THE MODAL-FOLKLORIC AND THE NEOBAROQUE TYPOLOGIES: CONCERTO FOR STRING ORCHESTRA (NO.1) BY SIGISMUND TODUŢĂ

Author(s): Gabriel Banciu / Language(s): English Issue: 2/2011

An identification of the genres covered by the works of Sigismund Toduţă is illustrative in order to prove its area: from vocal, choral, vocal-symphonic and theatrical works, up to the symphonic and chamber areas. Nevertheless, one of the most widely spread genres of the time, the string quartet, seems not to represent the thinking of the composer from Cluj.

MÜZİK TERİMLERİNDEKİ KARMAŞANIN AKADEMİK ÇALIŞMALARA YANSIMASI: ORİJİNAL, NAZİRE, ÇEŞİTLEME, VARYANT, ARANJMAN, COVER, İCRA

Author(s): Recep Uslu / Language(s): Turkish Issue: 02/2012

Fine/Literary arts have terms which they use in commen. People evaluate and use these terms by their own field of interest. But some terms can not reach the expected currency and the person propound a new term with each relevant issue. So that, they use more than one word to express aproximately the same aim. Every author defend its own term. So that term disorder emerge. The scientific language. can not be used by two people who works in the same science. Sometimes this can be seen even in a widespread word. Because every “new” accompany problems beside. But sometimes not having a grasp of terminalogy enough, by the effect of foreign words/culture accompany using another term instead of the words that have already exist. This situation can widely seen in the people who has a grasp of foreign culture rather than having grasp of their own culture. This article, which used in the field literary arts/ folk literature/ popular culture/Turkish Music have some term problems especially in Turkish Music, beside the terms “ original / parallel / perform “, there are “diversity / arrangement / transfer / imitation /enduing / variant “ and “ mold melody / motive expression / mold motive” emphasizing term confusion which express the same aim.

Скопје Блуз и Соул Фестивал 2007

Author(s): Vasja Ivanovski / Language(s): Macedonian Issue: 55/2007

Се разбудив во движење

Author(s): Ljupčo Jolevski / Language(s): Macedonian Issue: 19/2001

МАКЕДОНСКА АНДЕРГРАУНД СЦЕНА

Brave Silly Songs

Author(s): Ljupčo Jolevski / Language(s): English Issue: 19/2001

MACEDONIAN POP-ROCK SCENE, 2000

Woke Up in Motion

Author(s): Ljupčo Jolevski / Language(s): English Issue: 19/2001

MACEDONIAN UNDERGROUND SCENE

Храбри глупави песни

Author(s): Ljupčo Jolevski / Language(s): Macedonian Issue: 19/2001

МАКЕДОНСКА ПОП-РОК СЦЕНА 2000

Interview with Van Wilks

Author(s): Vasja Ivanovski / Language(s): English Issue: 19/2001

Интервју со Ван Вилкс

Author(s): Vasja Ivanovski / Language(s): Macedonian Issue: 19/2001

The Schubert in Wagner - Judit Rácz in Conversation with Adam Fischer

Author(s): Ádám Fischer,Judit Rácz / Language(s): English Issue: 191/2008

Pianolos lietuviškos muzikos įrašai ir jų sklaida JAV

Author(s): Darius Kučinskas / Language(s): English Issue: 19/2013

The article examines a unique niche of Lithuanian discography – pianola records. The study also analyses a modernized piano-pianola construction, which reached its peak in the beginning of the XX century, as well as manufacturing technology of pianola records and the reasons why Lithuanian rolls for pianola were created. Moreover, the article presents the first promoters, authors, publishers, and arrangers of such records. Musical expression possibilities in Lithuanian community in the USA at that time and the formation of the need for popular pianola music are considered with emphasis on the contribution by the first publishers: Augustas Antpusaitis, Jonas Žemaitis and Vincas Nickus.

Авторы

Author(s): Author Not Specified / Language(s): Russian Issue: 3/2012

Авторы этого номера: краткие биографии

„И така, музиката е воден дух“ (За един нов труд по музика)

Author(s): Kristina Yapova / Language(s): Bulgarian Issue: 8/2013

The paper presents a new article on music titled “Disciplina musica and musical thought in the late thirteenth and the early fourteenth century – three treatises: Latin, Greek and Arabic” by Jordan Banev. In terms of its genre definition the work is a translation/ interpretation/study, while quantitatively, it is a cycle of four parts. The first part–an author’s musical and philosophical insight– followed by translations of treatises of the same musical period is powerful both intellectually in general and for its knowledge of music. The author’s part, focused on the term “musical thought”, brings back the issue of how music thinks, giving the floor to the treatises to provide an answer after stating its own reasons.

Дариус Мийо – операта „Давид“ – полифонични похвати, музикална драматургия и сценични реализации

Author(s): Vera Tzenova / Language(s): Bulgarian Issue: 8/2013

This paper seeks to explore the polyphonic devices, the musical dramaturgy and the scenic performances of a little researched by the world art studies work – the opera “David” by Darius Milhaud. The basic factors, which influenced the style of Milhaud, are presented in the text. An innovative for the twentieth century polyphonic technique, the use of which is closely associated with the music-dramaturgical structure of the opera, has also been examined. A comparison is made between the libretto and its biblical sources. The paper presents the opera’s premiere performances, with their stage producers and casts. Reviews of the stagings have also been included. The text is based on the following methods of research: historical, analytical, structural, theoretical and comparative.

В търсене на „нова звукова сетивност“ – композиторският проект на Владимир Панчев като метазвуково послание

Author(s): Elisaveta Valchinova-Chendova / Language(s): Bulgarian Issue: 8/2013

The paper addresses a topical contemporary issue, that of searching for a new aesthetics and new music language within Art Music. In the context of New Sound Sensuousness (my wording) oncept, derived as a new aesthetic and music-technological category within the scope of the new music through individual composers’ projects. “Metasound message” has been introduced as a key term while studying Vladimir Panchev’s work (born in Sofia in 1948; since 1991 living and developing successfully in Vienna). It is argued in the analysis of his ideas of attaining new sound fields through a constructive music language, drawn from ancient folk (not Bulgarian alone) layers as well as through using intricate compositional techniques with the multilayered dramaturgy in orchestral pieces and tone play as well as the experiments with human voice coming to the fore.

Структура и функция на тромбоновата група в оркестъра

Author(s): Rosen Gruev / Language(s): Bulgarian Issue: 8/2013

Contemporary musicology has thoroughly explored and studied many aspects of solo performance of the brass section. The art of orchestral playing and in this case, of trombone sections of symphony and opera orchestras, occupies quite a humble position. The evolution of the art of trombone section is related to the history of European instrumental music, the development of music language, the development of timbre dramaturgy in the line of individuality of orchestral groups, in the context of the history of development of music dramaturgy in general. The orchestral activity of trombone section reflects the unbroken succession of components: single-handed work on performing apparatus, team or individual work on difficult passages within the brass family wind. The actual problems of the trombone section would occur in the course of the implementation of composer’s idea as a contradiction between the idea and the available performing music media, between the complexity of music material and the professional level of the musicians in terms both of technology and overcoming contradictions in performer’s psychology. The paper is part of my doctoral thesis: “Development of the Trombone Section until the Late Nineteenth Century”.

В огледалото на времето... (за мюзикъла „Алис в Страната на сънищата“ от Любомир Денев)

Author(s): Rumiana Karakostova / Language(s): Bulgarian Issue: 8/2013

Existential philosophical issues, decoding of the hidden meanings in language games, of the logical paradoxes and the fantastic adventures in Lewis Carroll’s “Alice’s Adventures in Wonderland” and “Through the Looking Glass” are subject to interpretation “to date” in Lubomir Denev’s “Alice in Dreamland”, adapted and staged by the composer as a university show at the Training Theatre of the New Bulgarian University. From the viewpoint of critical reflections however, the first version of the musical based on a dramatic version by Zdravko Mitkov, “Through the Looking Glass”, premiered at the Youth Theatre (1988) and performed later at Sofia Theatre (1999) also deserves attention. Though based on the same story and using the music by the same composer, Lubomir Denev, the two versions of the musical have different storylines, dramaturgy, characters and messages, making their comparison inevitable. The distinction lies mostly in the different concepts, in the pre-selection of the characters and of the action situations from the two books, underlying the drama conflicts and the logic of the storylines.

„Музикалните цветове на света“ в диалог

Author(s): Ivanka Vlaeva / Language(s): Bulgarian Issue: 8/2013

This study seeks to explore the opening of Bulgaria’s concert life to the music outside the European traditions and the realities of the intercultural dialogue. The observation focuses on concert events held mostly in Sofia over the recent years. These would show the world music from a number of points of view. The major presented music layers, stage images of various music cultures and the reflection achieved are being analysed. An attempt is made to show strategies underlying particular cultural and business polices. This study comes as a continuation of a series of my surveys, analyses and publications of the 1980s well until these days. The events observed in the recent years are placed in the context of a process of extending Bulgaria’s cultural, political and economic contacts. In the explored samples, dialogue in music is maintained at different levels as modernization of the dimensions past–present, as interrelations between traditional – compositional – popular, as regional–out-of-area. Particular music images of respective cultures are created depending on the level of knowledge, goals, vogues, certain consumers and options for profit or courting popularity. Along with presenting traditional heritage, strongly arranged works are performed more often than not. Modernisation and hybridisation of various layers of music extend distribution spheres. Thus a next stage of dialogueness of cultures is being reached on a very large scale and Bulgaria serves as an example of the ways to adopt the diversity of world music.

Музиката в китайското екокино

Author(s): Miglena Tzenova-Nusheva / Language(s): Bulgarian Issue: 8/2013

This paper is devoted to one particular aspect of Chinese film music, associated with a recent trend in Chinese cinema, defined as “ecocinema”. Proposing “ecocinema” as a new critical framework, Chinese films engage in environmental and ecological issues in the active re-imagination of local place and space (Jiayan Mi: 2010). Following this argument, the paper dwells on how music contributes to the restoration and recreation of the nature and the entire vision of imaginary China. Focusing on emblematic film productions which were created after 1980 and gained international recognition, the discussion employs interdisciplinary perspectives to draw attention to the way film directors and composers look for the musical aspect of this vision through involving symbolic meanings of specific musical sounds, instruments, timbres, themes, etc.

„Акустичното гърне“: звукообразите на Васил Казанджиев през метафорите на Йордан Радичков

Author(s): Milena Bozhikova / Language(s): Bulgarian Issue: 8/2013

Kazandjiev and Radichkov are both untranslatable authors: the former because of the nature of the art of music, a total absence of programme in his personal manner and sonorous uniqueness in his opuses from sound element to drama; and the latter due to his creative imagination, unparalleled strange allegories, archaic and exotic language, favoured metaphors, the mystery of his silver-tongued enchanting stories. Both are delicate and tender authors, foreign to any aggressive, ugly tones in their devices, close to the so-called “quiet” protest, soft-pedalled rebelliousness, moral and ideological latency and immersing into their specific allusiveness. Both of them have a funny bone, flair for subtle irony. Their artistry, linguistic inventiveness and uniqueness, their common zeal for following the directions of the time, their flair for parodic details are compared. Kazandjiev is the sole Bulgarian composer, whose music is particularly colouristic, with pronounced unique imagination for tones, discernibly sonorous. It sounds Nature, paganism and Christianity, Bulgarian mentality. Very much like Jordan Radichkov’s word. Kazandjiev’s music is like Radichkov’s “acoustic pot”, resounding with the music of his various opuses.