Journal articles on the topic 'Nature in music History and criticism'
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1
Miller, Kiri. "Americanism Musically: Nation, Evolution, and Public Education at the Columbian Exposition, 1893." 19th-Century Music 27, no. 2 (2003): 137–55. http://dx.doi.org/10.1525/ncm.2003.27.2.137.
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The Columbian Exposition (the World's Fair in Chicago, 1893) was intended to represent the entire progress of human history, with American civilization as its culminating triumph. The Exposition celebrated the four-hundredth anniversary of Columbus's discovery of the New World; it restaged that discovery in myriad ways: from the display of ““savage races”” on the Midway to the construction of an emergent American middle class as civilization's newest noble savages, hungry for education. Music was an integral part of the Exposition. America's musical elite took an active role in the fair's promotion and design. The Exposition also stimulated a flood of writing on the nature and future of ““truly American”” music. This article examines American musical culture at the Exposition, with attention to music as art, science, and commerce three categories at the heart of the Exposition's formal definition of music. The network of mutual reinforcements, contradictions and the related concepts of nation, race, and evolution has powerful implications for the ensuing history of music in America. Analysis of the educational agenda of music at the Exposition suggests it taught its visitors--5 to 10 percent of the American population--a great deal about race, class, nationhood, and their identity as consumers. Reading the musical criticism, speculative philosophy, and patriotic grandstanding that accompanied the fair shows how musical thought of the day relied on evolutionary theory.
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Loos, Helmut. "Beethoven — the Zeus of Modernity." Culturology Ideas, no. 18 (2'2020) (2020): 66–84. http://dx.doi.org/10.37627/2311-9489-18-2020-2.66-84.
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A large part of German musicology sees itself as a science of art in the emphatic sense and is committed to quite different principles than historical-critical approaches in the discipline. The latter seek to gain a realistic picture of the history of music, including contemporary ways of thinking, and allow for historical actors to make meaningful, free will decisions within anthropologically determined circumstances. The emphatic science of art, on the other hand, claims to be able to prove and scientifically determine the objects of great art music and their nature. It originated during the Enlightenment, when philosophy took the place of religion and created ever new theoretical constructs of thought presented as scientifically proven and binding. In music, Beethoven rose to the ideal of the ingenious creator, who embodied the progress and achievements of mankind on the path toward perfection. Thus, in the course of the 19th century, a Beethoven cult developed using philosophy as its guide in selecting and evaluating historical sources, gladly accepting literary testimonies as historical fact. Historical criticism, which revealed this construction of a romantic image of Beethoven, was suppressed for a long time. Society’s broad acceptance of the notion of the evolutionary progress of mankind, one to which modernity adhered, proved too powerful, and belief in it took the form of an art religion. Beethoven as Zeus of the Third Reich, as the god of modernity, was the program and message of the 14th Secession Exhibition in Vienna in 1902. This image was destructed in the late 20th century.
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Beveridge, Patrick. "Color Perception and the Art of James Turrell." Leonardo 33, no. 4 (August 2000): 305–13. http://dx.doi.org/10.1162/002409400552694.
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The author discusses James Turrell's artworks in relation to contemporary disputes about the nature of color. The idea of Turrell's pieces as “pure chromatic sensations” is implausible to per-ceptual psychologists who have adopted the ecological approach of J.J. Gibson. Such psychologists view visual sensations as mere symptoms of the stimulation of the photoreceptors in our retinae. Their idea goes against the tradi-tional theory of color. The ten-dency of philosophers throughout history has been to take colors to be the exemplary instances of simple, unanalyzable qualities. However, the difficulties of prov-ing that these qualities can be traced back to a set of material properties suggest that there is no coherent view on their ontologi-cal status. The author considers current efforts to address this problem, along with the relevance of these attempts to criticism of Turrell's artworks.
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Vasiliu, Laura-Otilia. "The relevance of context in musicological interpretation. Hermeneutical applications on certain Romanian writings and works." Artes. Journal of Musicology 25, no. 1 (April 1, 2022): 47–57. http://dx.doi.org/10.2478/ajm-2022-0004.
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Abstract We have been perceiving ever more acutely for the past two decades a major change in the vision and musicological style in the Romanian language: language analysis and historiographic research have slid onto a secondary plane, while the commentary of the work, of its interpretation and the characterisation of the style, determined by the social, political, biographical, artistic factors, by the means of expression of the time focus researchers’ interest increasingly. The history of contemporary musicology recognises the moment of change of the thinking paradigm in the 1980s writings belonging to Joseph Kerman: the article How we got into Analysis, and How to Get Out and the volume Contemplating Music. The author criticises the formalism and positivism which define musicology, identified with musical analysis, reveals its ideological nature, as the relation between analysis and organicity is the leading ideology. The American musicologist pleads for a more cultural form of musical criticism, supported by the exposure of the context and of the sources of the work objectified. According to Kerman, musicology had become more discoursively-critical and less positivist (so-called scientific), being more preoccupated with interpretation than with information on the writing details and historical data; it had reconquered its interdisciplinary valences and envelopped all musical genres. Analysing the effects of this direction on the Romanian musicological discourse, we do two case studies: 1. the recent collective work Noi istorii ale muzicii românești [New histories of Romanian types of music], coordinated by Valentina Sandu-Dediu and Nicolae Gheorghiță in the direction of emphasising and/or cancelling the effects of (nationalistic, socialist-realist) ideology on the value judgement of the anthologised musical and creative phenomena; 2. the musical comedy Amorul doctor [Dr. Love] by Pascal Bentoiu, regarded from the perspective of the relation between the artistic value and the cultural trajectory broken by the obscurity of Romanian society in the first half of the 1960 decade.
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Leinman, Colette. "Le « Musée de poche »: collection productrice d'un patrimoine artistique." Nottingham French Studies 58, no. 3 (December 2019): 382–95. http://dx.doi.org/10.3366/nfs.2019.0264.
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In 1955 a polychrome and affordable collection of writers' biographies was created, allowing a large and young audience to easily access contemporary art, especially abstract art. This is hardly a given in the context of post-war, where the return to classical French aesthetics clashes with Socialist Realism. This study of ‘The Pocket Museum’ (1955–1965), shows how the collection fits into art writing, between art criticism and poetic writing, and how it enables the reader to discover abstract works. An ideal place for mediation and transmission, the collection, as an editorial strategy, helps to transform these new aesthetic creations into a national cultural heritage. Through a discursive analysis of ten books from the collection, three processes that have contributed to the promotion of abstract art are highlighted: the legitimacy of the author's discourse, whether he is an art critic, a poet, writer or journalist; the representation of the artist in question, whose difficult path is both stereotyped and singular, but always valorized; and finally, a series of analogies between abstract art and nature or comparisons with music, or else metaphorical expressions manifesting the ‘collapse of time’ where the universality of abstract art is part of the past, the present and the future.
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Narozhna, O. V. "CONDUCTING AN EXAMINATION OF MUSIC LITERATURE IN THE INVESTIGATION OF OFFENSES RELATED TO ASSAULT ON CULTURAL VALUES." Constitutional State, no. 44 (December 23, 2021): 119–24. http://dx.doi.org/10.18524/2411-2054.2021.44.245086.
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The article discusses the issues arising in the investigation of criminal offenses on the example of illegal search work at an archaeological heritage site, destruction, destruction or damage to cultural heritage sites. Conducting certain types of examinations is disclosed as the activity of experts who possess knowledge of certain branches of science. The issues of carrying out a comprehensive forensic technical examination of documents and art criticism are highlighted. The main methods used by experts of the above types of expertise have been determined. It was emphasized that the most promising and expedient procedure for carrying out a comprehensive examination of music literature is to first conduct a technical examination of documents, which will allow restoring the lost fragments of both the material and the text of a musical work, taking into account the methods that will then be used by an art expert. Activities for pre-trial investigation of crimes that encroach on cultural heritage, cultural values, where the objects of examination are music literature, in particular, is a complex multifaceted and multifaceted process to perform the tasks of criminal justice. The specific nature of the investigation of these criminal offenses makes the issue of organizing examinations quite relevant. The multifaceted investigation of these offenses is reflected in its organization, in particular through the use of special art knowledge in procedural and non-procedural forms. The practical purpose of the organization is to determine the optimal direction and content of the investigation, optimize its purpose, forces and means necessary to achieve it, the correct placement of forces and the creation of appropriate conditions. The growing needs of modern society in the use of knowledge in the field of art history does not bypass the field of justice. Understanding the importance of special knowledge for establishing factual data gives grounds to consider forensic science as an independent institution for the protection of the rights and legitimate interests of citizens, legal entities and the interests of the state as a whole.
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Ridgeon, Lloyd. "The Controversy of Shaykh Awḥad al-Dīn Kirmānī and Handsome, Moon-Faced Youths: A Case Study of Shāhid-Bāzī in Medieval Sufism." Journal of Sufi Studies 1, no. 1 (2012): 3–30. http://dx.doi.org/10.1163/221059512x617658.
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Abstract The ability to witness the divine in creation has been one of the features that has often distinguished Sufis from non-Sufis. One of the most controversial manifestations of this was shāhid-bāzī (“playing the witness”), which was a practice of gazing at the form of young males in order to witness the inner, divine presence. Since medieval times a Persian Sufi by the name of Awḥad al-Dīn Kirmānī has been most commonly associated with shāhid-bāzī (especially during the samāʿ—or the ritual of Sufi music and dance). The controversy relating to Kirmānī seems to have focused on the homoerotic nature of shāhid-bāzī, yet a close examination of the texts reveal that the criticisms about Kirmānī relate to a wide range of Sufi practices and doctrines. An investigation of the contexts of these criticisms indicate that thirteenth–fourteenth-century Sufism was diverse and fluid, and that the systematisation of Sufism into brotherhoods (ṭarīqa) which was taking place in Kirmānī’s lifetime had not resulted in a bland conformity of faith and practice.
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Partola, Y. V. "Problems of Teaching Theater Criticism in the First Years of the Kharkiv Theater Institute." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 41–69. http://dx.doi.org/10.34064/khnum1-51.02.
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Background. The history of theater criticism in Ukraine is a poorly understood science area. The process of formation and development of Theater Studies education is even less learned page of our theatrical process. Currently we have mainly short background history descriptions of the single theatrical departments than the reproduction of the whole process. Kharkiv Theater Institute (now the Kharkiv National University of Arts named after I. P. Kotlyarevsky) is highlighted in several publications that date back to the jubilee dates of the educational institution (the articles by N. Logvinova (1992 [17]), H. Botunova (2007 [9]), H. Botunova in collaboration with I. Lobanova (2017 [8]) and with I. Lobanova and Yu. Kovalenko (2012 [6]). Taking into account the reference and informational nature of these writings, the question of the methodology of teaching specialized disciplines, in particular, theatrical criticism, practically is not considered. The aim of this study is to analyze the process of formation of theater studies education within the boundaries of Kharkiv theatrical school, to determine the main methodological principles of theater criticism teaching in the context of the theatrical process development in general and the theatrical critical thought in particular, and also to consider the objective and subjective factors that were influenced on the schooling process in theatrical criticism area. Results. The development of theatrical criticism is directly related to the development of theatrical art. The active theatrical movement of the 1920’s has produced a great wave of theatrical criticism that was unprecedented in Ukrainian journalism. Among the factors that influenced the formation of the institute of theater criticism is the development of theater education in Kharkiv of the same period. And the most important thing is that authoritative theorists and practitioners have been involved in the organization and functioning of these educational institutions, teaching historical and theoretical disciplines: I. Turkeltaub, A. Bielecki, Ya. Mamontov, I. Shevchenko, M. Voronyi. It would seem that the logic of the theatrical process and theater education and the level of theatrical-critical thought should one way or another lead to the creation of the theatrical faculty (department) in one of Kharkiv’s higher educational institutions. However, the devastating defeat of the Ukrainian theater during the theatrical disputes of the late 1920’s and the further physical elimination of both theatrical artists and the chroniclers of their work, did not leave a trace of the rise and diversity of critical thought. The repressive processes also did not walked past and the sphere of theater education. In 1934, the Musical-Theater Institute in Kharkiv was closed. The rapid stage of development of all areas of theatrical art, which could lead to the establishment of a vocational school, was artificially torn and slowed down the process of establishing Theater Studies education on a certain time. A new stage in the history of Kharkiv’s theatrical criticism, which ultimately led to the establishment of vocational education, began after the liberation of the city in 1944, when the faculty of Theater Studies was opened at the Kharkiv Theater Institute due to initiative of S. Ignatov and A. Pletniov. Historical and theoretical disciplines were dominated in the theatre theorist’ education. Also there were a few subjects provides skills and ability to analyze drama, performance, directing and acting, the modern theatrical process: “Introduction to Theater Studies”, “Theatrical Criticism Workshop”, “Theory of Literature and Drama”. However, their teaching was extremely unsystematic. In search of the “Criticism” teacher the institute appealed to one of the most experienced theatrical reviewers V. Morsky, who had more than 20 years of experience in journalism at that time. This discipline did not have a clear developed program, work plan, methodological development, there was not even a well-known name, and it appears as “Reviewer Practicum”, “Theater Criticism”, “Theatrical Criticism Workshop”. V. Morsky was an active journalist and his method of teaching was based primarily on personal experience and everyday practice. The most important thing that was instilled to students is the need to write and publish. At the classes, students discussed and analyzed Kharkiv theaters’ performances, write reviews and read them directly in class. If there were not enough theatrical events, the lector chose music concerts and new movies to analyze. Active and gifted students were attracted to the review work in the newspaper “Krasnoye Znamya”, where he headed the Department of Culture, and they were beginning be published from a student’s times. He taught his students to analyze first the aesthetic and artistic qualities of artistic works, and not ideological and sociological components. An equally important factor in the young critics’ formation was the newspaper theatrical journalism, which was at a high professional level in Kharkiv in the late 1940’s. The theater life in the city was regularly covered in newspapers by V. Morsky, G. Gelfandbein, L. Zhadanov (L. Livshits) and B. Milyavsky. The prime of theatrical and generally artistic life, the rise of local journalism did not last long. The new repressive campaign in the USSR in 1946–1949 held in the field of science, literature, culture and the art. During these campaigns, a pleiad of highly talented teachers was fired from the institute or they quitted. It destroyed major of Kharkiv journalism in the 1940’s, including the first teacher of theatrical critique V. Morsky that was arrested and soon died in exile. Theatrical criticism as a profession for many years has lost its position of influence on the artistic process and disappeared from the Institute schedule in the function of classroom discipline for some time. Significantly decreased the amount of wishing to restock the ranks of “rootless cosmopolitans” (so they were reviled by official propaganda); the competition for Theater Studies department was virtually non-existent. Conclusions. Formation of the Theater Studies Department, developing teaching methods of one of the core subjects – theater criticism – at the Kharkiv Theater Institute took place against a background of difficult conditions of historical reality saturated ideological and political repression. This fact has not contributed to the development of theater criticism. National Theater Studies must go a long way to recreate an objective picture of the development of Ukrainian theatrical criticism, to define its stages and trends, fill in the lacunae in the biographies of scientists and formulate the originality of the methodology each of them.
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Rudichenko, Tatyana. "Art in the Process of Integrating the Don Host to the Russian State." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 4 (September 2019): 215–23. http://dx.doi.org/10.15688/jvolsu4.2019.4.18.
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Introduction. Studying culture and art in the formation of the Cossacks, designing its estate status is carried out in the perspective of current ideas about cultural policy contributing to more complete systemic reconstruction of the process. The novelty consists in showing the interaction of artistic and traditional household culture, the transformation of the latter. The purpose and objectives were analyzing the role of art in integrating the Cossacks into the Russian state, identifying the direction of changes in the culture; historical periodization of perception and adaptation of new art forms; establishing the specificity of the selected periods and the results achieved. Methods and materials. Research methods include the historical one, which allows considering changes in culture based on facts of social history, and cultural one, which gives approaches to studying regulation of the integration process in accordance with the principles of cultural policy. The source base consists of published official documents (letters, laws, decrees) containing reliable information, and art criticism, historical and ethnographic literature, which describes specific phenomena of culture and art. Analysis. The supreme power used effective and relevant for a particular historical period institutions and resources: religion and church (17th c.); service in the army and military education system (18th c.); reforming of social organization (incorporation into the estate structure of the state) and the control system of the Army (separation of the military and civilian system of administration) (19th c.). Results. By creating infrastructure, developing church and secular education, the government promoted systemic renewal of culture and Cossacks’ digestion of its forms that were perceived in Russia and Europe as close, identical and related (architecture, painting, choral singing and orchestra music, drama and musical theater). At the early stage of integration into the Russian state, contact forms and democratic nature of the cultural interaction process prevailed. Cultural expansion of the 18th – 19th centuries had a systemic nature and was determined by purposeful influence of the institutions (church, army, school and social elite) that contributed to renewal of culture according to the Western European model.
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Tychinina, Alyona. "Hryhoriy Skovoroda’s Idea of Related Work in the Poetry of the Modernist Association “Muzaget”." Pitannâ lìteraturoznavstva, no. 106 (December 30, 2022): 25–40. http://dx.doi.org/10.31861/pytlit2022.106.025.
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Hryhoriy Skovoroda’s idea of the immanent existence (1722–1794) about related work in Ukrainian modernists poetry, in particular representatives of the artistic group “Muzaget” (1919) is considered as the main methodological prism that conceptualize related work of Panna, outlined with the support of V. Gorsky, L. Ushkalov, and D. Chyzhevsky. The article describes the history of creation and specifics of Kyiv post-revolutionary group of symbolists “Muzaget” activities. The literary and artistic almanac with a similar name was analyzed, where each member of the collective presented his “related” art form: poetry, prose, criticism, painting and, at the same time, recorded the affinity of individual and social (national) principles. Based on the analysis of Mykhailo Zhuk, Dmytro Zahul, Volodymyr Kobylyansky, Klym Polishchuk, Oleksa Slisarenko, Mykola Tereshchenko, Pavlo Tychyna, Pavlo Fylypovych, and Volodymyr Yaroshenko poetry, conceptual dominants have been singled out, which in general realize the creative and collective affinity of “Muzaget poetry”. The symbolism of poetic images-archetypes is outlined: God, Christ, joy, star, flower, wind, path, poet’s soul, singing, music, and dream. The functioning of antitheses and parallelisms is emphasized: the flow of human life / the impermanence of nature, life / death, earth / hell / heaven, good / evil, day / night, asceticism / holiness / sinfulness, Christ / Satan, loneliness / crowd. The polyphonic musical imagery and musicality of the poem are analyzed by using tropes, phonetic and syntactic means. It is concluded that poetic innovation, truthful exhibition of creativity and individuality, accentuation of affinity between talent and character, productive interaction of friends in popular creative collectives in the conditions and under the influence of complex historical events and ideological dilemmas of the 20-30s of the 20th century, led some Musagetists to glorious recognition, and others to the tragic consequences of the Red Renaissance.
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Krabbe, Niels. "Paul von Klenau og hans niende symfoni. Kilderne, værket, receptionen." Fund og Forskning i Det Kongelige Biblioteks Samlinger 53 (March 2, 2014): 229. http://dx.doi.org/10.7146/fof.v53i0.118851.
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Niels Krabbe: Paul von Klenau and his ninth Symphony – the sources, the work, the reception
In 2001, the Royal Library learned about a comprehensive private collection in Vienna that contained music, letters and lecture manuscripts, photographs and other archive materials of the Danish composer Paul von Klenau (1883–1946). A preliminary survey of the collection revealed that the contents included a number of music manuscripts (symphonies, chamber music concerts and more), which were not known from the rest of the library’s major collection of Klenau works. The collection’s greatest and most interesting work was a major complete “Ninth Symphony” for orchestra, choir and four soloists in eight movements, for a Latin text with a mix of liturgical texts from the Catholic requiem and texts of unknown provenance.In 2005, the library succeeded in acquiring the collection and it was transferred to the Royal Library. Subsequently, the Danish Centre for Music Publication (DCM) organised a philological adaptation and published Symphony No. 9 for the purpose of the premier performance of the work, which duly took place 70 years after it was written, performed as a Thursday Concert in March 2014 and conducted by Michael Schønwandt.Klenau had worked in Germany as a composer and conductor in the 1920s and 1930s. He returned to Denmark in 1939 where he stayed for the rest of his life. Because of his extensive German background he did not receive high recognition in Danish music, despite the range and nature of his musical output. This was mainly because of his relationship with the Third Reich and Nazism, which affected his last years and his posthumous reputation.Symphony No. 9 was composed in the years 1944–45, and is a mix of requiem and a symphony, each in four movements. Due to the text, the work is both a traditional requiem and a requiem about the war. Both in its expression and in its length, it is probably the greatest symphony ever written by a Danish composer.The premier in 2014 received mixed reviews, and Klenau’s attitude to Nazism was discussed once again. The work was criticised for its eclectic character with its mix of late romantic forms of expression on the one side and its accomplished dodecaphonic passages on the other.The newly available Klenau collection from Vienna, including the treated Symphony No. 9, has nuanced and problematised Klenau’s position in Danish music history.
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Botstein, Leon. "On Criticism and History." Musical Quarterly 79, no. 1 (1995): 1–5. http://dx.doi.org/10.1093/mq/79.1.1.
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McConkey, Matthew. "John Clare: nature, criticism and history." Textual Practice 32, no. 2 (January 8, 2018): 361–64. http://dx.doi.org/10.1080/0950236x.2017.1420602.
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Roddy, Kate. "Recasting Recantation in 1540s England: Thomas Becon, Robert Wisdom, and Robert Crowley." Renaissance and Reformation 39, no. 1 (April 26, 2016): 63–90. http://dx.doi.org/10.33137/rr.v39i1.26543.
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The legacy of John Foxe’s Acts and Monuments has urged scholars of the English Reformation to consider martyrdom the ultimate act of resistance, and recantation as an embarrassing lapse of faith. However, more recent criticism has drawn attention to the subversive potential of the false recantation, arguing that such events were not necessarily acts of capitulation but opportunities for covert evangelism and even shameless self-promotion. This article develops the above argument through an examination of the reformist Thomas Becon’s recantation of 1543, highlighting its innovative use of explicitly theatrical tropes to convey a message of falsity. However, the recantation’s potential for irony is shown to result in a lack of ideological stability in the narrative. Such instability, I argue, leads to further attempts to resolve or alter the meaning of a recantation through textual commentary. By means of close readings of the notable counter-recantation texts of Robert Wisdom and Robert Crowley, I demonstrate that the meaning of a recantation continues to be altered after the fact. Yet the defining quality of these texts is shown to be their confused and self-contradictory nature. I conclude that the continued argumentative oscillation of these texts indicates their ultimate failure to satisfactorily close down meaning and restore certainty to the co-religionist community.
La postérité des Acts and Monuments de John Foxe a poussé les spécialistes de la Réforme anglaise à considérer le martyre comme l’ultime acte de résistance et le reniement comme une gênante défaillance de la foi. Toutefois, des travaux plus récents ont souligné le potentiel subversif du reniement feint, en avançant que de telles actions n’étaient pas forcément des gestes de capitulation mais plutôt des manières de se livrer à une discrète évangélisation, voire à une auto-promotion assumée. Cet article développe cette hypothèse en examinant le reniement du réformiste Thomas Becon en 1543, soulignant son utilisation novatrice d’éléments explicitement théâtraux pour transmettre un message mensonger. On remarque cependant que le potentiel d’ironie du reniement aboutit à une incertitude idéologique du récit. Nous avançons qu’une telle instabilité idéologique entraîne de nouveaux commentaires écrits cherchant à interpréter, réduire ou modifier la signification du reniement. Au moyen d’une lecture attentive des textes de contre-reniement importants, comme ceux de Robert Wisdom et de Robert Crowley, nous montrons que la signification d’un reniement continue de se transformer après les faits. Il apparaît aussi que ces textes se caractérisent principalement par leur confusion et leur contradiction inhérentes. Nous en concluons que l’oscillation continuelle que l’on observe dans l’argumentation de ces textes révèle leur incapacité dernière à régler de façon satisfaisante la question de la signification du reniement et à rétablir une certitude auprès de la communauté.
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Botstein, L. "Witnessing Music: The Consequences of History and Criticism." Musical Quarterly 94, no. 1-2 (March 1, 2011): 1–8. http://dx.doi.org/10.1093/musqtl/gdr001.
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Radice, Mark A. "Reader's Guide to Music: History, Theory, Criticism (review)." Notes 58, no. 1 (2001): 66. http://dx.doi.org/10.1353/not.2001.0165.
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Majer-Bobetko, Sanja. "Between music and ideologies: Croatian music criticism from the beginning to World War II." Muzyka 63, no. 4 (December 31, 2018): 55–64. http://dx.doi.org/10.36744/m.344.
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As the Croatian lands were exposed to often aggressive Austrian, Hungarian, and Italian politics until WWI and in some regions even later, so Croatian music criticism was written in the Croatian, German and Italian languages. To the best of our knowledge, the history of Croatian music criticism began in 1826 in the literary and entertainment journal Luna, and was written by an anonymous author in the German language.A forum for Croatian language music criticism was opened in Novine Horvatzke, i.e. in its literary supplement Danica horvatska, slavonska i dalmatinska in 1835, which officially started to promote the Croatian National Revival, setting in motion the process of constituting the Croatian nation in the modern sense of the word. However, those articles cannot be considered musical criticism, at least not in the modern sense of the word, as they never went beyond the level of mere journalistic reports. The first music criticism in the Croatian language in the true sense of the word is generally considered a very comprehensive text by a poet Stanko Vraz (1810-51) about a performance of the first Croatian national opera Ljubav i zloba (Love and malice) by Vatroslav Lisinski (1819-54) from 1846. In terms of its criteria for judgement, that criticism proved to become a model for the majority of 19th-century and later Croatian music criticism. Two judgement criteria are clearly expressed within it: national and artistic.Regardless of whether we are dealing with 1) ideological-utilitarian criticism, which was directed towards promoting the national ideology (Franjo Ksaver Kuhač, 1834-1911; Antun Dobronić, 1878-1955), 2) impressionist criticism based on the critic’s subjective approach to particular work (Antun Gustav Matoš, 1873-1914; Milutin Cihlar Nehajev, 1880-1931; Nikola Polić, 1890-1960), or 3) Marxist criticism (Pavao Markovac, 1903-41), we may observe the above mentioned two basic criteria. Only at the end of the period under consideration the composer Milo Cipra (1906-85) focused his interest on immanent artistic values, shunning any ideological utilitarianism, and insisting on the highest artistic criteria.
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Tukova, Iryna, Valentina Redya, and Iryna Kokhanyk. "Ukrainian Music Criticism of the 2010s: General Situation, Problems, Directions of Development (Based on the Examples From Contemporary Art Music Scene)." Studia Universitatis Babeş-Bolyai Musica 67, no. 2 (December 20, 2022): 129–43. http://dx.doi.org/10.24193/subbmusica.2022.2.07.
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"The paper focuses on the 2010s in the history of Ukrainian music criticism. The materials on contemporary art music were chosen to support the authors’ reflections and conclusions. Selection of the time, period and material for the research are conditioned both with the specific social situation of Ukraine and with the recent developments in its music scene. The paper characterizes the main media, most popular critical genres, and methods of critical coverage. It is highlighted that the problems of Ukrainian music criticism during the 2010s were linked to the post-Soviet past and, in general, to the colonial status of Ukrainian culture in the Russian Empire and later in the Soviet Union. Such problems include the absence of independent journals for music criticism, dominance of information genres over reviews, general stable positive evaluation of musical scene activity etc. A few examples illustrate the gradual changing of situation during the 2010s. The authors offer to consider that new period of Ukraine music criticism history began in 2020 when The Claquers, a critical media about art music in Ukraine and abroad aiming to solve the mentioned problems, was established. Keywords: Ukrainian music criticism, contemporary art music, policy of colonialism, review, announcement. "
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Pritchard, Matthew. "The Cambridge History of Music Criticism. Ed. by Christopher Dingle." Music and Letters 101, no. 4 (November 1, 2020): 785–88. http://dx.doi.org/10.1093/ml/gcaa068.
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Parakilas, James. "The Afterlife of Don Giovanni: Turning Production History into Criticism." Journal of Musicology 8, no. 2 (1990): 251–65. http://dx.doi.org/10.2307/763570.
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Parakilas, James. "The Afterlife of Don Giovanni: Turning Production History into Criticism." Journal of Musicology 8, no. 2 (April 1990): 251–65. http://dx.doi.org/10.1525/jm.1990.8.2.03a00040.
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Pittarello, Elide. "Ramón Gaya: "Creo que soy poeta pintando"." Monteagudo, no. 26 (March 12, 2021): 191–208. http://dx.doi.org/10.6018/monteagudo.472781.
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Simónides de Ceos, que definió la poesía una pintura que habla y la pintura una poesía muda, contribuyó al origen de la filosofía del arte, base de la moderna estética occidental. Para el filósofo italiano Benedetto Croce el arte es la síntesis estética de la intuición y la expresión a través del lenguaje lírico. Encarna las representaciones de la belleza, un evento universal, ajeno a la Historia y a la crítica de arte. De manera más radical, Ramón Gaya rechazó este mismo saber de una manera más radical desde que era un jovencísimo pintor, decepcionado por las vanguardias. Su planteamiento de la obra de arte se aproxima a una actitud mística. Emerge cuando se enfrenta a la pintura de Velázquez en España, antes de exiliarse en México. Este sentimiento trascendente se agudiza cuando visita Venecia por primera vez, en 1952, y asocia la pintura con el agua que fluye. Es el primer paso de su identificación sagrada de las artes –pintura, poesía, escultura y música– con la Naturaleza y sus elementos cosmológicos. La experiencia veneciana posibilita una nueva creatividad icónica y verbal. La pintura conlleva siempre una enigmática dualidad, manteniendo rasgos de su procedencia misteriosa. Los poemas que Ramón Gaya le dedica al Crepúsculo de Miguel Ángel son una muestra de su intermedialidad heterodoxa, donde a la técnica de lo diáfano en pintura corresponde el uso de la negación lógica por escrito. Esta estrategia lingüística es afín a la de los ensayos que tratan del mismo tema. Simonides of Ceos, who defined poetry as a speaking picture and painting a mute poetry, contributed to the rise of philosophy of art, the basis of modern Western aesthetics. For the Italian philosopher Benedetto Croce art is the aesthetic synthesis of intuition and expression through lyrical language. It embodies the representations of beauty, a universal event that doesn’t concern History nor art criticism. In a more radical way, Ramón Gaya refused this same knowledge since he was a very young painter, disappointed by avant-garde. His approach to works of art is close to a mystic attitude. It emerges when he faces Velázquez’s painting in Spain, before going into exile in Mexico. His transcendental feeling increases when he visits Venice for the first time, in 1952, and he associates painting with water flow. It is the first step of a sacred identification of arts –painting, poetry, sculpture and music– with nature and its cosmological elements. The Venetian experience gives birth to a new iconic and verbal creativity. Painting always involves an enigmatic duality, keeping features of its mysterious source. The poems that Ramón Gaya dedicated to Michelangelo's Dusk are a specimen of his unconventional intertermediality, where the diaphanous technique in painting corresponds to the use of logical negation in the verbal language. This linguistic strategy is in line with the essays dealing on the same topic.
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Zhou, Yi. "Verbal aspects of China’s vocal art system." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 137–49. http://dx.doi.org/10.34064/khnum2-21.09.
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Background. Art criticism, as part of the humanities, has long and productively used the terminology of related sciences. This is a systemic approach, the provisions of which significantly influenced the development of scientific thought in the XX–XXI centuries. Systematization and modeling greatly simplify the process of cognition and allow to highlight the parameters that determine the identity and ability to transform of each individual system. The same approach can be applied to the study of particular components of the meta-system of human culture. From this point of view, we will analyze the vocal culture of modern China as a whole, formed by the interaction of national and international cultural patterns – primarily by verbal and musical languages. The research methodology is determined by its objectives; it is integrative and based on a combination of general scientific approaches and musicological methods. The leading research methods are historical, genre-stylistic and interpretative analyzes. Results. In the system of artistic creativity, vocal art occupies a unique place because it is a product of the synthesis of music and words, sensual and rational, imaginative and conceptual. It is language that determines the identity of national schools of composition and performance. Chinese has an unprecedentedly long history of development – from the second millennium BC. All this time the national vocal culture of the country functioned as a system that included the following elements: – a body of philosophical works, the authors of which tried to determine the function of musical art (and, in particular, singing) in the development process of the state; – treatises, aimed at the comprehension of the art of singing as a separate area of human creativity and as a type of energy practice; – creative work of outstanding singers and epistolary testimonies about it; – the full scope of musical artifacts – folk, author’s songs, works of various vocal genres; – identifying areas of vocal performing, which for a long time had two basic locations – court and domestic; – specialists’ training system and concert establishments. Obviously, all these elements had to be united by something. Let’s point out two essential factors: mentality and language. It is known that the ethnic composition of the people who lived in ancient times in the territories of modern China was heterogeneous and only in the middle of the first millennium BC a single Chinese nation was formed. What brought people of different ethnicities together? Acceptance of common life values; gradual consolidation of Confucianism as a state-building ideology; attraction to figurative thinking and preference for contemplation. All this formed an interesting conglomeration of national artistic guidelines, which includes nature worship, philosophical understanding of the nature of art, understanding of the relationship between human existence and the laws of existence of the universe. It is from this position that the philosophers and artists of ancient China treated the art of singing, which was perceived as one of the means of communication with the world and a part of spiritual practices. This determined the uniqueness of Chinese folk song as one of the most important components of national culture. We note that, as in the culture of other countries, Chinese folk song was one of the most common musical genres, responding to changing of aesthetic dominants of society. From ancient times, the Music Department has been operating in China, one of the tasks of which was to select songs and approve the time and order of their performance. One of the most famous monuments is the famous Book of Songs «Shijing» (詩經), which presents the established genre and style typology of songwriting: domestic, labor, love songs and works that glorify the rulers. Another facet of folk art associated with the embodiment of fantastic images is reflected in another monument – «Chu Ci» or «Verses of Chu» (楚辭). These artifacts determined the development path of Chinese vocal culture. Now let’s turn to an important factor for our study – language. Due to its phonetic features, the Chinese forms a specific intonation of melos and unusual for the European listener vocal speech. Considerable attention in Chinese singing culture was paid to the emotional coloring of the “musical message”, the tension of which was achieved through timbre colors and the use of extremely high register. Another important aspect of the language that influenced China’s vocal culture is its rather complex rhythmic organization. Language affects the singer’s thinking, the formation of his organs of articulation. But can changes in vocal culture affect verbal language? Since the beginning of the twentieth century, the structure of the vocal art of the Celestial Empire has changed almost radically. Today it is practically identical to what we can find in any European country. But, in our opinion, there is something that significantly distinguishes the vocal art of modern China from other national vocal schools. It’s a question of language. After all, a singer who seeks to improve in the academic vocal art is forced to restructure the entire speech apparatus without which it is impossible to master bel canto as a basic vocal technique. Conclusions. The verbal component is an important part of vocal culture, because it is a representative of national picture of the world and through its structures embodies the specifics of thinking of a particular people. Language determines all the melodic parameters – semantic, intonation, compositional, emotional, etc. The most illustrative proof of this is the folk song culture, which is the basis for the further formation of academic genres of music. In this sense, China’s vocal culture is a unique phenomenon, in which academic culture is shaped by borrowing the cultural heritage of other countries. Moreover, one of the most important markers of this borrowing is the assimilation of music and speech resources namely.
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SMITH, AYANA. "Blues, criticism, and the signifying trickster." Popular Music 24, no. 2 (May 2005): 179–91. http://dx.doi.org/10.1017/s0261143005000449.
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Scholars in the field of literary theory have defined clearly the role of signifying in African-American literature. This article identifies one aspect of the signifying tradition and its influence on the early blues tradition. Since the Signifying Monkey is the ultimate trickster in the African-American narrative tradition, this article presents evidence for considering the blues singer as a trickster figure at several different levels. First, the singer identifies with the trickster's character traits through pseudo-autobiographical content in song narratives, particularly in expressing socially aggressive or unacceptable exploits. Second, the trickster figure can be perceived as the singer's alter ego, as in songs about the boll weevil and similar folk characters. Third, the topics or tropes associated with crossroads and railways, used frequently in blues texts, relate to the liminal nature of Esu-Elegbara (the African ancestor of the Signifying Monkey), who embodies the boundary between the word and its (mis)interpretation.
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Beardslee, Michael D. "The Dogma of History." Religion & Theology 24, no. 3-4 (2017): 295–320. http://dx.doi.org/10.1163/15743012-02403006.
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This essay considers the role of historiography in doctrinal criticism from a hermeneutical perspective and in light of postcolonial and postmodern criticisms. First, historiography is defined using a Gadamerian typology, providing the basis for an analysis of Kenneth Scott Latourette’s well-respected essay on Christian historiography. This reading of Latourette illuminates the dogmatic nature of the prejudices informing Christian historical scholarship. Finally, these insights are applied to doctrinal criticism, arguing that the relationship between doctrine and historiography is dialectical, rather than one element having dominance over the other. It concludes by suggesting a chastened, “two-tiered” approach to doctrinal criticism capable of responding to the charges mentioned and to current trends in global Christianity.
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Kramer, Elizabeth. "The Beethoven Violin Sonatas: History, Criticism, Performance (review)." Notes 62, no. 1 (2005): 114–16. http://dx.doi.org/10.1353/not.2005.0098.
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Victor H. Matthews. "The Nature of Biblical Criticism (review)." Shofar: An Interdisciplinary Journal of Jewish Studies 27, no. 2 (2009): 202–4. http://dx.doi.org/10.1353/sho.0.0256.
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Reith, Louis J., and Roger Kuin. "Chamber Music: Elizabethan Sonnet-Sequences and the Pleasure of Criticism." Sixteenth Century Journal 32, no. 1 (2001): 305. http://dx.doi.org/10.2307/2671499.
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Dickinson, Peter. "Review: Maestros of the Pen: A History of Classical Music Criticism in America." Music and Letters 83, no. 4 (November 1, 2002): 631–34. http://dx.doi.org/10.1093/ml/83.4.631.
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Heller, George N., and Mark N. Grant. "Maestros of the Pen: A History of Classical Music Criticism in America." History of Education Quarterly 39, no. 2 (1999): 212. http://dx.doi.org/10.2307/370046.
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Frost, Charlotte. "Digital Critics: The Early History of Online Art Criticism." Leonardo 52, no. 1 (February 2019): 37–43. http://dx.doi.org/10.1162/leon_a_01379.
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Art critic Jerry Saltz is regarded as a pioneer of online art criticism by the mainstream press, yet the Internet has been used as a platform for art discussion for over 30 years. There have been studies of independent print-based arts publishing, online art production and electronic literature, but there have been no histories of online art criticism. In this article, the author provides an account of the first wave of online art criticism (1980–1995) to document this history and prepare the way for thorough evaluations of the changing form of art criticism after the Internet.
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Harrán, Don. "Elegance as a Concept in Sixteenth-Century Music Criticism*." Renaissance Quarterly 41, no. 3 (1988): 413–38. http://dx.doi.org/10.2307/2861755.
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”… et vere sciunt cantilenas ornare, in ipsis omnes omnium affectus exprimere, et quod in Musico summum est, et elegantissimum vident … “Adrian Coclico, Compendium musices (1552)The notion of music as a form of speech is a commonplace. Without arguing the difficult questions whether music is patterned after speech or itself constitutes its own language, it should be remembered that the main vocabulary for describing the structure and content of music has been drawn from the artes dicendi. The present report deals with a small, but significant part of this vocabulary: the term elegance along with various synonyms and antonyms borrowed from grammar and rhetoric and applied to music, in a number of writings, from classical times onwards.
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Taylor, Mark. "The Lower Criticism." Representations 150, no. 1 (2020): 32–60. http://dx.doi.org/10.1525/rep.2020.150.1.32.
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This essay reassesses Matthew Arnold’s place in the history of modern criticism, arguing that his most important contribution to that history was his refashioning of the critic as an empty and recessive type of agent. Arnold’s famous call for criticism to abandon the “sphere of practical life” was no mere slogan, but the product of an extended meditation on the nature of agency and action, undertaken in dialogue with the works of the philosopher Benedict de Spinoza. From Spinoza’s “lower” criticism, Arnold derived a method that both approaches individual texts as actions and stresses the critic’s role in “composing” those texts as individuals in the first place. To perform these functions, however, criticism must renounce its claim to count as an action in its own right. The essay traces the development of this method from Arnold’s early essays on Spinoza through his mature criticism of the 1860s and 70s and considers its bearing on the wide variety of practices that describe themselves as “critical” today.
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Keegan, Bridget M. "Madness and the Romantic Poet: A Critical History / John Clare: Nature, Criticism and History." European Romantic Review 29, no. 4 (July 4, 2018): 540–45. http://dx.doi.org/10.1080/10509585.2018.1487628.
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Monod, David. "DOUBLE-VOICED: MUSIC, GENDER, AND NATURE IN PERFORMANCE." Journal of the Gilded Age and Progressive Era 14, no. 2 (April 2015): 173–93. http://dx.doi.org/10.1017/s1537781414000784.
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AbstractDouble-voiced singing was a popular form of variety show entertainment from the 1860s through to the 1920s. Double-voiced performers were able, through intonation and tone, to sound as though they had at least two separate and distinct “voices,” generally one soprano and one baritone. But as Claire Rochester, a double-voiced singer of the early twentieth century made clear, their act was more than just a matter of a woman singing low notes or a man singing high ones; it was all about a performer adopting the “voice” of the other sex. The unusual practice of these singers was to sing duets (and sometimes as much as quartets) to themselves and by themselves, flipping back and forth between their male to female “voices.” I place this strange form of entertainment in the context of changing attitudes to gender and sexuality and suggests that conventional interpretations of “freak” performances as “transgressive” fail to account for these vocal wonders. Double-voiced singers shunned the “transgressive” billing, especially when their own sexual identity was called into question. In making this argument, I suggest that we need to widen our understanding of “freakery,” imposture and the meaning of “nature” and “truth,” as they were revealed both on stage and off.
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Levi, Erik. "Atonality, 12–Tone Music and the Third Reich." Tempo, no. 178 (September 1991): 17–21. http://dx.doi.org/10.1017/s0040298200013978.
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These extensively quoted statements, emanating from two of the most vociferous cultural ideologists of the Third Reich, give the impression that the Nazi regime formulated a highly consistent attitude towards ‘modernist’ trends in contemporary music. In reality, however, perceptions of the exact nature of ‘atonality’ and the ‘atonal’ movement in music remained notoriously imprecise. Six months before Rosenberg's address, for example, Hitler's Propaganda Minister Goebbels had erroneously denounced Hindemith as an ‘atonal musician’ who had succumbed to the ‘biting dissonances of musical bankruptcy’. Similarly, in 1938 Hans Severus Ziegler, organiser of the Degenerate Music Exhibition, had singled out the unequivocally tonal music of Hermann Reutter for particular criticism, claiming that it manifested severe symptoms of constructivism.
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Vasic, Aleksandar. "The magazine “Slavenska muzika” (1939–1941) in the history of Serbian music periodicals." Muzikologija, no. 29 (2020): 121–47. http://dx.doi.org/10.2298/muz2029121v.
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From November 1939 to March 1941, the monthly magazine ?Slavenska muzika?, a journal of the Association of Friends of Slavic Music, was published in Belgrade. The magazine did not differ from other Serbian magazines of the interwar period in its sections. ?Slavic music? also published essays on music, music criticism, reviews of books and music editions, notes, news, obituaries, and in one case, polemics. However, differentia specifica of this review is the exclusive focus on the music of the Slavic nations. The study provides a review and analysis of the texts in this journal. It was noticed that in ?Slavic music? were crossed the Slavophile idea, which has a long tradition among Serbs, and Marxism, at that time strongly represented by one part of Belgrade musicians. The study also contains an integral bibliography of ?Slavic music?, which has not been published so far.
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Branscombe, P. "E. T. A. Hoffmann's Musical Writings: 'Kreisleriana', 'The Poet and the Composer', Music Criticism." German History 10, no. 2 (January 1, 1992): 248–50. http://dx.doi.org/10.1093/gh/10.2.248.
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Watt, Paul, and Sarah Collins. "Critical Networks." Nineteenth-Century Music Review 14, no. 1 (April 2017): 3–8. http://dx.doi.org/10.1017/s1479409816000252.
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This article examines the idea of ‘Critical Networks’ as a way of studying the relational structures that shaped music criticism in the long nineteenth century. We argue that the personal, institutional and international networks that supported the dissemination of critical ideas about music are worthy of study in themselves, as they can yield insights beyond prevailing methodologies that centre on individual cases.Focusing on the institutional culture of music criticism means looking beyond the work of individual critics and the content or influence of their views, towards the structures that determined the authoritativeness of those views and the impact of these structures in shaping the operation of critical discourse on music at the time. Examining these networks and how they operated around particular periodicals, tracing transnational exchanges of both ideas and critics, and uncovering the various ideological alliances that were forged or contested within critical networks, can not only provide a thicker context for our understanding of historical ideas about music, but it can also challenge current views about the history of our discipline and the kinds of structures that condition our own ideas about music and music history.
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Glauert, Amanda. "‘Ich singe, wie der Vogel singt’: Reflections on Nature and Genre in Wolf's Setting of Goethe's Der Sänger." Journal of the Royal Musical Association 125, no. 2 (2000): 271–86. http://dx.doi.org/10.1093/jrma/125.2.271.
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AbstractLawrence Kramer has highlighted some of the myths that surround early writing on Wolf — in particular the myth that he was able to realize a poem's ‘natural breath’ by submitting his identity entirely to the poet's. Kramer prefers to link Wolf with the figure of the harper from Goethe's Wilhelm Meister, casting him as a musician who is compelled to reflect his own inadequacy. Yet such a picture still underestimates the complexity of the Lieder composer's role, as suggested by Goethe and confirmed by Wolf. In the ballad Der Sänger Goethe disturbed early Romantic conceptions of the lyric by implying the harper was aware of how his ‘song’ both failed and succeeded in the hoped-for communication with his listeners. Wolf's own layered interpretation of Der Sänger takes the challenge to our understanding of the lyric one stage further; it thus offers a crucial clarification of the potential of the musical Lied as the composer's vehicle for active and effective criticism.
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Brown, Howard Mayer. "Recent Research in the Renaissance: Criticism and Patronage*." Renaissance Quarterly 40, no. 1 (1987): 1–10. http://dx.doi.org/10.2307/2861832.
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The book that everyone in musicology is talking about this year—not just those of us working in the fifteenth and sixteenth centuries—is Joseph Kerman's Contemplating Music (Cambridge, Mass.: Harvard University Press, 1985; called simply Musicology in the English edition). In it, Kerman argues against what he calls positivism, which he defines as a rigid and non-judgmental pursuit of dry facts, and in favor of the higher criticism, by which he seems to mean analysis—or at least some penetrating discussion of the way individual pieces work and what makes them great—informed by a sense of history and written in a humanistic style, with a personal commitment on the part of the author to the quality of the music with which he is concerned.
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Zuk, Patrick. "Words for music perhaps? Irishness, criticism and the art tradition." Irish Studies Review 12, no. 1 (April 2004): 11–29. http://dx.doi.org/10.1080/0967088042000192086.
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Tutino, Stefania. "“For the Sake of the Truth of History and of the Catholic Doctrines”: History, Documents, and Dogma in Cesare Baronio’s Annales Ecclesiastici." Journal of Early Modern History 17, no. 2 (2013): 125–59. http://dx.doi.org/10.1163/15700658-12342360.
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Abstract This article explores the relationship between theology and documentary criticism in Cesare Baronio’s Annales Ecclesiastici in their own historical and intellectual context. The first two sections of this article are devoted to analyzing two episodes in Baronio’s work, which most clearly show the role of erudition and historical criticism in articulating crucial and controversial political and theological positions in post-Reformation Rome. The third and final section assesses the significance of Baronio’s historical methodology in the context of post-Reformation Catholicism and its importance for our understanding of the relationship between post-Humanist historiography and post-Reformation apologetics and, more generally, for our understanding of the nature of ecclesiastical history.
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Vasic, Aleksandar. "Engagement in musical criticism: Pavle Stefanovic’s texts in The Music Herald (1938-1940)." Muzikologija, no. 27 (2019): 203–20. http://dx.doi.org/10.2298/muz1927203v.
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Pavle Stefanovic (1901-1985) is one of the most prominent Serbian music critics and essayists. He created extensive musicographic work, largely scattered in periodicals. A philosopher by education, he had an excellent knowledge of music and its history. His style was marked by eloquence, associativity and plasticity of expression. Between 1938 and 1940 he published eighteen music reviews in The Music Herald, the longest-running Belgrade music magazine in the interwar period (1928-1941, with interruption from 1934 to 1938). Stefanovic wrote about concerts, opera and ballet performances in Belgrade, performances by local and eminent foreign artists. His reviews include Magda Tagliaferro, Nathan Milstein, Jacques Thibaud, Enrico Mainardi, Bronis?aw Huberman, Alexander Uninsky, Alexaner Borovsky, Ignaz Friedman, Nikita Magaloff and many other eminent musicians. Th is study is devoted to the analysis of the Stefanovic?s procedure. Pavle Stefanovic was an anti-fascist and left ist. He believed that the task of a music critic was not merely to analyze and evaluate musical works and musical interpretations. He argued that the critic should engage in important social issues that concerned music and music life. That is why he wrote articles on the occasion of German artists visiting Belgrade, about the persecution of musicians of Jewish descent and the cultural situation in the Third Reich. On the other hand, Stefanovic was an aesthetic hedonist who expressed a great sense of the beauty of musical works. Th at duality - a socially engaged intellectual and a subtle ?enjoyer? of the art - remained undisturbed. In these articles he did not go into a deterministic interpretation of the structure of musical composition and the history of music. And he did not accept the larpurlartistic views.
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Lofton, Kathryn. "Dylan Goes Electric." Journal of Popular Music Studies 33, no. 2 (June 1, 2021): 31–50. http://dx.doi.org/10.1525/jpms.2021.33.2.31.
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Within the study of rock music, religion appears as a racial marker or a biographical attribute. The concept of religion, and its co-produced opposite, the secular, needs critical analysis in popular music studies. To inaugurate this work this article returns to the moment in singer-songwriter Bob Dylan’s career that is most unmarked by religion, namely his appearance with an electric guitar at the 1965 Newport Folk Festival. Dylan’s going electric became, through subsequent years of narrative attention, a secularizing event. “Secularizing event” is a phrase coined to capture how certain epochal moments become transforming symbols of divestment; here, a commitment writ into rock criticism as one in which rock emerged by giving up something that had been holding it back. Through a study of this 1965 moment, as well as the history of electrification that preceded it and its subsequent commentarial reception, the unreflective secular of rock criticism is exposed.
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Fry, Katherine. "Nietzsche's Critique of Musical Decadence: The Case of Wagner in Historical Perspective." Journal of the Royal Musical Association 142, no. 1 (2017): 137–72. http://dx.doi.org/10.1080/02690403.2017.1286130.
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ABSTRACTAlthough philosophical and biographical accounts of Nietzsche and Wagner abound, the musical issues at stake in the late text Der Fall Wagner (The Case of Wagner, 1888) have rarely been addressed within their wider cultural context. This article explores the nineteenth-century concepts of decadence and degeneration as relevant for understanding the ambivalence of Nietzsche's late critique of Wagner. Emphasizing his affinity with contemporary French criticism, it argues that his late texts advance a theory of decadence pertinent to current music history and criticism. It locates The Case of Wagner within the larger discourse of degeneration, probing similarities to and differences from the work of surrounding critics of Wagnerism. Nietzsche's critique combines a condemnation of Wagner's music with a more positive appreciation of the composer's historical relevance. Yet his writings also reveal a fundamental conflict between his personal involvement with Wagner's music and his philosophical quest to analyse this music as expressive of modernity.
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Davies, James Q. "Elijah's Nature." 19th-Century Music 45, no. 1 (2021): 49–64. http://dx.doi.org/10.1525/ncm.2021.45.1.49.
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Existing scholarship struggles to theorize the relation between aesthetics, especially the aesthetics of catastrophe, and concerns with ecology and the environment. Mendelssohn's sacred oratorio Elijah premiered in 1846 at the birthplace of the steam engine in Birmingham, England. Commissioned by municipal reformers, Elijah constitutes a case study in disaster art. It was conceived as a vehicle for atmospheric repair, clean breathing, and moral healing for Black Country working populations. Its contexts include the development of biomedicine, public health discourse, and the history of air-purification systems, as well as the prophetic rhetoric of such firebrand modern Elijahs as the contemporaneous preacher-evangelist John Cumming. The popularity of the singing-class movement, moreover, aligns with the “great sanitary awakening” both because of its allegedly sanctifying spiritual potential, and because it was thought to fortify the lungs. Mendelssohn's oratorio was at once financed on the back of the profits of coal-fired energy systems and produced by well-meaning environmentalists to mitigate against the effects of heavy air pollution. The reception of the work is evidence of the extent to which the concerns of industry and the concerns of natural recovery co-constituted each other. Elijah deals in a cosmology—a way of narrating nature—that begins with the very real experience of ecological crisis. The endgame is to count the cost of a master narrative that sought natural recovery in an industrial enframement of global nature.
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Uziel, Eduardo, and Norma Breda dos Santos. "Source Criticism and the History of Brazilian Foreign Policy." Contexto Internacional 41, no. 1 (April 2019): 187–208. http://dx.doi.org/10.1590/s0102-8529.2019410100010.
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Abstract The article deals with the historical methodology in the field of Brazilian foreign policy, based on reflections on the treatment of primary sources and the lessons of two important historians of antiquity: Moses I. Finley and Arnaldo Momigliano. Without disregarding the inherent temporal differences, it is understood that it is possible to bring contemporary and ancient history closer, as well as to establish a respectful dialogue between them. The article presents a preliminary discussion on the sources for the history of Brazilian foreign policy, followed by a series of analyses and comments on several aspects of the treatment of primary sources: a) the fragmentary nature of sources and the consequences of this; b) the predominance of discursive sources; c) the use of oral history as a supplementary source; and d) the difficulty in establishing a context for document production. Studies related to Brazilian foreign policy towards the Middle East will be used, especially the case of Brazil’s controversial favourable vote on Resolution 3379 (XXX) of the United Nations General Assembly, in 1975, which equated Zionism with racism.
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Saloman, Ora Frishberg. "Continental and English Foundations of J. S. Dwight's Early American Criticism of Beethoven's Ninth Symphony." Journal of the Royal Musical Association 119, no. 2 (1994): 251–67. http://dx.doi.org/10.1093/jrma/119.2.251.
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The reception history of Ludwig van Beethoven's symphonies in America offers striking evidence of multiple, previously unidentified, Continental and English connections to the musical thought of John Sullivan Dwight (1813–93), the first American-born critic of art music, and therefore to early American conceptions of the symphony in the 1840s. These direct links illuminate the history and criticism of the first performance in America of Beethoven's Symphony no. 9 in D minor, op. 125, which took place in New York in 1846. From the many sources associated with Dwight's musical learning and aesthetic education, I have chosen in this article to examine Dwight's literary interest in Johann Christoph Friedrich Schiller's poem ‘An die Freude’ and in Thomas Carlyle's biography of Schiller, to document his knowledge of commentary on the symphony by the German critic Adolf Bernhard Marx, and to describe Dwight's response to the initial American performance of the Ninth Symphony.
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Desler, Anne. "History without royalty? Queen and the strata of the popular music canon." Popular Music 32, no. 3 (September 13, 2013): 385–405. http://dx.doi.org/10.1017/s0261143013000287.
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AbstractAlthough canon formation has been discussed in popular music studies for over a decade, the notion of what constitutes ‘the popular music canon’ is still vague. However, considering that many scholars resent canon formation due to the negative effects canons have exerted on other academic fields, analysis of canon formation processes in popular music studies seems desirable: awareness of these processes can be a valuable tool for scholars’ assessment of how their academic choices contribute to canon formation. Based on an examination of the reception history of Queen in the popular mainstream, music criticism and academia, this article argues that a universally valid popular music canon does not exist and that canon formation in popular music is based on the same criteria as in the ‘high’ arts, i.e. transcendence, historical importance and ‘greatness’, although the latter is replaced by ‘authenticity’ in the popular music context. While canons can be theorised in various ways, a model that distinguishes between canonic strata according to listeners’ relationship to music is particularly useful as it reveals the relative importance of the three canonic criteria within different strata and how they are applied.