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The paper sets forth a concept of research relating to the phenomenon of spectacle. Its introductory part deals with a speculative framework in which this phenomenon is highlighted by theories of Divigno, Debord, Baudrillard, Attali, and others. Ethnographic analysis of the spectacle implies the introduction of a new taxonom y, in which rituals and celebrations play the role of spectacle references, and events feature as its constitutent units. Based on such pattern, there emerge two spectacle models: the situation model, made up of festivities and ritualized activities, and the event model, as an evocative image and narrative medium. An ethnographic reading of the music spectacle in Serbia over the last 50 years spans an amplitude of social climate. The paper therefore provides an analysis of its developmental stages, where the following models may be distinguished: controlled spectacle, in political placarding; conventional spectacle, in the development of popular festivals and concerts; emblematic spectacle, as the staging of traditional festivities; “committed” spectacle, as an expression of subcultural styles; and “progressive” spectacle, as an expression of modern scenic technologies.
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The life of every human being is an endless collection of facts, information, events, thoughts, feelings, dreams and experiences. The assumption that a biography, trying to give the comprehensive description of a human life, i.e. from the moment of birth until death, is going to reveal the whole truth about a person, is probably far-fetched at best. How many questions would need to be asked and how many would need to be answered in order to present a person from a multitude of perspectives? How many problems would need to be analysed, how many puzzles would need an explanation, how many documents would need to be found? Sometimes we undertake this effort, often as a result of the great impact of a given individual’s achievements on a society, and his or her uniqueness as a human being. The primary objective of this article is to analyse the biography of Jan Ekier, one of the most remarkable Polish artists of the twentieth and early twenty-first century in terms of some universal characteristics of his academic and artistic activity. Is there a single factor that would meet the requirement of universality in a life so rich and multithreaded that we could identify? Its discovery would be fascinating because of the artist’s life which lasted for over a hundred years, filled with work and a great number of achievements. That is why, it is worth looking at his life from this perspective.
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The history of musical pedagogy describes its formation based on different educational systems. Each of these systems pursued objectives, purpose and methodologies. In this study I intend to research and apply the concept of musical dramaturgy during the activities at the musical education lesson.
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Research on the role of media in the lives of young people1 has a long tradition and dates back to the 1930s. It was in the United States that the use of radio as an important leisure activity for children was studied for the first time.2 Even earlier, in 1911, M. M. Davis made New York teenagers’ attendance of film screenings the subject of scientific interest. With the development of media, and above all the television and subsequent generations of new media, young audiences and users have become the subject of research of many disciplines such as psychology and pedagogy, sociology, cultural sciences and media studies… [fragment of introduction]
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The art and poetry of the historical avant-garde contains prophetic elements referring to the later artistic development, which are not subject to a simple continuation but rather continuation via degradation. They result from the two prevalent tendencies at that time: from aesthetic aristocratism in the midst modern civilization’s equalizing tendencies and from seizure of non-art areas, rejection of tradition and reaching for sources; as well as from the perceived blemishes in the image of monolithic perfection. The post-avant-garde work rejected the ideology of the historical avant-garde believing in the role of the artist in the world, in unity, in aesthetic, social and technological utopias, by undertaking the following artistic activities: destruction in construction, language relativism, momentary artistic creation, emotionality against anti-emotionality, hybrid forms, anti-aestheticism, diffusion of arts, the focalization and multinterpretability of the world. The works of Srečko Kosovel and Julian Przyboś have in a different way initiated changes in the post-avant-garde poetry, using some of the mentioned strategies for expressing a different worldview.
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This article represents the historical stages established and developed in the artistic system of education in Moldova, where among the most important activities was the study of choral art. Some principles and methods of organizing choral activity in children's music school have also been developed
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The phrase Personal Ego suggests highlighting the need to review the educational process, viewed as a whole and extended throughout human life from the perspective of the lesson of Music Education with a complex and integrated character of the problems facing humanity today. Proceeding from the fact that Music Education as a conception is treated through a continuous individual process of spiritual self-perfection of the personality through multiple forms of contact with the art of music, musical-didactic activities in this field explore relation between personal ego and music, emphasizing different dimensions. In this sense, the musical education of students has an artistic character and is based on the living nature of student communication - art and the relationship between art and life
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In the article, the author examines the legacy of V. Zagorsсhi's piano in terms of its value for the pianist's concert and the teaching of students in the Republic of Moldova. Particular attention is paid to the first competitive approvals of the piano miniatures of the composer, which promoted the subsequent introduction of these pieces in the educational process, as well as to their numerous publications in local and union editions
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The idea of Therapeutic Music Education as a new teaching method, based on three areas in their interaction – music, psychology and pedagogy – respond to the need imposed by the new requirements of the education system, which is called to provide a development framework, corresponding to the educational and formative needs both for normal children and for those with special needs. Although the term „therapy” refers to the treatment of people diagnosed with certain conditions, it can also be used with the broader meaning of „support” or „help” offered to normal people, who are unable to exceed certain thresholds or as a means of support and encouragement of daily activities. The article exposed the essence of the concept of therapeutic music aducation, presents some experimental applications and the results obtained
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The article deals with the organization of musical education of the younger generation through local folklore, as well as outlines the key areas of study by students of the specialty "Music" methods of its implementation in the educational process of institutions of pre-University education
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Both literally and figuratively, war has always been an arena for encounters with the otherworld. From the interventions of the gods in the Trojan War to the Angels of Mons in the 1916, the mythology of conflict has offered resolution in the shape of alternative realities. As if war is too materialist, it must be endowed with magic. This might be from outside (the Angels of Mons) or through the appeal to internal anxieties implied by the famous question 'What did you do in the Great War, Daddy?' This paper examines the ways in which contemporary songs explored alternative representations of the First World War, asserted a critical consciousness of the paradoxes and ironies involved, and also, in many cases, asked whose interests the War served. The study is based on a huge international initiative to gather oral and written narratives from all the countries taking part in the 1914-18 War. It takes examples of songs from both ‘sides’ in a war in which the ideologies of each were, in fact, remarkably similar.
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The romances (or ballads) are still rooted in communities of use in the rural areas of Portugal, even if they are intimately linked to a disappearing world (the agriculture made with manual techniques). The ballad is one of the very few types of traditional music which has been “popular” through the centuries until the present day and which has constantly been re-approached, playing many different roles in various periods. In the sixties and seventies, the period of the Salazar dictatorship, the opposition was transcontinental, because the dictatorship kept the country in poverty and non-literacy while also creating a colonial war in Africa (Mozambique, Angola, Cape Verde). Looking for a new cultural identity, the opposition tried to make a return to the traditional music of the countryside and to use this identity to protest against Salazar. It created an important stream of urban Portuguese song which coexists with Fado and Anglo-Saxon music today. The article is aims to show how the ballad, this traditional repertoire, became a national symbol of “popular” music in Portugal and to analyze the process of re-appropriation of that repertoire by composers and urban singers.
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This is one of the best-known songs of the Albanian diaspora (the Arbëresh) in Italy. The song lyrics are replete with homesickness for a land which was left and is never to be seen again. Curiously enough, this land is Morea, in the south-west of the Peloponnese in Greece. The name Morea is connected with the exodus of the Arbëresh to southern Italy and Sicily after the fall of Koroni to the Ottomans during the Siege of Coron, 1532–34. The question is, why has this particular song become a symbol of the exodus for this diaspora? The answer lies in the visible and non-visible parallel worlds of the song as well as those projected into it. These will be the main focus of this article. The first mention of the song is in 1775, though the metric structure indicates an older origin. Arbëresh intellectuals and priests have provided important information about the customs and rites of which the song has been part and, despite their romantic view, they have helped scholars to recognize the magical-religious context from which the song originated and how it has been transformed to the “nostalgic hymn” known and performed today also among Albanians in the Balkans.
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The Song of Rexha is a specific musical creation known not only to those who love Albanian folk music, but also to scholars of cultural and spiritual studies and related fields. Interest in this song has never ceased since its first appearance in sung form. The song attracts the attention of those interested to learn more about the event in the first place, to get to know the lyrics (in one of its many variants), to acquaint him/her with the text-melody synthesis, and eventually to learn about the way it was created and interpreted. Although we do not claim to have conclusive thoughts on any of its variants, the goal of this paper is to discuss various morphological components of “The Song of Rexha”, including the relationships between the interpreter and receiver in time and space.
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The lyrics to the popular song ‘Macushla’ were written by Josephine V. Rowe, with music composed by Harold Robert White (writing under the pseudonym of Dermot MacMurrough) in 1910. The song became an immediate hit when the great Irish tenor John McCormack recorded it for the Victor Talking Machine Company in 1911. Although ‘Macushla’ is not a traditional ballad itself, it may be regarded as ballad-like in the story it tells, the imagery it evokes, and the traditional motifs it employs. The singer is calling out to someone who is either dead or in a deep dream-like sleep resembling death, which may be seen as a parallel world or alternate reality. Nearly ninety years later, elements of ‘Macushla’ reappeared in a short story, ‘Million $$$ Baby’ (2000), written by Jerry Boyd (using the nom de plume of F.X. Toole), which was adapted by screenwriter Paul Haggis for the Academy Award-winning film Million Dollar Baby (2004), directed by Clint Eastwood. Boxer Maggie Fitzgerald, the titular Million Dollar Baby, is nicknamed Macushla or Mo Cuishle before she enters a parallel world when paralyzed due to a severe spinal cord injury sustained in the ring. Although Irish folk tradition often invokes sorrow and the violation of expectations, popular Hollywood films rarely do so—preferring more upbeat endings that do not disturb the expectations of their audiences. The representations of alternate realities and parallel worlds in ‘Macushla,’ ‘Million $$$ Baby,’ and Million Dollar Baby tellingly demonstrate the continuing presence of a traditional past in popular film, song, and literature.
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Nizams were ordinary soldiers in the regular army of the Ottoman Empire who were taken from all places under its rule for mandatory service in distant countries, such as Yemen and Arabistan. As a result, a ballad subgenre was created: Ballads of Nizams. Since the Middle Ages, the Ottoman Empire conducted periodic battles with Yemen and so ballads were produced over a long time span. Because of the nature of their absence and the long distances involved, as well as difficult environmental conditions where they were sent, men often had little chance of returning alive. Thus, in these songs, mostly in the oldest versions, we find communication between Nizams and their loved ones realized metaphorically and supernaturally. Communication was not only between people in distant countries but also between different worlds, of the dead and the living. In this article, in addition to analysis of two quite popular Ballads of Nizams sung in polyphony, which is a characteristic of singing in south Albania, their re-creation and re-contextualization over time and space will also be analysed. Moreover, the analysis will include the reuse of one of the ballads by the prominent writer Ismail Kadare to interpret a painful contemporary phenomenon, that of women who in time of crisis in Albania were forced to leave the country and ended up as prostitutes abroad. Their “world” became very distant and difficult, and return was most probably impossible, both because of the social stigma and because they were considered to inhabit an “underworld”.
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The text analyses the writing and artistic strategies of capture and displacement present in Siksa’s volume Natalia ist sex. Alex ist Freiheit as well as the broader context of Aleksandra Dudczak’s stage activity. First, the author focuses on the phenomenon of the accumulation of pseudonyms, names and characters used by the artist, which are crucial for the development of the book’s protagonist. She then discusses the problem of Siksa’s reclaiming of hate speech to communicate anti-violence and anti-patriarchal content and the ways in which parody functions in the book. Both the accumulation and displacement between various pseudonyms or characters and the reclaiming of hate speech are shown as strategies of engagement with strong political overtones.
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