Bu çalışma, hicaz makamı etkili Trabzon türkülerinde kadın figürü ve bu türkülerin müzikal analizini amaçlamaktadır. Araştırmada, bu türlerin müzikal ve sosyo-kültürel bağlamda tanımlanarak Türk halk müziği içindeki yerlerinin belirlenmesi hedeflenmiştir. Ayrıca hicaz makamı dizisi üzerine kurulu bu eserlerin nasıl bir karakterle oluşturulduğu ve melodik yapılarının incelenmesi diğer bir amacı oluşturmaktadır. Araştırma, betimsel analiz yöntemiyle yürütülmüş olup tarama modeli esas alınmıştır. Genel tarama modeli de kullanılarak TRT repertuvarında bulunan ve Trabzon yöresine ait olan kadın motifli hicaz makamı etkili bazı türküler üzerine kapsamlı bir inceleme gerçekleştirilmiştir. Çalışmada, veriler doküman incelemesi yoluyla toplanmıştır. Bu çerçevede, çalışmada incelenen Hicaz makamı etkili eserlerden 3’ü örnek olarak seçilmiştir ve bu bağlamda, TRT repertuvarında bulunan ve Trabzon- yöresine ait olan kadın motifli ve Hicaz makam etkili türkülerin notaları, müzikal yapıları ve güfteleri detaylı bir şekilde analiz edilmiş ve ortaya konulan sonuçlar tablolar halinde sunulmuştur. Çalışma sonucunda, incelenen eserlerin sosyo-kültürel ve makamsal analizleri ile kadın figürünün eserlerde aktif rol oynadığı sonuçlarına ulaşılmıştır.
Shiva Massoudi, Majid Sarsangi, Shapour Etemad
et al.
This article examines the relationship between performers and spectators in "digital theater" or "mixed reality" performances—performances where technology plays an indispensable role in connecting participants (a term used in this study to refer to both performers and spectators). To analyze this relationship, which emerges through the co-presence of participants and technology, three essential elements are highlighted: the living body, technology, and post-phenomenology as a framework for their interaction. The study explores the possibility of a “being together” in a "mixed reality" performance by considering the concept of intersubjectivity within phenomenology, which addresses the relationship between self and other. Drawing on Husserl's notion of intersubjectivity, which emphasizes the role of the "lived body" in encountering others, the study extends to Merleau-Ponty's concept of intercorporeality. In his later work, The Visible and the Invisible, Merleau-Ponty formulates this theory through the notions of "reversibility" and "flesh." He reinterprets Husserl's lived body as a "body schema," suggesting that bodily movement, or motility, is made possible through this schema and is fundamentally based on kinesthetic sensations, or what is now referred to as proprioception. Thus, the body is not merely an object in space but an autonomous entity that interacts with and orients itself within its environment. In this view, the body is not just a tool of perception but an integral part of the world, enabling the intertwining of self and other. According to Merleau-Ponty's theory, the body is not separate from the world in which it exists; rather, both share a common "flesh."
While phenomenology considers the intertwining of body and world, post-phenomenology examines perception as mediated by technology. Don Ihde, the founder of post-phenomenology, investigates how technology shapes our perception of the world and categorizes different modes of human-machine relations. Expanding on this perspective, Mark Hansen, influenced by Merleau-Ponty, argues that technology not only affects how we perceive the world but also integrates with and transforms our body schema. This dynamic relationship between body, technology, and perception is particularly relevant in digital and mixed reality performances. To articulate the intertwining of body and technology and analyze the sense of “being together”, this article analyzes Remote X, a mixed reality performance by Rimini Protokoll. Remote X is an audio walk performance that employs “Augmented Reality technology” and “Binaural techniques” to create an immersive experience. Immersing in the performance with an AI-generated voice through a headphone, 50 participants are guided in the city and their movements choreographed by the digital narration. The embodied voice in a headphone what we call the “digital body” extends and transforms the participant’s body scheme in relation to their environment. This intertwining of the digital body of the embodied voice and the participant’s extended physical body generates a hybrid intercorporeality. The embodied voice also extends the participant’s body scheme into their environment. So, in a shared “flesh” among participants emerges a “fleshy” community of hybrid bodies. Through this experience, Remote X offers a reflection on our contemporary technic lifeworld.
Carol Maddock, Dani Kalarikalayil Raju, Khushboo Ahire
et al.
Our work is a collection of artefacts: drawings, storyboards, films, music and poems created by a tribal community in rural India during interactive workshops which used various participatory arts-based methods to tell stories about the experiences related to a new solar powered community building. Energy use is deeply connected with human cultures, practices, norms and values. This article challenges assumptions about linear progress between energy access and women’s empowerment, demonstrating that the impact is not immediate but requires social adaptation over time. It gradually uncovers complex power dynamics and social hierarchy within the tight-knit community. This article is also a five-year journey (2019–2024) of four different researchers from diverse backgrounds and their attempts to capture and edit various acts of thinking surfaced through these methods. As global momentum towards sustainable energy gathers pace, our work reflects different ways of engaging, stimulating various ways of thinking and structuring dialogue about energy transition within the community. We focus on the potential of these methods to capture the embodied dimensions in the forms of artefacts as shown in the film. We position our work as a novel approach in energy studies that uses the lens of embodied research to understand the frictions of social realities in energy transitions, and surfaces hidden factors like socio-economic status, stakeholders’ involvement, and the critical role of gender in energy.
Adult psychotherapy and counselling are often described as “talking therapies”, yet much of what is communicated occurs non-verbally. Reviewing literature from the domains of music, neuroscience, infant studies, psychotherapy, and counselling, this paper explores the implicit musicality that is embedded within and constitutes human communication, and how this informs the therapeutic encounter. The paper draws on the concept of communicative musicality (CM) as a framework for understanding verbal communication in therapy, as this has been under-explored. Two interrelated elements are discussed: the musicality of speech and the rhythms of relational exchange (entitled “rhythm in relating”). These two dimensions of communication may offer a medium for connection, attunement, and co-regulation, in addition to providing insight into the client’s relational and developmental history. Psychotherapy and counselling are presented as fundamentally musical, embodied, and temporal, where meaning is co-created not only through words, but through the musicality of communication. This paper explores elements of music, vocal timbre, dynamics and melodic contours, dissonance and consonance, along with the embodied rhythms of sharing time, repetition, and improvisation, and rhythm in relating that express and constitute affective and interpersonal life. The study highlights how a sensitivity to the musical dimensions of therapeutic dialogue can deepen attunement to the client’s inner world, support relational repair, and enhance therapeutic presence. It proposes that psychotherapy and counselling education would benefit from including a CM-informed approach, enabling practitioners to listen not only to the lexical channel, but also to the musicality and rhythm of communication.
Abstract Background Traditional ecological knowledge embedded in cultural practices is vital for biodiversity conservation but is increasingly under threat from modernization and globalization. This study investigates the role of Chinese folk ritual music in promoting biodiversity conservation, with a focus on Cantonese Opera and agricultural rituals in the Lingnan region of southern China. Methods We employed literature review, qualitative fieldwork, and ethnographic analysis, including interviews with local musicians and community members, to investigate how Cantonese Opera and agricultural rituals contribute to ecological sustainability by integrating cultural narratives with environmental stewardship. Results The findings reveal three main ways in which Chinese folk ritual music supports biodiversity conservation: (1) fostering ecological understanding through symbolic representations, such as the carp and water buffalo; (2) promoting sustainable practices, including traditional farming techniques and the conservation of wetland ecosystems; and (3) enhancing community cohesion and the transmission of ecological values across generations. Notably, 70% of interviewees highlighted the role of symbolic animals in raising awareness of ecological sustainability. Conclusions The study underscores the potential of integrating traditional ecological knowledge with modern conservation strategies. Cultural traditions, such as Cantonese Opera and agricultural rituals, not only preserve biodiversity but also provide a framework for sustainable resource management. These findings highlight the importance of protecting and revitalizing cultural practices to ensure both cultural and ecological resilience in the face of global challenges.
V. I. Kryvenko, S. P. Pakhomova, O. P. Fedorova
et al.
The aim of this work is to draw attention to the peculiarities of long-lived patient functioning and to assess the state of health in a 100-year-old patient, her cognitive functions and life factors contributing to active longevity.
Materials and methods. We have described and analyzed a case of the 100-year-old female patient’s health, the influence of factors for active aging prolongation (nutrition, physical activity, labor, psychological state, hobbies) on a specific example, conducted a review of the scientific literature regarding the reasons for longevity and people’s lifestyles.
Results. According to projections for demographic prospects, by 2050, the number of elderly people in the world will increase to 16 %, and every sixth person will be older than 65 years. Thus, in the EU countries, the expected life expectancy for men is 74–77 years, women ‒ 80–82 years. Based on forecasts, the number of people aged 80 and over will triple: from 143 million in 2019 to 426 million in 2050. Therefore, the relevance of maintaining active longevity is beyond doubt. Examples of long-lived people on the planet have been analyzed and given. The presented clinical case is the 100-year-old woman who underwent a full clinical examination. Her physical and mental state as well as cognitive functions have been evaluated. The life and occupational trajectories, her hobby (singing), social activity, eating habits have been analyzed. Biological age has also been assessed. The biological age of our patient has been determined by metabolic laboratory parameters: complete blood count, creatinine, bilirubin, lipid levels, blood glucose, urea, AST, ALT, albumin, electrolytes.
Conclusions. According to the conducted study, the biological age of the patient is 93 years, that is 7 years younger than the chronologic age. Our patient is not overweight, has daily walks lasting up to 1-2 hours, lives alone, but enjoys communicating with friendly people, has been adhering to a balanced diet over the past 40 years. The following are of great importance to the patient: a normal mental state, work after retirement, especially creative work, a positive attitude to life, communication with positive people, music and singing. Thus, a person can live up to 100 years without significant health problems.
Digitalization and automation of media affect the consumer behavior of young journalists and bloggers. The research revealed the corresponding strategic vectors of social constructs in young people’s consumer behavior. It relied on the social construction of reality developed by P. Berger and T. Luckmann, as well as on the reality of mass media by N. Luhmann. The main methods of empirical research included: 1) literature reviews and secondary analysis of research on digital marketing and its impact on consumer behavior; 2) observation and analysis of the behavior of university students and young professionals in online environment. The consumer behavior demonstrated such trends as social mobility; life changes, innovation, and experimentation; rapid suggestibility and gullibility. Young people proved to be active users of modern media; they were attracted mostly to entertainment content, i.e., videos, music, podcasts, games, etc., as well as to educational platforms. The authors described and classified the basic tools employed by content creators in the context of media automation. The study revealed an increase in major threats and risks associated with the fundamental lack of public control in the digital environment, where the final content is shaped by automated processes and artificial intelligence.
Homayoun Eslami, Sadi Jafari Kardgar, Mohammad Javad Kamali
IntroductionThe rhythm, which means the repetition of elements, is one of the principles in all arts: music, dance, poetry, and theatre. In poetry, the repetition of words, sounds, and phrases creates rhythm. Perhaps an example can clarify the concept of rhythm. If a person's footprint on the beach's sand is an example of rhythm, the places where he puts his foot on the sand and digs it is called a beat (or motif); And the distance between beats is called space. That is, we can consider rhythm a set of beats that are separated by spaces. Based on the differences between the beats of a chain or the differences between the spaces of a chain, we can classify the rhythms. In this article, we show that although rhythm is important, experts have not paid much attention to it. At first, we try to provide a more accurate definition of it; and we introduce its subcategories with the definition and example. Then we remind that in fact, the rhythm of poetry is one of the examples of rhythm; As well as one of the physical characteristics of the language.language can be divided into two semantic and physical layers from one perspective. The semantic layer consists of meanings and concepts. This layer is not an objective layer and its elements cannot be touched, seen, or heard. The physical layer consists of elements such as words or rhythms and rhymes. This layer is objective and tangible. In fact, in linguistic communication, the physical layer is transmitted and activates the semantic layer in the mind of the audience. MethodologyIn the present study, we intend to achieve the most effective style of translation of poetry from French into Persian. For this reason, we have compared the opinions of various experts on the role of the physical layer of language in the translation of poetry; in addition, we have compared different styles of translation of poetry into Persian; we have also compared the types of rhythms and rhymes in Farsi. DiscussionIn our opinion, the physical layer of language is highly used in literature, especially in poetry. Our issue is whether translators can translate the physical layer. Do we need to translate this layer? If the answer is yes, how should we do this? This paper attempts to answer these questions. Of course, our focus is on the rhythm and the rhyme, and we examine the «translation into Persian», not the «translation from Persian».We want to answer this question, which in the translation of poetry from European languages into Persian, considering the differences between them and Persian, a translator, what physical facilities can use. We know that rhythm and rhyme are a poem's most important physical elements, and we want to know what they do in the translation process. Our effort is to explain to the reader using a set of evidence, some of the ambiguous concepts.Based on the relationship that may form between the source poetry and the destination poetry, we can expect a variety of approaches to translating poetry. However, if we want to make a general classification, we can separate the three main approaches (Vide: Boase-Beier, 2009: 194): Prose rendering. In this approach, semantic characteristics are recreated, and poetic characteristics such as rhythm and rhyme are eliminated. Such an approach can only convey the concepts and imagery to the translation audience. Adaptation. In this approach, the most important semantic characteristics and sometimes even the most important poetic characteristics are eliminated, to increase the impact of the poem created in the destination language. Translators who use this approach sometimes claim that the work they created must be evaluated as independent work. Recreative. In this approach, the semantic and poetic characteristics of the original poem are recreated using the destination language facilities. The purpose of the translation that chooses this approach is to achieve a relative resemblance between the poetry of origin and its translation.In this article, our focus is on the recreative approach. It should be noted that the methods of taking any approach could be changed. That is, in different ways, one can follow a specific path. Based on the relationship that may form between the origin rhythm and the destination rhythm, we can expect a variety of approaches. Overall, three approaches can be used to translate poetry rhythm (Vide: Holmes, 1988: 25-27): Mimetic. In this approach, the origin rhythm structure is recreated in the destination language; Of course, there is no guarantee for the result. Hexameters, for example, are natural for French speakers, while for English speakers who are accustomed to Pentameters, such a rhythm is heavy. Analogical. In this approach, a structure is used in the destination language, which has a similar effect to the origin rhythm structure. For example, in translation from France to English, pentameters are used instead of Hexameters. Organic. In this approach, the translator uses a rhythm that he thinks is more appropriate. That is, there is no relationship between the destination rhythm and the origin rhythm.We believe that the nature of the rhythm of poetry is not well known. Therefore, our first attempt is to study it. We have hypotheses that show how it works. The basics of the rhythm of poetry are different in different languages; we refer to them. Meanwhile, we explain different opinions and try to choose among them, the idea that seems more appropriate. We will talk about all kinds of rhythms and rhymes; and of course, in Persian poetry, rhyme and fixed-rhyme [: radif] are interrelated. When we talk about rhythm and rhyme, we also have to talk about modern formats and rhythms. We try to ignore semantic issues; in no way, we will not enter issues like imagination; we only deal with language physics. Then we introduce a kind of developed rhyme called super-rhyme, and we give examples to show its performance. Super-rhyme is objectively like a classical rhyme-in-prose [: saj?]. In the end, we examine three translations of a French poem. ConclusionFinally, we conclude that because the formats of classical Persian poetry and the vocabulary and concepts that form it are limited and unchanged, this genre cannot be a suitable container for the content of a poem from another culture. On the other hand, since the new vocabulary does not fit in the classic rhythm, the freshness of the source poem will be hurt. Therefore, to achieve the best result, it is better to use non-metric rhythm and super-rhyme; Classic formats generally restrict translation; so if they need to be used, we can simulate them; That is, we can create a quasi-classic format with non-metric rhythm and super-rhyme. In other words, non-metric rhythm and super-rhyme can greatly increase the quality of a translation. Every translated poem has two identities. An identity that is dependent on the source poem, and by comparing the translation with it, we can evaluate that identity, and an identity that is independent of the source poetry, and by comparing the translation with the poems in the target language, we can evaluate that identity; so a successful translation is a translation that has two acceptable identities. In the article, we have introduced a new style in translation, which consists of a kind of rhythmic prose and a kind of developed rhyme and maximizes the impact of a translated poem without weakening its semantic aspect..
In this chapter, I will explore ‘black portraitures’ in Teju Cole’s writings, photos, and art history lessons, while ‘following’ his journeying – geographic, literary, photographic, digital – in both his photo essays and criticism Known and Strange Things (2016), Blind Spot (2016), in his novel Open City (2011) and his latest essay collection Black Paper (2021). I intend to study his poetics, his aesthetics and his ethical stance, particularly in relation to his re-formulation of postcolonial paradigms. Intersecting trajectories with works by Caryl Phillips (The European Tribe, 1987) and by Johny Pitts (Afropean. Notes from Black Europe, 2019) will also be considered.
Gian Francesco Malipiero’s ‘nine songs’ are, by the author’s own admission, to be identified with his three works Le tre poesie di Angelo Poliziano (1920), Quattro sonetti del Burchiello (1921) and Due sonetti del Berni (1922). These songs for voice and piano belong to the cultural trend that laid the foundations for the recovery of antiquity, which became the so-called ‘historical mission’ of the 1980s generation. This didactic program, aimed at students in the second biennium of high school, starts with a morphological analysis of the verbal text, which is compared with that of the musical text, and continues with an exploration of the solutions that Malipiero adopted to highlight the ancient Italian tradition through interactions between music and literature. The activities suggested here, based on listening as part of the analysis of a poetic text, aim to encourage the various cross-disciplinary connections emerging from the “nine songs”.
Music and books on Music, Musical instruction and study
In the context of the reception of Shakespeare in the early period of the Czech National Revival from the 1780s to the 1830s, the paper discusses the contribution of the writer Josef Linda (1789/1792?–1834), who published a series of commented selected passages from Shakespeare’s plays in the literary magazine Čechoslav in 1822–1823. The earliest reception of Shakespeare’s oeuvre paralleled the developing revival of the Czech language and original literature, using the limited media available. The first publications were two chapbooks by an anonymous author outlining the plots of Macbeth and The Merchant of Venice printed in 1782 without stating the name of the author, adapted from German versions. The first Czech version bearing the playwright’s name was the simplified prose translation of Macbeth by Karel Hynek Thám, published and staged in 1786. Several minor contributions (short passages from plays, quotations, short playwright’s biographies) were published in magazines. The series
of Linda’s translations is specific, he called short passages from plays “vejpisy” (“extracts”) and used them to illustrate various human qualities (veracity, flattery, straightness) and supposed views of the playwright (Shakespeare on music). They also included a short article on Elizabethan theatre. His knowledge of Shakespeare is also perceptible in his play Jaroslav Šternberg v boji proti Tatarům (1823, Jaroslav of Šternberg Fighting the Tatars). Being published in one of the earliest Czech literary magazines with a wide readership, Linda’s translations thus contributed to Czech acquaintance with the playwright’s oeuvre.
The way of our living and working has changed intensely throughout the past half-century. The era we live in is interlinked with rapid technological changes, paving the way for digitalization. The students are considered digital natives and are expected to have e-learning abilities to improve their academic effectiveness. However, digital readiness is an important factor that can play a valuable role in boosting students’ e-learning abilities and satisfaction. The previous studies of students’ e-learning abilities revealed the lack of students’ digital readiness for academic achievements. Therefore, the present study aims to examine the role of digital readiness in the e-learning satisfaction of students. Based on the theory of motivation, the present study attempts to check the association of digital readiness with e-learning satisfaction. The current study also determines the relationship of digital readiness with entrepreneur psychological capital. Further, this study examines the correlation of entrepreneur psychological capital with e-learning satisfaction. The present study also assumes the mediating role entrepreneur of psychological capital and moderating role of mindfulness. For empirical analyses, this study gathered data from 376 music learning students of entrepreneur training institutes in China through a structured questionnaire method using a convenient sampling technique. This study applied partial least square structural equation modeling for empirical analyses using Smart PLS software. The present study confirmed that digital readiness positively correlates with e-learning satisfaction and psychological capital. The findings also acknowledged that psychological capital positively enhances e-learning satisfaction. The results also confirmed that psychological capital mediates the association between digital readiness and e-learning satisfaction. However, the outcomes revealed that mindfulness does not moderate the association between digital readiness and e-learning satisfaction. On the other hand, the findings acknowledged that mindfulness moderates the relationship between psychological capital and e-learning satisfaction. In addition, this study’s findings also serve the literature by providing important theoretical and practical implications. This study points out that digital readiness is an important antecedent to increasing students’ learning satisfaction and performance. The findings also suggest that students’ mindfulness could play a bridging role in enhancing their performance.
Arts education in schools frequently experiences the pressure of being validated by demonstrating quantitative impact on academic outcomes. The quantitative evidence to date has been characterized by the application of largely correlational designs and frequently applies a narrow focus on instrumental outcomes such as academically relevant competencies. The present review aims to summarize quantitative evidence from quasi-experimental and experimental studies with pre-test post-test designs on the effects of school-based arts education on a broader range of competency outcomes, including intra- and interindividual competencies. A systematic literature search was conducted to identify relevant evaluation studies. Twenty-four articles reporting on 26 evaluation studies were eligible for inclusion, and their results were reviewed in terms of art domains and outcome categories. Whilst there is some evidence of beneficial effects on some competencies, for example of music education on arithmetic abilities, speech segmentation and processing speed, the evidence across arts domains and for different outcomes is limited due to small sample sizes, small number of studies, and a large range of effect sizes. The review highlights that sufficiently powered (quasi-)experimental studies with pre-test post-test designs evaluating arts education are sparse and that the “gold standard” of experimental research comes at the expense of a number of other study characteristics such as sample size, intervention and follow-up length. By summarizing the limitations of the current (quasi-)experimental research, the application of experimental designs is critically assessed and a combination with qualitative methods in mixed-method designs and choice of relevant outcomes discussed.
Este artigo de Elliott Antokoletz (1942-2017) foi apresentado em um ciclo de cinco conferências que pronunciou, em outubro de 2009, como professor visitante na Universidade de São Paulo, em um curso de pós-graduação sobre a música de Béla Bartók. Após a visita, Antokoletz autorizou a publicação das conferências em tradução para o português. Entretanto isso só foi possível ser feito em etapas, em função da dificuldade de produção, tanto das traduções como dos complexos exemplos musicais. Este artigo é o último artigo do ciclo a ser publicado. A versão revisada e traduzida baseia-se no trabalho apresentado no Bartók International Congress, em março de 2000, do qual Antokoletz foi Chair, e cuja versão original foi publicada em inglês no International Journal of Musicology, Vol. 9 (2000), p. 303–328. A tradução foi feita por Cinthia Rangel de Freitas, com revisão e produção dos editores de Musica Theorica.
The article is devoted to the problem of stage anxiety of future Music teachers during public performance of their repertoire. The purpose of the article is to analyse the phenomenon of stage anxiety, its destructive and constructive manifestation in the process of mastering students’ performing skills. The objectives of the study are to analyse the factors that lead to excessive stage education and to substantiate methods of overcoming its destructive impact in the educational process. The specific manifestation of excessive excitement in typical activities of future Music teachers and higher school teachers in situations of public performance has been considered. The varieties of stage anxiety – destructive and constructive – have been determined. The destructive anxiety is manifested in increased anxiety, nervousness of performers, which leads to disorder of the developed conditioned reflexes, coordination of performance movements, loss of self-control, and it significantly worsens the results demonstrated by them. It is emphasized that repetition of the designated disruptions leads to a “stage barrier” and can transform into student’s non-compliance with professional requirements. The constructive anxiety has a positive effect on the performer’s psychological state by increasing concentration of his / her attention and achieving an elevated state and inspiration while performing. The factors of subjective and personal, situational and objective nature that influence the performer’s state have been identified. The first include person’s individual-typological properties: type of the nervous system, temperament, communicative orientation, special and general abilities, in particular – the development of musical memory, musical thinking, internal auditory ideas. The factors of the second kind include the effectiveness of the formative methodology aimed at strengthening and automatizing technical and performing skills, stimulating students to achieve communicative-suggestive influence in performing, providing students with favourable psychological climate, strengthening their self-confidence, correlating the complexity of the repertoire with the real (cap)abilities of the performer. The methods of overcoming the destructive stage anxiety have been presented; these methods include: trainings, psychological exercises, role-playing games for improving the skills of emotional-volitional self-regulation, imagining a situation and a process of public performing, acquainting students with psychological and pedagogical literature, creating success situations.
The paper discusses the reform of Alexander Mezenez (second half of the 17th century) and focuses especially on the interrelation between pitch denomination and accentuation. The discovered possibilities of the two-dimensional representation of the scale increase the number of possible transcriptional variants vastly, and give several cues as for the stenographical principles. The paleographic signs are endowed with necessary polyvalence to suit changing demands of prosodic context and preserve orthoepy and semantic integrity of the intonated words. The conviction that there is only one possible scale has deprived chant of the flexibility and, in deciphering melodies, remains a serious hindrance.
Članek prinaša prerez stanja raziskav na področju operne ustvarjalnosti in poustvarjalnosti na Slovenskem. Problematizirana je sintagma »slovenska« opera, v katero se nejasno stekata tako operna ustvarjalnost kot tudi poustvarjalnost. Kot boljši termin se izkaže glasbeno-gledališko delo. Izkaže se, da je bila opravljena večina primarnih, historiografskih raziskav, medtem ko čaka muzikologijo še naloga interdisciplinarnega prediranja v operno kulturo na Slovenskem.