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1
Vasic, Aleksandar. "The beginnings of Serbian music historiography: Serbian music periodicals between the world wars." Muzikologija, no. 12 (2012): 143–64. http://dx.doi.org/10.2298/muz120227007v.
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The transition of the 19th into the 20th century in Serbian music history was a period of music criticism, journalism and essay writing. At that time, Serbian musicology had not yet been developed as an academic discipline. After WWI there were many more academic writings on this subject; therefore, the interwar period represents the beginning of Serbian music historiography. This paper analyses Serbian interwar music magazines as source material for the history of Serbian musicology. The following music magazines were published in Belgrade at the time: Muzicki glasnik (Music Herald, 1922), Muzika (Music, 1928-1929), Glasnik Muzickog drustva ?Stankovic? (Stankovic Music Society Herald, 1928-1934, 1938-1941; from January 1931. known as Muzicki glasnik /Music Herald/), Zvuk ( Sound, 1932-1936), Vesnik Juznoslovesnkog pevackog saveza (The South Slav Singing Union Courier, 1935-1936, 1938), Slavenska muzika ( Slavonic Music, 1939-1941), and Revija muzike (The Music Review, 1940). A great number of historical studies and writings on Serbian music were published in the interwar periodicals. A significant contribution was made above all to the study of Serbian musicians? biographies and bibliographies of the 19th century. Vladimir R. Djordjevic published several short biographies in Muzicki glasnik (1922) in an article called Ogled biografskog recnika srpskih muzicara (An Introduction to Serbian Musicians? Biographies). Writers on music obviously understood that the starting point in the study of Serbian music history had to be the composers? biographical data. Other magazines (such as Muzicki glasnik in 1928 and 1931, Zvuk, Vesnik Juznoslovenskog pevackog saveza, and Slavenska muzika) published a number of essays on distinguished Serbian and Yugoslav musicians of the 19th and 20th centuries, most of which deal with both composers? biographical data and analysis of their compositions. Their narrative style reflects the habits of 19th-century romanticism and positivism: in some of these writings the language also has an aesthetic function. Serbian interwar music magazines also published some archival documents contributing to the future research of Serbian music history. Interwar period in the then Yugoslavia was a time of rapid development and modernization in various fields of culture. There was a great demand for music writings of general interest. Therefore, Revija muzike (January - June 1940) was totally oriented towards the popularization of music and the arts (such as drama and film). This magazine also published some popular articles on music history. Serbian interwar music periodicals were least active in the field of musicological analysis. However, in 1934, Branko M. Dragutinovic published a detailed analytic study of Josip Slavenski?s composition Religiofonija (Religiophonics) in Zvuk. There were also some interdisciplinary history articles in Serbian interwar music magazines. Being well aware of the fact that music history comprises not only music itself, but also music writing, schools, institutions and music life, our music writers used ?indirect? sources, such as literature and art, as well as music. Serbian interwar music periodicals opened many fields of research, thus blazing a trail in postwar Serbian musicology.
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Tedesco, Anna. "National identity, national music and popular music in the Italian Music Press during the long 19th century." Studia Musicologica 52, no. 1-4 (March 1, 2011): 259–70. http://dx.doi.org/10.1556/smus.52.2011.1-4.20.
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Discusses the notions of national identity, national music and popular music as they emerged in Italian music periodicals during the years 1840–1890, in relation to the process of Italy’s political unification and the dissemination of foreign operas such as French grands opéras in the years 1840–1870 and Wagner’s Musikdramen from 1871 on. Essays and articles by relevant critics and musicians, such as Abramo Basevi and Francesco D’Arcais are discussed. Articles by lesser known journalists such as Pietro Cominazzi and Mattia Cipollone are also taken into account. The use of words like “national” and “popular” is analysed when referring to Italian opera, to its history and to the operas by foreign composers.
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Ginsborg, Jane. "“The brilliance of perfection” or “pointless finish”? What virtuosity means to musicians." Musicae Scientiae 22, no. 4 (November 13, 2018): 454–73. http://dx.doi.org/10.1177/1029864918776351.
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The concept of virtuosity has been explored by music historians and theorists from disciplines ranging from aesthetics and anthropology to semiotics. Its history goes back to ancient times, although it is often thought to culminate in the 19th century with Liszt and Paganini. Many historical sources quote well-known performers and composers but little is known as to how music students and professional musicians define virtuosity today, and what it means to them as performers and audiences. The present study was exploratory, employing a mixed methods approach. A total of 102 musicians provided open-ended responses to a short questionnaire. A keyword-in-context analysis of content was undertaken, followed by a more in-depth thematic analysis. Five main themes emerged: characteristics of virtuosity; relationship between virtuosity and (“magical”) music making; aspirations towards virtuosity; how virtuosity is achieved; and communication. Responses from students and professionals were compared and are discussed with reference to historical and current theoretical models.
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Gîscă, Petrea. "7. Franz Joseph Strauss, a Joachim of the Horn." Review of Artistic Education 1, no. 23 (April 1, 2022): 53–60. http://dx.doi.org/10.2478/rae-2022-0007.
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Abstract Franz Joseph Strauss was one of the brightest horns of the 19th century. He was born in Germany and worked all his life in Munich, being a first - horn player, composer, conductor and teacher. As a composer he wrote two concerts for horn and orchestra and several pieces for horn and piano, most of them, the author singing them in the first absolute audition. As a teacher, he participated in the creation of a German horn school, and his studies for natural horn are still valid today. Difficult and sometimes misunderstood by musicians of the time, Franz Strauss remains a landmark in the history of the horn and a legend in the art of horn performance.
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Rossikhina, Maryna. "The influence of the Italian vocal school on the professional formation of Ukrainian singers (the end of the XVIII – the beginning of the XIX century)." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 219–25. http://dx.doi.org/10.32461/2226-2180.39.2021.238727.
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The purpose of the article is to study the influences of the Italian vocal school, the traditions of Italian opera performance on the professional development of Ukrainian singers in this period. Methodology. Analysis was carried out on the basis of such methods as historical and chronological to study trends and patterns of Ukrainian music at the end of the 17th – the beginning of the 19th century, analytical – for a comprehensive consideration of the influence of Italian culture on the emergence of opera in East Slavic areas, source – for elaboration and analysis of sources, bio-bibliographic – for studying creative biographies of artists, the method of systematization – for the reduction of all found facts to a logical unity. Scientific novelty. By studying the creative biographies of prominent Ukrainian musicians (M.Berezovsky, D.Bortnyansky, M.Ivanov, S.Gulak-Artemovsky) for the first time the Italian pages of their creative biography were systematized, new facts were introduced into scientific circulation, which allow to clarify the contribution of Italian vocal culture in the development of the Ukrainian opera school at the initial stage of its formation. Conclusions. The interest of the Russian Empire in Western European, especially Italian, opera led to the rapid development of a new era in the history of musical theater in the East Slavic territories. Internships of Ukrainian musicians in Italy, invitations of Italian artists, composers, vocal teachers to the Russian Empire, joint performances on stage with foreign singers give grounds to assert the influence of the Italian vocal school on the skills of Ukrainian opera singers of the end of the 18th – the beginning of the 19th century and laying of the fundamental foundations for the development of the Ukrainian vocal school.
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Zubarev, Sergei A. "Academic Music in the Practice of Russian Military Bands in the 19th – Early 21st Centuries." Scientific and analytical journal Burganov House. The space of culture 18, no. 4 (September 10, 2022): 56–65. http://dx.doi.org/10.36340/2071-6818-2022-18-4-56-65.
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The article is devoted to the theoretical and practical aspects of military musicians’ arrangement practice, considered in the context of developing a system of Russian military orchestras. When studying the socio-cultural foundations of the formation and development of the art of arrangement, factors that reveal the role of Russian composers in the history of military musical culture are highlighted (such works as P.Tchaikovsky’s Skobelev March, A.Rubenstein’s Cavalry Trot are noted). The works of A.Ermolenko (The Evolution of Instrumentation in Russian Wind Music Until the 70s of the 19th Century), G.Salnikov (On the Basic Principles of Transcribing Symphonic Works for a Brass Band), D.Braslavsky (Arrangement for Variety Ensembles and Orchestras), B.Kozhevnikov (Instrumentation for a Brass Band), E.Aksenov (Problems of Theoretical Instrumentation), V.Emelyanov (Instrumentation as an Artistic Factor in Music) were used as fundamental ones to explain this issue. In the process of studying the stages of improving the system of military bands, special attention is paid to studying the features of the development of the military band service in the 19th and 20th centuries. It is noted that several works of academic music performed by military bands belong to this time: the choir and aria from the opera La Sonnambula, the duet from the opera Bianca and Fernando by V.Bellini, the overture, march, choir and a drinking song from the opera Undina by P.Tchaikovsky. In this context, the problems of the formation of the arrangement art are touched upon on the example of A.Alyabyev’s work (the use of orchestral means necessary for a full orchestral sound). When considering the features of the development of military musicians’ arrangement practice in the first half of the 20th century as well as during the collapse of the USSR, attention is paid to the processes of oblivion and revival of the traditions of orchestral wind performance, the emergence of new genres such as the drill show. In this perspective, the activities of famous military bands of the specified period are considered, for example, the Alexandrov Russian Army Song and Dance Ensemble. In conclusion, the author notes that unique conditions for the development of military musicians’ arrangement practice have been created in the national culture, making it possible to preserve the traditions of the military band service and form the value principles of academic art.
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HOCAOĞLU ALAGÖZ, Kadriye. "Entertaining Characters in Classical Turkish Literature: Dancers, Musicians and Dancing Boys." Akademik Dil ve Edebiyat Dergisi 6, no. 3 (October 30, 2022): 146–55. http://dx.doi.org/10.34083/akaded.1160802.
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It is a known that all societies have had a relationship with dance throughout history. In Turkish society, the origin of the dance dates back to the Shamans, independent of gender. In the Ottoman era, non-religious dancers were called çengi, köçek, tavşan/tavşanoğlanı, kasebâz, curcunabâz, cin askeri, beççegân, çeganebâz and çârpârezen. Among these nomenclatures, the most common literary terms were çengi (dancer/musician) and köçek (dancing boy). People who dance extravagantly to music were called çengi or köçek. While all dancers were called çengi, regardless of their gender in the old texts, later on, women were called çengi and men were called köçek. There is no clear date for this transformation on record. Information on dancers in general, and çengi and köçek in particular, could be found in travel books, surnâmes or the works of the authors of the period. The current paper aims to discuss the terms köçek and çengi, theatrical plays that became common with the encouragement and support of the Ottoman palace, including the reflections of these performing arts in classical Turkish poetry. Furthermore, “Köçek Süleyman”, mentioned in the Divan of Rodoscuklu Kömürkayâzâde Fennî, a poet of the 19th century, and a new name in the history of köçek at the time, was addressed. Thus, the study aims to emphasize to the poet's employment of the social approach to entertainment in his poetry and classical Turkish literature.
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Vasic, Aleksandar. "Music critic Gustav Michel." Muzikologija, no. 4 (2004): 167–95. http://dx.doi.org/10.2298/muz0404167v.
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The writers whose real vocation was not music left significant traces in the history of Serbian music critics and essayism of the late 19th century and the first half of the 20th century. Numerous authors, literary historians theoreticians and critics, jurists and theatre historians, wrote successfully on music in Serbian daily newspapers, literary and other magazines, until the Second World War. This study is devoted to Gustav Michel (1868 - 1926), one of the music amateurs who ought to be remembered in the history of Serbian music critics. Gustav Michel was a pharmacist by vocation. He ran a private pharmacy in Belgrade all his life. But he was a musician as well. He played the viola in the second (in chronological order of foundation) Serbian String Quartet. The ensemble mostly consisted of amateurs, and it performed standard pieces of chamber music (W. A. Mozart L. v. Beethoven, F. Schubert, F. Mendelsohn-Bartholdy, A. Dvo?zak). These musicians had performed public concerts in Belgrade since 1900 up until Michel?s death. Belgrade music critics prised the performances of this string ensemble highly. Gustav Michel was also a music critic. Until now only seven articles, published by this author between 1894 and 1903, in Order (Red), Folk Newspaper (Narodne novine) and Serbian Literary Magazine (Srpski knjizevni glasnik) have been found. Michel?s preserved articles unambiguously prove that their author had a solid knowledge of music theory and history, the knowledge that exceeded amateurism. Nevertheless, Michel did not burden his first critics with expert language of musicology. Later on, in Serbian Literary Magazine, the magazine which left enough room for music, Michel penetrated more into musical terminology, thus educating slowly forming Serbian concert-going public. The analysis of Michel?s texts showed that he was not, in contrast to the majority of professional music critics, an opponent of virtuosity. Gentle and liberal, he did not oppose the National Theatre administrations when they decided to add operettas to its repertoire. Here he also differs from expert critics, for example Miloje Milojevic or Petar Krstic - who led a real crusade against operetta. Michel paid scrupulous attention to correct diction, as an important part of the vocal technique. As a critic, Gustav Michel was inclined to relatively modern music. He was not strict in his judgments of Serbian performers? and composers? achievements; he always took account of very difficult conditions under which the Serbian people, after many centuries of the Turkish occupation, started its cultural and musical emancipation in the 19th century. (He was especially considerate towards novice musicians) However his critical assessment of the genre status of the overture to the first Serbian opera, "Na uranku" ("At Dawn") by Stanislav Binicki, revealed an incisive critic. The weak side of his critic lies in too general language not exact enough for characteristics of musical interpretations. However Gustav Michel was a witty and ironic writer, and his few articles marked the beginning of an expert and modern music critic in Serbia.
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Wu, Di. "A Study of Clara Schumann's Piano Music Performance, Composition and Teaching under the Feminist Movement." Journal of Education, Humanities and Social Sciences 5 (November 23, 2022): 22–27. http://dx.doi.org/10.54097/ehss.v5i.2878.
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The music of female composers has long been little studied, and the importance attached to female composers is far less than that of male composers. However, there are many excellent female composers in the history of music development, such as Clara Schumann. The 19th century, when Clara lived in the West, was a time of great talent, and poetry, literature, and music all developed tremendously, and some of the great works that have been passed down to the next generation were basically written in that era, and their authors are also remembered. This is another reflection of how difficult it was for a woman to occupy a place under male domination. In contrast, female musicians were somewhat underappreciated, due to the gender inequalities that society had given them, and their talents were buried. Clara's achievements as a multi-tasker, performer, composer, and educator have led the music world to reexamine the role of women in music history.
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Bajic-Stojiljkovic, Vesna. "The process of shaping stage folk music through the prism of the development of folk dance choreography." Muzikologija, no. 33 (2022): 209–29. http://dx.doi.org/10.2298/muz2233209b.
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Understanding the historical processes in the shaping of stage folk music raises an important question about the application of traditional music in stage choreographic works. Since the 1930s in Serbia, the history of music and dance was cre?ated by prominent individuals, musicians and composers, initiated by the work of choreographers such as Maga Magazinovic, Russian artists, and later by many domestic performing artists gathered around cultural and artistic societies and the National ensemble ?Kolo?. In this article, all available data relevant for the consideration of stage folk music as a specific genre will be presented along with the stage folk dance, precisely through the form of folk dance choreography (FDC), whose developmental path was hinted at since the end of the 19th century. Defining and understanding dance music, that is, music for FDC, opens new horizons in re-examining the process of forming stage folk music in our region.
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Tsiuliupa, S. D. "Doctoral dissertations of wind instruments musicians in Ukraine (the end of XX – early XXI century)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 24–39. http://dx.doi.org/10.34064/khnum1-54.02.
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This paper is the first attempt to lay out the major scientific achievements of teachers of faculties of wind and percussion instruments of Ukrainian universities with 3-4 accreditation levels, for the period from second half of XX – to beg. of XXI century. This article systematizes and precisely analyzes the content of obtained PhD dissertations on musical art, theory and methodic of professional education, musical art, theory, the methodic and organization of cultural and educational activities. In the period of Ukraine’s integration into the European entities, scientific work becomes the leitmotif of the activity of a teacher of a higher art educational institution. The works of the leading scientists of Ukraine became the fundamental scientific researches of the evolution of spiritual musical performance. V. Apatsky in the doctoral dissertation “Theoretical foundations of playing the wind instruments (on the example of bassoon)” examines the acoustic nature of the instrument and the specificity of sound formation on it, the structure and functioning of the executive apparatus and methods of its formation, the basic means of expressiveness of the bassoonist and methods of development of performing skill. I. Yakustidi in the dissertation “The value of horn tone in the learning process” and by the method of numerical laboratory measurements explored the work of the sound-forming apparatus of the horn performer. Along with the experimental experiments, the dissertation covers the issues of performance history, theory and practice, methods of teaching horn performance. P. Krul in his study “Genesis of Wind and Percussion Instrumental Performance of Ukraine” traces the genesis of wind and percussion music in Ukraine. V. Posvaluk in the dissertation “Ways of Formation and Problems of Development of the Ukrainian Trumpet Performance School: Historical, Professional-Performing, Theoretical and Methodological Aspects” for the first time reveals the peculiarity of the historical way of formation and development of the national trumpet performance school and its regional peculiarities. V. Bohdanov dedicates his dissertation “Ways of Development of the Wind Musical Art in Ukraine (from the Origins to the Beginning of the XX Century) to the Study of the Wind Musical Art of Ukraine. Based on the systematization of actual data, the main directions of its evolution are highlighted. V. Kachmarchyk. The priority areas of the dissertation research “German flute art of the 18th – 19th centuries” were the creation of the historical periodization of the German flute art of the 18th – 19th centuries, and defining the role of J. J. Kwanz, J. G. Tromlits, A. B. Furstenau and T. Bohm in the formation of the German flute school. Y. Sverlyuk in his work “Theoretical and methodological bases of vocational training of conductor of an orchestra collective in higher art establishments” he explored methodological, theoretical and methodical bases of vocational training of conductor taking into account the specifics of future professional activity. A. Karpyak. In his Doctoral dissertation “Flutist’s Artistic Thesaurus as the Basis of Performing Skills” and for the first time in Ukrainian musicology, he provided a reasoned critical analysis of the key issues and problems in the development of contemporary flute art.
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Vasiljevic, Maja. "The concept of “musical degeneration”: From fin-de-siècle pesimism to the nationalsocialist rule." Filozofija i drustvo 23, no. 3 (2012): 237–52. http://dx.doi.org/10.2298/fid1203237v.
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The paper follows the discursive path of one of the dominant, and yet forgotten, terms in the history of ideas - that of ?degeneration.? The richness of uses and various illuminations of the term, as well as its discursive dispersion and blurring, can be seen from the mid 19th until the first decades of the 20th century. The term was almost inescapable in studies of thinkers from various fields starting in the middle of the 19th century, it was successfully adopted from French, Italian and British medical terminology into the art discourse of modern European societies. By focusing on music, the given term became permanently tied to thinking about relations of music and society in the German-speaking world. In a complex discursive development of the term, the author necessarily made certain choices, paying special attention to the Austro-Hungarian psychologists, Max Nordau who carried the concept of ?degeneration? from the medical to the art (and music) sphere. The debate regarding the ?degeneration of music,? was developed chronologically, starting from the Second Reich (being the time in which one of the most controversial composers lived, Richard Wagner). While Wagner developed a theory of ?degeneration? and its overcoming through ?regeneration,? he was still considered ?degenerated.? The given example reveals the complexity of the problem we face when we study the concept of ?degeneration of music.? The consideration is completed with a glance at the life of ?degenerated? musicians and music during the Weimar Republic, that is, their interpretation in the Third Reich.
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Brie, Mihai. "Gheorghe Dima – Seiten von der wertvollen hermannstädter musikalischen Tätigkeit." Studia Universitatis Babeş-Bolyai Musica 65, no. 2 (December 21, 2020): 129–42. http://dx.doi.org/10.24193/subbmusica.2020.2.10.
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"An indisputable musical personality of all times, the great musician Gheorghe Dima gave a new breath to Romanian music but also to religious music. Activating in the second half of the 19th century, turbulent times for history and nation and the first half of the 20th century, he established himself through his substantial and rich academic training in famous western schools. It remained in the consciousness of researchers and generations as one who put Romanian music (instrumental or polyphonic) on the research corridor of the late nineteenth and early twentieth centuries. In this sense, the present academic research wants to pay homage to an unforgettable personality from the local space. Keywords: musicology, history, personality, etc."
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Berkey, Jonathan P. "Circumcision Circumscribed: Female Excision and Cultural Accommodation in the Medieval Near East." International Journal of Middle East Studies 28, no. 1 (February 1996): 19–38. http://dx.doi.org/10.1017/s0020743800062760.
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In a famous passage in his Account of the Manners and Customs of the Modern Egyptians, E. W. Lane described the ceremonies commonly held to celebrate the circumcision of a young boy in 19th-century Cairo. Family and friends of the boy, his schoolteacher, the barber who performed the operation and his assistant, musicians, and other retainers all participated in a celebration of an overtly public character. Dressed in fancy clothes and feted with song and dance, the boy, aged five or six or slightly older, was paraded through the streets of his neighborhood, often on horseback, to his parents' house, where the operation was performed. Cups of coffee might be distributed to passersby while guests and relations were, of course, treated to a celebratory feast. Modes of celebration may have changed, but festivities surrounding the circumcision of a young boy are still common in the Muslim countries of the Near East.
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Budzar, Maryna. "Music in Social and Cultural Environment in a Noble Estate in the end of the 18th — the mid of the 19th century: from the History of Serf Orchestra of Galagan’s Family." Kyiv Historical Studies 12, no. 1 (2021): 58–69. http://dx.doi.org/10.28925/2524-0757.2021.17.
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The issue of musical culture development in a noble estate in Ukraine from the end of the 18th — to the mid of the 19th century was considered in the article on the grounded source base. This objective has been realised via reconstruction of the creation and activity circumstances of serf orchestra belonged to Galagan’s family in the estates in Sokyryntsi and Digtiari. The purpose of the article is to analyse a summary of social and cultural factors that secured Galagan’s family estates as the centers of musical art in the atmosphere of which refined amateurship of the owners co-existed with high quality musical performance of the serf musicians. The author studies issues of inherited character of orchestra’s activity during the life of several generations of Galagan’s family in the estates in Sokyryntsi and Digtiari. Furthermore, the author considers in what way musical performance in the estates facilitated communication practices of the noble community. The main attention of the article is devoted to the issue of ambivalence of cultural space in the estates. Men from Galagan’s family were sincerely fond of music and simultaneously used it as a mean for their social status improving as well as for social reputation of their own estates. They provided an opportunity for the talented peasants to enhance the artistic abilities, secured their profession education. On the other hand, the serf-musicians remained slaves who were in complete power of their owners. The article is completed by a publication of two letters written during 1824–1831s by Petro Galagan, the owner of the estate in Digtiari to his brother Pavel who was the owner of Sokyryntsi. These texts depict the circumstances of Digtiari’s transformation into the representative residence where music played a crucial role as well as reveal the details of artistic atmosphere of the estate. The letters are published for the first time.
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Tschogoschwili, Nino. "Deutsche Siedler im Tiflis des 19. Jahrhunderts." Iran and the Caucasus 8, no. 1 (2004): 65–79. http://dx.doi.org/10.1163/1573384042003000.
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AbstractThe article sheds a new light on the history of German settlers in Tiflis of the 19th century. The main focus lies on emphasizing the important role these settlers played in cultural and economic life of the city. The records the emigrants left behind, depict in vivid tints the circumstances of their existence. Most of the Germans in Tiflis were craftsmen and merchants, others earned their life, for instance, as teacher, scientist, pastor, painter, musician or as enterpriser and man of business. Short biographies of some of the most outstanding characters round off the article.
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Brie, Mihai. "Das Gebet „Vaterunser” in der komponistischen Sicht von Ciprian Porumbescu – theologische und musikologische Aspekte." Studia Universitatis Babeş-Bolyai Musica 67, no. 1 (June 30, 2022): 229–42. http://dx.doi.org/10.24193/subbmusica.2022.1.15.
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"The Messianic model of prayer uttered on the Mount of Olives, which has become a standard for the entire treasury of the later church, is our interdisciplinary research today. Given that it was uttered by Jesus Christ himself, it becomes relevant to any believer who wants his daily life to be in continual communion with God. In the liturgical richness of the Christian church of all times, the Lord’s Prayer (Our Father) is an integral part of any time of the day, morning, noon, or evening, because it represents the quintessence of the key words that every Christian visionary must have in his vocabulary. daily. In the following I have prepared research meant to attract the musician or theologian, or the contemporary scientist in the pragmatization of the manipulative requests contained in this grandiose prayer. Thus, we combined theological research with musicological research in an exceptional composition from the old Romanian space. In the history of the local culture and civilization, famous names have remained that have shaped the Romanian academic space from all times. One of these names of scientific relevance was Ciprian Porumbescu. Endowed natively with hard work, he succeeds and confirms over time his passage through time. A plurivalent musician, but also a poet and essayist, he manages to imprint in the history of the second half of the 19th century a unique perspective on the religious and folkloric and patriotic treasure of Bucovina. All this treasure is haloed by its vast improvement in Chernivtsi and Vienna, inscribing itself in the memory of the musical times of the end of the 19th century both far from the native places and especially capitalizing on them with their whole load of centuries in a vision. unique, complex, representative musician of Romanian choral music. Keywords: Jesus Christ, religion, church, Porumbescu, culture, choir, folklore, music, history "
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Vasic, Aleksandar. "'The Music Herald' 1922: A esthetical and ideological aspects." Muzikologija, no. 9 (2009): 97–111. http://dx.doi.org/10.2298/muz0909097v.
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The Music Herald was the first music magazine to appear in Belgrade after WWI. It was published monthly, for a year (January - December 1922). Its editor-in-chief was Petar Krstic, a composer. Other members of the editorial staff were Bozidar Joksimovic, Stevan Hristic, Kosta Manojlovic (composers) Vladimir R. Djordjevic (an ethnomusicologist) and Jovan Zorko (a violinist). Over 200 articles were published in the magazine. It dealt with different genres of music writings, such as articles, treatises, documents on the history of Serbian / Yugoslav music, music criticism, polemics, necrologies and bibliographies. Twenty-four compositions by native composers were published in the musical supplement of The Music Herald, among them the works of its editors as well as those of other Yugoslav musicians. The Music Herald dealt with three fields of interest: music historiography, ethnomusicology and the current topics of its epoch. When the magazine started, Serbian musicology was in its initial stage so the editors were trying to foster its development. They published numerous biographies of Serbian 19th century musicians, as well as documents on Serbian music culture during the reign of Prince Milos Obrenovic. Music folklore was also very often the subject of interest in the magazine. The Music Herald was interested in current topics and covered the Yugoslav music school system, opera houses, military music music associations, etc. It was especially interested in choral societies which in the course of the 19th century took up not only an artistic, but also a political and patriotic role in the liberation movement. After WWI choral societies entered a period of crisis. Their political raison d'?tre was lost, so they were faced with the challenge of achieving higher professional standards. This study deals with two aspects of 'The Music Herald': aesthetic and ideological aspects. In terms of ideology, the magazine was strongly in favor of the Yugoslav idea. Its correspondents (more then 40 of them) came from all parts of the Kingdom of Serbs, Croats and Slovenes, as well as from abroad (Poland). The music culture of the Serbs, Croats and Slovenes was treated with equal enthusiasm. The articles were published in both Cyrillic and Latin script, and in two languages (Serbo-Croatian and Slovenian). The editors of The Music Herald were also Slavophiles. They wrote about Czechoslovakian and Polish music, and also covered the works of Russian musicians who had emigrated to Yugoslavia after the October Revolution in 1917. The so-called 'national style' was fostered in The Music Herald, because it was believed by the editors to be the future of Serbian and Yugoslav music. Avant-garde music was treated with suspicion although on one occasion a defense of contemporary music by Stanislav Vinaver, a writer and a music critic, was published. On the other hand fostering the 'national style' did not mean that moderate means of expression sufficed for the positive evaluation of a certain music piece. That is why the compositions of Petar Stojanovic were judged as 'drawing-room music'. Although it lasted for just one year, The Music Herald has an important place in the history of Serbian music periodicals. Its orientation towards music historiography is, in this respect, especially important. It blazed the trail for the Serbian musicology in its dealings with unknown music data in the past.
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Белянский, Д. В. "“The Poems of Ossian” in European Art: On the Origins of Danish Romanticism." Научный вестник Московской консерватории, no. 4(39) (December 7, 2019): 128–61. http://dx.doi.org/10.26176/mosconsv.2019.39.4.005.
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С тех пор, как во второй половине XVIII века шотландский поэт Джеймс Макферсон опубликовал «Поэмы Оссиана», этот литературный памятник оказывал огромное влияние на представителей всех видов искусств. Европейские писатели, поэты, художники, музыканты нередко воплощали «оссиановские» образы и сюжеты в своих произведениях. Это явление недостаточно освещено в российском искусствознании. В настоящей работе приводится подробный экскурс в историю «Поэм Оссиана» в европейском искусстве; в том числе, в связи с творчеством К. Д. Фридриха, Ф. О. Рунге, Ф. Шуберта, Ф. Мендельсона, Р. Шумана. Особое внимание уделяется оссиановским образам и сюжетам в творчестве датских мастеров— художника Н. Абильгора, выступившего главным «пропагандистом» Оссиана в Дании, и выдающегося датского композитора XIX века Н. Гаде, посвятившего Оссиану два значительных произведения— увертюру «Отзвуки Оссиана» и драматическую поэму (кантату) «Комала». Также в статье предпринята попытка выделить и обобщить приметы «оссиановского стиля» датских мастеров. Since the Scottish poet James Macpherson published “The Poems of Ossian” in the second half of the 18th century, this literary monument has had a tremendous impact on artists of all kinds of art. European writers, poets, artists, musicians often embodied the “ossianic” images and plots in their works. This phenomenon is not adequately covered in Russian art history. This work provides a detailed excursion into the history of “The Poems of Ossian” in European art; including in connection with the work of K. D. Friedrich, F. O. Runge, F. Schubert, F. Mendelssohn, R. Schumann. Particular attention is paid to “ossianic” images and plots in the works of Danish masters— the artist N. Abildgaard, who acted as the main “propagandist” of Ossian in Denmark, and the outstanding Danish composer of the 19th century N. Gade, who devoted two significant works to Ossian— the overture “Efterklange af Ossian”, and the dramatic poem (cantata) “Comala”. The article also attempts to highlight and generalize the signs of the “ossianic style” of Danish masters.
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Mittler, Barbara. "Rhapsody in Red: How Western Classical Music Became Chinese. By SHEILA MELVIN and JINDONG CAI. [New York: Algora Publishing, 2004. x+362 pp. ISBN 0-87586-179-2.]." China Quarterly 181 (March 2005): 199–201. http://dx.doi.org/10.1017/s0305741005380106.
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This is a delightful book. It opens up a cultural arena much neglected in scholarship on China. Nine engagingly narrated chapters take us through the history of Sino-foreign musical contact since the late 19th century, with one digression, which goes back to encounters since the 16th century (chapter two). The book follows the life story of three important institutions (the Shanghai Municipal Orchestra, the Shanghai Conservatory and the Central Conservatory) and three important men: violinist Tan Shuzhen, who was the first Chinese to join the orchestra in colonial Shanghai; conductor Li Delun, who was trained in Moscow and managed to serve the government before, during and after the Cultural Revolution; and composer He Luting, one of the most outspoken protagonists in China's music world and long-time principal at the Shanghai Conservatory. The authors' approach of choosing “white elephants” to present the history of classical music in China, although unfashionable since Jauss, brings much cohesion and structural elegance to the volume.The book is at its best when using material from interviews conducted by the authors. Based on this evidence, the book comes to one important conclusion: contact between Chinese and foreign musicians in China was generally not antagonistic, either before or after 1949. Foreign musicians did not behave in a condescending manner, as “imperialists” and Chinese musicians hardly ever perceived them to do so. For obvious reasons, few Chinese (and, surprisingly, few foreign studies) on China's classical music scene have acknowledged this fact.The authors have done a beautiful job in telling their story. They must be lauded for having gone through a great variety of sources including contemporary newspaper articles, propaganda magazines, Party documents, as well as films, recordings and some of the very recent, and mostly biographical, secondary literature on the subject published in China. Since the book is conceived as a collective biography, it lacks detailed musical and historical analysis and it would have benefited from a few closer readings. For example, what precisely is the meaning of “national style” for people as different as Tcherepnin, Mao Zedong or Guo Wenjing? Musical analysis would have provided an answer. Why do the authors not make more of the fact that Jiang Qing advised the musicians writing a model symphony to watch – and, more importantly, listen – to music in Hollywood films in order to improve their compositional skills? A more explicit engagement with the technical and musical styles of the model works (the term model opera should really be reserved for the operas in the set and not all of the pieces which also comprised ballets and symphonic compositions) would have been illuminating here, for it would have shown how indebted they were to the same principles of music-making as Hollywood film music on the one hand and the Butterfly Violin Concerto on the other – both officially condemned during the Cultural Revolution. It is sad, too, that the balanced account of the Cultural Revolution years – which describes both the pain it caused to many an intellectual and the benefits it brought for Chinese musical life generally – focuses almost entirely on the first set of eight model works and leaves out the second, equally important set of ten produced later (chapter seven). There are a number of non sequiturs in this book that are inevitable in any pioneering work of this size.
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YI, Jeong Hwan. "For the Escape of the "Archetypal Romantic Musician" in the "Romantic Era" Robert Schumann as a German Bildungsbürgertum Musician in 19th Century Biedermeier Music History." Music Theory Forum 24, no. 1 (May 31, 2017): 31–76. http://dx.doi.org/10.15571/mtf.2017.24.1.31.
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YI, Jeong Hwan. "For the Escape of the "Archetypal Romantic Musician" in the "Romantic Era" Robert Schumann as a German Bildungsbürgertum Musician in 19th Century Biedermeier Music History." Yonsei Music Research 24, no. 1 (May 31, 2017): 31–76. http://dx.doi.org/10.16940/ymr.2017.24.31.
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Gintsburg, Sarali, Luis Galván Moreno, and Ruth Finnegan. "Voice in a narrative: A trialogue with Ruth Finnegan." Frontiers of Narrative Studies 7, no. 1 (July 1, 2021): 1–20. http://dx.doi.org/10.1515/fns-2021-0001.
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Abstract Ruth Finnegan FBA OBE (1933, Derry, Northern Ireland) took a DPhil in Anthropology at Oxford, then joined the Open University of which she is now an Emeritus Professor. Her publications include Oral Literature in Africa (1970), Oral Poetry (1977), The Hidden Musicians: Music-Making in an English Town (1989), and Why Do We Quote? The Culture and History of Quotation (2011). Ruth Finnegan was interviewed by Sarali Gintsburg (ICS, University of Navarra) and Luis Galván Moreno (University of Navarra) on the occasion of an online lecture delivered at the Institute for Culture and Society at the University of Navarra. In this trialogue-like interview, Ruth tells about the childhood experiences that were decisive for her interest in orality and storytelling, about her education and training as a Classicist in Oxford, the beginnings of her fieldwork in Africa among the Limba of Sierra Leone, and her recent activity as a novelist. She stresses the importance of voice, of its physical, bodily dimensions, its pitch and cadence; and then affirms the essential role of audience in communication. The discussion then touches upon several features of African languages, classical Arabic and Greek, and authoritative texts of Western culture, from Homer and the Bible to the 19th century novel. Through discussing her childhood memories, her assessment of the development and challenges of anthropology, and her views on the digital transformation of the world, Ruth concludes that the notion of narrative, communication, and multimodality are inseparably linked.
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Peno, Vesna. "Athens: New capital of traditional Greek music: Testimonies on musical life at the beginning of the twentieth century." Muzikologija, no. 9 (2009): 15–32. http://dx.doi.org/10.2298/muz0909015p.
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During its long Byzantine and Post-Byzantine history Constantinople was the center for church art in general, but especially for music. This old city on the Bosporus maintained its prime position until the beginning of the 20th century when, because of new political and social conditions, the Greek people started to acquire their independence and freedom, and Athens became the new capital in the cultural as well as the political sense. During the first decades of the 20th century the Athenian music scene was marked by an intensive dispute between those musicians who leaned towards the European musical heritage and its methods in musical pedagogy, and those who called themselves traditionalists and were engaged in the preservation of traditional values of church and folk music. The best insight into the circumstances in which Greek musical life was getting a new direction are offered by the numerous musical journals published in Athens before the First World War. Among them, The Formigs is of the special interest, firstly because of the long period during which it was published (1901-1912), and secondly because of its main orientation. The editor Ioannes Tsoklis, a church chanter, and his main collaborator, the famous Constantinopolitan musician and theorist and later Principal of the Department for Byzantine music at Athens musical school Konstantinos Psahos, with other associates firmly represented the traditional position. That is why most of the published articles and the orientation of the journal generally were dedicated to the controversial problems and current musical events that were attracting public attention. The editorial board believed that there was a connection between the preservation of musical traditions and their development on one side, and foreign musical influences that were evident in the promotion of polyphonic church music, which had been totally foreign to the Greek Orthodox church until the end of the 19th century, on the other. Tsoklis and Psahos were resolved to provide enough reliable documented articles and theoretical and historical studies on church and folk music to pull up the church chanters and in such a way contribute to their better musical education. They assured that this would be the best way to attract and recruit church chanters struggling to maintain their own musical heredity. The Formigs thus served primarily in the so-called Greek music question, actuated with the aim of eliminating polyphonic music from liturgical practice. However, it also assisted in national endeavors to ensure that church and folk music would obtain separate status in official Greek musical education, which had been significantly changed by non-traditional, European methodology.
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Зверева, С. Г. "Sacred Music in the USSR and the Russia Abroad in the 1920s and 1930s." Научный вестник Московской консерватории, no. 4(31) (December 21, 2017): 178–99. http://dx.doi.org/10.26176/mosconsv.2017.31.4.07.
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Cтатья посвящена истории русской православной духовной музыки в СССР и в русском зарубежье в 1920–1930-х годах. В ней уделяется внимание истории хоров и исполнению духовной музыки на богослужениях и в концертах, судьбам духовных композиторов и их творчеству. Ставится вопрос об истории в СССР и русском зарубежье Нового направления — передового творческого течения, возникшего в императорской России в конце XIX века. Обсуждаются новые тенденции в развитии духовной музыки, связанные с образованием национальных Православных Церквей за пределами СССР.Источники демонстрируют большое значение религиозной музыки в духовной жизни православного общества в периоды социально-политических и военных потрясений, а также верность этому виду искусства со стороны тех, кто стремился сохранить национальные традиции и идентичность. Материалы показывают преемственную связь между диаспорами и митрополией: русские музыканты за рубежом сыграли большую роль в развитии религиозного искусства в 1930-е годы, когда в СССР оно было практически остановлено. Возрождение духовной музыки, которое началось в России с конца 1980-х годов, вряд ли было бы столь триумфальным, если бы не вклад музыкантов русского зарубежья, а также стойкость и верность своему делу их коллег в Советском Союзе. The article concerns the history of Russian Orthodox sacred music in the 1920s and 30s in the USSR and the Russia Abroad. Attention is paid to the history of choirs and the performance of sacred music at church services and concerts, and the destinies of composers of sacred music and their work. The history in the USSR and the Russia Abroad of the New Direction — the leading creative current arising in Imperial Russia in the late 19th century — is discussed. New trends in the development of sacred music arising from the formation of national Orthodox churches outside the USSR are outlined.Sources demonstrate the great significance of religious music in the spiritual life of Orthodox society in periods of social and political turmoil and in wartime, as well as fidelity to this form of art on the part of those who strove to preserve national traditions and identity. Materials show the line of succession running through the diasporas and the mother country: Russian musicians abroad made a big contribution to the development of religious art in the 1930s, when in the USSR it came practically to a standstill. The revival of church music which began in Russia in the late 1980s would scarcely have been so triumphal had it not been for the contribution of musicians from the Russia Abroad to the common concern as well as for the tenacity and loyalty to the cause of their colleagues in the Soviet Union.
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Юдин, А. Н. "The History of the Origin and Development of the Department of Concertmaster Skills of the Saint Petersburg (Leningrad) Conservatory." OPERA MUSICOLOGICA, no. 2022 (October 10, 2022): 112–24. http://dx.doi.org/10.26156/om.2022.14.4.006.
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Появление в России 2-й половины XIX в. первых консерваторий стало важнейшей вехой в развитии русской музыки. Их почти одновременное возникновение в двух крупнейших городах нашего отечества — Санкт-Петербурге и Москве — ознаменовало собой новую историческую эпоху, коренным образом изменив отношение общества к профессии музыканта. Начался процесс «узаконивания» в правах исполнительского и композиторского творчества. Концертмейстерское искусство долгое время оставалось в тени этого движения. Потребуется еще не менее 50 лет, прежде чем в прославленных российских вузах начнется развитие внутренних механизмов, приведших к возникновению специализированных кафедр. В настоящей статье идет речь о том, как зарождался этот процесс в Санкт-Петербургской (Ленинградской) консерватории, и о преподавателях, которые стояли у истоков появления новой учебной дисциплины. Имена этих выдающихся музыкантов за редким исключением оказались преданы забвению. Рассматриваются причины этого явления, а также показана генеалогическая цепочка, помогающая глубже понять уникальность исполнительских традиций, легших в основу вновь образованной кафедры. В статье подчеркивается, что появление новой дисциплины, связанной с мастерством аккомпанемента, и последующее ее развитие имеют не только историческое значение, но и знаменуют собой коренное переосмысление концертмейстерской профессии. Исследования в данном направлении расширят представления музыкантов об истории искусства аккомпанемента в России и процессе формирования профессионального музыкального образования в нашей стране. Setting up the first conservatories in the second half of the 19th century became a major milestone in the development of Russian music. Their almost simultaneous foundation in Russia’s two most important cities, St. Petersburg and Moscow, ushered in a new historical epoch, which radically changed the society’s attitude to the music career. The process of “legitimation” of performer’s and composer’s art has started. However The art of accompaniment stayed in the shade of this movement for a long time. It will still take at least 50 years before internal mechanisms start to develop within the renowned Russian schools, which will result in creation of special chairs. This article discusses the beginnings of this process in the St. Petersburg (Leningrad) Conservatory and those teachers who stood at the origins of the new academic discipline. With a few exceptions, the names of these outstanding musicians who made a huge contribution into the history of musical education in one of Russia’ oldest higher education institutions have gone into oblivion. The author discusses the reasons for that and builds a sort of a genealogical chain helping to better understand the unique performing traditions underlying the newly-created chair. The article claims that the birth of a new discipline related to the art of accompaniment and its subsequent development is not just of a historical significance but also marks a radical reimagining of the profession of an accompanist’s. Research in this field is to expand musicians’ idea of the history of accompaniment in Russia and shed a new light on the understanding of the process of development of the professional musical education in the country.
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Царёва, Е. М. "From the History of the String Quartet. Felix Mendelssohn and Fanny Hensel in a Dialogue with Beethoven." Музыкальная академия, no. 1(769) (March 29, 2020): 42–57. http://dx.doi.org/10.34690/35.
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Статья посвящена непосредственным композиторским откликам на поздние квартеты Бетховена. Наряду с более известными, но недостаточно освещенными в отечественной литературе струнными квартетами Феликса Мендельсона-Бартольди рассматривается также Квартет Es-dur его сестры Фанни Хензель (1805-1847), талантливого композитора и музыкального деятеля, чье творчество - несмотря на имеющийся опыт музыкально-исторического и аналитического его рассмотрения - еще не вошло в общие представления о развитии музыки в XIX веке. Между тем этот квартет вписывает интересную страницу в историю жанра; он заслуживает внимания как музыковедов, так и исполнителей и слушателей. The article is devoted to some direct composers’ responses to Beethoven’s late string quartets. Along with better known but not well-studied in the Russian musicological tradition string quartets by Felix Mendelssohn-Bartholdy, it is about the Quartet in E-flat Major by Fanny Hensel (1805–1847), Felix’s sister, a talented composer and musician, whose work— despite the abundance of music historical and analytical essays—has not yet entered into general ideas about the development of music in the 19th century. Meanwhile, this quartet inscribes an interesting page in the history of the genre; it deserves the attention of musicologists as well as performers and listeners.
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Iațeșen, Loredana Viorica. "7. Advocating the Poetics of Sound in the Cycle Les Nuits d´Été by Hector Berlioz." Review of Artistic Education 15, no. 1 (March 1, 2018): 59–73. http://dx.doi.org/10.2478/rae-2018-0007.
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Abstract By consulting monographies, musicological studies, specialty articles about the personality of romantic musician Hector Berlioz and implicitly linked to the relevance of his significant opera, one discovers researchers’ constant preoccupation for historical, stylistic, analytical, hermeneutical comments upon aspects related to established scores (the Fantastic, Harold in Italy symphonies, dramatic legend The Damnation of Faust, dramatic symphony Romeo and Juliet, the Requiem, etc.). Out of his compositions, it is remarkable that the cycle Les nuits d´été was rarely approached from a musicological point of view, despite the fact that it is an important opus, which inaugurates the genre of the orchestral lied at the end of the 19th century and the beginning of last century. In this study, we set out to compose as complete as possible an image of this work, both from an analytic-stylistic point of view by stressing the text-sound correspondences and, above all, from the perspective of its reception at a didactic level, by promoting the score in the framework of listening sessions commented upon as part of the discipline of the history of music. In what follows, I shall argue that the cycle of orchestral lieder Les nuits d´été by Hector Berlioz represents a work of equal importance to established opera.
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Zohn, Steven. "Images of Telemann: Narratives of Reception in the Composer's Anecdote, 1750-1830." Journal of Musicology 21, no. 4 (2004): 459–86. http://dx.doi.org/10.1525/jm.2004.21.4.459.
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Studies of musical Rezeptionsgeschichte tend to construct and privilege an "official" history based largely upon the writings of scholars, critics, and lexicographers-sources full of authoritative opinions and verifiable facts. Often devalued in this process are "unofficial," unverifiable, and apparently less serious sources such as published anecdotes, which may in fact have no less to tell us about how posterity viewed a given composer. The posthumous reputation of Georg Philipp Telemann is a case in point. Almost universally revered during his lifetime but gradually reduced to the stature of a large Kleinmeister by late 18th- and early 19th-century critics and scholars, Telemann is featured in a number of anecdotes published between 1776 and 1830. These stories, some of which owe their origin to Telemann himself, reveal a more variegated picture of the man and his music than that crafted in contemporaneous intellectual circles. Aside from portraying Telemann as a sharp-witted musician who "thought quickly and beautifully," they illuminate several anecdotal archetypes and biographical tropes that served to demystify the nature of genius for musical Liebhaber, the main consumers of such tales.
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Baia, Silvano Fernandes. "“Professor, você não tem orgulho de ser brasileiro?”: a música do Brasil no fim do século XIX e início do século XX." ouvirOUver 13, no. 1 (May 25, 2017): 202. http://dx.doi.org/10.14393/ouv20-v13n1a2017-15.
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Este texto apresenta a transcrição adaptada para artigo de uma palestra proferida a alunos do curso de Música da Universidade Federal de Uberlândia. A palestra expôs uma visão panorâmica da música no Brasil do fim do século XIX às primeiras décadas do século XX, em especial nas cidades do Rio de Janeiro e São Paulo. O artigo identifica quatro vertentes composicionais, abrangendo desde uma linha mais afinada ao romantismo europeu até os compositores/intérpretes populares não letrados musicalmente que começaram a registrar suas invenções após a chegada da gravação mecânica ao Brasil, em 1902. Também localiza os primórdios do nacionalismo na música erudita brasileira, situa o surgimento da corrente do nacionalismo musical no fim dos anos 1920 como uma escola composicional que foi hegemônica até meados dos anos 1960, além de observar a relação dos músicos com o Estado a partir da ditadura de Getúlio Vargas. Enfim, analisa o caráter autoritário do projeto do nacionalismo musical para concluir com a observação de seu aspecto conservador ao cumprir um papel de resistência às técnicas composicionais surgidas na primeira metade do século XX.
ABSTRACT
This text presents a transcription adapted for paper of a lecture for Music college students at
Federal University of Uberlândia. The lecture presented a panoramic view of the music in Brazil between the late 19th Century and the first decades of the 20th Century, especially in the cities of Rio de Janeiro e São Paulo. Four major compositional lines are identified, ranging from those more aligned with European romanticism up until the composers/performers who are musically non-literate, whose inventions started being registered only after the arrival of mechanical recording in Brazil in 1902. The study herein indicates the beginnings of nationalism in Brazilian classical music and the emergence of the stream of musical nationalism in the late 1920's, as a compositional school that was hegemonic until the mid-1960's. It also takes into account the relation between musicians and the State of former president Getúlio Vargas’s dictatorship. It analyses the authoritarian character of the nationalist musical project and in conclusion, refers to its conservative aspect, seeing that it played a role of resistance to new compositional techniques that emerged in the first half of the twentieth century.
KEYWORDS
Brazilian music; Musical nationalism; History of Brazilian Music
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Eremenko, Galina A. "Passeism in the Musical Culture of France." Observatory of Culture 16, no. 2 (July 5, 2019): 171–82. http://dx.doi.org/10.25281/2072-3156-2019-16-2-171-182.
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The specialists note and highly appreciate the openness to creative dialogue with different European and regional cultures in their works about the artistic history of France. In the introductory section, the article is focused on the importance of the opposite trend, developed in the 19th — early 20th century in all spheres of art. The purpose of the new movement is “national revival”, interest in the origins of the great heritage of the French masters of past epochs. The author concentrates on the peculiarities of interaction between leading composers, musicians-performers and teachers with the traditions of music professionalism of the French composer school. Furthermore, she explains the main reason of “back to the past” addiction by desire to preserve the unique distinction of artistic thinking in the terms of intensive cultural influences in Italy, Germany and Russia. The article provides the facts of creative activity of the leaders of “national renewal”. There are presented some journalistic statements of the leading French composers to confirm their unanimous recognition of the actual value of national classics to the future of French culture. There is explicated the panorama of creative experiments (C. Franck, C. Saint-Saëns, E. Satie, impressionists and composers of the “young generation”) on reconstruction of national traditions of distant epochs. The coverage of events and display of artistic phenomena of musical and cultural life of France allowed the author to form a context to consider the problem of aesthetic and stylistic character: new understanding of the phenomenon of “artistic tradition” and “dialogue with tradition” in the epoch of modernism. The comparison of different forms of “dialogue with the past” in the Russian culture of the beginning of the 20th century and in creative works of the leader of European retrospectivisme I.F. Stravinsky gave grounds to use the concept of “passeism” to characterize the special French type of inheritance of the “lessons” of the predecessors. Introducing the concept of “passeism” in contrast to the accepted in Russian musicology “musical neoclassicism” and giving reasons of the effectiveness of its application, the author seeks to identify the idea of preserving soil foundations of tradition as a way of national self-identity (prosody, rhetoric, form) pertaining to the French composer school.
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Žarskienė, Rūta. "The Sound of Trumpet will Stir the World and Raise the Dead: Prayers Accompanied by Brass Instruments in the Folk Piety Tradition." Tautosakos darbai 55 (June 25, 2018): 177–97. http://dx.doi.org/10.51554/td.2018.28504.
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The article focuses on a phenomenon that has so far evaded scholarly attention and research. Apparently, in Samogitia, where brass instruments still play at traditional Catholic or even Lutheran funerals and death anniversaries, participate in the Easter morning processions and the Catholic Church feasts (Lith. atlaidai), yet another practice of folk piety involving brass instruments is thriving: i.e. prayers at the graveside in summer time, during Catholic Church feasts and All Souls’ Day (more frequently still, All Saints’ Day). During her fieldwork of 2013–2017 in various parts of Mažeikiai and Skuodas districts, the author of the article gathered material on this folk piety practice in religious feasts of Saint Mary Magdalene, Saint Roch, and Saint Anne etc. taking place in Grūstė, Ylakiai, Židikai, Vaičaičiai and elsewhere. These feasts take place in cemeteries, while the Mass, their main sacral highlight, is performed in the cemetery chapel or in a nearby church. People gather to the feasts in order to visit the graves of their diseased and meet with their relatives, inviting brass musicians to perform the ritual at the graveside. The ritual comprises several parts: intention, the sign of the cross in the beginning and at the end, prayers (the Lord’s Prayer, the Hail Mary, and “Eternal Rest”), a stanza from a popular traditional religious hymn, which is both sung and played, the prayer “Eternal Rest”, which is both sung and played antiphonally this time, and traditional Catholic greeting (“Honor be to Jesus Christ”). These parts make up a slightly varying “scenario”, which usually takes 3 to 3,5 minutes to perform. The structure of ensembles (from 2 to 4 musicians), their age (from 12 to 83 years old), the actual instruments (trumpets, tuba, tenor, baritone, saxophone, etc.), and style of performance also vary. The self-educated musicians of the elder generation usually play in the traditional way, i.e. loudly, slowly and inaccurately. The younger generation representatives, usually having acquired some professional music education, have adopted more esthetic style of performance, using reduced volume and “intermediate” fragments to fill in the pauses. In 2017, the tendency was noted of forgoing prayers and including several stanzas of a particularly popular modern hymn instead of one. This would indicate an attempt at changing the tradition in order to adapt to the popular culture, or even belonging to it. In search for roots of this custom of folk piety, the author of the article employs the historical sources from the 17th–18th centuries. According to her analysis, the main point of the ritual – the prayer “Eternal Rest” – was actively used not only in the rituals of the 19th–20th century, but also as early as the Baroque period, while its origins may reach back to the medieval teachings on purgatory. The last line of this prayer (“May they rest in peace. Amen”) was used as a quiver prayer. The arrow as symbol was highly favored in Baroque heraldic, poetry, panegyrics; it used to be compared not only to prayer, but also to the loud and powerful sound of the brass instruments. The brass instruments acted as a concurrent accompaniment of both religious and secular festivals of the time, playing an important role both in the Roman Catholic and in the Evangelical Lutheran traditions. While seeking to clarify the reasons for trumpets being played at cemeteries and the meaning of this ritual, it appeared that in the Catholic Samogitia there still survives a belief in the trumpet accompanied prayer to have the power of alleviating the suffering of souls in the purgatory. People inviting the brass musicians to play at the graveside even in the modern times believe that such prayer goes straight to heaven and easily reaches the God.
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Kupets, Lyubov A. "Where does Russian Music Begin? The Case of Mikhail Glinka in the Biographical Series of “The Lives of Wonderful People”." Music Scholarship / Problemy Muzykal'noj Nauki, no. 1 (2022): 143–55. http://dx.doi.org/10.33779/2782-3598.2022.1.143-155.
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Since the second half of the 19th century, the figure of Mikhail Glinka has become the dominant one for constructing the total history of Russian music and understanding the significance of other Russian composers. Among the multitude of historical and theoretic research works pertaining to Russian musicology, especially noteworthy is the publication of the musician’s biography in the popular scholarly series “The Lives of Wonderful People” for the period of 1892– 2019. A long-term analysis of the author’s narratives in the historical and cultural context revealed the mechanisms of cultural recycling in the interpretation of Glinka’s personality and work: the phenomenon of “forgetting” and the effects of “double recycling” and the “personal approach.” Several models of biography are traced, the features of which resonate with the historical, cultural, and political guidelines of the era as well as with the professional preferences of the authors of these books. The book about Glinka written during the Silver Age of Russian culture presents a kind of a “life guide,” which peculiarly conflates the Victorian biographical canon and the psychological essay bearing a positivist accent. The Soviet image of the composer was being formed gradually, becoming fixed in the 1940s and 1950s. In its case, both the tendency to visualize narratives associated with the influence of the cinematograph (from the “novel about the composer” to the “movie plot for the young generation”) and the ideological partisanship in Glinka’s biography (the maximal approach to the canons of socialist realism) become characteristic feature. In the 21st century the leading principle in designing the image of the composer is the demythologization of the Soviet canon and the fundamental orientation towards the Internet public consisting primarily of the generation of millennials.
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Kabelková, Markéta. "Pozůstalost Františka Škroupa (1801–1862) v Národním muzeu v Praze (Ke 160. výročí úmrtí)." Časopis Národního muzea. Řada historická 191, no. 3-4 (2022): 3–24. http://dx.doi.org/10.37520/cnm.2022.007.
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The Czech composer and conductor František Škroup was one of the most important musicians active in Bohemia in the second quarter of the 19th century. For 30 years from 1827, he was a conductor at the Estates Theatre in Prague, the leading operatic stage in Bohemia (and from 1837 to 1858 the chief conductor), and he conducted the most important Prague concerts. He spent the last two years of his life in Rotterdam, where he took part in the inception of the newly established German opera. He had a major influence over the public’s developing musical tastes at the time, but now Škroup has unjustly become a nearly forgotten figure. He is remembered by the Czech public mostly as the composer of the song “Kde domov můj?” (Where My Home Is) from the farce Fidlovačka. Already in the 19th century, it spontaneously became the unofficial hymn of the Czech nation, and after the dissolution of the Habsburg monarchy and the founding of Czechoslovakia as an independent state in 1918, it became the official national anthem. After Škroup’s death in 1862, the intention of his widow Karolina had been to donate his estate to the National Museum, but in 1863 she only sent the museum the autograph scores of two of Škroup’s key works: the singspiel Dráteník and the farce Fidlovačka. The National Museum obtained the estate in 1921 as an inheritance from Božena Škroupová (1847–1928), who bequeathed its contents to the museum under the condition that she would use some items until her death, whereafter they would be handed over to the National Museum, which she made her sole heir. This very extensive collection is of quite extraordinary cultural value: it contains tangible artefacts (furniture), a wealth of iconographical material, the personal documents of several members of the family of František Škroup – Karolina Škroupová, and their daughters Karolina and Božena, family correspondence. Škroup’s compositions including autograph scores, handwritten copies, and printed editions, plenty of printed material mostly from the period after Škroup’s death, and books. The artefacts and iconographical material were kept at the Department of Historical Archaeology, books and printed or manuscript writings were kept at the literary archive of the National Museum, and music was kept in the music collection that was formerly part of the National Museum Library. When the National Museum’s literature archives were transferred to the Literary Archive of the Museum of Czech Literature, this collection was retained at the National Museum and was registered among the collections at the Music Department in 1954. It is certain that sheet music was turned over to the museum in 1921 and furniture at the beginning of 1929; most of the books had been turned over already in 1921. In most cases it is not possible to determine reliably when written materials were handed over. Inventory numbers or shelf marks have been found for most of the items from the will, and the library still needs to be identified. So far, the writings in the estate are still entered in the systematic records under acquisition number 4/54. The discovery of the will is very beneficial for the further processing of the estate because we are now aware of internal connections and are able to organise the material well.The National Museum has definitely fulfilled the stipulation in Božena Škroupová’s will “that the objects be preserved reverently for future generations” – the objects are properly stored, processed, available to scholarly researchers, and on display in exhibits; most of the furniture is on display in an exhibit at the History Museum in Vrchotovy Janovice.
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Yang, Fuyin. "The Canzone Napoletana Phenomenon in the reflection of scientific critical thought." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 98–112. http://dx.doi.org/10.34064/khnum2-21.06.
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Introduction. The Neapolitan song is a phenomenon associated with stable patterns of perception. This was a consequence of the popularity of the genre in the field of “light music”, when from the end of the 19th century to the 1970s, other non-pop forms of Canzone Napoletana were ousted from the musical context and the minds of listeners. The transfer of interest from authenticity to the field of musical “pop culture” naturally provoked a certain mode of silence in the research environment. Little interest in the study of the genre indicated a lag in scientific and analytical processes in comparison with practical results. Background. The active studying phase of the South of Italy song tradition falls on the middle of the 20th century and is associated with the activities of a music critic, professor of ethnomusicology Diego Carpitella (1924−1990). This defender of Italian folklore took an active part in ethnographic expeditions and the 1950s discussions, collected more than 5,000 songs, and paid special attention to the music of southern Italy. An important contribution was also made by Roberto De Simone (born 1933) – Italian theater director, composer and ethnomusicologist, founder of Nuova Compagnia di Canto Popolare (from 1967 to the present). Today, the fate of the historical past of Canzone Napoletana appears to be the object of close attention in Italy. This is evidenced by regularly held international conferences dedicated to the stylistics and poetics of Neapolitan song, its historical past, personalities who made a significant contribution to the formation of the genre, as well as monographs of various topics. Objective of the researching. In Ukrainian and Chinese musicology, the state of elaboration of the information field on the issue of Canzone Napoletana is extremely weak. Therefore, it seems relevant to refer to the review of foreign scientific sources. Thus, the subject of research in this article is the tradition of scientific and critical understanding of the phenomenon of Neapolitan song, formed at the crossroads of different areas of modern Italian art history. The identification of the leading issues in the coverage of the phenomenon of Canzone Napoletana in the works of modern scientists is the subject of this article. The research material, on the one hand, is a song “Te vogliо Bene assaje” as an example of commercialization of the genre, on the other hand – a monograph “La canzone napoletana. Tra memoria e innovazione” (2013). Results. The prerequisites for modern scientific thought aimed at studying the musical folklore of the South of Italy first arose in the 19th century. In the context of Romanticism’s interest in folk culture, musicological search was more of a practical nature: collection and recording of the texts of Neapolitan songs, musical notation of samples of spoken creativity. The origin of these processes is investigated in the collective monograph “La canzone napoletana. Tra memoria e innovazione” (2013) prepared by historians, sociologists, anthropologists, musicians. They entered a group for the study of Neapolitan song on the initiative by Institute for Studies on the Mediterranean (ISSM, Italy). Paola Avallone points to the ability of Neapolitan music to sublimate the musical traditions of various Mediterranean peoples, due to contact with the southern regions through geographic, commercial interaction. In Italy itself, the Neapolitan song is already recognized as a cultural phenomenon, the uniqueness of which is surprising against the background of the region’s economic problems, the depletion of its natural resources, and weak state financial support. The study of Neapolitan song at an interdisciplinary level dictates the development of such directions as: historical, methodological, scientific-analytical, morphological. The Neapolitan song is inextricably linked with the cultural environment of the southerners, their special “lifestyle”, mythological and religious ideas. Marialuisa Stazio characterizes the Neapolitan song of the late 19th century as unique because of its strong connection to collective memory. The attitude to the Canzone Napoletana as a certain musical archetype reveals the insufficiency of methods and imperfection of the tools of analysis due to the archaic nature of the origins of the Canzone Napoletana, as well as because of the incompleteness of its evolution from 1824 to 1970. Many of the samples created during this period have many similarities. At the same time, the forms of communication changed: from “flying” leaflets to “compilations” – collections of Neapolitan songs, like “Passatempi musicali” by G. Cottrau; from author’s songs to the involvement of the media in the 20th century, “television festivals of the Neapolitan song”. In the last decade, the Internet resources YouTube, Spotify, Pandora have played a decisive role in promoting the musical product Musica Napoletana. Conclusions. The Neapolitan song is of interest as a cultural and economic phenomenon. It has turned into a “tourist” product, a souvenir, which fully represents the cultural originality of the southern region, acts as a carrier of the cultural code of the nation and the Mediterranean as a whole. The problem of its preservation, as well as of bringing the existing developments in the field of ethnomusicology to a common denominator, giving them a certain integrity, remains urgent.
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Linnik, M. S. "Refl ection of the scientifi c-critical position of R. Genika in his letters to N. Findeisen." Aspects of Historical Musicology 13, no. 13 (September 15, 2018): 14–26. http://dx.doi.org/10.34064/khnum2-13.02.
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Background. The present article is devoted to the consideration of the critical activity of R. Genika, one of the most prominent creative personalities in the musical life of Kharkov during the period of the turn of the 19th and 20th centuries, the founder of the Kharkov professional music school. The present study is based on the material of the correspondence between R. Genika and his long-term mentor N. Findeisen – the chief editor of the Russian Musical Newspaper, the publisher of historical essays. The system of R. Genika’s critical views, his assessment of the intonation situation of the musical era represented by him have been analyzed; we have stated his critical position toward the creative work of composers of the past and present. Formulation of the problem. In the musical life of Kharkov, the period of the turn of the 19th and 20th centuries, Rostislav Vladimirovich Genika (1859–1942?) was one of the brightest creative personalities. His activities were distinguished by the scale and versatility, and the creative achievements of this outstanding musician in the spheres of this kind of activities are an invaluable contribution to the national musical art. Through the prism of the achievements of R. Genika as one of the founders of the Kharkov professional music school, not only the panorama of the concert life of Kharkov during the considered period is revealed, but also the weighty and relevant scientifi c, organizational, pedagogical, artistic and creative directions regarding the complex of problems associated with history and perspectives of the musical art of Kharkov as one of the leading centers of musical life, the fi rst capital of Ukraine. The object of the research. The creative heritage of R. Genika, a universally gifted person is covered in the existing publications mainly in the information and source fi eld. R. Genika’s research and musical-publicistic activities were not fully covered. Only recently, the author of the present article has got an access to the archived materials which made it possible to conduct a comprehensive analysis of the role and importance of the personality of this outstanding Kharkov musician in the context of the musical art of the region and Ukraine as a whole. All of this combined to form the subject of the comprehensive review and the relevance of this article. The material of the study was the archival letters of R. Genika to N. Findeisen. The goal is to point out the position of R. Genika in the selection of the material for his research by highlighting and analyzing some letters from this correspondence. Methodology. The creative work of any music critic and reviewer, a music writer who is interested in the history of music, in particular, pianism and piano art, is assessed primarily by the material to which he/she refers. Here the source of conclusions about the direction of the search of R. Genika in all these areas can be his correspondence with a prominent fi gure of the Imperial Russian Musical Society (IRMS), one of the leading musical writers and critics of Russia of the late 19th – early 20th centuries, Nikolai Fyodorovich Findeisen (1868–1928). The correspondence with N. Findeisen testifi es to the process of R. Genika’s work on a number of his key scientifi c researches. The author of this study was able to find in the archives these short letters, where the requests of the Kharkov musician to this venerable musicologist and critic about the literature and music notes he needed for his work could be found. And the very list of requests made by R. Genika makes it possible to systematize the range of his creative interests. For example, in one of the letters R. Genika asks N. Findeisen to send him books about F. Liszt. The detailed article about F. Liszt was included into the second volume of the essays on “The History of Music” – the main capital work on which R. Genika had been working for almost all his life. The focus of this study is rather popularizing, addressed to various categories of listeners, primarily, to educated “good listeners” who want to get acquainted closer with the styles and circumstances of the life and creative work of the leading representatives of the world music art. In the fi eld of musicological studies R. Genika was, above all, a historian. This profi le of his research activities was the closest to the tendency that can be defi ned as a popularization or educational one. In his historical research he had clear preferences. This is evidenced by a number of his rather subjective statements about contemporary composers, to whom he preferred the classics of the older generation. R. Genika, as a historian, was well aware of the retrospective necessary for historical musicological studies, and therefore avoided writing in an estimate about authors contemporary to him. He, as a high-class musician, does not consider it possible to express his personal subjective judgments in his historical concept, and so he omits the section on “modern music” in his historical essays. Results. In the two-volume essays on “The History of Music” there are other thoughts that reveal the course of the scientist’s work on various parts of his book. Extremely interesting, besides the already mentioned above R. Genika’s attitude to the “contemporaries”, is his steady interest in the tradition, which he himself called the “Romanesque”. He treated his national school with a natural reverence, considering it to be underestimated in foreign, fi rst of all, German “histories of music”. Such a position is extremely indicative of his work as a music historian. It is the “national”, original, bright and unique that attracts his attention in the styles of the national schools of Europe of that time – the Scandinavian, the Czech, the Polish and, especially great, in his opinion, the Russian. He ends his essays on “The History of Music” (the main text) with the chapter on P. Tchaikovsky, and the modern authors of other schools are covered in review supplement articles. The question of national schools for that period was quite open and controversial even within the framework of generally accepted classifi cations. At that time, the schools of the classical type were considered key, and “nationalist teachings” (“national schools”) were considered “supplementary”, secondary and insignifi cant in the general processes of the world musical history. Here there is a thought, indicative of the very process of the new periodization of the essays on “The History of Music”, which, according to R. Genika, should have differed from the existing German samples. Conclusion. R. Genika’s letters to N. Findeisen make it possible to follow the course of the process of writing the capital essays on “The History of Music”. The very fact that the Kharkov musicologist turned to the global problems of the world music history testifi es to the importance of the creative fi gure of R. Genika in the context of musical and historical research of the last decade of the 19th century – the fi rst two decades of the 20th century. R. Genika was among the fi rst domestic music historians to create his own concept of periodization and artistic evaluation of the most important phenomena of the European musical history, which is the proof of the encyclopedic and universal nature of his many-sided musician talent. These qualities manifest themselves in all directions and the results of his activities, prompting the modern musicologistresearcher to systematize R. Genika’s critical heritage in a special way.
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Stundžienė, Bronė. "The Lithuanian Folk Couplets: On This Side of the Permissible Laughter and Beyond." Tautosakos darbai 59 (June 2, 2020): 177–208. http://dx.doi.org/10.51554/td.2020.28374.
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The article deals with folk couplets (Lith. pl. talalinės) – an underresearched peripheral genre of the Lithuanian folklore. This genre includes short, mostly one stanza-long comic songs that frequently deal with obscene topics and use unquotable vocabulary. This unadvertised folk poetry provisionally dates back to the middle of the 19th century, when its first publications appeared. This genre of folksong attributed to the popular culture of laughter has been always marginalized in relation to the traditional culture. Therefore, the article presents an analysis of this ill-repute frivolous folksong genre, touching upon various aspects of its functioning. The main problem under investigation is, why couplets with no recognized positive value have been so popular among certain groups of the village community (especially young people), and on what grounds this essentially merry and playful folkloric communication has been carried on, bearing in mind that this process is actually not over even today. The development of the Russian частушка as a special instrument of communication and its meaning in the scholarly discourse is also taken into consideration, as well as possible influence of these Russian couplets upon their Lithuanian counterparts. The analysis of talalinės is based upon materials from the Lithuanian Folklore Archives and various publications. Firstly, the article gives an outline of the meager publication and research history of this genre, noting that for a long time these couplets have been made into a certain kind of the sociocultural taboo even in the sphere of scholarly investigation. Right from the beginning of its publication in the second half of the 19th century and throughout the Soviet times, this genre was ignored as having no artistic (or esthetic) value, which was the only criterion applied to the folklore appreciation during that period. However, the first half of the 20th century could be considered the “golden age” in terms of the public spread of these couplets: when the Lithuanian radio started broadcasting, these comic folklore pieces found their way into its program, immediately gaining huge public approval. However, performance only of couplets with appropriate contents was allowed; particularly those dealing with political or obscene topics had to be avoided. The reader is reminded about a historical case from the interwar period, when public distribution of proverb collection edited and published in 1934 by the famous writer Vincas Krėvė-Mickevičius was prohibited, since it contained 300 of obscene texts, which caused significant restrictions to the availability of this publication. A similar misfortune had somewhat earlier befallen the Latvian colleagues publishing a volume of “dirty” Latvian folksongs and other folklore. Such censorship was related to the rigorous program of fostering the national morality of the time that was introduced by the government. However, the authorities did not interfere with collecting of the obscene folklore for the archiving purposes. Therefore, big amounts of folklore material attributed to the culture of laughter were collected especially in the interwar period. Further reviewing of the history of talalinės elucidates the connections between these songs thriving in the 19th – the first half of the 20th century and the humorous poetry created by the contemporary poets, as well as the newly formed folksong genres related to it. The author presents a wide field of miscellaneous relations evolving around this form of folklore. She pays attention to the sarcastic way of caricaturing used in these couplets, when for the purposes of fun-making the outdated popular customs and beliefs are critically targeted, made fun of and vulgarized using obscene vocabulary. Discussion of the essential peculiarities of the talalinės pattern, among other things, elucidates two main tendencies in the thematic canon of this genre. One part of these couplets simply treats the members of the native community and their relationships in a humorous way, as if observing them through a sarcastically distorting comical lens. These cutting couplets mock people from the immediate surroundings, making fun of them as if having previously sorted them into groups according to various characteristics. These include: 1) age groups (making fun of the things that are well-suited to the young but ill-suited to the old, and vice versa), 2) social status (gibing at relations between people from different social classes, like landlords and farmhands, as well as those not engaged in agriculture, like craftsmen, particularly tailors, shoemakers, blacksmiths, but also musicians, priests, nuns, etc.), 3) the alleged or true foreigners, distinguished on the grounds of belonging to a different religious or ethnic group, or characterized by different behavior (however, certain “foreign” character may be attributed to nearly everyone that comes from another community, including a neighboring village or some further locality in Lithuania). According to the second provisionally distinguished type of the talalinės pattern, their thematic scope narrows considerably: these couplets focus on man as a physical creature, an on the human body, or rather, on its lower part. Such couplets are especially fond of the nonstandard – obscene or scatological – vocabulary. Obscene couplets create scenes of essentially similar kind, namely, describing sexual intercourse and the private parts, and using exclusively ribald vocabulary that is usually banned from the public discourse. These quatrains present a wide range of erotic improvisations – from foul suggestions to the harshest obscenities. However, the author concludes that this kind of comic, even obscene speech employed in the couplets is of carnival nature (to use the term by the Russian culture researcher Mikhail Bakhtin): that is, when the temporarily assembled social group aims at entertainment and by common consent decides to ignore the social norms, each participant experiences a special kind of communal unity and belonging. Having crossed the established line, the creator-performer-listener of these couplets feels free both from the public reaction and from the entrenched ideology, and experiences an overwhelming sense of freedom. Such transgression is supplemented by compromise (a certain concession in terms of individual moral principles that are temporarily abandoned for the sake of participating in the game, usually obscene, proposed by the talalinė), and it allows the addressee and the addresser to become equal members of the same group. This is a special mode of folklore communication. Having compared the Lithuanian talalinė with the outwardly related Russian частушка, the author concludes that in spite of certain coincidences, the Lithuanian couplets were composed and structurally arranged independently from their Russian counterparts. However, the most important thing is that the Lithuanian talalinė, recorded for the first time in the second half of the 19th century, presented an alternative for the old folksong, and continued to exist / keeps existing alongside the folksong, abstaining from dismantling its traditional canon, although occasionally making fun of it.
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Tararak, Yu P. "The history of the origin and development of the trumpet: the organological aspect." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 123–37. http://dx.doi.org/10.34064/khnum1-54.08.
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Logical reason for research. Modern performance on wind instruments, in particular on the trumpet, is characterized by a powerful development. It is an object of listening interest and composing, and today it has a fairly large repertoire of both transpositions and original works in many instrumental compositions (from solo to various ensembles and orchestras) in different styles and genres. This situation in music practice requires theoretical understanding and generalization, however, we can state that at the moment, music science highlights the performance on the wind instruments without any system, mostly from the methodological viewpoint. Innovation. The article under consideration deals with the organological aspect of studying the specificity of the performance on the trumpet, which combines a number of historical and practical questions and allows them to be answered in connection with the requests of both music science and music practice (from the peculiarities of the sound production on various instruments of the trumpet family at different times (from the historical origins of trumpet performance to the present) to the technical and artistic tasks faced by the trumpet performer, as well as by the composers who create both transpositions of time-tested music for trumpet and original trumpet pieces that take into account technical, timbre, artistic and expressive capabilities of this instrument). Objectives. The purpose of research is to reveal connection between the historical-organological and practical specificity of the performance on the trumpet in the past and at present. Methods. The main methods of the research are historical and organological. Results and Discussion. Trumpet as a musical instrument is one of the oldest musical instruments in the world. Its earliest prototypes are revealed in archaeological studies of the historical past of humanity. The prototypes of embouchure instruments are horn, bone, and tusk pipes with conical bore, mostly curved, which are ancestors of the horn family; instruments with straight cylindrical pipes formed a family of trumpet. The art of playing wind instruments was a significant development in ancient Egypt, where the state placed musical art at the service of rulers and worship. Musicians in those days accompanied festive events and rituals; what is more, wind and percussion instruments became the basis for the creation of military orchestras. A straight metal trumpet appeared in Europe in the Middle Ages. In the countries of Central Asia, Iran, Tajikistan, Kazakhstan copper brass instruments were played. China’s music and performing culture employed bronze trumpets of various sizes. In the 14th-15th centuries the evolution of metal instruments underwent qualitative changes. Forms of curved trumpets were born. In addition to this, trumpets were split into low and high ones; later, middle-register instruments appeared. The so-called natural trumpets, used then, were very close in sound to the modern trumpet. In Europe there were masters who made metal instruments; eminent experts in this field, the Heinlein Schmidt family, the Nagel family, English masters Dudley, U. Bullem worked in Nuremberg from the 15th and up to the 19th century. The emergence of a slide trumpet, a trumpet with a sliding crook, is connected with the attempts to improve the instrument for the sound production of more chromatic sounds (we must distinguish the achievements of Anton Weidinger). An important step in the evolution of the chromatic trumpet was the use of horn invention (croooks). In the mid-nineteenth century, having improved the inventory system with a valve mechanism, the trumpet finally gained its place in the orchestra as a chromatic instrument. At the present time, a trumpet with a piston valve mechanism (in jazz, variety, modern music) has become very popular. At the turn of the 19th-20th centuries, trumpets of different structures, such as in C, in D, in Es, in F, were constructed; the designs of these trumpets are almost indistinguishable from the design of the modern trumpet. The piccolo trumpet was designed for a solo performance of ancient music (clarinet style); to amplify the low sounds, the alt trumpet in F and the bass trumpet became popular. Compared to fixed-mode instruments, the trumpet is a semifixed-pitch instrument. Therefore, a skilled performer is able to adjust the pitch within a certain area and correct defects in the setting of separate modeless sounds. The "planned" inaccuracy of the trumpet intonation is related to the use of a third valve. To correct the intonation associated with this, the trumpet has a device for extending an additional pipe of the third valve. There is no precise theoretical prediction of the given problem, so the correction of modeless sounds requires from the performer well-developed musical ear and knowledge of the specific features of their instrument. Conclusions. The summarized results of the presented article indicate that the organological aspect of the research in the field of performance on wind instruments, in particular, on the trumpet, is important and illustrative. It is an indispensable link that binds the theoretical and practical vectors of the study of trumpet art as a single set of knowledge; helps to identify the connection between the historical, organological and practical aspects of the performance on the trumpet, both past and present; promotes awareness of the specificity of playing a particular instrument, especially, understanding and assimilation of the design features of the trumpet in all its historical variants, and the corresponding principles of sound production with technical-acoustic and artistic effects; outlines the theoretical, scientific and methodological tasks for performers and composers whose work is related to the art of playing the trumpet. These are the directions in which further avenues for researching music related to the performance on the trumpet of different times, styles and genres can be seen.
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Burganova, Maria A. "Letter from the editor." Scientific and analytical journal Burganov House. The space of culture 18, no. 4 (September 10, 2022): 6–9. http://dx.doi.org/10.36340/2071-6818-2022-18-4-6-9.
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Dear readers, We are pleased to present to you Issue 4, 2022, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research areas concern topical problems in multiple areas of culture, art, philology, and linguistics. This versatility of the review reveals the main specificity of the journal, which represents the current state of the cultural space. The journal opens with articles by Chinese researchers devoted to the art of Ancient China. In the article "The Heaven-and-Man Oneness Concept and the Style of Funerary Plastic Art During the Han Dynasty", Xiang Wu analyses the idea of heaven-and-man oneness, which was important for the art of this period. It was based on the Confucian view, the rituals of a strict social hierarchy and Taoist metaphysics. Qiu Mubing’s scientific research topic is “Objects of the Funerary Cult in the Han Dynasty. Gold and Silver Items. Aesthetics of Gold and Silver in the Han Dynasty”. Examining archaeological sources, the author concludes the high achievements of Chinese artisans during the Han Dynasty on examples of works of arts and crafts made of precious metals. In the article “Aesthetics of the Song Dynasty. The Origins of the New Style of Furniture Design in China", N.Kazakova and Qiu Qi analyse the vector of development of the furniture industry through the prism of the industrial design evolution. The reasons for the emergence of the New style in furniture design in China are studied. They are analysed in detail against the background of changing economic, political and cultural realities. The issues of the influence of Ancient China aesthetics on the formation and development of a new language in furniture design are touched upon. In the article "Problems of Colour Harmonisation of Composition and Development of Associative and Imaginative Thinking in the Environmental Design", N.Bogatova reveals the potential of colouristic graphic two-dimensional modelling in artistic and imaginative thematic compositions. On the example of the compositional laws of colouristics, the author traces the path of ascent from the concrete to the abstract, pictorial to the expressive, and emotional to the figurative. P.Dobrolyubov presents the text “Sculptor Alexander Matveev’s School and His Students”, which includes many archival documents and photographs. The author describes the process of learning from teacher and sculptor A.Matveev, names the main dates in his creative work, reveals the details of the sculptural craft, talks about the variety of moves in the master’s plasticity, analyses the methods and principles of work in sculpture, shows the attitude of students to their teacher, and highlights the entire course of historical milestones in the sculptor’s creative biography. In the article "The Golden Age of PRC History Painting (1949–1966): Origins, Searches, Achievements”, K.Gavrilin and L.Xiaonan consider the issues of the formation of the modern Chinese art school. Its foundation was laid in the framework of the creative and educational dialogue between China and the Soviet Union at the beginning of the second half of the 20th century. The authors believe that the characteristic features of the golden age of Chinese historical painting were, on the one hand, the popularisation of painting as an art form and, on the other hand, the predominance of the dominant position of realism over the traditional styles of Chinese painting. It is noted that during this period, two main plots became widespread: scenes of socialist construction and historical events of the revolution. S.Zubarev considers theoretical and practical aspects of the activities of military musicians in the article "Academic Music in the Practice of Russian Military Bands of the 19th - early 21st Centuries". In the process of studying military bands, special attention is paid to the study of the features of military band service development in the 19th and 20th centuries. Factors revealing the role of Russian composers in the history of military musical culture are highlighted, and several works of academic music performed by military bands are analysed. In conclusion, the author notes that in the national culture, unique conditions for the development of military musicians’ arranging activity were created. They made it possible to preserve the traditions of the military band service and form the value principles of academic art. The publication is addressed to professionals specialising in the theory and practice of the fine arts and philology and all those interested in the arts and culture.
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Tomašević, Katarina. "Contribution of Czech Musicians to the Serbian Music in the 19th Century." Musicological Annual 42, no. 1 (December 1, 2006): 127–37. http://dx.doi.org/10.4312/mz.42.1.127-137.
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The main goal of this paper, devoted to the contribution of Czech Musicians to the Serbian Music in the 19th Century is to point out the facts which will contribute to the better understanding of the migration as an important cultural phenomenon. Particular attention will be paid to several musicians whose biographies and achievements are notable.
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Vajs, Jernej. "′Czech-Slovene′ musicians?: On the question of national identity in Slovene music at the turn of the 19th to the 20th century." Muzikologija, no. 7 (2007): 217–30. http://dx.doi.org/10.2298/muz0707217v.
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In this article, the author observes and discusses the questions of national identity in the context of Czech and Slovenian music at the turn of the 19th to the 20th century. The Italian and German influences dominating Slovenian music in the past began from the mid 19th century onward to be replaced by predominantly Czech elements as the consequence of the numerous Czech musical immigration in Slovenia. Many of Czech musicians were naturalized in Slovenia and can therefore be included among Slovenian musicians. Although they actively supported the building of a Slovenian national style, they did not feel the need for the repeated ?esthetic evaluation of traditional frames.
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Теплова, И. Б. "Musical Folklore of Resia in Historical Retrospective: From Auditory Recordings to Digital Technologies." OPERA MUSICOLOGICA, no. 2022 (February 18, 2022): 112–33. http://dx.doi.org/10.26156/om.2022.14.1.007.
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Музыкальная культура Резии (территория Итальянской Славии) сохраняется на протяжении сотен лет благодаря изоляции в альпийских предгорьях. Статья посвящена берущей начало в середине ХIХ века истории изучения резианского фольклора, а также современным тенденциям, связанным с сохранением нематериального культурного наследия. Научный интерес исследователей разных специальностей нашел отражение как в публикациях (И. И. Срезневский, И. А. Бодуэн де Куртенэ, Элла фон Шульц), так и в экспедиционных (А. Ломакс, Д. Наталетти, Ю. Страйнар, М. Матичетов) и иных коллекциях звукозаписей. Собрание звуковых материалов нашего современника Габриэле Керубини в мае 2018 года было передано в дар Санкт-Петербургской государственной консерватории в память о выпускнице консерватории, основоположнице изучения резианского музыкального фольклора Элле фон Шульц (Адаевски); первые нотации народных мелодий и теоретическое исследование, выполненные ею в 1883 году, свидетельствуют о своеобразных чертах резианской музыкальной культуры. Экспедиционные звукозаписи итальянских (1954 год) и словенских (1962–1986 годы) этномузыкологов зафиксировали многообразие микролокальных традиций бытования различных жанров фольклора и богатство индивидуальных стилей музыкантов-инструменталистов. Коллекция Г. Керубини демонстрирует эффективное сочетание традиционных и современных (с использованием цифровых технологий) подходов к фиксации образцов народной музыки; данные подходы направлены на сохранение фольклорного наследия и включение его в современную культурную практику. On the territory of Italian Slavia, Resia’s musical culture has survived due to isolation in the Alpine foothills for hundreds of years. The article is devoted to the history of the study of Resian folklore, which dates back to the middle of the 19th century, as well as to modern trends related to the preservation of intangible cultural heritage. The scientific interest of researchers of various specialties was reflected in publications and sound recordings of different years (I. I. Sreznevsky, J. N. I. Baudouin de Courtenay, Ella von Schulz, Ju. Strainar, M. Matichetov). The collection of sound materials of our contemporary Gabriele Cherubini was donated to the St. Petersburg State Rimsky-Korsakov Conservatory in May 2018 in memory of Ella von Schultz (Adaïewsky) — a graduate of the Conservatory, founder of Resian musical folklore studies. Her first notations of folk melodies and a theoretical research carried out in 1883 testify to the peculiar features of the Resian musical culture. Sound recordings made by Italian (1954) and Slovenian (1962–1986) ethnomusicologists during the expeditions recorded the diversity of micro-local traditions of existence of various genres of folklore and richness of the individual styles of instrumental musicians. G. Cherubini’s collection demonstrates both traditional and modern (using digital technologies) approaches to fixing folk music samples, aimed at preserving the folklore heritage and including it in the modern cultural practice.
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Romanou, Ekaterini. "Italian musicians in Greece during the nineteenth century." Muzikologija, no. 3 (2003): 43–55. http://dx.doi.org/10.2298/muz0303043r.
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In Greece, the monophonic chant of the Orthodox church and its neumatic notation have been transmitted as a popular tradition up to the first decades of the 20th century. The transformation of Greek musical tradition to a Western type of urban culture and the introduction of harmony, staff notation and western instruments and performance practices in the country began in the 19th century. Italian musicians played a central role in that process. A large number of them lived and worked on the Ionian Islands. Those Italian musicians have left a considerable number of transcriptions and original compositions. Quite a different cultural background existed in Athens. Education was in most cases connected to the church - the institution that during the four centuries of Turkish occupation kept Greeks united and nationally conscious. The neumatic notation was used for all music sung by the people, music of both western and eastern origin. The assimilation of staff notation and harmony was accelerated in the last quarter of the 19th century. At the beginning of the 20th century in Athens a violent cultural clash was provoked by the reformers of music education all of them belonging to German culture. The clash ended with the displacement of the Italian and Greek musicians from the Ionian Islands working at the time in Athens, and the defamation of their fundamental work in music education.
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Değirmenci, Zehra Tülin. "Vestiges of Reftâr in historical music notations." Journal of Human Sciences 18, no. 2 (April 5, 2021): 143–58. http://dx.doi.org/10.14687/jhs.v18i2.6064.
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Reftâr is known as a woman composer who lived in the Ottoman Empire Harem in the 17th century. We see compositions attributed to her in musical archives under names such as Reftâr Kalfa, Tanburi Reftâr Kalfa, and Musahip. Today, the claim that Reftâr was the first woman composer in Turkish classical music is based on a Peşrev – Der Makâm -ı Saba ‘‘Sabâ -yı Reftâr’’usüleş Düyek - found in the Kantemiroğlu Edvârı. In this study, Hamparsum Manuscripts, which were written using the Hamparsum musical notation developed at the beginning of the 19th century, were studied and it has been discovered that, in addition to Reftâr’s well known Saba Peşrev, there is also a Saba Saz Semâîsi attributed to her. Two Saz Semâîsi in the Saba makam, which were found in the Hamparsum Notebooks with archive numbers Y.205/3 and Y.211/9 at the Istanbul University Library of Rare Books were translated into modern Western notation and studied. Reftâr’s life as a musician and the music training of women in the Ottoman palace were studied based on written sources, in order to understand Reftâr’s place in the Turkish Classical Music tradition as a musician and a woman. Writing about the traditional Turkish Classical Music History requires scientific data on composers, their compositions, periods, institutions, genres and forms. In this respect, different musical notations that recorded the same musical tradition are the most important sources. Discovering a forgotten composition by a composer who’s thought to have lived 400 years ago is a proof of this. Özet Reftâr, 17. Yüzyıl Osmanlı Sarayı Haremi’nde yaşamış bir kadın bestekar olarak bilinir ve Reftâr Kalfa, Tanburi Reftâr Kalfa, Musahip gibi unvanlarla nota arşivlerinde adına eserler kaydedildiği görülür. Günümüzde Reftâr’ın Türk Musikisi’nin ilk kadın bestekarı olduğu düşüncesi Kantemiroğlu Edvârı’nda bulunan- Der Makâm -ı Saba ‘‘Sabâ -yı Reftâr’’usüleş Düyek- bir Peşreve dayandırılır. Bu çalışmada, 19. Yüzyıl başında geliştirilen Hamparsum Musiki Yazısı ile kaydedilmiş el yazması Hamparsum defterlerinden günümüze ulaşanlar incelenmiş ve Reftâr’ın bilinegelen Sabâ Peşrevi’nin yanı sıra bir Sabâ Saz Semâîsi’nin de olduğu saptanmıştır. İstanbul Üniversitesi Nadir Eserler Kütüphanesi’nde bulunan Y.205/3 ve Y. 211/9 arşiv numaralı Hamparsum Defterleri’nde kayıtlı, Sabâ makamında bir Saz Semâîsi’nin iki örneği Batı nota yazısına çevrilmiş ve incelenmiştir. Reftâr’ın bir müzisyen ve kadın olarak Türk musikisi geleneği içinde varoluşunu kavramak üzere, Osmanlı Sarayı’nda musiki yaşamı ve kadının musiki eğitimi tarihsel perspektifte ele alınarak incelenmiştir. Geleneksel Türk Sanat Musikisi Tarihi hakkında yazmak; bestekarlar ve eserleri, dönemler, kurumlar, türler ve formlar gibi konularda bilimsel veriler göstermeyi gerektirir. Bu açıdan bakıldığında, birbirinden farklı ama aynı sesli kültürü aktarmayı amaç edinmiş musiki yazıları en önemli kaynaklardır. Günümüzden 400 yıl önce yaşadığı düşünülen bir bestekar ile ilgili unutulmuş bir esere Hamparsum defterlerinde ulaşmak bunun kanıtıdır.
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Vojtěšková, Jana. "Letters from the Morawetz Collection (Musicians of Czech Origin in European Centres at the Turn of the 18th and 19th Centuries)." Musicalia 13, no. 1-2 (2022): 6–45. http://dx.doi.org/10.37520/muscz.2021.001.
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The article deals with the oldest music-related documents from the Morawetz collection (most of which come from the collection of Friedrich Donebauer), which the Czech Museum of Music obtained in 2003 and 2008. Specifically, this involves letters of musicians from Bohemia who were working in German-speaking countries around the end of the 18th century and the beginning of the 19th (Jiří Antonín Benda, Leopold Koželuh, Antonín František Bečvařovský, and Jan Václav Hugo Voříšek). The study presents a critical edition of six letters and one receipt and their translations into Czech and English. On that basis, there is an examination of context within the framework of the lives of the individual musicians and of the period musical milieu. The letters document cultural exchange, tastes, and the stylistic orientation of the period as well as of the music business in Europe at the end of the 18th century and the beginning of the 19th. Voříšek’s letter documents the period reception of a Mass by Jan Václav Tomášek in Vienna in 1815.
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Driel, Lodewijk van. "19th-century linguistics." Historiographia Linguistica 15, no. 1-2 (January 1, 1988): 155–85. http://dx.doi.org/10.1075/hl.15.1-2.09dri.
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Summary In this paper an attempt has been made to draw a picture of linguistics in the Netherlands during the 19th century. The aim of this survey is to make clear that the influence of German linguistics on Dutch works of the period is characteristic of the development of Dutch linguistics in that century. Emphasis has been placed on the period 1800–1870; three traditions are distinguished: First of all there is the tradition of prescriptive grammar and language instruction. Next attention is drawn to the tradition of historical-comparative linguistics. Finally, by about the middle of the century, the linguistic views of German representatives of general grammar become prominent in Dutch school grammars. Successively we point to the reception by the schoolmasters of K. F. Becker’s (1775–1849) work; then Taco Roorda (1801–1874) is discussed, and the relationship between L. A. te Winkel (1809–1868) and H. Steinthal (1823–1899) is presented. In conjunction with Roorda’s work on Javanese the analysis of the so-called exotic languages is mentioned, an aspect of Dutch linguistics in the 19th century closely connected with the Dutch East Indies. It is obvious that the German theme is one of the most conspicuous common elements in 19th-century Dutch linguistics, as Dutch intellectuals in many respects took German culture as a model.
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Wilson, Robin. "19th-Century Mathematical Physics." Mathematical Intelligencer 40, no. 4 (September 17, 2018): 100. http://dx.doi.org/10.1007/s00283-018-9836-0.
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Rockenbach, Stephen, and William L. Barney. "A Companion to 19th-Century America." Journal of Southern History 74, no. 4 (November 1, 2008): 957. http://dx.doi.org/10.2307/27650332.
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Kahlow, Andreas. "Materials in 19th century Germany." History and Technology 7, no. 3-4 (July 1991): 255–66. http://dx.doi.org/10.1080/07341519108581779.
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Nicholls, E. Henry. "Snaphots of 19th-century science." Endeavour 29, no. 3 (September 2005): 89. http://dx.doi.org/10.1016/j.endeavour.2005.07.003.
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