Modern Music, Digital Production and Management

This research provides an analysis overview of the advantages from strong protection of the intellectual property rights (IPR), how economic development may be promoted by an effective system of intellectual property rights.

Intellectual property is an old concept, where Venetian law of 1474, often a reference to the protection of inventions that establishes an exclusive right of an individual, eliminating for the first time, the public interest.

“Cute Babulja,” a self-titled album can be considered one of the (first) alternative music albums that changed the landscape of music in post-war Kosovo. Beside drawing from jazz, folklore, and art-rock influences, it is hypothesized that the album comes as a direct descendant of bands that played in Kosovo all the way to the 60s. Beside (music) influences from Kosovo bands like “Bankrot” during the 80s, Muharrem Qena during the 70s, there are also influences from artists such as Frank Zappa.

This article will focus on exploring the literary elements of humor within the lyrics of “Cute Babulja” band’s self-titled album. We will focus on historical, political, and cultural elements in order to uncover how they come together and interact to produce parody through the language within the bands lyrics. Furthermore, we will explore how language is constructed and used (standardized Albanian Language intermixed with the context and certain Gheg dialect words used in Kosovo) within the band’s lyrics in order to create effects of temporality (i.e. jump back and forth in time and space) that in turn creates a layer of parody that serves as a cultural self-evaluation. Furthermore, in this paper we will focus more on intertextuality and semiotics (rather than purely linguistics) by exploring the culturally-specific connotations and symbolism of specific words, phrases, and lyrics. From explicit literary homages such as Dritero Agolli’s character Cute Babulja, and all the way to more obscure innuendos linked to urban culture in Prishtina, Kosovo’s capital.

We also hypothesize that “Cute Babulja” served as a direct influence to later bands such as “Oborri” (2016), who were not only influenced by their musical elements, but also for their use of subtle humor and parody.

This paper deals with the replication of various scales in Eastern musical culture, including Makham scales, Melakarta scales and certain microtonal scales throughout Europe through the new instrument Octo invented in 2010 by Liburn Jupolli.

The study shows how the 3 different tonal structures within the Octo neck make the replication of a wide variety of instruments in one practical setup and continues to research how these possibilities can combine to make new hybrid scales.

The study also analyses the replication of Western microtonal scales of 20th century composers.

The paper deals with the similar and different musical elements related to microtones of oriental and Albanian cultures.

The subject in question relates to the microtonal system which has been and is part of oriental culture. Microtones, maqams, oriental scales as well as European ones are discussed and compared.

In his paper we will explore the the relationship between conceptual art and music composition and performance within a specific work of art that combines both mediums.

The Artwork by Gazmend Ejupi deals with the idea of staged musical performance between a written composition and a staged performance of the composition as a form of organized “dance” like composition that is seen in the form of “musical direction’ via a conductor and a pack of dogs.

Different issues regarding the combination of the two mediums are discussed and especially the definition of how to write such a musical/visual score with the most adequate movement notation system.

The investigation musical expertise has on cognitive and executive functions have long been a research interest in neuroscience of music. However, few studies adopted an experimental approach to further investigate the domain. This paper aims to fill current research gaps by proposing that musical expertise trains three important executive functions: selective attention, cognitive conflict resolution and inhibition. By using a computerized form of assessment, we aim to detangle the performance of non-musicians and musicians on the computerized tests that measure executive functions.

One of the most authentic (in Heidegger’s sense) and diffusive manifestations is hidden in signifier PUNK. PUNK is not only a genre of a revolted youth but also embodies a more complex sentiment of thinkability. This paper will attempt to identify the neuralgic points of PUNK history as >>Deterritorialization << (Deleuze, Guattari 2009) network of the amalgam between thinking and manifestation. PUNK being one of the main cultural phenomena has often been misunderstood and misinterpreted but this paper will attempt to summarize all the main thinkers who have contemplated what is known as PUNK. Thinkers like: Mark Fisher, Nick Land, and Simon Reynolds in conceptual conversation with thinkers such as Nietzsche, Heidegger, Deleuze, Attali, and Spengler. Another dimension of the treatment that this paper will have is the exclusively aesthetic where two of the fundamental points in PUNK's thinking >>amateurism<< and >>nihilism<< will be stressed as a rejection of virtuosity and authority.

This article explores the practice of the vocal techniques “Voice for the body, the body for the voice”in Kosovo” through different cases of different vocal students. As the Vocal technique '' Voice for the body, body for the voice '' directly influences the expansion of the singer's ambition, originality and identity of the vocals, total reinforced singing, freedom of sound, rehabilitation of vocal damage and regulation of breathing in professional way, the training with this method is observed and the results are presented with a comparison of the students previous voice condition.

Technological developments, scientific developments and the creative arts are increasingly defining our daily lives and man is identifying himself through creativity in the form of works and artistic performance. Creations protected by copyrights are promoters of increasing creativity and fair competition. It is therefore this reason that this paper aims at providing an analysis overview of the Copyright & related rights in Kosovo, starting from the legal and institutional setting, administrative and enforcement institutions of these rights, as well as the Collective Management Societies. Additionally, it provides an overview of the management and administration of these rights in Kosovo by various stakeholders.

Foley sounds can be used in innumerable ways in music production. As a tool, foley can lead towards the creation of new musical instruments, new textures and it contributes to the overall sound identity of a song or an album. These are some of the approaches that will be analysed, with examples taken from recent pop music, ’80s pop and synthop music and personal music production projects.

This article analyses the different stylistical development of post-war music in Kosovo from the non-formal parts of the musical Ecosystem. The article documents the developments in genre, in musical approach, in instrumentation, and makes parallels within the decades of 2000-2020 with the two waves of non-formal musical groups in Kosovo.

As a prominent science, musicology is a broad discipline concerned in the general historical studies of music, cultural studies, historiography of music, philosophy and aesthetics of music, criticism, analysis and many other areas. Over the last years increasing number of scholars from new musicological backgrounds, have begun to take a greater interest in resent musicological societies in Western Europe and beyond therefore issues of musicology are getting very broad and related with many diverse disciplines like culture, society and politics. In fact, contemporary musicology in America today known as ‘New musicology’ is dealing with different culture, historical, ethnological and sociological issues, instead in Western Europe (mainly in Germany) musicology is getting shaped by different dates that has to do more with politics than with music. On the other side depending on different socio-economic and political circumstances artistic music in Kosovo belongs to one of the cultures of South- Eastern Europe, which began its existence in western sense only after the Second World War hence the first musicological studies date from the second half of the last century. Theme of this research which belongs to comparative studies, is conceived in the sense of comparing musicological developments in Kosovo with the recent trends of musicological developments in the world. Witnessed by history, music seems to be a fundamental component of human culture and behaviour always playing an important role on the culture achievements of any country as well as musicology and all its sub-disciplines are the main promoter for the preservation of the musical heritage, pointing out composer's life and works, compositions, the developments of styles and genres, music performances, analysis, aesthetics, philosophy and criticism of music over the time therefore musicological writings and research papers are the best tools to prove the music history facts.

The purpose of this paper is to understand how and to what extent solfeggio affects the development of the musical ear. The working methods, the elements of the solfeggio subject in Kosovo and in other countries of the world will be researched and analyzed. Since the establishment of music school institutions, we have worked with the same literature and methodology of the same work. These components have prompted me to engage and research new and advanced methodologies of the time. I think it is the last moment for something to be done in this research and to find the best working methods which influence to have success in musical ear training.

This article documents and analyses the state of the art of music research in Kosovo since 1945, whereby the first published “research” articles appeared in specific journals of that period such as "Albanian folklore music," and "New Life", 1949, no. 1. The structure of the paper identifies, analyses and categorizes the types of research, researchers and their background and respective institutions,research interests, areas and topics, design and methodology used. The paper highlights the research conducted so far, from the perspective of music heritage in Kosovo and argues the importance of further development and standardizing music research in Kosovo, on a wider scale, advocating the necessity to define clear research goals on a national level. We wish through this article to document and analyze these aspects and to give a proposition based on the already written work, the interests of the music community, and other clear indicators of music research necessities on a national heritage aspect.