Living music

review for the study of music and dance

Sinfo­nia by Luci­ano Berio. Some analy­ti­cal notes.

Analy­ti­cal reflecti­ons on selec­ted layers of the key orchestral composi­tion by L. Berio. Focus on the layers of serial composi­ti­o­nal tech­niques, of the indivi­dual move­ments’ forms, of composi­ti­o­nal ope­rati­ons treat­ing the text(s), of the pre­sen­ted a medi­a­ted meanings con­cerning Mahler’s Symphony No. 3 (particu­larly its third move­ment) and of the composers inspi­rati­ons by Claude Lévi-​Strauss and Umberto Eco.

Amplifi­cation of accor­dion: research and con­struction of inner microphone system

This article focuses on the research that allowed the design and con­struction of a new internal microphone sys­tem for live pro­duction. The first part was based of trying as many diffe­rent possi­ble ways of internal picking up of the accor­dion sound as possi­ble, compa­ring them and cho­o­sing the most sui­table one. The second part deals with fin­ding the opti­mum num­ber of micropho­nes for both sides of the instru­ment and the final construc­tion of the internal microphone sys­tem for the accor­dion. Our goal was to get a mono signal within one hand. We have achieved the natu­ral color of the instru­ment and at the same time we have opened seve­ral ori­gi­nal and un­conventional ways to picking up the accor­dion sound.

Tra­di­ti­o­nal instru­ments in pub­lic Music Secon­dary Scho­ols and Univer­si­ties of Gre­ece: Methods of transmis­sion and teaching

For resear­chers of Greek tra­di­ti­o­nal music, 1988 is regar­ded as a lan­d­mark year, as it coin­ci­des with the foun­ding of the first pub­lic Music Secon­dary School in Gre­ece. One of the innovati­ons of these scho­ols was the inclusion of Greek tra­di­ti­o­nal instru­ments in their cur­ricula, for the first time in a state edu­cati­o­nal insti­tu­tion. By Sep­tem­ber 2019, there were 47 such scho­ols ope­ra­ting in most major Greek cities. During the first 30 years of their exis­tence, Music Secon­dary Scho­ols seem to have made an impor­tant con­tri­bu­tion to the field of tra­di­ti­o­nal music, as re­flected by the signifi­cant num­ber of gra­dua­tes who are pro­fes­si­o­nally active today – either as perfor­mers or tea­chers. It should be men­ti­o­ned that the first tea­chers of tra­di­ti­o­nal instru­ments in these scho­ols were…

The role of ballet mas­ter: pro­fes­sion or mission?

This study is focused on the pro­fes­sion of a ballet mas­ter. The pri­mary aim is to intro­duce this unusual artis­tic post and cover its current form within the­a­tre ope­ration of Czech ballet companies in the 21st cen­tury. Following up are the indivi­dual cha­rac­te­ris­tics of each functi­ons: tea­cher, assistant, repe­ti­tor. The text is comple­men­ted with thoughts and observati­ons of the current ballet mas­ters, who, besi­des other things, point out the pros and cons that this artis­tic post entails.

“I wanna do total seri­a­li­sation freehand”

My study is an analy­ti­cal survey of composi­ti­o­nal work with tone mate­rial in selec­ted works of ame­ri­can composer Mor­ton Fel­d­man. I am pri­marly focusing on han­d­ling of chro­ma­tic total (chro­ma­tic field) and also of interval con­tent of used pat­terns and har­mo­nies. I am following my previ­ous study Between Catego­ries where I was ques­ti­o­ning the boun­da­ries sepa­ra­ting the acous­tic and composi­ti­o­nal rea­lity in Feldman’s composi­ti­ons. Emphasizing of relati­ons within tone mate­rial does not mean that I am not aware of pro­ces­ses occu­ring in acous­tic rea­lity. Feldman’s composi­ti­ons are con­stantly swit­ching between composi­ti­o­nal and acous­tic rea­lity, but when we focus only on composi­ti­o­nal rea­lity, we can also dis­cover a lot of ambigui­ties and pro­ces­ses with mul­tiple meanings. This text is in some…

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