Музикалнодиалектни особености на фолклорния вокален стил и маниер на изпълнение

Author(s): Galya Grozdanova-Radeva / Language(s): Bulgarian Issue: 2/2015

Working out the specifics of the vocal styles and manners of performance in the different folk music districts in Bulgaria is prompted by an actual necessity, proved on the one hand by the decreasing number of the existing traditional folk practices and the limited contact of young people with these practices and on the other, by the revived interest in mastering such practices (mostly vocal and dance). The manner of performance is an established empirical practice, honed in the tradition of the past as a ‘model to follow’ and mastered intuitively. Now, however, it could be described, shown and taught. It is necessary to present in detail its specific aspects in each larger or smaller territories of the established folk music districts in Bulgaria so that to make its knowledge and mastering easier. The article deals with the folk musical dialects in Bulgaria presented in two major parts following the introduced by Elena Stoin territorial classification: eastern and western. The twelve folk musical dialects or regions are described in terms forming two groups of elements: vocal elements (speech reflex, speech specifics, sound qualities, sound generation, resonance, onset of sound, performative practice, vocal range); elements of the music language (voice-leading – strokes, ambit of the songs, ornamentation). The specifics of the vocal style and manner of performance are accentuated. On the basis of the outlined specifics of the traditional vocal practice in the folk music districts, generalizations are made, true to one degree or another of the national, territorial and regional music language.

Изследователска група „Музика и танц в Югоизточна Европа”: преживяна история

Author(s): Lozanka Peicheva / Language(s): Bulgarian Issue: 2/2015

The process of creation and development of the ICTM Study Group Music and Dance in Southeastern Europe at UNESCO is researched in the text. The occurrence of idea to create this Study Group and its development in the period 2005–2007 are observed. After the establishment of the Study Group on Music and Dance in Southeastern Europe by the ICTM Board in Canberra,Australia (February 16-17, 2008), four symposia were held that are presented in the text: 1) 2008 – Ohrid, Macedonia; 2) 2010 – Izmir, Turkey; 3) 2012 – Berovo, Macedonia; 4) 2014 – Valjevo, Serbia. There are outlined the closest perspectives for the study group connected with the organization and realization of the next Fifth Symposium in 2016 hosted by the South-West University “Neofit Rilski” in Blagoevgrad, Bulgaria.

Любомир Кутин: „Българските фестивали. Категории и системи за оценка“

Author(s): Rosemary Statelova / Language(s): Bulgarian Issue: 2/2015

This review seeks to present a new book, Bulgarian Festivals (2014) by cultural specialist Dr Lubomir Kutin, which is a follow-up to his study Festival as a Phenomenon of Artistic Culture (2004). In the first part, Lubomir Kutin’s body of work is presented. Both as a theoretician and researcher and as a practician, Kutin’s every effort has been devoted to work in the field of running and management of culture. The second part of the article treats Bulgarian Festivals as a set of two studies. The first one features a typology of the festivals on the basis of nine anthropological, socio-cultural and artistic categories: play, spectacle, celebration, space, time, institution, artistes, programme, audience. The second study gives a consideration to the necessity for a new approach to the control and evaluation of the festivals in Bulgaria. The final part of the review quotes an excerpt from the author’s statement at the public discussion on his Bulgarian Festivals, held in autumn 2014 at the Centre for the Study of Democracy.

Милена Шушулова Павлова: „Музика и публики. Нови концепции за отвореност“

Author(s): Elisaveta Valchinova-Chendova,Todor Petev / Language(s): Bulgarian Issue: 1/2016

The book deals with topical contemporary musical practices and processes of musical communication. The fundamental to the art of music problem of communication is commented on. Music is communication and in this light, actual processes and contemporary musical and cultural practices in the field of the so-called ‘classical’ or ‘art’ music are treated. Drawing on serious literature, related directly or indirectly to the subject matter, the author formulates and considers in all their bearings several significant issues pertaining to the digital breakthrough, the role of the social media, public interest, analysis of audiences, etc., as social and cultural phenomena of enormous psychological effect, shaping new practices and audiences. Contemporary music education and that of young audiences are highlighted. The sociological survey conducted by the author and her analysis of the results is central to the study. The text is dialogical, intended for various readerships, which is yet another advantage to this book. Apart from the viewpoint of the musicologist, we provide the opinion of Prof. Dr Todor Petev, a renowned Bulgarian sociologist, the doyen of mass communications studies (1944–14 October 2015). In his opinion, the analysis of good cases and the innovative music educational endeavours (al fresco grand concerts in public areas in Europe) is the book’s strong side. Another fresh thematic line is that of the young audiences (the analyses of the survey of students, Ch. 10). It is gratifying to see that the author leaves the ending open to interpretation by readers, enabling them to continuously provide an infinite amount of new examples.

Tantiemy dla współtwórców utworu audiowizualnego w kontekście usług platform streamingowych oraz dyrektywy w sprawie prawa autorskiego na jednolitym rynku cyfrowym

Author(s): Iga Bałos / Language(s): Polish Issue: 2/2023

The aim of the article is to present the nature of remuneration due to film co-authors and performers on the basis of Art. 70(2)(1) of the Act of February 4, 1994 on copyright and related rights (CRRA). The current wording of the provision does not take into account the realities of the contemporary audiovisual industry and changing habits of audience who give up cinema screenings in favor of VoD. The streaming services also replace usage of films stored on DVD or other carriers. According to Article 18 of Directive (EU) 2019/790 of the European Parliament and of the Council of 17 April 2019 on copyright and related rights in the digital single market, the Member Stated shall ensure that where authors and performers license or transfer their exclusive rights for the exploitation of their works or other subject matter, they are entitled to receive appropriate and proportionate remuneration. According to the author of this article, the said article, with respect to coauthors of an audiovisual work should be implemented by extending the scope of Art. 70(2)(1) of the CRRA by introducing an inalienable right to appropriate remuneration for making the work publicly available in such a manner that anyone could access it at a place and time individually selected by them.

СВАТБЕНИТЕ ПЕСНИ НА БЪЛГАРИТЕ ОТ ОБЛАСТТА ГОЛО БЪРДО, АЛБАНИЯ И ТЕХНИТЕ ДИАЛЕКТНИ ВАРИАНТИ

Author(s): Veselka Toncheva / Language(s): Bulgarian Issue: 16/2019

This paper compares textual and musical variants of wedding songs from Golloborda Region, Albania, which are known and popular in the territory of Bulgaria and Republic of Macedonia. Golloborda is a Bulgarian populated region that remained in the territory of Republic of Albania when it became an independent state (1912‒1913), but the defined state borders do not change its dialectical unity with Pirin, Vardar, and Aеgean Macedonia. Variants of "Gollobordian" songs exist in territories located to the east of Albania in the ritual female song repertoire, as an older stratum. The relation is at the typological level – certain types of songs are presented at key moments of the ritual and there is propinquity in textual and musical content.

СИТНО КОЛО КАО ЖИВИ ЕЛЕМЕНТ НЕМАТЕРИЈАЛНОГ КУЛТУРНОГ НАСЛЕЂА НА ПОДРУЧЈУ РАШКЕ ОБЛАСТИ

Author(s): Marta Janković / Language(s): Serbian Issue: 52/2023

In the wider area of Raška, the small round, which represents a living element of intangible cultural heritage, is still performed today. The mentioned dance belongs to the kinetic-formal type of round in three, the most widespread and persistent pattern in the dance tradition of Serbia. The small round is practiced in formal and informal contexts, i.e. at various private and public celebrations (weddings, vows, baptisms, prelo, poselo, baptism dances, etc.). The musical accompaniment of the small round can be made by a clarinet and a drum, as well as pipes. The main goal of the work is to look at the specifics of the performance of this round, to determine its basic characteristics as elements of intangible cultural heritage, as well as the scientific interpretation of this form of appearance. In addition, one of the goals of the work is to present the performance style of the Raška region, i.e., to indicate the way of dance thinking on the example of the small round. For the purposes of this work, field and historiographical research was carried out in search of data on the small round. On that occasion, the literature and work of researchers of various profiles, ethnographers, as well as amateur researchers who carried out research in this area were consulted. The results show that the name sitno kolo (small round), as a dance that belongs to the kinetic-formal type of round in three, does not exist in the literature, but based on interviews with representative practitioners, it can be concluded that it is performed in the entire area of Raška, in Podgolia, Podkopaonic and villages at the foot of Rogozna mountain. The expert explanation of the kinesic and musical text describes in detail the factors that ensure the recognizable kinetic impulse of the small round. In addition, the factors and indicators that can influence the fact that the small round, which still lives in current practice as an important identity marker of the Raška region, are characterized as part of the intangible cultural heritage.

Figury afektywne w polskiej piosence

Author(s): Leszek Tymiakin / Language(s): Polish Issue: 1/2024

In the article, rhetorical devices which help to express external emotions are described and supported with examples (exclamatio, evidentia, sermocinato and similar prosopopeia, expolitio and similitudo). In the song genre, apart from the main constitutional role, these devices perform two other interdependent tasks: the first one is related to the sender, the second one – to the recipient. In addition to their expressive and conative functions, the supporting role is assigned to the following functions: amplifying, motivational and aesthetic. It is important that the beauty and charm of short, vocally performed pieces are to a large extent dependent on not only on the music but also on the words used in them to successfully express and engender emotions.

KOMODIFIKACIJA I KULTURNA INDUSTRIJA: RAZUMEVANJE TREP FOLKA I „GASERSKOG“ STILA U SRBIJI I POSTJUGOSLOVENSKOM PROSTORU

Author(s): Dragana Mrvoš,Barbara Frey / Language(s): Serbian Issue: 1/2024

The capitalist market system of post-industrial society gradually encompasses all social relations as it subsumes the entirety of social and cultural realms under its profit-making logic. Music is also deeply immersed in economic transformations of society and is a significant determinant of youth identities and style. In this study, we analyze the origin and characteristics of trap folk music and gaser style among young people in Serbia and the former Yugoslav region. In order to better understand the peculiarities of the new music genre and the style associated with it, we primarily analyze the importance of commodification and the cultural industry. Methodologically based on a qualitative analysis of popular trap folk songs, visual representation and slang among the most popular trap folk artists, our study points to the presence of global consumer culture and political apathy among young people in the Balkans, which also reflects the formation of fluid identities without visible authenticity and deeper meaning. Despite the apparent absence of political resistance, we conclude that class affiliation is an important determinant of the emerging gaser style and identity, which is not the case in post-subcultural sociological discussions about youth subcultures.

„NEUKUS“ KAO OBLIK KULTURNOG OTPORA: FESRAM I DEBATA O LOŠOJ MUZICI U SRBIJI

Author(s): Irena Šentevska / Language(s): Serbian Issue: 1/2024

The recent social developments in Serbia have established a new model of political monopolies and an effective return to the one-party regime. Such absence of alternatives in the official political sphere provokes three basic forms of resistance: complete disillusionment with the political system and its major exponents which results in political abstinence; mass protests in response to concrete instances of abuse of political power and informal cultural initiatives which communicate political messages through the critique of the politicisation of the cultural sphere. In this paper, the case study for this form of political resistance is the independently produced, low-budget music festival Fesram (Festival sranje muzike or Festival of Crap Music), active between 2012 and 2019, which at the same time challenged the political and cultural systems in the country, and their respective core values. The introductory part of the article situates Fesram in the context of the existing forms of political resistance to the currently dominant political regime. The second part discusses the concept of „bad music“ in the Serbian cultural context, its history and academic treatment (or lack thereof), and its wider cultural and political implications. The third part discusses Fesram, its background, and practices. The fourth part discusses Fesram’s manner of dealing with the cultural stereotypes prevailing throughout Serbian history and the perceived absence of social criticism in Serbia’s official cultural sphere. In the concluding part Fesram is observed as a form of „discreet activism“ resorted to in circumstances in which other forms of political resistance seem to fail. Without permanent funding, venues or a fixed time-frame, Fesram changed its dates and locations, spontaneously responding to current goings-on in Belgrade and Serbia, and communicated with its audiences mainly through its Facebook page. Playing with ideological opposites, confronting them in „outrageous“ combinations (musical, verbal and visual) Fesram invited its audiences to critically (or even un-critically) distance themselves from the extreme poles of the political spectrum. Although it parodied characters from the official political and cultural spheres and mocked the language of tabloid media and the prevailing political jargon, Fesram did not align with any established political option, inviting its audience to think beyond the existing political system and question the society’s core values. Fesram was not didactic: it communicated exclusively by annoying anyone who failed to receive its messages. And Fesram’s probably most important message is that Serbian society has nurtured false cultural values and associated political doctrines for far too long and that it has only itself to blame for the condition it has found itself in. This erratic music festival had not only shaped an alternative form of activism, but a new type of „activist citizen“ who understands the meaning of „crap“ (whether in music, culture, politics or society in general) and the importance of this understanding. Fesram also showed that political resistance goes hand in hand with resistance to the cultural values propelling political action.

Gesamtkunstwerk i multimedija – između auratskog i tehničkog

Author(s): Livia Pavletić / Language(s): Croatian Issue: 25/2024

The idea of the text is to question the similarities and differences between the concepts of gesamtkunstwerk and multimedia. These are terms that presuppose the search for a new form of unification of artistic forms, at different times and in different ways. The key thinker (and artist) of gesamtkuntwerk or that orientation is the composer Richard Wagner. The theoretician who was at the crossroads of the worlds of traditional art and the contemporary technical sphere was Walter Benjamin. He begins a new line of writing about art, which is supported by theorists such as Marshall MacLuhan, Vilem Flusser, Friedrich Kittler, Jean Baudrillard, Dona Harway, Lev Manovich and Maurizio Lazarato. The text will present the idea of gesamtkunstwerk and compare it with some of the views of theorists who accepted or rejected this idea.

Beat music, sláger, and different song translations in Socialist Hungary [Ignász, Ádám (ed.) (2023). Translation, adaptation, and intertextuality in Hungarian popular music. (Jazz under State Socialism. Volume 8). Lausanne et al: Peter Lang. Pp. 282]

Author(s): Johan Franzon / Language(s): English Issue: 15/2024

Research on the Impartment and Inheritance of Tea-picking Dance in Southeastern Guangxi

Author(s): Li Xie,Weibo Dang / Language(s): English Issue: 7/2024

The Tea-picking Dance of Southeast Guangxi Intangible Cultural Heritage project has great local characteristics and high cultural value. However, the current situation of protection and inheritance is not optimistic. Countermeasures research on the protection and inheritance of Tea-picking Dance of Southeast Guangxi is conducive to further improving the Intangible Cultural Heritage related disciplinary system, providing countermeasures references for local intangible cultural heritage protection and inheritance, and at the same time is conducive to empowering rural revitalization and promoting the economic development of the region.This paper uses the methods of literature investigation, interviewinvestigation and SWOT-AHP to carry out weight analysis and explore the dilemma of protection and inheritanceThe research results show that there are certain dilemmas in the protection and inheritance of Tea-picking Dance of Southeast Guangxi. Such as the lack of innovative content, the aging phenomenon of the inheritors, the lack of inheritance awareness, the lack of Intangible Cultural Heritage staff, the low application of digital protection, the lack of cooperation between theIntangible Cultural Heritage protection departments, and the lack of the development of cultural industry chain for the Tea-picking Dance. Based on this, the constructive countermeasures for the Intangible Cultural Heritage protection and inheritance of the Teapicking Dance of Southeast Guangxi are proposed, hoping to provide a path reference for the protection and inheritance of other Intangible Cultural Heritage projects in China.

Нотирани паметници от Югозападните български земи до XV век

Author(s): Svetlana Kujumdzieva / Language(s): Bulgarian Issue: 1/2023

The notated manuscripts from the South-Western Bulgarian lands up to the fifteenth century are discussed. The sources are an evidence for the adoption of the musical systems that were in use at that time in the Balkan Orthodox countries – ekphonetic, palaeo-, middle- and late-byzantine. The systems were adopted on a high professional level. Numerous Triodia manuscripts testify to the work started in the Ohrid school at the time of St. Clement of Ohrid on the preparation of the repertory in Old Bulgarian language that was necessary for the worship in the newly founded Bulgarian Church: for Great Lent, Easter and post-Easter time, as it was pointed out in the Vita of St. Clement. The adoption of the musical systems on a high professional level suggests the maintenance of the church music by a strong liturgical and educational center, such as the Bulgarian Archbishopric in Ohrid.

The influence of traditional music on the students’ emotions and behavior

Author(s): Lavinia-Maria Chiș / Language(s): English Issue: 1/2022

When it comes about people’s behavior, comparing the students from rural communities with students from urban areas, most of the times it is said that the first ones are more polite in speaking and in their actions, kinder, happier and open minded, preferring outdoors or practical activities, due to the fact that they live in a traditional environment where the system of values transmitted through music, specific activities, way of addressing to people and living style. Even more, various scientific studies in medicine and in psychology had successfully proved that music can play a major role not only in influencing people’s emotions and behavior as a consequence of a natural, rudimentary manner of listening to music practiced by everyone, but also in improving or healing them if we refer to music therapy. Correlating those two ideas, there are a few questions that can be put: Is there any connection between students’ emotions and behavior and the traditional music which they listen more often? Can folklore really influence the emotions and behavior? In which way can traditional music be used to improve or to change students’ emotions and behavior? The present research study has as starting point the fact that being a teacher in a rural school the opportunity to observe students’ emotions and behavior led to a real challenge of finding the aspects in which the folklore manifests its influence. That is why the necessity of answering the questions risen and expressed above became more attractive and also an interesting thing to take into consideration. In order to illustrate as accurately as possible the entire process of improving students’ emotions and behavior and to highlight the major changes and differences between the initial and the final picture of the case, a 21 days program implementation and a comparative analysis were needed.

Didactic strategies drawn from the musical education textbooks of Romanian minority schools in the Serbian Banat

Author(s): Ion Alexandru Ardereanu,Virdinia Totan / Language(s): English Issue: 1/2023

The Serbian Banat (actually that part of the historical Banat - approx. 1/3 of the total - which after the events of 1918 remained in the Kingdom of Yugoslavia, later to today's Serbia) includes even at the present time a significant Romanian community, settled along the border with Romania, some villages being over 80% Romanian from an ethnic composition point of view. In such a context, the present study aims to bring into attention the way in which, in accordance with the requirements of Serbian education laws and concepts, the music education classes in the schools of the Romanian minority of this region proceed, presented in a comparative manner with the way in which the education system from Romania sees the music education lessons.

Forgetting Аbout Тraumatic Past? On the Position of Film Music Composers in Post-WWII Germany

Author(s): Anna G. Piotrowska / Language(s): English Issue: 36/2024

This paper presents selected German film music composers who were active in Germany during the inter-war period as musicians trying to regain their position and renegotiate their role in the German post-war society marked by trauma and transition processes. Film music composers were believed to have stayed above politics and associated with a “harmless” type of music; therefore, they could adapt to the new situation comparatively more easily, particularly since the Allies had already treated musicians ambivalently. While pinpointing the reasons behind such a lenient attitude towards film music composers, the paper also touches on those rare cases when film music composers were actually accused of supporting the Nazi system.

Emigrant Composers in the C.N.S.A.S. Archives. Case Study: The Unknown Story of Marius Constant’s Official Visit to Communist Romania

Author(s): Ana Diaconu / Language(s): English Issue: 36/2024

The present study is part of a larger research, which focused on Romanian emigrant composers in France and their relationship with their homeland in the second half of the twentieth century, based on documents from the National Council for the Study of the Securitate Archives. An analysis of the numerous notes and reports of the Securitate documenting composer Marius Constant’s official visit to Romania in 1985 sheds some light on how the authorities in communist Romania dealt with the diaspora, the ideological clichés, and on the high degree of control and manipulation that governed the country’s cultural policy.

Грамотността – интердисциплинарно понятие (Върху примера на обучението по български език и музика в начален образователен етап)

Author(s): Penka Marcheva / Language(s): Bulgarian Issue: 6/2024

The publication focuses on some interdisciplinary aspects of the concept of literacy. In scientific aspect definitions of literacy, musical language as a system of functioning of musical literacy are presented. A distinction is made between musical literacy and musical notation literacy. The normative aspects of literacy in teaching Bulgarian language and music in primary school are presented. In practical application, the integration that can be observed at primary school age, when pupils are introduced to letter writing (Grade 1) and musical notation (Grade 3), is traced. The possible connections, the general algorithm and the content parameters of both processes are traced. It is emphasized that the relation “signifier – signified” is the basis of both processes.

Похвално слово в памет на един скъп покойник по повод смъртта на Кирил Маричков

Author(s): Rosemary Statelova / Language(s): Bulgarian Issue: 16/2024

In this short text the author, the well-known Bulgarian musicologist and music critic Rosemary Statelova pays a last tribute to the doyen of Bulgarian rock Kiril Marichkov.