Journal articles on the topic 'Music Europe History and criticism'
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1
Kahr, Michael. "The Jazz Institutes in Graz." European Journal of Musicology 16, no. 1 (December 31, 2017): 45–59. http://dx.doi.org/10.5450/ejm.2017.16.5778.
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In 1965, the Institute for Jazz at the University of Music and Performing Arts (then the Academy of Music) in Graz started to build a reputation as a pioneer in jazz education in Europe. Upon the establishment of a separate Institute for Jazz Research in 1971, the institution was able to position itself as an academic centre with a focus on both artistic practice and the academic study of jazz; as such, it also inspired other jazz programmes across Central Europe. This article discusses the determining factors and socio-cultural conditions for the development of the Jazz Institutes in Graz and analyses aspects of professionalisation, internationalisation and outreach activities both local and international. The leading personalities in the institution's history are introduced, and their activities from 1965 to 1980 are described. After an overview of the Institute's current state, the article discusses internal and external conflicts and criticism of the Institute's activities, artistic orientation and status. Research for this article was compiled as part of the FWF research project ‘Jazz & the City: Identity of a Capital of Jazz', conducted at the University of Music and Performing Arts in Graz from 2011 to 2013 under Prof. Dr Franz Kerschbaumer
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Kramer, Lawrence. "Culture and musical hermeneutics: The Salome complex." Cambridge Opera Journal 2, no. 3 (November 1990): 269–94. http://dx.doi.org/10.1017/s0954586700003281.
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From Flaubert to Richard Strauss, male artists in late nineteenth-century Europe were fascinated by the figure of Salome. This fascination, indeed, amounted to a genuine craze. One representation sparked another: J.-K. Huysmans fantasised about paintings by Gustave Moreau; Oscar Wilde expanded on Huysmans; Aubrey Beardsley illustrated Wilde. Fine editions of Wilde's Salome with Beardsley's illustrations remained cult objects well into the twentieth century. In general, the Salome craze, like the science and medicine of its day, sought to legitimise new forms of control by men over the bodies and behaviour of women. The present paper revisits this well-known episode in cultural history with two distinct aims in mind, one interpretative, the other methodological. The interpretative aim is to offer a feminist approach to the fin-de-sièclecompulsion to retell the Salome story with lavish attention to misogynist imagery - those quivering female bodies and gory male heads. The methodological aim is to find a meeting ground for literary criticism and musicology as both disciplines aspire to become vehicles of a more comprehensive criticism of culture.
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Gordon, Bonnie. "The Secret of the Secret Chromatic Art." Journal of Musicology 28, no. 3 (2011): 325–67. http://dx.doi.org/10.1525/jm.2011.28.3.325.
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In 1946, just after emigrating from Nazi Germany via the Netherlands and Cuba to the United States, Edward Lowinsky published The Secret Chromatic Art in the Netherlands Motet. He posited a system of chromatic modulations through musica ficta in sixteenth-century Netherlandish polyphony circulated by clandestine heretic societies during the period of religious struggle in the Low Countries. According to Lowinsky, in the second half of the century a small contingent of northern musicians with radical Protestant sympathies wrote pieces that appeared on the surface to set texts and use diatonic melodies condoned by the Church. Beneath that compliant surface lurked secret chromaticism and seditious meanings that remained hidden from the Inquisition. Despite Lowinsky’s obvious interest in odd passages in motets of Clemens non Papa, Lassus, and others, I argue that his history as a Jew in Nazi Germany and then as an exile from that regime compelled his idiosyncratic hearing of sixteenth-century polyphony. A close reading of the text suggests that Lowinsky identified with the composers he wrote about and that he aligned Nazi Germany with the Catholic Inquisition. Beyond its engagement with music theory and cultural history, The Secret Chromatic Art delivers a modern narrative of oppressed minorities, authoritarian regimes, and the artistic triumph of the dispossessed. The Secret Chromatic Art matters today because its themes of displacement and cultural estrangement echo similar issues that Pamela Potter and Lydia Goehr have discerned in the work of other exiled musicians and scholars who migrated from Nazi-controlled Europe to the United States, and whose contributions helped shape our discipline. Moreover, Lowinsky’s theory figured prominently in the debate initiated by Joseph Kerman in the 1960s that pitted American criticism against German positivism, a polemic that is still with us today.
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Conversi, Daniele, and Matthew Machin-Autenrieth. "The Musical Bridge—Intercultural Regionalism and the Immigration Challenge in Contemporary Andalusia." Genealogy 4, no. 1 (December 30, 2019): 5. http://dx.doi.org/10.3390/genealogy4010005.
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The ideals of tolerance and cultural exchange associated with the interfaith past of Muslim Spain (al-Andalus) have become a symbol for Andalusian regionalism and for the integration of Moroccan communities. Nowhere is this more keenly felt than in the context of music. In cities such as Granada, Moroccan and Spanish musicians actively promote the ideals of intercultural dialogue through the performance of repertoires such as flamenco and Arab-Andalusian music that allegedly possess a shared cultural history. In this article, we examine the interrelationship between music and ‘intercultural regionalism’, focusing on how music is used by public institutions to ground social integration in the discourse of regionalism. Against a backdrop of rising Islamophobia and the mobilization of right-wing populist and anti-immigration rhetoric both within Spain and internationally, the authors consider how music can be used to promote social integration, to overcome Islamophobia and to tackle radicalization. We advance two arguments. First, we argue that the musical interculturalism promoted by a variety of institutions needs to be understood within the wider project of Andalusian regionalism. Here, we note that musical integration of Spain’s cultural and historical ‘Other’ (Moroccans) into Andalusian society is promoted as a model for how Europe can overcome the alleged ‘death of multiculturalism’. The preferential way to achieve this objective is through ‘intercultural regionalism’, envisioned as the combination of regional identity-building and intercultural interactions between communities that share a common cultural heritage. Second, we assess some of the criticism of the efficacy of al-Andalus as a model for contemporary intercultural exchange. Combining approaches in political science and ethnomusicology, we focus on one case study, the Fundación Tres Culturas (FTC). Through interviews with figures within the FTC, we examine why this model has become partly insufficient and how it is borne out in the sorts of musical activities programmed by FTC that seek to move beyond the ‘andalusí’ myth. We conclude by recognizing the continuing regional and international importance of this myth but we question its integrating capacity at a time of radical political, economic and environmental upheaval.
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Kurbak, Maria. "Madness of the Society and Madness of the Writer: Wopko Jensma and the Politics of Apartheid." ISTORIYA 13, no. 3 (113) (2022): 0. http://dx.doi.org/10.18254/s207987840020554-8.
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This article focuses on the biography and works of South-African poet, writer and artist Wopko Jensma. He was often referred to as “the first South-African”, implying that he, like no other, was able to merge his own culture — that of Afrikaaners — with mythology, music and languages of black and coloured population of the SAR. His works had been exhibited in the USA and Europe and had been forbidden in his homeland as the consequence of his criticism of Apartheid. Jensma, like no other South-African poet, exploited the theme of loneliness, alienation and restlessness. He was not able to close his eyes on the crimes committed by his nation and unable to demonstrate ignorance towards the suppressed groups of people. This feeling of frustration had been growing and, combined with anxiety and helplessness, at the end brought him to schizophrenia. This article concentrates on the analysis of the challenging creative track pursued by Jensma against the background of historical events of Apartheid period. It demonstrates the way how aggressive politics of the State leads to the development of “sick” society, increasing aggression, disintegration, emergence of “double-thinking”, a maddening feeling of being involved in crime. It clearly gives birth to the trauma, which is extremely difficult to overcome, even for the entire generation — and sometimes even impossible to overcome.
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Llewellyn, Kathleen M. "A Fantastic Frenzy of Consumption in Early Modern France." Renaissance and Reformation 38, no. 3 (November 27, 2015): 119–40. http://dx.doi.org/10.33137/rr.v38i3.26151.
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The enthusiastic (even excessive) consumerism of contemporary western society has its roots, according to some, in the expansion of the consumption of goods in Renaissance Europe. Early modern men and women were ardent, even “passionate” consumers. Such self-indulgence was regarded as decadent and socially perilous; religious and other moral authorities of the era sought to eradicate or at least control these sins of excess. My study examines criticism of “crimes of consumption” in both serious and satirical French literature of the early modern era, including such pamphlets as Frenaizie fantastique Françoise Sur la Nouvelle Mode des Nouveaux Courtisans bottez de ce temps and Pasquil de la Cour pour apprendre à discourir et s’habiller à la mode. Scrutiny of these texts suggest that women’s “crimes of consumption” tended to reveal who they “really were”—bad women, sinful women, dangerous women who led men into sin. Men’s crimes of passionate consumption sometimes also revealed their sinful selves—some were seen as gluttons, for example. But men’s consumption was also, at times, condemned as an attempt to appear to be what they were not; their display of acquired objects revealed an effort to claim membership in a social class to which they did not belong.
Le consumérisme enthousiaste (et même démesuré) de la société occidentale contemporaine a ses racines, d’après certains, dans l’expansion de la consommation de biens en Europe pendant la Renaissance. Dès les débuts de la modernité, hommes et femmes furent des consommateurs ardents, voire « passionnés ». S’adonner au plaisir d’acquérir était sévèrement condamné par les théologiens et les moralistes. Cet article examine la critique de ces passions excessives dans la littérature morale et satirique de l’époque, incluant les pamphlets tels que Frenaizie fantastique Françoise Sur la Nouvelle Mode des Nouveaux Courtisans bottez de ce temps et Pasquil de la Cour pour apprendre à discourir et s’habiller à la mode. Une analyse approfondie de ces textes montre combien la question du gender influe sur l’interprétation de ces passions : la femme coupable de tels excès y est vue mauvaise, pécheresse, dangereuse pour l’homme ; l’homme, quant à lui, est condamné pour dissimuler et vouloir paraître autre que ce qu’il est, entendre d’une autre classe que celle à laquelle il appartient.
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Liu, Ting. "Singing (vocal) as a component of ballet: the experience of interpreting the phenomenon in the context of artistic trends of the early 20th century." Culture of Ukraine, no. 75 (March 21, 2022): 93–102. http://dx.doi.org/10.31516/2410-5325.075.12.
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The article is devoted to one of the forms of creative synthesis of types of art, which is being actualized in the modern space-time of musical and stage compositions, including through its own historical and genetic code. Singing in ballet appears in the context of art of the early 20th century as a common aesthetic phenomenon. However, music criticism and academic science have not yet provided the explanation of its mechanisms (image-aesthetic, psychological, form-creating, communicative), its overriding tasks in the concepts of modern musical theatre. The experience of problem statement in the field of interpretology provides the relevance of the topic of the article and determines the novelty of the obtained results.
The purpose of the article is to reveal the preconditions and content of the functional unity of the art of singing and dance against the background of artistic trends of the early 20th century (starting with “Pulcinella” by I. Stravinsky).
The creative tandem of dance and singing has its roots in ancient Greek culture, on which the creators of the French tradition of ballets du court (J.-B. Llully focused. In the realm of «mixed genres» of baroque music, the «golden age» of homo musicus began. The latest history of singing in ballet begins with I. Stravinsky, his «Pulchinelli». The obtained results of the research of the problem “What is singing in ballet — a tribute to history or an invention of modern culture”? First, the presence of the “genetic code” of this phenomenon in the art of Western Europe of the Modern times; secondly, the regularity of the tendency to synthesize singing in the art of ballet as a manifestation of neoclassicism, closely related to the historicism of compositional thinking of I. Stravinsky.
The conclusions outline the preconditions and content of the functional unity of singing and dance in the format of artistic trends of the early 20th century: 1) the historical and cultural code of French art (singing — dramatic play — dance); 2) personal self-reflection of I. Stravinsky (his relations on the basis of creative cooperation in the early 20th century later formed a wide range of communication for artists: O. Rodin, A. Modigliani, K. Monet, P. Picasso, V. Kandinsky); 3) imitation of pre-classical, pre-baroque, and ancient folk traditions. In general, the revival of the function of singing in ballet of the 20th century took place on the basis of musical historicism and serves as a mental sign of the birth of neoclassicism.
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Rudichenko, Tatyana. "Art in the Process of Integrating the Don Host to the Russian State." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 4 (September 2019): 215–23. http://dx.doi.org/10.15688/jvolsu4.2019.4.18.
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Introduction. Studying culture and art in the formation of the Cossacks, designing its estate status is carried out in the perspective of current ideas about cultural policy contributing to more complete systemic reconstruction of the process. The novelty consists in showing the interaction of artistic and traditional household culture, the transformation of the latter. The purpose and objectives were analyzing the role of art in integrating the Cossacks into the Russian state, identifying the direction of changes in the culture; historical periodization of perception and adaptation of new art forms; establishing the specificity of the selected periods and the results achieved. Methods and materials. Research methods include the historical one, which allows considering changes in culture based on facts of social history, and cultural one, which gives approaches to studying regulation of the integration process in accordance with the principles of cultural policy. The source base consists of published official documents (letters, laws, decrees) containing reliable information, and art criticism, historical and ethnographic literature, which describes specific phenomena of culture and art. Analysis. The supreme power used effective and relevant for a particular historical period institutions and resources: religion and church (17th c.); service in the army and military education system (18th c.); reforming of social organization (incorporation into the estate structure of the state) and the control system of the Army (separation of the military and civilian system of administration) (19th c.). Results. By creating infrastructure, developing church and secular education, the government promoted systemic renewal of culture and Cossacks’ digestion of its forms that were perceived in Russia and Europe as close, identical and related (architecture, painting, choral singing and orchestra music, drama and musical theater). At the early stage of integration into the Russian state, contact forms and democratic nature of the cultural interaction process prevailed. Cultural expansion of the 18th – 19th centuries had a systemic nature and was determined by purposeful influence of the institutions (church, army, school and social elite) that contributed to renewal of culture according to the Western European model.
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Desrosiers, Diane, and Jean-Philippe Beaulieu. "L’écriture féminine à la Renaissance française sous le regard des chercheurs canadiens." Renaissance and Reformation 37, no. 4 (April 30, 2015): 3–18. http://dx.doi.org/10.33137/rr.v37i4.22637.
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Au cours des dernières décennies, un travail considérable a été accompli par les chercheurs canadiens dans l’exhumation et la réhabilitation des textes des femmes de lettres de la Renaissance française. En raison de leur positionnement géographique à l’intersection des États-Unis et de l’Europe, ces chercheurs participent à la fois des avancées de la recherche française en matière d’érudition et des percées théoriques de la réflexion nord-américaine, enrichie par les gender studies et les études culturelles. Cela explique en partie le caractère original de leur contribution à ce champ de recherche, tant par le choix de leur objet d’étude et l’exploration de corpus marginaux que par l’approche critique et le positionnement théorique qu’ils ont adoptés. Le présent article vise à cerner la spécificité des activités de recherche menées en langue française au Canada dans les domaines bibliographique, éditorial et critique, en portant une attention particulière aux enjeux théoriques et idéologiques des choix effectués par les chercheurs.
Over the past few decades, significant work has been accomplished by Canadian researchers unearthing and recovering texts by the women writers of the French Renaissance. Because of their geographical location—at the intersection of the United States and Europe—these researchers share simultaneously in the advances of French research in the discipline of scholarship and in the theoretical breakthroughs of North American thought informed by gender and cultural studies. This explains, in part, the unique character of their contribution to this field of research — as much for their chosen object of study and exploration of a marginal corpus of work as by their adoption of a certain critical approach and theoretical position. This article seeks to outline the specific features of research activities undertaken in the French language in Canada in the areas of bibliography, editing, and criticism, highlighting in particular the theoretical and ideological issues at stake in the choices made by the researchers.
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Botstein, Leon. "On Criticism and History." Musical Quarterly 79, no. 1 (1995): 1–5. http://dx.doi.org/10.1093/mq/79.1.1.
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Botstein, L. "Witnessing Music: The Consequences of History and Criticism." Musical Quarterly 94, no. 1-2 (March 1, 2011): 1–8. http://dx.doi.org/10.1093/musqtl/gdr001.
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Radice, Mark A. "Reader's Guide to Music: History, Theory, Criticism (review)." Notes 58, no. 1 (2001): 66. http://dx.doi.org/10.1353/not.2001.0165.
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Tukova, Iryna, Valentina Redya, and Iryna Kokhanyk. "Ukrainian Music Criticism of the 2010s: General Situation, Problems, Directions of Development (Based on the Examples From Contemporary Art Music Scene)." Studia Universitatis Babeş-Bolyai Musica 67, no. 2 (December 20, 2022): 129–43. http://dx.doi.org/10.24193/subbmusica.2022.2.07.
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"The paper focuses on the 2010s in the history of Ukrainian music criticism. The materials on contemporary art music were chosen to support the authors’ reflections and conclusions. Selection of the time, period and material for the research are conditioned both with the specific social situation of Ukraine and with the recent developments in its music scene. The paper characterizes the main media, most popular critical genres, and methods of critical coverage. It is highlighted that the problems of Ukrainian music criticism during the 2010s were linked to the post-Soviet past and, in general, to the colonial status of Ukrainian culture in the Russian Empire and later in the Soviet Union. Such problems include the absence of independent journals for music criticism, dominance of information genres over reviews, general stable positive evaluation of musical scene activity etc. A few examples illustrate the gradual changing of situation during the 2010s. The authors offer to consider that new period of Ukraine music criticism history began in 2020 when The Claquers, a critical media about art music in Ukraine and abroad aiming to solve the mentioned problems, was established. Keywords: Ukrainian music criticism, contemporary art music, policy of colonialism, review, announcement. "
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Majer-Bobetko, Sanja. "Between music and ideologies: Croatian music criticism from the beginning to World War II." Muzyka 63, no. 4 (December 31, 2018): 55–64. http://dx.doi.org/10.36744/m.344.
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As the Croatian lands were exposed to often aggressive Austrian, Hungarian, and Italian politics until WWI and in some regions even later, so Croatian music criticism was written in the Croatian, German and Italian languages. To the best of our knowledge, the history of Croatian music criticism began in 1826 in the literary and entertainment journal Luna, and was written by an anonymous author in the German language.A forum for Croatian language music criticism was opened in Novine Horvatzke, i.e. in its literary supplement Danica horvatska, slavonska i dalmatinska in 1835, which officially started to promote the Croatian National Revival, setting in motion the process of constituting the Croatian nation in the modern sense of the word. However, those articles cannot be considered musical criticism, at least not in the modern sense of the word, as they never went beyond the level of mere journalistic reports. The first music criticism in the Croatian language in the true sense of the word is generally considered a very comprehensive text by a poet Stanko Vraz (1810-51) about a performance of the first Croatian national opera Ljubav i zloba (Love and malice) by Vatroslav Lisinski (1819-54) from 1846. In terms of its criteria for judgement, that criticism proved to become a model for the majority of 19th-century and later Croatian music criticism. Two judgement criteria are clearly expressed within it: national and artistic.Regardless of whether we are dealing with 1) ideological-utilitarian criticism, which was directed towards promoting the national ideology (Franjo Ksaver Kuhač, 1834-1911; Antun Dobronić, 1878-1955), 2) impressionist criticism based on the critic’s subjective approach to particular work (Antun Gustav Matoš, 1873-1914; Milutin Cihlar Nehajev, 1880-1931; Nikola Polić, 1890-1960), or 3) Marxist criticism (Pavao Markovac, 1903-41), we may observe the above mentioned two basic criteria. Only at the end of the period under consideration the composer Milo Cipra (1906-85) focused his interest on immanent artistic values, shunning any ideological utilitarianism, and insisting on the highest artistic criteria.
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Pritchard, Matthew. "The Cambridge History of Music Criticism. Ed. by Christopher Dingle." Music and Letters 101, no. 4 (November 1, 2020): 785–88. http://dx.doi.org/10.1093/ml/gcaa068.
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Parakilas, James. "The Afterlife of Don Giovanni: Turning Production History into Criticism." Journal of Musicology 8, no. 2 (1990): 251–65. http://dx.doi.org/10.2307/763570.
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Parakilas, James. "The Afterlife of Don Giovanni: Turning Production History into Criticism." Journal of Musicology 8, no. 2 (April 1990): 251–65. http://dx.doi.org/10.1525/jm.1990.8.2.03a00040.
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Vasic, Aleksandar. "Serbian music criticism in the first half of the twentieth century: Its canon, its method and its educational role." Muzikologija, no. 8 (2008): 185–202. http://dx.doi.org/10.2298/muz0808185v.
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Serbian music criticism became a subject of professional music critics at the beginning of the twentieth century, after being developed by music amateurs throughout the whole previous century. The Serbian Literary Magazine (1901- 1914, 1920-1941), the forum of the Serbian modernist writers in the early 1900s, had a crucial role in shaping the Serbian music criticism and essayistics of the modern era. The Serbian elite musicians wrote for the SLM and therefore it reflects the most important issues of the early twentieth century Serbian music. The SLM undertook the mission of educating its readers. The music culture of the Serbian public was only recently developed. The public needed an introduction into the most important features of the European music, as well as developing its own taste in music. This paper deals with two aspects of the music criticism in the SLM, in view of its educational role: the problem of virtuosity and the method used by music critics in this magazine. The aesthetic canon of the SLM was marked by decisively negative attitude towards the virtuosity. Mainly concerned by educating the Serbian music public in the spirit of the highest music achievements in Europe, the music writers of the SLM criticized both domestic and foreign performers who favoured virtuosity over the 'essence' of music. Therefore, Niccol? Paganini, Franz Liszt, and even Peter Tchaikowsky with his Violin concerto became the subject of the magazine's criticism. However their attitude towards the interpreters with both musicality and virtuoso technique was always positive. That was evident in the writings on Jan Kubel?k. This educational mission also had its effect on the structure of critique writings in the SLM. In their wish to inform the Serbian public on the European music (which they did very professionally), the critics gave much more information on biographies, bibliographies and style of the European composers, than they valued the interpretation itself. That was by far the weakest aspect of music criticism in the SLM. Although the music criticism in the SLM was professional and analytic one, it often used the literary style and sometimes even profane expressions in describing the artistic value and performance, more than it was necessary for the genre of music criticism. The music critics of the SLM set high aesthetic standards before the Serbian music public, and therefore the virtuosity was rejected by them. At the same time, these highly professional critics did not possess a certain level of introspection that would allow them to abstain from using sometimes empty and unconvincing phrases instead of exact formulations suitable for the professional music criticism. In that respect, music critics in the SLM did not match the standards they themselves set before both the performers and the public in Serbia.
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Petrošienė, Lina. "Singing Tradition of the Inhabitants of Lithuania Minor from the Second Half of the 20th Century to the Beginning of the 21st Century." Tautosakos darbai 61 (June 1, 2021): 97–121. http://dx.doi.org/10.51554/td.21.61.04.
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The article analyses how the folk singing tradition of the Lithuania Minor developed in the late 20th and in the early 21st centuries. It examines the activities of the folklore groups in the Klaipėda Region during the period of 1971–2020, focusing on those that assert fostering of the lietuvininkai singing tradition as their mission or one of their goals. The study employs the previously unused materials, which allow revising the former research results regarding the revival of the Lithuanian ethnic music and show the folklore ensembles working in the Klaipėda Region as a significant part of the Lithuanian folklore movement and the revival of the ethnic music, emerging from the 1960s. Special emphasis is placed on the early phase in adoption of the lietuvininkai singing tradition related to the activities of the folklore ensemble “Vorusnėˮ established in 1971 at the Klaipėda faculties of the State Conservatory of the former LSSR, and the role it had in prompting the creation of other folklore groups in Klaipėda, as well as its impact on the broader cultural and educational processes taking place in the Klaipėda Region.In the 20th century, the prevailing narrative regarding the Lithuanian inhabitants of the Lithuania Minor maintained that books, hymns, schools, church, social and cultural organizations, and choral or theatre activities were the most significant factors influencing the cultural expression of lietuvininkai, while the Lithuanian folklore was hardly practiced anymore or even considered an inappropriate thing. Judging from the folklore recordings, the folk singing tradition supported by the lietuvininkai themselves disappeared along with the singers born in the late 19th century. However, after the WWII, it was adopted and continued by the folklore groups appearing the Klaipėda Region. These groups included people from the other regions of Lithuania who had settled there. This is essentially the process of reviving the ethnic music, which began in Europe during the Enlightenment period and continues in many parts of the world.“Vorusnėˮ was founded in 1971 as the first institutional student folklore ensemble in Klaipėda Region. For 27 years, its leader was a young and talented professor of the Baltic languages Audronė Jakulienė (later Kaukienė). She became the founder of the linguistic school at the Klaipėda University (KU). In the intense and multifaceted activities of the “Vorusnėˮ ensemble, two different stages may be discerned, embracing the periods of 1971–1988 and 1989–2000.In 1971–1988, the ensemble mobilized and educated students in the consciously chosen direction of fostering the Lithuanian ethnic culture, sought contacts with the native lietuvininkai, collected and studied ethnographic and dialectal data, prepared concert programs based on the scholarly, written, and ethnographic sources, gave concerts in Lithuania and abroad, and cooperated with folklore groups from other institutions of higher education.In 1989–2000, the “Vorusnėˮ ensemble engaged in numerous other areas of activity. The children‘s folklore ensemble “Vorusnėlėˮ was established in 1989; both “Vorusnėˮ and “Vorusnėlėˮ became involved in the activities of the community of the Lithuania Minor founded in 1989. The leader of the ensemble and its members contributed to the establishment of the Klaipėda University, which became an important research center of the Prussian history and culture. The leader of the ensemble and her supporters created a new study program of the Lithuanian philology and ethnology at the KU, which during its heyday (2011–2014) had developed three levels of higher education, including bachelor’s, master’s and doctoral studies. The Folklore Laboratory and Archive was established at the Department of the Baltic Linguistics and Ethnology, headed by Kaukienė, and young researchers in philology, ethnology, and ethnomusicology were encouraged to carry out their research there. In the course of over two decades, Kaukienė initiated organizing numerous research conferences dealing with lietuvininkai language and culture.Until 1980, “Vorusnėˮ was the only folklore ensemble in the Klaipėda Region, but in 1985, there were already ten folklore ensembles. These ensembles developed different creative styles that perhaps most notably depended on the personal structure of these ensembles and their leaders’ ideas and professional musical skills. Generally, at the beginning of their activity, all these ensembles sang, played and danced the folklore repertoire comprising all the regions of Lithuania. The activities of “Vorusnėˮ and other folklore ensembles in Klaipėda until 1990 showed that revival of folklore there essentially followed the lines established in other cities and regions of Lithuania.During the first decade after the restoration of independence of Lithuania in 1990, folklore was in high demand. In Klaipėda, the existing ensembles were actively working, and the new ones kept appearing based on the previous ones. The folklore ensembles of the Klaipėda Region clearly declared their priorities, embracing all the contemporary contexts. Some of them associated their repertoire with the folklore of lietuvininkai, others with Samogitian folklore.The lietuvininkai singing tradition was adopted and developed in two main directions.The first one focused on authentic reconstruction, attempting recreation with maximumaccuracy of the song‘s dialect, melody, and manner of singing, as well as its relationship tocustoms, historical events or living environment. The second direction engaged in creativedevelopment, including free interpretations of the songs, combining them with other stylesand genres of music and literature, and using them for individual compositions. These twoways could be combined as well. Lietuvininkai are not directly involved in these activities, butthey tolerate them and participate in these processes in their own historically and culturallydetermined ways.The contemporary artistic expression of the promoters of the lietuvininkai singing tradition is no longer constrained by the religious and ideological dogmas that were previously maintained in the Lithuania Minor and in a way regulated performance of these songs. It is determined nowadays by consciousness, creativity, resourcefulness, and knowledge of its promoters. The dogmas of the Soviet era and modernity have created a certain publicly displayed (show type) folklore. The ensembles took part of the institutionalized amateur art, subsequently becoming subject to justified and unjustified criticism, which is usually levelled on them by the outsiders studying documents and analyzing processes. However, favorable appreciation and external evaluation by the participants of the activities and the local communities highlight the meaning of this activity.
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Sovtić, Nemanja. "Rudolf Bruči and the criticism of the European avant-garde." Studia Musicologica 56, no. 4 (December 2015): 429–41. http://dx.doi.org/10.1556/6.2015.56.4.10.
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Yugoslav composer Rudolf Bruči is known on the international scene primarily as the author of Sinfonia Lesta, a composition winning the first prize in 1965 at the Queen Elizabeth Competition in Belgium. On a national level, Bruči was a powerful social entity, not only in respect of his creative freedom. As a member of the League of Communists, Bruči spent a lifetime as an official in social organizations and cultural institutions, thus dictating the rhythm of musical life of Novi Sad and the Province of Vojvodina, until the collapse of Socialism when he was suddenly forgotten. The developmental line of Bruči’s oeuvre – leading from Zhdanovian national classicism, through the adoption of elements of the European avant-garde, to the reaffirmation of a national/regional idiom in the mid-1970s – largely corresponds to the general tendencies of postwar art music in the socialist countries of Eastern and South-Eastern Europe. Bruči broke with the European avant-garde models not only in his creative practice, but he also reasoned it in the articles “The Composers’ Role in the Modern Development of Self-governing Socialist Society,” “Statements of Yugoslav Music Forum Composers’ Workgroup,” and “Manifesto of the ‘Third Avant- Garde’,” where he based his discourse on conformism, lack of communication and dehumanization of avant-garde, and in particular on Yugoslav ideological projects, such as self-management, non-alignment, and deprovincialization. The article analyzes the context in which Bruči’s creative transformation during the 1970s was expressed as the criticism of the Eurocentric cultural model, as well as the suspicion towards the imperative of modernization in a world obsessed with technological advances.
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Kramer, Elizabeth. "The Beethoven Violin Sonatas: History, Criticism, Performance (review)." Notes 62, no. 1 (2005): 114–16. http://dx.doi.org/10.1353/not.2005.0098.
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Reith, Louis J., and Roger Kuin. "Chamber Music: Elizabethan Sonnet-Sequences and the Pleasure of Criticism." Sixteenth Century Journal 32, no. 1 (2001): 305. http://dx.doi.org/10.2307/2671499.
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Mariani, Giorgio. "A View from the Heart of Europe." American Literary History 34, no. 1 (February 1, 2022): 267–71. http://dx.doi.org/10.1093/alh/ajab093.
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Abstract There are at least three ways of understanding “criticism”: 1) as literary scholarship; 2) as teaching; 3) as a way of engaging the general reading public regarding the significance of literary and cultural matters. Every country has developed its own traditions in each of these three areas. This brief essay focuses on the Italian case, arguing that teachers of American literature need to make the most of their role as cultural mediators and translators, as in the formative years of Italian American Studies. The influence of the corporate model on the Italian public university, along with other factors, has made relations between literary scholars’ and the nonacademic public sphere tenuous. Unless the democratic political ethos that presided over the birth of the discipline is rediscovered, the future for Italian “American literary criticism”—in all the three articulations mentioned above—will be rather bleak.
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Dickinson, Peter. "Review: Maestros of the Pen: A History of Classical Music Criticism in America." Music and Letters 83, no. 4 (November 1, 2002): 631–34. http://dx.doi.org/10.1093/ml/83.4.631.
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Heller, George N., and Mark N. Grant. "Maestros of the Pen: A History of Classical Music Criticism in America." History of Education Quarterly 39, no. 2 (1999): 212. http://dx.doi.org/10.2307/370046.
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Frost, Charlotte. "Digital Critics: The Early History of Online Art Criticism." Leonardo 52, no. 1 (February 2019): 37–43. http://dx.doi.org/10.1162/leon_a_01379.
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Art critic Jerry Saltz is regarded as a pioneer of online art criticism by the mainstream press, yet the Internet has been used as a platform for art discussion for over 30 years. There have been studies of independent print-based arts publishing, online art production and electronic literature, but there have been no histories of online art criticism. In this article, the author provides an account of the first wave of online art criticism (1980–1995) to document this history and prepare the way for thorough evaluations of the changing form of art criticism after the Internet.
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Harrán, Don. "Elegance as a Concept in Sixteenth-Century Music Criticism*." Renaissance Quarterly 41, no. 3 (1988): 413–38. http://dx.doi.org/10.2307/2861755.
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”… et vere sciunt cantilenas ornare, in ipsis omnes omnium affectus exprimere, et quod in Musico summum est, et elegantissimum vident … “Adrian Coclico, Compendium musices (1552)The notion of music as a form of speech is a commonplace. Without arguing the difficult questions whether music is patterned after speech or itself constitutes its own language, it should be remembered that the main vocabulary for describing the structure and content of music has been drawn from the artes dicendi. The present report deals with a small, but significant part of this vocabulary: the term elegance along with various synonyms and antonyms borrowed from grammar and rhetoric and applied to music, in a number of writings, from classical times onwards.
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Cinpoeş, Nicoleta. "From New to Neo-Europe: Titus redivivus." Cahiers Élisabéthains: A Journal of English Renaissance Studies 96, no. 1 (May 22, 2018): 214–30. http://dx.doi.org/10.1177/0184767818775904.
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The ‘dramatic rise’ of Titus Andronicus ‘among critics and directors’ in the 1990s was primarily linked to ‘the growth of feminist Shakespeare criticism’.1 Its recent stage popularity, however, lies in its responses to the new geopolitical realities and the shifting physical and mental borders of the European Union. This article examines four European productions of Titus Andronicus in their engagement with political change, migration, rising nationalism and xenophobia, which, I argue, refocus attention onto this play’s position in the Shakespeare canon.
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Bohlman, P. "Suturing history, healing Europe: German national temporality in Wolokolamsk Highway." Musical Quarterly 85, no. 4 (December 1, 2001): 681–717. http://dx.doi.org/10.1093/mq/85.4.681.
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KLAUTKE, EGBERT. "ANTI-AMERICANISM IN TWENTIETH-CENTURY EUROPE." Historical Journal 54, no. 4 (November 7, 2011): 1125–39. http://dx.doi.org/10.1017/s0018246x11000276.
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ABSTRACTSince the beginning of the twentieth century, European observers and commentators have frequently employed the term ‘Americanization’ to make sense of the astonishing rise of the USA to the status of a world power. More specifically, they used this term to describe the social changes brought about by industrialization and urbanization. In this context, European intellectuals have often used ‘America’ as shorthand for ‘modernity’; across the Atlantic, they believed, it was possible to learn and see the future of their own societies. Criticism of ‘the Americanization of Europe’ – or the world – easily led to outright anti-Americanism, i.e. a radical and reductionist ideology which held the USA responsible for the economic, political, or cultural ills of modern societies. The war in Iraq in 2003 and the alienation between the USA and France and Germany that followed provided a new impetus for studying the history of European perceptions of America. A large number of studies have since been published that deal with the history of the ‘Americanization of Europe’ and anti-Americanism, and several monographs, which are based on original research and promise new insights, will be the focus of this historiographical review.
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Stelmakh, Marta. "Historian as a public intellectual: media discourse about Timothy Snyder’s works on Ukrainian topics." Synopsis: Text Context Media 28, no. 2 (2022): 79–86. http://dx.doi.org/10.28925/2311-259x.2022.2.5.
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In the article, the author analyses the media discourse around the works of Timothy Snyder, one of the leading experts on the history of Eastern Europe. The relevance of the topic is that T. Snyder’s materials and interviews on Russian-Ukrainian relations are often used and analyzed by both Ukrainian and foreign media. The current Russian-Ukrainian war has escalated, and the changes in the views of the scholars’ critics are worth mentioning. The subject of the study is a criticism of Timothy Snyder’s views on Ukrainian issues. The aim is to outline the discourse around the author’s works and identify his criticism’s main tendencies. The following methods were used in the process of scientific research: comparative, historical, systems analysis, content analysis, and others. The novelty was a comparative analysis of criticism of the works of Timothy Snyder before and after the Russian invasion. As a result of the study, the criticism of Timothy Snyder’s monograph “Bloodlands: Europe between Hitler and Stalin”, his texts on the past of Ukrainian society and the historical context of Russian-Ukrainian relations, as well as criticism of world politics and his predictions of declining democracy were reviewed. Timothy Snyder is mentioned as both the best interpreter of the twentieth century and an alarmist who unjustifiably emphasizes the disappearance of freedom and ignoring of history. The main tendencies in the criticism of the researcher were singled out: overly emotionally colored speech, dubious methodology, and obsession with statistics in the monograph. Critics of the works on the Russian-Ukrainian war had accused the author of distorting facts. The comparison of Vladimir Putin to both Adolf Hitler and Joseph Stalin was believed to be unjustified, and allegations of Putin’s regime as fascist were considered inappropriate. At the same time, a large number of public intellectuals note his contribution to the discovery of significant problems in the history of Eastern Europe — less studied compared to other regions. Today, the scholar continues to draw the world’s attention to Ukraine’s past, and its ties with Europe and stands guard over freedom and democracy. Given this, there is a need for further study of both Snyder’s works and criticism of his views.
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Vasic, Aleksandar. "The magazine “Slavenska muzika” (1939–1941) in the history of Serbian music periodicals." Muzikologija, no. 29 (2020): 121–47. http://dx.doi.org/10.2298/muz2029121v.
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From November 1939 to March 1941, the monthly magazine ?Slavenska muzika?, a journal of the Association of Friends of Slavic Music, was published in Belgrade. The magazine did not differ from other Serbian magazines of the interwar period in its sections. ?Slavic music? also published essays on music, music criticism, reviews of books and music editions, notes, news, obituaries, and in one case, polemics. However, differentia specifica of this review is the exclusive focus on the music of the Slavic nations. The study provides a review and analysis of the texts in this journal. It was noticed that in ?Slavic music? were crossed the Slavophile idea, which has a long tradition among Serbs, and Marxism, at that time strongly represented by one part of Belgrade musicians. The study also contains an integral bibliography of ?Slavic music?, which has not been published so far.
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Branscombe, P. "E. T. A. Hoffmann's Musical Writings: 'Kreisleriana', 'The Poet and the Composer', Music Criticism." German History 10, no. 2 (January 1, 1992): 248–50. http://dx.doi.org/10.1093/gh/10.2.248.
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Watt, Paul, and Sarah Collins. "Critical Networks." Nineteenth-Century Music Review 14, no. 1 (April 2017): 3–8. http://dx.doi.org/10.1017/s1479409816000252.
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This article examines the idea of ‘Critical Networks’ as a way of studying the relational structures that shaped music criticism in the long nineteenth century. We argue that the personal, institutional and international networks that supported the dissemination of critical ideas about music are worthy of study in themselves, as they can yield insights beyond prevailing methodologies that centre on individual cases.Focusing on the institutional culture of music criticism means looking beyond the work of individual critics and the content or influence of their views, towards the structures that determined the authoritativeness of those views and the impact of these structures in shaping the operation of critical discourse on music at the time. Examining these networks and how they operated around particular periodicals, tracing transnational exchanges of both ideas and critics, and uncovering the various ideological alliances that were forged or contested within critical networks, can not only provide a thicker context for our understanding of historical ideas about music, but it can also challenge current views about the history of our discipline and the kinds of structures that condition our own ideas about music and music history.
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Brown, Howard Mayer. "Recent Research in the Renaissance: Criticism and Patronage*." Renaissance Quarterly 40, no. 1 (1987): 1–10. http://dx.doi.org/10.2307/2861832.
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The book that everyone in musicology is talking about this year—not just those of us working in the fifteenth and sixteenth centuries—is Joseph Kerman's Contemplating Music (Cambridge, Mass.: Harvard University Press, 1985; called simply Musicology in the English edition). In it, Kerman argues against what he calls positivism, which he defines as a rigid and non-judgmental pursuit of dry facts, and in favor of the higher criticism, by which he seems to mean analysis—or at least some penetrating discussion of the way individual pieces work and what makes them great—informed by a sense of history and written in a humanistic style, with a personal commitment on the part of the author to the quality of the music with which he is concerned.
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Zuk, Patrick. "Words for music perhaps? Irishness, criticism and the art tradition." Irish Studies Review 12, no. 1 (April 2004): 11–29. http://dx.doi.org/10.1080/0967088042000192086.
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Vasic, Aleksandar. "Engagement in musical criticism: Pavle Stefanovic’s texts in The Music Herald (1938-1940)." Muzikologija, no. 27 (2019): 203–20. http://dx.doi.org/10.2298/muz1927203v.
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Pavle Stefanovic (1901-1985) is one of the most prominent Serbian music critics and essayists. He created extensive musicographic work, largely scattered in periodicals. A philosopher by education, he had an excellent knowledge of music and its history. His style was marked by eloquence, associativity and plasticity of expression. Between 1938 and 1940 he published eighteen music reviews in The Music Herald, the longest-running Belgrade music magazine in the interwar period (1928-1941, with interruption from 1934 to 1938). Stefanovic wrote about concerts, opera and ballet performances in Belgrade, performances by local and eminent foreign artists. His reviews include Magda Tagliaferro, Nathan Milstein, Jacques Thibaud, Enrico Mainardi, Bronis?aw Huberman, Alexander Uninsky, Alexaner Borovsky, Ignaz Friedman, Nikita Magaloff and many other eminent musicians. Th is study is devoted to the analysis of the Stefanovic?s procedure. Pavle Stefanovic was an anti-fascist and left ist. He believed that the task of a music critic was not merely to analyze and evaluate musical works and musical interpretations. He argued that the critic should engage in important social issues that concerned music and music life. That is why he wrote articles on the occasion of German artists visiting Belgrade, about the persecution of musicians of Jewish descent and the cultural situation in the Third Reich. On the other hand, Stefanovic was an aesthetic hedonist who expressed a great sense of the beauty of musical works. Th at duality - a socially engaged intellectual and a subtle ?enjoyer? of the art - remained undisturbed. In these articles he did not go into a deterministic interpretation of the structure of musical composition and the history of music. And he did not accept the larpurlartistic views.
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GUERPIN, MARTIN. "From the History of Jazz in Europe towards a European History of Jazz: The International Federation of Hot Clubs (1935–6) and ‘Jazz Internationalism’." Journal of the Royal Musical Association 147, no. 2 (November 2022): 582–94. http://dx.doi.org/10.1017/rma.2022.27.
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‘Hot clubs’ proliferated all over Europe and the United States during the 1930s. For a brief period (1935–6), they joined forces in an International Federation of Hot Clubs (IFHC), the main purpose of which was to link together devotees in search of American hot jazz recordings at a time when they were difficult to find and buy in Europe, since that sub-genre was less popular and commercially successful than what was then called ‘straight’ jazz. The expression ‘hot jazz’ was coined by jazz musicians at the end of the 1920s and referred to a style based on performance and improvisation rather than on the composition and performance of written parts. A founder of the Hot Club de France (HCF) in 1932, the French jazz critic Hugues Panassié was the first to establish a hierarchy between these two styles:
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Moon, Meredith. "Romantic music: A history of musical style in nineteenth-century Europe." Musicology Australia 9, no. 1 (January 1986): 71–72. http://dx.doi.org/10.1080/08145857.1986.10415168.
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Smetana, Vít. "George F. Kennan and the Division of Europe." Journal of Cold War Studies 15, no. 4 (October 2013): 225–32. http://dx.doi.org/10.1162/jcws_a_00406.
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Nine experts on Cold War history offer commentaries about John Lewis Gaddis's Pulitzer Prize-winning biography of George F. Kennan, the first head of the U.S. State Department's Policy Planning Staff. The commentators come from several countries and offer a wide range of perspectives about Gaddis's George F. Kennan: An American Life, published by Penguin Books in 2011. Although most of the commentators express highly favorable assessments of the book, they also raise numerous points of criticism. Two of the commentators, Barton J. Bernstein and Anders Stephanson, present extended critiques of Gaddis's biography. The forum concludes with a reply by Gaddis to all the commentaries, especially those by Bernstein and Stephanson.
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Lofton, Kathryn. "Dylan Goes Electric." Journal of Popular Music Studies 33, no. 2 (June 1, 2021): 31–50. http://dx.doi.org/10.1525/jpms.2021.33.2.31.
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Within the study of rock music, religion appears as a racial marker or a biographical attribute. The concept of religion, and its co-produced opposite, the secular, needs critical analysis in popular music studies. To inaugurate this work this article returns to the moment in singer-songwriter Bob Dylan’s career that is most unmarked by religion, namely his appearance with an electric guitar at the 1965 Newport Folk Festival. Dylan’s going electric became, through subsequent years of narrative attention, a secularizing event. “Secularizing event” is a phrase coined to capture how certain epochal moments become transforming symbols of divestment; here, a commitment writ into rock criticism as one in which rock emerged by giving up something that had been holding it back. Through a study of this 1965 moment, as well as the history of electrification that preceded it and its subsequent commentarial reception, the unreflective secular of rock criticism is exposed.
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Fry, Katherine. "Nietzsche's Critique of Musical Decadence: The Case of Wagner in Historical Perspective." Journal of the Royal Musical Association 142, no. 1 (2017): 137–72. http://dx.doi.org/10.1080/02690403.2017.1286130.
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ABSTRACTAlthough philosophical and biographical accounts of Nietzsche and Wagner abound, the musical issues at stake in the late text Der Fall Wagner (The Case of Wagner, 1888) have rarely been addressed within their wider cultural context. This article explores the nineteenth-century concepts of decadence and degeneration as relevant for understanding the ambivalence of Nietzsche's late critique of Wagner. Emphasizing his affinity with contemporary French criticism, it argues that his late texts advance a theory of decadence pertinent to current music history and criticism. It locates The Case of Wagner within the larger discourse of degeneration, probing similarities to and differences from the work of surrounding critics of Wagnerism. Nietzsche's critique combines a condemnation of Wagner's music with a more positive appreciation of the composer's historical relevance. Yet his writings also reveal a fundamental conflict between his personal involvement with Wagner's music and his philosophical quest to analyse this music as expressive of modernity.
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Schwerhoff, Gerd, Benjamin Seebröker, Alexander Kästner, and Wiebke Voigt. "Hard numbers? The long-term decline in violence reassessed. Empirical objections and fresh perspectives." Continuity and Change 36, no. 1 (April 27, 2021): 1–32. http://dx.doi.org/10.1017/s0268416021000096.
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AbstractOver the last decades social scientists have alleged that violence has decreased in Europe since late medieval times. They consider homicide rates a valid indicator for this claim. Thorough source criticism, however, raises serious doubts about the decline thesis having any substantial empirical foundation. Forms and contents of the sources are immensely heterogeneous and a closer look at the alleged richness of the data uncovers remarkable gaps. Furthermore, medieval and early modern population estimates are highly unreliable. Thus, we argue that historical research on violence should return to focus on specific historical constellations, accept the need for painstaking source criticism and pay careful attention to the contexts of violence.
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Desler, Anne. "History without royalty? Queen and the strata of the popular music canon." Popular Music 32, no. 3 (September 13, 2013): 385–405. http://dx.doi.org/10.1017/s0261143013000287.
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AbstractAlthough canon formation has been discussed in popular music studies for over a decade, the notion of what constitutes ‘the popular music canon’ is still vague. However, considering that many scholars resent canon formation due to the negative effects canons have exerted on other academic fields, analysis of canon formation processes in popular music studies seems desirable: awareness of these processes can be a valuable tool for scholars’ assessment of how their academic choices contribute to canon formation. Based on an examination of the reception history of Queen in the popular mainstream, music criticism and academia, this article argues that a universally valid popular music canon does not exist and that canon formation in popular music is based on the same criteria as in the ‘high’ arts, i.e. transcendence, historical importance and ‘greatness’, although the latter is replaced by ‘authenticity’ in the popular music context. While canons can be theorised in various ways, a model that distinguishes between canonic strata according to listeners’ relationship to music is particularly useful as it reveals the relative importance of the three canonic criteria within different strata and how they are applied.
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Saloman, Ora Frishberg. "Continental and English Foundations of J. S. Dwight's Early American Criticism of Beethoven's Ninth Symphony." Journal of the Royal Musical Association 119, no. 2 (1994): 251–67. http://dx.doi.org/10.1093/jrma/119.2.251.
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The reception history of Ludwig van Beethoven's symphonies in America offers striking evidence of multiple, previously unidentified, Continental and English connections to the musical thought of John Sullivan Dwight (1813–93), the first American-born critic of art music, and therefore to early American conceptions of the symphony in the 1840s. These direct links illuminate the history and criticism of the first performance in America of Beethoven's Symphony no. 9 in D minor, op. 125, which took place in New York in 1846. From the many sources associated with Dwight's musical learning and aesthetic education, I have chosen in this article to examine Dwight's literary interest in Johann Christoph Friedrich Schiller's poem ‘An die Freude’ and in Thomas Carlyle's biography of Schiller, to document his knowledge of commentary on the symphony by the German critic Adolf Bernhard Marx, and to describe Dwight's response to the initial American performance of the Ninth Symphony.
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Vasic, Aleksandar. "Serbian musical criticism and essay writings during the XIXth and the first half of the XXth century as a subject of musicology research." Muzikologija, no. 6 (2006): 317–42. http://dx.doi.org/10.2298/muz0606317v.
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The beginning of 2006 marked two decades since the death of Stana Djuric-Klajn, the first historian of Serbian musical literature. This is the exterior motive for presenting a summary of the state and results of up-to-date musicology research into Serbian musical criticism and essay writings during the XIXth and the first half of the XXth century, alongside the many works dedicated to this branch of national musical history, recently published. In this way the reader is given a detailed background of these studies ? mainly the authors' names, books, studies, articles, as well as the problems of this branch of Serbian musicology. The first research is associated with the early years of the XXth century, that is, to the work of bibliography. The pioneer of Serbian ethnomusicology, Vladimir R. Djordjevic composed An Essay of the Serbian Musical Bibliography until 1914, noting selected XIXth century examples of Serbian literature on music. Bibliographic research was continued by various institutions and experts during the second half of the XXth century: in Zagreb (today Republic of Croatia); the Yugoslav Institute for Lexicography, Novi Sad (Matica srpska); and Belgrade (Institute for Literature and Art, Slobodan Turlakov, Ljubica Djordjevic, Stanisa Vojinovic etc). In spite of the efforts of these institutions and individuals, a complete analytic bibliography of music in Serbian print of the last two centuries has unfortunately still not been made. The most important contributions to historical research, interpretation and validation of Serbian musical criticism and essay writings were given by Stana Djuric-Klajn, Dr Roksanda Pejovic and Dr Slobodan Turlakov. Professor Stana Djuric-Klajn was the first Serbian musicologist to work in this field of Serbian music history. She wrote a significant number of studies and articles dedicated to Serbian musical writers and published their selected readings. Prof. Klajn is the author and editor of the first and only anthology of Serbian musical essay writings. Her student Roksanda Pejovic published two books (along with numerous other factually abundant contributions), where she synthetically presented the history of Serbian criticism and essay writings from 1825 to 1941. Slobodan Turlakov, an expert in Serbian criticism between the World Wars, meritorious researcher and original interpreter, especially examined the reception of music of great European composers (W. A. Mozart, L. v. Beethoven, F. Chopin, G. Verdi, G. Puccini etc) by Serbian musical critics. Serbian musical criticism and essay writings were also the focus of attention of many other writers. The work quotes comments and additions of other musicologists, but also historians of theatre, literature and art philosophers, aestheticians, sociologists, all members of different generations, who worked or still work on the history of the Serbian musical criticism and essay writings. The closing section of the text suggests directions for future research. Firstly, it is necessary to begin integral bibliographical research of texts about music published in our press during the cited period. That is a project of capital significance for national science and culture; realization needs adequate funding, the involvement of many academic experts, and time. Work on bibliography will also enable the collection and publication of sources: books and articles by Serbian music writers who worked before 1945. A separate problem is education of scholars. To study musical literature, a musicologist needs to be knowledgeable about the history of Serbian literature, aesthetic theory, and theatre, national social, political and cultural history, and methodology of literary study. That is why facilities for postgraduate and doctorial studies in musicology are necessary at the Faculties of Philology and Philosophy.
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Souza, Alberto Carlos de. "The language of the art of music: an overview of its history in Brazil." Humanum Sciences 3, no. 1 (August 5, 2021): 32–40. http://dx.doi.org/10.6008/cbpc2674-6654.2021.001.0004.
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This study sought to re-visit the two conceptions of Art – pedagogical and reflective - forged throughout history and its relationship with the Brazilian aesthetic thought of resistance. From the 60's, such thinking has given a pedagogical purpose to art, charged with the task of social criticism and political engagement human emancipatory: in this scenario mainly determined by the Theater of the Oppressed, the new movies and the protest song by Milton Nascimento, , Caetano Veloso, Chico Buarque, Gilberto Gil, among many others.
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Hughes, Stephen Putnam. "Music in the Age of Mechanical Reproduction: Drama, Gramophone, and the Beginnings of Tamil Cinema." Journal of Asian Studies 66, no. 1 (February 2007): 3–34. http://dx.doi.org/10.1017/s0021911807000034.
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During the first half of the twentieth century, new mass media practices radically altered traditional cultural forms and performance in a complex encounter that incited much debate, criticism, and celebration the world over. This essay examines how the new sound media of gramophone and sound cinema took up the live performance genres of Tamil drama. Professor Hughes argues that south Indian music recording companies and their products prefigured, mediated, and transcended the musical relationship between stage drama and Tamil cinema. The music recording industry not only transformed Tamil drama music into a commodity for mass circulation before the advent of talkies but also mediated the musical relationship between Tamil drama and cinema, helped to create film songs as a new and distinct popular music genre, and produced a new mass culture of film songs.
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ALDCROFT, DEREK H. "ESSAYS IN BIBLIOGRAPHY AND CRITICISM. Eastern Europe in an age of turbulence, 1919-1950." Economic History Review 41, no. 4 (November 1988): 592–602. http://dx.doi.org/10.1111/j.1468-0289.1988.tb00482.x.
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Ramet, Sabrina P. "Mark Carroll, Music and Ideology in Cold War Europe." Journal of Cold War Studies 10, no. 3 (July 2008): 178–79. http://dx.doi.org/10.1162/jcws.2008.10.3.178.
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