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1
Whittall, Arnold. "Thoughts for the Future". Tempo, n.º 202 (octubre de 1997): 2. http://dx.doi.org/10.1017/s0040298200048865.
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Among many other even less important things, the 20th century has been the Age of Musicology. If music as the object of historical and theoretical enquiry began to impinge on the Academy well before 1900, it has taken the 20th century to explore its full potential for various kinds of systematic, even scientific analysis. And so a problem has emerged, for although most musicologists accept that compositions are at least a part of their subject-matter, they have difficulty with the proposition that composition – the creative act – itself is a part of musicology. In a sense, therefore, it is entirely logical for the British Academy to consider ceasing its financial support for postgraduate courses in composition.
2
Siuta, Bohdan. "Notion “Genre Type” as the Metalіngual Unit of the Modern Musical Theory". Terminological Bulletin, n.º 5 (2019): 188–95. http://dx.doi.org/10.37919/2221-8807-2019-5-25.
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The notion “genre type” is actual metalіngual unit of the modern musicology and musical theory. The theoretical comprehension of this term is connected with the problem of the theory of the musical genre, which is actual for contemporary musicology. This term (as far as its correspondences in musicological discourse of the countries of Eastern, Central and Western Europe) in Ukrainian musicology is still totally uncertain and not codified. This creates an obvious metalіngual lacuna. In the adequate theoretical representation, the term “genre type” outlines the higher level of the hierarchical category of the speech genre, which combines the characteristics of the speech and creative genres in music. Since the end of the 19th century phenomena musical forms / models / patterns (song form, form of rondo, etc.) and the content of music are the subject of studying and classification within the academic discipline “The doctrine of the musical form”. And in relation to the studying of genre types, other criteria are the determining factors: performance composition (instrumental, vocal, vocal-instrumental, musical and theatrical work), text, functions, place of execution, structure of construction. Additional factors of the systematic classification are periods (such as the Renaissance, Baroque, Viennese classicism) and styles (respectively, genres). The process of emancipation of functional music (which had certain social functions) determined the emergence in the 20th century so called “pure music”, almost unrelated to the primary circumstances of origin and existence. In 20th century composers begin to avoid the narrow qualifications of “genres” and established “genre types” and create “hybrid mixed forms” within the usual “classical genre types” (such as chamber symphony) or with the involvement of other types of art (for example, performances as a mixed form of art based on singing action of dance, theatre and music). In the middle of the 20th century began to differentiate musical-creative and musical-language genres within the T. Adorno’s classification of music practices for E-music, U-music and F-music. However, in contemporary Ukrainian musicology we have not a general acceptance of theoretical and methodological principles for the demarcation of classical music and entertainment. Accordingly, there is no proper musicology terminology. Working out of approaches and convincing criteria of the decision of these difficult theoretical and practical issues still continues. In connection with this, the necessity of introducing into the scientific circle the concept of “genre type”, as well as comprehension of its musical and speech nature is actualized.
3
Nuo, Xu. "The reform of Chinese Musical Culture and the Formation of Musical Psychology in the Early 20th Century". Университетский научный журнал, n.º 77 (25 de diciembre de 2023): 99–111. http://dx.doi.org/10.25807/22225064_2023_77_99.
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In the history of the origin and development of aesthetic ideas, refl ected in music psychology in China, two historical stages should be highlighted: the fi rst one – from antiquity to the beginning of the 20th century, and the second stage – from the beginning of the 20th century to the present, when the Chinese civilisation turned to the assimilation of Western forms of culture, including music. The article presents the view of one of the main researchers of musical psychology of the fi rst third of the 20th century, professor Wang Guangqi, and analyses the signifi cance of his ideas for the formation and development of musical psychology as a new science, as well as their relevance in the current problem fi eld of this area of musicology.
4
Vesic, Ivana y Danka Lajic-Mihajlovic. "The dominant currents in the research of music in Serbia: An overview of the Institute of Musicology SAS’s early history (1947-1965)". Muzikologija, n.º 25 (2018): 49–76. http://dx.doi.org/10.2298/muz1825049v.
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This paper is dedicated to the investigation of the initial period of the Institute of Musicology SAS, the first scientific institution of this kind in Serbia (and Yugoslavia), in order to give an insight into the development of national musicology and ethnomusicology. The results of earlier research about the topic have been expanded by means of the analysis of documents from the archive of the Institute of Musicology SASA. The organization of the Institute?s functioning, general research orientation, key topics, methodological choices and the significance of individual researchers were considered in detail. This diachronically oriented overview of research into music throughout the 20th century enabled us to pointing out the continuities and innovations after World War II and the Institute?s foundation.
5
Huovinen, Erkki. "Musiikin aatehistoriaa". Trio 12, n.º 1 (29 de junio de 2023): 33–42. http://dx.doi.org/10.37453/tj.131226.
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In his book Music, Ideas, History: Texts 1990–2022 Matti Huttunen sheds light on the world of Western art music by showing how past historiographies of music have given it form and meaning. While grounded in Dahlhaus’ principles of structural history, Huttunen also challenges such models by allowing greater interpretive multidimensionality. In future accounts of Finnish musicology, Huttunen’s writings may provide a focus for a “long 20th century” of musical historiography.
6
Lajic-Mihajlovic, Danka. "Audio collection in the SASA Institute of Musicology". Muzikologija, n.º 10 (2010): 141–51. http://dx.doi.org/10.2298/muz1010141l.
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The paper is relating to audio collection of the Institute of Musicology SASA as extremely important part of this institution?s fund. The collection comprises of valuable sound materials, especially significant collections of fieldwork recordings of traditional folk and church music, as also recordings of pieces of the 19th and 20th century Serbian composers. Information on sound carriers, methodologies and circumstances in which the recordings have been made, their preservation and further treatment with modern technologies, are a part of ethnomusicological and musicological histories in Serbia. According to number of sound recordings, diachronical dimensions that encompass, geographical areas and genre diversity, this collection is one of the most important sound collections of scientific profile in Serbia.
7
Hysa, Oksana, Bingqiang Liu, Olha Yeremenko, Larisa Biryukova y Bei Liu. "THE HISTORY OF MUSICOLOGY STUDIES AT THE UNIVERSITY OF WROCLAW AND THEIR RELATIONSHIP WITH THE STATE-RELIGIOUS GENESIS OF JAGELLONISM IN THE XV-XVI CENTURIES". Conhecimento & Diversidade 15, n.º 40 (6 de diciembre de 2023): 417–27. http://dx.doi.org/10.18316/rcd.v15i40.11246.
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Research on the origins and functioning of the Wroclaw School of Musicology in the first half of the 20th century. is relevant, since the development of new approaches in modern Ukraine requires the broadest historical generalizations, while the general indicator of the genesis and results of the development of the relevant links of educational institutions indicated in the special literature is not sufficiently covered in the scientific works of Ukrainian and foreign musicologists until our time. This is connected not only with the discovery and analysis of new documentary materials and facts, but also with the unfortunate lack of regular cooperation between the musicology centers of Wroclaw and Lviv at the scientific and educational and methodological levels in the modern period. University musicology of the Wrocław school in the forms of musicological embodiments of the concept of a higher school has become an important factor in the educational completeness of professional musical training, taking into account the organic interaction of the higher level of music schooling with primary and secondary levels, which is broken in the modern Western European music-educational system.
8
Brie, Mihai. "Gheorghe Dima – Seiten von der wertvollen hermannstädter musikalischen Tätigkeit". Studia Universitatis Babeş-Bolyai Musica 65, n.º 2 (21 de diciembre de 2020): 129–42. http://dx.doi.org/10.24193/subbmusica.2020.2.10.
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"An indisputable musical personality of all times, the great musician Gheorghe Dima gave a new breath to Romanian music but also to religious music. Activating in the second half of the 19th century, turbulent times for history and nation and the first half of the 20th century, he established himself through his substantial and rich academic training in famous western schools. It remained in the consciousness of researchers and generations as one who put Romanian music (instrumental or polyphonic) on the research corridor of the late nineteenth and early twentieth centuries. In this sense, the present academic research wants to pay homage to an unforgettable personality from the local space. Keywords: musicology, history, personality, etc."
9
Qiang, Wang. "Qu Xiao-Song’s Oratorio “Cleaving the Coffi n”: Features of Vocal and Orchestral Style". Университетский научный журнал, n.º 79 (24 de abril de 2024): 152–59. http://dx.doi.org/10.25807/22225064_2024_79_152.
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The oratorio “Cleaving the Coffi n” is a work created as part of the new wave music movement in China at the end of the 20th century. The dynamic fusion of avant-garde creative and aesthetic concepts with traditional Chinese culture marked a turning point in the development of Chinese oratory. This article presents the history of the development of Chinese oratorio prior to the appearance of this work, as well as the composer Qu XiaoSong and his creative ideas embodied in the genre of oratorio. The author of the article emphasises the important role of national percussion instruments in the work, and for the fi rst time analyses the specifi c features of the use of voice in the oratorio “Cleaving the Coffi n”, refl ecting vivid national colours and the composer’s unique musical and artistic style. This article is the fi rst mention of this oratorio in Russian musicology, and one of the few articles in Chinese musicology that analyse this work.
10
Miklós, Noémi. ""Organs in Transylvania – Part 2. Transylvanian Organs During the 19th Century "". Studia Universitatis Babeş-Bolyai Musica 67, n.º 2 (20 de diciembre de 2022): 177–91. http://dx.doi.org/10.24193/subbmusica.2022.2.10.
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"The following study is the second chapter of a series, which is intended to shed light on the development of the Transylvanian organ landscape throughout the centuries. It offers information regarding the organs and organ builders of the early romantic period up to the turn of the 20th century, when pneumatic and electro pneumatic organs have started to take over. Keywords: Transylvania, organ, romantic period, organ builders, stops, restoration. "
11
Totan, Virðinia y Petruța Maria Coroiu. "Impressionism in Serbian Music". Studia Universitatis Babeş-Bolyai Musica 68, n.º 2 (30 de diciembre de 2023): 39–61. http://dx.doi.org/10.24193/subbmusica.2023.2.03.
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"Musical Impressionism is one of the currents that reflected the anti-romantic discourse of the beginning of the 20th century, having a resonance only in the French cultural space - where the preference for suggestion, for deliberately imprecise tone and nuance has always worked. Although musicological studies do not display very important differences in attitude when it comes to defining impressionist compositions, musicologists’ opinions sometimes diverge. However, taking into consideration the extent to which the comparative method and the stylistic analysis, applied to music, can be conditioned by subjective experiences, the discrepancies can be said to be almost negligible. Basically, the opinion is that the elements of Impressionism in the first half of the 20th century were the most marked in certain compositions by Petar Konjović (1883-1970), Miloje Milojević (1884-1946) and Stevan Hristić (1885-1958), and to a lesser degree (only in the case of a few parameters of the musical language) we can see them in certain compositions by other composers. Keywords: impressionism, suggestion, analyze, composition, musicology, Serbian"
12
STETSKOVYCH, Olena. "MASS MUSIC CULTURE OF THE 20TH – EARLY 21ST CENTURY IN THE MIRROR OF MODERN UKRAINIAN MUSICOLOGY". Humanities science current issues 2, n.º 64 (2023): 114–19. http://dx.doi.org/10.24919/2308-4863/64-2-19.
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13
Mykola, Udovychеnko. "Ways of shaping the concert repertoire for the viola in the 17th–19th centuries". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 62, n.º 62 (16 de septiembre de 2022): 7–24. http://dx.doi.org/10.34064/khnum1-62.01.
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Statement of the problem. In the study, an attempt was made to highlight the process of the viola repertoire shaping, which occurred due to the improvement of the viola as a solo concert instrument. In view of the increasing popularity of the viola in the 20th century and the growth of scholars’ attention to modern viola practice, the previous stages of the development of viola art need new evaluations. Such a review and reassessment turned out to be especially relevant for the national musicology, which has been in informational isolation for a long time; therefore, the involvement of little-known sources determined the expediency and certain scientific novelty of this attempt. The purpose of this work was to analyze the process of shaping the concert repertoire for the viola during the 17th–19th centuries in the context of the viola performance development. As a result, the factors that contributed to a radical change in attitude towards this instrument on the part of composers, performers and listeners during the selected historical period were identified. The main sources for making conclusions were the catalogues by V. Borissovsky, and V. Altmann “Literaturverzeichnis für Bratsche und Viola d’amore” (Altmann, Borissovsky, 1937), the researches by D. Havrylets (2012) where for the first time in Ukrainian musicology the evolution the viola concerto as a genre is covered from the origins to the present; and M. Kugel (2009), where his rich performance experience is summarized. Results and conclusion. Based on the analysis of the sources, systematization and generalization of its results, the path of the viola performance development is traced up to the beginning of the 20th century, from the work of G. Telemann, brothers Antonin and Carel Stamitz, I. Holzbauer, L. Lebrun, E. Eichner, through the creative work of F. A. Hoffmeister (the 18th century), A. Rolla, H. Sitt (the 19th century). It is emphasized that the leading viola players, most of whom were composers, made a decisive contribution to the transformation of the viola from an accompanying instrument into a full-fledged solo instrument. The circumstances of the cultural life of the society, which influenced the change of attitude to the viola, and the following factors of the development of the concert viola repertoire in the 19th century have been marked: the emergence of virtuosos, intensification of touring, music business, development of pedagogy, formation of sustainable performing trends, schools, the tradition of viola playing in the composers environment, etc., which led to the rapid development of the viola repertoire in the 20th century
14
Dér, András. "Special Issue on Versatile Organ-on-a-Chip Devices". Micromachines 12, n.º 12 (25 de noviembre de 2021): 1444. http://dx.doi.org/10.3390/mi12121444.
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The tremendous success of microelectronics at the end of the 20th century, often symbolized by “Moore’s law”, is based on miniaturization of the active and passive elements of electronic circuits [...]
15
Puchalska, Iwona. "Deus ex machina, czyli o doświadczeniu fonografii w poezji Stanisława Barańczaka / DEUS EX MACHINA, OR THE EXPERIENCE OF PHONOGRAPHY IN THE POETRY OF STANISŁAW BARAŃCZAK". Ruch Literacki 54, n.º 4-5 (1 de octubre de 2013): 477–94. http://dx.doi.org/10.2478/v10273-012-0082-3.
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Summary This article deals with a new range of musical topoi that entered the literature of the 20th century following the invention of new techniques of recording and copying of sound. The phonographic revolution led to a wide-ranging revision of traditional musical terms and opened the way for new approaches to the problem of ontology of the musical work of art. Its ripples also reached the realm of poetry, giving rise to new motifs and themes of ‘poetic musicology’. Stanisław Barańczak is without doubt a typical phonographic poet, and his work both reflects the general developments in the world of music and shows a uniquely personal literary-musical profile.
16
Naumenko, Tatiana I. "Soviet Musicology: Pro et Contra. Work on Archival Materials from the Soviet Era". Problemy Muzykal'noj Nauki / Music Scholarship, n.º 4 (2022): 22–37. http://dx.doi.org/10.56620/2782-3598.2022.4.022-037.
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The article describes the process of work on researching Soviet musicology of the time period from the 1920s to the 1940s. The study was carried out under the RFBR project “The Phenomenon of Soviet Musicology and Its Influence on the Formation of Russian Musical Culture.” The history of Soviet musicology is studied on the basis of archival documents that make it possible to reconstruct little-known historical events, and also to characterize the peculiarities of musicology in the context of each decade. The first post-revolutionary decade passed under the sign of the search for its own academic scholarly institutions, which were alternately made available and then closed down, in accordance with the state policy. However, it was during this period that the fundamental foundations of 20th century Russian musicological thought were laid. Of special interest is the work on creating a complex of tutorial literature. Starting from 1936 (since the time of the creation of the All-Union Committee for the Affairs of Art), work on creating textbooks has become one of the main forms of scholarly activity of the musicological departments of the Moscow and Leningrad Conservatories, later the Gnesins’ State Musical Pedagogical Institute and the Institute of Art History of the USSR Academy of Sciences (presently, the State Institute of Art Studies), both established in 1944. Discussions of issues of paramount importance – such as the historical periodization of Russian music history, the content and methodology of training courses, – frequently took place for many days in a row, with the results of the discussion reflected in the central newspapers and magazines. The transcripts of these sessions, in certain cases, exceed 1,500 pages. An important direction of this research was also the study of the main directions in the development of musicology. Along with the creation of textbooks, monographs and other academic works, dissertation work began in the 1930s–1940s. This contributed to a great extent to the integration of musicology into the general scholarly humanitarian field. In the same period, numerous discussions of new Soviet compositions began – primarily, operas and symphonies.
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Anuchin, Artem Maximovich. "Musical portrait of Nikolay Tcherepnin: Stages of his life and creative work. On the 150th anniversary of his birth". Manuscript 17, n.º 2 (15 de marzo de 2024): 76–84. http://dx.doi.org/10.30853/mns20240011.
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The article analyzes the main stages of the life path and creative achievements of Nikolai Cherepnin. The author set out to remind the musical community about this universal musician, whose pinnacle of professional success was achieved in Russia: it was in his homeland that he gained the status of an outstanding composer, conductor, pianist, educator, and one of the finest masters of orchestral writing. Additionally, Cherepnin's composer figure is presented in the artistic context of Russian and foreign music of the first half of the 20th century. Western musicology believes that the avant-garde features of Nikolai Cherepnin's compositions emerged during his 'French' period, hence the article focuses on the innovative aspects of Cherepnin's work that originated within Russian culture: in the music of M. P. Mussorgsky, N. A. Rimsky-Korsakov, A. K. Lyadov, as well as in works of the 'World of Art' artists. As a result, a more comprehensive artistic portrait of the underexplored composer in the context of the Silver Age is created, filling in some 'blank spots' in the picture of the musical art of the early 20th century music.
18
Tabyisova, Fedosia W. "Trio Texture in Choral Arrangements and Polyclavier Organ of Southern Germany in the First Third of the 16th Century". Contemporary Musicology, n.º 2 (2022): 81–106. http://dx.doi.org/10.56620/2587-9731-2022-2-081-106.
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The article is an attempt to establish a relationship between the structure of large South German church organs of the first third of the 16th century and the compositional features of the thencontemporary organ works. The historical boundaries of the Renaissance in German architecture and music do not coincide, while an organ may be viewed as an architectural element. This contradiction presents a certain difficulty. In the indicated period, the late Gothic architectural style, which preceded the Renaissance, played a leading role. As we see it, the organ music of this time, usually attributed to the Renaissance, reflected the transition from the late Gothic to the Renaissance. This complex repertoire is marked by the coexistence and interaction of three general trends. Among them are archaic polymelodic polyphony as well as new techniques: the method of coloring that spread in Southern Germany and imitation borrowed from the European North. A polyclavier organ, which we take as the standard of the South German instrument, is called a late Gothic spaltsatz organ (spätgotische Spaltsatz-Orgel) in German musicology. The trio texture found in choral arrangements, in our opinion, most fully and accurately reflects the polyclavier structure and timbre richness of the large church organs of South Germany.
19
Klendii, Oleksandra. "Music editing in the aspect of interdisciplinary connections (according to pages of foreign studies)". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 66, n.º 66 (9 de abril de 2023): 191–206. http://dx.doi.org/10.34064/khnum1-66.12.
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Statement of the problem. Editing of a musical work and editorial activity as such is an integral part of the music-historical process. This is the area of musicological activity that, being at the junction of composer creativity and performing interpretation, can tell a lot: to point out the peculiarities of the genre in a certain historical period, to reveal the level of technical skill of the musicians, the canons of the performance style and sound image of the instrument, to mark figurative and substantive priorities. Since the second half of the 20th century, research on the topic of music editing has been spreading, in which the emphasis is placed on the interdisciplinary connections of musicology and philology (Brett, 1988; Bent, 1994; Grier, 1996; Hammond, 2007). In Ukrainian musicology (Hryschenko, 2015; V. & I. Khodorovski, 2016; Zymohliad, 2016: Pankova, 2013; Ekman, 2018; Zapevalova, 2021 and other), music editing was mostly considered on the materials of piano works through the analysis of the work of musician-editor on a music piece. Objectives, methods, and novelty of the research. However, we note the insufficiency of disclosure of this direction that requires further in-depth study. This determines the relevance and novelty of the article, which include systematized analytical results of research of the second half of the 20th‒beginning of the 21st century on the issues of music editing, in the aspect of connections between musicology and philology. The purpose of the article is to systematize the research materials of a number of foreign authors on the study of the phenomenon of music editing from the standpoint of interdisciplinary connections. The article uses the historical method, which reveals the peculiarities of the origin and formation of the process of music editing and its development as a phenomenon; methods of terminological analysis, generalization and systematization, in connection with the study of the positions of researchers in the disclosure of the above-mentioned problems. Results and conclusion. When developing the idea of interdisciplinary relations – musicology and philology in the field of editing – a Canadian Researcher J. Grier (1996 ) considers the ‘methods of critical assessment’ and ‘composition socialization’ to be the most effective for musicology. The literary term ‘philological monument’ projected by J. Grier onto a musical composition of the past, which consolidated in musical and performing practices on the rights of a canon, is equally important and relevant. In the work by S. L. Hammоnd (2006: 2), which covers the investigation of madrigal vocal art within the context of 15th‒17th century culture, the significant role of the figure of editor is emphasized, which could be played by a performer, a composer, a music teacher, a music publisher or a poet (the translator of the Italian texts). Each of them could complement the original work by their own vision acting as a co author. Consequently, changes and adjustments contributed by the editor were made for the contemporary consumers in order to popularize the musical works. The necessity of musical material distribution, often under the conditions of other cultural traditions, its adaptation to the performance realities of the other period, the pursuit for the interpretation of author’s intentions reflected in the creation of editorial versions directed on socialization of compositions and their further spread.
20
Peno, Vesna. "Methodological disputes about interpretation of neum notation in the 20th century". Muzikologija, n.º 18 (2015): 15–33. http://dx.doi.org/10.2298/muz1518015p.
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Until the end of the twentieth century in Byzantine musicological science there were two diametrically opposite approaches to the interpretation of the Byzantine neum notation systems and post-Byzantine music heritage after the Fall of Constantinople. Western European scholars, ignoring the post-Byzantine Chant tradition and the last semeography reform from the early nineteenth century, looked at the problems of the musical past only from the perspective of the Middle Ages. Greek researchers have shared the belief that the condition of an adequate understanding of the mid-Byzantine notation, or the so-called old method, is the knowledge of analytical neum system and theory, the basics of which were set up by musicians from the end of the seventeenth and during the eighteenth century, and were finally shaped by Chrisantos, Gregory and Chourmouzios and officially accepted in the Greek church in 1814. The path to overcoming the issues relating to the development of neum notation, and finding an adequate manner of decoding it, led through the understanding of the phenomenon of "interpretation" and other tendencies that marked the post-Byzantine music practice. Two scientists -the Danish J?rgen Raasted, a follower of the Western European musicological methods established by founders of Monumenta Musicae Byzantinae, and Greek theologist and musicologist Gregory Stathes - are specifically responsible for the reconciliation of the different methodological approaches. After numerous and often heated debates, the Danish scientist eventually largely accepted the views of his Greek counterpart. Moreover, he himself insisted, at the musicological conferences organized during the 1980s, on reviewing the controversial issues: the existence of chromatic intervals in the psalmody of the Middle-Ages, the problem of syllabic and melismatic interpretations of stenographic neum records, and so on. Concerning the above mentioned issues, the contemporary trends in Byzantine musicology are presented in the conclusion of the paper. It is worth noting that the most influential scholars nowadays follow ?a middle path?, the distinction between the once exclusive Western option and the no less ?hard? Greek traditional option.
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Gorbunova, Irina B. y Mikhail S. Zalivadny. "About Applying Probabilistic-Static Methods in Studying Regular Laws of Music and Musical-Pedagogical Research Works". Music Scholarship / Problemy Muzykal'noj Nauki, n.º 1 (2022): 35–49. http://dx.doi.org/10.33779/2782-3598.2022.1.035-049.
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In the mid-20th century musicology and the contiguous disciplines presented a set of farsighted ideas containing broad possibilities for studying the factors of uncertainty in the system of musical thought and partially anticipating analogous ideas in the sphere of exact sciences. The article examines a set of probabilistic-statistical methods in application to researching the regular laws of music, and also carries out elaborations devoted to applying these methods to musical-pedagogical practice. The authors of the article draw special attention to musical-computer technologies, which received development at the turn of the 20th and the 21st centuries as means of studying music within the framework of the system of contemporary musical education on its various levels – professional and supplementary professional. The article also elucidates certain issues of inclusive musical education connected with the mastery of probabilistic-statistical regular laws of music, including the logic and the technique of musical composition. Characterization is provided to the complex research and scholarlymethodic elaborations undertaken by the Tutorial-Methodological Laboratory “Music Computer Technologies” affiliated with the Herzen State Pedagogical University of Russia, which served as the basis for development of music scholarship and the practice of music composition and exerted an influence on the musical culture of the early 21st century.
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Bralovic, Milos y Ivana Medic. "The composer and his critics: The reception of Stanojlo Rajicic’s works in the light of crucial events for the development of Serbian music in the twentieth century". Muzikologija, n.º 31 (2021): 59–94. http://dx.doi.org/10.2298/muz2131059b.
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In this article we discuss the critical reception of the work of composer Stanojlo Rajicic (1910-2000), whose presence in the public musical life of Belgrade was noted already in the 1920s, when he was a student at the ?Stankovic? Music School and then the Belgrade Music School. The critical reception of his compositional work can be followed for almost seven decades. Performances of Rajicic?s works often provoked controversies and polemics - which speak not only about the composer?s oeuvre itself, but even more so about the state of musical life of Belgrade, Serbia and Yugoslavia in the 20th century. Thus we analyze the reception of Rajicic?s work in the light of historical events that crucially influenced the development of Serbian art music throughout the twentieth century. The article is based on the study of extensive archival material preserved at the Institute of Musicology SASA, Radio Belgrade, as well as private collections.
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Kysliuk, Andrii. "Lysenkiana in the Studies of Mykhailo Stepanenko in Its Connections with Musicological Tradition and Modern Investigations of the Artist’s Heritage". Folk Art and Ethnology, n.º 2 (30 de junio de 2024): 87–94. http://dx.doi.org/10.15407/nte2024.02.087.
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The analysis of the works of Mykhailo Borysovych Stepanenko devoted to the multifaceted figure of Mykola Vitaliiovych Lysenko, is submitted in the article. An attempt to analyze objectively the chosen issues is made as well as to comprehend lysenkiana in the works of M. B. Stepanenko in close connection with the Ukrainian musicological tradition and modern research. M. B. Stepanenko’s music-historical studies are marked by the accuracy of archival-biographical and analytical musicological data, the absence of artificial restrictions. This phenomenon is typical for modern lysenkiana. The most important moments of M. V. Lysenko’s multifaceted creative activity as a composer, pianist, conductor, teacher and folklorist are emphasized in the considered texts. At the same time, these data are important for the history of Ukrainian music in general. In particular, the analysis of previously unpublished epistolary heritage sheds light on the artist’s friendly relations with the family of the famous historian and public figure Volodymyr Bonifatiiovych Antonovych. This information is valuable for Ukrainian musical biography. The author demonstrates the living history and cultural space of Kyiv at the early 20th century owing to the attention to details. The analyzed studies of Mykhailo Stepanenko introduce new archival materials into scientific circulation and expand the empirical base of Ukrainian musicology. Therefore, they are in the midst of relevant trends, typical for modern musicology, those contribute to the strengthening of the scientific foundations of this field of knowledge as a whole, and therefore, the entry of Ukrainian musicology into the world context as its subject.
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Strizhakova, Elena A. "F. J. Fetis and his role in the development of French organ playing school in the second half of the 19th century". Contemporary Musicology, n.º 4 (2020): 75–89. http://dx.doi.org/10.56620/2587-9731-2020-4-075-089.
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The article focuses on life and work of the Belgian musicologist F. J. Fetis— the first director of the Royal Conservatory of Brussels. His enthusiasm about Bach’s music influenced the formation of the French-Belgian organ playing school and the repertoire of the second half of the 19th century. His influence would not be possible without his active journalistic work and his high profile as a musicologist and a theorist. He managed to create favorable working environment for the first graduates of the conservatory, in particular, J.-N. Lemmens. His position as a follower of Bach’s tradition was instrumental in raising the profile of the conservatory. It also helped to attract musicians not only from Belgium, but also from France. In the 1860s, Lemmens used Bach’s works to train Guilmant and Widor, young French organists and composers studying at the Brussels Conservatory. By the end of the 19th century, the work of the two composers laid the foundation for the “new” organ repertoire, which was very much needed already in the middle of the century. “Serious” music that followed Bach’s tradition contrasted with the spontaneous sentimental improvisation of a number of other French organ composers. Towards the turn of the 19th and 20th centuries, Fetis's aesthetic preferences, through Lemmens' pedagogical work, eventually shaped a substantive part of the organ repertoire. The new repertoire was marked by the revival of choral works based on Gregorian chants. Thus, a series of examples shows the continuity of the traditions of choral works by the 18th century German composers and the 1950s and the 20th century French composers.
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Tao, Jin. "PERFORMANCE CHARACTERISTICS of Eugene Goossens’s Concerto for Oboe and Orchestra". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 60, n.º 60 (3 de octubre de 2021): 167–83. http://dx.doi.org/10.34064/khnum1-60.09.
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Statement of the problem. The study of the process of development of the concert style of oboe performance is a relevant area of modern musicology, as evidenced, in particular, by the scientific activity of the International Double Reed Society (IDRS) and works of other researchers on the history of the instrument and its repertoire starting with the second half of the 20 century (Bate, 1975; Bartalozzi, 1967; Reeves & Hooper, 1985; Goossens & Roxburgh, 2001). The concept of “concert oboe” is actualized by V. Martynova (2018, 2019) on the basis of the performance art of the 19th – 20th centuries. As for works for oboe of the early 20th century, in particular by E. Goossens, there are a few studies devoted to the development of modern style of the concert oboe (Del Mar, 1984; Lopez-Pelaez-Casellas & Garcia-Herrera, 2019) and to E. Goossens’s Concerto (Woodworth, 2016). This determines the scientific novelty of this research, which involves genre-style and performance analysis of the Concerto. The purpose of this study is to identify typical genre-stylistic and performance characteristics of E. Goossens’s composition in the context of the development of the concert style of oboe performance. The research methodology is based, first, on the genre and style approach, which is traditional for musicology, in particular, on research on the code of reflexivity (Shapovalova, 2006), and pastoral genre in music (Shapovalova, Chernyavska, Govorukhina & Nikolaievska, 2021). Another methodological dimension is related to the positions of analytical interpretology and principles of performance analysis (Nikolaievska, 2020), which focus on such elements as form-creation, performance dramaturgy, performance poetics. Results and conclusions. The typical genre and stylistic features of E. Goossens’composition refer to the traditions of the romantic concerto (onemovement structure; the presence of a symphonic model of the genre; the use of initial intonation as the main sound symbol of the work; the absence of a single tonal centre; reflexivity; the involvement of pastoral colour as an established image of the instrument). From the viewpoint of performance poetics we have marked the overcoming of the formality of rondeau nature by the continuity of performance form-creation; the presence of such difficulties requiring high performance skills of an oboist as playing of whole-tone scale, high notes and extreme sounds of the registers, polyrhythmic structures, the abundance of virtuoso passages in the composition, the variety of articulation techniques, fast-frequency vibrato, etc., which is crucial in the process of development of the concert style of oboe performance in the early 20th century.
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Teparić, Srđan. "Analytical Listening and Aesthetic Experience in Music Criticism". Arts 13, n.º 1 (14 de febrero de 2024): 34. http://dx.doi.org/10.3390/arts13010034.
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In this article, I discuss the methodological and contextual aspects of writing music criticism, drawing cues from applied musicology and autoethnography. The challenge for any music critic is the question of the relationship between objective and subjective approaches. I analyze the relationship between analytical listening and aesthetic experience, using the examples of two music reviews of Ivo Pogorelić’s piano recitals that I wrote. The interpretations of this pianist are suitable for the analysis precisely because he is commonly seen as an unconventional, even controversial pianist, and his interpretations of romantic music are often regarded as examples of anti-academicism and even deconstruction of pianistic canons accumulated during the 20th century. Against that term, I will talk about liberation, which is perhaps a more suitable label for Pogorelić’s modernist approach to performance.
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Kushch, Viktoriia. "Chamber vocal works by Ivan Karabyts in the Ukrainian musicological discourse". Collection of scientific works “Notes on Art Criticism”, n.º 39 (1 de septiembre de 2021): 196–201. http://dx.doi.org/10.32461/2226-2180.39.2021.238720.
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The purpose of the article is to characterize the most significant works of Ukrainian scientists dedicated to the chamber vocal music by Ivan Karabytsand to identify promising areas for further study. The methodology involves the use of theoretical, systematic, and analytical methods to characterize the scientific works of Ukrainian scientists, which examines the chamber vocal works by Ivan Karabyts. The scientific novelty of the work lies in the identification of promising areas of research of chamber vocal and pop song creativity by Ivan Karabyts as a representative component of Ukrainian music of the second half of the 20th century. Conclusions. In modern Ukrainian musicology, the work by I. Karabyts is incompletely presented: the least researched to date are his chamber vocal works and pop songs are almost unstudied, although this musical layer is representative of both the composer’s work and Ukrainian music of the second half of the 20th century. Among the scientific works of Ukrainian researchers, the most important are the dissertations by O. Haluzevska and O. Hurkova, in which the issues of musical poetics and stylistic features of several vocal cycles by I. Karabyts were considered. Among the promising areas of research of chamber vocal works of the composer are the interaction of verbal and musical components, the interpenetration of elements of academic and non-academic music, the processes of stylistic synthesis.
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DUȚICĂ, Luminița y Ema-Laura STANCIU. "Sound polychromes in the choral creation of the composer Gheorghe Duțică". BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (20 de enero de 2021): 57–68. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.6.
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Choral cultures begin with the old art of Notre Dame in Paris, continue with the Renaissance, Baroque, Classicism, Romanticism and end with the modern era, where the currents of Impressionism, Expressionism and Neoclassicism are often interwoven, united through the National Schools. An old tradition of Romanian musical culture continues, whose beginnings were marked by the choral, church or secular genre and whose modern foundations were finalized in the inter-war era of the 20th century. Gheorghe Duțică is one of the most representative masters of Romanian music. He has acquired a thorough knowledge of musicology, composition and pedagogy. It should be noted that each work bears the imprint of a strong originality, as well as a mastery worthy of appreciation. The charm of these works is very special, managing to describe with poetic and suggestive images.
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Ковнацкая, Л. Г. "The XVIII Bach Readings in St. Petersburg". OPERA MUSICOLOGICA, n.º 2021 (15 de septiembre de 2021): 96–107. http://dx.doi.org/10.26156/om.2021.13.3.006.
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В первой, вступительной части публикуемой рецензии на XVIII Баховские чтения, прошедшие в Санкт-Петербургской консерватории в марте 2021 года, рецензент рассказывает про свой баховедческий опыт, отчасти дающий автору право суждения о столь специальном событии. Во второй, основной части рецензии рассматривается разработанный в представленных на Чтениях докладах свод научных тем, ракурсов и методов исследования в свете научных интересов и вклада ученых в эту область музыкознания. Современное баховедение в Чтениях предстает как специфическая отрасль музыкальной науки со своими актуальными проблемами и как единое открытое духовное пространство, взаимодействующее с проблемами времени и окружающей жизни в ее динамике. In the first, introductory part of the published review of the XVIII Bach Readings, which took place at the St. Petersburg Conservatory in March 2021, the reviewer tells about her individual Bach-studies experience. This experience reflects the Bachian life in Leningrad in the second half of the 20th century. In part, according to the author, it gives her the right to estimate such a special event. In the second, main part of the review, the author provides a set of topics, angles and research methods in the light of scientific interests and contribution of scholars to this area of musicology. In the Readings, modern Bachology appears as a specific branch of musicology with its current problems and as an open scientific world interacting with the problems of time and the surrounding life in its dynamics.
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Tazegul, Gokhan, Humeyra Bozoglan, Tahir S. Ogut y Mustafa K. Balci. "A Clinician's Artificial Organ? Instant Messaging Applications in Medical Care". International Journal of Artificial Organs 40, n.º 9 (24 de mayo de 2017): 477–80. http://dx.doi.org/10.5301/ijao.5000606.
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After the development of the first phone at the end of 19th century, communication technologies took a great leap forward in the 20th century. With the birth of the “smartphone” in the 21st century, communication technologies exponentially evolved and became an important part of our daily routine. Effective communications between clinicians is critical in medical care and miscommunications are a source of errors. Although telecommunication technologies have proliferated dramatically in the last decade, there is scarce evidence-based information on the use of this technology in medical care. For the purposes of medical communication, we can now consult each other about patients individually and within a group via instant messaging applications by using text messages, photos, audio messages and even videos. In this review, we examine the uses and drawbacks of instant messaging applications in medical communications.
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Vasic, Aleksandar. "The beginnings of Serbian music historiography: Serbian music periodicals between the world wars". Muzikologija, n.º 12 (2012): 143–64. http://dx.doi.org/10.2298/muz120227007v.
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The transition of the 19th into the 20th century in Serbian music history was a period of music criticism, journalism and essay writing. At that time, Serbian musicology had not yet been developed as an academic discipline. After WWI there were many more academic writings on this subject; therefore, the interwar period represents the beginning of Serbian music historiography. This paper analyses Serbian interwar music magazines as source material for the history of Serbian musicology. The following music magazines were published in Belgrade at the time: Muzicki glasnik (Music Herald, 1922), Muzika (Music, 1928-1929), Glasnik Muzickog drustva ?Stankovic? (Stankovic Music Society Herald, 1928-1934, 1938-1941; from January 1931. known as Muzicki glasnik /Music Herald/), Zvuk ( Sound, 1932-1936), Vesnik Juznoslovesnkog pevackog saveza (The South Slav Singing Union Courier, 1935-1936, 1938), Slavenska muzika ( Slavonic Music, 1939-1941), and Revija muzike (The Music Review, 1940). A great number of historical studies and writings on Serbian music were published in the interwar periodicals. A significant contribution was made above all to the study of Serbian musicians? biographies and bibliographies of the 19th century. Vladimir R. Djordjevic published several short biographies in Muzicki glasnik (1922) in an article called Ogled biografskog recnika srpskih muzicara (An Introduction to Serbian Musicians? Biographies). Writers on music obviously understood that the starting point in the study of Serbian music history had to be the composers? biographical data. Other magazines (such as Muzicki glasnik in 1928 and 1931, Zvuk, Vesnik Juznoslovenskog pevackog saveza, and Slavenska muzika) published a number of essays on distinguished Serbian and Yugoslav musicians of the 19th and 20th centuries, most of which deal with both composers? biographical data and analysis of their compositions. Their narrative style reflects the habits of 19th-century romanticism and positivism: in some of these writings the language also has an aesthetic function. Serbian interwar music magazines also published some archival documents contributing to the future research of Serbian music history. Interwar period in the then Yugoslavia was a time of rapid development and modernization in various fields of culture. There was a great demand for music writings of general interest. Therefore, Revija muzike (January - June 1940) was totally oriented towards the popularization of music and the arts (such as drama and film). This magazine also published some popular articles on music history. Serbian interwar music periodicals were least active in the field of musicological analysis. However, in 1934, Branko M. Dragutinovic published a detailed analytic study of Josip Slavenski?s composition Religiofonija (Religiophonics) in Zvuk. There were also some interdisciplinary history articles in Serbian interwar music magazines. Being well aware of the fact that music history comprises not only music itself, but also music writing, schools, institutions and music life, our music writers used ?indirect? sources, such as literature and art, as well as music. Serbian interwar music periodicals opened many fields of research, thus blazing a trail in postwar Serbian musicology.
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Bausch, Sebastian y Manuel Bärtsch. "Geisterhände – neu belebt". Schweizer Jahrbuch für Musikwissenschaft 40 (19 de abril de 2024): 103–8. http://dx.doi.org/10.36950/sjm.40.9.
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Since more than 15 years, the Bern University of the Arts (HKB) has been researching early 20th century piano and organ rolls. In the SNF‑AGORA‑Project "Magic Piano", researchers are seeking ways to make the recordings and related insights accessible to a larger public through the website www.magic-piano.ch.
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Князева, Ж. В. "Manfred Bukofzer, Paul Sacher and the Basel Ordinariat". Научный вестник Московской консерватории, n.º 4(39) (7 de diciembre de 2019): 162–93. http://dx.doi.org/10.26176/mosconsv.2019.39.4.006.
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Статья продолжает исследование эпистолярного наследия российско-швейцарского музыковеда и органиста Жака Гандшина (1886, Москва— 1955, Базель). В конце жизни ученый принадлежал к ряду виднейших фигур западного академического музыкознания. Он руководил музыковедческим семинаром Базельского университета— одним из центров международного музыковедения середины ХХ века. Вопрос о преемнике Гандшина на этом посту остро встал осенью 1955 года, когда здоровье ученого пошатнулось. Основным претендентом был Манфред Букофцер,— известнейший американский музыковед, в прошлом ученик Гандшина, придерживавшийся, однако, иных, чем его руководитель, научных убеждений. Данная статья представляет несколько ранее неизвестных источников из архива Жака Гандшина, а также три документа осени 1955 года из переписки Букофцера со знаменитым швейцарским меценатом и дирижером Паулем Захером, имевшим немалое влияние на события, развернувшиеся тогда вокруг поста базельского ординариуса. Представляемые материалы позволяют бросить взгляд на неочевидные (скрытые в глубинах частной переписки), но располагающие к размышлению сюжеты из истории западного музыкознания середины ХХ века. In this article, I continue my study of the corpus of letters that documents the scientific life of Russian-Swiss musicologist and organist Jacques Handschin (1886, Moscow—1955, Basel). In his later years, Handschin counts amongst the most prominent representatives of Western academic musicology. He headed the musicological department at Basel University, Switzerland, one of the centers of international musicology in the mid-20th century. When, in fall of 1955, Handschin suddenly fell very ill, the question of his successor arose. Manfred Bukofzer, the famous American musicologist who had been a student of Handschin, was deemed the most promising candidate. However, over the years he departed from the scientific convictions of his mentor. In this article, I present and discuss several previously unknown sources from the Jacques Handschin’s estate as well as three documents (dated fall 1955) from the correspondence of Bukofzer with Paul Sacher. This famous Swiss financier and conductor had a significant influence on the events that unfolded around the post of the Basel ordinariat. The materials presented make it possible to cast a glance at non-obvious (hidden in the depths of private correspondence), but thought-provoking stories from the history of Western musicology of the mid-twentieth century.
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Грохотов, С. В., К. В. Зенкин, Р. А. Насонов, Т. В. Цареградская y В. П. Чинаев. "Following the Conference “From Art Nouveau to Futurism” (Virtual Round-Table Discussion)". Научный вестник Московской консерватории, n.º 1(40) (20 de marzo de 2020): 56–67. http://dx.doi.org/10.26176/mosconsv.2020.40.1.004.
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Публикация составлена на основе беседы, состоявшейся 25 октября 2018 года, в последний день конференции «От модерна к футуризму: эстетика, поэтика, исполнительская интерпретация». Высказывания непосредственных участников разговора дополнены письменными репликами К. В. Зенкина и Т. В. Цареградской. Дискуссия подвела итог работе конференции и обобщила идеи, изложенные в докладах. В центре внимания участников круглого стола находились проблемы терминологии — понятия, с помощью которых современная наука осмысляет историю музыки и других видов искусства в XX веке. Обсуждались основные тенденции в развитии музыки последнего столетия, отмечалось определенное сходство современных художественных процессов с кризисом искусства в начале прошлого века, когда устремленность в будущее и даже стремление отринуть культурное наследие вызвали к жизни качественно новое восприятие прошлого. The publication is compiled on the basis of a conversation that took place on October 25, 2018, the last day of the conference "From Art Nouveau to Futurism: Aesthetics, Poetics, Music Performance." The statements of the direct participants in the conversation were supplemented by the written remarks of K. V. Zenkin and T. V. Tsaregradskaya. The discussion summed up the work of the conference and summarized the ideas presented in the reports. The roundtable participants focused on the problems of terminology - concepts by which musicology comprehends the history of music and other arts in the 20th century. The main trends in the development of music of the last century were discussed, a certain similarity of modern artistic processes with the crisis of art at the beginning of the 20th century was noted, when the aspiration for the future and even the desire to reject the cultural heritage gave rise to a whole new perception of the past.
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Ryzhinsky, Alexander S. "British Choral Music at the Turn of the 19th and 20th Centuries: the Phenomenon of the English Musical Renaissance". Problemy muzykal'noi nauki / Music Scholarship, n.º 2 (julio de 2023): 53–67. http://dx.doi.org/10.56620/2782-3598.2023.2.053-067.
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The article is devoted to the phenomenon of the English musical renaissance, little studied in Russian musicology — a movement under which presently the formation of the British national compositional school of the turn of the 19th and 20th centuries is comprehended. The author turns to the musical heritage of the leading composers of that period — Alexander MacKenzie, Hubert Parry, Charles Stanford and Sir Edward Elgar — with the aim of demonstrating the sources of the English musical renaissance and determining, what significance was exerted by the choral heritage by its main representatives on the subsequent evolution of choral music in Great Britain. Among the chief factors which influenced the English musical renaissance, the following are highlighted: the development of the choral festival movement, the establishment of the Royal College of Music, the directedness of the British professional education on the formation of the national school of composition, as well as Parry’s and Stanford’s active work in musical criticism and research. The peculiarities of the choral writing of each of the aforementioned composers are analyzed on the example of the most well-known works in the genres of the cantata and the oratorio. The author brings to light the general tendencies in the organization of the choral texture and timbre and the unique techniques the discovery of which is capable of making adjustments to the existent perceptions about the evolution of the choral music of the early 20th century. In particular, study of Elgar’s choral works makes it possible to confirm the composer’s interest in the textural and timbral techniques typical for the composers of the first and the second avant-garde in Europe, such as diagonal texture and non-standard unisons. The author’s conclusions make it possible to form a perception of the works by the composers of the “first renaissance trio” (Parry, Stanford, MacKenzie) and their younger contemporary Elgar as the greatest impulse of the formation of 20th century British choral music, which in the second half of the century became among the most on demand in world performance.
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Radoman, Valentina. "On comparative research in musicology: Peripheral vs. Central European musical culture and the musicological comparative approach in the 20th century". New Sound, n.º 39-1 (2012): 30–48. http://dx.doi.org/10.5937/newso1201030r.
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Dumbill, Richard y Sanjay Sinha. "Seven decades of organ transplantation: Out of the 20th and into the 21st century". Journal of Indira Gandhi Institute of Medical Sciences 10, n.º 1 (2024): 3–5. http://dx.doi.org/10.4103/jigims.jigims_47_23.
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Zhornikova, Mariia. "EMBODIMENT OF THE PRINCIPLES OF SONOR WRITING IN THE CREATIVE WORKS OF E. VILLA-LOBOS (on the example of the piano suite “Dolls”)". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, n.º 58 (10 de marzo de 2021): 158–81. http://dx.doi.org/10.34064/khnum1-58.10.
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Introduction. E. Villa Lobos (1887–1957) is a classic the 20th century music. For Ukrainian musicology, the piano legacy of E. Villa-Lobos is relevant in terms of substantiating the innovation of the composer’s thinking in world creative practice at the beginning of the 20th century. In particular, the performers of the piano suite “Dolls” are faced with the problem of understanding the content of sonor-textural music. Оbjectives. To identify the distinctive features of E. Villa-Lobos’ use of elements of the sonority,which are based on the synthesis with Brazilian folk melos (on the example of the analysis of the piano suite “Dolls”). The subject. The piano suite (“Dolls”) (1918) as an example of the composer’s early creative style, which embodies the principles of sonorism typical for impressionist aesthetics. Theoretical Background. The novelty of the artistic tasks set by E. Villa-Lobos to the performers of his music in the early period of his creative activity required the study of the fundamental works of Yu. Kholopov, V. Tsenova, V. Kholopova, in which the meaning of the concepts “sonority”, “harmonic colouristics” and “texture”. Analysis of recent publications on the topic. The master’s work by A. Sotnikova (2010) raises questions on the formation of professional Brazilian music, the author focuses on the analysis of the piano composition of the composer. In her article V. Fedotova (2016) in the article examined the distinctive principles of the work of the Brazilian composer, in particular the specifics of his piano compositions. Results and Discussion. Music of the 20th century became a reflection of new artistic tasks that required adequate means of expression, and one of such means was sonoristics. It was this type of writing that E. Villa-Lobos addressed when writing the piano suite “Dolls” (1918). In the composer’s writing of E. Villa-Lobos there is sonoristics, harmonic colouristics, developed texture, due to which nationally coloured sound images are created. This confirms not only the stylistic, but also the comparative-interpretative analysis of the suite. Conclusions. The piano suite “Dolls” embodies the innovative interpretation of the instrument in the early 20th century. The theoretical ideas about the colouristics functions of the chord in its interconnections with the piano texture, timbre, and metro rhythm are systematized. A functional analysis of the piano pieces by Villa-Lobos from the early “Dolls” suite combined the new European style and writing techniques (such as colouring, sonoristics) with the national Brazilian melos reflecting the true spirit and worldview of Brazilians.
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DOLGUSHINA, MARINA. "CROSS-CULTURAL CONNECTIONS IN BRIGHT SHENG'S OPERA THE SONG OF MAJNUN". Культурный код, n.º 2023-1 (2023): 100–111. http://dx.doi.org/10.36945/2658-3852-2023-1-100-111.
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The article is devoted to the opera The Song of Majnun by Bright Sheng, the modern American composer of Chinese origin. This one-act opera was composed in 1992 and premiered in Chicago. In Russian musicology, this work is being studied for the first time. The authors analyze the history of the creation of the opera, the plot, composition, dramaturgy, and the specifics of the musical style. They pay special attention to the search for cross-cultural connections - the interaction of elements of Eastern (Persian, Chinese, Tibetan) and Western European cultures. The libretto of the opera is based on the plot of an ancient Persian legend. The composition of the opera was influenced by the art of the Persian book miniature of the 13th century. For the musical themes of the main characters Majnun and Laila, folk songs of ethnic Tibetans from the Chinese province of Qinghai were used. Many opera melodies are composed with the use of pentatonic scale. The orchestration uses techniques typical for Beijing Opera Orchestra. Conclusions are drawn about the peculiarities of combining elements of Chinese folklore and European composing technique of the 20th century. The importance of the opera The Song of Majnun for the further work of Bright Sheng is noted.
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Brooke, Christopher, Howell Edwards, Peter Vandenabeele, Sylvia Lycke y Michelle Pepper. "Raman Spectroscopic Analysis of an Early 20th Century English Painted Organ Case by Temple Moore". Heritage 3, n.º 4 (21 de octubre de 2020): 1148–61. http://dx.doi.org/10.3390/heritage3040064.
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An organ case from Lincoln, England, designed by the architect Temple Moore in 1907 was examined during conservation work using Raman spectroscopy in order to analyze the decorative paint composition. Samples from the six principal colours were extracted and examined using a Bruker Senterra R200-L spectrometer. The results are the first known formal analysis of a painted scheme by this architect, and they reveal a mixture of commonly used pigments for the period and the unexpected use of simpler, earth pigments, along with an unusual admixture in the red, along with an organic additive. The findings are of importance to both the conservation of Temple Moore’s artwork, in understanding the experimentation used in early twentieth-century England, and in furthering our knowledge of ecclesiastical decorative artwork of the late nineteenth and early twentieth centuries.
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Kogler, Susanne. "Art as a Critique of Language: On the Continuity of the Tradition of the Avant-Garde Aesthetic in the Modern and the Postmodern". Musicological Annual 43, n.º 2 (1 de diciembre de 2007): 287–303. http://dx.doi.org/10.4312/mz.43.2.287-303.
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That art functions as a corrective to rational-scientific insights is one of the formative thoughts of art philosophy. The fact that artistic expression represents a corrective to linguistically-rationally affected insight also ranks among the constants of art philosophy in the 20th century. “Expression is the opponent of articulating something” can be read, for instance, in Adorno’s Aesthetic Theory with regards to the character of language in art and Jean François Lyotard wrote on aesthetic experience: “What happens to us is by no means something which we would have controlled, programmed or conceptually apprehended beforehand”. The uneducible, conceptually unattainable is also at the centre of current art production of the 21st century. On the basis of Lyotard’s and Adorno’s positions, the article shows that one should acknowledge a constancy of the topos of art as non-conceptual knowledge on the one hand as the continuing function of a tradition defined from the philosophical aesthetics of modernity to post-modernity and orientated on the artistic avant-garde. On the other hand and beyond this a continuous line of tradition of New Music becomes clear, leading to the expressionistic avant-garde of the 20th century which represented the starting point for Adorno’s music philosophy, through Lyotard’s focus on John Cage, up to the avant-garde of New Music in the era of post modernity. Specific features of contemporary art, such as rebellion against linguistic standards, an understanding of expressivity that opposes the traditional language of music and operates on the verge of silence, as well as the utopian vision of a modified reality which aims at transcendency enable a conception of art as non-conceptual knowledge, corresponding with the positions of art philosophy in modernity and post-modernity in important points. The relevance of focusing on this line of tradition for musicology lies in the fact that it sheds new light on the musical avant-garde and its further function and, last but not least, that it opens new perspectives in understanding contemporary artistic productions.
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Gumerova, Aysylu Tagirovna. "The tradition of Orthodox singing of the baptized Tatars of the Laish and Mamadysh districts of Kazan province: the historical background". PHILHARMONICA. International Music Journal, n.º 3 (marzo de 2021): 82–88. http://dx.doi.org/10.7256/2453-613x.2021.3.35028.
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The research object is church singing of the Kryashens (baptized Tatars), a sub-ethnic community of the Tatars following Eastern Christianity. The Kryashens are the bearers of a unique Orthodox singing tradition combining church chants and prayer texts in the Tatar language. The research subject is the historical background of church singing of baptized Tatars which inhabited the Laish and Mamadysh districts of Kazan province. The chronological framework covers the period of generation of the tradition - the late 19th - the early 20th century, which was the period of active missionary efforts of the Russian Orthodox church in the region. The author uses the historical, culturological and source study methods which help to detect the ways of formation of the singing tradition: they are connected with the introduction of a new system of religious and school education of “aliens” in the region, and the start of holding church services in the Tatar language. The research contains the information about the work of schools for the baptized Tatars and parishes in the late 19th - the early 20th century. The author evaluates the modern condition of the Kryashens’ Orthodox singing tradition in the region under consideration and detects the prerequisites of its development which had been established by missionaries in the pre-revolutionary period. The author arrives at a conclusion about an important role of music in the process of christian education of the baptized Tatars, and about significant contribution of the pre-revolutionary missionaries to the formation of spiritual and singing practice of the ethnos, which is currently an important component of its music culture. This ethno-regional tradition of Orthodox singing is considered in Russian musicology for the first time.
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Nikolskaya, I. I. "The Warsaw Autumn International Music Festival — Overcoming the Boundaries between East and West". Art & Culture Studies, n.º 4 (diciembre de 2023): 500–555. http://dx.doi.org/10.51678/2226-0072-2023-4-500-555.
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In the late 1940s — early 1950s, a huge gap appeared between the development of musical cultures of Western and Eastern Europe, and it was Poland that initiated bridging it. Therefore, the emergence of the Warsaw Autumn Festival of contemporary music, which has become the largest, was not coincidental. The article is devoted to studying this cultural phenomenon, which has a significant scientific novelty, because the Warsaw Autumn has not yet been subjected to a detailed scientific analysis in Russian musicology. According to the organizers of the new festival — young Polish composers Tadeusz Baird and Kazimierz Serocki, — Warsaw was to become a center of contemporary music, no less important than the avant-garde music festivals in Darmstadt, Donaueschingen, Cologne or Milan. However, the purpose of the Warsaw Autumn is more ambitious — to provide a complete aesthetic and stylistic picture of modern music, and not just avant-garde music, as was the case in Western European countries. The repertoire policy of the festival covered several areas: avantgarde music, more traditional music, the classics of the 20th century, and promotion of Polish music. The festival laid claim to being a reliable display of contemporary music in the world, reacted to the changes in global music, and soon became the largest music arena of the 20th century. It was attended by the most prominent composers of the East and West. For the socialist countries, it became a true “window on Europe” and a platform for mastering new techniques of composition. Without the Warsaw Autumn festival and its profound influence on composers of socialist countries, it would be utterly impossible to imagine the development of musical art of the entire region. This article suggests focusing on the early period of the festival, from 1956 (when it was established) to the early 1980s.
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Boettcher, Wolfgang, Frank Merkle y Heinz-Hermann Weitkemper. "History of Extracorporeal Circulation: The Conceptional and Developmental Period". Journal of ExtraCorporeal Technology 35, n.º 3 (septiembre de 2003): 172–83. http://dx.doi.org/10.1051/ject/2003353172.
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The development of modern techniques in extracorporeal circulation is the result of the combined efforts of physiologists, physicians, and engineers. Early experimental work at the end of the 19th century was accomplished by physiologists, such as von Schröder, von Frey, and Gruber, as well as Jacobj. These scientists laid the foundation for three different artificial oxygenation devices for experimental isolated animal organ perfusion. The developed bubble, film, and isolated lung oxygenation methods developed were later used for the first clinical cardiopulmonary bypass procedures in humans. For continuous perfusion experiments, closed circulation circuits were put into use. In a second step, during the first half of the 20th century, scientists and physicians, such as Brukhonenko, Gibbon, Crafoord, Björk, and Jongbloed were working on the refinement of these methods for intended application during cardiovascular operations in humans. Refined bubble and film oxygenators together with the modern blood pumps in closed circulatory systems were assembled as pump oxygenators, later called heart–lung machines. They were used in the first clinical cases of extracorporeal circulation for heart surgery in the second half of the 20th century by Dennis, Dogliotti and Constantini, and Gibbon.
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Vasiliu, Laura-Otilia. "Noi istorii ale muzicilor românești [New histories of Romanian types of music] – The most important editorial publication in the Romanian musicology of recent years". Artes. Journal of Musicology 24, n.º 1 (1 de abril de 2021): 329–43. http://dx.doi.org/10.2478/ajm-2021-0020.
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Abstract The vast work Noi istorii ale muzicilor românești [New histories of Romanian types of music]1 (816 pages), published by Editura Muzicală in 2020 was a project of the Romanian Composers and Musicologists’ Union, represented by composer and university professor Adrian Iorgulescu, a project meant to mark the celebration of a century of activity of the organisation. The two volumes of the New histories, coordinated by Valentina Sandu-Dediu and Nicolae Gheorghiță, reflect the fulfilment of a long research project, begun in the 1990s, with a view to reassessing the musical past of Romania, expressing ideas verified in time through repeated analyses. The coordinators’ vision is edified through the following directions: 1. the joining of all musical genres – Byzantine, folkloric, military, academic, jazz, entertainment – and creating a modern perspective on the types of Romanian music; 2. using the tools of modern musicology – interdisciplinary relating, archival and recent bibliography, an objective, critical, accessible style, efficient and orderly elaboration; 3. removing all influences of the communist ideology reflected by the writings about music in the second half of the 20th century by assimilating the ideas formulated by historians after 1990; 4. capitalising on foreign authors’ writings about Romania and about Romanian music, but also on last-minute research on international music for the synchronisation with the contemporary manner of historical research.
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Rastegar, Sohi. "Life Force". Mechanical Engineering 122, n.º 03 (1 de marzo de 2000): 74–79. http://dx.doi.org/10.1115/1.2000-mar-4.
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This article focuses on bioengineering practices that is one of today’s most exciting and rapidly growing fields of engineering. The field of bioengineering was developed primarily in the latter half of the 20th century, although its roots can be traced back to the work of early scientists such as Galileo and Newton. Another characteristic of the 20th century was the Age of Specialization. We now have come to a point where creative contributions and major advances are made at the interface and the cross section of fields. Bioengineering provides a fantastic model for such an interface. Computational bioengineering is proceeding from the genetic level to the organic. The major advances in biology, such as the field of genomics, have created a tremendously fertile ground for discovery and application. Engineering methods and principles have a vast opportunity to make an impact. There is a need to develop experimentally based computational models and tools to address problems ranging from regulation of gene expression to subcellular and cellular interactions, to tissue and organ function. This is a field at the intersection of biotechnology and information technology.
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Rusu-Persic, Dalia. "Critical reception of late 19th century Iași-based music. Alexandru Flechtenmacher". Artes. Journal of Musicology 18, n.º 1 (1 de marzo de 2018): 190–206. http://dx.doi.org/10.2478/ajm-2018-0012.
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Abstract In late 19th-century periodicals, music criticism captured only a few details on the composition techniques, the structural organization, the rhythmic-melodic or vocal and stage interpretation of various performances. The press shed light on these pieces only at an informative level, mentioning titles, composers, and interpreters and even omitting some details due to, on the one hand, the authorities’ indifference to the musical phenomenon and, on the other hand, the editors’ sheer ignorance of particular stylistic or musical language features. However, the attempts made by the personalities active in the cultural and artistic life were real and unrelenting, their results being guided by the desire to promote music with specific national traits. This study provides an analytical perspective on the current reception of that social-artistic context. Taking into account that new sources have favored a more detailed and profound investigation of the 19th-century critical phenomenon, our analysis supplements the information presented in the music history studies already published in Romania. Consequently, the first section of this paper approaches the extremely dynamic phenomenon represented by the creation of new journals / newspapers in the 19th century. It is our belief that starting from general journalism we can acquire a better understanding of the development of musical criticism. This research aimed to discover new dimensions of Iași-based music, placing special emphasis on the critical reception of the composer Alexandru Flechtenmacher. We have followed its reflection in the Romanian press, starting from the first accounts in this respect, and ending with the subsequent assessments formulated in 20th-century musicology. Although the texts that tackle musical issues are quite few and social aspects prevail in the commentators’ list of interests, by combining the information provided by general literary/historical/social sources with the details included in specialized articles we can create a new perspective on late 19th-century Iași-based compositions.
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Urbaniak, Krzysztof. "The organ made by Andreas Hildebrandt at tHe elevation of tHe Holy Cross Church in Pruszcz Gdański". Notes Muzyczny 2, n.º 14 (10 de diciembre de 2020): 29–58. http://dx.doi.org/10.5604/01.3001.0014.5747.
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The instrument built in 1728 by the Gdańsk organbuilder Andreas Hildebrandt and quite well preserved to this day in Pruszcz Gdański is the first example of the architectonic concept, which Jan Janca described as the Grańsk prospect (Danziger Prospekt). The organ from Pruszcz Gdański was probably partly rebuilt as early as in the 18th century and the changes were made in the instrument’s disposition. Around 1900 the maintenance work was completed by Otto Heinrichsdorff from Gdańsk. In 1929 the organ was once more restored, this time by Josef Goebel from Gdańsk. It was probably during the maintenance work at the beginning of the 20th century that the position of some registers of the windchest was changed. In 1972, Józef Mollin’s organbuilder company reconstructed the pipes looted in 1945 based on the then current state of knowledge, and in 1999 the same company did maintenance work of the instrument again. Further maintenance work was completed between 2009 and 2010 by Tomasz Szałajda and in 2016 by Zdzisław Mollin. In its initial one-manual version, the instrument had direct counterparts, one of them was the instrument built in 1738-1739 in Wocławy and the second one was the organ made by Cahman and preserved in Lövstabruk. The article presents the results of new instrumental studies on the construction changes made to the organ from Pruszcz Gdański throughout the instrument’s history and it outlines maintenance-related perspectives connected with its future. The importance of Hildebrandt’s organ in Pruszcz Gdański is enormous in the context of huge losses in Gdańsk’s landscape resulting from WWII. It is the only existing example of a larger type of organ from the 18th century near Gdańsk, which still allows for recognising its initial shape and having enough source information about its reconstruction.
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Fu, Xiaojiao. "Court Music of the Qing Dynasty at the End of the 17th-18th Centuries: Main Aspects of Research". PHILHARMONICA. International Music Journal, n.º 6 (junio de 2022): 40–54. http://dx.doi.org/10.7256/2453-613x.2022.6.39562.
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The purpose of this work is to present a scientific overview of the research on the palace music of the Qing Dynasty during the “Golden Age” and to identify new aspects of the study of this unique phenomenon of artistic culture. The relevance of the topic raised is due to the growing role of Chinese culture in the global processes of cultural integration, when the problem of preserving objects of traditional non-material culture is exacerbated (and the palace music of the Qing Dynasty of the 17th-18th centuries is one of them). The author believes that the presence of gaps in Russian musicology on the problems of Qing music for a long time was caused by objective difficulties in communication with the Chinese scientific community and the lack of access to archives and libraries in connection with well-known political events, such as the fall of the Qing Empire at the beginning of the 20th century and cultural revolution of the 60s and 70s, when the study of imperial culture was not encouraged. Nevertheless, the modern openness of the Celestial Empire to scientific contacts already today makes it possible to introduce the achievements of Chinese science of recent decades into the corpus of Russian musicology. The author sees the prospects for the study of Qing musical culture in the study of the cultural and historical context in the aspect of the continuity of dynastic traditions, in the study of the architectural spaces of sounding music in the aspect of their acoustic features, functional purpose and symbolic meaning, as well as in the continuation of source studies, which imply the comprehension of the content of musical and theoretical writings of the Qing era.
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Pina, Isabel. "A Russian way of depicting true Portuguese traditions? Alentejo Suite No. 1 by Luis de Freitas Branco and its connections with intergalisimo lusitano". Contemporary Musicology, n.º 3 (2019): 73–91. http://dx.doi.org/10.56620/2587-9731-2019-3-073-091.
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Luís de Freitas Branco is one of the most recognized Portuguese composers of the 20th century. During his life his name often appeared in national and international press on multiple occasions of premières and other presentations of his work. Posthumously, his life and work has been central to Portuguese musicology. However, some dimensions of his life have been hidden or not sufficiently covered, such as his connections with Integralismo Lusitano, a nationalist pro-monarchy political movement. Recently, this movement, created after the Proclamation of the Republic by politically disaffected university students, has been gaining more interest by experts in musicology, and it is often mentioned as one of the main influences on the ideology of Estado Novo due to its nationalism, regionalism, traditionalism, highly hierarchical idealization of society, and anti-democratic stance. In the 1910s Luís de Freitas Branco was highly committed to this group, participating in propaganda conferences, writing critical reviews and chronicles in journals and newspapers of the movement, and composing orchestral works to praise its values. Amongst them, we can mention a symphonic poem based on a historical figure who supposedly contributed to the foundation of the Portuguese sovereignty, soloist concertos inspired by folklore, and Alentejo Suite No. 1 composed in 1919 with regionalist intentions: it depicted a specific Portuguese region in the South of the country, where the composer and some of the intellectuals related to Integralismo Lusitano had rural properties. Curiously, the flatlands of Alentejo were depicted resorting to the topics used by Borodin to musically describe the Russian steppe, intertwined with references to Korsakov. Thus, wandering through the composer’s political and aesthetical intentions, this article intends to explore the connections of Luís de Freitas Branco with the pro-monarchy movement, highlighting some elements of one of his most iconic works of this period, Alentejo Suite No. 1.