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The 19th century represents the golden age of byzantine music in the Romanian Principalities. During this period extensive translations were conducted from Greek and priceless original masterpieces were composed. As to what concerns the polyeleos, translations were favoured during the first half of the century, whereas a great many original scores were penned during the second half of the century. Likewise, the musical style changed, going from sticheraric versions to the irmologic, syntomon ones, a sign that music began to be in better accordance not only with the language, but also with the tastes of the public. The polyeleos was very widely spread, being surpassed, we believe, only by the Axion and Heruvic, a sign of the consideration that it was given by the composers of the time. Amongst all the polyeleos compositions, the one by Petru Lampadarie, translated and adapted to Romanian by Macarie the Hyeromonach, stands out both due to its beauty as well as to the abundancy with which it can be found in manuscripts and prints.
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In the article the author made lexical and pragmatic analysis of music terminology and music vocabulary, which derive from Wojciech Młynarski poems and songs. The material analysed comes from the book “Wojciech Młynarski. Od oddechu do oddechu” published in 2017. In the article it was demonstrated that music vocabulary has informational, expressive, coaxing function, and creates ironic sense of text, generates metaphors, and becomes an element of style. In the conclusions the author of the article stresses that the use of music vocabulary can result in various effects, including the change of pragmatic determinant of music-verbal statement.
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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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