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Folk dress was a symbol defining ethnographic areas. From the beginning of the Modern period, folk dress had a unified form in Central Europe that survived until the 20th century in home-made workwear. Written and pictorial sources from the 16th century have enabled the examination of local differences that evolved into the distinctive regional types known from the 19th century.
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Music and dance culture in Moravian regions features differences as well as similarities. It is logical to inquire about the origins of these differences and identical features, but the questions cannot be answered in allregions and for all cases. It is necessary to beaware that despite a variety of borders, folk culture is permeable because the specific development of even smaller, closed territories was affected by external influences.
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The spread of traditional folk culture phenomena over a wider area need not be associated only with tangible documents. A similar spread occurred with folklore materials, specifically with ballads – song compositions with a dramatic story and a usually tragic end. These epic, or lyrical and epic, songs narrate a story in brief but with a time sequence and respect for a cause-and-effect relationship. As mentioned by Oldřich Sirovátka (1925–1992), it is not possible to clearly definethe ballad form, as there are a lot of inter-stages between the lyrical song and the ballad: the lyrical song uses epic methods and the ballad uses lyrical means.
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The introduction of this contribution is focused on a classification of film music and its theoretical, aesthetical and general artistic bases. The main part of the paper deals with partial results of a research on the music preferences conducted by the Department of Music at the Faculty of Education at Masaryk University. Concretely, it was an analysis of free answers given from the respondents, who did an assessment of chosen music samples in an audio questionnaire, where representatives of the „neo-styles“ as well as the avant-garde turned up. Many answers referred to parallels between classical and film music. On basis of the results some possible reasons was set out, that might be responsible for the mentioned similarities. All is followed with music samples from both areas of music production, purposefully chosen in order to compare similar ways of composing.
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Study deals with issues of learning process in the sphere of culture and education in correlation with the past as well as present cultural world. Author gets inspired by thinkers such as Hans Georg Gadamer, Michel Foucalt, Paul Ricɶur, Karl Popper. Statement provides an opinion on the epistemology of scientific knowledge, global culture, interpretation methods, as well as the integrative nature of musical pedagogy.
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The Tractarian movement and the subsequent Ritualist movement sought to bring the Church of England back to what they believed was its Catholic roots. The means through which they tried to accomplish that were, among others, the revival of the Catholic forms of liturgy. These activities attracted much attention, often unwelcome, from Evangelical circles, who feared all these activities were the indication of a Popish “fifth column” working in the midst of the Anglican Church. One of the most controversial revivals was that of re-introducing auricular confession. Confession was in the eyes of many Anglicans tainted by its associations with the Roman Catholic Church, and especially the confessions of women, in an intimate encounter with a man who was not their father or husband, were particularly troubling. Probably the most famous confessional scene in Victorian literature is the one described by Charlotte Brontë in "Villette" (1853). This article discusses this and other confessional scenes, but focusing on confession in the Anglican context, presenting both the novelists attacking it, such as Mrs Henry Wood or Emma Worboise, but also supporting it, such as Charlotte Mary Yonge or Christina Rossetti. It is notable that while confession was very important for Tractarian religious practice, it is mentioned relatively rarely in the works of the writers connected with this movement, or described in a rather coded way. A possible explanation could be the Tractarian doctrine of reserve, which encouraged the followers of the movement to exercise caution when speaking about subjects they considered holy, especially with an uninitiated audience, such as the potentially random readers of their novels.
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In musical Romanticism, the horn instrument developed a lot. The chromatic horn appeared due to the invention of the valve by the inventor Heinrich Stölzel. Horn performers were trained in the European Schools, becoming very well-known and appreciated at the main princely courts. Many of the horn performers were prolific composers for the horn and at the same time dedicated teachers for their art. Horn schools flourished during this period, laying the foundations of the European Horn Schools of the twentieth century. In our country, the buds of the Horn School appeared in the middle of the last century, when the first horn performers were formed
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After a brief presentation of the social situation that appeared at the beginning of the Baroque, we framed the current in the historical period - being located between the end of the 16th century and the middle of the 18th century - after which we defined the term baroque and specified the etymology of the word. Also, in this first introductory part we talked about how the Baroque evolved first in the other arts - architecture, painting, sculpture, theater, dance and literature - and then with strict reference to the art of music. We followed a periodization of the Baroque, made according to some musicologists as follows: an early period that is characterized by the gradual transition from choral polyphony to accompanied monody and is distinguished by highlighting a single melodic line, which makes possible the appearance of opera and vocal genres- symphonic, such as the oratorio and cantata; a middle period in which the development of opera, ballet opera, court ballet, but also instrumental music takes place; and a late period of synthesis, which fixes the concept of tonality through the two basic modes: major and minor
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Often, Villa-Lobos' studies contain more than one technical idea or, on the contrary, there are sections within a study that insist on a single problem. However, nothing is lost in the musical quality: the sound is always rich, and the presence of a wide range of colors increases the possibilities of exposing a virtuous interpretation. This "pattern-thinking" as Jukka Savijoki calls it in his book "The Guitar Works of Heitor Villa-Lobos", often provides the solution to correcting some notations of fingerings or sounds, but this this does not happen every time, due to which the interpreter will be late with the learner.
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Oligophrenopedagogy who daily deal with working with people with intellectual disabilities in varying degrees, are looking for an even wider range of methods and techniques that will help them in the therapeutic work. Increasingly, in the circle of their interest in art therapy appears as the art of communication tools gives disabled people in an atmosphere of affirming individuality, originality. In art, there are no solutions only right, success is guaranteed.
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Classes of creative activity are the project of cultural education leading since 5 years by Aleksandrę Drzazgę and Katarzyna Michalską in a public school (gimnazjum, pupils between 13—16) — Gimnazjum nr 1 z Oddziałami Integracyjnymi im. Ks. J. Szafranka in Bytom. Within the framework of the Project, young people have the obligatory classes — 2 hours a week of Education for creativity‑literature, art and media (K. Michalska) and 2 hours a week of Education for creativity‑theatre with some elements of creative thinking training (A. Drzazga).
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Artstic and educational projects undertaken by the international network of art colleges and universities called CROSS‑BORDER NETWORK OF HISTORY AND ARTS. Presentation of the purpose and effects of the project “Forced Migration”, realised in April 2011 in the headquarters of the Krzyżowa Foundation for the European Agreement in Krzyżowa in Lower Silesia.
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Neo-Gothic emerged in Croatian architecture rather late in comparison to Great Britain and the majority of countries in mainland Europe. First buildings built with elements of this style appeared at the beginning of the 19th century, however only during the 1850s and 1860s first larger neo-Gothic churches began to be built in Croatia, primarily due to the efforts of the Viennese central administrative bodies. In the same time, Croatian aristocracy accepted this style for the restoration of their castles (Trakošćan, Novi dvori). By the mid-1870s, owing to the efforts of the Đakovo bishop Josip Juraj Strossmayer, Viennese architect Friedrich Schmidt started his work on neo-Gothic restoration of medieval buildings in Zagreb (St. Mark’s parish church and the cathedral). In the following decades, the neo-Gothic style reached the highest level of use in Croatian architecture. The most important architects that designed churches and other buildings with elements of neo-Gothic were Schmidt’s students Herman Bollé and Josip Vancaš. From the beginning of the 20th century, the use of Neo-Gothic in Croatian architecture became increasingly rare. Croatian architecture was slowly being overcome by the influence of secession from Vienna and other major cities in the monarchy (Prague, Budapest).
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Using the example of the different professional paths of two architects, Blažej Félix Bulla and Ján Nepomuk Bobula (both of whom designed buildings intended to house the new institutions, crucial for Slovak national life and located in the provincial town of Turčiansky Svätý Martin), the article shows how the architects' work became a space for the manifestation of new values introduced into the public space and for the self-presentation and representation of the new social elites. Particular attention was paid here to the role of architectural investments confirming a real increase in the rank of a given place, appearing in semi-public and semi-private space, i.e. in a kind of internal space, partly hidden and at the same time open to subversive manifestations of one's own true identity (e.g. the discussed herein example of the temporary installation designed by Bulla – a wooden tower-gate added to the house of the Viliam Paulina-Tóth’s heirs for the time of the local ethnographic exhibition held in Martin in 1887). The examples of realised and unrealised architectural projects analysed in the article (also in terms of their exemplary impact on their surroundings, e.g. the case of architect Dušan Jurkovič, discussed here, who was fascinated by Bulla's designs) made it possible to trace the circumstances favouring the densification of communication at the local level and to analyse the phenomenon referred to here as the densification of locality, a manifestation of which was, among other things, the emergence in the area of so-called Upper Hungary of a new urban centre with a distinctly Slovak distinction and accumulated symbolic potential.
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The earthquake that struck Zagreb in 1880 has largely influenced the dynamics of the city's development. It has changed Zagreb, has changed the lives of its residents and has radically affected the professional career of an architect who at that time was at the beginning of his job in Croatia. Herman Bollé would be this "the other" architect whose entire output has remained within the borders of Croatia (mostly in Zagreb) and has become part of the national heritage. He has shaped the urban space and has educated new generations that has influenced the shape of the Croatian urban space. He has rebuilt the city, he has actually participated in the process of creating the city from scratch.
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Architects in the Habsburg monarchy were a highly mobile professional group. The most important academic centres and centres of professional practice were Vienna, Prague and Munich (which already lay outside the state borders). This article traces the professional biographies of architects who were active in Osijek, a medium-sized city on the border of the monarchy, in Croatia-Slavonia. It shows that the provincial town was linked by networks with the rest of the monarchy, while modernisation processes and architectural fashions found their local expression there. The analysis of documents related to the most important investments at the turn of the 20th century makes it clear that the monarchy constituted a common general framework for social practices, and that the professional or economic activities of local social actors did not stop at the borders of the crown lands. It thus appears that the ethno-national perspective, still dominant in the narrative of social history, needs to be modified.
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The paper explores whether Czech architects, as Slavic architects, contributed to the contemporary tourism development on the Croatian Adriatic at the end of the 19th and the beginning of the 20th century, when the eastern Adriatic coast was part of the Austro-Hungarian Monarchy.Designing basic tourism architecture (hotels, villas and bathing places), aside from giving them a shape, requires specialized functional, technical and technological knowledge. To draw a conclusion, tourism architecture designed by Czech architects is explored in the context of tourism expansion and tourism architecture progress, including its influence on the space and the forming of tourist landscape. In any case, built and unbuilt examples of tourism architecture by Czech architects on the Croatian Adriatic at the end of the 19th and the beginning of the 20th century contributed to the development of architectural thought on tourism architecture, as well as to the forming of a recognizable tourist landscape.
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The essence of this comparative study is to look closer, and simultaneously, at the intellectual profiles and creative practices of two outstanding representatives of vernacular architecture at the turn of the 19th and 20th centuries in the Polish and Czech-Slovak milieux, in the Austro-Hungarian Empire, in Central Europe. The aesthetic being of Stanisław Witkiewicz and Dušan Samuel Jurkovič–in a way, men as institutions of their times–eventually gained the rank of all-cultural phenomena and inscribed themselves with nation-forming notes in the histories of their communities. The article deals with what mechanisms governed them and what processes they themselves managed, and moreover–what effects they evoked in both cases. It turns out, among other things, that the stagnant, invariably repeated statements about the similarities of the two casuses largely miss their internal distinctions. Ultimately, it goes to the point that reveals the great or unfavorable vicissitudes of people’s lives as well as their efforts and achievements.
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The paper describes the dilemmas of architects, one of the important groups of professionals in Galicia at the turn of the nineteenth and twentieth centuries. The paper is based on Polish-language publications of architects, as well as art historians and others, who were interested in urban architecture in Galicia. The main topics covered here are the need of new aesthetics in architecture, freed from emulations of earlier styles and decorative motifs (including the question: what an architectural style really is), including the need for a more national (Polish) architecture. Another topic was the end of a ‘monopoly’, hitherto held by architects in the field of architectural critique, and the rise of an art-historical discourse. Finally such topics as modernity in architecture, rational city planning and an affirmation of pure aesthetic values in architectural practice attracted the attention of the authors of the sources.
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Interwar Bratislava was a dynamic, multicultural, small city searching for its new identity. Architects, including Friedrich Weinwurm (1885–1942), created its contemporary, modern shape. The article focuses on the main Weinwurm's socially engaged projects (Unitas and Nová doba) in the context of the local urban development and progressive architectural trends in interwar Czechoslovakia.
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