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Combination of Tradition and Modernity on the Example of Clavichord Construction in Croatia
No full textOvaj diplomski rad bavi se poviješću gradnje i razvojem tehničkih karakteristika klavikorda kroz djelatan period njegova korištenja te pruža idejno rješenje graditeljskih pitanja klavikorda kao pripreme praktičnom dijelu izrade. Rad je koncipiran u tri glavna dijela. Prvi dio posvećen je tehničkom opisu klavikorda i različitim vrstama ovog instrumenta koje su se razvile kroz pet stoljeća njegove uporabe i razvoja. Drugi dio rada bavi se detaljnim pregledom tehničkih karakteristika instrumenata poredanih kronološkim redom od 15. stoljeća iz kojeg datiraju najraniji podaci o klavikordu do suvremene tradicije gradnje ovog instrumenta. Posljednji dio rada detaljno elaborira plan procesa gradnje klavikorda koji se sastoji od odabira tipa i predloška instrumenta do izrade svih nosivo-potpornih, mehaničkih i akustičkih komponenti te njihovog sastavljanja u funkcionalni glazbeni instrument spreman za uporabu.This master thesis deals with the history of construction and development of technical characteristics of the clavichord during the active period of its use, as well as providing a conceptual solution for the construction of the clavichord as a preparation for making of the instrument. The paper is structured in three main parts. The first part is dedicated to the technical description of the clavichord and the different types of this instrument that have emerged over five centuries of its use and development. The second part of the paper gives a detailed overview of the technical characteristics of the instrument arranged in chronological order from the 15th century, when the earliest information about the clavichord is found, to the modern tradition of building this instrument. The last part of the paper elaborates in detail the plan of the clavichord construction process, which consists of selecting the type and model of the instrument for the building process, making and assembling of all the structural, mechanical, and acoustic components into a functional musical instrument ready for making music
Research of technical challenges and esthetic decisions in recording and postproducing music with french horn
No full textRad istražuje tehničke izazove s kojima se susrećemo prilikom snimanja i postprodukcije glazbe s rogom. Rad istražuje prednosti i nedostatke različitih postavki audio sučelja koje nam mogu pomoći da zvuk roga u snimci čujemo jednako kako bismo ga čuli uživo. Također istražuje i različite postupke tretiranja snimki prilikom postprodukcije: ispravljanje pogrešaka, uklanjanje neželjenih šumova te problematiku snimanja roga u orkestru i njegovog smještanja u završnu stereo snimku.This thesis is a research of tehnical difficulties which we encounter while recording and producing music with french horn. It is also researching pros and cons of different settings of an audio interface which can help us to present the sound of french horn in the recording in a way we would hear it as if we were listening to it live. We are also going to research different approaches of treating recordings, removing unwanted noises and the problematic of recording french horn in an orchestra and its position in the final mix
Musical and textual aspects of Italian recitatives from romanticism to verism
No full textDevetnaesto stoljeće u talijanskoj operi nosi mnoge stilske i estetske promjene, kako u libretima, tako i u glazbi; Recitativi i libreto kao pojam i vrsta su rijeđe istraženi dio pjevačkog obrazovanja, stoga vrlo često kod usvajanja nove uloge uviđamo problematiku i veće tehničke zahtjeve, upravo kod recitativno-dramskih dijelova, zbog neiskustva i nedostatka informacija na koji način pristupiti cijelovito djelu. Iz tog razloga ću i veću pozornost pridati libretu te razvoju recitativnih dijelova u tenorskim ulogama Nemorina, Alfreda i Turiddua; Ova tema mi se učinila zanimljivom i zbog problematike opće poznatog pjevačkog naputka: ''Pjevaj kako govoriš!'' ; takav pristup zahtijeva poznavanje stilskog i glazbenog pristupa tekstu pojedinih skladatelja, a daleko je od jednostavnosti izjave same po sebi.The nineteenth century in Italian opera brings many stylistic and aesthetic changes, both in librettos and music. Recitatives and the libretto as a concept and genre are less frequently explored aspects of vocal education. Therefore, when learning a new role, we often encounter challenges and greater technical demands, especially in recitative-dramatic sections, due to a lack of experience and information on how to approach the work as a whole. For this reason, I will emphasize the libretto and the development of recitative sections in the tenor roles of Nemorino, Alfredo, and Turiddu. This topic also seemed interesting to me because of the issues surrounding the well-known vocal instruction: "Sing as you speak!" Such an approach requires knowledge of the stylistic and musical approach to the text of individual composers and is far from the simplicity of the statement itself
Author's concert and analysis of the composition Cataplexis, for symphony orchestra and electronics
No full textU diplomskom radu pod naslovom Autorski koncert te analiza skladbe Cataplexis, za simfonijski orkestar i elektroniku, cilj jest pružiti analitički uvid u autorske skladbe. Rad je podijeljen na dva dijela, odnosno dva koncerta. Kroz analize autorskih skladbi, podrobnije će se opisati skladateljski glazbeni jezik te objasniti upotreba i međuodnos elektronike i klasičnog instrumenta.In the diploma thesis entitled Author's concert and analysis of the composition Cataplexis, for symphony orchestra and electronics, the goal is to provide an analytical insight into the author's compositions. The work is divided into two parts, i.e. two concerts. Through the analysis of the author's compositions, the composer's musical language will be described in more detail and the use and interrelationship of electronics and classical instruments will be explained
The Office of Saint Quirinus in the Medieval Antiphonals of the Krk Cathedral
No full textU katedrali u Krku čuvaju se dva gotovo identična antifonara „blizanca“, vjerojatno iz sredine 14. stoljeća, kada je Krčka biskupija bila pod gradeškom jurisdikcijom. Ovi rukopisi pisani su na pergameni oblom goticom talijanskog tipa (rotunda) i notirani crnom kvadratnom notacijom, a riječ je o velikim knjigama koje sadrže napjeve časoslova za čitavu liturgijsku godinu. Istraživanje se fokusira na dosad nepoznati oficij sisačkog biskupa svetog Kvirina, pronađen u antifonarima. Sveti Kvirin slavi se kao zaštitnik Krka barem od 12. stoljeća, a prema nekim teorijama, još od 6. stoljeća. S obzirom na izravan spomen Krka u tekstu, sigurno je da su knjige nastale za potrebe Krčke biskupije. Otprilike polovica napjeva temelji se na dobro znanim napjevima časoslova sv. Antuna Padovanskog i sv. Franje, koji se pripisuju Julianu iz Speyera, dok je izvor teksta nepoznat. Ovaj rad pokušava odgovoriti na pitanja porijekla i konteksta nastanka kodeksa analizom tekstualnog sadržaja, glazbenih elemenata, kao i paleografskih i kodikoloških karakteristika, a uključuje i transkripciju cjelokupnog časoslova sv. Kvirina u svrhe njegovog budućeg izvođenja.The Cathedral of Krk preserves two nearly identical “twin” antiphonals, likely dating to the mid-14th century, when the Diocese of Krk was under the jurisdiction of Grado. These manuscripts, written on parchment in a round Gothic script (Italian rotunda) and featuring black square notation, are extensive volumes containing the chants of the Divine Office for the entire liturgical year. This research highlights the previously unknown office of Saint Quirinus, the Bishop of Siscia, found in the antiphonals. Saint Quirinus has been celebrated as the patron saint of Krk at least since the 12th century, and according to some theories, as early as the 6th century. Given the direct reference to Krk within the text, it is certain that the antiphonals were specifically commissioned for use in the Diocese of Krk. Roughly half of the chants are based on well-known chants from the offices of Saint Anthony of Padua and Saint Francis, attributed to Julian of Speyer, while the source of the text is unknown. This study examines the origin and creation context of these codices by analysing the textual content, musical elements, and palaeographic and codicological features. Additionally, a full transcription of the Office of St. Quirinus is provided to support its future performance
The Role of the Harp in Creating the Cultural Identity of the Republic of Ireland
No full textRepublika Irska specifična je po tome što je jedina zemlja čiji je nacionalni simbol glazbeni instrument – harfa. Ona sačinjava irski kulturni identitet kroz vještinu sviranja, vještinu izrade instrumenata, melodije, simboličku vrijednost instrumenta, kao i vizualnu umjetnost, književnost i mitologiju. Tradicija sviranja harfe u Irskoj seže u daleku prošlost, od ranih galskih zajednica. Najstariji očuvani primjerak irske harfe, iz 15. stoljeća, Trinity College harfa, poslužila je kao sastavni dio grba Irske, ali i zaštitni znak Guinness pivovare. Kroz povijest je harfa evoluirala, njezina se uloga u društvu mijenjala, ali je uspješno očuvana do danas. Vrijednost irske harfe u kontekstu kulturnog identiteta Irske potvrđena je uvođenjem irskog sviranja harfe na UNESCO-v popis nematerijalne kulturne baštine. Značajnu poveznicu između Hrvatske i Irske u kontekstu irske harfe predstavlja kipar Ivan Meštrović koji je izradio skicu za kovanicu s motivom „Djevojke s harfom“.The Republic of Ireland is unique in that it is the only country whose national symbol is a musical instrument – the harp. It forms an integral part of the Irish cultural identity through the skill of playing, the craft of instrument-making, melodies, the symbolic value of the instrument, as well as visual arts, literature, and mythology. The tradition of harp playing in Ireland dates back to ancient times, originating from early Gaelic communities. The oldest preserved example of an Irish harp, the Trinity College harp from the 15th century, has served as a key component of the Irish coat of arms and as a trademark of the Guinness Brewery. Throughout history, the harp has evolved, its role in society has changed, but it has been successfully preserved to this day. The value of the Irish harp in the context of Ireland's cultural identity has been affirmed by the inclusion of Irish harp playing on UNESCO's List of Intangible Cultural Heritage. A significant connection between Croatia and Ireland in the context of the Irish harp is represented by the sculptor Ivan Meštrović, who created a coin design featuring the motif of "The Girl with the Harp.
Lovro Ticl, truba : prvi dio diplomskog ispita
No full textPrvi dio snimke prvog dijela diplomskog ispita Lovre Ticla (truba), studenta Muzičke akademije Sveučilišta u Zagrebu. Ispit je održan na Muzičkoj akademiji u dvorani Huml 6. 4. 2023. Klavirska pratnja: Linda Mravunac-Fabijanić, umj. sav. Mentor: red. prof. art. Dario Teskera. Program: 1. Joseph Haydn: Koncert za trubu i orkestar u Es-duru (Hob. VII/1); 2. Orkestralna sola
Synesthesia among musicians in Croatia
No full textCilj ovog istraživanja je bio je prikupljanje podataka o učestalosti sinestezije među glazbenicima te koji tipovi sinestezije prevladavaju među njima. Daljnji su ciljevi bili prikupljanje podataka o pozitivnim, odnosno negativnim stranama sinestezije kod ispitanika te njezina utjecaja na svakodnevni život. Istraživanje je provedeno u Republici Hrvatskoj na uzorku od 174 ispitanika. S pomoću standardiziranog upitnika The Synesthesia Battery (Eagleman, Kagan, Nelson, Sagaram i Sarma, 2007) sastavljen je internetski upitnik preveden na hrvatski jezik na koji je odgovorilo 84 glazbenih profesionalaca, 65 studenata glazbe, 15 učenika te 10 glazbenih amatera. Ispitanici su upitnik rješavali tijekom studenog i prosinca 2022. godine i siječnja 2023. godine uz mogućnost anonimnosti. Rezultati su dali uvid u učestalost određenih tipova sinestezije među glazbenicima u RH, osobna iskustva sinesteta te osobnu i obiteljsku anamnezu.The aim of this research was to collect data on the frequency of synaesthesia among musicians, including which types of synesthesia prevail among them. In addition, some of the goals are to collect data on the positive and negative aspects of synaesthesia among respondents and its impact on daily/everyday life. The research was conducted in the Republic of Croatia on a sample of 174 participants. Using the standardized questionnaire, The Synaesthesia Battery (Eagleman, Kagan, Nelson, Sagaram and Sarma, 2007), an online survey, translated into Croatian, was compiled and answered by 84 music professionals, 65 music students, 15 students and 10 music amateurs. The participants answered the questionnaire during November and December 2022 and January 2023 with the possibility of anonymity. The results provided insight into the frequency of certain types of synaesthesia among musicians in Croatia, personal experiences of synaesthetes, and personal and family history
Erin Keleuva, flauta : prvi dio diplomskog ispita
No full textPrvi dio snimke prvog dijela diplomskog ispita Erin Keleuve (flauta), studentice Muzičke akademije Sveučilišta u Zagrebu. Ispit je održan na Muzičkoj akademiji u dvorani Huml 3. 4. 2023. Klavirska pratnja: Ivan Božanić, nasl. umj. sur. Mentorica: red. prof. art. Marina Novak. Program: 1. C. P. E. Bach: Koncert za flautu i gudače u G-duru, H.445, Wq.169; 2. Orkestralna sola
Erin Keleuva, flauta : prvi dio diplomskog ispita
No full textDrugi dio snimke prvog dijela diplomskog ispita Erin Keleuve (flauta), studentice Muzičke akademije Sveučilišta u Zagrebu. Ispit je održan na Muzičkoj akademiji u dvorani Huml 3. 4. 2023. Klavirska pratnja: Ivan Božanić, nasl. umj. sur. Mentorica: red. prof. art. Marina Novak. Program: 1. C. P. E. Bach: Koncert za flautu i gudače u G-duru, H.445, Wq.169; 2. Orkestralna sola