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1

ZOLTÁN KODÁLY AND THE HUNGARIAN LANGUAGE

100%

Szathmari I.

Magyar Nyelv (Hungarian Language)

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2007

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vol. 103

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issue 21

129-136

EN

This talk introduces the world-famous composer, musicologist, folk music expert and educator Zoltán Kodály as an admirer of his mother tongue (and to some extent its researcher, too), on the occasion of the 125th anniversary of his birth and the 40th anniversary of his death. The speaker lists the factors that turned Kodály's attention towards studying the Hungarian language, with special emphasis on the role of the Eötvös College and Professor Zoltán Gombocz in that respect. Kodály's relevant public speeches and writings are then discussed, as well as which outstanding pieces of Hungarian poetry and prose he set to music and in what other ways he contributed to the musical (and in general, national) awareness of Hungarians. He was especially interested, obviously, in spoken language, in live speech. He spoke up against what he thought was the 'deterioration' of this language in 1937 (and in 1938 in a radio commentary). In fact, however, he devoted all his life to exploring Hungarian folk music and making his mother tongue a better, more flexible vehicle of communicating one's thoughts and feelings.

2

INTEGRATION AND SPECIFICATIOPN OF THE ART-EDUCATIONAL STUDIES: HARMONY OR ANTINOMY ? PSYCHOLOGICAL DIMENSIONS OF THE NON/DIFFERENTIAL PROCESS.

80%

Zeleiova J.

Musicologica Slovaca et Europaea

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2006

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vol. 25

63-75

EN

Relativism of special music-educational advance point out, that natural personable maturing and creative growth of another generations are pauperized. Non/differentiation access to the music teaching for the intending teachers of primary educational system is the result and source of their non/ample preparedness. The psychological aspects and possible effects of the evanescent targets from primary music pedagogy correspond with all societal relativism of value.

3

Mit cygański w twórczości Federico Garcii Lorki

80%

Piotrowska A. G.

Studia Romologica

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2014

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vol. 7

179-195

EN

The phenomenon of Lorca’s poetry is connected, among others, with his fascina¬tion with Gypsy culture being on one hand a part and parcel of Andalusian identity, and on the other hand universal in its overall character. While referring to Gypsy folklore, and especially its musical component, Lorca managed to create his own, unique poetic idiom, becoming soon recognized as one of the world–known admirers of that ‘cursed race’. This, however, triggered certain problems already during his lifetime. In the article not only Lorca’s allusions to Gypsy mythology are presented as evident in his poetry, but also discussed is his own attitude to the Gypsy motif as well as its various interpretations by both his contemporaries and the posterity.

4

FIDDLE, DANCE AND DEVILS. ON THE DIABOLIC CHARACTER OF MUSIC

80%

Piotrowski R.

Etnografia Polska

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2004

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vol. 48

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issue 1-2

149-159

EN

The article is an outline of the study on negative valorization of magical musical instruments appearing in some folk tales. The starting point for the author's discussion became the tales with the motif of a magical fiddle. In the work by Julian Krzyzanowski (classification of motifs) these tales were classified as the type T 592. The tales tell about situations in which magical objects play an important role. Musical instruments are among these objects, the musical instruments which provoke expressive, dynamic behaviour of the listeners. Analogies can be found between the scenes in the narratives and those depicted on medieval illustrations showing diabolic interference into human life. They can also be compared with the texts describing witches' covens. In both representations motifs of music and instruments appear, as well as dance- acts disapproved by Church. Due to such context musical instruments acquire negative attributes and then become magical objects. This is reflected in magical tales with the motif of magical fiddle. The above mentioned relationship shouldn't be considered as the only origin of attributing magical significance to music and instruments. References to magical power of sound and instruments can be found in the texts coming from other parts of the world, which may prove the common origin of the cultural concepts of music and musical instruments. The author suggests another interpretation of the discussed tales as well. Interpretation of the contexts and the relationship between the musicians and the listeners. The spell results from the ambivalent attitude of the listeners to the forms of sonic and verbal expression accompanying the music itself, as well as appearing of the musical instruments in the context of the characters with negative valorization. Their magic is concealed in the expressiveness of the listeners, in their dynamic responses which are the explosion of their feelings. It is rather the instrument that has been, as it were, enchanted by the listeners. The relationship of the instrument, its owner and the listeners is that of metonymy.

5

Expression as Success: The Psychological Reality of Musical Performance

80%

van G. R.

Estetika: The Central European Journal of Aesthetics

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2008

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vol. 45

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issue 1

24-40

EN

Roger Scruton's ontology of sound is found wanting on two counts. Scruton removes from music the importance of the performer's manipulating of his instrument. This misconceives the phenomenology of hearing and, as a consequence, impoverishes our understanding of music. The author of the article argues that the musician's manipulations can be heard in the music; and, in a discussion of notions developed by Richard Wollheim and Jerrold Levinson, that these manipulations have psychological reality, and that it is this psychological reality which brings to life the sui generis musical persona of musical expressiveness.

6

Symbolika i funkcja motywów muzycznych w poezji Owidiusza

80%

Wysłucha K.

Classica Wratislaviensia

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2010

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vol. 30

157-168

EN

In the archaic era of Greek culture music and poetry were inseparably combined. However, over the ages this connection has been loosened to be finally broken. In the Augustan period the memory of musical past echoes in the poetry, of which an extensive collection is found in the writings of Ovid. The poet frequently refers to Greek musical experience from which he derives a multitude of examples, motives and similes. The most prominent feature of the references to music is symbolism which is revealed in numerous mythological contexts in a metaphoric depiction. The selected myths present the origin of music such as invention of musical instruments or contests between most celebrated musicians.

7

VZŤAH OSOBNOSTNÝCH ČŔT A HUDOBNEJ PREFERENCIE U STREDOŠKOLÁKOV

80%

Kráľ M.

Človek a spoločnosť. Internetový časopis pre pôvodné teoretické a výskumné štúdie z oblasti spoločenských vied

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2014

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vol. 17

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issue 1

-

EN

Presented article focuses on identifying statistically significant differences in personal characteristics, in relation to favourite music genre and dominant use of music. Introductory part reviews hitherto published relevant research papers. Subsequent sections concisely describe particular components of the Five Factor model of personality. The sample consists of 128 adolescents, the students of comprehensive school. The personality dimension were assessed by Slovak mutation of NEO-FFI questionnaire, utilization of music was determined by Uses of Music Inventory and music preferences were divided to four consistent factors, delimited by foreign research. The data analysis confirms assumption of statistically significant differences in personal dimensions and in mode of music among listeners of various music genres.

8

Marinka

80%

Prochazka M.

Česká literatura (Czech Literature)

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2006

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vol. 54

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issue 2-3

198-203

EN

An interpretation of Macha's tale 'Marinka', focusing on some of its musical elements (for example, the inclusion of verse in composition, the harp motif). It points to factors made complicated by the development of Romantic idealization.

9

‘REGIONALITY’ AS A KEY CONCEPT IN HISTORIOGRAPHY OF MUSIC WITH PRELIMINARY CONSIDERATIONS AS REGARDS SALZBURG

80%

Hochradner T.

Musicologica Slovaca

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2020

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vol. 11 (37)

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issue 2

157 - 164

EN

This paper seeks to investigate Salzburg’s musical profile in its 20th century reception as an example of dealing with topographic facts in music history writing. In the face of awakening nationalism and the beginnings of a Mozart cult in the late 19th century, and its continuation after 1900, musicologist Constantin Schneider tried to deideolize the feature of geniality by presenting two exhibitions on Salzburg’s music history in the 1920s, and to create an overall view on the bases of sources. Soon afterwards, in 1935, when Schneider published his Geschichte der Musik in Salzburg von der ältesten Zeit bis zur Gegenwart, he relied on his former projects. With this study, Schneider established a topographically supported philological approach in musicology that neither his academic teacher, Guido Adler, nor other authors had realized and that would not have come into being without the idea of ‘regionality’ as a key concept in the historiography of music.

10

Music in Boethius and in Medieval Philosophy

80%

Konik M.

Archiwum Historii Filozofii i Mysli Spolecznej (Archives of the History of Philosophy and of Social Thought)

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2006

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vol. 50-51

51-74

EN

The most important medieval treaty concerning the theory of music is 'De institutione Musica' by Boethius. In this work, he presented an idea of 'musica mundana', which had been a predominant metaphysical conception of music until 14th century, when it was criticized by Johannes de Grocheo. Nevertheless, some aspects of Boethian doctrine were repeated even in 16th century by some theorists (Gaffurius, Jerzy Liban).

11

DESCRIPTIVISM IN META-ONTOLOGY OF MUSIC: A PLEA FOR REFLECTIVE EQUILIBRIUM

80%

Giombini L.

ESPES

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2019

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vol. 8

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issue 2

59 – 73

EN

In this paper, I investigate one popular view in current methodological debate about musical ontology, namely, descriptivism. According to descriptivism, the task of musical ontology is to offer a description of the ‘structure of our thought’ (Kania 2008: 437) about musical works, as it manifests itself in actual musical practices. In this regard, descriptivists often appeal to our pre-theoretical intuitions to ground ontological theories of musical works. This method, however, is worrisome, as such intuitions are unstable and contradictory. For example, there is a broad variety of intuitions in our musical practice concerning what counts as an authentic performance of a musical work. All such intuitions reflect at least a part of actual practice; however, they are in conflict with each other. This raises a problem, for how can they thus represent a reliable basis for our ontology? A further worry for descriptivism concerns the triviality of the knowledge it gives us access to. If, according to descriptivism, the task of musical ontologists is simply to codify the regularities found in our intuitive thought or discourse about practice, then how can the resulting theories be informative at all with regard to the object of their concern?

12

Rock - Stylisation - Intertextuality

80%

Rychlewski M.

Teksty Drugie (Second Texts)

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2006

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issue 4(100)

191-204

EN

This article discusses the phenomenon of intertextuality of rock music. As opposed to literature, rock is multi-code in nature, as it is a conglomeration of music, word, and image. Hence, the question of intertextuality of rock should be considered in reference to all those codes in parallel. The essay does not consider stylisation and intertextuality as separate issues; instead, the former is approached as a variety of the latter, whilst both are seen as a common area of intertextual relations. The author is primarily interested in the subject of intertextual references (high/popular/folk/exotic/rock culture) and, secondly, in the actual aim of those references, in rock's attitude toward high-artistic culture, pop culture, folklore, exoticism, and, its own tradition.

13

MUSIC AS AN OPEN CREATION. ON THE IDENTITY OF MUSICAL COMPOSITION

80%

Jusiak J.

Kwartalnik Filozoficzny

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2008

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vol. 36

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issue 2

179-200

EN

The article puts forward arguments that challenge the legitimacy of the ontological interpretation of music worked out by Roman Ingarden. This interpretation assumes that the existential, aesthetic, and axiological nature of music is determined by the ideal structure of a musical composition, independent of the real world and existing as an element of the transcendental consciousness that defines its timeless identity. According to the author, this argument does not have adequate justification either in the history of research on the nature, genesis, and functions of music, nor in considerations that make an attempt to explain its meaning. However, the category of the identity of a musical composition is not a completely unfounded idea. It is found in research referring to many supplementary methods in which it is treated as a rational postulate that makes it possible to determine what should actually be considered and taken into account in situations that demand examinations or modifications of statements concerning the identity of a musical work.

14

HUDOBNÁ PSYCHOLÓGIA SÚČASNOSTI AKO EMPIRICKÁ DISCIPLÍNA

80%

Cenkerová Z.

Musicologica Slovaca

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2017

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vol. 8 (34)

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issue 1

5 - 49

EN

Since the late 20th century, psychology of music has been pursued as a cognitive, empirical, data-driven discipline, building upon knowledge from musicology and psychology, as well as from the cognitive sciences and neurosciences. Currently, it covers various areas of research, including but not limited to music sensation, perception, cognition, and empirical investigations of the links between music and emotion; developmental music psychology, the issues of musical talent, the acquisition of musical skills, and the phenomenon of absolute pitch; music performance, composition and improvisation; neural correlates of listening to music and music-making; social aspects of music including its role in everyday life, in social, ethnic and broader cultural groups, as well as in educational and therapeutic settings. Empirical research in this specialised and interdisciplinary ﬁeld has been underrepresented within the domestic academic community. The task of building up a systematic research base will require a collective eﬀort of experts from related disciplines.

15

Muzyka jako hałas

80%

Kofin E.

Prace Kulturoznawcze

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2012

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vol. 13

71-77

EN

We are living in an era of omnipresent music, which is caused by the fact that the media enable us to use music any time and anywhere. Whether we like it or not, we encounter music everywhere, which leads to fatigue caused by sound excess resulting from the fact that music is treated functionally, mainly by the so-called muzaks, playing pieces selected in order to achieve some specific benefits. Consequently, music often seems to be noise, as, according to psychologists, all acoustic stimuli that disturb people who have to bear them are, in fact, noise. Today, music functions in our homes as a background to everyday life that does not require listening, as a result of which people become used to turning a deaf ear to it and, consequently, become indifferent to it and lose any musical sensitivity. The omnipresence of music is also enhanced by earphones that transmit it wherever we want, which has its good and bad sides. The advantage is that the listener does not impose his or her music on others; the disadvantage — according to otolaryngologists, the listener is at risk of gradually becoming deaf. The abuse of music is denounced mainly by musicians, who want to have some sensible, binding regulations in this respect. Unfortunately, they have had little success until now, so music keeps making a noise.

16

ORFEUS MELANCHOLIK? ANTICKÝ HUDEBNÍ MÝTUS V ARCHETYPÁLNÍ INTERPRETACI

80%

Kozel D.

Slovenská literatúra (Slovak Literature)

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2014

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vol. 61

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issue 4

303 – 311

EN

The aim of this paper is to present the archetypal interpretation of Orpheus as a representative of the classical musical myth. The text tracks the relationship between myth and music as well as explores possible melancholic features of the mythological character. The methodological basis is primarily the theory of archetype by Carl Gustav Jung. The mythological image of Orpheus in ancient literature is confronted with the former understanding of melancholy, taking account of the broader archetypal symbolization. Orpheus is incorporated into the mythological framework of Apollo and Orphism. The basic motifs of the myth include musical expression of the character (playing the lyre, singing), his journey to the underworld to retrieve Eurydice and his tragic death. There is an archetypal manifestation of the hero, the Self, the anima, the animus, the wise old man. The central motif is that of Orpheus turning around to look at Eurydice on the way from the underworld, it is an expression of unintegrated mental contents of individuation and the death of anima. The consequence of the described phenomenon is the death of the character by ripping his body to pieces by the women. The melancholy elements of myth show by moving towards the death based on the deficit of anima, on the next level the melancholy is initiated by the underworld experience and connection with music. The ancient view of Orpheus´s melancholy is connected to exceptional artistic abilities. By combining the archetypal approach to the myth and the interpretation analysis of melancholy, the amplified image of Orpheus has been created, which can be applied to interpretations of works of art.

17

Pięć nieporozumień dotyczących rozumienia muzyki

80%

Brożek A.

Kwartalnik Filozoficzny

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2015

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vol. 43

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issue 1

117-132

EN

The article is an analysis of a number of theoretical misunderstandings connected with the understanding of music. The author first makes several remarks on the relation between experiencing and understanding music. Secondly, she distinguishes five kinds of understanding of musical compositions and calls attention to the fact that only some of them are “democratic”. Thirdly, the thesis that “music signifies itself” is explicated. Fourthly, the author analyzes the status of the theory of music as a discipline which facilitates or even makes possible the understanding of music. Fifthly, the thesis that “we understand music by metaphors” is commented.

18

CHOPIN AND SAND. AROUND THE FIGURE OF DON JUAN

80%

Brunel P.

Przegląd Humanistyczny

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2005

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vol. 49

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issue 3(390)

73-82

EN

The article concerns fascination with music and how events of George Sand's life affected her work in the years 1831-1851. Admiration of Don Giovanni by Mozart, affection for Musset and Chopin, theatrical and musical improvisation at home in Nohant were reflected in the genesis of some novels of that time ('Lélia' and its two versions from the years 1833 and 1839, 'Le Château des Désertes' in the form of a short story from 1847 and a novel from 1851, 'La Prima Donna', a short story from 1831, published in 1840, 'Consuelo'), and in the concept of some characters (Stenio from Lélia). The character of Don Juan often features in George Sand's works, yet, Don Giovanni comes first. It looks like the mask trio in that opera was the object of Chopin's fascination.

19

THE MUSIC OF OSKAR KOLBERG

80%

Dabrowski G.

Etnografia Polska

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2004

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vol. 48

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issue 1-2

37-56

EN

The main achievement of Oskar Kolberg, the eminent Polish ethnographer and folklorist, was his voluminous ethnographic work. That is how he was perceived - as an outstanding author of ethnography. His education, however, was musical. He was also a composer. That is why the author of the article tries to answer the question about the connection between Oskar Kolberg's education and the fact that in the 'crop' of Polish folk culture 'harvested' by him, songs and melodies predominate other items. Search for this plot in the life and research activities of Oskar Kolberg seems interesting, the more so, because he never found approval as a composer. Having made some, not very successful, attempts of 'meeting the taste' of his contemporaries he eventually concentrated on ethnography and that brought him great fame and esteem in the 19th century Poland and in many other countries as well. Why didn't he gain popularity as a composer? To what extent can and should his ethnographic work be defined as a kind of artistic creativity? These are the questions the author asks in the article. He admits that no direct answer is possible to be given now. He simply presents and juxtaposes particular facts from Kolberg's life. This may not only suggest certain answers but also allows for the analysis of the mechanisms of the 19th century cultural convention. The latter could be one of the clues to understanding the musical and ethnographic production of Oskar Kolberg.

20

Migrant Musicians. Transnationality and Hybrid Identities Expressed through Music

80%

Golemo K.

Studia Migracyjne - Przegląd Polonijny

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2020

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vol. 46

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issue 3 (177)

113–125

EN

Migrant musicians contribute to the intercultural wealth of the societies they live in. They manifest their hybrid identities and convey transnational experiences through different forms of musical expression. On the one hand, they (re)discover their musical culture of origin and reinterpret it from a new, cosmopolitan perspective. On the other, their making music and experiencing music enable them to construct an “inner homeland” to identify with, while living abroad in constant balance (or contradiction) between cultures. Based on existing works originating from different national settings this essay aims to synthetically describe the relationship between migrants’ musical expression and different manifestations of cultural belonging. Its main focus lies in how hybrid transnational identities may be expressed through music. It also addresses the redefinition and reinterpretation of migrants’ musical traditions in the cosmopolitanized city of Lisbon, with a special regard to the Cape Verdean diaspora as a community shaped by music.

Refine search results

ZOLTÁN KODÁLY AND THE HUNGARIAN LANGUAGE

INTEGRATION AND SPECIFICATIOPN OF THE ART-EDUCATIONAL STUDIES: HARMONY OR ANTINOMY ? PSYCHOLOGICAL DIMENSIONS OF THE NON/DIFFERENTIAL PROCESS.

Mit cygański w twórczości Federico Garcii Lorki

FIDDLE, DANCE AND DEVILS. ON THE DIABOLIC CHARACTER OF MUSIC

Expression as Success: The Psychological Reality of Musical Performance

Symbolika i funkcja motywów muzycznych w poezji Owidiusza

VZŤAH OSOBNOSTNÝCH ČŔT A HUDOBNEJ PREFERENCIE U STREDOŠKOLÁKOV

Marinka

‘REGIONALITY’ AS A KEY CONCEPT IN HISTORIOGRAPHY OF MUSIC WITH PRELIMINARY CONSIDERATIONS AS REGARDS SALZBURG

Music in Boethius and in Medieval Philosophy

DESCRIPTIVISM IN META-ONTOLOGY OF MUSIC: A PLEA FOR REFLECTIVE EQUILIBRIUM

Rock - Stylisation - Intertextuality

MUSIC AS AN OPEN CREATION. ON THE IDENTITY OF MUSICAL COMPOSITION

HUDOBNÁ PSYCHOLÓGIA SÚČASNOSTI AKO EMPIRICKÁ DISCIPLÍNA

Muzyka jako hałas

ORFEUS MELANCHOLIK? ANTICKÝ HUDEBNÍ MÝTUS V ARCHETYPÁLNÍ INTERPRETACI

Pięć nieporozumień dotyczących rozumienia muzyki

CHOPIN AND SAND. AROUND THE FIGURE OF DON JUAN

THE MUSIC OF OSKAR KOLBERG

Migrant Musicians. Transnationality and Hybrid Identities Expressed through Music