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4.50 €

Kako je Karl Kraus čitao Ofenbaha

Author(s): Georg Knepler / Language(s): Serbian Publication Year: 0

Kako je Karl Kraus mogao čitati Ofenbaha? Kako se uopšte mogu čitati operete? To nije izvodljivo. To, da je to bilo moguće Karlu Krausu imalo je niz pretpostavki koje teško mogu da se ponove, ali je ipak postojala želja da se pokuša. Najpre, javna čitanja pozorišnih komada Kraus je priređivao već od svoje mladosti. Godine 1893, on je čitao Hauptmanovo delo Weber (Tkač), koje je tek godinu dana ranije bilo izašlo iz štampe, a pola godine ranije bilo prvi put izvedeno u Berlinu. U literaturi o Karlu Krausu stalno se ponavlja tvrdnja da je neuspeh koji je Kraus doživeo iste godine, sa nepunih 19 godina, igrajući Franza Moora u jednoj izvedbi Razbojnika u jednom bečkom periferijskom teatru, bio povod za napuštanje glumačke profesije.

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Karl Kraus: portret umetnika

Author(s): Frank Field / Language(s): Serbian Publication Year: 0

Karl Kraus je rođen 1874. godine u Jičinu, Češka. Njegov otac, Jakob Kraus, strog ali nežan roditelj, pobožan Jevrejin i uspešan fabrikant papira, preselio je porodicu u Beč, dok je njegov sin Karl bio dete. Još u detinjstvu, sin je pokazivao strast za pozorište, i dok je studirao na Bečkom univerzitetu, gde je slabo posećivao predavanja i vreme uglavnom provodio po pozorišnim i literarnim kafeima, odlučio je da postane glumac.

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UMJETNOST

Author(s): Delila Hasanbegović / Language(s): Bosnian Publication Year: 0

Umjetnost (lat. ars) je vještina estetskog izražavanja ili uobličavanja misli i osjećanja, pomoću govorne ili pisane riječi, instrumenta ili ljudskog glasa, boje, linije, plastičnog oblika, konstrukcije, pokreta itd. Umjetničko djelo, shvaćeno kao slobodna tvorevina ljudskog duha, ili kao ugledanje na prirodu, odnosno kao smjenjivanje imaginarnog i realističkog, ima veliku ulogu u svim vremenima i društvenim sistemima, zajednicama, religijama, u privatnom i javnom životu, uopće u čovjekovom odnosu prema ljudima i svijetu. U tom smislu, umjetnost nije samo lična, već i društvena pojava. Ako znamo da se s velikim ideološkim, ekonomskim i drugim promjenama mijenjaju i umjetnička shvatanja i pravci, tako vidimo da je i feminizam dao i daje svoj uticaj na umjetnička dostignuća. Historija umjetnosti daje pregled prikaza ženske figure, kao i statusa žena koje su se bavile i koje se bave umjetnošću.

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UMJETNOST

Author(s): Delila Hasanbegović / Language(s): Bosnian Publication Year: 0

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DMITRI ȘOSTAKOVICI ȘI CREAȚIA SA. PREZENTARE GENERALĂ

Author(s): Sebastian Vîrtosu / Language(s): Romanian Publication Year: 0

According to the spirit of the age (zeitgeist) in the musical art of the twentieth century are shown the searches, the innovations brought and the constant struggle of the pioneers against the tradition of the old masters. Atonalism, for example, was promoted as a reaction to the tonal system considered obsolete, unable to satisfactorily reflect the new features of modern society. Serialism is, without a doubt, the most faithful expression or mirror of the industrialized, automated society, of the entry of machinery into people's lives, robotizing, and finally, dehumanizing the human being. Serialism, by the unchanging order of the string of notes in the musical composition, strongly suggests the inflexibility and automatism of the machines started with the industrial revolution. Dodecaphonism reflects the strong socialist and communist egalitarian movements. Just as all men were to be equal in rights, so the 12 notes in a range had an equal right to manifest themselves in full, and any of them could be the concluding center of a composition. There was no such thing as tonalism. If the center was, for example, the D major, the work could only be completed on the re note, not on any of the twelve notes. Slowly but surely, each new current will generate more and more ruptures, destroying the unity of tradition in smaller and smaller parts, thus reflecting the atomization of modern society, in hundreds and thousands of social groups, professional, cultural, or religious. From this perspective, we intend to present a brief summary of Dmitri Shostakovich's creation.

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PRACTICAL METHODS OF APPROACHING THE INSTRUMENTAL STUDY OF THE VIOLIN

Author(s): Raluca Dobre-Ioniță / Language(s): English Publication Year: 0

The success of instrumental violin practice depends mostly on self-discipline, on the ability of the teacher to identify and correct technical and performance problems that arise during instrument lessons; they should actually be seen as a model for continuing individual practice at home. For a student to progress musically, the teacher must identify and decode the abundant flow of information that occurs when the student plays an instrument; the pedagogue must consider all aspects related to posture, sonority, technique, style and interpretation. Then, the elements that can be improved must be classified in order of their importance and solved punctually with the student in the shortest possible time, so that the practical solutions offered by the teacher can be practiced and assimilated at home in the privacy of the individual study.

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Vliv hudebního vzdělání na výběr důvodů předčasného ukončení poslechu ve výzkumu postojů vysokoškolských studentů v České republice k artificiální hudbě poslední třetiny 20. století

Author(s): Markéta Szendiuchová / Language(s): Czech Publication Year: 0

The contribution “Reasons for early termination of listening time” presents the results of one of the categories of the research surveyed covering the attitudes of university students in the Czech Republic towards the artificial music of the last third of the 20th century. The list is compiled on the basis of selecting different reasons for the premature ending of the listening samples from the chosen questionnaire. The results are based on the differentiation of the respondents divided by the level of music education obtained, in the elementary, extended and professional music education subgroups.

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Leoš Janáček a jeho kompoziční metoda neofolklorismu K 90. výročí úmrtí skladatele

Author(s): Miloš Schnierer / Language(s): Czech Publication Year: 0

The paper follows the means that formed Janáček´s originál compositional technique. It comes from the environment of Janáček´s birthplace (Hukvaldy), its dialect and musical folklore. He follows Janáček as a collector of moravian folklore, studying tunes and rhytmhs of speach. Based on the harmoniously harmonic features of folklor and builds its style in shaping the view of the structure and concept of opera as a musically dramatic work. Hence his radical neofolklorism applicable to stage and concert works, which promarily do not contain the charakteristic features of the creative folklore orientation.

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Multimedia and Music Software in Music Theory Classes in Elementary Art Schools in the Czech Republic – Research Outcomes of the Department of Music at the Masaryk University’s Faculty of Education in 2018

Author(s): Ondřej Musil / Language(s): English Publication Year: 0

The main aim of the contribution is to familiarize those who are interested in multimedia and modern technologies in music education with the current state of using multimedia in music education, which follows the research of the Department of Music at the Masaryk University's Faculty of Education in 2018. This research focuses on teaching music theory in elementary art schools in the Czech Republic. One section of the questionnaire, which was intended for the music teachers, focused on the area of modern technologies and music software. The submitted text presents the outcomes of teachers' answers and tries to explain them.

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Folk Song in Czech Schools: A Challenge for Music Education and Ethnomusicology

Author(s): Judita Kučerová / Language(s): English Publication Year: 0

The authoress bases her paper on a belief in the values of the Czech traditional folk music, representing an organic part of the national culture and the need for the presentation this heritage at schools. In the historical section, it deals with development of the care of musically-folklore heritage at schools on territory of the Czech Republic, from the end of the 19th century to the present. This development has affected different personalities of the artistic, scientific and educational sphere. Part of the treatise is Janáček´s approach to the folk songs in teaching process. In the area of presenting folklore heritage to the youth is necessary the cooperation between music educators and ethnomusicologists. The results of research and edition activities of ethnomusicologists might help music pedagogy. The author gives examples of musically-educational and cultural practice in the field of folklore heritage presentation to the youth and possibilities of interdisciplinary cooperation. She bases on historical sources and current researches at schools.

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Hudební a pedagogický odkaz amerického skladatele Lowella Masona

Author(s): Adéla Šarmanová / Language(s): Czech Publication Year: 0

Lowell Mason had a strong influence on the development of American Music Education in the 19th century. As an organist and a choirmaster, he devoted the most of his live to arranging and publishing songs for the liturgy. Many of these melodies stay as the core repertoire of the American and European hymn books. In the field of education, Lowell Mason is known as „the father of the music education“ in the United States. His contribution lies in the inclusion of music education into the American school system. In favor of the entire American educational society, Lowell Mason made the overall development and the change of existing system.

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Türk Müziğine Maruz Kalmak ya da Kalmamak, Bütün Mes’ele Bu...

Author(s): Lale Akay / Language(s): Turkish Publication Year: 0

This article on “to be exposed or not to be exposed to Turkish experiences”; Starting from the 1970s with a little more precision until today, the properties of Turkish Music, where people listen to it, in what environments, by which instruments, and what quality of music listening to the ears of our people are exposed to have been examined. During these periods, the importance of mass media such as radio and television was emphasized. Starting from the beginning of the period when radio and television were single-channel, it was explained how our Turkish Music came to the present day, with the multi-channel mass media following each other, how to run the competition. It was stated that the first Turkish Music Conservatory, which was established in Istanbul in 1975, is important for living under the roof of the state, that our music is one of the most valuable elements of our cultural values, and that we have a very valuable treasure such as classical Turkish Music and Turkish Folk Music. In the conclusion part, we tried to explain our thoughts and recommendations such as what kind of way should be followed in order to spread and keep our national music protections alive, what kind of music policy should be followed, which institutions should cooperate in these needs.

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PSYCHOLOGICAL PREPARATION FOR ARTISTIC MUSICAL LIFE

Author(s): Raluca Dobre-Ioniță / Language(s): English Publication Year: 0

Psychological preparation for appearing on stage should occupy an important place in the life of any artist. This side of instrumental practice must be planned and constantly capitalized from an early age until the completion of musical studies, because periodic appearance in front of an audience strongly stimulates the way of approaching work within the individual study. The instrumental preparation of a future performer takes a very long time. This whole process of preparation can only be emphasized by its appearance on stage in front of an audience. In fact, this is the purpose of any artist's existence, regardless of their profession. All this intensive work aimed at the instrumental and artistic improvement of the future musician is carried out in close collaboration with the pedagogue in order to reach the final ideal, to decipher the most hidden secrets of musical creations and to present them to the public in their most authentic and faithful form.

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Kaktuálním otázkám hudební výchovy v kontextu historie konferencí Musica viva in schola

Author(s): Marek Sedláček / Language(s): Czech Publication Year: 0

The conference paper presents the history of the music pedagogical conference Musica viva in schola and takes stock of almost 60 years of its existence. It focuses on some current issues of music education in connection with the issues indicated in the conference papers.

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Example of the Connection Between Musicology and Music Education for the Preservation of Cultural Heritage

Author(s): Georg Brunner / Language(s): English Publication Year: 0

For schools, the fundamental question is to what extent cultural heritage, and here specifically classical music, can play a role. In the scope of this paper, we will take an approach that places aspects of musicological research at the centre of music education. What role can musicological research play at schools and universities? In the following article, we will show how musicological (basic) research methods can be integrated into university teaching and school music lessons through relevant questions in a project-like approach. The focus is on exploring the musical culture of a region through archival work.

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Lidová píseň v současné školní praxi: dílčí výsledky výzkumu o využití lidové písně a folkloru pohledem učitelů hudební výchovy základních a středních škol

Author(s): Tomáš Chloupek,Vilma Polmanová,Pavel Ostrý / Language(s): Czech Publication Year: 0

Folk music is undoubtedly an essential cultural asset with great didactic potential. The content of the paper are the ongoing results of a research survey focusing on the teachers’ usage of folk songs in music education at primary and selected secondary schools. The main ways of using this topic in the context of four fundamental teaching areas (set out in the FEP) and in other musical or interdisciplinary topics and activities are presented here. A specific group of respondents who reported to folklore activities in the questionnaire is then examined. Their answers regarding preference and especially the use of folk music in music lessons are evaluated. Everything is simultaneously compared with the answers of the remaining respondents who did not report to folklore.

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Hudební výchova – možnosti v edukaci sociálně znevýhodněných dětí

Author(s): Alois Daněk / Language(s): Czech Publication Year: 0

Music education has an irreplaceable position in the education of children with special educational needs. However, in the context of this target group, it is often confused with music therapy. The aim of this paper is to present to the professional public the results of a music education project in which we worked with a group of socially disadvantaged children. We chose a qualitative research design which allowed us to gain a thorough insight into the research setting. We gathered information using interviews and processed the data using grounded theory and phenomenological interpretive analysis. The results obtained point to the need for a modification of music education that would respond to the specificities of this target group. We will use the research outcomes to demonstrate the individual differences and points of contact between music education, music therapy, and music philetics. In the discussion, we will reflect on the need for thorough teacher training and highlight the untapped interdisciplinary potential of modern music education.

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Multimediální pracoviště učitele ve výuce hudební výchovy, nauky

Author(s): Jaroslav Musil / Language(s): Czech Publication Year: 0

The paper introduces the hardware and software of a teacher’s multimedia workplace and its integration into music education or music theory. It deals with the use of modern interactive teaching technologies and describes the possibilities and advantages of additional music hardware as a more comfortable input and output for users – musicians. It also presents electronic documents as resources for creating teaching materials, their acquisition, modification, and use, and basic software for the teacher’s workplace, its possibilities, and the use of already created lessons. Finally, it provides examples of tutorials specifically designed for teaching music (notes, rhythm, intervals, chords, scales, intonation, etc.), notation programs, programs for recording and editing music, and examples of online applications that can be used in music education.

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Motivující principy skupinového on-line hudebního vyučování se zaměřením na vokální činnosti

Author(s): Jiřina Jiřičková / Language(s): Czech Publication Year: 0

The paper names and briefly captures the motivating teaching approaches applicable in group music education with a focus on vocal activities. These include respect, trust, affection, physicality, and attention. The motivating and interconnected principles that Doug Goodkin uses can be understood as a basis and at the same time inspiring stimuli for on-line group music teaching with a predominance of vocal activities, whose task is to motivate children to their own vocal expressions and special natural elementary expression through elements of music.

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Vančura v intermediálním průsečíku literatury, filmu a hudby

Author(s): Radomil Novák / Language(s): Czech Publication Year: 0

Film Marijka nevěrnice z roku 1934 (dále jen Marijka) je v mnoha ohledech výjimečným uměleckým počinem. Dokazuje to mimo jiné cena za DVD v kategorii Nejlepší znovuobjevený film na mezinárodním festivalu Cinema ritrovato v italské Bologni v roce 2010. Tato cena se uděluje filmům, které byly ve své době něčím výjimečné, a tato výjimečnost trvá i v současnosti (Štráfeldová 2010). V dobové české filmové produkci Marijka téměř nemá obdoby, což se odráží i v její rozporuplné recepci. V záplavě prvorepublikového filmového kýče neuspěla ani u diváků, ani u filmové kritiky. V kontextu současného filmového umění je vnímána jako nezávislý film. Ivan Klimeš (2003, s. 161) onu nezávislost spatřuje v oblasti stylu, produkčních podmínek a politické orientace. V uměnovědné perspektivě představuje tento film aktivity umělců kolem Vladislava Vančury v přímém přesahování k jiným druhům umění, a to nejen k filmu (scénář, filmové libreto, režie), ale také k výtvarnému (filmový obraz) a hudebnímu umění (filmová hudba). Marijku tak můžeme považovat za mimořádný intermediální projekt, v němž se díky jeho tvůrcům spontánně propojilo několik druhů umění, aby vytvořilo umělecky působivou a vizuálně autentickou výpověď o životě na Podkarpatské Rusi.

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