Suchergebnisse

The purpose of the research is to analyse the role and place of Ukrainian political emigrants, Naddnipryanska Ukraine (Dnieper Ukraine) natives, in the musical culture development on Volyn Voivodeship territory based on the archival sources and the interwar periodicals (1921 – 1939). The methodology of the research is based on the science, historicism, verification principles. In the course of study the historical science methods have been used such as search, identification and systematization of the historical material, obtained from the archival documents and the press sources and with the further criticism of the other methods have been applied the historical-comparative, the historical-typological, the historical-chronological, the historical-geographical and other research methods. The scientific novelty of the article is based on the introduction into the scientific circulation the Sectoral State Archives of the Foreign Intelligence Service of Ukraine deciphered archival documents, archival-criminal cases from the Sectoral State Archives of the Security Service of Ukraine, Rivne region State Archive, other archival materials, the interwar periodical, which helped to depict Naddnipryanskykh political emigrants influences on the musical culture development of the interwar Volyn, in some places to trace their fate. It is proved that, despite the everyday difficulties, the emigrants stood out from the rest in social and socio-cultural activities, their musical activity was not only a way of earning money, but also an opportunity for creative self-realization, which helped them in adaptation to the new conditions. Conclusions. The Ukrainian Revolution figures of the 1917 – 1921, who were forced to emigrate to Poland and settled down in Volyn Voivodeship, intensified the musical life in the region. They were the folk choirs founders, moreover, they organized tours, worked as church choirs conductors, founded artistic societies, joined the search campaign for the musical and ethnographic materials for the purpose of their artistic elaboration by amateur choirs and theaters, scientific publications. At this time, the following musicians developed their talent: Mykhailo Telezhinskyi, Oleksa Kolisnichenko, Sozont Kalmutskyi, Serhiy Kozytskyi, Anna Bilohub. The Polish authorities control was manifested in censoring the repertoire, interfering with the conductors and singers, trying to use the artistic sphere in order to spread the pro-government policy. The choral art development, the concerts and competitions organizations, the ethnographic song material collection, enriched the cultural life of the region.

The purpose of the research is to analyse the role and place of Ukrainian political emigrants, Naddnipryanska Ukraine (Dnieper Ukraine) natives, in the musical culture development on Volyn Voivodeship territory based on the archival sources and the interwar periodicals (1921 – 1939). The methodology of the research is based on the science, historicism, verification principles. In the course of study the historical science methods have been used such as search, identification and systematization of the historical material, obtained from the archival documents and the press sources and with the further criticism of the other methods have been applied the historical-comparative, the historical-typological, the historical-chronological, the historical-geographical and other research methods. The scientific novelty of the article is based on the introduction into the scientific circulation the Sectoral State Archives of the Foreign Intelligence Service of Ukraine deciphered archival documents, archival-criminal cases from the Sectoral State Archives of the Security Service of Ukraine, Rivne region State Archive, other archival materials, the interwar periodical, which helped to depict Naddnipryanskykh political emigrants influences on the musical culture development of the interwar Volyn, in some places to trace their fate. It is proved that, despite the everyday difficulties, the emigrants stood out from the rest in social and socio-cultural activities, their musical activity was not only a way of earning money, but also an opportunity for creative self-realization, which helped them in adaptation to the new conditions. Conclusions. The Ukrainian Revolution figures of the 1917 – 1921, who were forced to emigrate to Poland and settled down in Volyn Voivodeship, intensified the musical life in the region. They were the folk choirs founders, moreover, they organized tours, worked as church choirs conductors, founded artistic societies, joined the search campaign for the musical and ethnographic materials for the purpose of their artistic elaboration by amateur choirs and theaters, scientific publications. At this time, the following musicians developed their talent: Mykhailo Telezhinskyi, Oleksa Kolisnichenko, Sozont Kalmutskyi, Serhiy Kozytskyi, Anna Bilohub. The Polish authorities control was manifested in censoring the repertoire, interfering with the conductors and singers, trying to use the artistic sphere in order to spread the pro-government policy. The choral art development, the concerts and competitions organizations, the ethnographic song material collection, enriched the cultural life of the region.

A 'new' and growing population of salsa listeners and collectors has emerged in Cali known as 'los bloggers.' Through mass diffusion on the internet and thanks to the dynamics of circulation and conservartion of digital musical materials, the subjects and practices of consumption of Afro–Caribbean musics has begun to change drastically. Utilizing ethnographic and cartographic exercises, this article explores the ways in which these 'new collectors,' los bloggers, use virtual media to create and produce mechanisms that serve as a continuation of musical traditions of salsa in Cali.

Avec la démocratisation du numérique depuis le début des années 2000, une véritable mutation technologique affecte la création, la diffusion et la circulation des musiques et des danses. Si la question est travaillée depuis quelques années pour les pays du Nord, en revanche nous ignorons largement comment, dans des contextes moins industrialisés, des régimes créatifs se développent à l'heure du numérique. En outre, dans de nombreux pays, on observe que le numérique coexiste avec des technologies "obsolètes" tels la cassette analogique, le disque vinyle, ou le VHS. Malgré leur peu de visibilité dans les pays du Nord, ces technologies mixtes témoignent pourtant de savoirs et de savoir-faire, d'imaginaires, mais aussi de filières industrielles que l'on pourrait qualifier d'alternatives, suggérant de véritables « voies souterraines de la mondialisation culturelle » (Tristan Mattelart, 2011). A partir d'une expérience de terrain au Mali, et plus généralement en Afrique de l'ouest, l'auteur expose d'une part la cohabitation et l'interpénétration de ces différents régimes technologiques, d'autre part la manière dont ils donnent lieu à des créations esthétiques singulières qui s'inscrivent dans des économies indépendantes de la culture régie. L'approche de ces initiatives locales permet ainsi de voir comment, dans des pays dits du Sud, les technologies « globalisées » de la communication donnent lieu à une grande diversité d'usages, d'appropriations et de manipulations, sur le plan de la création musicale, mais aussi ceux de de la reproduction, de la circulation et de la conservation des musiques.

International audience ; This paper (from Musicologies Nouvelles, agrégation 2019, Opus 7, published here with kind permission of Editions Musicales Lugdivine : https://www.lugdivine.com/cd-dvd-livres/musicologies-nouvelles) studies and questions the "Musical resonances of exoticism in European music from the Desert from Félicien David to Padmavâtî by Albert Roussel '' through a panorama of the geopolitical situation of Europe in the twentieth century and in the first half of the twentieth century leaning the most recent literature on the subject from political sciences and sociology (for example : Arjun Appaduraï, Dipesh Chakrabarty, Bertrand Badie or even Paul May) Many questions arise, such as the place of the Other and the relationship to the Other, the consequences of colonialism and post-colonialism, of the occidentalocentrism and cultural relativism etc . Through the question of the ritual suicide of widows in ancient India,' 'sati' ', is asked in conclusion the question: can we accept everything in the name of respect for diversity of cultures and multiculturalism ? ; Cet article (issu de l'Opus 7 de la revue Musicologies Nouvelles, agrégation 2019, publié ici avec l'aimable autorisation de l'éditeur les Editions Musicales Lugdivine : https://www.lugdivine.com/cd-dvd-livres/musicologies-nouvelles) aborde la question des "Résonances musicales de l'exotisme dans la musique savante européenne du Désert de Félicien David à Padmavâtî d'Albert Roussel'' (question mise au programmes de l'agrégation de musique en 2018-2019 et 2019-2020) par le biais d'un panorama de la situation géopolitique de l'Europe au XXe siècle et dans la première moitié du XXe siècle, cela en convoquant la littérature la plus récente sur le sujet issue de la science politique et de la sociologie (ex. Arjun Appaduraï, Dipesh Chakrabarty, Bertrand Badie ou encore Paul May). Se posent alors de nombreuses questions comme celles de la place de l'Autre et du rapport à l'Autre, des conséquences du colonialisme et du post-colonialisme, de ...

International audience ; This paper (from Musicologies Nouvelles, agrégation 2019, Opus 7, published here with kind permission of Editions Musicales Lugdivine : https://www.lugdivine.com/cd-dvd-livres/musicologies-nouvelles) studies and questions the "Musical resonances of exoticism in European music from the Desert from Félicien David to Padmavâtî by Albert Roussel '' through a panorama of the geopolitical situation of Europe in the twentieth century and in the first half of the twentieth century leaning the most recent literature on the subject from political sciences and sociology (for example : Arjun Appaduraï, Dipesh Chakrabarty, Bertrand Badie or even Paul May) Many questions arise, such as the place of the Other and the relationship to the Other, the consequences of colonialism and post-colonialism, of the occidentalocentrism and cultural relativism etc . Through the question of the ritual suicide of widows in ancient India,' 'sati' ', is asked in conclusion the question: can we accept everything in the name of respect for diversity of cultures and multiculturalism ? ; Cet article (issu de l'Opus 7 de la revue Musicologies Nouvelles, agrégation 2019, publié ici avec l'aimable autorisation de l'éditeur les Editions Musicales Lugdivine : https://www.lugdivine.com/cd-dvd-livres/musicologies-nouvelles) aborde la question des "Résonances musicales de l'exotisme dans la musique savante européenne du Désert de Félicien David à Padmavâtî d'Albert Roussel'' (question mise au programmes de l'agrégation de musique en 2018-2019 et 2019-2020) par le biais d'un panorama de la situation géopolitique de l'Europe au XXe siècle et dans la première moitié du XXe siècle, cela en convoquant la littérature la plus récente sur le sujet issue de la science politique et de la sociologie (ex. Arjun Appaduraï, Dipesh Chakrabarty, Bertrand Badie ou encore Paul May). Se posent alors de nombreuses questions comme celles de la place de l'Autre et du rapport à l'Autre, des conséquences du colonialisme et du post-colonialisme, de l'occidentalocentrisme et du relativisme culturel etc. A travers la question du suicide rituel des veuves dans l'Inde ancienne, le ''sati'', est posée en conclusion la question : peut-on tout accepter au nom du respect de la diversité des cultures et du multi-culturalisme ?

International audience ; This paper (from Musicologies Nouvelles, agrégation 2019, Opus 7, published here with kind permission of Editions Musicales Lugdivine : https://www.lugdivine.com/cd-dvd-livres/musicologies-nouvelles) studies and questions the "Musical resonances of exoticism in European music from the Desert from Félicien David to Padmavâtî by Albert Roussel '' through a panorama of the geopolitical situation of Europe in the twentieth century and in the first half of the twentieth century leaning the most recent literature on the subject from political sciences and sociology (for example : Arjun Appaduraï, Dipesh Chakrabarty, Bertrand Badie or even Paul May) Many questions arise, such as the place of the Other and the relationship to the Other, the consequences of colonialism and post-colonialism, of the occidentalocentrism and cultural relativism etc . Through the question of the ritual suicide of widows in ancient India,' 'sati' ', is asked in conclusion the question: can we accept everything in the name of respect for diversity of cultures and multiculturalism ? ; Cet article (issu de l'Opus 7 de la revue Musicologies Nouvelles, agrégation 2019, publié ici avec l'aimable autorisation de l'éditeur les Editions Musicales Lugdivine : https://www.lugdivine.com/cd-dvd-livres/musicologies-nouvelles) aborde la question des "Résonances musicales de l'exotisme dans la musique savante européenne du Désert de Félicien David à Padmavâtî d'Albert Roussel'' (question mise au programmes de l'agrégation de musique en 2018-2019 et 2019-2020) par le biais d'un panorama de la situation géopolitique de l'Europe au XXe siècle et dans la première moitié du XXe siècle, cela en convoquant la littérature la plus récente sur le sujet issue de la science politique et de la sociologie (ex. Arjun Appaduraï, Dipesh Chakrabarty, Bertrand Badie ou encore Paul May). Se posent alors de nombreuses questions comme celles de la place de l'Autre et du rapport à l'Autre, des conséquences du colonialisme et du post-colonialisme, de l'occidentalocentrisme et du relativisme culturel etc. A travers la question du suicide rituel des veuves dans l'Inde ancienne, le ''sati'', est posée en conclusion la question : peut-on tout accepter au nom du respect de la diversité des cultures et du multi-culturalisme ?

Les fêtes musicales proposent au public une expérience nouvelle de la ville et participent à la création de nouveaux imaginaires collectifs. Ces fêtes utilisent la musique comme fluide révélateur des adhérences sociales sur les espaces. Le patrimoine devient un des acteurs du jeu et participe à la programmation de la fête. La fête musicale est une mise en scène construite sur un récit qui interfère dans la sphère politique et sur les espaces vécus. On peut donc parler de performativité de la fête musicale. La musique apparaît dans ces fêtes comme un géo-indicateur, un vecteur de circulation entre les échelles territoriales, un fixateur des adhésions territoriales, un constructeur d'images territoriales et un mode de gouvernance. Les fêtes musicales sont un enjeu du développement des petites villes patrimoniales et des communes périphériques du Sud-Ouest de la France d'où sont tirés les exemples de cet article.

Les fêtes musicales proposent au public une expérience nouvelle de la ville et participent à la création de nouveaux imaginaires collectifs. Ces fêtes utilisent la musique comme fluide révélateur des adhérences sociales sur les espaces. Le patrimoine devient un des acteurs du jeu et participe à la programmation de la fête. La fête musicale est une mise en scène construite sur un récit qui interfère dans la sphère politique et sur les espaces vécus. On peut donc parler de performativité de la fête musicale. La musique apparaît dans ces fêtes comme un géo-indicateur, un vecteur de circulation entre les échelles territoriales, un fixateur des adhésions territoriales, un constructeur d'images territoriales et un mode de gouvernance. Les fêtes musicales sont un enjeu du développement des petites villes patrimoniales et des communes périphériques du Sud-Ouest de la France d'où sont tirés les exemples de cet article.

Les fêtes musicales proposent au public une expérience nouvelle de la ville et participent à la création de nouveaux imaginaires collectifs. Ces fêtes utilisent la musique comme fluide révélateur des adhérences sociales sur les espaces. Le patrimoine devient un des acteurs du jeu et participe à la programmation de la fête. La fête musicale est une mise en scène construite sur un récit qui interfère dans la sphère politique et sur les espaces vécus. On peut donc parler de performativité de la fête musicale. La musique apparaît dans ces fêtes comme un géo-indicateur, un vecteur de circulation entre les échelles territoriales, un fixateur des adhésions territoriales, un constructeur d'images territoriales et un mode de gouvernance. Les fêtes musicales sont un enjeu du développement des petites villes patrimoniales et des communes périphériques du Sud-Ouest de la France d'où sont tirés les exemples de cet article.

Based on an international conference held in Saarbrücken in June 2017 that was attended by scholars from France, Germany, England and Ireland, the articles gathered in this volume constitute volume 6 of the LAPASEC series (Landau-Paris Studies on the Eighteenth Century). The essays represent the outstanding contributions to the symposium. Concerned with intermediality and the circulation of knowledge in the age of Enlightenment, the twelve pieces, divided into four sections, address aspects of theory, discursive intermediality, generic intermediality and the intermediality of objects. In doing so, they take cognizance of what is amiss in the field of intertextual/intermedial studies, i.e. the discussion of its relevance outside narratology as well as a true and interdisciplinary interest in the essentially rhizomatic nature of cultural representations (texts, images, musical pieces and material objects).

AbstractEdmond Yafil was a key figure in the early 20th-century Algerian revival of Andalusi music, a high-prestige urban performance tradition linked to medieval Muslim Spain. Yafil's experiments with printing, transcription, audio recording, amateur associations, concert-hall performance, and new composition helped transform the production, consumption, and circulation of Andalusi music. Although Yafil was widely respected, his reputation was fraught with ambiguity during his lifetime and has remained so since. While not divorced from his position as a Jew in turn of the century Algiers, Yafil's ambiguity is best understood within the context of the complex Andalusi musical milieu of his day. This study of Yafil shows revival to have been a gloss for a partial but far-reaching shift in the social basis of Andalusi music making and calls for a broader rethinking of the familiar concept of revival in North Africa and the Middle East and beyond.

This article seeks to discuss, within the scope of radio and audio media studies, how serendipity articulates discovery, memory and recognition, standing at the heart of current Music Streaming Platforms' rhetoric and musical culture. Fortuitous discovery mobilizes affections and helps to build bonds (either with platforms or radio stations), representing a major role in music innovation and circulation. Combining a range of current Global South references with critical theories on media and memory, we address similarities and differences between music programming and curation on radio and streaming, refuting computer scientists' ambition to engineer serendipitous experiences and highlighting that serendipity must be correlated with the listeners' sociocultural background. We conclude that acknowledging the complexity of serendipity opens doors for thinking of critical issues concerning musical consumption, conditions of listening, identity, representation and audio media agency. These are central themes in restructuring of the music industry, in a context of platformization.

The purpose of the article is to reveal the features of a children's musical, created for performance by a children's team, as well as to analyse the specifics of its production on the example of the performances of the leading domestic theatres-studios of musicals. Research methodology. General scientific methods of analysis and synthesis, special artistic methods of observation, systematisation and generalisation, as well as genre and style analysis, comparative method (to identify general and specific features of children's musicals) and the method of theoretical generalisation are applied. Scientific novelty is in the introduction into scientific circulation on the example of musical productions of domestic amateur children's theatre-studios of the knowledge about the musical nature of children's musicals, caused by the interaction of music, verbal, and non-verbal means of expression that correspond to the specifics of children's perception and thinking (musicality is understood as special intonation manifestations characteristic of all means of artistic expression). Children's musicals created to be performed by a children's group were studied in terms of genre specificity; musicals staged by Kyiv amateur children's theatres were analysed; the regularities of children's musicals in the creative practice of Ukrainian theatres for children: studio-theatre «OKAY!», musical theatre «Music Hall», and others are considered. Conclusions. Children's musicals staged by domestic amateur children's groups are a unique genre variety in which various branches of artistic and creative activity are connected in the most perfect form – music, movement, dance, language, speech, acting, singing, costumes, decoration, stage lighting, and special effects. The special spectacularity, brightness, picturesqueness, and construction of this music-dramatic work as a kind of game are characteristic features that create a symbolic space in which the stage action is perceived by the audience as sincerely as possible. The children's musical is endowed with a variety of positive qualities and properties that create the prerequisites for immersing the young viewer in the imaginative world of emotions and feelings, fantasies and thoughts, while remaining as clear and easy to understand as possible thanks to the visualisation of the fairy-tale world of fiction, charm and focus of the entire palette of feelings and moods around the stage spectacle.
Key words: children's musical, amateur children's group, theatre-studio, performance, stage spectacle.