4.50 €
We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.
In the 1970s, András Jánosi was present at the start of the Hungarian traditional music and dance revival in Budapest (widely known as the "táncház movement," named after village dance events held in private homes). Taking the love of folk dance from the home of his parents, who organized such activities for boy scouts and girl guides from the time of the Second World War onwards, András Jánosi also started out as a dancer. As he had studied some classical violin in his childhood, it was not difficult for him to learn to play the fiddle and become one of the first musicians to play traditional music in the táncházes of Budapest. In the seventies, he founded his own band, the Jánosi Ensemble, which has been active ever since. In addition to dancing in various traditional dance groups and playing traditional music in táncházes, he also began to take field trips, especially to the Transylvanian village of Szék, which had rich dance and music traditions, and which represented a model for urban táncházes. He observed the fiddle playing of village musicians, and collected traditional songs. He also studied the works of Franz Liszt and Béla Bartók, and released records of their folk music sources, as reconstructed with his own band. Further, he conducted research on traditional Hungarian music in earlier centuries. An essential part of the interview is dedicated to the role of Hungarian music in Europe from the time of the Renaissance, when Hungary was one of the most important countries on the continent not only politically and economically, but also culturally. The kind of music that was common throughout Hungary in the 16th to 19th centuries has survived best in Transylvania. For the first time since the death of Kodály, a traditional music department has recently been set up at the Music Academy in Budapest. Jánosi is head of the string instruments section of this department, and he teaches the fiddle.
More...
The author of the article aims at the description and outlining of a concept of culture as activism. The author, to clarify this concept, first considers a concept of the protest-song genre as in the example of “Róbmy swoje” (in Polish) by Wojciech Młynarski. It seems that the very title of this song indicates activity or even hard work, but the matter is a more complex meaning in the construction of its depicted world. After delineating a few characteristics of the protest song, the author points to the affinity of Młynarski’s work with songs that are edifying, that fit in the spirit of religious rapture. Next, in the sketch of Młynarski’s work, the author points to elements that coincide with the project of liberal education, which emphasises values such as creative thinking and civic engagement. Finally, the author also emphasises the convergence of ethics and education understood in this way from the unfinished enlightenment project and the specific concept of culture as nurturing and cultivation.
More...
The aim of the article is to analyze the titles of Wojciech Młynarski’s songs placed in the volume “Od oddechu do oddechu”. Taking into account the structure, three categories were distinguished: titles with a component indicating the genre belonging, titles with an onymic component, titles with a verbal component. Młynarski uses a lot of associations, operates with genre tips, willingly uses a variety of proper names, plays with verbal forms. The pragmatic function of titles is therefore emphasized.
More...
Młynarski’s lyrics are sung columns – persuasive, unique, subjective. This article answers the question about a place of rhetoricity and journalistic aspects of lyrics – specific poetically-satirical commentary. Młynarski’s lyrics are also essayistic.
More...
The objective of this contribution is to arrive at how students conceptualize the notion of shame, or being ashamed. The research involves 150 students of the Faculty of the Humanities, Maria Curie-Skłodowska University, Lublin. Their task was twofold: (1) to enumerate the associations that they have in relation to the word wstyd (Eng. shame), and (2) to answer the question whether or not the modern man needs at all the sense of shame. It turns out that, in the first place, the students associate shame with the cultural taboo, (moral and social) dos and don’ts, the feeling of disgrace and the sense of failure as well as the negative assessment of one’s competence (mistake, ignorance, error) and faux pas. The respondents would also specify various shame-generating situations that, according to them, are of verbal, motoric, and emotional natures. Apart from the destructive (negative) kind of shame, the students also identify what they call healthy, natural shame which brings the awareness of one’s making a mistake and the need of making up for it. This latter kind of shame leads one to reassess his/her own attitudes and prod into action. Asked whether or not the modern man needs shame, the students answered that shame is not merely a necessity, but is a real must because it (1) invites reflection, (2) facilitates self-improvement, (3) sets the boundaries that should not be crossed, and (4) shapes one’s character. As the author concludes, most of the questionnaire-derived answers must be regarded as typical associations, notably conventionalised, with shame being assessed negatively. Yet, however common, shame happens to be seen in positive terms as well. Although the students typically associate shame with a number of negatively-assessed symptoms, they nevertheless present the category SHAME as a man’s controlling guardian that is in charge of one’s respecting moral norms.
More...
The book presents the history of the Chopin Competition told from the perspective of anthropological and cultural studies, and based on extensive source material. Thanks to this, the authors were able to describe the so far little-known aspects of the history of the most important Polish music competition and one of the most important ones in the world.
More...
The book presents the history of the Chopin Competition told from the perspective of anthropological and cultural studies, and based on extensive source material. Thanks to this, the authors were able to describe the so far little-known aspects of the history of the most important Polish music competition and one of the most important ones in the world.
More...
The book presents the history of the Chopin Competition told from the perspective of anthropological and cultural studies, and based on extensive source material. Thanks to this, the authors were able to describe the so far little-known aspects of the history of the most important Polish music competition and one of the most important ones in the world.
More...
The book presents the history of the Chopin Competition told from the perspective of anthropological and cultural studies, and based on extensive source material. Thanks to this, the authors were able to describe the so far little-known aspects of the history of the most important Polish music competition and one of the most important ones in the world.
More...
The book presents the history of the Chopin Competition told from the perspective of anthropological and cultural studies, and based on extensive source material. Thanks to this, the authors were able to describe the so far little-known aspects of the history of the most important Polish music competition and one of the most important ones in the world.
More...
A sketch about a forgotten and the only novel by Adolf Nowaczyński entitled The Youth of Chopin is an attempt at recognizing the research method of the biographer, as well as distinguishing those threads, which constitute the compositional linkages. The writer makes use of the source material in an impressive way in order to vividly recreate the Polish episode in the life of the composer. // The author shows that this book is an unusis biography of Frederic Chopin because it does not take up the description of the music of Chopin, but rather makes one aware of its sources. The composer’s youth becomes a pretext to an interesting story of the narrator - a witness of the cultural and social life of the 19th century Warsaw. // The Youth of Chopin is a biographical essay, which refreshes the views on and tells a few words about the national genius.
More...
Music and dance follow human development. The beginnings of music spontaneously hit various kinds of behaving that accompanied free movement (dance) within the community. In addition to relaxation and enjoyment, music has often been used in some undesirable behavior forms by today's standards. Music encourages soldiers to raise the morale and willingness of the army to win. This act intimidated opponents—the first example of using musical instruments in the best-selling Christian book of the Bible (Jericho). Today, music is wide-ranging and classified into different categories; this happens freely in other performers who may encounter hate speech. Music is used as a means of provoking and intimidating certain target groups. Depending on the country and the area, we come across numerous music examples on the "wrong side." The examination refers to how to use music that should inspire and raise the values of human beings in a strange way that causes fear, panic, hiding, discrimination in some groups. These people are primarily in the minority: nationality, religion, skin color, sexual orientation, or any other isolation and mockingly aggressive attitude towards selected people. Music began to use for ideological purposes during the French Revolution, and this firefighting practice spread to Europe in the 19th century. Music by manipulation became the music of hatred towards differents and others. Beautiful and sublime, placed in the proper context, music can evoke strong emotions. The desired effect is achieved by the synergy of music and text, its persistent appearance within a particular ideology, and asocial.
More...