Letteratura scientifica selezionata sul tema "Muzică militară"

In 2007, the Croatian army decided to close its military base on the Muzil peninsula, which is a part of the city of Pula. Muzil hosts about 20 percent of the city; moreover, it is located in a very attractive area with the view on the seaside and the city’s historical center. After the city received the area, negotiations began to decide about the future of the demilitarized land. This paper discusses the attitudes of two main actors of the public debate: the city council supported by the central authorities of Croatia and a nongovernmental organization established by a number of residents of Pula. The former wanted to transform the demilitarized area intoan elite tourist resort, while the latter proposed opening the peninsula to residents to rei ntegrate the postmilitary area with the city. The two attitudes are related to different ideas of usefulness and the city as a community of residents. The right to space reflects the fundamental question of participation in the public debate. Moreover, Pula can be seen as an example of the city, where extensive and uncontrolled development of tourism violates the interests of the local community.

In the context of this year's centenary of World War I, the focus of this text is the music activities of the Serbian army in North Africa (1916-1918), where they recuperated from their retreat across the mountains of Albania. This paper is a result of an extensive archival research of the National Library of Serbia's collections and periodicals published during the Great War in North Africa. The daily news bulletin Napred/En avant published during the war in Africa deserves special attention, along with the personal archives of conductor and Serbian army captain Dragutin F. Pokorni (1868-1956). The paper sheds light on the work of a Serbian military orchestra, officially called the Band of the Cavalry Division (BCD, in Serbian: Muzika Konjičke divizije) and their leader Pokorni, hitherto little known in Serbian musicology. More importantly, the paper critiques official Serbian historiography and its primary concern with glorifying the 'heroism' and sacrifice of Serbian soldiers, whilst keeping silent on the 'quiet African episodes' in the activities of the Serbian army from January 1916 to December 1918. This paper also highlights key points in the fruitful encounter between Serbian military musicians and the multi-layered cultures of the Maghreb and examines the importance of the BCD's promotion of Serbian culture overseas as a type of cultural diplomacy. By placing the activities of this Serbian military orchestra in the broader context of Serbian cultural diplomacy in the Great War, this paper offers an answer to the current debates in the humanities regarding new approaches to, and interpretations of, this year's global anniversary, mentioned above.

Among the early medals made by Pisanello (Antonio Pisano, c. 1395–c. 1455), considered as the “inventor of the modern medal”, there are two of mercenary captains, Niccolò Piccinino and Francesco Sforza (the future duke of Milan). At the alleged moment of the medals’ execution both condottieri were in the service of Filippo Maria Visconti, Duke of Milan, who appears to have been the most probable commissioner. The pairing of these two captains was not coincidental – they were successors to the leaders of the two greatest Italian military companies, the bracceschi (led by Braccio da Montone) and the sforzeschi (of Muzio Attendolo Sforza), whose juxtaposition soon became a topos among contemporary chroniclers and biographers. The article outlines the political background of the commission and discusses the content and iconography of the two medals.

The adoption of western notation (which is an example of graphic notation) as the “official system” in Turkey dates from after 1828. Sultan Mahmud II (reigned 1808–1839) abolished the Janissary force in 1826 and with it the musical unit of that army, it was a band for wind and percussion instruments (Mehterhâne-i Hümâyûn). He then organised his new army on western lines and thus introduced an institution of western origin, the military band, as the musical unit of his modern army. This new institution, which was European in its music system, instruments, repertoire and first and foremost its methods of education, was formed under the name Muzika-i Hümâyûn (the royal military band). Professional musicians were invited from Europe to participate and, with the foundation of Muzika-i Hümâyûn in 1827, the most far-reaching change in Turkish musical history took place. It was an outstanding manifestation of westernisation which necessarily made a deep impact on both the Turkish makam (modal) music system and the existence and the behaviour of the musicians who produced and performed it. The domination of makam music and its masters in court circles and their claim to be the sole and absolute system of taste was undermined, although the appreciation and respect of certain sultans and bureaucrats continued on a personal level. From that date on, a duality, an East-West dichotomy (the effects of which can still be seen), overtook the cultural sphere of which music was a part. Within this dichotomy, tonal polyphonic music of the West began to make its influence felt at least as much as, if not more than, makam based Turkish music both within the state framework and in the society at large. These dual concepts were referred to as Alla Turca and Alla Franga. While Alla Franga (alafranga in common parlance) came to symbolise modernity, change and the new life style, Alla Turca (alaturka in common parlance) became a manifestation of being archaic and conservative and of having a blind commitment to tradition and an under-developed taste (even no taste at all). Within this series of dichotomies, which took hold of every area of life (from literature to fashion also, eating habits, systems of beliefs, and education as well as government) makam based Turkish music received a large share of “cultural negation” with the judgement that it did not even have a decent notation system. It became marginalised and restricted to a narrow social group deeply and passionately devoted to it. Even during this process, makam music developed a dynamic of self-protection against “cultural negation” with its composers, theorists, publishers, performers and listening public. Makam music composers and performers learnt western notation, they wrote pieces down and deciphered music from that notation; a system of education based on modern methods developed while still preserving meşk (the traditional oral teaching method of Turkish music). These efforts were driven by the ‘ideal’ of transforming makam music, which was claimed to be archaic due to its monodic structure, into a polyphonic music. The musicians who knew western notation (such as Melekzet Efendi, Leon [Hancıyan] Efendi, etc.) were paid great amounts of money in order to record the works of the old masters in western notation and compile them, along with new compositions, into extensive note-collections (such as Muzika-i Hümâyûn Kumandanı [the commander of the royal military band] Necîp Paşa Collection and the Pertev Paşa Collection, etc.). Works were also published in note editions (such as Mâlûmat [literally meaning knowledge], Müntehâbât [literally meaning selections], Ûdî [lute-player] Arşak editions, etc.). Moreover, educational guides devoted to teaching makam theory and solmisation (such as Tanbûrî Cemîl Bey's Rehber-i Mûsikî [The Music Guide], Muallim [teacher] İsmail Hakkı Bey's Mahzen-i Esrâr-ı Mûsikî [The Cellar of the Secrets of Music], Muallim Kâzım Bey's Mûsikî Nazariyâtı [Music Theory], etc.) and the first methods for learning the instruments of makam music (such as Ûdî Salâhî Bey's Ud metodu [Lute Method], Seyyid Abdülkaadir Bey's Usûl-i Ta'lîm-i Keman [Method for Practising Violin, etc.], modelled on their European counterparts, were beginning to be published.

Abstract The vast work Noi istorii ale muzicilor românești [New histories of Romanian types of music]1 (816 pages), published by Editura Muzicală in 2020 was a project of the Romanian Composers and Musicologists’ Union, represented by composer and university professor Adrian Iorgulescu, a project meant to mark the celebration of a century of activity of the organisation. The two volumes of the New histories, coordinated by Valentina Sandu-Dediu and Nicolae Gheorghiță, reflect the fulfilment of a long research project, begun in the 1990s, with a view to reassessing the musical past of Romania, expressing ideas verified in time through repeated analyses. The coordinators’ vision is edified through the following directions: 1. the joining of all musical genres – Byzantine, folkloric, military, academic, jazz, entertainment – and creating a modern perspective on the types of Romanian music; 2. using the tools of modern musicology – interdisciplinary relating, archival and recent bibliography, an objective, critical, accessible style, efficient and orderly elaboration; 3. removing all influences of the communist ideology reflected by the writings about music in the second half of the 20th century by assimilating the ideas formulated by historians after 1990; 4. capitalising on foreign authors’ writings about Romania and about Romanian music, but also on last-minute research on international music for the synchronisation with the contemporary manner of historical research.

Problematyka imaginacji geograficznych/geopolitycznych wiąże się z szerszym tak zwanym zwrotem kulturowym w geografii, skupiającym uwagę badaczy na tym, jak ludzie wyobrażają sobie przestrzeń i co warunkuje tego rodzaju praktykę społeczną. Wyobrażenia geopolityczne są podstawowym obszarem badania w geopolityce krytycznej. Tworzą mapę świata oraz są sposobem definiowania miejsca narodu i państwa w tym świecie przez wpływowe grupy społeczne, głównie z kręgu elit. Ich założeniem jest zastosowane przez Edwarda Saida w geografii wyobrażonej podstawowe tożsamościowe rozróżnienie na „my” i „oni”, „swoi” i „obcy”. Wytwarzaniem imaginacji geopolitycznych w kulturze i muzyki popularnej oraz w mass mediach zajmuje się geopolityka popularna, będąca częścią geopolityki krytycznej. Zjawisko muzyki popularnej trudno precyzyjnie zdefiniować ze względu na zmienność i ciągłe powstawanie nowych stylów. W tych badaniach analizuję niektóre polskie nurty muzyki popularnej, posługując się wybranymi tekstami piosenek jako bazą źródłową. Celem tego artykułu jako case study z geopolityki popularnej jest analiza wytwarzania wyobrażeń geopolitycznych ZSRR i Rosji wśród twórców polskiej muzyki popularnej po 1989 roku oraz związane z tym niektóre uwarunkowania tożsamościowe, kulturowe, polityczne i generacyjne. Stawiam główną hipotezę, że obraz ZSRR/Rosji w imaginacjach polskiej muzyki popularnej był trwały i kreślił figurę wroga przez stosowanie wielu mitów i symboli z polskiej historii. Do tego był spójny z obrazem ogromnej większości elit politycznych i społeczeństwa. Tak zarysowany interdyscyplinarny problem badawczy nie doczekał się w polskiej nauce szerszych badań i wymagał zastosowania typowej dla geopolityki krytycznej metody badawczej w postaci analizy dyskursu tekstów piosenek oraz metody systemowej, traktującej wyobrażenia geopolityczne polskich elit symbolicznych jako spójny i powiązany z sobą system, w którym funkcjonują różne podsystemy, obejmujące obrazy kreowane przez poszczególne środowiska elitarne. W imaginacjach geopolitycznych dotyczących ZSRR/Rosji widać echo trwającego w polskiej myśli geopolitycznej ostatnich 200 lat wyobrażenia o „przeklętym” miejscu Polski w Europie, czyli na styku Wschodu i Zachodu, na peryferiach cywilizacji zachodniej, zagrożonym przez silniejsze od nas Niemcy i Rosję. Integracja z bliskim kulturowo Zachodem, która była podstawą polskiej polityki zagranicznej po 1989 roku, doprowadziła do zerwania z tym obrazem, pojednania z Niemcami, żeby wejść w zachodnie struktury polityczne i militarne. Natomiast Rosja, niezależnie od różnych form ustrojowych, pozostała w naszych imaginacjach geopolitycznych obca cywilizacyjnie i wroga geopolitycznie — jako Azja, nie-Europa, symbol zacofania, barbarzyństwa, dyktatury. Historyczny obraz relacji Polski z Rosją przywoływany w muzyce popularnej zawiera przede wszystkim obcość, konflikt i wojnę. Ten przekaz akceptowała większość Polaków, gdyż był łatwy komunikacyjnie, opierał się na trudnej wzajemnej historii i wynikających stąd emocjach, uprzedzeniach, mitach. Wzmacniało to rolę martyrologii i heroizmu Polaków, oporu i nieposłuszeństwa. Ten resentyment pozwalał przekuwać nasze porażki w zwycięstwa, zwłaszcza moralne, co było poniekąd bronią słabych wobec silniejszych. Delegitymizacja PRL jako satelity ZSRR ułatwiała kreowanie obrazu podobnego zagrożenia dla Polski ze strony Rosji po 1991 roku. W tym dyskursie większość elit politycznych, wspierana przez muzyków, zwłaszcza z pokolenia pamiętającego dobrze w pełni zależną od Kremla komunistyczną Polskę, wskazywała na stałe, historycznie motywowane zagrożenie polityką imperialną oraz dążeniami do podporządkowania sobie Polski przez Rosję. Rosję w dyskursie naszych elit, w tym muzycznych, wyolbrzymiano jako historycznie obcy cywilizacyjnie i groźny podmiot państwowy, żeby pokazać jej zagrożenie dla naszego bytu narodowego i uzasadnić niezbędny cywilizacyjny oraz geopolityczny zwrot Polski ku Zachodowi. Strach wzmagał poszukiwanie punktu oparcia w zachodnich sojusznikach. W efekcie prowadziło to do marginalizacji postaw kompromisu, zrozumienia czy dialogu, które otwierałyby drogę do poprawnych relacji bilateralnych z Rosją na poziomie państwowym, co widać w polskiej polityce zagranicznej po 1991 roku.

The repertoire for the marching band has its specificity, determined by the instrumental composition, the type of orchestra: military or civilian, the context of the performance. It includes both original opuses and transcriptions. The orchestration technique reflects all these aspects, and the authors of the works and arrangements will consider the timbre features, the possibilities of combining different instruments, the application of dynamic elements, the ways of creating/reproducing the chordal, polyphonic, melodic texture, which will harmonize and reflect the whole sound picture of the musical creation and of the musical dramaturgy.