Faculty of Music
Permanent URI for this communityhttps://repository.ukim.mk/handle/20.500.12188/15
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Item type:Publication, Music and arrangement: Ninje Otpushchaeshi (All-Night Vigil)(Andrijana Janevska, 2017-07-27)Janevska, Andrijana - Some of the metrics are blocked by yourconsent settings
Item type:Publication, Вокален солист на песната "Daj poljubi me“. Премиерна изведба на ХРТ1 во Загреб(Hamar Media, 2019-03-17) - Some of the metrics are blocked by yourconsent settings
Item type:Publication, Солистички концерт во придружба на камерен ансамбл на ФМУ(Andrijana Janevska, 2017-09-20)Janevska, Andrijana - Some of the metrics are blocked by yourconsent settings
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Item type:Publication, Dinamika promena: tinejdžeri – muzika – mediji(Ниш: САНУ, Огранак САНУ у Нишу, Универзитет у Нишу, Факултет уметности у Нишу, 2019)Metafizička statičnost našeg poimanja realnosti dovodi do privida da sve oko nas stoji. U istom smislu stoji i muzika, stoje i mediji, stoji i njihov doživljaj različitih generacija. Nasuprot prividu je realnost, koja doktrinarno menja naš univerzum okruženja i to za vremenske periode koji su mnogo manji nego raniji, mereni decenijama i vekovima. Istraživanje digitalnih medija i tinejdžerske muzičke kulture, koje smo sproveli u Skoplju u 2009. godini, i istraživanje socijalnih mreža i muzičke kulture mladih, isto u Skoplju, u 2015. godini, daju uvid u dinamiku promena kod ove noseće populacije budućnosti. Zato smo uporedili rezultate onih komponenti koje spajaju medije i muziku sa ovom starosnom grupom. I pored veoma malog vremenskog razmaka, naši rezultati pokazuju značajni pomak u posedovanju laptopa, pametnih telefona, uvođenja hibridnih tableta, korišćenju interneta i socijalnih mreža u komunikaciji sa muzikom. / Metaphysical nature of our understanding of the reality creates an illusion that everything around us is changeless. Hence, it seems that both music and media are static, as well as their experience among different age groups. Contrary to this perception is the reality where doctrinal environmental changes happen in time periods much shorter than the previous ones, that were measured in decades or even centuries. Two researches, one on digital media and teenage music culture, and the other on social networks and youth music culture, conducted in Skopje in 2009, and 2015, provide an insight into the dynamics of changes in this vital population group for the future culture. Therefore, we compared the variables from these researches that connect media and music with this age group. Despite the short time span, the results show a significant shift in possession of laptops, smartphones, tablets, and the Internet and social networks communication with music. - Some of the metrics are blocked by yourconsent settings
Item type:Publication, Muzak – prostorna muzika(Ниш: САНУ, Огранак, Центар за научноистражувачки рад САНУ и Универзитета у Нишу, Факултет уметности у Нишу, 2016)pikurejski filozof Filodem još u antici (I vek), oponirajući pitagorejcima i njihovom etičkom tumačenju muzike, anticipira prostornost muzike, postavljajući je u funkciju zabave, odnosno njenog zvučnog background-a. Sedamnaest vekova kasnije, Kant pripisuje muzici mane urbaniteta, čime otvara problem prostornog širenja (zagađenja) muzike. Funkcija muzike kao pozadine zabave, ali i kao sastavnog dela važnih svečanosti u životu pojedinaca, zajednica i država, u XX veku dobija novi ekonomsko-marketinški format. Nove tehnologije (počev od telharmonijuma, magnetnih nosača i radija) proširile su zvučni proctor, koji je osloboĎen od potrebe za živim izvoĎačima (nešto što se već desilo sa pojavom mehaničkih instrumenata u XVIII i XIX veku). Marketing eksploatiše moć masovne kulture, da bi popularnu muziku postavio u funkciju prodaje proizvoda i usluga. Tako je rođen koncept muzak, sinonim za komercijalno produciranu background muziku svih vrsta. Ovaj trend prostorne muzike se dalje razvija pojavom ambijentalne muzike, i na komercijalnom i na umetničkom nivou, i dostiže krajnje granice u savremenoj elektronskoj muzici, koja snima različite prostorne ambijente (priroda, zvuk grada), pod pretpostavkom da su oni kreativni i neponovljivi. / In the 1st century A.D. Epicurean philosopher Philodemus, opposing Pythagoreans and their ethical interpretation of music, anticipated the question of music space by giving it a function of entertainment, i.e. creation of specific sound background. Seventeen centuries later, Kant attributed the flaws of urbanity to music, thus raising the problem of spatial spread (contamination) of music. The function of music as a background entertainment and a constituent part of important individual, communal and state events, acquired an economic-marketing meaning in the 20th century. New technologies (telharmonium, magnetic carriers and radio) widened the sound space, liberating it from the need of live performance (something that already occurred in the area of mechanical instruments in the 18th and 19th centuries). Marketing exploits the power of mass culture using popular music to improve the sale of products and services. Consequently, the concept of muzak was born, as a synonym for commercially produced background music of all genres. Further development of spatial music includes the introduction of ambient music, both on commercial and artistic level. It reached its boundaries in the contemporary electronic music recordings of various sound environments (natural and urban soundscapes), under the assumption that they are creative and unique. - Some of the metrics are blocked by yourconsent settings
Item type:Publication, Panel diskusija – Repertoar mešovitih horova u Srbiji u 2015. godini, Istraživanje repertoara mešovitih horova u Srbiji u 2015. godini(Univerzitet u Nišu, Fakultet umetnosti u Nišu, 2017); - Some of the metrics are blocked by yourconsent settings
Item type:Publication, Muzika u studentskim protestima i autonomnoj zoni u Makedoniji, novembar 2014 – februar 2015. godine(Univerzitet u Nišu, Fakultet umetnosti u Nišu, 2016)Rad obrađuje muzičke događaje (koncerti, performansi, alternativna nastava i di-džej setovi), muzičke žanrove i muzičke oblike u okviru kulturnog i obrazovnog programa koje je organizovao Studentski plenum Univerziteta „Sv. Kiril i Metodij“ u Skoplju, za vreme protesta i Autonomne zone, novembar 2014 – februar 2015. godine, preko kojih je izražen revolt prema lošim reformama u makedonskom obrazovanju. Korišćenje muzike, pre svega, u političke svrhe, ali isto tako i kao kulturni program i razonoda za vreme ovih događaja, daje materijal za sociološku analizu funkcije muzike u društvu. Kulturne i muzičke matrice odražavaju preferencije studentskog pokreta i ujedno njihov pokušaj da tim matricama izraze svoje negodovanje, ne samo zbog loše obrazovne reforme, nego i kritiku lošeg ukusa u, od države subvencioniranim, kulturnim i muzičkim programima. / The paper is concerned with the music events (concerts, performances, alternative lectures and DJ sets), music genres and musical forms of the cultural and educational program organized by the Student Plenum of Ss. Cyril and Methodius University in Skopje, during the protests and the creation of the Autonomous zone, November 2014 – February 2015. The protests were organized as a reaction to the educational reforms in the higher education in Macedonia. The use of music as political means in the cultural and entertainment program during these events offers an exceptional material for sociological analysis of the function of music in the society. The cultural and music matrices reflected the preferences of the student movement and the attempt to express their revolt against bad educational reforms, as well as their critique of the bad taste in the state supported cultural and music activities. - Some of the metrics are blocked by yourconsent settings
Item type:Publication, Otroške glasbene igre na Kosovu(Zavod Republike Slovenije za šolstvo; Digitalna knjižnica Slovenije – dLib.si / Digital Library of Slovenia – dLib.si, 2016); Rexhepi, ArnisaThe paper presents the digital video collection of children’s play songs recorded in rural and urbal settlements in Kosovo in 2010. The data collected through exploratory method are related to the play songs children play during their leisure time in the school, at home and on the streets. The process of digitisation of the recorded material also included a catalogue with metadata about the play songs and the informants. The digital catalogue consists of 1,281 entries from 1,114 informants. A sample of 50 melodic and 50 rhytmic play songs was selected. The 100 items were transcribed into notation with textual and graphic descriptions of the play songs, and the additional data catalogized. The entire digital collection (156.83 GB) was deposited in the archive BuzAr, while the collection of the 100 transcriptions was published in Kosovo in 2013. The secondary and tertiary data from the catalogue, as well as our direct insight into the recording, digitisation and transcription process, were used during the data analysis which relied on descriptive statistics, frequency distributions, contingency tables and chi-square test. - Some of the metrics are blocked by yourconsent settings
Item type:Publication, Od Večerinki do Nokturna – kodifikacija tradicije u savremenost(Centre for Evaluation in Education and Science (CEON/CEES); Univerzitet u Nišu - Fakultet umetnosti, Niš, 2019)Stvaralaštvo Dimitrija Bužarovskog je neiscrpna muzikološka riznica deklarisana njegovim stavom multistilizma i multižanrovizma. Tražeći originalnost u ukrštanju i nadgradnji idioma, posebno iz popularnih žanrova - folklora, popularne muzike i džeza, ovaj autor je stvorio dela koja su već nekoliko decenija primer kompozitorskih postupaka koji neoromantično grade nacionalnu školu, ali opet na jednom univerzalnom, globalnom nivou. Zbog toga ona veoma vešto komuniciraju i na lokalnom nivou, ali i u mnogo širem međunarodnom okruženju. Jedno od najizvođenijih dela Bužarovskog - ciklus Nokturna za klavir (Večerinke u originalu) - tipičan je primer transcendencije klasičnog u savremeno, popularnog u elitno, jednoslojnog u višeslojno i jednostavnog u virtuozno. / Dimitrije Bužarovski’s compositions are indefi nite treasure for musicological research due to his declared attitude and use of multistylistic and multigenre approach. Searching for originality in the idiom fusion and upgrade, especially through the use of the popular genres – folk, popular music and jazz, during the last several decades, his compositions are already an example of the compositional techniques of neoromantical national schools, achieving universal global acceptance. Thus, they communicate equally successful in the local and in the wider international environment. The cycle of nocturnes for piano (the original title Večerinki) are one the most often performed compositions by Bužarovski. They are a typical example of the transcendence of classical into modern, popular into elite, simple into multilayered, and elementary into virtuosical.