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1
Grašytė, Toma. "Traditional Musician in the Nowadays Lithuanian Village or Small Town’s Community." Tautosakos darbai 52 (December 30, 2016): 213–30. http://dx.doi.org/10.51554/td.2016.28874.
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Folk musicians belonging to the older generations and playing various instruments have been subject to rather exhaustive research in Lithuania since the end of the 20th century until the present. Various aspects of their music making, including the repertoire, changes in the style of their performance, the musician’s image, role and place in the community have also received considerable attention. However, traditional musicians belonging to the younger generation and their music making have scarcely fallen into the focus of study so far. The modern ethnomusicologists researching and appreciating the traditional music making devote considerable attention to the perspectives of the musicians and their surrounding community. Such a two-fold research, taking into consideration both the musician’s and the community’s approach, enables evaluating the general situation of the traditional instrumental and vocal instrumental music making in the community. By comparing the expressed views of the Lithuanian traditional musicians belonging to the younger generation and the perspectives of the surrounding community, the author of the article attempts establishing the kind of musicians that is in demand in the Lithuanian villages and small towns of the end of the 20th – beginning of the 21st century. The author of the article combines qualitative research (the in-depth partly structured multiple interviews) with documentary and biographical methods.According to the analysis, not only the roles of the traditional musician and the community, but also their mutual relationship has suffered considerable shifts in the nowadays culture. The functions of the musician as bearer, promoter and reviver of the tradition have become much more prominent. By adapting to the altering wedding traditions, the musician does not decline performing not only the functions of the former main participants of the wedding, but also those of the presenter of the whole event. The individual musical faculties and skills do not bear such importance in the eyes of the community members, as they do to the musicians themselves. The community mostly appreciates the universal capacities of the traditional musician, also ascribing importance to his tight relationship with the local traditions. The latter quality is important to the musicians as well; it includes the inherent feeling of the local music and its appreciation (from instrumentation and familiarity with the traditional local repertoire, to the live music making, and to the knowledge of customs and rituals, which are particularly important during various festive events and weddings). Since the tradition of the ritual communal singing is increasingly in decline, the capacity of the musicians to sing well and to start the appropriate songs as means of preserving and supporting this tradition is especially meaningful. It is safe to maintain that traditional musicians are currently people sensitively reacting to the changes in the traditional musical culture and actively participating in the local musical life until nowadays. To the contrary, rejection of the musical innovations renders the traditional musician incapable of competing with the requirements of the modern musical market. In such case, the musician may even have to stop playing and surrender his place to the professional or semi-professional wedding musicians with virtually no knowledge of the local musical customs, or even to the sound recordings.
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Slobodchikova, Anastasiya Yu. "Avant-Garde Scores as a Subject of Artistic Interpretation in Modern Rock Music." Music Scholarship / Problemy Muzykal'noj Nauki, no. 2 (2022): 64–73. http://dx.doi.org/10.33779/2782-3598.2022.2.064-073.
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The artistic interpretation of musical works by academic composers is an integral component of certain styles of rock music, identified back in the 1960s at the very early stage of its formation. At the present time, various arrangements, transcriptions and adaptations, along with quotations of works from different periods, from medieval music to contemporary composer's music, have not lost their relevance and have remained part of the performing practice of rock musicians. This article is about the dialogue with 20th century music, in the interpretation of which the artistic qualities have not lost their value, but, on the contrary, have been reevaluated and enriched. In the albums of progressive rock, jazz-rock, fusion and avant-rock performers, 20th century contemporary composers’ music is cognized in a new way, from the use of short fragments borrowed as a source of the musical thematicism to the recreation of large cyclic forms. At the same time, an important aspect of the artistic creativity of individual musicians is their interest in verbal musical scores of the avant-garde trends, as well as spontaneous improvisational forms of minimalism, which have had ample opportunities for performing interpretations and have instigated the emergence of rock interpretations. Rock musicians, stemming from avantgarde musical texts, have tended to create a self-sufficient artistic integral entity, as in the case of In 0 to ∞ by ACID MOTHERS TEMPLE & THE MELTING PARAISO UFO, the structures of which have been based on Terry Riley’s In C. In conclusion, the album Goodbye 20th Century by SONIC YOUTH with selected works by avant-garde composers (Steve Reich, Cornelius Cardew, Christian Wolff, John Cage and Pauline Oliveros), which has formed an important stage in the history of experimental rock at the turn of the century, is examined.
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Žarskienė, Rūta. "The Music Making at the Church Feasts, or Baroque of the 20th–21st Centuries." Tautosakos darbai 49 (May 22, 2015): 145–70. http://dx.doi.org/10.51554/td.2015.29010.
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The subject of this article is the music making during the Catholic Church feasts and its development since the Christianization of the Grand Duchy of Lithuania until nowadays, with special emphasis on the music making tradition of the 20th–21st centuries. Following the spread of Christianity, the tradition of the religious feasts was quick to catch on, along with its peculiar Western European customs and culture of the musical styling. According to the historical sources, as early as in the end of the 14th century (that is, barely ten years after the official Christianization) the wind and percussion instruments were played in the Vilnius Cathedral. The academic wind and percussion instruments, having been since ancient times used in the army of various European countries, including the Grand Duchy of Lithuania, became adapted by the musical culture of the manors and dioceses, finding their use during pilgrimages, celebratory processions, services, etc. During the Renaissance and Baroque periods, an especially important social and cultural role was played by the Vilnius Academy, established by the Jesuits, at which also instruction in music was offered. The Jesuits organized particularly pompous processions of the Corpus Christi, which included theatrical performances, participation of numerous musicians and singers, firing guns, etc. According to the archived data, during the Baroque times the majority of the churches or the affiliated brethrens used to possess both the brass and the percussion instruments: usually – two or more trumpets, French horns, and kettledrums. These instruments were regarded necessary in order to celebrate the titular feasts of the parish in the appropriate way, that is, with musical accompaniment, or to travel likewise to the festivities held in the neighborhood. Thus the folk piety tradition of the brass bands got shaped, which, having already disappeared in other Lithuanian regions, continues to live on in Samogitia in the 20th–21st century. It is particularly important in relation to the rituals of visiting the Samogitian Calvary (Žemaičių Kalvarija) – a variety of the popular baroque European tradition of the Way of the Cross (Via Crucis), the first one of which in the Grand Duchy of Lithuania was established in Samogitia. Quite likely, these Stations of the Cross since their very establishment used to be visited ceremoniously, including singing and the appropriate accompaniment by wind instruments and kettledrums. This tradition survived in spite of being prohibited both during the tsarist Russian oppression and during the Soviet atheism periods. During the Soviet occupation the musicians, although being harassed or even arrested, still used to go to play at the religious feasts, thus expressing not only their devotion, but also their protest against the regime of the religious oppression. After Lithuania regained its independence in the end of the 20th century, the new kind of worshipers who had been brought up unaware of the traditional Calvary Hymns singing started the new way of singing accompanied by kanklės (Lithuanian cithertype instrument) and guitars. Still, in spite of this wave of musical pluralism, the brass bands preserved their positions. Until the present day, worshipers visiting the Stations of the Cross at the Samogitian Calvary are accompanied by the musicians playing the brass instruments, who are traditionally rewarded with money. Depending on the particular worshipers’ needs, three kinds of functions performed by the musicians can be discerned: firstly, the group of 4 to 6 musicians may only play; secondly, 2 to 5 musicians lead the prayers both singing and playing; and thirdly (a medium variant), the group of 4 to 6 musicians both plays and sings. The analysis presented in the article allows maintaining that prior to becoming part of the wedding, christening and funeral rituals of the village people, brass instruments had already become an integral part of the musical expression of the exceptional solemnity of folk piety.
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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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Lewisohn, Jane. "Flowers of Persian Song and Music: Davud Pirniā and the Genesis of the Golhā Programs." Journal of Persianate Studies 1, no. 1 (2008): 79–101. http://dx.doi.org/10.1163/187471608784772742.
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AbstractThis article examines the 'Flowers of Persian Song and Music' (golhā) radio programs broadcast during the third quarter of the 20th century on the Iran National Radio. These programs—some 1,400 of which the author has collected and deposited in the British Library—constitute an unrivalled encyclopaedia of classical Persian music and poetry. The golhā programs introduced to the general public over 250 poets from the ancients to the moderns, and it preserved Persian classical music and fostered its future development. The seminal role played by Dāvud Pirniā in founding and producing these programs is examined and explored, while highlighting the various artists, poets, musicians, vocalists and scholars who performed in them.
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Pereverzeva, Marina V., and Anna A. Davydova. "History of Piano Technique Development: Methodical Aspect." Uchenye Zapiski RGSU 20, no. 1 (March 30, 2021): 181–88. http://dx.doi.org/10.17922/2071-5323-2021-20-1-181-188.
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The history of the development of piano technique has been counting down since the 17th century. The most common keyboard instruments before the invention of the piano were the harpsichord, clavicord and organ. These early instruments had much lighter keys compared to modern ones. Therefore, performers could easily press the keys without feeling much resistance. With the advent of the piano, both the playing technique and the training technique for professional pianists and amateurs began to be reviewed. Musicians, summarizing their own performing experience, wrote treatises, textbooks and manuals, looking for the most effective method of mastering the technique of playing the keyboard instrument. In history, there are two schools of piano technique: the so-called school of “high lifting of fingers” and “playing with all the weight of the hand”. This work is devoted to the history of the development of these schools and methodological approaches to piano training. The views on piano technique that developed in the 18th–20th centuries, which were reflected in the textbooks of pianistsperformers and teachers, help to understand how to perform music of a particular period and what finger technique to use for a perfect interpretation of piano works of the past.
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McLaughlin, Levi. "Beethoven and Buddhism in a Japanese Religion: Culture as Cultivation in Soka Gakkai." Numen 68, no. 5-6 (September 20, 2021): 593–618. http://dx.doi.org/10.1163/15685276-12341641.
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Abstract Why is the museum at the headquarters of the lay Japanese Buddhist organization Soka Gakkai full of pianos? How did Gakkai members in Japan come to revere the compositions and ethos of Ludwig van Beethoven as means of defending Buddhist orthodoxy? And how did this Buddhist organization come to rely on classical music as a key form of self-cultivation and institution building? This article draws on ethnographic engagements with musicians in Soka Gakkai, along with study of the Gakkai’s development in 20th-century Japan, to detail how practitioners’ Buddho-cultural pursuits demonstrate ways cultural practices can create religion. Attention to Soka Gakkai’s fusions of European high culture with lay Buddhist teachings and practices troubles static definitions of “Buddhism” and signals the need for broader inquiry into the nature of religious belonging through investigations of aesthetic forms.
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Kyselova, Kateryna, Olha Shandrenko, Tetiana Dementovych, and Alina Shcherbak. "Quotation of Stage Images of Hard Rock and Heavy Metal Musicians of the 1970-90s in Clothing Design of the 21st Century." Demiurge: Ideas, Technologies, Perspectives of Design 5, no. 2 (October 31, 2022): 319–32. http://dx.doi.org/10.31866/2617-7951.5.2.2022.266925.
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Research aim. The article is devoted to the review of modern clothing design projects in the context of quoting the stage images of hard rock and heavy metal musicians of the 1970s-1990s. Research methods. The source analysis method was used to find out the level of scientific development of the problem. Collecting factual material method was used to search for visual information. To describe and process the visual information of stage images of musicians and shows of leading designers’ collections, the Art history methods, aesthetic and structural-compositional analysis, as well as the comparative method, were used. The theoretical generalization method was used to formulate the conclusions. Visual material is taken from printed publications and the Internet. Scientific novelty is in identifying the main stylistic features of the stage costume of performers of the hard rock and heavy metal musical genres in the 70s and 90s of the 20th century, as well as in comparing and finding quotes of stage images of musicians in modern catwalk clothing collections. Conclusions. The development of the stage costume design of hard rock and heavy metal genres with its wide influence on street fashion, as well as “official fashion”, was due to a significant spread of media technologies popularization at the end of the 20th century. Stage images of artists were imitated and introduced into an everyday wardrobe, firstly, by their fans; secondly, its distribution was facilitated by high-profile advertising companies promoting bands and performers; thirdly, it spread through the fashion industry and the work of talented designers who sensed the mood of society and were able to predict the commercial success of the new aesthetic. In the 21st century well-known brands and designers actively quote performers’ stage costumes. Ways of quoting are very diverse: from completely copying images or borrowing a separate assortment, copying forms and details of clothes to the imitation of cut, decoration, and trimming. The most popular quoting is the use of band mascots or logos to print and design materials, various patches, and stickers. Borrowing a characteristic combination of the assortment in creating a general image has recently become the most popular. From the general trends of today, we come to the conclusion that experiments with the form itself and its material components are significantly inferior to experiments with the emotional filling of images, which are successfully provided by quoting the stage costume with its hyperbolized spectacularity and expressiveness.
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Kyrgys, Kira. "From the history of collecting Tuvan folk songs: Yrlar and Kozhamyks." Religación. Revista de Ciencias Sociales y Humanidades 7, no. 33 (September 26, 2022): e210944. http://dx.doi.org/10.46652/rgn.v7i33.944.
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The ancient history and culture of the inhabited tribes of Tuva attracted the attention of travelers, linguists, ethnographers, and musicians, especially in recent decades. The primary recordings of yrlar (tuvan songs) and kozhamyk (ditties) in the writing sources of scientists contained samples of ancient musical poetry, including one-thousand-year history images, plots, motifs, and archaic vocabulary. Owing to ethnocultural values and beliefs of Tuvan people in Southern-Central Siberia it preserved features of relict cultures in music traditions. Based on field works conducted in the late 20th century, via ethnographic, historical, and typological principles of systematic approaches to folklore music genres, all songs were divided into occasional rituals and non-occasional songs, according to musical stylistic characteristics folk songs were classified into long songs ʽuzun yrlarʼ, short songs ʽkyska yrlarʼ and traditional ditties ʽkozhamykʼ. Tuvan culture is rich with musical traditions, it includes various song types, melodic recitations, instrumental creativity, calendar, and ritual songs, epic genres, etc. The author considers the development of song art as the most mobile layer, which absorbs all from the surrounding sound world. Songwriting reflects the spiritual experience and national character of the Tuvan ethnos.
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Stanevičiūtė, Rūta. "“Let Us Create a Modern Lithuania!” Confrontations of National Identity with Modernity in the Lithuanian Music Modernisation Discourse of the 1930s." Polski Rocznik Muzykologiczny 19, no. 1 (December 1, 2021): 118–33. http://dx.doi.org/10.2478/prm-2021-0008.
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Abstract The project of modernisation, which emerged as the central idea in the course of 20th-century Lithuanian music, predetermined many creative orientations and discoveries by Lithuanian composers of various generations, as well as critical reflection on their works. At the root of Lithuanian projections of musical modernism lies a central concern with questions of national identity, affected by crucial historical changes and political processes. In this paper, I explore issues of relationship between construction of national identity and the modernity, focusing in particular on public discussions concerning national and modern elements in music, which appeared in the musical press of the 1930s and became emblematic of subsequent Lithuanian music history. Among the most active participants of the debates were young composers and musicians who had set up the Society of Progressive Musicians in 1932 and the iscM Lithuanian Section in 1936: Vytautas Bacevičius, Jeronimas Kačinskas, and Vladas Jakubėnas. Their opinions marked a significant turning point in the national music discourse, updating and expanding the understanding and use of the concepts of modern and national music in Lithuania. The interwar polemical observations, insights and statements were effectively elaborated in later reception and served as basis for a reinterpretation and revision of the Lithuanian music modernisation discourse.
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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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Gaddis, Elijah. "Work, Play, and Performance in the Southern Tobacco Warehouse." Special Issue - Storied Spaces: Renewing Folkloristic Perspectives on Vernacular Architecture 90-91 (April 29, 2021): 10–23. http://dx.doi.org/10.7202/1076795ar.
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This paper examines tobacco warehouses in the southern United States as sites of both work and play. Using a performative approach in the study of architecture that is rooted in folklife methodology, the essay claims these quotidian working structures as places of celebratory potential amid the strictures of Jim Crow spatial segregation. In particular, it focuses on a series of massive dances held in the elaborately decorated warehouses during the early-to-mid-20th century. During these dances, Black celebrants turned the restrictive social and economic working spaces of the tobacco warehouse into places of radical potential and pleasure. The claims of this essay are supported by both conventional architectural documentation and the oral testimonies of a variety of tobacco workers, musicians, and dancers, who made use of the warehouses for a variety of often conflicting purposes. Told together, their narratives emphasize both spatialized resistance to segregation, and the importance of the ephemeral archives of individual stories and memories to the study of vernacular architectural history.
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Khanina, Lilia. "THE FAUST LEGEND AND ITS ROLE IN ALFRED SCHNITTKE'S WORK." Tempo 63, no. 248 (April 2009): 2–11. http://dx.doi.org/10.1017/s0040298209000114.
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Alfred Schnittke (1934–1998) is among the most notable composers in the second half of the 20th century. Over the past 20 years his work has won wide acceptance and greater international attention. His music, performed by world-class musicians in countless countries and in the most prestigious concert halls, has become an integral part of Russian cultural heritage. Schnittke's vast popularity is evident in the existence of so many publications, reviews, and dissertations not only in Russia but all over the world. However, some aspects of the composer's life and music remain unexplored, and a study of Schnittke's work would not be complete without examining one particular subject which influenced Schnittke throughout his creative life: the Faust Legend. The Faustian Legend ‘was among the forces that supported Schnittke's dialogue with the past and shaped his identity’. Before delving into this topic it would be logical to give a brief excursus in the history of the Faustian legend itself.
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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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Kwaczyńska, Olga. "The Reception of American Jazz in Japan: An Outline of Issues." Kwartalnik Młodych Muzykologów UJ, no. 44 (1) (2020): 33–46. http://dx.doi.org/10.4467/23537094kmmuj.20.027.13900.
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The following article presents the history of Japanese jazz, from the first musical contacts to its contemporary successes and problems of the jazz music market. An important role in the development and evolution of jazz in Japan (even before the post-war US occupation of that country) was played by the presence of American military forces in the Philippines, which, as an American-dependent territory, maintained cultural contacts with the United States, where jazz had been born at the beginning of the 20th century and became one of the most popular forms of music. Apart from contact with Filipino musicians, who were the first source of jazz education for the Japanese, the rise of jazz cafés (jazzu-kissa) was also important for the development of jazz in the Land of the Cherry Blossom. The cafés played a huge role in generating interest in jazz and shaping musical tastes. The article also shows the influence of jazz on the formation of a modern, American-type lifestyle among the Japanese middle-class. In addition, the article discusses the complex issue of the authenticity of Japanese jazz in relation to American jazz and the role of world-famous Japanese musicians, such as Toshiko Akiyoshi, in overcoming stereotypes. The aim of the article is to demonstrate the universality and at the same time the local character of contemporary Japanese jazz as well as the distinguishing features of jazz in Japan.
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Максимова, А. С. "“Can a Leopard Change His Spots?”: The American Composers’ Fortunes in Nicolas Slonimsky’s Letters to Vladimir Dukelsky." Музыкальная академия, no. 4(768) (December 20, 2019): 170–89. http://dx.doi.org/10.34690/26.
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Исследовательским материалом статьи послужили письма Н. Слонимского к В. Дукельскому из Коллекции Вернона Дюка Библиотеки Конгресса США. Впервые публикуются фрагменты писем с 1937 по 1969 год, в которых Н. Слонимский высказывался о музыкальной жизни ХХ века. Кратко освещена история знакомства (1918) и общения Н. Слонимского и В. Дукельского. Тема избранной для статьи переписки - судьбы профессии композитора в США, включая взаимоотношения композитора и дирижера, проблему творческого успеха. В статье освещены некоторые подробности визита Слонимского в СССР. The research material of the article comprise Nicolas Slonimskys letters to Vladimir Dukelsky from the Vernon Duke Collection of the Library of Congress (USA). Large fragments from the letters of 1937 to 1969 which contain Slonimskys thoughts on the 20th century music are being quoted for the first time. The author briefly observes the history of the two musicians acquaintance (1918) and contacts. The correspondence selected for the article embraces such topics as: the profession of composer in the USA, arrangements between composers and conductors, and a problem of public success. The article also contains some details on Slonimskys visit to the USSR.
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Ferenc, Anna. "Reclaiming Roslavets: The Troubled Life of a Russian Modernist." Tempo, no. 182 (September 1992): 6–9. http://dx.doi.org/10.1017/s0040298200016661.
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It is evident by now that swift political changes have had an impact on music scholarship in Russia. A radical shift from rejection to appreciation of the music of Russian early 20th-century modernists was announced on the pages of Sovetskaia Muzyka in January, 1991, where the following admission appeared: ‘By silencing the activities of the musicians of the Russian avantgarde for a prolonged period of time, we have in essence artificially narrowed the complex panorama of our music history.’ In the case of Nikolai Andreevich Roslavets, the process of historical revision has included recent publication and re-publication by Muzyka of some of his piano and chamber music. At a time when paper shortage is critical in Russia, such an effort demonstrates a sincere commitment to acknowledging his work. Certainly, another welcome result of this new attitude has been access, though apparently still limited, to the Roslavets archives in Moscow. The valuable information contained therein provides biographical details which finally allow for a substantiated and more definitive statement on the life of this composer who figured so prominently among the Russian modernists.
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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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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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Dunsby, Jonathan, and Yannis Rammos. "Onset asynchrony in Western art music." Quodlibet. Revista de Especialización Musical, no. 76 (December 17, 2021): 126–58. http://dx.doi.org/10.37536/quodlibet.2021.76.1465.
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Melodic onset asynchrony, whereby the upper or some component of a musical simultaneity may strike the ear ahead of other sounds, is a common feature in the performance of Western art music. It seems to be of high aesthetic value in the history of pianism, often harnessed to the seemingly contradictory “bass lead” that prevailed in the early 20th century, though in fact the two are far from exclusive. Departing from an application of Brent Yorgason’s taxonomy of “hand-breaking” (2009) to canonical, composed examples of onset asynchrony from Beethoven, Schumann, and Liszt, we examine timbral, organological, and aesthetic continuities that underly distinct practices of asynchrony. We consider the physical nature of such normally non-notated “microtiming”, ranging in performance from a few ms of melodic onset asynchrony to about 100ms, above which it is generally agreed that even the casual listener may perceive it. A piano-roll recording by Claude Debussy, of “The Little Shepherd”, illustrates the mix of melodic onset asynchrony, bass lead, and apparent simultaneity that may be applied in a single interpretation. We then discuss the concept of “audibility” and the question of to what extent, and in what ways, the combined transients of piano attacks may interact. We consider with reference to 20th century Russian piano pedagogy why onset asynchrony seems to have been a little documented, rather than an explicit playing technique, even though certain sources, such as a 1973 treatise by Nadezhda Golubovskaya, show it to be ubiquitous and well theorised. Finally, regarding the thinking that has predominated in musical performance studies in recent decades, with its emphasis on average practices and “ordinary” listeners, we suggest that a new emphasis will be fruitful, that is, research on what is particular about the embodied creativity of expert musicians.
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Yan, Yang. "KEY ASPECTS OF THE DEVELOPMENT OF CONDUCTING PERFORMANCE IN CHINA." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 60, no. 60 (October 3, 2021): 184–99. http://dx.doi.org/10.34064/khnum1-60.10.
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Statement of the problem. Conducting performance in China is still a poorly explored area of the national musical art, which makes it necessary to deeply comprehend its main aspects and determine the originality of this important area of the country’s musical culture. This study is aimed at identifying the influence of the dynamics of historical development in China in the 20th century on the development of a conductor’s profession in the country. The recent researches and publications study the specifics of the conductor’s gesture (M. Mannone, I. Poggi, B. Silvey, L. Reizabal), personal conducting activities of the brightest representatives of this profession in different countries (C. Bongiovanni, J.-C. Branger, J. Orrego Salas, M. Walter and others). However no work mentions the activities of Chinese conductors. This profession is practically not studied among its Chinese representatives, too. Methodology of this research includes the study of scientific works devoted to various aspects of European conducting (R. Komurdzhi, Lee En Zhong, B. Smirnov, O. Tremzina), to the outstanding conductors (S. Bongiovanni, J.-C. Branger, J. Orrego Salas, M. Walter), general problems of connection of conducting with exact sciences (M. Mannone), and, especially, the history of the development of a new type of symphony orchestra in China (Hon-Lun Yang & M. Saffle, Mingyen Lee). Hence, it calls for an integrated approach, which includes historical-typological, comparative, genrestyle and dialectic methods. Results and Conclusions. Active involvement of European music has been taking place in China relatively recently – since the 1920s. In this way, the problems of creating a national conducting school and a symphonic culture of performance in the country became especially acute. The history of the development of the symphony orchestra and conductor’s performance of Chinese musical art of the twentieth century can be imagined as a single culture process that is constantly moving in the same vein encompassing all countries and continents. During the 20th century a new profession of musician-conductor of a new type of orchestra was formed in China, which combined instruments of the European symphony orchestra and national instruments. The formation of national symphonic schools in China is also linked to specific historical events: the modernization of Chinese music, the foreign education of many Chinese musicians, the influence of communist ideology (“exemplary performances”), on the one hand, and Western capitalist (Hong Kong orchestras), on the other. The specificity of the activity of the conductor of a new type of symphony orchestra is directly related to various changes in the quantitative and qualitative composition of the orchestra, special features for use of both individual instruments of the symphony orchestra and whole sections, and to technical capabilities of national and European instruments.
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Gorobets, Svetlana V. "A.I. Ziloti’s Educational Activity in St. Petersburg (According to Unpublished Correspondence Materials)." Observatory of Culture 16, no. 5 (December 4, 2019): 518–25. http://dx.doi.org/10.25281/2072-3156-2019-16-5-518-525.
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Collections of Russian libraries contain unique letters of pianist, teacher and conductor A.I. Ziloti (1863—1945). They demonstrate one of the facets of his talent as a musical public figure and educator. The correspondence of A.I. Ziloti with town governors is a unique phenomenon not only in his creative heritage, but also in the history of musical culture. The letters help to understand the musician’s worldview, artistic views, creative principles, giving as well a description of the cultural and historical context of the early 20th century period. The article aims to convey the importance of A.I. Ziloti’s correspondence for educational activities organization in St. Petersburg. The article identifies the letters’ specificity and studies A.I. Ziloti’s handwriting. For the first time, there are published his petitions addressed to the Director of the Imperial Theaters V.A. Telyakovsky and St. Petersburg town governors. The scientific analysis’ objectivity, connected with comprehension of the value significance of A.I. Ziloti’s cultural ideas, requires to recognize the results of his musical and educational activities as his main achievements. Being an outstanding musician and teacher, A.I. Ziloti remains in the history of Russian culture, primarily, as a representative of musical education.
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Iaţeşen, Loredana Viorica. "11. Traditional and Innovative Methods in Approaching Music Styles. Pedagogical Implications." Review of Artistic Education 11, no. 1 (March 1, 2016): 88–98. http://dx.doi.org/10.1515/rae-2016-0011.
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Abstract The approach to music styles entails an in-depth musicological analysis aimed at synthesizing numerous bibliographical sources belonging to different fields and directions of research. A chronological overview of studies (Jean Molino, Fait musical et sémiologie de la musique, 1975; Jean Jaques Nattiez, Quelques reflexions du style, 1993; R. J. Pascall, Style, in The New Grove Dictionary of Music and Musicians, 1994; Jean Jaques Nattiez, La musique de l’avenir, in Musique. Une Encyclopédie pour le XXI siècle, 2003; Mario Baroni, Stil şi mutaţii stilistice în tradiţia muzicală europeană, in Musique Une encyclopédie pour le XXI siècle, 2006) and of universal (Leonard Meyer, Explaining Music, 1973; Charles Rosen, Le style classique: Haydn. Mozart, Beethoven, 1978; Leonard B. Meyer, Style and Music. Theory, History and Ideology, 1989; and Romanian specialised literature (Cornel Ţăranu, Elemente de stilistică muzicală (sec. XX), 1981; Edgar Papu, Despre stiluri, 1986; Valentina Sandu-Dediu, Alegeri Atitudini Afecte, 2010; Vasile Iliuţ, O carte a stilurilor muzicale, 2011; Valentin Timaru, Stilistică muzicală, 2014) from the late 20th century and the beginning of the 21st century, reveal the different and, more often than not, contrasting views of historians, analysts, aestheticians, philosophers, scholars and educators, starting from the meaning of the very idea of style, to the reception of this phenomenon in contemporaneity. On these grounds, this study proposes a systematization of the most relevant landmarks in documentation to date, for the purpose of applying them from a didactic perspective.
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Kouprovskaia-Bruggeman, Ekaterina O. "On the History of Russian-French Cultural Ties: A French Mark on the Life and Artwork of the Composer Edison Denisov." Koinon 3, no. 1 (2022): 134–60. http://dx.doi.org/10.15826/koinon.2022.03.1.010.
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The subject of research in the article is the life and work of the composer Edison Denisov in the context of connections with French culture. The study of these over-the-half-century-long ties makes it possible to fill «white spots», first, in the broader subject of Russian-French cultural relations: Soviet and post Soviet contacts and influences studied on the representative material of musical art, second, in the topic of local but no less important: the role of France and its culture throughout E. Denisov’s life. The life and work of E. Denisov is a largely successful and multifaceted presentation of the French «footprint» in Russian culture in the second half of the 20th century. The material to be analyzed is multidimensional: biographical references to French art (music, literature, painting) and language; various contacts with French culture: writers, composers, musicians, ensembles and orchestras; Literary texts (B. Vian, G. Bataille) when writing music; the immersion in philosophical and humanitarian texts (R. Bart, M. Foucault, J.-P. Sartre); influence of mathematics and the structuralist method on the composer’s mastery (H. Poincaré, C. Lévi-Strauss) ; creative dialogue with works of a composer and theorist P. Bulez; the role of France in promoting Denisov’ music in the West; active educational activity of Denisov in promoting French music in Russia. A separate section of the article analyzes the influence of French composers on Denisov, and also highlights his participation in the restoration and orchestration of the unfinished opera of Claude Debussy «Rodrigo and Ximena». The article focuses only on the composer’s vocal works. The author thoroughly exqamines the works on poetry of French poets (Ch. Baudelaire, G. de Nerval, B. Vian, R. Char, H. Michaud, G. Bataille), the opera “Froth on the Daydream” based on the novel by B. Viana, the opera “Four Girls” on the play by Pablo Picasso.
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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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Yan, Yang. "The formation of the Chinese orchestra of traditional instruments of a new type in the 1920s-1930s." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 165–80. http://dx.doi.org/10.34064/khnum1-50.12.
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Background. The history of the development of orchestral music for Chinese traditional instruments covers more than a thousand years. During this time, the traditional orchestra has undergone significant changes. In the article the modern stage of the development of the orchestra of a new type is considered starting from the 1920s, when its modification began and integration with the principles of the Western Symphony Orchestra. The modernization of the Chinese orchestra of traditional instruments began in the twentieth century after the overthrow of imperial rule and the emerging changes in Chinese society. Nevertheless, the process of integrating the Western musical traditions was carried out in China for several centuries, which prepared the ground for the qualitative changes that began in the 20th century in the field of national musical art. The development of orchestral music for Chinese traditional instruments is not sufficiently studied today in musicology. One of the little studied periods is the initial stage of the formation of the Chinese orchestra of folk instruments of a new type in the 1920s – 1930s. Objectives. The purpose of the article is to reveal the prerequisites and specifics of the formation of the Chinese orchestra of traditional instruments of a new type in the 1920s and 1930s, to determine the role of outstanding Chinese musicians in the process of modernizing the orchestra and creating the appropriate national repertoire. The methodology of research is based on musical-historical approach combined with musical-theoretical and performer analysis. Results. The first shifts in the integration of Western and national traditions in Chinese traditional orchestral music became possible thanks to the activities of the music society “Datong yuehui”, as well as the emergence of higher professional musical institutions in China and the training of Chinese musicians abroad. The most important role in the formation of the Chinese orchestra of traditional instruments of a new type was played by outstanding musicians Zheng Jinwen, Liu Tianhua, Zheng Tisi. Zheng Jinwen was the initiator of the creation of the society “Datong Yuhui” in 1920. He began the process of standardizing various Chinese instruments with the goal of unifying their sound tuning fork. This was necessary for a well-coordinated game in the orchestral ensemble. The musician modernized and developed new methods of tuning traditional instruments for flute dizi, multi-barrel sheng and expanded the orchestra to forty people. Zheng Jinwen adapted the national repertoire to a new type of orchestra, performing as an author of orchestral transcriptions of ancient music for traditional Chinese instruments. Liu Tianhua became the creator of the Society for the Development of National Music at Peking University (1927–1932). The musician reformed the old system of Chinese notation “gongchi” based on hieroglyphs, modernized it and adapted it to the Western musical notation. Substantial achievement of Liu Tianhua was a significant modification of the erhu with the replacement of strings by metal, changing the settings in accordance with the standards of Western stringed instruments. As a result, the erhu acquired the status of a leading or solo instrument in a new type of orchestra. The activity of the first modern Chinese orchestra of traditional instruments, the musical collective of the Broadcasting Company of China, created in Nanjing in 1935, had a great importance. In 1937, from the Second Sino-Japanese War, the orchestra was transferred to Chongqing, and after the victory of the Communists in 1949, he moved to Taiwan. One of the orchestral musicians, Zheng Tisi, played an outstanding role in the formation of this group. The musician carried out the reformation of this orchestra in the field of tuning instruments. The range of the orchestra was expanded by the introduction of additional wooden string instruments dahu and dihu, having a volumetric sound-board and tuned an octave below the violin erhu. Their purpose was to fill the lower register, alike to the cellos and double basses in Western orchestras. For the first time the post of conductor and his assistant was introduced by Zheng Tisi, which was also able to attract professional composers to create a multi-voiced orchestral national repertoire. The innovations of the outstanding musician made his orchestra a role model for all subsequent similar contemporary Chinese orchestras. Conclusions. The process of forming a Chinese orchestra of traditional instruments of a new type in the 1920s and 1930s made it possible to modernize Chinese traditional folk instruments and the ancient Chinese notation system in order to adapt Chinese orchestral music to the integrative processes in musical art. Orchestral music was reformed in accordance with the principles of Western European symphonic and conducting art. In this process, outstanding highly professional Chinese musicians who contributed to the development of orchestral music in their country and the creation of a corresponding national repertoire played the leading role.
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Pinchuk, Olena. "Vsevolod Topilin is a legendary pianist, but… unknown." Aspects of Historical Musicology 23, no. 23 (March 26, 2021): 159–69. http://dx.doi.org/10.34064/khnum2-23.10.
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Inroduction. Vsevolod Vladimirovich Topilin (1908–1970) is a concert pianist-virtuoso and a teacher who played a significant role in the development of Ukrainian piano culture. His name was as famous as V. Pukhalsky’s, F. Blumenfeld’s, G. Beklemishev’s in the 30-ies of the XX century, and in our time he was respected along with S. Richter, A. Vedernikov and the «great Henry» – H. Neuhaus. He was well-known as the first accompanist of D Oistrakh. Their legendary ensemble was formed in 1930 and toured triumphantly throughout the territory of the Soviet Union and abroad until 1941. The tragic events of the twentieth century broke his life and career, deleted him from the sphere of public activity. He remained in the memory of very few people (and not only musicians!) as the pre-war legendary image of the pianist in the halo of European glory. Theoretical Background. Great significance of V. Topilin’s personality and the scarcity of information about him as well as the absence of special works about the life and work of the pianist and the complete social evaluation of his place in the musical culture determined the goals of this publication. The theme of the tragic fate of the world-acclaimed patriotic musician arises in the context of cruel circumstances of the war and brutal laws of the power. The problem of “artist and government” is reflected in the fate of Topilin in one of its most tragic refractions – under the totalitarian Soviet regime with its antihuman laws. Studying the life of V. Topilin helps us feel the inhuman character of a bygone era, realize its truth and lies, and ask: what are the other layers of unknown spiritual and creative life hidden under the cover of oblivion? The study of this topic is very urgent in the post-Soviet period which is marked by a keen interest in our past and primarily in its forgotten heroes. The purpose of the article is to expand knowledge about the great musician and teacher, adding new details and facts about his personality, and to restore the status of V. Topilin in the history of European pianism. The scientific novelty lies in the reproduction of the facts of V. Topilin’s biography as a whole, inscribed in the general historical and cultural context. The life and work of V. Topilin in the context of the 20s–60s of the 20th century is presented as a real biography of the pianist: from apprenticeship to the first heights of professional recognition; from fascist captivity – through many years of the Gulag and ‘amnesty’ – to the late revival of Conservatory classes. The whole life of the artist is traced in inseparable connection with the historical, and first of all – musical-historical context of the time. Conclusions. Our research has returned the name of Vsevolod Topilin to the history of our culture, revived an important page of our history, rudely torn out by the previous government. The life of V. Topilin demonstrates greatness of the spirit of the artist, who was able to find the strength to return to the great art and leave his mark in the history of national culture.
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Stephens, Randall J. "“Where else did they copy their styles but from church groups?”: Rock ‘n’ Roll and Pentecostalism in the 1950s South." Church History 85, no. 1 (February 29, 2016): 97–131. http://dx.doi.org/10.1017/s0009640715001365.
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Church leaders and laypeople in the US went on the defensive shortly after rock and roll became a national youth craze in 1955 and 1956. Few of those religious critics would have been aware or capable of understanding that rock ‘n’ roll, in fact, had deep religious roots. Early rockers, all southerners—such as Elvis Presley, Johnny Cash, Little Richard, Jerry Lee Lewis, and James Brown—grew up in or regularly attended pentecostal churches. Pentecostalism, a vibrant religious movement that traced its origins to the early 20th century, broke with many of the formalities of traditional protestantism. Believers held mixed-race services during the height of Jim Crow segregation. The faithful spoke in tongues, practiced healing, and cultivated loud, revved-up, beat-driven music. These were not the sedate congregants of mainline churches. Some pentecostal churches incorporated drums, brass instruments, pianos, and even newly invented electric guitars. Rock ‘n’ roll performers looked back to the vibrant churches of their youth, their charismatic pastors, and to flashy singing itinerants for inspiration. In a region that novelist Flannery O'Connor called “Christ-haunted,” the line between secular and sacred, holy and profane was repeatedly crossed by rock musicians. This article traces the black and white pentecostal influence on rock ‘n’ roll in the American South, from performance style and music to dress and religious views. It also analyzes the vital ways that religion took center stage in arguments and debates about the new genre.
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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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Peycheva, Lozanka. "Traditions in the Discussions about the obrabotvane of Folklore in the Avtorski Pesni v Naroden Duh from Bulgaria." Arts 9, no. 3 (August 12, 2020): 89. http://dx.doi.org/10.3390/arts9030089.
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The avtorski pesni v naroden duh (authored songs in folk spirit) are a modern and multifaceted phenomenon, which has accumulated a rich history in Bulgarian musical culture. This research presents the essential characteristics of these songs and a two-part typology (1. authorized/avtorizirani folk songs; 2. newly composed songs ‘in folk spirit’), which is based on both models of authorship (according to Michel Foucault, authorial function is manifested in two basic forms of authorship—plagiarism and appropriation). This study provides an overview of some of the thematic debates that attempt to resolve the inevitable contradictions and tensions surrounding songwriting in folk spirit. The avtorski pesni v naroden duh have attracted the critical attention of Bulgarian musicians and society and have been the subject of lively discussions, criticisms, and controversy in numerous publications from the first decades of the 20th century to the present. This survey offers different perspectives, opinions and arguments focused on one of the main discussion topics related to the creation and functioning of the avtorski pesni v naroden duh: pro and contra the obrabotvane (transformation, polishing, processing, cultivation) of folklore. This problem has been at the heart of intellectual discussions since the 1930s and during the 1950s–1980s. The critical discussion of the question pro and contra the obrabotvane of folklore, with its whole inconsistency, complexity and impossibility to be reduced to unambiguous answers, leads to sharp confrontations between the holders of different opinions.
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Pereverzeva, M. V. "The Works of Contemporary Composers in the Teaching Repertoire of the Music Institutions: Mastering Problem." Contemporary problems of social work 6, no. 4 (December 30, 2020): 29–35. http://dx.doi.org/10.17922/2412-5466-2020-6-4-29-35.
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the article’s subject is avant-garde music of the 20th century and problem of its mastering in educational process in music institutions. The purpose of the work is providing the methodological recommendations for the mastering of avant-garde music in the training of music educators. The results of the work are follow: there have been detailed examination of the basic concepts and artistic and aesthetic principles, as well as the expressive means of this music, the problems of perception of modern compositions and its presentation in the educational process of institutions, the analysis and performance of avant-garde music, the theory of modern composition, the evolution of the piano performing style. Novelty of this article consists of scientific and practical results of music teachers’ work achieved by researchers, develops advanced ideas of domestic and foreign authors, but first of all it is designed to solve the main dilemma of art and education: the stylistic restriction of music, mastered by future music educators; the availability of highly artistic musical works that require conventional performing skills, and their absence in the teaching and concert repertoire of musicians; insufficient use of educational potential of avant-garde music in the training of music educators. Conclusions: piano music of American minimalist composers provides a comprehensive education of future music educators in the field of history and theory of music, the evolution of the musical language and performing style, students’ mastering of special competencies, thereby contributing to the formation of students’ universal professional performing skills and abilities.
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Hadžihasanović, Ivana, Merima Čaušević, and Indira Mahmutović. "Uticaj muzičko-plesnog edukacijskog programa / Influence of a Specific Music and Dance Educational Program." Pregled: časopis za društvena pitanja / Periodical for social issues 62, no. 2 (November 30, 2021): 21–37. http://dx.doi.org/10.48052/19865244.2021.2.21.
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Throughout most of history, children with hearing impairments were on the margins of society. Because of their place in society, research about the possibility of music perception and engaging actively as a professional musician and dancer, started at the end of the 20th century. Although that progress started at the end of the 20th century, children with hearing impairments from Bosnia and Herzegovina don't have enough support of educational system which could include them in art education. This situation we can especially see in field of music and dance, which are very hard for adjustment because of their sensory impairment. To prove that children with hearing impairments can perceive music and improve their motor ability with the help of dance which is not at their age level, we created a special educational program which consists of music-dance workshops, where the main goal is to improve body coordination and speed of movement with music-rhythmic stimulations and dance. In this program, which last four and half months, we included 14 girls with hearing impairments from eleven to fifteen years of life. At the beginning of this program, we performed initial measurement of body coordination and movement speed, and at the end of this four-and-a-half-months long program, we performed final measurement through five standard tests: Eight with banding (MKOS), Steps aside (MKKS), Envelope test (MKKT), Slalom with three medical balls (MKS3M) and Long jump backwards (MKSUU). For effect analysis of applying musical-rhythmic stimulation, we used t-test for final samples (paired samples test). The results of this research are showing us that there is statistically significant difference in ability of body coordination and movement speed and that this musical-dance workshop program has positive impact on development of chosen motor ability.
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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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Zeyu, Liu, Yu Rui, and Zhang Chenggong. "Research on the Influence of Music." Studies in Social Science Research 2, no. 3 (August 18, 2021): p61. http://dx.doi.org/10.22158/sssr.v2n3p61.
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As for question 1, based on the directed relationship between influencers and followers, we building a network of musicians based on influential relationships. A Music Influence Evaluation Model (MIEM) was also established, and the model formula is shown in the text. We then select the top 200 artists in the “music influence” ranking to build a subnet. The larger the subnet node, the more lines are extended. Indicating that the node represents the musician’s influence is large and extensive. From the graph, we can see that Bob Dylan is influential, but the breadth of influence is not enough; Miles Davis influenced a wide range of music factions.As for question 2?We have developed a Music Similarity Evaluation Model (MSEM) to calculate the contribution parameters of fifteen different music metrics. Using fully connected neural networks combined with triple loss to solve the answer. According to the characteristics of Triple Loss, we can make the similar nodes in the space closer together and the dissimilar nodes further apart. After training, our neural network is able to distinguish artists very well. The results were obtained: artists within genres are far more similar than artists between genres, and a classification image of musicians from different genres was produced.As for question 3, a comparative plot of characteristics revealed that music genres also have their own particular musical characteristics. The comprehensive analysis concludes that the difference between genres is mainly reflected by the six features of valence, tempo, mode, key, acousticness, and instrumentalness, and this result is verified by k-means clustering. By plotting the percentage of influence as well as the change of musical characteristics, it was concluded that the influence of genres changes over time; some musical characteristics in genres also change over time. Finally, the similarity between each faction is calculated and plotted as a heat map, and the genres with high similarity must have interrelated relationships with each other.As for question 4, we have developed a Music Influence T-test Model (MITM). We hypothesized that “influencers” would not influence followers to create music, and a t-test using SPSS rejected the original hypothesis and concluded that “influencers” would influence followers to create music. Additionally, Contagious Evaluation Model(CEM) was also be created. We established the “contagious” index and calculated the Pearson correlation coefficients between “contagious” and 15 musical characteristics, and obtained the results: energy, loudness, and acousticness are more “contagious” than other characteristics. Results: energy, loudness and acousticness are more “contagious” than other features.As for question 5, a time series plot of the variation for each musical characteristic with year was plotted and the analysis yielded the following conclusion: There are characteristics that signify revolutions in musical evolution from these data. For example, the music after 1960s showed changes characterized by higher rhythmicity, faster tempo, and fewer spoken words. Based on these musical evolutionary changes, combined with the “musical influence” we calculated earlier, we select five musical change-makers: The Beatles, Bob Dylan, The Rolling Stones, Miles Davis and Jimi Hendrix.As for question 6, we combined musical influences to identify the most influential musicians in each genre in each era as dynamic influencers to represent the music of the genre in that period. Creating images of their musical characteristics over time and analyzing them in relation to the history of musical development led to the conclusion that an artist’s musical identity changes with technology, social development, and changes in genre representation?As for question 7, a Network Connectivity Evaluation Model(NCEM) was developed to measure which artists in the music network were heavily influenced by external factors during the time period. The first and middle of the 20th century were found to be highly connected online, and this period coincided with a period of social upheaval, with the Cold War, World War II, the Industrial Revolution, and the rapid development of the Internet having a great impact on music, from which many new musical styles were born.
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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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Раку, М. Г. "The Music of Max Reger in Russia: About Paradoxes of Reception’s History." Музыкальная академия, no. 4(768) (December 20, 2019): 190–204. http://dx.doi.org/10.34690/27.
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Статья посвящена одному из кратких, но ярких эпизодов истории рецепции немецкой музыки в предреволюционной России - бурному увлечению столичной публики и музыкантов сочинениями Макса Регера, которое стало характерной приметой петербургской концертной жизни первого десятилетия ХХ века. Такие показатели успеха, как количество премьер и отзывов в прессе, на которые традиционно ориентируется рецептивная история, дополняются сведениями о приватных исполнениях сочинений композитора и другими косвенными свидетельствами о распространении его музыки, включая число изданий в библиотечных собраниях Москвы и Санкт-Петербурга. Сравнение последних показывает, что петербургский «культ» Регера музыкальная Москва не разделила. В этом можно усмотреть причину того, что договоренность Александра Зилоти с Регером о будущих московских гастролях после громадного успеха петербургских не была воплощена. Несмотря на исключительный интерес к творчеству Регера российской композиторской молодежи, более десятка талантливых представителей которой стали его учениками в Германии, стилистическое воздействие его музыки в России оказалось минимальным. Действительным результатом этого увлечения можно считать более свободное отношение к гармоническому языку, которое, однако, привело воспитанников русской композиторской школы к самостоятельным решениям. На примере российской рецепции музыки Регера можно говорить о разнообразных и порой не прямых и не очевидных по своему результату формах, в которых проявляет себя творческое влияние. The article is dedicated to one of the brief but vivid episodes of the history of the reception of German music in pre-revolutionary Russia to the turbulent fascination of the capitals public and musicians with the compositions of Max Reger, which became a characteristic feature of the St. Petersburg concert life of the first decade of the 20th century. Indicators of this success, such as the number of premiers and press reviews traditionally oriented to the receptions story, are supplemented by information about private perfomances and other circumstantial evidence of the distribution of his music, including the number of sheet music in the main library collections of both capitals. The comparison of the latter shows that musical Moscow did not share the kult of Reger in Petersburg. In this we can see the reason that the agreement between A. Siloti and Reger on future tours in Moscow after the huge success of Petersburg was not realized. Despite the exeptional interest in the work of Reger russian composer youth, more than a dozen talented representatives of which became his students in Germany, the stylistic influence of his music in Russia was minimal. The real result of its influence can be considered a more free attitude to the harmonic language, which however led the pupils of the Russian composer school to independent results. On the example of the Russian reception of Regers music, we can thus talk about various and sometimes not direct and and not obvious in its result forms in which the creative influence manifest itself.
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Panov, Alexei A., and Ivan V. Rosanoff. "Performing Ornaments in English Harpsichord Music. Part II." Vestnik of Saint Petersburg University. Arts 12, no. 1 (2022): 4–32. http://dx.doi.org/10.21638/spbu15.2022.101.
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This article continues a series of publications on problems pertaining to performing ornaments on keyboard musical instruments in England of the 17th–18th centuries according to historical documents of that time. The authors consider the history of the publication of the ornamentation table with thirteen embellishments compiled by Charles Coleman and published in the treatises The Division-Violist by Christopher Simpson (1659) and A Brief Introduction to the Skill of Musick by John Playford (1660). Among other matters, various aspects in the Rules of Graces worded by Henry Purcell (A Choice Collection of Lessons for the Harpsichord or Spinnet, 1696) are discussed. In particular, in the table published by Simpson, special attention is paid to a comprehensive review of the realization of such ornaments as “[The] Backfall shaked” and “[The] Shaked Beat”. In “Rules of Graces” contained in Purcell’s A Choice Collection, the authors turned to the ornaments called “[The] beat” and “a plain note & shake”, as well as to the following well-known instruction formulated by the famous musician: “observe that you allway’s shake from the note above and beat from ye note or half note below, according to the key you play in <…>”. In the course of the research, numerous errors and inaccuracies were discovered and noted in the scientific and reference-encyclopedic literature of the 20th century concerning the interpretation of ornaments in England in the second half of the 17th century and in the content of English musical treatises of that time.
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Nakienė, Austė. "Shifts in the Traditional Culture. Folksongs in the 21st Century City." Tautosakos darbai 49 (May 22, 2015): 171–92. http://dx.doi.org/10.51554/td.2015.29011.
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The traditional culture existing in the city experienced considerable changes in the course of the last century. Rather than comprising continuous, gradual development, this change involved several radical cultural shifts, taking place in the 20th century (e. g. in the beginning of the century, in the 1960s, and 1990s). The article compares the urban, social and cultural changes in order to determine periods when the traditional culture experienced the most crucial transformations and when various new phenomena appeared. A clear shift in the urban culture took place in the 1960s in Lithuania, when a political “warming” of sorts could be felt and the pressure of the communist ideology was somewhat lighter. The economic growth was followed by the formation of the consumer society (although a rather different one from that emerging in the liberal countries), taking place in Vilnius, Kaunas, and other cities. The 1960s and the subsequent decades were characterized by a considerable variety of the urban culture in Lithuania, especially in its capital city. In the musical sphere, the state-supported academic music, the professionally performed folk music, and the show music were particularly thriving; but performances of jazz, rock and authentic folklore also gained momentum.The Lithuanian Folklore Theater, which started its activity in 1968 in Vilnius, can be presented as a typical example of the altered tradition. Director of this theater Povilas Mataitis and his wife, scenographer Dalia Mataitienė managed to achieve a subtle harmony between the folk tradition and their individual artistic expression, uniting in their performances elements of folklore and the modern art, and using small artistic forms, so typical to the folk art, to create complicate ambivalent compositions. Nevertheless, the stylistic shifts of the 1960s were best reflected in the rock music. The swinging two-part rhythm and open expressions of the individual feelings embodied a radical stylistic change at that time (although such means of expression are completely common and trivial today). Starting from the 1960s these innovations affected not only the urban composers, but also the folksong creators at the countryside.The significant cultural shift took place also after the Lithuanian independence was regained in 1990. The Soviet past was rejected, the Western notion of culture was willingly adopted, and the patterns of cultural life and financing were increasingly altered. The formerly state-supported cultural institutions and performers had to adapt to the free-market. At first, the cultural shift of the 1990s resembled an avalanche: the former unified whole – the coherent image of the national culture created during the Soviet times was shattered. Composers and authors plagued by various difficulties found respite, though, in the new kinds of the available information, the opened possibilities of getting to know the global culture, which had been hitherto almost impossible to gain access to. The epoch of postmodernity, characterized by free associations between various historical and cultural signs, was favorable to the continuation of traditions; therefore various transformations of folklore quickly appeared, musical styles from different periods and nations were abundant, and all sorts of their hybrids were created. A new thing establishing itself on the Vilnius pavement was hip hop – the Afro-American music and life style, born in the suburbs of New York. It was increasingly adopted and furthered by the Vilnius inhabitants, born in the concrete districts of the city, whose youth coincided with the years of the post-Soviet economic “shock-therapy”.The traditional music found its place in the city as well, growing as a moss on a stone. It is now performed both in the great ceremonious halls and in the small, stuffy premises, or simply outside during spring and summer. The city of the 21st century is characterized by such cultural phenomena as urban folklore, bard songs, live music, street music, post-folklore, indigenous culture, Baltic music, pagan art, improvisational music, underground music, etc. Urban tradition is a multifaceted and a multileveled one, its continuation constantly involves connecting different musical styles and respective communities.In the urban environment, the preservation of the folk music is no longer the concern of exclusively the representatives of the folklore movement; authors of different kinds are also involved, including the jazz and rock musicians, visual artists, IT specialists, and actors. Nowadays, the third generation is gradually involved into the urban folklore movement, as its pioneers, having already become grandparents, bring their grandchildren into the same halls and yards of the Old Town, where they used to perform in their youth. At the same time, new cultural wave created by the contemporary young people rises from the underground clubs, multimedia or electronic music labs, and artistic workshops. The young keep always creating something new, but this should not be regarded as a threat to the preservation of the urban folk tradition.
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Sartin, J. S. "Contagious Rhythm: Infectious Diseases of 20th Century Musicians." Clinical Medicine & Research 8, no. 2 (July 1, 2010): 106–13. http://dx.doi.org/10.3121/cmr.2010.882.
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Palkovic, Mark. "Sources: Musicians and Composers of the 20th Century." Reference & User Services Quarterly 49, no. 3 (March 1, 2010): 295–96. http://dx.doi.org/10.5860/rusq.49n3.295.
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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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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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Власова, Е. С. "N. Yа. Myaskovsky as He is Portrayed in His Correspondence with B. V. Asafiev." Научный вестник Московской консерватории, no. 4(31) (December 21, 2017): 92–107. http://dx.doi.org/10.26176/mosconsv.2017.31.4.03.
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Более 40 лет переписка Н. Я. Мясковского и Б. В. Асафьева хранилась в РГАЛИ в закрытом режиме. В настоящий момент архив предоставил разрешение на ее пу бликацию. Значение этого документального памятника для музы кальной истории трудно переоценить. Переписка сохранилась в полном виде: 467 писем, охватывающих период с 1906 по 1945 год. По временнóму масштабу и фактологическому охвату она не уступает широко известной переписке Н. Я. Мясковского с С. С. Прокофьевым (включающей 451 письмо), а в чем-то ее и превосходит. Прежде всего, доверительностью общения со стороны Мясковского, который был по отношению к Асафьеву более откровенным, чем с автором «Игрока». Почти полувековое общение выдающих ся деятелей русской культуры являет ся драгоценным историческим свидетельством, тем более что музы кально-историческая наука располагает пока лишь считанными образцами документального наследия первой половины ХХ века, отно сящего ся к личным архивным коллекциям писем и дневников.В статью включены ранее неизвестные факты, по-новому освещающие биографию и психологический портрет Мясковского. Рассматривает ся его отношение к революционным изменениям в стране, к большевикам, к эмиграции, к государственной культурной политике, к Российской ассоциации пролетарских музыкантов (РАПМ). Ставит ся вопрос об особенностях восприятия творческого процесса композитором, о подоплеке его сложного отношения к своим опусам. Изложены новые сведения о жизни автора «Аластора», представляющие музыковедческую часть его обширной и разнообразной созидательной деятельности. For more than 40 years the correspondence between N. Ya. Myaskovsky and B. V. Asafiev has been kept in the Russian State Archive for Literature and Arts behind closed doors. Currently, the archive has granted permission for its publication. The value of this documentary monument for music history cannot be overstated. This correspondence was preserved in its entirety: 467 letters, covering the period from 1906 to 1945. In comparison, the already known correspondence between N. Ya. Myaskovsky and S. S. Prokofiev contains 451 letters. Moreover, if comparing time scale and factual coverage, the Myaskovsky-Asafiev correspondence not inferior to this of Myaskovsky and Prokofies, it is even superior in some ways (ultimately, Myaskovsky was more honest with Asafiev than with the author of “The Gambler”). This correspondence embraces almost half a century of communication between the two outstanding cultural figures, and it is a precious historical testimony taking into consideration that Russian musical-historical science still disposes only a few samples of documentary heritage of the first half of the 20th century related to personal archival collections of letters and diaries.In this paper previously unknown facts are set out which present Myaskovsky’s biography and his psychological portrait in a new way. His attitude to revolutionary changes in the country, to the Bolsheviks, to emigration, to the state cultural policy, to the Russian Association of Proletarian Musicians (RAPM) is investigated. The question about the peculiarities of the composer’s perception of the creative process, about the background of his complex attitude to his opus is raised. Some new information on the composer’s life, representing the musicological part of his extensive and diverse creative activities, is laid down.
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Shakhmamedova, Naiba. "Modal Intonation Features of Crowd Scenes in the Operetta “O olmasyn, bu olsun” (“Not that, so this”) by U. Hajibeyli." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 4, no. 1 (June 4, 2021): 73–88. http://dx.doi.org/10.31866/2616-7581.4.1.2021.233340.
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The article analyses the features of the crowd scenes’ structure in the operetta “O olmasyn, bu olsun” (1910) by the outstanding composer Uzeyir Hajibeyli (1885–1948), who founded the Azerbaijani professional composer school at the beginning of the 20th century. In this operetta rich in comic imagery, the composer’s style is reflected in choral scenes influenced by harmonious recitatives and musical patterns and analyzed as a philosophical sphere of reflection of events in the comical plane. He also interprets the development of the operetta genre as a genre of contemporary music in the professional traditions of Western European music in Azerbaijan, as well as the features of intonation that are relevant in Azerbaijani folk music in terms of its structure and thematic focus. The purpose of the research is to analyze the modal features of the operetta “O olmasyn, bu olsun”. For this, the variety of characters available in the work, the line of development of these characters as an issue to study the compatibility of the inner world of characters, given both emotionally and comically, come to the fore. It is also noteworthy that the comparison of moods and intonations in the events taking place in the crowd scenes is naturally reflected here. The research methodology draws attention to the comparative and historical analysis of music theory and history of music, axiological and cultural approaches. Here, the principle of using texts in musical scenes reflects the originality of the composer’s style. Our analysis made it important to consider the research of various researchers who adhere to the principle of secularism. The scientific novelty of the research lies in the fact that for the first time in U. Hajibeyli's operetta “O olmasyn, bu olsun”, an extensive analysis of fret features in crowd scenes with different editions was carried out. The emergence of these features also serves as an example for musicians and composers working in the field of musical composition. Conclusions. The analysis of the modal intonations’ features of crowd scenes in the operetta by U. Hajibeyli “O olmasyn, boolsun” shows the clarity of the intonation principles in Azerbaijani folk music from the point of view of the correspondence of images. This aspect also shaped the composer’s intonation concept. Musical materials suitable for the composer’s comedy scene explain the different situations of the protagonist. The article draws attention to the combination of images and choral performance used in public scenes, for example, the combination of mood and intonation. The use of historical, musical theory, composition, modal intonation features on the public stage is more consistent with the fret concept created by the composer U. Hajibeyli.
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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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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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Angus, Bill. "Going down to the crossroads: popular music and transformative magic." Popular Music 39, no. 2 (May 2020): 257–69. http://dx.doi.org/10.1017/s0261143020000379.
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If there is a single narrative that captures the modern understanding of transformative crossroads magic it is the spurious fable of the selling of Robert Johnson's soul. When, in the palaeoanthropology of 20th century rock and roll music, the biographers of the short-lived blues legend claimed that he had been down to the Dockery Plantation crossroads at midnight to sell his soul to the Devil in exchange for guitar skills, they were perhaps unwitting witnesses to the deep history of myth and ritual that has long been associated with the transformative space of the crossroads. They were not lacking in foresight, however, about the way in which such a claim would enhance their subject's credibility. The value of such a sulphurous reputation for a musician is not merely a recent phenomenon but also has historical precedents. A hundred years before Johnson (who lived 1911–1938), the guitarist and violinist Niccolo Paganini (1782–1840) was considered such a suspiciously devilish virtuoso that his audiences were reputed to cross themselves before his concerts in hope of protection from subtle demonic influence. One audience member even fled a concert after reporting seeing the Devil himself aiding Paganini's performance. Going a little further back, Giuseppe Tartini (1692–1770) explained of his best-known sonata, The Devil's Trill (1713), that he had ‘written down the piece after waking from a particularly vivid dream of the Devil playing a violin with ferocious virtuosity’, and claimed that it was ‘but a shadow of what he had witnessed in the dream, for he was unable to capture on the page the Devil's full intensity’. His long career was certainly not harmed by this youthful excursion into Hell.
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Han, Siuebin. "Sang Tong’s contribution to the development of the national theory of harmony." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 61–76. http://dx.doi.org/10.34064/khnum1-50.05.
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Background. The article is devoted to the study of the scientific works of Sang Tong in the field of the national theory of harmony. His studies has a leading role in the development theoretical thought in the area of Chinese musicology and composition. Sang Tong’s contribution to national music education is determined by clarity of presentation of his teaching materials supported by numerous examples that is motivation for students to comprehend the science of composition. Being an outstanding composer, Sang Tong talentedly integrated the dissonant and pentatonic writing, emphasizing in his writings the national specifics due to atonal organization of music. The works of Sang Tong sounds abroad, they are performed on a concert stage, occupies a worthy place in the educational process of students of conservatories from different countries. In this connection, seems to be relevant the purpose of this article is to identify the main provisions of the theoretical works of the outstanding Chinese composer in the field of the national science of harmony and their role in the development of Chinese musical art in the second half of the 20th century. The mastering of this information is extremely necessary for the performers of San Tong music, as well as for teachers who are studying this musical repertoire in a class with students. Finally, the information presented will provide an opportunity to comprehend the artistic value of the musical heritage of Sang Tong, as well as allow attract more wide circles of professional musicians and audiences to his works. The results of the study. The first theoretical work of Sang Tong was the article “Theory of chord application and their subordination” (1957), where the musician analyzes the views of various authors on the problem of harmonization in composer’s work, systematizes them, giving a personal assessment. He gives many examples of the use of one or another composition tool. The composer considers methods of textural complexity in the study “Parallels to historical evolution and its application in Chinese and foreign musical works combined with pentatonic melody” (1963). In searching for his own composer’s writing, Sang Tong wanted to find the perfect textural balance: on the one hand, not reaching the difficult to perceive linear polyphony, on the other – not simplifying the texture into primitive forms of contrasting polyphony (as a variation of heterophony). The research experience of the 1960s and the 70s Sang Tong summarized in the monograph “Discussion on the horizontal and acoustic structure of pentatonic” (1980), which became a quality-teaching tool in the field of secondary music education. University vocalists also study at lectures on harmony, which helps them to expand the horizons of knowledge about national music. In 1982, Sang Tong published the first comprehensive study of contemporary music in China entitled “Introduction to harmonic processing techniques” in the journal Musical Art. Since 1994, Sang Tong planned to write a fundamental work that sums up his research – the ontology of Chinese music, but from year to year, because of illness, postponed it. Finally, in 2004, the Shanghai Music Publishing House published a series of Sang Tong articles in the form of a monograph “The Historical Evolution of Semitones”. This work is a fundamental study of the history of the development of harmony in China, which provides answers to the questions of the evolution of Chinese semantics and, related to it, the theory of the acoustics of Chinese instruments. Thinking about the quality of secondary music education, Sang Tong decided to prepare a textbook for an initial five-year program of study. In 2001, he published the Harmony Course, submitting it to the state commission for consideration as a school textbook. The San Tong’s Course of Harmony has become a basic national textbook in China. To date, the level of this theoretical work is considered unsurpassed and attributed to masterpieces in the field of music education. It is distinguished by a solid theoretical foundation that allows the students to find any answers to questions concerning the principles of voce-leading, transport, rules of resolution of various intervals. Conclusions. The composer and theorist Sang Tong entered the history of Chinese music of the twentieth century as the founder in the field of the modern national theory of harmony. For more than fifty years of academic research, Sang Tong has made an outstanding contribution to the development of theory of harmony in China, was creating a number of musicological studies of harmony that demonstrate the highest theoretical level. He laid a solid foundation for the future development of the national school of harmony theory, bringing the younger generation of Chinese composers to a high professional level.
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Schulze-Marmeling, Friederike. "»20th century Aisha«?" Kirchliche Zeitgeschichte 32, no. 2 (December 6, 2019): 346–63. http://dx.doi.org/10.13109/kize.2019.32.2.346.
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Zharinov, G. M., A. I. Mikhalsky, N. Yu Neklasova, and V. N. Anisimov. "Longevity and Some Causes of Death in Musicians of the 20th Century." Advances in Gerontology 10, no. 2 (April 2020): 193–203. http://dx.doi.org/10.1134/s2079057020020150.
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