Operatic Competition

The impact of the café-concert on the activity of residential opera companies was significant in French towns with significant working-class populations. Among stage-music genres, operetta was also a threat because it was staged by secondary theaters (and by café-concerts in breach of their licenses) and because large numbers of bourgeois patrons preferred it to either Grand Opera or opéra-comique. These forms of competition for licensed managers for opera and spoken theater characterize the 1850s onward, resulting in heated exchanges with all layers of local and national government and debates about how to preserve operatic decorum and status in the face of operetta’s popularity. A notable exception is 1870s Strasbourg, where French operetta acts as a vehicle of resistance. The role of touring companies (often from Paris) as a centralist threat to the resident company from the 1880s, especially, is contrasted with their enrichment of smaller towns; the increase in guest artists (often Parisian too) is discussed as a factor in the longer-term shrinking of permanent opera company personnel. A coda examines the often brutal impact of broadcast technology on opera management and audiences in the 1920s and 1930s.

ФУНКЦІЇ МУЗИКИ В ДРАМАТИЧНОМУ ТЕАТРІ (НА ПРИКЛАДІ ІНСЦЕНІЗАЦІЙ ЗА ТВОРАМИ М. МАТІОС)

Досліджуються функції музики в сучасному драматичному театрі. Актуалізовано новітні публікації провідних європейських науковців, серед яких роботи Леманна Г.-Т., Фішер-Ліхте Е., Геббельса Х. Здійснено огляд характерних ознак сучасної театральної тенденції – музикалізації драматичного театру. Розглянуто основні положення класифікації функцій сценічної музики та звукових ефектів театрознавця Паві П. Проаналізовано музику і її функції у виставах, інсценізованих за творами М. Матіос та окреслено різні прийоми музичного рішення вистав. Визначено важливу роль звукових ефектів і немузичних звуків як складових елементів музичної партитури.Ключові слова: функції музики, музична драматургія, музикалізація, звуковий ефект, звуковий простір, музичний тон, багаторівневість. The article explores the role of music in modern dramatic theater. The leading European scientists’ latest publications including the works of Lehmann G.-T., Fischer-Lichte E., Goebbels H are actualized. The research outlines the characteristic features of the modern theatrical tendency and the musicalization of dramatic theater. The paper explores the fundamental principles of the classification of the functions of stage music and sound effects made by thetheatrical expert Pavi P. The author analyses the music and its functions in the plays based on the works of M. Matios and focuses on the various methods of choosing the music for performances. The important role of sound effects and non-musical sounds as constituent elements of musical score is defined.Key words: music functions, musical dramaturgy, musicalization, sound effect, sound expanse, musical tone, multi-leveledness.

Pamenan as an Aesthetic Concept of Creating a Wayang Padang Theatre

Wayang Padang Theater performance, perceived from the communication perspective, commonly uses a lapau—a traditional coffeestall (pamenan kato)—style dialogue. Meanwhile, Wisran Hadi also makes use of visual aesthetic (pamenan mato). Pamenan is defined as a game, both creatively or philosophically. Dialogue plays an essential role in the performance that can provide a playful sense that sometimes sounds like there is a misscommunication or an altered meaning. This is actually a distinct characteristic of Wisran Hadi in presenting an entertainment through words. Pamenankato is a technique used by Wisran Hadi in creating a work of art that can entertain the society. The society itself is quite appreciative in absorbing the words uttered by the actors on the stage. On he other side, the visual aesthetic or pamenan matois related with thevisual elements shown on the stage. The aesthetic concept of the play can be seen from the use of words or expressions, the flow of the story, the characters, the costumes, the movements, and the organization of stage, music and lighting. These elements are effectively applied by Wisran Hadi in his Wayang Padang performance.Keywords : pamenan; pamenan Kato; pamenan Mato; Wayang Padang; Wisran HadiAbstrakPamenan sebagai Konsep Estetis Penciptaan Teater Wayang Padang. Pementasan teater Wayang Padang, ditinjau dari segi komunikasi, menggunakan dialog gaya lapau atau warung kopi (pamenan kato). Sementara itu, ditinjau dari segi estetika visual, Wisran Hadi memakai keindahan lihatan (pamenan mato). Pamenan diartikan sebagai permainan, baik permainan secara kreatif maupun permainan secara filosofis. Dialog menjadi hal yang utama dalam pementasan ini. Dialog dalam Wayang Padang seperti bermain-main, kadang-kadang tidak menyambung dan diplesetkan. Hal ini merupakan ciri khas Wisran Hadi dalam menghadirkan hiburan lewat kata-kata. Pamenan kato seperti ini merupakan cara Wisran Hadi dalam membangun karya yang bisa menghibur masyarakat. Masyarakat cukup apresiatif dalam menyimak seluruh kata yang diucapkan oleh aktor di atas pentas. Estetika visual atau pamenan mato berkaitan dengan permainan yang terlihat di panggung pementasan. Estetika konsep penciptaan yang mengarah pada permainan yang terlihat, meliputi unsur kata atau ucapan, cerita, tokoh, kostum, gerak, tata pentas, musik, dan cahaya. Unsur inilah yang dipermainkan oleh Wisran Hadi dalam pementasan teater Wayang Padang.Kata kunci : pamenan; pamenan Kato; pamenan Mato; Wayang Padang; Wisran Hadi

Marking the jubilee of the National Theatre in Belgrade: 150 years since its founding: Czech music and musicians on the stage of the National Theatre in Belgrade until 1914)

This year's jubilee of the National Theatre in Belgrade is an opportunity to remind ourselves of the presence and contribution of Czech musicians at that institution. We meet them as members of the orchestra, bandleaders, authors of operas, operettas, and stage music, and, to a lesser extent, as vocal soloists in numerous works of stage music and chamber musicians. Many of them showcased their concert activities on the stage of this institution, including even some who were internationally renowned musicians at the time.

WILLIAM BATES AND HIS CONCERTOS IN TEN PARTS, OP. 2: AN ENTERPRISING EIGHTEENTH-CENTURY COMPOSER AND AN UNRECOGNIZED ORCHESTRAL SUBGENRE EMPLOYING HORNS

ABSTRACTWilliam Bates, who died in 1778, was a prolific and, in his day, successful composer of stage music and concert songs performed in London in the 1760s and 1770s; but a scarcity of biographical information and uncertainties over his position vis-à-vis the new style introduced in the early 1760s by J. C. Bach and others have tended to disadvantage him in modern commentary. New facts about his life and background together with a recently discovered sale catalogue reveal him to have been a cultivated man of wide interests, with a sympathy for the ‘ancient’ style. His most substantial musical contribution, as regards its potential for modern revival, is a remarkable set of six concertos for strings with oboes, bassoons and horns (plus, in two concertos, trumpets and timpani) published in 1762. These concertos, related in style to contemporary overtures to stage works but making much greater use of concertante writing, form a high point in a peculiarly British tradition of concertos employing French horns. The cult of the horn in Georgian Britain that nourished this tradition is the subject of extended discussion.

Serbian musicological society at the beginning of its second decade (2006-2017)

The purpose of the text is to present, on the occasion of the 10th anniversary of the establishment of the Serbian Musicological Society (SMS), the circumstances of its founding on 5 July 2006 and offer a panoramic survey of its accomplishments in research and publishing so far, which re-examine our stance toward our musical heritage and/or illuminate previously neglected chapters from the history of music in Serbia. The many and diverse contributions of the Serbian Musicological Society to the achievements of Serbian musicology, in general, are reflected in its conception and organization of scholarly meetings, publication of essay collections, scores, and sound recordings, organization of concerts, as well as initiation of large-scale projects in the reconstruction of individual anthological works of stage music, independently and in collaboration with related institutions and opera houses.

PENGEMBANGAN USAHA KULINER “WAROENG MAKAN TEPI LAUT” DI KAWASAN MEGA MAS, KOTA MANADO

This study aims to describe how the development of a culinary efforts and make an assessment as the basis to determine the culinary business development. This study began in March until June 2016. This research located in "Waroeng Makan Tepi Laut", Kawasan Mega Mas, Kota Manado. The data collected in this research included primary data and secondary data. The primary data obtained from interviews with managers, managers and employees. And also interview based questionnaire on the visitors / customers as many as 15 people. Secondary data was collected from the Office of Administration “Waroeng Makan Tepi Laut”. The results of this study indicate that “Waroeng Makan Tepi Laut” has a strategic business location, the menu selection is varied, the prices offered can be affordable, quality service owned “Waroeng Makan Tepi Laut” is quite good, has a typical menu favored by the customers / visitors, ample parking location and stage music favored by the customers / visitors.