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1
Martynova, V. I. "Concerto for Oboe and Orchestra in the Works by Modern Time Composers: Aspects of Genre Stylistics." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 71–93. http://dx.doi.org/10.34064/khnum1-54.05.
Abstract:
Introduction. Concerto for oboe and orchestra in the music of modern time (20th – early 21st centuries), on the one hand, is based on the traditions of past eras, on the other hand, it contains a number of new stylistic trends, among which the leading trend is the pluralism of composer’s decisions. Despite this, the works created during this period by the composers of different national schools can be divided into three groups – academic, experimental, and pastoral. The article gives the review of them. Objective. The main objective of the article is to identify the features of genre stylistics in oboe concertos by composers of the 20th – early 21st centuries. Methods. In order to realize this objective, the elements of a number of general scientific and special musicological research methods have been used – historical-and-genetic, deductive, comparative, organological, stylistic, genre and performing analysis. Results and Discussion. The article discusses and systematizes the features of the genre stylistics of modern time oboe concertos. Based on the analysis of the historical-and-stylistic context, the correlation of traditions and innovations in the oboe-concerto genre, as well as the nature of the relationship between concerto and chamber manners as its common features are revealed. The classification of oboe concertos of the specified period by three genre-and-style groups – academic, experimental, and pastoral, is proposed. The main development trends in each of these groups are analyzed, taking into account the genre, national and individual-author’s stylistics (more than 70 pieces are involved). For the first time, the generalizations are proposed regarding the oboe expressiveness and techniques, generally gravitating towards universalism as a style dominant in the concerto genre. It is noted that, in spite of this main trend, the oboe in the concertos by modern time masters retains its fundamental organological semantics – the aesthetics and poetics of pastoral mode. The music of modern time, the count of which starts from the last decade of the 19th century and to present, comes, on the one hand, as a unique encyclopedia of the previous genres and styles, and on the other hand, as a unique multicomponent artistic phenomenon of hypertext meaning. The first is embodied in the concept of the style pluralism which means the priority of the person’s (composer’s and performer’s) component in aesthetics and poetics of a musical work. The second involves an aspect of polystylistics that is understood in two meanings: 1) aesthetic, when different stylistic tendencies are represented in a particular artistic style; 2) purely “technological”, which is understood as the technique of composing, when different intonation patterns in the form of style quotations and allusions (according to Alfred Schnittke) constitute the compositional basis of the same work. It is noted that the oboe concertos of the modern time masters revive the traditions of solo music-making, which were partially lost in the second half of the 19th century. At the new stage of evolution, since the early 20th century (1910s), the concerto oboe combines solo virtuosity with chamber manner, which is realized in a special way by the authors of different styles. Most of them (especially in the period up to the 1970s–1980s of the previous century) adhere to the academic model which is characterized by a three-part composition with a tempo ratio “fast – slow – fast” with typical structures of each of the parts – sonata in the first, complex three-part in the second, rondo-sonata in the third, as well as traditional, previously tried and used means of articulation and stroke set (concertos by W. Alvin, J. Horovitz – Great Britain; E. T. Zwillich, Ch. Rouse – USA; O. Respighi – Italy; Lars-Erik Larrson – Switzerland, etc.). The signs of the oboe concertos of the experimental group are the freedom of structure both in the overall composition and at the level of individual parts or sections, the use of non-traditional methods of playing (J. Widmann, D. Bortz – Germany; C. Frances-Hoad, P. Patterson – England; E. Carter – USA; J. MacMillan – Scotland; O. Navarro – Spain; N. Westlake – Australia). The group of pastoral concertos is based on highlighting the key semantics of oboe sound image. This group includes concertos of two types – non-programmatic (G. Jacob, R. Vaughan Williams, M. Arnold – Great Britain; О. T. Raihala – Finland; M. Berkeley, Е. Carter – USA and other authors); programmatic of two types – with literary names (L’horloge de flore J. Françaix – France; Helios, Two’s Company T. Musgrave; Angel of Mons J. Bingham – Great Britain); based on the themes of the world classics or folklore (two concertos by J. Barbirolli – Great Britain – on the themes of G. Pergolesi and A. Corelli; Concerto by B. Martinu – Czechia – on the themes from Petrushka by I. Stravinsky, etc.). This group of concertos also includes the genre derivatives, such as suite (L’horloge de flore J. Françaix); fantasy (Concerto fantasy for oboe, English horn and orchestra by V. Gorbulskis); virtuoso piece (Pascaglia concertante S. Veress); concertino (Concertino by N. Scalcottas, R. Kram, A. Jacques); genre “hybrids” (Symphony-Concerto by J. Ibert; Symphony-Concerto by T. Smirnova; Chuvash Symphony-Concerto by T. Alekseyeva; Concerto-Romance by Zh. Matallidi; Concerto-Poem for English horn, oboe and orchestra by G. Raman). Conclusions. Thus, the oboe concerto in the works by modern time composers appears as a complex genre-and-intonation fusion of traditions and innovations, in which prevail the individual-author’s approaches to reproducing the specificity of the genre. At the same time, through the general tendency of stylistic pluralism, several lines-trends emerge, defined in this article as academic, experimental, and pastoral, and each of them can be considered in more detail in the framework of individual studies.
2
Lee, Hyangsu. "German Hegemony in Symphony Genre of the 19th century and Symphony of Nationalist as the Others." 音.樂.學 19, no. 1 (June 2011): 97–137. http://dx.doi.org/10.34303/mscol.2011.19.1.004.
3
Walker, Sarah. "Cultural barriers to market integration: Evidence from 19th century Austria." Journal of Comparative Economics 46, no. 4 (December 2018): 1122–45. http://dx.doi.org/10.1016/j.jce.2018.05.001.
4
Supady, Jerzy. "The beginnings of modern nursing in the 19th century." Health Promotion & Physical Activity 7, no. 2 (July 2, 2019): 1–4. http://dx.doi.org/10.5604/01.3001.0013.2654.
Abstract:
The formation of modern nursing is associated with socio–political factors including the wars fought during the second half of the 19th century. The Crimean War resulted in reforms undertaken by Florence Nightingale in nursing care of the sick and the wounded. As a consequence of the military conflict between France and Austria in 1859 the Red Cross organization was founded.
5
Hahn, Sylvia. "Migration, job opportunities, and households of metalworkers in 19th-century Austria." History of the Family 8, no. 1 (January 2003): 85–102. http://dx.doi.org/10.1016/s1081-602x(03)00008-3.
6
Kotova, Elena. "The German Question in the Foreign Policy of the Austrian Empire in 1850—1866." ISTORIYA 12, no. 6 (104) (2021): 0. http://dx.doi.org/10.18254/s207987840016050-4.
Abstract:
For centuries, the House of Austria (the Habsburgs) maintained its leadership in the Holy Roman Empire, and later in the German Union. But in the middle of the 19th century the situation changed, Austria lost its position in Germany, lost to Prussia in the struggle for hegemony. The article examines what factors influenced such an outcome of the German question, what policy Austria pursued in the 50—60s of the 19th century, what tasks it set for itself. The paper traces the relationship between the domestic and foreign policy of Austria. Economic weakness and political instability prevented the monarchy from pursuing a successful foreign policy. The multinational empire could not resist the challenge of nationalism and prevent the unification of Italy and Germany. Difficult relations with France and Russia, inconsistent policy towards the Middle German states largely determined this outcome. The personal factor was also important. None of the Austrian statesmen could resist such an outstanding politician as Bismarck.
7
Diergarten, Felix. "Time out of joint — Time set right: Principles of form in Haydn’s Symphony No. 39." Studia Musicologica 51, no. 1-2 (March 1, 2010): 109–26. http://dx.doi.org/10.1556/smus.51.2010.1-2.8.
Abstract:
The opening of Haydn’s Symphony No. 39 in G minor is interrupted by two unusually long grand pauses. These brief suspensions of the time continuum reveal Haydn’s search for new narrative strategies for a genre caught up in the tensions between the boisterous concert opener, courtly representation, the bourgeois concert hall and the demands of “connoisseurs.” This use of the Generalpause points toward a period of upheaval in the development of symphonic forms in the 18th century. A comparative analysis examining the primarily “punctuated” concept of form in the 18th century in relation to the primarily thematic concept of form in the 19th century and the synthesis of both in the writings of Anton Reicha can show that the process of developing formal functions becomes especially acute in Haydn’s Symphony No. 39, with the two grand pauses playing a key role. Such a reading of Haydn, which seeks to reconcile “historically informed” analysis with emphatic interpretation, illustrates how the spectacular grand pauses in the Symphony No. 39 can suggest a brief suspension of not only the work’s own immanent time but the historical time of 18th-century music history.
8
Minárik, Pavol, Marek Vokoun, and František Stellner. "Innovative activity and business cycle: Austria in the 19th and 20th century." E+M Ekonomie a Management 21, no. 2 (June 25, 2018): 53–68. http://dx.doi.org/10.15240/tul/001/2018-2-004.
9
Sirotkina, Evgenya V. "The Image of Austria in Russian Public Opinion in the XIX – Early XX Century." Izvestiya of Saratov University. New Series. Series: History. International Relations 20, no. 3 (2020): 364–69. http://dx.doi.org/10.18500/1819-4907-2020-20-3-364-369.
Abstract:
The article examines the process of forming the image of Austria in Russian public opinion in the 19th – early 20th century. The author pays main attention to the influence that public opinion had during this period on the development of Russian-Austrian relations. The author concludes that the negative image of Austria formed in public opinion had a significant impact on the development of the Russian government’s foreign policy, hindered the search for compromises and pushed for confrontation.
10
Wald, Melanie. "„Ein curios melancholisches Stückchen“: Die düstere Seite von Haydns fis-Moll Sinfonie Hob. I:45 und einige Gedanken zur pantomime in der Instrumentalmusik." Studia Musicologica 51, no. 1-2 (March 1, 2010): 79–90. http://dx.doi.org/10.1556/smus.51.2010.1-2.6.
Abstract:
Haydn’s symphony no. 45, especially the final Farewell -Andante, has been looked at puzzlingly twofold: More recent understandings emphasize the wit and humour of the finale, while reports of the late 18th and early 19th century tend to notice a gloomier, even melancholic tint. This perception here is taken as a starting point for an interpretation of that symphony in terms of the 18th-century notion of melancholy as noble suffering of princes, intellectuals, and artists. Since musical works of melancholy are normally for piano or a soloist to allow for an identification of the player and the melancholic, a symphony leads us to ask anew for the melancholy persona of that orchestral piece. Answers are tried that highlight the respective roles of the orchestra, Haydn, and his most eminent listener, Prince Esterházy, within that game of deciphering melancholy. In addition, the different anecdotes concerning the Farewell -finale are analysed as tokens of an aesthetic irritation that try to tame the bewildering musical language of that symphony by linking it with extra-musical narratives. Finally, the often mentioned pantomimic aspect of the finale is taken into account and is interpreted as an important aspect of Haydn’s effort to produce meaning in the instrumental genres.
11
Malatsai, I. "MIGRATION FROM HUNGARY TO AMERICA IN THE LATE 19TH – EARLY 20TH CENTURY (BASED ON THE MATERIALS OF THE "COLLECTION OF CONSULAR REPORTS")." Bulletin of Taras Shevchenko National University of Kyiv. History, no. 147 (2020): 25–29. http://dx.doi.org/10.17721/1728-2640.2020.147.5.
Abstract:
The article is devoted to the study of the problem of migration processes in the late 19th – early 20th centuries from the territory of Austria-Hungary to America. Demand for workers in the United States, which has been active since the mid-19th century and exacerbation of socio-economic contradictions in Austria-Hungary in the second half of the 19th century, caused the intensification of migration flows between the two continents. Among the emigrants were all the nations who inhabited the Austro-Hungarian monarchy. But the population of the north-eastern regions of the country prevailed. At first there were Slovaks and Ukrainians. They traveled to improve their lives and the lives of their families. Low living standards due to economic backwardness, slow growth of production, lack of new technologies in agriculture only increased the flow of migrants. Lack of land suitable for agriculture, low wages also contributed to travel abroad. There were two main categories, workers, who returned home at the end of the working season, and it was mostly part of spring, summer and autumn, and the next year they went again to search some work. The second category – those who left and never returned. In the following years, some immigrants, Slovaks and Ukrainians, formed community centers, which played an important role in the formation of independent states. At the turn of the 19th – 20th centuries. There was the migration process between the United States and Austria-Hungary took place. The main routes of the continents passed through the ports of Hamburg and Bremen. The diplomacy of the Russian Empire paid much attention to the issue of migration. The interest was due to a desire to understand more about a country that was a political opponent of Russia in European politics. The work is written on the basis of diplomatic reports published in the "Collection of diplomatic reports" in the late 19th – early 20th century. The used materials provide an opportunity to study the process of resettlement of the nations of Hungary to America from the standpoint of Russian diplomacy in the late 19th – early 20th century.
12
Hechenblaikner, Verena. "Die Veränderung des alpinen Schutzhüttenbaus vom 19. bis zum 21. Jahrhundert." historia.scribere, no. 12 (June 15, 2020): 189. http://dx.doi.org/10.15203/historia.scribere.12.610.
Abstract:
Changes in Alpine shelter construction from the 19th to the 21st century. A contribution to the environmental history of Western AustriaThe following paper provides a chronological overview of Alpine shelter construction in Western Austria from the 19th to the 21st century. It examines the ambivalent role the “Alpenverein” has played in this Alpine development and scrutinizes its changing attitude to nature conservation. In doing so, the paper argues that different shelter constructions and the discussions surrounding them might be regarded as indicators of a general change in environmental awareness.
13
Rovner, Anton А. "Vocal and Choral Symphonies and Considerations on Text Representation in Music." ICONI, no. 2 (2020): 26–37. http://dx.doi.org/10.33779/2658-4824.2020.2.026-037.
Abstract:
The article examines the genres of the vocal and the choral symphony in connection with the author’s vocal symphony Finland for soprano, tenor and orchestra set to Evgeny Baratynsky’s poem with the same title. It also discusses the issue of expression of the literary text in vocal music, as viewed by a number of influential 19th and 20th century composers, music theorists and artists. Among the greatest examples of the vocal symphony are Gustav Mahler’s Das Lied von der Erde and Alexander von Zemlinsky’s Lyrische Symphonie. These works combine in an organic way the features of the symphony and the song cycle. The genre of the choral symphony started with Beethoven’s Ninth Symphony and includes such works as Mendelssohn’s Second Symphony, Scriabin’s First Symphony and Mahler’s Second, Third and Eighth Symphonies. Both genres exemplify composers’ attempts to combine the most substantial genre of instrumental music embodying the composers’ philosophical worldviews with that of vocal music, which expresses the emotional content of the literary texts set to music. The issue of expressivity in music is further elaborated in examinations of various composers’ approaches to it. Wagner claimed that the purpose of music was to express the composers’ emotional experience and especially the literary texts set to music. Stravinsky expressed the view that music in its very essence is not meant to express emotions. He called for an emotionally detached approach to music and especially to text settings in vocal music. Schoenberg pointed towards a more introversive and abstract approach to musical expression and text setting in vocal music, renouncing outward depiction for the sake of inner expression. Similar attitudes to this position were held by painter Wassily Kandinsky and music theorist Theodor Adorno. The author views Schoenberg’s approach to be the most viable for 20th and early 21st century music.
14
Barovic, Vladimir, and Ljubomir Zuber. "Jovan Pavlovic as a liberalism paradigm in the history of Serbian press." Zbornik Matice srpske za drustvene nauke, no. 161 (2017): 13–25. http://dx.doi.org/10.2298/zmsdn1761013b.
Abstract:
This paper is focused on a celebrated Serbian journalist and liberal, Jovan Pavlovic, who founded and edited, in the second half of the 19th century, the following newspapers: Pancevac, Granicar and Novi Granicar. Pavlovic turned his newspapers into the most militant and the most liberal media printed in Serbian language in Austria-Hungary in the second half of the 19th century. This paper analyzes the beginnings of Serbian liberal thought and individuals who were significant for the development of liberal ideas in the 19th century. The work of Vladimir Jovanovic and other liberals in Serbia has been considered, including the influence of Svetozar Markovic and Serbian liberals in Austria-Hungary. The authors analyzed Pavlovic?s articles in Zastava, Pancevac, Granicar, and Novi Granicar. Pavlovic?s newspapers supported very liberal and militant attitudes unlike other printed media throughout the history of Serbian journalism. Pavlovic was very incisive when writing in anticlerical spirit, and in many of his articles he criticized church hierarchy. The Eastern question was also extensively dealt with in his articles. In the history of Serbian journalism, Jovan Pavlovic has been remembered as a great supporter of human rights, national liberation and emancipation, as well as a significant representative of liberal ideas.
15
Olin, Margaret. "The Cult of Monuments as a State Religion in Late 19th Century Austria." Wiener Jahrbuch für Kunstgeschichte 38, no. 1 (December 1, 1985): 177–98. http://dx.doi.org/10.7767/wjk-1985-0107.
16
Palmer, Peter. "Fritz Brun: a Swiss Symphonist." Tempo, no. 195 (January 1996): 14–18. http://dx.doi.org/10.1017/s0040298200004721.
Abstract:
Ferruccio Busoni, who saw out the First World War from the neutral haven of Switzerland, maintained that the best Swiss symphony was Rossini's William Tell overture. Not that the country was completely lacking in resident composers of symphonic music during the Classical and Romantic eras. There was, for example, Gaspard Fritz (d.1783), whom Dr Bumey met in Geneva. There was Xaver Schnyder von Wartensee (d.1868), whose works include an amiable ‘Military’ Symphony. But the dominant force in the 19th century was the composer, publisher and pedagogue Hans Georg Nägeli, whose primary achievement was to develop a choral tradition. Instrumental music in Switzerland depended largely on imports. Joachim Raff, who came from the Lake Zurich region, did not begin to find his feet as a symphonist until he settled in Germany. The vocal bias persisted into the 20th century: thus Othmar Schoeck could say that writing a violin sonata was something of a ‘crime’ for him.
17
Schumann, Bianca. ""... so merkt man ihr allerdings den achtzehnjährigen, unbeholfenen Komponisten an..."." Die Musikforschung 73, no. 4 (September 22, 2021): 355–67. http://dx.doi.org/10.52412/mf.2020.h4.4.
Abstract:
In the course of the aesthetic controversy of the 19th century over programme music, which was particularly intense in Vienna, 'conservative' as well as 'progressive' ciritcs, who wrote for the daily press, endeavoured to appropriate Hector Berlioz for their personal aesthetic convictions. Even for reviews written in the 1860s and 1870s, when Berlioz's large-scale works were first performed by leading Viennese orchestras, Robert Schumann's review of the Symphonie fantastique (1835) played a significant role. Schumann's appreciative assessment of the symphony, which was strongly influenced by his misconception that Berlioz was only eighteen years old at the time of composition of the Symphony fantastique, had a decisive influence on the journalistic discourse on Berlioz in Vienna far beyond the first half of the century, for example on Hugo Wolf and Edmund Schelle. Other critics, such as August Wilhelm Ambros and Eduard Hanslick, took Schumann's ambiguity as their starting point to validate their less positive judgements.
18
Antonelli, Mauro, and Siegfried Ludwig Sporer. "The History of Eyewitness Testimony and the Foundations of the "Lie Detector" in Austria and Italy." RIVISTA SPERIMENTALE DI FRENIATRIA, no. 1 (April 2021): 41–66. http://dx.doi.org/10.3280/rsf2021-001003.
Abstract:
Although little known, the theoretical and methodological roots of lie detection, in particular of the development of the so-called "lie detector", must be placed in central Europe, in particular in Germany, Austria, and later in Italy at the turn of the 19th and 20th century. Focusing on Austria and Italy, we trace this development from Hans Gross in Austria to Vittorio Benussi and his pupil Cesare L. Musatti in Italy. Benussi, initially active at the University of Graz and later at the University of Padua, was the mediating link between the Austrian and Italian legal psychology tradition.
19
Péteri, Lóránt. "Scherzo and the unheimlich: the construct of genre and feeling in the long 19th century." Studia Musicologica 48, no. 3-4 (September 1, 2007): 319–33. http://dx.doi.org/10.1556/smus.48.2007.3-4.4.
Abstract:
The psychological concept of the uncanny (“das Unheimliche”) has been established in studies by E. Jentsch (1906) and S. Freud (1919). On the grounds of cultural and textual references, which can be found in these studies, one might regard the uncanny as a discourse construct contained in various literary, evaluative, and visual texts stretching from the late 18th century to the First World War. In my paper, I wish to discuss the assumption that the scherzo genre, commonly seen as founded on Haydn’s opus 33 string quartets and coming to a first fruition in various Beethoven cycles shows a particular propensity to act as the musical vehicle for an uncanny quality. The closer scrutiny of two “programmatic” scherzi (those are the 3rd movement of Mahler’s 2nd Symphony and L’Apprenti sorcier by Dukas) might shed light on the advantages of a genre-oriented approach when musical meaning is concerned.
20
Turán, Tamás. "The Austro-Hungarian Beginnings of the Research on the ‘European Genizah’." Zutot 17, no. 1 (November 19, 2018): 83–96. http://dx.doi.org/10.1163/18750214-12161081.
Abstract:
Abstract Research on Hebrew manuscript fragments retrieved from bookbindings started in the second half of the 19th century, some earlier forays into this field notwithstanding. Austria-Hungary played an important role in this field of research for its first hundred years – a fact that deserves attention. This pioneering research in Austria-Hungary was made possible by a recognition and appreciation of the importance of minor source materials (‘small finds’) by local scholars, and was characterized by a historical – rather than a literary-historical – interest in this source material. This article explores the particular historical and cultural factors which contributed to this regional development.
21
Crepaz, Markus M. L., and Regan Damron. "Constructing Tolerance." Comparative Political Studies 42, no. 3 (December 9, 2008): 437–63. http://dx.doi.org/10.1177/0010414008325576.
Abstract:
Over the past 30 years, the hitherto rather homogeneous welfare states in Europe have been experiencing a dramatic influx of immigrants, making them much more diverse. The central purpose of the early development of the welfare state was twofold: to bridge class divisions and to mollify ethnic divisions in the vast multiethnic empires of 19th-century Germany and Austria. This research examines the impact of the programmatic and expenditure dimensions of the welfare state on attitudes of natives across modern publics, theorizing that nativist resentment and welfare chauvinism should be reduced in more comprehensive welfare systems. Individual, aggregate, and multilevel analyses reveal that the more comprehensive the welfare state is, the more tolerant natives are of immigrants, indicating that contemporary welfare states have a similar capacity to bridge ethnic divisions as their 19th-century incarnations.
22
Rovner, Anton А. "Finland, a Vocal Symphony for Soprano, Tenor and Large Orchestra." ICONI, no. 4 (2020): 100–111. http://dx.doi.org/10.33779/2658-4824.2020.4.100-111.
Abstract:
My composition Finland is a vocal symphony for soprano, tenor and large orchestra set to the text of the early 19th century Russian Romantic poet Evgeny Baratynsky. The main idea behind this composition involves the combination of two contrasting approaches to musical composition: composing an abstract, independent musical work built on purely musical laws of structure and development and, on the other hand, writing a dramatic, programmatic work, the aim of which is to express emotions, to interpret and depict the subject matter of the literary text. The musical composition consists of six movements, following the poem’s six unequallength stanzas. Each movement is divided into a purely orchestral section and a vocalorchestral section, the latter featuring alternately the solo soprano and tenor. The work is written in the twelve-tone technique and involves references to a late Romantic musical language, emphasis on new textures and sonorities for the orchestra, occasional implications of tonality, and incorporation of serial rhythm in several of the work’s sections. The article gives a short account of Baratynsky’s biography and poetic writings and then proceeds to analyze the composition Finland in terms of both the large-scale structure and the details within the individual movements.
23
Skyllstad, Kjell. "Nordic Symphony – Grieg at the cross-roads." Musicological Annual 39, no. 1 (December 1, 2003): 107–14. http://dx.doi.org/10.4312/mz.39.1.107-114.
Abstract:
In music historiography there appears the notion of a Europe musically divided between a central "universal" culture and a peripheral "national" orientation. 19th century composers of the Scandinavian and East European countries share the same fate of being marginalized as provincial representatives of "national" or "regional" cultures, in contrast to those that »spoke the language of "humanity" (Alfred Einstein). In Germany Edvard Grieg is stili derogatively regarded as Kleinkünstler, who was not able to produce large scale works in sonata form, which alone would qualify for the stature of a "universal" artist. What we now recognize as Norwegian or national in Grieg's works became carriers of such significance and interpretations only after the composer's death. The hermeneutic descriptive analysis and criticism in Germany (Hermann Kretzshmar) and Norway (Gerhard Schjelderup) narrowed the interpretation of his works.This was further ideologically encased by the upsurge of Norwegian nationalistic music culture in the late 20ties. When Grieg's only symphony was released for performance in 1981 it was stylistically considered as a transition to the "real" Grieg with reference to the elements pointing to a national idiom.The author pleads far a more open attitude in approaching the complex nature of Grieg's compositional career. Unbiased analyses of his large scale works, including the symphony, testify to an acute sense of formal structure, even when deviating from the normative requirements of the genre. The artistic legacy of Edvard Grieg, like that of many other composers of "peripheral" cultures, need to be examined at the triadic point of dynamic convergence between the national, regional and European, and between stylistic trends, sociocultural background and the development of musical communication.
24
Zhernokleyev, Oleg. "The Roman Catholic Monastic Orders in Eastern Galicia in the Early 20th Century." Journal of Vasyl Stefanyk Precarpathian National University 4, no. 2 (October 30, 2017): 34–40. http://dx.doi.org/10.15330/jpnu.4.2.34-40.
Abstract:
This study involves the analysis of the overall quantitative, structural and sociodemographic characteristics of the Roman Catholic monastic Orders in Eastern Galicia as a part of the Galician Crown land of Austria-Hungary in the early 20th century. In the second half of the 19th century, the Roman Catholic monastic communities renewed their activity after a period of decline in the epoch of Enlightenment. The analysis indicates two features that characterize the contemporary Galician monastic Orders – a significant predominance of female members and active social work among the population of the region. Quantitatively, the Roman Catholic monastic structures considerably exceeded those of the Greek Catholic Church
25
Bottez, Alina. "Religion and Cultural Identity in Shakespeare’s Romeo and Juliet and the Musical Works it Inspired." Messages, Sages and Ages 3, no. 1 (August 1, 2016): 46–59. http://dx.doi.org/10.1515/msas-2016-0005.
Abstract:
Abstract Protean Shakespeare thrives not only in the theatre, but also through what Bolter and Grusin call remediation. This article analyses the religious stances in the play and then shows how opera, symphony and musical have been adapting the veteran Elizabethan drama since the 18th century. Its main approach is comparative and relies on the history of mentalities. Adaptation is dictated by cultural context, the conventions of the lyrical theatre, social and political factors, and reception. The confusing religious configuration of Shakespeare’s England is reinterpreted kaleidoscopically. The article demonstrates, for instance, that Berlioz and Gounod reread it according to staunch Catholicism in 19th century France, while Bernstein’s West Side Story moves the action to New York in the mid- 50’s, the Capulets and Montagues are replaced with rival Polish and Puerto Rican gangs and religion with cultural identity.
26
Teparic, Srdjan. "Overcoming the crisis of tonality: The resemantized tonality of modernism." Muzikologija, no. 21 (2016): 51–62. http://dx.doi.org/10.2298/muz1621051t.
Abstract:
In this article I analyse the context and features of resemantized tonality, historically linked with the first half of the 20th century. The renewed interest in tonality occurred after the crisis of tonality - the system that prevailed in music until its ?collapse? in the late 19th and early 20th century. The consequence of the crisis was the emergence of atonality, as well as different tonal idioms which are here collectively referred to as ?resemantized tonality?. This reaction led to a whole series of works based on the concept of linguistic-stylistic resemantization in the context of modernist expression. I will discuss some of the basic characteristics and linguistic strategies of the resemantized tonality that have established it as an autochthonous linguistic-grammatical system. Furthermore, I will analyse two highly illustrative works: Sergei Prokofiev?s Symphony No. 1 Classical and Paul Hindemith?s cycle of solo songs The Life of Virgin Mary.
27
Frisch, Walter. "The Snake Bites Its Tail: Cyclic Processes in Brahms's Third String Quartet, op. 67." Journal of Musicology 22, no. 1 (2005): 154–72. http://dx.doi.org/10.1525/jm.2005.22.1.154.
Abstract:
Brahms's Third String Quartet, op. 67 in Bb Major, represents one of his greatest efforts in cyclical form, but has been neglected in the analytical and critical literature, which has focused on the Third Symphony, the Schicksalslied, and the German Requiem. Brahms's cyclic techniques fall between the procedures of Beethoven, who aims for thematic unity or coherence across a work, and French composers at the end of the 19th century, who use extensive, intricate thematic transformation to bind a piece. Brahms designs the finale of his Bb Quartet, a theme and variations, to evolve toward the reappearance of the main thematic material of the first movement. In the coda of the finale, the themes of the two outer movements are superimposed in ways that reveal their latent kinship.
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Vonka, Martin, and Robert Kořínek. "CHIMNEY RESERVOIRS: UNIQUE TECHNICAL STRUCTURES FROM THE FIRST HALF OF THE 20TH CENTURY IN THE CZECH REPUBLIC." Acta Polytechnica 58, no. 2 (April 30, 2018): 155. http://dx.doi.org/10.14311/ap.2018.58.0155.
Abstract:
In the past, various methods and technological systems were used to supply water on industrial and other sites. In the early 19th century, Professor Otto Intze invented a new form of water reservoir that could be installed in a tower tank or even on the body of a chimney. This gave rise to a structure that had never been seen before – a chimney reservoir. The advantages of this structure resulted in it quickly becoming very popular, especially in the country in which it originated, Germany. The structure spread from the German Empire into other countries, including Austria-Hungary. The first chimney reservoir on the Czech territory originated in the late 19th century, the last structure of this type was built in 1962. Although their history was short, more than sixty distinctive structures of this kind were built in the Czech lands, the twenty-one of which that have survived to the present day can be described as a unique industrial heritage. This article outlines the origin and evolution of different types of chimney reservoirs and describes the structural and technological designs used for such structures on the territory of what is now known as the Czech Republic.
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Walli, Thomas. "„Wir kommen unter die Metzger“. Die Umsetzung des nationalsozialistischen Euthanasieprogramms im Reichsgau Tirol-Vorarlberg." historia.scribere, no. 8 (June 14, 2016): 253. http://dx.doi.org/10.15203/historia.scribere.8.462.
Abstract:
The following bachelor thesis is about the Aktion T4 in Nazi Germany and its execution in the Reichsgau Tirol-Vorarlberg. Starting with an overview of the most important ideological and racial influences of the Nazis, like the social Darwinism or the theories about eugenics of the late 19th century, it focuses on the state-wide Aktion T4. From 1939 on the National Socialist regime tried to kill all persons with a mental or physical handicap. One of the main hospitals in western Austria was the Heil- und Pflegeanstalt Hall in Tirol. The paper examines the role of Hall within the whole Aktion T4.
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Milin, Melita. "Recognition of two great contemporaries." Muzikologija, no. 18 (2015): 147–57. http://dx.doi.org/10.2298/muz1518147m.
Abstract:
The common denominator in the careers of two contemporaries and great men, citizens of Austria-Hungary - Leos Jan?cek and Sigmund Freud - was that, in spite of their status as outsiders, they managed to achieve well-deserved recognition. Both non-Germans, they had to surmount a number of obstacles in order to attain their professional goals. The Slavophile Jan?cek dreamed for a long time of success in Prague, which came at last in 1916, two years before a triumph in Vienna. Freud had serious difficulties in his academic career because of the strengthening of racial prejudices and national hatred which were especially marked at the end of the 19th century. After the dissolution of the Empire things changed for the better for the composer, whose works got an excellent reception in Austria and Germany, whereas the psychiatrist had to leave Vienna after the Anschluss.
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van de Schoor, Rob. "De reisbrieven van R.C. Bakhuizen van den Brink, geschreven gedurende zijn ‘ballingschap’, 1844-1851." Nederlandse Letterkunde 24, no. 3 (November 1, 2019): 323–54. http://dx.doi.org/10.5117/nedlet2019.3.002.vand.
Abstract:
Abstract R.C. Bakhuizen van den Brink’s travel letters, written during his ‘exile’, 1844-1851In the years 1844-1851, during his journey along libraries and archives in Germany and Austria, the young scholar and later writer and archivist Bakhuizen van den Brink (1810-1865) wrote extensive love letters to Julie Simon, who he had left behind in Liège. Expressing the emotions aroused by his exile from the Netherlands and the separation from the young woman whose heart he desired to win, Bakhuizen resorted to themes that are recurrent in other literary genres such as the epic and the Bildungsroman. Understanding the letters as works of art, this article sets out to trace and analyze these intertextual references between the letters and the genres of the epic and the Bildungsroman. References to the latter come to light when comparing the love letters to the letters Bakhuizen van den Brink wrote to his learned Dutch friends. By disclosing this intertextual network and by relating the themes from the epic and Bildungsroman to the repertoire of the young, 19th-century Dutch scholar, this article holds an attempt to deconstruct these 19th-century love letters.
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Jaeger-Klein, Caroline. "Monuments, Protection and Rehabilitation Zones of Vienna. Genesis and status in legislation and administration." International Journal of Business & Technology 6, no. 3 (May 1, 2018): 1–9. http://dx.doi.org/10.33107/ijbte.2018.6.3.10.
Abstract:
Austria has a very long tradition in monument protection. Already in 1853, the central commission to research and preserve the built historic monuments started to operate. The current law on monument protection is from the year 1923. Hence, the most successful steps to secure the country’s built cultural heritage date back to a new provincial legislation, administration and finance system implemented in the early 70ies of the 19th century based on so-called Old-City Preservation Acts. By this sensitive approach, Austria safeguarded the most important historic city centers of Austria like Salzburg, Graz and Vienna vividly in their traditional characteristics without turning them into museum cities without contemporary life. Especially Vienna managed to balance the protection of its extent historic urban environments with parallel ongoing directed urban expansion. This paper will reflect the genesis of this very successful integrated conservation process for its capital Vienna in the context of the Austrian tradition of monument protection and the European Year of Architectural Heritage 1975. Further, it will outline its legal, administrative and financial framework. Finally, it will describe its different phases of development reacting on shifting goals during the course of the times.
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O'Loughlin, Niall. "Interconnecting Musicologies: Decoding Mahler's Sixth Symphony." Musicological Annual 39, no. 1 (December 1, 2003): 31–49. http://dx.doi.org/10.4312/mz.39.1.31-49.
Abstract:
This paper aims to establish a possible model for a multi-dimensional approach to understanding a complex musical work, using a number of interconnecting musicologies. In the 19th century the symphony was often considered an abstract musical creation, but in other cases a programmatic work. The first four symphonies of Gustav Mahler are programmatic in that three set words to music, while extra-musical interpretations can easily be inferred for all four. The next three symphonies can be variously understood as abstract symphonies because they adhere to a pattern of four or five movements of contrasting character without any explicit programme. By using the musicology of traditional formal methods one can analyse and thus understand the workings of themes and motives and of the structures of sonata form, rondo and scherzo, but this seems in the studies of some commentators to have only limited application. All three have features which suggest programmatic elements, even the most 'classical' of the three, the Sixth Symphony. Investigations of the musicology of the musical imagery of this work, e.g. the Fate motive, the hammer blows in the finale, the 'pastoral' episodes, and the use of cowbells, indicate that there are other forces at work in the symphony. To uncover the implications of these we must look in other directions, to other musicologies. The next is biographical and points to some difficulty on the part of the composer to establish the order of the two middle movements, something which has a strong bearing on the overall meaning of the work. While the scherzo preceded the Andante in the score published before the premiere, Mahler reversed the order for all performances that he conducted and for the revised score. This order was reversed again by Erwin Ratz for the collected edition on some very slender evidence and some which is now discredited. Musical arguments have continued but the biographical evidence is so strong that Ratz's views are substantially if not totally undermined. Tonal evidence reinforces this position, making it possible now to understand Mahler's plan in an unambiguous way. At this point we can introduce the musicology of narrative. With the musicologies of traditional analysis, of imagery, of biography, and of tonality revealed, one can now proceed to investigate the progress of the work from beginning to end. In this way all the elements come into proper perspective with an overall plan suggesting a positive interpretation of the first two movements, with an idyllic situation at the end of the slow movement, and a pessimistic outcome of the combination of a sinister scherzo and overwhelming finale. In conclusion it is a mistake to think that each of these musicologies presented here as mutually exclusive and of no significance to another. In order to derive the most from a multi-faceted work such as Mahler's Sixth Symphony, it is essential to take account of all these procedures, not singly but fused together as a co-ordinated unit.
34
Thomas, Riley, Jocelyn Alcantára-García, and Jan Wouters. "A Snapshot of Viennese Textile History using Multi-Instrumental analysis: Benedict codecasa’s swatchbook." MRS Advances 2, no. 63 (2017): 3959–71. http://dx.doi.org/10.1557/adv.2017.604.
Abstract:
AbstractThe Habsburg Empire was a sovereign dynasty ruled by the Habsburgs between the 15th and 20th centuries. Although its borders were not defined before the 19th century, what is now Austria, Hungary, some areas of the Czech Republic, the Netherlands and Italy were at some point part of the Empire. Starting in the 17th century, the Empire had Vienna as the capital, which was a hub for culture and craft where silk was a valued commodity. Despite the political and cultural importance of the Empire, little is known of its trade practices and sources of raw material. Using a combination of X-Ray Fluorescence (XRF) and High Performance Liquid Chromatography-Photodiode Array Detector (HPLC-PDA) for the study of a Viennese swatch book, we conducted the first systematic approach to understanding the industry. Benedict Codecasa, a prominent merchant active in Vienna between the late 18th and early 19th century sold silk and other textile goods. Authorized by the Royal Court, Codecasa was assumed to sell luxurious and high-quality textiles. However, our results suggested colored goods were dyed with more focus on aesthetics (finding a similar color) rather than quality through unique recipes. This greatly contrasts with other contemporary textile industries praised for their quality and which, in turn, might be related to comparatively lesser quality textiles sold in Vienna.
35
Dalos, Anna. "Ein symphonisches Selbstbildnis: Über Zoltán Kodálys Symphonie in C (1961)." Studia Musicologica 50, no. 3-4 (September 1, 2009): 203–20. http://dx.doi.org/10.1556/smus.50.2009.3-4.1.
Abstract:
After the revolution in 1956, the cultural policy in Hungary shifted to allow a new openness toward Western-European movements: consequently 1956–1967 became one of the most important transitional periods of Hungarian music history. Composers turned away from the tradition of the foregoing thirty years, determined by the influence of Bartók and Kodály, imitating rather the works of Schoenberg, Berg, Webern, Boulez, Nono, Lutosławski, Penderecki and Stockhausen. In this context the 78-year-old Zoltán Kodály’s Symphony, written in 1960–1961 for the Swiss Festival Orchestra and dedicated to the memory of Arturo Toscanini, was rejected by the young generation of composers and also Hungarian music critics, who turned themselves for the first time against the much-revered figure of authority. The Symphony’s emphasis on C major, its conventional forms, Brahms-allusions, pseudo self-citations and references to the 19th-century symphonic tradition were also received without comprehension in Western Europe. Kodály’s letters and interviews indicate that the composer suffered disappointment in this negative reception. Drawing on manuscript sources, Kodály’s statements and the Symphony itself, my study argues that the three movements can be read as caricature-like self-portraits of different phases of the composer’s life (the young, the mature and the old) and that Kodály identified himself with the symphonic genre and the C-major scale.
36
Hotsuliak, Svitlana. "Legal regulation of sanitary affairs in Europe in the 19th century." Law and innovations, no. 1 (29) (March 31, 2020): 65–70. http://dx.doi.org/10.37772/2518-1718-2020-1(29)-10.
Abstract:
Problem setting. Since ancient times, guardianship of the health of the population has become an obligatory part of the foundation of a powerful state. Later on, special bodies began to be created, whose powers at first were limited only to the monitoring of food supplies, but with the spread of epidemics their role increased and spread around the world. In the 19th century, cities began to grow rapidly and the number of inhabitants increased. States were faced with the challenge of ensuring healthy living conditions. Analysis of recent researches and publications. The scientific research on this issue is reflected in the works: Derjuzhinsky V.F., Busse R, Riesberg A., Lochowa L. V., Hamlin C., Shambara K., Norman G. Scientists have analysed the regulatory framework of individual countries in the medical context. Target of research. Identification of the essence and features of sanitary legislation (including international sanitary conventions, interstate agreements on sanitation and epidemiology) operating in the territory of European countries in the XIX century. Article’s main body. The legal and regulatory framework for sanitation includes a set of legal, technical and legal standards, the observance of which involves ensuring that an adequate level of public health is maintained. European countries in the nineteenth century devoted considerable attention to sanitation not only in domestic law, but also in the international arena. Health protection, sanitation and preventive measures are reflected in many legislative acts, for example, the “Medical Regulations” (Prussia, 1725), the “Law on Health Insurance during Diseases” (Germany, 1883) and, in Austria, the “Health Statute” (1770), the “Public Health Act” (Great Britain, 1848 and 1875) and the “Medical Act” (Great Britain, 1858) and the “Public Health Protection Act” (France, 1892). The legislative acts formulated the powers of sanitary authorities, and in the same period, works on the impact of ecology on human health and on the importance of a healthy lifestyle appeared. The State has a duty to protect citizens who have the sole property, their labour, but health is essential to work. Separately, it should be noted that in the middle of the XIX century elements of the international health system began to emerge in Europe. In particular, starting from 1851. At the initiative of France, a number of international conferences on sanitation were organized in Paris. Subsequently, such conferences were held in Constantinople (1866), Vienna (1874), USA (1881), Rome (1885), Dresden (1893). These conferences addressed various issues of sanitation and the fight against epidemic diseases. At the same time, the application of land and river quarantine in Europe was considered impossible by most delegates. Instead, the use of “sanitary inspection” and “observation posts” with medical personnel and the necessary means for timely isolation of patients and disinfection of ships was recommended Conclusions and prospects for the development. Thus, the forms of organization of national health systems in Europe in the 19th century were diverse. Each country created and developed its own unique systems, different ways of attracting financial resources for medical care and health preservation. Thanks to the development of the legislative framework, water supply, sewerage, working and living conditions, sanitation and hygiene have improved. International cooperation to combat epidemics has made a significant contribution to the development of effective and progressive legislation in the international arena, and has greatly influenced the creation of appropriate domestic legislation in Member States, developing more effective models to combat epidemic diseases.
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Hedmeg, Lukáš. "The Development of the Book Collection of the Detvan Association in Prague until the End of the 19th Century." Acta Musei Nationalis Pragae – Historia litterarum 63, no. 3-4 (2019): 132–38. http://dx.doi.org/10.2478/amnpsc-2018-0018.
Abstract:
At the turn of the 20th century, Slovaks faced new national challenges in the political and social conditions of Austria-Hungary. The Hungarisation efforts of the Hungarian government along with frequent accusations of pan-Slavism motivated a part of Slovak students coming from a nationally conscious environment to leave for studies in the Czech part of the monarchy. From its foundation in 1882, the Detvan association in Prague planned to develop educational and literary activities with an emphasis on the Slovak language and culture. This led to an urgent need for the establishment of the association’s own library, which could be used by its members. The article focuses its attention on the creation and systematic expansion and improvement of the book collection of the Detvan association between 1882 and the end of the 19th century. It primarily deals with the growth, subdivision and genre profiling of the library and, last but not least, also with lending activities, closely associated with that.
38
Albano, Paolo G., Sara-Maria Schnedl, Ronald Janssen, and Anita Eschner. "An illustrated catalogue of Rudolf Sturany’s type specimens in the Naturhistorisches Museum Wien, Austria (NHMW): Red Sea bivalves." Zoosystematics and Evolution 95, no. 2 (December 3, 2019): 557–98. http://dx.doi.org/10.3897/zse.95.38229.
Abstract:
Rudolf Sturany, the curator of molluscs of the Natural History Museum of Vienna between the late 19th and early 20th century described 21 species of bivalves from the Red Sea collected by the pioneering expeditions of the vessel “Pola” which took place between 1895 and 1898. We here list and illustrate the type material of these species, provide the original descriptions, a translation into English, and curatorial and taxonomic comments. All species are illustrated in colour and with SEM imaging. To stabilize the nomenclature, we designate lectotypes for Gastrochaena weinkauffi, Cuspidaria brachyrhynchus, and C. dissociata, whose type series contained specimens belonging to other species. This paper concludes the series on the type specimens of marine molluscs described by Sturany from the “Pola” expeditions.
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Przerembski, Zbigniew Jerzy. "Kolberg’s opinions on changes in the choice of instruments in 19th century folk music." Musicology Today 11, no. 1 (December 1, 2014): 6–12. http://dx.doi.org/10.2478/muso-2014-0013.
Abstract:
Abstract In the second half of the 19th century, when Oskar Kolberg conducted his folkloristic and ethnographic work, folk song and music were still alive and, to a great extent, functioned in their natural culture context. However, already at that time, and especially in the last decades of the century, gradual changes were taking place within folk tradition. Those changes were brought about by industrialization and factors in the development of urban civilization, which varied in intensity depending on the region. Folk music was also influenced by those changes and they themselves were further fuelled by the final (third) Partition of Poland by Austria, Prussia and Russia, declared in 1795 and lasting till the end of World War I. Oskar Kolberg noticed and described changes in the musical landscape of villages and little towns of the former Polish Republic in the 19th century, as well as in the choice of instruments. To be quite precise, musical instruments are not featured as a separate subject of his research, but various references, though scattered, are quite numerous, and are presented against a social, cultural and musical background, which provides an opportunity to draw certain conclusions concerning folk music instrumental practice. However, changes in the makeup of folk music ensembles resulted in the disappearance of traditional instruments, which were being replaced by the newer, factory-produced ones. This process worried Kolberg and he noticed its symptoms also in a wider, European context, where bagpipes or dulcimers were being supplanted not only by “itinerant orchestras” but also by barrel organs or even violins. Writing about our country, Poland, he combined a positive opinion on the subject of improvised and expressive performance of folk violinists with a negative one on clarinet players and mechanical instruments. Summing up, the musical landscape of Polish villages and both small and larger towns was definitely influenced in the 19th century by the symptoms of phenomena which much later acquired a wider dimension and were defined as globalization and commercialization. Sensing them, Oskar Kolberg viewed the well-being of the traditional culture heritage with apprehension.
40
Wilson, Mary Katherine, Sarah Marczynski, and Elizabeth O’Brien. "Ethical Behavior of the Classical Music Audience." Ethical Human Psychology and Psychiatry 16, no. 2 (2014): 120–26. http://dx.doi.org/10.1891/1559-4343.16.2.120.
Abstract:
The purpose of this research is to gain a better understanding of expected ethics of audience behavior during a classical music performance. Through a better understanding of cultural identities and practices of the classical music audience, symphony organizations may be able to more closely align audience expectations and the socialization frameworks that are present throughout the classical music experience. The researchers engaged in an ethnographic qualitative research approach in this study. Specific to this study, the researchers were engaging in gaining a greater understanding of classical music audience culture and how this may be impacting participants that are of a “marginalized” or nontraditional classical music audience group. There were 6 new-to-file ticket-buying patrons from the Chattanooga Symphony & Opera who participated in the study. The predominant theme that emerged from the focus group participants was that they like the traditional classical music experience, including venue, audience behavior expectation, and orchestration components, as it is. Further research is needed to better understand if these preferences root in long-standing structural and institutional frameworks that perpetuate cultural identities and practices and minimize audience “performance anxiety” because of reassurance of learned socialization processes (Jacobs, 2000; Mandeles, 1993). Or, if the American classical music audience of today authentically desires the concert etiquette and rituals that began in the 19th century European concert halls because the etiquette and rituals provide an ideal psychological setting for enjoyment of the classical music experience.
41
Jansen, Nils. "Farewell to Unjustified Enrichment?" Edinburgh Law Review 20, no. 2 (May 2016): 123–48. http://dx.doi.org/10.3366/elr.2016.0339.
Abstract:
In this article, Professor Jansen sets out the historical background and present state of unjustified enrichment theory in the German-speaking civilian legal systems, Austria, Germany, and Switzerland. The German law of unjustified enrichment has grown from two intellectually separate roots. These different legal ideas were interwoven during the 19th century by the German Pandectists. During the 20th century, it began to appear to many that these ideas did not fit well with one another. Professor Jansen thus argues that the modern civilian law of unjustified enrichment is increasingly characterised by a division into independent and distinct parts. In particular, the rules on the unwinding of contracts and on payments made in contemplation of future contracts no longer have much in common with claims based on an infringement of another person's property right. The conclusion drawn is that the Germanic systems should take their leave of the unifying idea of unjustified enrichment.
42
Fastyn, Arkadiusz. "Zawarcie małżeństwa mieszanego wyznaniowo według prawa małżeńskiego z 1836 roku." Czasopismo Prawno-Historyczne 65, no. 1 (November 2, 2018): 229–47. http://dx.doi.org/10.14746/cph.2013.65.1.09.
Abstract:
The thesis discusses the signifi cant question of inter-denominational marriages in Poland prior to 1946. Until the end of 1945, the laws in force in Poland were the 19th-century statutes. They had been enacted by the neighbouring countries (Austria, Russia and Prussia) that partitioned the Polish territory in the second half of the 18th century. In the Polish lands enjoying some autonomy in the Russian Empire, the regulation of marriage was based on the religious principles of 1836. Under the 1836 statute, there could be no civil marriage that would not produce a confessional effect. Consequently, the regulation of marriage had to combine confessional and civil effects into single norms and the legislative authorities had to provide for mechanisms correlating such effects. This applied to both the conclusion and dissolution of marriage. In these matters, the Roman Catholic Church adopted an uncompromising stance following from its belief in the special theological character of the sacrament of marriage.
43
Nováková, Katarína Slobodová, and Pavol Krajčovič. "The Dissemination of the Cult of Saint Vincent in Slovakia and Austria as a Result of 18th Century Migration of Alpine Woodcutters." Slovenský národopis / Slovak Ethnology 68, no. 1 (March 1, 2020): 7–28. http://dx.doi.org/10.2478/se-2020-0001.
Abstract:
AbstractSaint Vincent is one of the saints the worshipping of which occupies an important place both in the official church cult and in folk religiousness. He is currently regarded as the patron of wine growers, wine producers and woodcutters. Folk respect was particularly manifested in Saint Vincent’s native Spain and France, and this cult gradually expanded to Germany and Austria in the 14th century. Thanks to migration, it spread from these regions to southern Austria and Slovakia with relatively successful establishment. The study analyses the materials from different periods of the 19th and 20th centuries, obtained by field and archive research on the religiousness of Alpine woodcutters, as well as older historical materials and contemporary records of this cult. By means of a comparative analysis of the obtained data, the study attempts to explore the movements by which the cult of Saint Vincent could have spread to Lower Austria and Western Slovakia. It also points out the importance of interdisciplinary research in indicating the origin of Alpine woodcutters, designated by the exoethnonym Huncokars in Slovakia. The previous research and publications about this group were based on relatively poor and limited sources of information, many of which were not always correctly interpreted. The study has the ambition to add and correct the information on the origin of Alpine woodcutters in the light of the newest research and findings. The research of the cult of Saint Vincent is one of the paths that indicate the origin of the group as well as the possible ways of the dissemination of the cult thanks to the migration of its supporters. Through the example of this cult, we also aim to highlight cultural transfers as a result of ethnic movements in Central Europe.
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Iațeșen, Loredana Viorica. "7. Advocating the Poetics of Sound in the Cycle Les Nuits d´Été by Hector Berlioz." Review of Artistic Education 15, no. 1 (March 1, 2018): 59–73. http://dx.doi.org/10.2478/rae-2018-0007.
Abstract:
Abstract By consulting monographies, musicological studies, specialty articles about the personality of romantic musician Hector Berlioz and implicitly linked to the relevance of his significant opera, one discovers researchers’ constant preoccupation for historical, stylistic, analytical, hermeneutical comments upon aspects related to established scores (the Fantastic, Harold in Italy symphonies, dramatic legend The Damnation of Faust, dramatic symphony Romeo and Juliet, the Requiem, etc.). Out of his compositions, it is remarkable that the cycle Les nuits d´été was rarely approached from a musicological point of view, despite the fact that it is an important opus, which inaugurates the genre of the orchestral lied at the end of the 19th century and the beginning of last century. In this study, we set out to compose as complete as possible an image of this work, both from an analytic-stylistic point of view by stressing the text-sound correspondences and, above all, from the perspective of its reception at a didactic level, by promoting the score in the framework of listening sessions commented upon as part of the discipline of the history of music. In what follows, I shall argue that the cycle of orchestral lieder Les nuits d´été by Hector Berlioz represents a work of equal importance to established opera.
45
Gür, Zeynep. "Parallels between Two Identity Searching Nations in the 20th Century through the Museum and Exhibition Buildings." Periodica Polytechnica Architecture 50, no. 1 (April 1, 2019): 67–80. http://dx.doi.org/10.3311/ppar.12159.
Abstract:
During the 19th and 20th centuries, museums and exhibition buildings have been immensely important in the nation-building of newly born countries all over the world. By means of art and architectural representation, it was possible to bring people together in the pursuit of enduring their nationhood, to make them proud of their identity and to create a new concept of the country with a powerful historical background. Within this context, Hungary from the Compromise with Austria in 1867 up to the second decade of 20th century, and Turkey starting from the Second Constitution in 1908 until the mid-century possess proper examples of architectural production firmly connected to the identity search of both countries. This study aims to investigate the manifestations of this approach through case studies mainly from two capitals, Budapest and Ankara. While comparatively examining the chosen buildings regarding their structural features, spatial organisations, contents and function, the general architectural environment and leading actors of the era are aimed to be revealed. Additionally, the quality of the buildings themselves as display objects will be investigated.
46
Nattiez, Jean-Jacques. "Can One Speak of Narrativity in Music?" Journal of the Royal Musical Association 115, no. 2 (1990): 240–57. http://dx.doi.org/10.1093/jrma/115.2.240.
Abstract:
The question of musical narrativity, while by no means new, is making a comeback as the order of the day in the field of musicological thought. In May 1988 a conference on the theme ‘Music and the Verbal Arts: Interactions’ was held at Dartmouth College, Hanover, New Hampshire. A fortnight later, a group of musicologists and literary theorists was invited to the Universities of Berkeley and Stanford to assess, in the course of four intense round-table discussions, whether it is legitimate to recognize a narrative dimension in music. In November of the same year, the annual conference of the American Musicological Society in Baltimore presented a session entitled ‘Text and Narrative’, chaired by Carolyn Abbate, and, at the instigation of Joseph Kerman, a session devoted to Edward T. Cone's The Composer's Voice. A number of articles deal with the subject in our specialized periodicals: I am thinking in particular of the studies published in 19th-Century Music by Anthony Newcomb – ‘Once More “Between Absolute and Programme Music”: Schumann's Second Symphony’ and ‘Schumann and Late Eighteenth-Century Narrative Strategies’ – or, on the French-speaking side of musicology, of Marta Grabocz's article ‘La sonate en si mineur de Liszt: une stratégie narrative complexe’ and the essays of the Finnish semiologist Eero Tarasti. No doubt a good many articles will emerge from the above conferences. And we are awaiting the appearance of Carolyn Abbate's book Unsung Voices: Narrative in Nineteenth-Century Music.
47
Kulauzov, Masa. "The emergence, development and demilitarization of the military border of the Austrian Monarchy." Zbornik Matice srpske za drustvene nauke, no. 125 (2008): 141–47. http://dx.doi.org/10.2298/zmsdn0825141k.
Abstract:
Military border of the Austrian Monarchy was formed gradually in border areas for the purpose of defending the border from Turkish invasions. In time, as the international political circumstances have changed, the Border itself also modified its primary function. From the beginning of the 18th century soldiers of the Military Border together with the regular troops of Austrian army participate in all wars in which Austria took part. Thanks to those soldiers the military force of the Austrian Empire was significantly strengthened. Except for military tasks, the Military Border served to a great extent as a defensive corridor that stopped spreading infections diseases, invasions of robberies, smuggling goods from Turkey, as well as deserting and emigration to Turkish territory. Because of great importance that Military Border has had for the Austrian Monarchy, the author in this paper gives a summary review of its development in the military, territorial and administrative-political sense. Special attention was given to the administrative system that was introduced in Border in the second half of the 19th century.
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Lenz, Alexandra N., Fabian Fleißner, Agnes Kim, and Stefan Michael Newerkla. "give as a put verb in German – A case of German-Czech language contact?" Journal of Linguistic Geography 8, no. 2 (October 2020): 67–81. http://dx.doi.org/10.1017/jlg.2020.6.
Abstract:
AbstractThis contribution focuses on the use of geben ‘give’ as a put verb in Upper German dialects in Austria from a historical and a recent perspective. On the basis of comprehensive historical and contemporary data from German varieties and Slavic languages our analyses provide evidence for the central hypothesis that this phenomenon traces back to language contact with Czech as already suggested by various scholars in the 19th century. This assumption is also supported by the fact that Czech dát ‘give’ in put function has been accounted for since the Old Czech period as well as by its high frequency in both formal and informal Czech written texts. Moreover, our data analyses show that geben ‘give’ as a put verb has been and is still areally distributed along and spreading from the contact area of Czech and Upper German varieties.
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Nosov, Boris V., and Lyudmila P. Marney. "The regional policy of the Russian Empire in the first half of the 19th century: The Kingdom of Poland (1815–1830)." Slavic Almanac, no. 3-4 (2020): 83–105. http://dx.doi.org/10.31168/2073-5731.2020.3-4.1.05.
Abstract:
The article is devoted to the problems of the regional policy of the Russian Empire at the beginning of the 19th century discussed in the latest Russian historiography, to the peculiarities of the state-legal status and administrative practice of the Kingdom of Poland. It was the time when basic principles and a special structure of management at the outlying regions of the empire were developed, and when special (historical, national, and cultural) regions were formed on the periphery of the Empire. The policy of the Russian government in relation to the Kingdom of Poland depended both on the fundamental trends in the international relations in Central and Eastern Europe (as reflected in international treaties), as well as on the internal political development of the empire, and the peculiarities of political, legal, social, economic, cultural processes in the Kingdom and on Polish lands in Austria and Prussia. All these aspects have an impact on the debate that historians and legal experts are conducting on the state and legal status of parts of the lands of the former Principality of Warsaw that were included in the Russian Empire in 1815 by the decision of the Congress of Vienna. The fundamental political principles of the Russian Empire in the Kingdom of Poland in the first half of the 19th century were a combination of autocracy (with individual elements of enlightened absolutism), based on centralized bureaucratic control, and relatively decentralized political, administrative and estate structures, which assumed the presence of local self-government.
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Knézy, Judit. "Céhes adatok a somogyi pék- és mézesbábos mesterekről az 1810-es évektől 1869-ig." Kaposvári Rippl-Rónai Múzeum Közleményei, no. 1 (2013): 251–60. http://dx.doi.org/10.26080/krrmkozl.2013.1.251.
Abstract:
During the 18th and 19th century the guilds in Som-ogy county had developed only slowly because of the lack of cities in the region. The low number of educated baking mas-ters was also based on the fact that the practice of household bread baking remained in existence until the 1960s. Bread bak-ing was made in the 18th and 19th century by seasoned cooks-men and bread specialists. The craftsmen of the markettown Csurgó only got their landlord’s approval for creating a mixed crafts guild in 1810. The bakers and honey-cake makers of this town belonged to the so called ’German’ guild from 1814. They originated mostly from Austria and the Czeh-Moravian region, some of them were German or Slavic craftsmen from other Transdanubian regions. One or two master worked si-multanously in Csurgó. They frequently changed, most of them moved on to the guilds of bigger towns. This study on the life in such guilds is mostly based on the official guild lists and financial documents, it even includes a detailed description of a masterpiece bakery product. The later part of the study gives a rewiev of the life of the baker and honey-cake maker masters in the whole county.by the end of the guild area (1869). The study explaines the growth in the number of such craftsmen caused by the urbanisation and the increased marketing possi-bilities. It also describes the organisations among the growing numbers of tradesmen including the flour tradesmen support-ing the examined crafts guildes.