowledge on Serbian musical culture between two world wars would be considerably expanded. This would also enable a Imai delineation between the art-music corpus and the non-artistic genres corpus in historical writings. Without aspiring to complete the list, the Conclusion points to some insuffi¬ciently researched fields (e.g. sacred music) and current musicological (the problem of dominant and side trends) and terminological problems (including stylistic attributes and questions of musical realism).

The politics оf spectacle: Italian music аnd Fascist propaganda

Author(s): Roberto Illiano,Massimiliano Sala / Language(s): English Issue: 13/2012

Propaganda played a very important role during Fascism; the kind of propaganda used by Mussolini to build a totalitarian state was to a very large extent based on his own personality cult, on the myth of the leader. Despite the disastrous outcome of the Mussolini regime, the propaganda has outlived Mussolini himself. Cultivating the image therefore becomes an essential part of the mechanism of generating consensus, anticipating by more than half a century the politics of spectacle used today throughout the world.

Activitatea ştiinţifico-metodică a pedagogilor catedrei Pian Special a Conservatorului de Stat din Chişinău în perioada anilor 1950–1970

Author(s): Irina GUZENCO / Language(s): Romanian Issue: 2/2021

The article describes the methodological and scientific works of the Special Piano department teachers from the Chisinau State Conservatory, created in the period 1950–1970s. The most common type of unpublished articles are reviews of colleagues’ concerts, reports, abstracts, essays and musical collections. The most serious scientific plans of the teachers were related to the genre of the dissertation. In the 1960s. the scientific and methodological articles of teachers of the department of Special Piano begin to appear. The most significant part of them is formed by music collections, composed of the music of Moldovan composers. T. Voitsekhovskaya and A. Dailis compiled and edited musical aids for students of different ages. The uniqueness of these scientific and methodological opuses is due to the specifics of the material under study – the subject of a special piano, the subtleties of which are familiar to authors, pianists-teachers and performers from their direct professional activities. The named scientific publications opened the way for further research of pianists, who became especially numerous at the turn of the XX–XXI centuries.

Cântarea monodică bizantină din spaţiul românesc versus cântarea religioasă multivocală: divergenţe şi convergenţe

Author(s): Violina Galaicu / Language(s): Romanian Issue: 2/2022

Among the agents of the infi ltration of polyphony in native religious singing are the reforming current, coming from the West through Transylvania, as well as the act of uniting with Rome a part of Transylvanian Romanians (1701). Catholic choral pieces are insinuated in Psalter manuscripts, including the curious phenomenon of the transposition of polyphonic religious singing into the Byzantine semiographic system. Th e two components — monodic and polyphonic — are also meet in Moldova. In 1782 during the abbotship of Paisie Velicikovski, a choir of Russian monks was established, who practiced harmonic singing (along with native monks who, traditionally, sang monodically) at Neamts Monastery. In the fi rst half of the 19th century, the contacts of psalter music with polyphonic religious music intensifi ed. Th e presence of choral singing was signaled in several cultural centers in the researched area (Arad, Bucharest, Iasi). As time goes on, psalter singing is competing more and more dangerously with harmonic singing, things being pushed to a fi erce confrontation between the two currents. Th e saving solution for keeping the balance between continuity and renewal is seen by the bishop Melchizedek of Roman.

Observațiile călătorilor străini — surse narative despre fenomenul muzicii în cultura din Moldova (secolul al XVIII-lea)

Author(s): Victor Ghilaş / Language(s): Romanian Issue: 2/2022

The present paper is designed with the intention of capitalizing on the narrative praxis of foreign travelers, which partially outlines the image of music from the culture of Moldova, resulting from their stay on the territory of the country. Starting from the researched historical sources, the content, presented in chronological order, highlights and analyzes the points of view of the travelers from outside, whose refl ections and comments facilitate the penetration into the realities of court music and fi ddle music, oft en considered “minor forms” of manifestation of the sound art, to which local research has oft en paid less attention. Captured from the perspective of the non-professional traveller, the described information reveals the circumstances, in which the services of music are appealed to and the share of the phenomenon in offi cial events. At the same time, the syntheses undertaken shed light on the exaggerations and (or) subjectivisms expressed in the interpretations and opinions of foreign visitors. Nevertheless, the travel notes have the role of contributing to broadening the horizon of national music in the historical period under research.

Trei dansuri valahe din secolul al XIX-lea în colecţia de melodii a lui Edward Jones

Author(s): Victor Ghilaş / Language(s): Romanian Issue: 2/2023

In the center of attention of the paper, there are three Wallachian dance melodies in piano transcription, which, together with the music of other peoples, are included in a collection of songs published at the beginning of the 19th century in London. The article focuses on the morphological and syntactic analysis of the musical content, trying to distinguish the facets of the sound discourse, which would prove its belonging to the Romanian musical fund. The radiography, undertaken along the way, at the level of structural elements (motif, phrase, melodic profile) and musical language as a carrier of semantic, cognitive and affective information (intonations, scales, modes, cadences, modulation), aims to mark the specific particularities of the music of the national dance in the perspective of the melodies found in the London collection. The aspects investigated and the conclusions of the study underline the idea of the interest shown for our musical culture of oral tradition and its circulation abroad, which, along with the recognition of its artistic qualities, configures the ethnic specificity rendered through music.

Problema autenticităţii în repertoriul orchestrei „Folclor”: politici instituţionale ale Teleradiodifuziunii Moldoveneşti şi reflecţii în presa sovietică din anii 1970-1980

Author(s): Vasile CHISELIŢĂ / Language(s): Romanian Issue: 2/2023

The study addresses the diverse and controversial aspects regarding the concept, notion and principle of authenticity in neo-traditional music, known as “popular/folk music”, promoted by the popular studio orchestra “Folclor”, within the Republican Television and Radio Broadcasting Company (TRM), in the ideological context of the Soviet period, throughout 1970-1980s. The author tries to reveal the directorial role of the Artistic Council of the TRM, as an institutional body of control, censorship, evaluation, homologation and political accreditation of the popular creations as cultural expressions of the Moldavian SSR, in accordance with the cultural policies of the party-state. Calling on the analysis of some studies on the topic, the synthesis of typical wordings from the minutes and the evaluation of the critics, exposed in the press pages of the era, the main characteristics of the neo-traditional popular/folk authenticity are highlighted.

Koncepcje strategiczne polskich filharmonii i orkiestr

Author(s): Małgorzata Kaczmarek / Language(s): Polish Issue: 4/2023

The high degree of the environment instability generates the need to apply not only a strategy, but also a range of management practices as well as tools to the day-to-day operations of cultural institutions. Strategy can therefore be seen as a modern way for continuous adaptation to the environment. Having and implementing a strategy, including marketing strategies, is important not only from perspective of the declining participation and attendance in cultural events in the Polish society, but also because of the need to meet the requirements of effective operation. Hence the emerging question: how to manage a cultural institution whose survival nowadays is more than ever dictated by an unclear future scenario? This paper will present the strategic concepts of the Polish philharmonics and orchestras, which are a response to the challenges of the environment with different attitudes and activities.Qualitative research in form of the individual in-depth interviews (IDI), which form the basis of the study, was conducted between May 2022 and May 2023. They were concerned with management tools currently used by managers and directors of public cultural institutions – in case of this study, these were philharmonics and orchestras. Transcripts of a total of 25 in-depth interviews were analysed, then categorised and compiled using qualitative research support software.The conclusions that emerged from the literature review and qualitative research indicate a strong diversification in the attitudes of philharmonic managers. The hybridisation of artistic activities means that, as never before, philharmonics are diversifying not only their identity, but also the range of activities as well as their effect. The environment plays an increasingly important role in this process.

Introduction II: Shifting Literary Culture since Stagnation in the Brezhnev Era: The Baltic Paradigm

Author(s): Eva Eglāja-Kristsone,Jānis Oga / Language(s): English Issue: 52/2023

Wiedza boska a wiedza ludzka. Boska synestezja w filozofii Ksenofanesa z Kolofonu

Author(s): Sebastian Śpiewak / Language(s): Polish Issue: 49/2023

The aim of the present article is to analyze the poetry of Xenophanes of Colophon concerning his epistemological considerations with the notion of god proposed by him. Traditionally, Xenophanes is well known as a philosopher engaged in the debate on the meaningfulness of mythological ideas. At the same time, he advocates the concept of god, which is different from pictures transmitted through The Greek epic. It shall be shown how the theological approach of the Colophonian finds its justification in his remarks on cognitive abilities, especially in creatively used opposition between human and divine knowledge. Recently indicated, the connection between Xenophanes’ theology and his epistemological theses is not exhausted in the critique of religious anthropomorphism but is more profound, and based on the awareness of the impossibility of clear knowledge (saphes) for a human being. The latter is, however attributed to god alone, who gains the knowledge in the manner of synesthesia.

The language of multimedia presentation

Author(s): Rumjana Stefanova / Language(s): English,Bulgarian Issue: 17/2023

The present study is devoted to one of the forms of visual communication – multimedia presentation, considered in semiotic terms as a sign system. A structural approach is used in the present consideration and the basic principles for transforming a sign system into a signifying one are presented, as well as the conditions it should meet. The study uses the principles of linguistic analysis as a basis, analysing semantically the form and meaning of each text. In this case, the presentation is analyzed as a text and a part of language. Following the analysis, the study concludes that multimedia constitutes a sign system whose functioning is carried out in two axes: the simultaneity axis and the succession axis, which does not correspond exactly to the two axes in language: the paradigmatic and the syntagmatic. Each multimedia presentation is a complex hierarchical system with a tree-like semantic graph structure, but without meaning units and with syntax principles respected. Multimedia presentation in contemporary presentation forms is a typical example of the synergy of technology and the means of graphic design, and its integrated impact on the senses for marketing and advertising tailored to the specific target group of users.

The Presentation of Popular Music in Yugoslav Socialist Discourses (1945–1952)

Author(s): Dragica Popovska / Language(s): English Issue: 1/2024

This paper deals with popular (entertainment, dance or light) music in Yugoslav socialist discourses, in the period from 1945 to 1952. It is based on newspaper articles of the time, which provide insight into the ways in which the tension, contradictions and possibilities in everyday life related to music and dancing forms of entertainment, were identified. The analyzed data shows that there was an interaction of generative and restrictive practices in Yugoslav society. They indicate the way in which the image of popular music was shaped in the socialist discourse in the 1945–1952 period.

„Styky s Němci, spekulantka, vdavekchtivá vdova, to vše jsem byla“: životní (melo)drama Žofie Veselíkové

Author(s): Pavla Plachá / Language(s): Czech Issue: 01/2024

The article discusses the complex and controversial life of Žofie Veselíková, an opera singer and actress, remembered by her daughter Soňa Červená as a victim of both the Gestapo and the State Security. Born in 1896, Veselíková experienced a tumultuous life marked by multiple marriages, financial struggles, and interactions with various political regimes. Her life took a darker turn during the Nazi occupation, where she was involved with influential figures in the German administration and allegedly worked as an informant. Despite her attempts to navigate the dangerous political landscape, she faced significant challenges and controversies, including accusations of opportunism and betrayal. Her story is a reflection of the complexities and moral ambiguities faced by individuals during totalitarian regimes. Veselíková's life ended tragically in a communist prison, highlighting the harsh realities of the era.

Елементи от традиционния музикален театър в ариите на оригиналните китайски опери

Author(s): Jiangzi Jiang / Language(s): Bulgarian Issue: 15/2024

“The White-Haired Girl“ is the first original Chinese opera. It combines Western music, music from regional Chinese music dramas and Chinese folk music. In this sense, “The White-Haired Girl“ has very high research value. One of the most brilliant vocal performances in the opera is the protagonist's aria “Hate like a mountain, anger like a sea”, which incorporates musical elements from the regional musical theatre of Shanxi province. In this paper, the aria is analyzed in terms of its musical nature, the features of vocal line and emotional expressiveness, the use of elements from Chinese musical theater in operatic arias is explored, and its significance and influence on the creation of opera on local soil is examined.

5–8 klasių muzikos vadovėlių analizė krikščioniškųjų vertybių raiškos kontekste

Author(s): Klaidas Kauneckas / Language(s): Lithuanian Issue: 1 (53)/2023

By applying the method of content analysis, the article analyzes basic (grades 5–8) music textbooks by different authors. The article aims to find out how much and in what way Christian values are presented in the content of musical education. The results of the research revealed that the Christian faith, its meaning and values are most reflected in Balčytis’s series of textbooks “Muzika” (2007). Malikėnienė’s textbooks “Muzika” (2010) and “Muzikos labirintai” (2012) pay more attention to the development of students’ secularity and understanding of music.

Utopia, Sound, and Matter in Ernst Bloch

Author(s): Federico Rampinini / Language(s): English Issue: 2/2023

Bloch’s philosophy of music is one of the most interesting of the twentieth century, particularly in the context of Marxist aesthetics. This article focuses on the various peculiarities of this thought, which seldom are highlighted. Firstly, through a new analysis of the musical sections of Spirit of Utopia and The Principle of Hope, the relation between utopia and music will be discussed in Sections 2 and 3 in order to show the originality of Bloch’s refusal of the Marxist base-superstructure model in the field of aesthetics. In contrast to the other philosophies of music, the study of music inspires theoretical speculation in Bloch’s thought and not vice versa. In order to demonstrate this connection, in Sections 4 and 5, the idea of the sound in Spirit of Utopia will be examined and compared to the conception of the matter as it is presented in The Principle of Hope, The Materialism Problem, its History and Substance, and other works. These paragraphs aim to highlight how the early conception of sound was the model for the later conception of matter.

Musical Instruments of the Turkic Peoples of the Volga Region and Urals

Author(s): Gulnara Khayrullina / Language(s): English Issue: Spec/2023/2023

National musical instruments are part of the culture and history of the people. They reflect the characteristics, temperament and mentality of the people, the conditions for their formation as an ethnos. Variety, rich sound, unusual melody pattern – national musical instruments create all this. Every ancient musical culture has its origins in ancient rites. Folk music of the Turkic peoples of the Volga region and the Urals was no exception. Singing was accompanied by pagan and mystical sacraments, holidays, household and daily rituals such as hunting, harvesting and much more, including military campaigns. The sound of folk instruments has a specific musical pattern and voice that distinguishes the musical instruments of the Turkic peoples from other ethnic groups that have settled since ancient times in the Urals and the Volga region. This is due to the fact that the Tatars and Bashkirs have always preferred melodic musical instruments that allow performing a branched, rich melody in a wide range. Although the list of musical instruments has about fifty varieties, this article analyses the most characteristic and ancient ones.