Suchergebnisse

The main goal of this paper is to recognize and explain the specificity of the public presence of Romani musicians in Russia, predominantly in the long nineteenth century as well as in the new (Soviet and post-Soviet) political situation of the twentieth century. The article offers a historically oriented outline of the Romani musical traditions deeply embedded into the cultural, political and economic situation of the country. A special focus is placed on the phenomenon of the so-called 'Gypsy choirs' and their reception in Russia both by Russians and by foreigners, the latter being often surprised that while in Central and Western Europe Romani musicians were known for instrumental music, in Russia their vocal music (particularly so-called 'Gypsy romances') gained considerable popularity. The paper argues that Romani musicians from 'Gypsy choirs' identified and learnt to address the Russian aesthetics and thus managed to secure and sustain their unique position within the Russian culture.

The Category of Nationality in the Reception of Frederic Chopin's MusicThe article outlines general tendencies and prevailing notions adopted in the interpretation of music by Fre­deric Chopin (1810–1849) in the context of its acclaimed Polishness. Initiated already in the early nineteenth century – during the composer's life – the attitude towards his music as national heritage continues until today, creating a wide panorama of different interpretations and reinterpretations. The article presents the category of nationality in the reception of Frederic Chopin's music by both Polish and foreign researchers.

ABSTRACTCredited as one of the most successful major televised music events held annually in Europe, the Eurovision Song Contest (ESC) still serves as a battlefield between Eastern and Western European aesthetic paradigms. Although the Western paradigm has long been regarded as an almost universal criterion of success, the contemporary ESC presents a unique opportunity for post‐communist acts to contest that hegemony while playing with its conventions. This article examines how, in the post‐1989 situation, the most successful Eastern European acts purposely exploited, juxtaposed and subverted several aesthetic categories, demonstrating their understanding of the conventions promoted at the ESC on the one hand, while undermining and contesting them on the other. The article argues for greater attention to such strategies as over‐exploitation of stereotypes and auto‐stereotypes, as well as mocking the prevailing aesthetics by playing with such notions as authenticity, folklore, nationalism, essentialism, camp, kitsch or hyper‐reality and challenging the contest's utopian and nostalgic ideals.

The paper shows how Maria Theresa's legacy was remembered and highlighted already in the late 19th century within the realm of musical culture. Focusing on the genre of operetta and taking The Gypsy Baron (1885) by Johann Strauss II (1825–1899) as an example the paper touches upon the issues of propaganda and collective memory as conjured up by musical theatre. Considered 'a musical monument to the Austro-Hungarian Empire' The Gypsy Baron (originally Der Zigeunerbaron) ultimately reveals the position the "King" Maria Theresia cherished in the 19th century Empire, being at the same time a fine example of the legacy of her politics. The pillars of the operetta's plot are wars fought by Austrians: the Austro–Turkish War and the War of the Austrian Succession (1740–1748). The operetta is clearly the work inscribed into the specific political situation of the late 19th century and constituted a musical response to concrete needs stimulated by civil attitudes. Hence the situation depicted in The Gypsy Baron reflects the multi-ethnic diversity of Habsburg Empire and the operetta's overall message is to glorify the cooperation between various nations as (supposedly) facilitated under Maria Theresa's reign. ; Smatrana "glazbenim spomenikom Austro-Ugarskoj Monarhiji,ˮ opereta Ciganski barun (izvorno Der Zigeunerbaron) iz 1885. godine Johanna Straussa II. (1825. – 1899.) otkriva položaj "kraljaˮ Marije Terezije uvriježenog u društvenom sjećanju Austro-Ugarske Monarhije tijekom 19. stoljeća. Događaji koje prikazuje opereta izravno upućuju na ratna vremena iz vladavine carice Marije Terezije te ukazuju na njenu ulogu u multietničkoj državi kojom je vladala i upravljala. Opereta se može tumačiti kao glazbeni odgovor na konkretne potrebe Austro-Ugarske Monarhije krajem 19. stoljeća obzirom da je, referirajući se na kolektivnu memoriju slavne prošlosti, služila u svrhe propagande.

Abstract
Considered a musical monument to the Austro- Hungarian Empire – The Gypsy Baron (originally Der Zigeunerbaron) of 1885 composed by Johann Strauss II (1825-1899) reveals how important position Maria Theresia had in the Empire in the long nineteenth century. It is also a great example of keeping, in Vienna at the end of the nineteenth century, hold of the memory of her politics. The Gypsy Baron is clearly the work inscribed into political situation as it constituted a specific response to a concrete need to stimulate civil attitudes (so desired within the Empire at that time). Treating the Gypsy Baron as a case study, the paper suggests that although the world of operetta might be overlooked or underestimated when discussing the role of political propaganda and the issues of collective memory. It should be recognized as one of the key sites employed to promote the Habsburgs' vision of their Empire.

The article outlines Polish literature dedicated to the phenomenon of flamenco. An author not only presents the state of research on flamenco in Poland, but also refers readers both to the earliest and to the most popular works on flamenco functioning abroad. While analyzing Polish literature Piotrowska asks a question about general attitude of Polish authors towards the issue of 'Gypsyness' of flamenco and presents how Polish writers treat Gypsy roots of flamenco. The author concludes that in Polish literature – comprising a few articles and books – Gypsy connotations of flamenco are usually duly underlined. At the same time, Piotrowska states that Polish literature on flamenco is dominated by practical approach focusing on performantive practices (dance, instrumental play), rather than on historic or aesthetic perspective. The author stresses the absence of Polish translations of important books on flamenco, however she also acknowledges the role Polish Internet sites play in promoting the Gypsy aspect of flamenco phenomenon. ; Natalia Gancarz