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MELAMED, DANIEL R. "Multi-Day Passions and J. S. Bach's Christmas Oratorio, BWV248". Eighteenth Century Music 11, nr 2 (7.08.2014): 215–34. http://dx.doi.org/10.1017/s1478570614000050.
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ABSTRACTCommentators have long sought models for the decision by Bach and his anonymous librettist to spread the Christmas Oratorio's narration over twelve days. None of the most commonly proposed models can be shown with certainty to have been performed over more than two days; it appears that the supposed tradition of multi-day Christmas oratorios is invented. In fact there were models for this feature of the Christmas Oratorio: Passion settings designed for or adapted to presentation over Holy Week or all of Lent. The practice is documented in five places concentrated in Saxony and Thuringia and involved both newly composed and older works in both liturgical and devotional contexts. A new source reveals a previously unrecognized performance of this kind, of Reinhard Keiser's Brockes setting in Erfurt. Bach is likely to have known of this performance and others of the type, and they were probably a significant influence on the organization and conception of his Christmas piece performed ‘die Heilige Weyhnacht über’ in 1734/1735.
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Tomasevic, Katarina. "Stylistic directions in Stevan Hristic’s oratorio Vaskrsenje, Resurrection: The question of crossroads-traditions in Serbian music at the beginning of the twentieth century". Muzikologija, nr 4 (2004): 25–37. http://dx.doi.org/10.2298/muz0404025t.
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Vaskrsenje (Resurrection) which was composed by Stevan Hristic (libretto Dragutin Ilic) was a first oratorio in Serbian music. The libretto was published in a journal Odjek (Echo) in 1909, with the first performance in 1912 at the Belgrade National Theatre. During the period 1909-1912, the young composer studied church music in Moscow and Rome. He studied with Dom Lorenzo Perosi in Rome, who was a director of the Sistine Chapel at the time, and a leading composer of church music. Perosi also composed two oratorios with the Resurrection as a subject-matter. His stay in Rome, as well as the encounter with the contemporary Italian style of church music left a strong impression on Hristic and his later opus. The oratorio Resurrection is freely permeated with both romantic and impressionist elements, hence the impression of the typically Western fin-de-si?cle style. Compared to Serbian performances until that time, Hristic?s work represented a complete novelty in its style and genre; it was considered as one of the first works of Serbian musical Modernism. Despite the audience?s positive reception, the oratorio was faced with a highly negative criticism of Jovan Zorko and Miloje Milojevic. Both of them criticized Hristic for not having composed the work in the spirit of "national music". Hristic defended his poetics claiming that the idea of composing a national music did not comprise the use of folk melodies, but rather composing according to the highest professional and aesthetic criteria. A debate which was anticipated concerning the meaning and the importance of "national" poetics arose as a reaction to Resurrection. This debate remained important in two ways: 1) it remained a "typical" debate for the dynamic development of Serbian music following the World War I and 2) it became the central characteristic of the overall artistic development in Serbia during the interwar period, which was "coming close" and eventually became the part of Europe.
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Kozyk, Daria. "Interpretitve principles of stage implementation of Frank Marten’s Oratorio “The Magic Potion” in the Theater St. Gallen". Scientific herald of Tchaikovsky National Music Academy of Ukraine, nr 135 (26.12.2022): 126–36. http://dx.doi.org/10.31318/2522-4190.2022.135.271012.
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Relevance of the study. Among the stylistic diversity of composer and vocal practice of the 20th century, which has been thoroughly studied in domestic musicology, the practitioner finds several little-known personalities of the music culture of Western Europe. Amid such names lies the figure of the Swiss composer Frank Martin (1890–1974). He is the author of oratorios Golgotha, In terra pax, Requiem, orchestral and chamber works. His works came from a period of active innovation and experimentation in music. The composer's writing is marked by the synthesis of dodecaphony and the classical functional tonality' system.
The analysis of the embodiment of contemporary oratorio-opera on the stage is always of particular interest for contemporary interpretation. This also applies to the staging of F. Martin's works, which are not widely known, and therefore have not been studied at all. Thus, the relevance of the topic lies in the conceptualization of F. Martin's insufficiently explored oratory work, which deserves to be introduced into the scientific circulation of domestic musicology and the study of staging.
Main objective(s) of the study is to substantiate the concept F. Marten’s «The magic potion» in the aspects of genre-stylistic and performing tasks of its stage realization.
The object of study is F. Martin's vocal and choral works; its subject is the stylistic principles of the oratorio-opera The Magic Potion in the aspect of performing tasks of its stage realization.
The methodology. Research methods are determined by the material and subject of research: historical — reveals the features of the context of socio-cultural life of Switzerland in the war and postwar years; biographical — contains information about the life and work of the composer; function and structure method — helps to determine the intonation structure of the work through the functions of i m t; stylistic — reveals the specifics of the artist's thinking «as an artistic unity» (according to S. Skrebkov).
Results and conclusions. Using the original source of the medieval epic — the legend of Tristan and Isolde, — the composer sharpened the conflict of literary model (Joseph Bédier, Roman de Tristan et Iseut), taking the narrative into a more realistic channel that is focused on the feelings of the heroes. Following the tradition of ancient tragedies, in which the choir played the role of the engine of the plot, the composer transferred the function of narrative to an ensemble of twelve voices, part of which are the main characters of the plot. F. Martin designed The Magic Potion as a secular oratorio, without the ability to perform music as a grand opera, but did not exclude the possibility of a stage embodiment where the main characters would be portrayed by soloists that don't belong to the choir. An in-depth analysis of one of the contemporary stage performances of the St. Gallen creative team has shown current trends in contemporary vocal performance.
Opera as a form of art attracts both the public and engaged composers and performers around the world. The contemporary opera genre demands particular challenges for composers, performers and producers, as well as opera intendants. The study of the complex genre structure of the work not only in the aspect of musicological analysis by the score, but also in the aspects of its stage embodiment (that is, the performing version of the oratory score) constitutes a scientific relevance and significance of the researched topic.
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Rolak, Sonia. "Venice: Fergus Martin and Anthony Hobbs at Oratorio S. Ludovico". Circa, nr 104 (2003): 79. http://dx.doi.org/10.2307/25563976.
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Azarova, Valentina Vladimirovna. "The “undying archaic elements” in dramatic oratorio by Arthur Honegger “Joan of Arc at the Stake”". Человек и культура, nr 1 (styczeń 2020): 35–61. http://dx.doi.org/10.25136/2409-8744.2020.1.31950.
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The subject of this research is the integration of the elements of old genres in to a composition of Arthur Honegger’s dramatic oratorio. Particular attention is paid to formation of the system of interrelated intonation-dramaturgical spheres and vocal-symphonic development of recurring themes, motifs and sound symbols. The author examines the interaction of verbal and vocal-symphonic elements of sound fabric. The goal consists in identification of the traits of old genres and other archaic elements within the synthetic form of musical/dramatic theatre, as well as determination of the dominant aspect of musical meaning therein. Research methodology is based on the musical-hermeneutic reconstruction of the process of composing, detection of the fundamental principles of musical dramaturgy along with functions of cited by the composer Latin texts in the synthetic form of dramatic oratorio. The main method for this work became the musical-theoretical analysis of polyphonic vocal-symphonic musical fabric, and analysis of the verbal texts of voice part in the French and Latin languages, in de visu score. This article is first to interpret integration of the genre codes of medieval mystery play and citations from liturgical texts of the previous eras, including the Holy Scripture, into the compositions of dramatic oratorio of Arthur Honegger as the means for creating temporal multidimensionality of the synthetic form of French musical/dramaturgical theatre of the XX century within the context of Christian tradition. Honegger has overcome the linearity of narration through integration into the composition of the traits of previous eras. The citation of liturgical texts, including Holy Scripture, lead to expansion of the semantic space of literary text of the dramatic oratorio. This established the idea of synthesis of time and eternity characteristic to Christianity.
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Butt, J. "J. S. Bach and the Oratorio Tradition. Ed. by Daniel R. Melamed." Music and Letters 93, nr 2 (1.05.2012): 236–38. http://dx.doi.org/10.1093/ml/gcs026.
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Bierbaum, Kirsten Lee. "Weiß als Schwelle. Giacomo Serpottas Oratorio del Rosario di S. Zita in Palermo". Zeitschrift für Kunstgeschichte 82, nr 3 (25.10.2019): 400–435. http://dx.doi.org/10.1515/zkg-2019-3006.
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Milanovic, Biljana. "Contextualization of early modernism in Serbian music: Case studies of two works from 1912". Muzikologija, nr 6 (2006): 251–66. http://dx.doi.org/10.2298/muz0606251m.
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This study deals with the first Serbian oratorio, Vaskrsenje (Resurrection) by Stevan Hristic, and the first Serbian musical drama, Divina Tragoedia by Milenko Paunovic. These works are based on two different interpretations of the same theme (the Resurrection of Jesus Christ). They were composed almost at the same time (1912), but separately, with no inter-textual relations. They represent the first steps of Modernism in Serbian music. Hristic?s work follows the French and Italian heritage whereas Paunovic?s is connected with the German, post-Wagnerian tradition. In this text we highlight the different intensities of modernity realized by the composers, by comparing numerous aspects of the theme, genre and style with new types of expressiveness and procedures in the treatment of all musical resources. The parallel investigation of the oratorio and musical drama shows the closeness of these two young composers in their musical attempts, but also emphasizes some factors that were decisive for the public presentation of their works. Hristic predicted that the genre of oratorio had better chances of placement than, for example, a symphonic or musical-dramatic composition. Actually, a choir had strong links with tradition and it presented a significant means of potential communication, as well as penetrating novelties into other parts of the oratorio. Due to his readiness to make an effort and to compromise, the composer succeeded in performing his work. On the other hand, Paunovic did not anticipate problems in the national cultural system of his time. Numerous aspects of his work, which prevented performance, confirm this. The chosen genre of German musical drama was a very speculative investment in the local musical context. Furthermore, the score was inappropriate for the real reproductive potential of Serbian performers. In addition, an avant-garde gesture was marked by the blasphemous treatment of the New-Testament theme in the dramatic content. These were among the most important indications of the author's unrealistic estimation of potential public reception of his music. Modern works of large-scale genre had no prospects of continual survival on the concert repertoire in the period between the two World Wars, either. This testifies to long-standing problems of national musical tradition, especially in consequence of its discontinued and uneven development. This study of early modernism shows the value of researching Serbian music through different cultural models existing in the system of national art of this time. The network of political, economical and cultural institutions was imbued with modern bourgeois culture, but the struggle for its wider acceptance in the domains of everyday life, self-consciousness, and the mentality and taste of different social groups and individuals, was slow and long. Such attempts have not always and fully realized the particular burden of inheritance, reflected in recent times.
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Bronsard, Camille. "Sur une nouvelle stratégie commerciale pour le Canada". L'Actualité économique 52, nr 4 (25.06.2009): 534–38. http://dx.doi.org/10.7202/800702ar.
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Abstract After greeting the recent propositions of the E.C.C.'s Report ("Au-delà des frontières") as a potentially useful document to encourage discussions on the efficiency of our institutions, the reviewer recasts them in a first best framework, a second best one and a socio-cultural one. By any standard, these propositions are disappointing: irrealist if their target is a world-wide first best, illogical if aiming at a second best world, countermarches if done to enhance cultural identity. The author concludes by suggesting that the E.C.C. was not exactly conceived to promote such an academic oratorio.
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Medňanský, Karol. "4. Passion in the Work of Johann Sebastian Bach". Review of Artistic Education 11, nr 1 (1.03.2016): 30–41. http://dx.doi.org/10.1515/rae-2016-0004.
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Abstract Passions are exceptionally important in the works of Johann Sebastian Bach. His passion compositions are based particularly on Luther’s reformation, chiefly on developmental tendency which is based on the works of Johann Walter, Hans Leo Hassler and Michael Praetorius. The most significant forerunner of J. S. Bach was Heinrich Schütz. J. S. Bach’s textual aspect is aimed at the model of passion oratorio the main representative of which was a librettist Heinrich Brockes who worked in Hamburg. The interesting fact is that before the arrival of J. S. Bach, in 1723, there was no long tradition of passions in Leipzig. They were performed there in 1721 for the first time. J. S. Bach is demonstrably the author of the two passions: St Matthew Passion BWV 244 and St John Passion BWV 245. The authorship of Johann Sebastian Bach in St. Lukas Passion BWV 246 is strongly called into question and from St Mark Passion BWV 24 only the text was preserved.
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Zosim, Olga. "Temporal dimensions of the passion narrative in «via crucis» by Franz List and Stefano Vagnini". Scientific herald of Tchaikovsky National Music Academy of Ukraine, nr 137 (30.10.2023): 83–94. http://dx.doi.org/10.31318/2522-4190.2023.137.294667.
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Relevance of the study. Postmodern genre pluralism, including in sacred musical creativity, has increased the interest of scientists in church genres that have recently been on the margins of musicological science, namely those that were not based on canonical texts, but relied on the paraliturgical tradition. Among them, let us pay attention to the rite of the Way of the Cross (via crucis), which for a long time was in the shadow of canonical genres, but in the period of modernism and especially in postmodern times, due to mobility, it turned out to be relevant for the creative searches of contemporary masters. The first artistic example—«Via crucis» by F. Liszt, created at the end of the 19th century, laid the foundation for the genre of the Way of the Cross, and therefore deserves the primary attention of scientists. No less important are works that not only continue the genre tradition, but also rely on the Lisztian model invariant. In this context, the iconic composition is «Via crucis» by S. Vagnini, written at the turn of the millennium. Both works are connected not only by belonging to the genre invariant, but also by the originality of approaches to the passion narrative underlying the rite, so this aspect is central in the comparative analysis of these compositions that are significant for European religious music.
The purpose of the article is to reveal the temporal aspect of the deployment of the passion narrative in the compositions «Via crucis» by F. Liszt and S. Vagnini and to elucidate the artistic and dogmatic-theological potential of temporal shifts in the passion narrative.
The methodological basis of the article are the historical, cultural and comparative methods, which made it possible to single out the Way of the Cross from other passion genres and to carry out its typology. Musical-liturgical and theological-hermeneutic analysis made it possible to identify the features of the embodiment of the passion narrative in the works of «Via crucis» by F. Liszt and S. Vagnini, to prove that temporality as a category outlining the linearity or non-linearity of the storyline deployment can become a factor in the formation of new meanings—artistic and theologicaldogmatic.
The results and conclusions. A typology of the musical-liturgical genre of the Way of the Cross has been created: a genre invariant (a work of cantata-oratorio type with a developed instrumental and minimized verbal component) and two variants —instrumental and cantata-oratorio with a sprawling and detailed storyline —has been identified. The genre invariant, represented by the work «Via crucis» by F. Liszt (1879) and the modular oratorio of the same name by S. Vagnini (1997), turned out to be the most mobile and open to experiments. Both works are notable for the temporal decision in the unfolding of the passionate narration, which is unconventional for sacred music. F. Liszt violates the linearity of the passionate narrative, based on fourteen episodes of the rite of the Way of the Cross, choosing for a number of parts of his «Via crucis» verbal texts that are temporally inconsistent with the content of the events described. Of particular importance in the composer’s work is the medieval sequence Stabat mater, which serves as a marker of the presence of the Mother of God in the storyline of the Way of the Cross. In «Via crucis» by S. Vagnini, who in his composition focused on Liszt’s work, temporal non-linearity becomes the basis of a parallel storyline of the Mother of God. Temporal shifts and double (parallel) narrativity in the works of F. Liszt and S. Vagnini become a form of conveying theological truths, namely, in a special and visual way they emphasize the role of the Mother of God in the Salvation history.
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Serangeli, Alfredo. "La confraternita dell'Orazione e Morte di Montefortino (oggi Artena) ed il suo oratorio nella chiesa di S. Stefano Protomartire". La Ricerca Folklorica, nr 52 (1.10.2005): 39. http://dx.doi.org/10.2307/30033292.
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Carrier-McClimon, Carolyn. "Hearing the "T�ne eines Passionsliedes" in J. S. Bach's "Christmas Oratorio": The Nineteenth-Century Critical Reception of BWV 248". BACH: Journal of the Riemenschneider Bach Institute 45, nr 2 (2014): 34–67. http://dx.doi.org/10.1353/bach.2014.a808488.
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Sovtic, Nemanja. "The non-aligned humanism of Rudolf Bruci: The composer and the society of self-management socialism". Muzikologija, nr 23 (2017): 83–97. http://dx.doi.org/10.2298/muz1723083s.
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In 1979 the oratorio We Are All a Single Party was performed, composed by the Yugoslav composer Rudolf Bruci, who in an interview for the Novi Sad daily newspaper Dnevnik explained his driving motives in the following way: ?I wanted to preserve the spirit of our revolutionary songs and to speak in a modern, familiar way, understandable to everyone, about the decades in which our revolution was born and grew; about the legendary activities of pre-war communists, the difficult days of the War of National Liberation, the liberation and reconstruction of the country, about Tito and his invaluable contribution to the development of our selfmanagement socialism and non-aligned humanism? (Dnevnik, 10 April, 1979). In this article I argue that the syntagm ?non-aligned humanism? is suitable for identifying the connection between the aesthetic and the political in Rudolf Bruci?s creative output, observed as a consistent author?s opus. At the core of this thesis lies the assumption that non-alignment in regard to the West or East was a major political and aesthetic orientation of Yugoslav self-management socialism. The intersubjective field of this self-management socialist pluralism produced creative entities - composers such as Bruci - whose works were created under the principles of direct political engagement and modernist aestheticism as different manifestations of the same ideology. Within the specific rationality of non-aligned humanism, the concrete poetic-morphological characteristics of Bruci?s compositions become coherent subjective (Bruci?s personal) and objective (social) achievements.
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Garrido Luceño, José Mª. "El Beato John H. Newman y el desarrollo doctrinal del Cristianismo". Isidorianum 20, nr 40 (22.05.2023): 313–52. http://dx.doi.org/10.46543/isid.1120.1052.
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Es impresionante la aportación del Bto. John H. Newman para la renovación de la teología católica y de la vida misma de la Iglesia. Desde su confesión anglicana y con una rectitud ejemplar de conciencia, luchó incansablemente en la búsqueda de la verdad, como lo atestigua en la Apología pro vita sua. Próximo a ingresar en la Iglesia católica, quiso hacerlo tras una ardua reflexión de la fe y la razón. Llegó a la conclusión de que las afirmaciones católicas, que los protestantes rechazan como añadidura ilegítimas a la doctrina neotestamentaria, son en realidad verdaderos desarrollos de esta doctrina y por lo mismo, dignos de nuestra aceptación. Esta es la conclusión de su Ensayo sobre el desarrollo de la doctrina cristiana, que comentamos en este artículo. El Concilio Vaticano II acogió esta conclusión (DV 8). El Bto. J. H. Newman, como miembro del Oratorio de S. Felipe Neri, desarrolló una fecunda labor en pro de la educación católica y de la integración del laicado en la misión de la Iglesia.
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Windhager, Ákos. "Playing with anthems: The formation of the cult of empress Elisabeth in Hungarian music". Muzikologija, nr 20 (2016): 31–51. http://dx.doi.org/10.2298/muz1620031w.
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In this paper I reveal how the cult of Empress Elisabeth affected the reception of three different volumes of Hungarian music. These three works are: Erzs?bet-eml?ny (Elisabeth Memorial Album, 1854) edited by Korn?l ?br?nyi; Erzs?bet (Elisabeth, 1854) opera by K?roly Doppler, Ferenc Doppler and Ferenc Erkel; and Die Legende von der heiligen Elisabeth (The Legend of Saint Elisabeth, 1865) by Franz Liszt. In spite of their high artistic level, the first two works were banned by the cultural elite who interpreted them as Habsburgian political music after the downfall of the dual state. On the other hand, the intentionally apolitical oratorio by Franz Liszt was regarded by the same cultural elite as the highest standard of artistic representation of the Empress. As a consequence of parallel distribution of both imperially and nationally constructed memories, a strange diffusion appeared in the social sphere, especially in Hungarian cultural memory. Conflicting memories emerged due to the discrepancy between the original Hungarian political myth (Kossuth-myth) and Empress Elisabeth?s cult. Using the terminology introduced by Claude L?vi-Strauss, I have labeled this situation as the clash of the cold and hot society in Hungary during the 19th century.
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Wolff, Christoph. "Johann Sebastian Bachs Oratorien-Trilogie und die große Kirchenmusik der 1730er Jahre". Bach-Jahrbuch 97 (9.02.2018): 11–25. http://dx.doi.org/10.13141/bjb.v20111224.
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Nach ausführlichem Abriss der Vorgeschichte und Einbettung in den Gesamtbereich des kirchenmusikalischen Schaffens Bachs behandelt der Text eingehender die "Oratorien-Trilogie" Weihnachts-, Oster- und Himmelfahrtsoratorium. Dazu wird der Oratorienbegriff besonders in Abgrenzung zum "Dramma per Musica" beleuchtet, die Herkunft der Werke aus solchen weltlichen Vorlagen untersucht und ein durchgehendes Narrativ der Werke herauszuarbeiten versucht. In einem Ausblick auf die 1730er Jahre insgesamt unterstreicht der Autor die Bedeutung des Schaffens oder Umarbeitens kirchenmusikalischer Kompositionen in diesem Zeitraum und kommt zu dem Schluss, dass auch nach dem Gipfel der 1720er Jahre ein bewusstes und planvolles Engagement Bachs für den Ausbau der großen Kirchenmusik für die hohen Festtage festzustellen sei.
Erwähnte Artikel: Konrad Küster: Bach als Mitarbeiter am "Walther-Lexikon"? BJ 1991, S.187-192
Tatjana Schabalina: "Texte zur Music" in Sankt Petersburg. Neue Quellen zur Leipziger Musikgeschichte sowie zur Kompositions- und Aufführungstätigkeit Johann Sebastian Bachs. BJ 2008, S. 33-98
Tatjana Schabalina: "Texte zur Music" in Sankt Petersburg - Weitere Funde. BJ 2009, S. 11-48
Hans-Joachim Schulze: Johann Sebastian Bachs Himmelfahrts-Oratorium und Picanders Geburtstagskantate für "Herrn J. W. C. D." BJ 2009, S. 191-199
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Andrijasevic, Marina. "Cicero’s mission of transferring Greek philosophy into Latin language and the creation of Latin philosophical terminology". Theoria, Beograd 64, nr 3 (2021): 39–52. http://dx.doi.org/10.2298/theo2103039a.
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Marcus Tullius Cicero is considered to be one of the greatest Roman statesmen and orators, however, this lucid creator?s philosophical writings lie in the shadow of his highly valued speeches, rhetorical writings and letters. He is widely regarded as a politician, lawyer, orator, yet few consider him a philosopher. This seems unjustified, having in mind that he received an outstanding philosophical education, wrote about numerous philosophical subjects, translated and explicated Greek authors and their philosophical doctrine. The goal of this paper is to show Cicero?s contribution to the transfer of Greek philosophy onto Latin soil, illuminate his role in the creation of Latin philosophical terminology, as well as reasons which motivated him to do so. Our subject will be presented from a linguoculturological aspect with the analysis of some of the terms, which Cicero imported into Latin philosophical vocabulary.
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Холопова, Валентина Николаевна. "Contrasting Effects of World Perception as a Principle of Sofia Gubaidulina's Musical-Philosophical Thinking". Музыкальная академия, nr 3(775) (27.09.2021): 58–73. http://dx.doi.org/10.34690/178.
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Контрастность в представлении о мире была свойственна философии и искусству в разные исторические времена. Причем в западном мышлении она более развита, чем в восточном. С. Губайдулина ощутила в себе это свойство из-за рождения в русско-татарской семье, с перекрещиванием Запада и Востока. Как типичный «шестидесятник», свидетель Второй мировой войны, она всю жизнь думает о коллизиях в жизни людей, что и ввело контрастность в ее музыку любых жанров. На них основаны симфонические полотна, такие как симфония «Слышу...Умолкло...», «Pro et contra». А в концерте для скрипки «Диалог: Я и Ты» она претворила двойственные идеи философа М. Бубера. Контраст же Запада и Востока стал основой драматургии кантаты «Ночь в Мемфисе», концерта для солирующего исполнителя на ударных инструментах и оркестра с участием певицы «Час души», камерных сочинений «Чет и Нечет», «Сад радости и печали». Губайдулина выработала свою, эффективную систему «консонансов» и «диссонансов» всякого рода, которые приносят ясность всей ткани ее музыки. Масштабным духовным сочинением стала ее оратория «О любви и ненависти» на тексты молитв разных собраний. The contrast in the view of the world is characteristic of philosophy and art in different historical times. Moreover, in Western thinking, it is more developed than in the east. S. Gubaidulina felt this property in herself because of her birth in a Russian-Tatar family, with the crossing of the West and the East. As a typical “sixties,” witness of the Second World War, she thinks all her life about the conflicts in people's lives, which introduced contrast to her music of all genres. They are based on the symphonic canvases-the Symphony “I Hear. Silenced...,” “Pro et contra.” And in the violin concerto “Dialogue: Me and You,” she embodied the dual ideas of the philosopher M. Buber. The contrast of the West and the East became the basis of a dramatic cantata “Night in Memphis,” a concert for solo percussion and orchestra with the participation of the singer for “Hour of the soul,” in chamber works “Even and Odd,” “Garden of joy and sorrow.” Gubaidulina developed her own, effective system of “consonances and dissonances” of all kinds, which bring clarity to the entire texture of her music. A large-scale spiritual composition was her oratorio “On Love and Hate” on the texts of prayers of various congregations
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Savenko, S. I. "The Vitality of Music: From the Origins to the Realities of Non-Classics". Art & Culture Studies, nr 2 (czerwiec 2022): 10–55. http://dx.doi.org/10.51678/2226-0072-2022-2-10-55.
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The subject of the article is the phenomenon of vitality in music. It is considered as a generic feature of music dating back to its origins and early forms. The historical evolution of musical vitality is briefly described, presented on individual examples, starting from the late Baroque, the works by I. Haydn, L. Beethoven, R. Wagner, A. Scriabin up to D. Shostakovich and the composers of the second half of the 20th — first third of the 21st centuries, to whom the main attention is paid. The purpose of the article is to identify specific, relatively stable forms of vitality’s manifestation which materialize both in individual elements of the musical language (such, for example, is the new monody that arose with the birth of opera at the beginning of the 17th century), and in integral phenomena of a systematic order. Among the stylistic events of the second kind, the article is specifically examined the concept of creation, the gesture of birth. Gradually, it crystallizes in music as thematic constant (based on biblical mythology, as in Haydn’s Creation of the World oratorio), but eventually emancipates from the plot basis, acquiring the universal significance. The result of the research is the identification of the mythological origins of the concept of creation; in some cases they come to the forefront (Introduction to the opera The Rhinegold by Wagner; Stimmung for six vocalists and electronics by K. Stockhausen). Another version of the concept of creation is formed in line with the romantic tradition. Then the birth of the world is associated with the lonely voice of the hero — the initial monologue of the solo instrument dramatically opposed to the orchestral mass (works of the concert genre by A. Schnittke, S. Gubaidulina, W. Lutosławski, B. Tishchenko, E. Denisov). In all such cases, the heightened sense of vitality is enhanced by special performing techniques. In the new music, the concept of creation is further developed and logically completed. The gesture of creation is no longer answered by the final statement of existence but by the gesture of destruction, annihilation of sound material — attenuation, acoustic extinction. The feeling of vitality in such compositions is specific, since musical material lives in them according to its own laws as if it doesn’t need a mirror of the subject (large orchestral compositions by Ch. Ives, Ya. Ksenakis, V. Tarnopolsky). The new music “brings to play” other non-classical aspects of vitality associated with threshold states on the verse of life and death. Starting with I. Stravinsky’s ballet The Rite of Spring the vitality of transgression becomes a noticeable phenomenon of contemporary music.
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Bevz, Maryna. "Composer Valentyn Borysov. Symphony of life". Aspects of Historical Musicology 23, nr 23 (26.03.2021): 27–41. http://dx.doi.org/10.34064/khnum2-23.02.
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Background. The aim of the article is examination and presentation of Valentyn Borysov’s creative life, who was a celebrated Ukrainian composer (1901–1988), a classic of Kharkiv composition school, author of vivid and profound works in such spheres as symphonic, choral, chamber, vocal and piano music; his 120th anniversary in 2021 will be a big milestone for artistic community of Ukraine. Valentyn Borysov’s creativity is an indispensable part of national music, one of its treasures. He belonged to artists who had defined ways of development of Ukrainian professional music in XX century. In his creative outcome we can see influences of numerous artistic tendencies, characteristic for extremely controversial, but also prolific epoch. Composer being a part of quite ambivalent period of Ukraine’s cultural history conditioned usage of diverse research approaches; his works are regarded both in the light of existing musical traditions and on the background of his contemporary cultural environment. This is the novelty of the study. Integrity of presentation of Valentyn Borysov’s creative life is supported by the fact that this article considers his pedagogical activity in his alma mater, nowadays Kharkiv I. P. Kotlyarevsky National University of Arts, which resulted in bringing up a constellation of well-known Ukrainian composers, as well as his public and aimed at cultural enlightenment work. Results and conclusions. For V. Borysov, stage of accumulation of professional and personal experience coincided in time with a turning point in development of Ukrainian musical art. In these years composer attended classes of S. S. Bogatyrov, forefather of Kharkiv composition school; he studied alongside with M. Koliada, H. Tumeneva, D. Klebanov, V. Barabashov, M. Tits, who constituted a brilliant generation of Ukrainian composers several decades later. Symphonic and chamber works of this time showed such features of V. Borysov’s creative method as large-scale thought, leaning towards epic and heroic images, skilful usage of advanced composition techniques. At the same time, under the influence of external factors V. Borysov turned to relevant genre of his time, such as mass song and choral music. As early as on the primary stage of his development as a composer, V. Borysov defined Ukrainian folklore as one of the main sources for his inspiration. Folklore component of musical language became one of the prominent features of his style, its presence is conspicuous on each stages of his evolution. Submission of individual to collective, national conditioned V. Borysov’s interest to monumental forms of symphony, oratorio, cantata, poem, defined their leading role through late style of composer’s creativity. Unique combination of already existing aesthetic premises, high level of moral imperative, relevance of musical language created phenomenon of “V. Borysov’s late style”. The article regards the most original works, which were received very well by the contemporaries: “Divertissement” for symphonic orchestra, “Music for strings”, concert compositions for piano, violin, viola, sets of piano miniatures, composed on late period (70s–80s). Singularity of musical language in these works is created by the fact that V. Borysov succeeded to create a unique mixture of folklore tradition with “sonic field” of avantgarde musical art; with this musical language incredibly relevant, “eternal” problems of existence are embodied. This article was inspired by a desire to draw attention to V. Borysov’s legacy, to revive profound and immensely talented works of the composer, to enrich culture of modernity with them, to remind people of XXI century about such a treasure, that his works are.
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Ulčinaitė, E. "RETORIKOS MOKSLAS APIE AFEKTŲ VAIDMENĮ ORATORINIAME MENE". Psichologija 2 (23.12.2015): 94–100. http://dx.doi.org/10.15388/psichol.1981.2.9185.
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Senovės retorikos specialistai (Aristotelis, Ciceronas, Kvintilianas) kreipė daug dėmesio į emocinį oratorinio meno aspektą, analizavo būdus, kuriais galima sukelti emocijas. Emocijų svarba buvo pabrėžiama ir 17 a. N. Caussinus, S. Lauxmin and A. Juglaris, žymių 17 a. retorikos mokslininkų, idėjos aptariamos šiame straipsnyje. Daroma išvada, kad emocijų nagrinėjimas oratorinio meno rėmuose turėjo didelį poveikį psichologijai ir filosofijai.
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Bernatowicz, Tadeusz. "Jan Reisner w Akademii św. Łukasza. Artysta a polityka króla Jana III i papieża Innocentego XI". Roczniki Humanistyczne 68, nr 4 Zeszyt specjalny (2020): 159–91. http://dx.doi.org/10.18290/rh20684-10s.
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Jan Reisner (ca. 1655-1713) was a painter and architect. He was sent by King Jan III together with Jerzy Siemiginowski to study art at St. Luke Academy in Rome. He traveled to the Eternal City (where he arrived on February 24, 1678) with Prince Michał Radziwiłł’s retinue. Cardinal Carlo Barberini, who later became the protector of Regni Poloniae, was the guardian and protector of the artist during his studies in 1678-1682. In the architectural competition announced by the Academy in 1681 Reisner was awarded the fi prize in the fi class, and a little later he was accepted as a member of this prestigious university. He was awarded the Order of the Golden Spur (Aureatae Militiae Eques) and the title Aulae Lateranensis Comes, which was equivalent to becoming a nobleman. The architectural award was conferred by the jury of Concorso Academico, composed of the Academy’s principe painter Giuseppe Garzi, its secretary Giuseppe Gezzi, and the architects Gregorio Tommassini and Giovanni B. Menicucci. In the Archivio storico dell’Accademia di San Luca, preserved are three design drawings of a church made by Jan Reisner in pen and watercolor, showing the front elevation, longitudinal section, and a projection. Although they were made for the 1681 competition, they were labelled with the date 1682, when the prizes were already being awarded. Reisner’s design reflected the complicated trends in the architecture of the 1660s and 1670s, especially in the architectural education of St. Luke’s Academy. There, attempts were made to reconcile the classicistic tendencies promoted by the French court with the reference to the forms of mature Roman Baroque. As a result of this attempt to combine the features of the two traditions, an eclectic work was created, as well as other competition projects created by students of the St. Luke’s Academy. The architect designed the Barberini temple-mausoleum, on a circular plan with eight lower chapels opening inwards and a rectangular chancel. The inside of the rotund is divided into three parts: the main body with opening chapels, a tambour, and a dome with sketches of the Fall of Angels. Inside, there is an altar with a pillar-and-column canopy. The architectural origin of the building was determined by ancient buildings: the Pantheon (AD 125) and the Mausoleum of Constance (4th century AD). A modern school based of this model was opened by Andrea Palladio, who designed the Tempietto Barbaro in Maser from 1580. In the near future, the Santa Maria della Assunzione in Ariccia (1662-1664) by Bernini and Notre-Dame-de-l’Assomption (1670-1676) in Paris by Charles Errard could provide inspiration. In particular, the unrealized project of Carlo Fontana to adapt the Colosseum to the place of worship of the Holy Martyrs was undertaken by Clement X in connection with the celebration of the Holy Year in 1675. In the middle of the Flavius amphitheatre, he designed the elevation of a church in the form of an antique-styled rotunda, with a dome on a high tambour and a wreath of chapels encircling it. Equally important was the design of the fountain of the central church in Basque Loyola (Santuario di S. Ignazio a Loyola). In the Baroque realizations of the then Rome we find patterns for the architectural decoration of the Reisnerian church. In the layout and the artwork of the facades we notice the influence of the columnar Baroque facades, so common in different variants in the works of da Cortona, Borromini and Rainaldi. The monumental columnar facades built according to Carlo Rainaldi’s designs were newly completed: S. Andrea della Valle (1656 / 1662-1665 / 1666) and S. Maria in Campitelli (designed in 1658-1662 and executed in 1663-1667), and Borromini San Carlo alle Quatro Fontane (1667-1677). The angels supporting the garlands on the plinths of the tambour attic are modelled on the decoration of two churches of Bernini: S. Maria della Assunzione in Ariccia (1662-1664) and S. Andrea al Quirinale (1658-1670). The repertoire of mature Baroque also includes the window frames of the front facade of the floor in the form of interrupted beams and, with the header made in the form of sections capped with volutes. The design indicates that the chancel was to be laid out on a slightly elongated rectangle with rounded corners and covered with a ceiling with facets, with a cross-section similar to a heavily flattened dome. It is close to the solutions used by Borromini in the Collegio di Propaganda Fide and the Oratorio dei Filippini. The three oval windows decorated with C-shaped arches and with ribs coming out of the volute of the base of the dome, which were among the characteristic motifs of da Cortona, taken over from Michelangelo, are visible. The crowning lantern was given an original shape: a pear-shaped outline with three windows of the same shape, embraced by S-shaped elongated volutes, which belonged to the canonical motifs used behind da Cortona by the crowds of architects of late Baroque eclecticism. Along with learning architecture, which was typical at the Academy, Reisner learned painting and geodesy, thanks to which, after his return to Poland, he gained prestige and importance at the court of Jan III, then with the Płock Voivode Jan Krasiński. His promising architectural talent did gain prominence as an architect in Poland, although – like few students of St. Luke’s Academy – he received all the honors as a student and graduate.
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Mérot, Guillemette. "L’évaluation stylistique des poètes grecs dans l’Institution oratoire (X, 1, 46-72) : quelle(s) grille(s) d’analyse ?" Vita Latina 193, nr 1 (2016): 121–50. http://dx.doi.org/10.3406/vita.2016.1831.
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This paper aims to identify the various criteria underlying the stylistic appreciation and evaluation of Greek poets whom it is suggested to imitate in chapter X, 1 of the Institutio oratoria. Most of these appreciations rest on the stylistic theory of genera dicendi, and Quintilian stands halfway between a strictly tripartite theory of style types and a theory with very many possible style types. In particular, this paper examines the differences in the use of this mixed theory for the list of Greek andRoman authors, as well as the influence of the treatise On Imitation, written by Dionysius of Halicarnassus. Its influence is particularly striking in the case of the epic and lyric poets, which strengthens the assumption of Quintilian’s direct use of this treatise for his corresponding notes. On the contrary, the critical frame used in the note dealing with the tragic poets is more ancient, and doesn’t seem to go back to Dionysius’ On Imitation.
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Castillo, Pepa. "Sagunto y Numancia como exempla históricos en la oratoria parlamentaria de la España liberal (1868–1939)". REVISTA DE HISTORIOGRAFÍA (RevHisto) 28 (18.05.2018): 277. http://dx.doi.org/10.20318/revhisto.2018.4217.
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Resumen: En el s. XIX España necesitaba consolidar su identidad nacional y para ello era necesario fijar los rasgos que definían el carácter y temperamento de la raza española. En este contexto, personajes y gestas del pasado remoto de España eran los que mejor podían reflejar la idiosincrasia de la emergente nación. Una de esas gestas fue la que protagonizaron los habitantes de Sagunto y de Numancia, dos ciudades que simbolizaban la lucha heroica de todo un pueblo por su libertad e independencia. En este artículo se analiza el uso que se hace de Sagunto y Numancia en los discursos que se pronunciaron en el Congreso de los Diputados desde la Revolución de 1868 hasta el 2 de febrero de 1939, última reunión de las Cortes en territorio español.Palabras clave: Sagunto, Numancia, Oratoria política, Exempla históricos.Abstract: In the 19th century, Spain sought to consolidate its national identity. To bear this out, it had to fix the traits that defined the character and temperament of the Spanish people. In this context, what best reflected the idiosyncrasy of the emerging nation were the personalities and the heroic feats of the remote past of Spain. Such was the case of the deeds carried out by the inhabitants of Sagun tum and Numantia, two cities which symbolized the heroic struggle of a people for their freedom and independence. This paper analyses the use of Saguntum and Numantia as historic exempla in the speeches delivered to the Congress of Deputies between the Glorious Revolution of 1868 and 2 February 1939, the day the courts met in Spanish territory for the last time.Key words: Saguntum, Numantia, Political oratory, Historic exempla.
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Trizelia, Trizelia, i Novri Nelly. "Karakterisasi Fisiologi Beberapa Isolat Cendawan Entomopatogen Beauveria bassiana Dan Virulensinya Terhadap Spodoptera litura". JPT : JURNAL PROTEKSI TANAMAN (JOURNAL OF PLANT PROTECTION) 1, nr 1 (19.12.2017): 10. http://dx.doi.org/10.25077/jpt.1.1.10-17.2017.
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Penelitian ini bertujuan untuk mempelajari karakter fisiologi isolat B. bassiana yang berasal dari berbagai inang dan virulensinya terhadap Spodoptera litura. Lima isolat B. bassiana yang diuji diisolasi dari hama Leptocorisa oratorius (F.) dan Hypothenemus hampei (Ferr.), rizosfer tanaman bawang daun buah kakao dan batang gandum. Karakter fisiologi yang diamati adalah daya kecambah konidia, pertumbuhan koloni, dan sporulasi, Cendawan diperbanyak pada media SDAY dan uji virulensi dilakukan terhadap larva instar II S. litura. Hasil penelitian menunjukkan bahwa daya kecambah konidia, pertumbuhan koloni dan sporulasi bervariasi antar isolat. Isolat B. bassiana yang diisolasi dari L. oratorius dan buah kakao memiliki karakter fisiologi yang lebih baik dibandingkan dengan isolat lain. Kedua isolat ini juga lebih virulen terhadap larva instar II S. litura dengan mortalitas sebesar 80 – 81,67%.
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Reguero, M. Carmen Encinas. "La evolucióón de algunos conceptos retóóricos. Semeion y tekmerion del s. V al IV a.C." Rhetorica 27, nr 4 (2009): 373–403. http://dx.doi.org/10.1525/rh.2009.27.4.373.
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El nacimiento de la retóórica implica la creacióón de un vocabulario adecuado para expresar las sutilezas de esa techne. Asíí, surgen téérminos nuevos, que con el paso del tiempo se van especializando y adquiriendo un significado téécnico preciso. Este trabajo se centra en dos téérminos que designan la evidencia, a saber, semeion y tekmerion, y sigue su evolucióón a lo largo del s. V y hasta el s. IV a.C., centráándose fundamentalmente en la tragedia y en la oratoria de Antifonte, donde el empleo de esos conceptos difiere de su utilizacióón téécnica en los primeros manuales conservados.
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Tatarnikova, Anzhelika. "COMPOSITION“KING ROGER” KAROL SHIMANOVSKY IN PRESENTING IDEAS BLESSING OF THE FAITH". Scientific Issues of Ternopil National Pedagogical Volodymyr Hnatiuk University. Specialization: Art Studies, nr 2 (23.05.2023): 59–65. http://dx.doi.org/10.25128/2411-3271.19.2.8.
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The idea of worshiping Orthodoxy may have long hindered the recognition of the work in Poland itself, where Catholic religion became a component of national emblematics, although it premiered in Poland at the Warsaw Bolshoi Theater in 1926. But in the reference literature it is noted that “much greater success than in Warsaw was “King Roger” in musical Prague (1932) and later in Palermo in Sicily in 1949, where he was staged at the local Teatro Massimo with the participation of the famous Italian artists, in a re-enactment of Bronislaw Horowicz and under the direction of Mieczyslaw Mezheevsky”. And further the author of the same essay in the “Guide to the Opera” J. Kanski noted: “King Roger is an unusual opera. Unusual was already conceived in the imagination of the composer and masterfully realized by Yaroslav Ivashkevich the concept of libretto, which made the place of the action medieval Sicily, interweaving the atmosphere of austere asceticism of the then Christianity with the colorful and mysterious world of Arabic and Byzantine culture, in the figure of the Pastor, who later transformed into the Greek god Dionysus)”. Later on, Kanysky states a whole list of “oddities” that distanced this work from the general public – and the first in that list is “the strangeness of the music itself”, in which the opera-ballet and cantat-oratorial typological components exhibit a high level of artistry, has direct analogues neither in Polish nor in the world as a whole. J. Kansky’s sentence is as follows: what remains of Shimanovsky’s “work is beautiful and lonely”. Such a summary clearly ignores the Eastern and Central European analogies, since the impulse for K. Shimanovsky’s “Dionysian mysteriousness” can be traced back to O. Borodin’s “Polovtsian Ecstatic” the glorification of “severe asceticism” in “St. Francis of Assisi” by O. Messian, whose spiritual ideas were nourished by the Hesychastic energy of the prayerful ecstasy of the mysteriousness of O. Scriabin. However the recognition of K. Shimanovsky really only took place at the beginning of the third millennium, and the Christian background of the Scriabin ecstatic, which was vigorously discussed in the Odesa press in the 1910’s, along with the mysterious samples of the “Drama of the Spirit” by V. Rebikov – was not extended in the 1920’s – 1930’s, when only the folkloristic national-demonstration innovations of the composer were appreciated. In S. Gelman’s preface to the publication of the score of this work by K. Shimanovsky we find some reflections on its genre meaning, from which it is clear that “King Roger” does not represent a pure operatic discovery, but rather constitutes the border of opera and musical drama, marked, however, equally by elements of oratorial, and even features of the mysterious spectacle. This commentary sees the Wagnerian influence, without noticing at the same time the Eastern European origins of K. Shimanovsky’s score and the outspoken scribbling of the composition born in the Ukrainian South. In general, the work has the features of stage oratory, as we find it in the version of I. Stravinsky’s works, and later by K. Orff.
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Azanza-López, José-Javier. "Teatro, poética y oratoria sagrada: la fiesta como tablero de ajedrez entre jesuitas y dominicos (Manila, s. XVII)". Rilce: Revista de Filología Hispánica 37, nr 2 (28.06.2021): 451–82. http://dx.doi.org/10.15581/008.37.2.451-82.
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Este trabajo profundiza en el papel de los diversos componentes de la fiesta (especialmente el teatro, los ingenios literarios y la oratoria sagrada) en las complejas relaciones entre jesuitas y dominicos en Manila en la segunda mitad del siglo XVII. El análisis comparativo de las relaciones escritas con ocasión de las celebraciones de canonización y beatificación de ambas religiones, organizadas en la década de 1670, permitirá comprobar su rivalidad en el campo de las letras a la hora de demostrar su hegemonía doctrinal e intelectual, buscando igualmente una favorable posición social mediante su adhesión a las clases dirigentes. La cuestión se inscribe en la batalla por la propaganda que dirime en última instancia cuotas de poder espiritual y temporal.
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Littlestone-Luria, Adam. "Political Representation(s) in Rome". Critical Analysis of Law 9, nr 2 (12.12.2022): 81–122. http://dx.doi.org/10.33137/cal.v9i2.39830.
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According to the conventional account, the concept of political representation played no active role before the early Middle Ages. But this vision is misguided. In Rome—not only under the Republic, but also during the imperial period—the practice of power was premised on a variety of forms of political representation. This claim is not entirely without precedent. One classicist, Gary Remer, has suggested that Cicero articulated a robust concept of the orator as political representative in his philosophical works. But this article carries the argument further. Various forms of political representation underpinned politics, operating at many levels and taking many forms beyond the standard election-based account, including personal representation and symbolic and cultural representation. This historical account grounds an intervention in political and legal theory. It helps construct a flexible and multidimensional account of representation, which illuminates modern representative dynamics with more nuance.
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Qi, Xiangwei, Xia Kong, Xiangning Zhang i Peichun Huang. "Ethyl acetate extract of Squilla oratoria suppresses growth of HepG2 cells by inducing S phase arrest". Journal of Experimental and Integrative Medicine 3, nr 4 (2013): 313. http://dx.doi.org/10.5455/jeim.170613.or.080.
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Worthington, I. "Once More, The Client/ Logographos Relationship". Classical Quarterly 43, nr 1 (maj 1993): 67–72. http://dx.doi.org/10.1017/s0009838800044189.
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Whilst Theophrastus (Char. 17.8) implies that the logographos had a great deal of control over the oral version of a forensic speech and what went into it,2 the part played by the logographos and the client in the content and circulation of the oration after oral delivery is controversial, and has attracted a fair share of attention.3 Sir Kenneth Dover argued that joint or composite authorship of the speech (i.e. client and logographos together) could take place, and that it was the client who could publish the speech after the trial and was free to include his own remarks.4 Thus, as Dover would have it, in the case of Lysias (and of other orators too if joint composition occurred), no unique style of that orator could be discerned in his speeches as we have them today. This composite authorship was first questioned by T. N. Winter,5 and denied even more vigorously by S. Usher,6 who argued that responsibility for a speech's later circulation lay only with the logographos, who also revised the speech as he saw fit.7 Their arguments, which nicely complement each other, are convincing enough on the evidence we have (although a case will be made below that in certain circumstances some, but probably not many, speeches appear to be the work of joint authorship). However, two other factors may be brought in as further support: the stylistic nature of the revised speech and the extent of literacy. The argument of this paper is that the composition of the final circulated speech was beyond the ability of the ordinary client and could only have been produced by the logographos.
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Schulze, Hans-Joachim. "Johann Sebastian Bachs Himmelfahrts-Oratorium und Picanders Geburtstagskantate für "Herrn J. W. C. D."". Bach-Jahrbuch 95 (13.03.2018): 191–99. http://dx.doi.org/10.13141/bjb.v20091866.
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Der Beitrag befasst sich mit der Zuordnung des Kürzels J. W. C. D. aus einem Kantatentext Picanders, der gewöhnlich mit einer verschollenen Parodievorlage des Himmelfahrts-Oratoriums (BWV 11/249b) verbunden wird. Der Autor widerspricht abschließend dieser Einschätzung.
Erwähnte Artikel: Gerhard Herz: Der lombardische Rhythmus in Bachs Vokalschaffen. BJ 1978, S. 148-180
Hildegard Tiggemann: Unbekannte Textdrucke zu drei Gelegenheitskantaten J. S. Bachs. BJ 1994, S. 7-22
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Enßlin, Wolfram, i Uwe Wolf. "Die Prediger-Einführungsmusiken von C. P. E. Bach". Bach-Jahrbuch 93 (12.03.2018): 139–78. http://dx.doi.org/10.13141/bjb.v20071819.
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Die Quellenlage zum umfangreichen Corpus der Predigereinführungsmusiken wird dargestellt. Dazu werden Bezüge zu Vorlagen inner- wie außerhalb des Werks Carl Philipp Emanuel Bachs aufgezeigt sowie einige Sonderfälle vertieft behandelt.
Erwähnter Artikel: Jason B. Grant: Die Herkunft des Chors "Triumph! Triumph! Des Hernn Gesalbter sieget!" aus dem Oratorium "Die Auferstehung und Himmelfahrt Jesu" von C. P. E. Bach, BJ 2011, S. 273-286
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Sawicka-Sykes, Sophie. "Echoes of the past: St Dunstan and the heavenly choirs of St Augustine’s Abbey, Canterbury, in Goscelin’s Historia translationis S. Augustini". Anglo-Saxon England 48 (grudzień 2019): 271–99. http://dx.doi.org/10.1017/s0263675121000016.
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AbstractThe Historia translationis S. Augustini (1098 × 1100), composed by Goscelin of Saint-Bertin as part of a hagiographical cycle for St Augustine’s Abbey, contains several previously overlooked allusions to St Dunstan’s vision of heavenly virgins. I argue that Goscelin drew upon the Dunstan legend to justify Abbot Scotland’s renovation work on St Augustine’s between 1072 and 1087. The article first of all considers how the oratory of the Anglo-Saxon abbey was presented as a locus of divine praise in the first known hagiography of Dunstan. I then show how Dunstan’s eleventh-century hagiographers at Christ Church cathedral responded to the original vision by crafting competing narratives of heavenly choirs. Finally, an analysis of the Historia translationis reveals how Goscelin reappropriated the legend, depicting the oratory, and the crypt that came to replace it, as the abode of celestial spirits whose praise echoed the community’s liturgical devotions.
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Rhimi, Mohamed Lamine. "L’écriture romanesque d’Édouard Glissant : une stratégie rhétorique subversive, une anti-poétique et une esthétique composite". Symbolon 23, nr 1 (2022): 111–29. http://dx.doi.org/10.46522/s.2022.01.9.
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Edouard Glissant denounces all forms of standardization, which model cultures to which he proposes an erratic and eccentric thought. It is specifically in that context that our article reexamined the question of Glissant’s subversive rhetorical strategy by relating it to the judicial impetus. In fact, it’s a question of a counter-rhetoric that underpinned not only anti-poetic, but also composite aesthetic. This is how the West Indian novelist-orator tries to annul cultural typicality and cultivate the intermixing between different human imaginations.
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SHEAR, WILLIAM A. "The millipede family Striariidae Bollman, 1893: III. Four new species of Striaria Bollman, 1888 (Diplopoda, Chordeumatida, Striariidae) from Idaho, USA". Zootaxa 4920, nr 3 (29.01.2021): 395–406. http://dx.doi.org/10.11646/zootaxa.4920.3.5.
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The millipede genus Striaria Bollman, 1888 heretofore had been thought to be confined to the Appalachian region of eastern North America, is replaced in western North America by species of the genus Amplaria Chamberlin, 1941. Collections from northern Idaho show that this is not the case, and that at least four species of Striaria occur in the west. These species are described herein as Striaria aculeata n. sp., S. bombillus n. sp., S. vagabundus n. sp. and S. orator n. sp.
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Alnis, Jānis. "VIDES AIZSARDZĪBAS MĀCĪBU PRAKSES LABORATORIJA TOP ZEMNIEKU SAIMNIECĪBĀ “ALEKSANDRI” (z/s A)". Environment. Technology. Resources. Proceedings of the International Scientific and Practical Conference 1 (20.06.1999): 5. http://dx.doi.org/10.17770/etr1999vol1.1919.
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Laboratorija bijušās Rundānu muižas teritorijā - vietā, kurā jaunieši iepazīsies ar daudziem Latgales pakalnu, purvu vides aizsardzības un izmantošanas praktiskiem un teorētiskiem darbiem. Izmitināšana, ēdināšana, atpūta ar rundāniešu pamestības noskaņu pārvarēšanu. Iesākums krievvalodīgo zonas atdzimšanai...Laboratorijas ideju pamatā ir profesoru G.Novika, A.Ūbeļa, M.Oša u.c. koncepcijas par vidi kā antropogēnu procesu kompleksu, kopu, ieskaitot tajos etniskos un reliģiskos faktorus. Izmantotas etnoekoloģiskās “Eko - Ludzas” zinātniskās grupas atziņas. Ora et labora! - no latīņu valodas var iztulkot, ka oratoram ir jāstrādā, ka vides aizsardzībai nepieciešama trīsvienība Dievs - Daba - Darbs.Laboratorijas vieta Rundānu pagasts - vēsturē reti minēts, jo atrodas pa vidu starp Zilupi, Dagdu, Rēzekni, Ludzu, Nirzu. Z/s A izvietota Latgales augstienes ūdensšķirtnē. Vides tīrības etalons. Te savu tecējumu sāk Sarjanka - Daugavas pieteka. Rundānu strauts aiznes ūdeņus uz Veļikajas upi. Te pēdējā laikā seno latgaļu pilskalnu aizsardzības līnija.
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Красковская, Т. В. "“GRAND STYLE” PHENOMENON IN THE CANTATA-ORATORIAL CREATIVE WORK OF THE SOVIET KARELIA COMPOSERS AND ANALYTICAL MODES OF ITS ANALYSIS". Music Journal of Northern Europe, nr 2(18) (28.05.2024): 23–30. http://dx.doi.org/10.61908/2413-0486.2019.18.2.23-30.
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Статья посвящена методу анализа кантатно-ораториального творчества советской эпохи в контексте «большого стиля» (И. С. Воробьёв). Практика применения данного метода в изучении музыки композиторов Советской Карелии показала, что феномен «большого стиля» имеет свою специфику развития в регионе и требует дополнительных аналитических модусов исследования, таких как сопоставление этапов развития кантатно-ораториального жанра, контент-анализ текстов ведущих периодических изданий, а также выявление вербальных и музыкальных мифологем, характерных для региона и связанных с эпосом «Калевала». The article covers the method of analyzing the cantata-oratorial creative work of the Soviet era in the context of the “grand style” (Igor S. Vorobyov). The usage of this method in the study of the work of the Soviet Karelia composers showed that the phenomenon of the “grand style” had its own characteristic aspects of development in the region and required additional modes of analysis such as: the comparison of the stages of the cantata-oratorial genre development, content analysis of the texts in leading periodicals, identification of verbal and musical mythologems that are typical for the region and related to the epic “Kalevala”.
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Podguzova, O. A. "SERGEY YAKOVENKO: HE KNEW HOW TO EMBRACE THE IMMENSITY". Arts education and science 1, nr 3 (2020): 173–82. http://dx.doi.org/10.36871/hon.202003021.
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The article is dedicated to the famous singer and teacher, Doctor of Arts Sergey Borisovich Yakovenko. It presents selected pages of the master's life, his performing activity, tells about the musician's creative contacts with representatives of Russian culture of the second half of the XXth – early XXIst centuries. The first performer of many modern vocal works, monooperas, cantatas and oratorios, outstanding and little-known works of world music, romances and songs by Soviet composers, S. B. Yakovenko is also a major figure in science, education and musical enlightenment. His research focuses on a wide range of issues related to vocal creativity, performance interpretation and singing traditions. The article also presents the basic pedagogical principles of the musician. The publication contains the material from one of the last works of S. B. Yakovenko "Three Hundred Years Without a Director", which never saw the light. It is devoted to the history of musical theater, the role of director, conductor and composer in it. The source for this research were the books of the prominent singer and teacher, articles about his work, personal conversations of the author with S. B. Yakovenko.
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Hofmann, Klaus. ""Großer Herr, o starker König"". Bach-Jahrbuch 81 (2.02.2018): 31–46. http://dx.doi.org/10.13141/bjb.v19951053.
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Das Fanfarenthema der Solo-Trompete in J. S. Bachs Arie Großer Herr, o starker König aus dem Weihnachts-Oratorium, das Bach in wechselndem Erscheinungsbild in mehreren Kantaten und Orchesterwerken aufgreift, stammt nicht von ihm selbst, sondern geht auf einen Bläser-Signalruf aus dem frühen 18. Jahrhundert zurück. Es taucht auch in Kompositionen von J. J. Fux, H. I. F. Biber, M. P. de Montéclair und M. Haydn auf. Der Autor untersucht die Verwendung des Themas in der Musik vor, neben und nach Bach und gibt darüber hinaus einen Überblick über die unterschiedliche Verwendung, Funktion und Bedeutung von Fanfarenmusik in ihren verschiedenen Kontexten. (Dorothea Wagner, Quelle: Bibliographie des Musikschrifttums online)
Vergleiche auch: Malcolm Boyd: Bach, Telemann und das Fanfarenthema. BJ 1996, S. 147-150
Klaus Hofmann: Nochmals: Bachs Fanfarenthema. BJ 1997, S. 177-180
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Burel, Oleksandr. "On Gabriel Pierné and his compositions for piano and orchestra". Aspects of Historical Musicology 16, nr 16 (15.09.2019): 170–89. http://dx.doi.org/10.34064/khnum2-16.10.
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Background. The French composers’ creativity of the late XIX – first third of XX centuries is the admirable treasury of the world musical art. It is worth mentioning such remarkable and original artists as C. Debussy and M. Emmanuel, P. Dukas and E. Satie, A.Roussel and M.Ravel. The name of G. Pierné (1863–1937) can surely be added to this series of authors. But his oeuvre is still terra incognita for us. The thorough considerable researches about the author are not numerous. The monograph “Gabriel Pierné: musicien lorrain” by G. Masson was created in 1987, and the publication of the composer’s letters named as “Correspondance romaine” was published in 2005. In the 2000s, a lot of audio recordings of his best works were published, which testifies to the relevance of the author’s heritage and confirms the urgency of present topic of article. Objectives of this study is to focus researchers on G. Pierné’s personality and art, to consider his works for piano and symphonic orchestra – Fantasy-Ballet, Piano Concerto, Scherzo-Caprice, Symphonic Poem. Methods. The research is based on the historical biographical, the intonational, the comparative research methods. Results. C. Debussy, M. Ravel and composers of “Les Six” at their time outshined Pierné’s work. But years have passed and interest in the personality of this author has appeared. During his training in Paris Conservatory (1871–1882), G. Pierné achieved excellent results, having won in many student competitions. He studied composition in the class of J. Massenet (together with E. Chausson, G. Charpentier, G. Ropartz). Having won the competition for the Prix de Rome (1882), the young author was given the opportunity to live at Villa Medici (1883–1885). Spent time in Rome was one of the best episodes of his life. The first concert work by G. Pierné – Fantasy-Ballet (1885) for piano and orchestra was written there. The composition is based on the sequence of contrasting dancing episodes in the character of march, gallop, waltz, tarantella. It is significant that the ballet genre took pride of place in the work of G. Pierné later. The composer’s staying in Italy caused visibility, colorfulness, cheerfulness, feed activity, energy of images, using of genre motifs in FantasyBallet. The series of various episodes conveys a whimsical change of mood and resembles a sketches of impression. Returning to Paris in 1885, G. Pierné sought to strengthen his reputation as a soloist by entering the salon circles. At this time, he created many piano works, including the three-movement Piano Concerto c-moll (1886). This composition contains many dramatic moments which concentrated in the first and third movements of the cycle. However, as is often the case with French Romantic composers, such using of dramatic elements has a somewhat superficial, rhetorical character. The first movement is written in sonata form. The theme of the main subject (in c-moll), expounded by the piano octaves, is active and boisterous. And the secondary Es-dur subject is peaceful and lucid. There is the same entrancing serenity as in the lyrical theme of the E. Grieg’s Piano Concerto finale. In the first movement, the development is very short, and the recapitulation is abridged. It should be noted that G. Pierné refused to use the cadence of the soloist. The second movement is written in a three-part form with elements of variation and rondo. This light scherzo takes the listener away from the anxieties of previous movement. Every bar of this music, in which everything is made with elegant French taste, caresses the ear. The main theme, including the dotted rhythm, serves as a refrain that permeates the entire movement. The finale is distinguished by its developmental forcefulness and truly symphonic reach. So, the continuation of C. Saint-Saëns’s covenants is in the concentration of thematic material, the observableness of form, the rhetorical syllable, and rhythmic activity at the Pierné’s Piano Concerto. Scherzo-Caprice (1890) enriched the French miniature line. The image sphere of this opus is lucid lyrics, good-gentle jocosity, and solemnity. The melodic talent of the composer proved itself very convincing here. The theme of the waltz echoes the waltz episode from the Fantasy-Ballet in some details. Being written also in A-dur, it contains the upward melody moves with a passing VI# (fisis), and also diversions into the minor (cis-moll in Scherzo-Caprice, fis-moll in Fantasy-Ballet). At the turn of the century, the influence of C. Franck’s music was produced on the G. Pierné’s style. This is reflected in such works as the Symphonic Poem “L’An Mil” (1897), Violin Sonata (1900), oratorio “Saint François d’Assise” (1912), and Cello Sonata (1919). An appeal to the Symphonic Poem for piano and orchestra (1903) is also a clear sign of rapprochement with the late romantic branch (C. Franck, E. Сhausson). Here we see a departure of G. Pierné from the C. Saint-Saëns’s concert traditions, which he held before. In the Poem, such qualities as virtuosity, concert brilliance, and representativeness are somewhat leveled, which is caused with the narrative character of this work. Conclusions. During the “Renovation period” of French music, the piano and orchestra compositions experienced a real upsurge in its development. Composers began to turn more often not only to the Piano Concerto genre, but also to non-cyclic works – Fantasies, Poems, Rhapsodies, etc. G. Pierné contributed much to this branch along with C. Saint-Saëns, B. Godard, Ch.-M. Widor. In his Fantasy-Ballet, Piano Concerto, Scherzo-Caprice, we find the continuation of C. Saint-Saëns’s instrumental traditions. This is manifested in the moderation of the musical language, the normative character of harmonious thinking, the absolute clarity of discourse, concern for the relief of the melodic line. In the Symphonic Poem, contiguity with the musical aesthetics of С. Franck is revealed, which is reflected in harmony modulation shifts, appeal to polyphonic technique, differentiated and more powerful orchestration.
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Grant, Jason B. "Die Herkunft des Chors "Triumph! Triumph! Des Herrn Gesalbter sieget!" aus dem Oratorium "Die Auferstehung und Himmelfahrt Jesu" von C. P. E. Bach". Bach-Jahrbuch 97 (9.02.2018): 273–86. http://dx.doi.org/10.13141/bjb.v20111239.
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Bezugnehmend auf die Annahme, dass C. P. E. Bach in seinen großen Oratorien im Gegensatz zu kleineren Vokalwerken weniger Eigen- und Fremdbearbeitungen bzw. Entlehnungen verwendete, wird nachgewiesen, dass dies wenigstens für den genannten Chorsatz nicht gelten könne. Dazu wird zuerst die Chronologie dieses Werkes und der vermutlichen Vorlage beleuchtet, ehe ein eingehender Vergleich beider Gesamter Werke geschieht. Abschließende Betrachtungen über die Kompositionsweise C. P. E. Bachs ebenso wie zur Bedeutung eingehender musikalischer Quellenanalyse vervollständigen die Darstellung ebenso wie zwei detaillierte Notenbeispiele aus den fraglichen Chorsätzen.
Erwähnte Artikel: Barbara Wiermann: Werkgeschichte als Gattungsgeschichte: "Die Auferstehung und Himmelfahrt Jesu" von Carl Philipp Emanuel Bach. BJ 1997, S. 117-144
Wolfram Enßlin, Uwe Wolf: Die Prediger-Einführungsmusiken von C. P. E. Bach [...] BJ 2007, S. 139-178
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Voss, Steffen. "Das Johann Adolf Hasse zugeschriebene Passions-Oratorium La morte di Cristo und seine musikhistorische Einordnung". Musicologica Brunensia, Supplementum (2018): 261–81. http://dx.doi.org/10.5817/mb2018-s-17.
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Manopo, Marsela Maria, Caroulus S. Rante, Reity A. G. Engka i Tommy B. Ogie. "TYPES AND POPULATIONS OF INSECT PESTS IN RICE FIELDS (Oryza Sativa L.) IN MOGOYUNGGUNG VILLAGE, DUMOGA TIMUR DISTRICT, BOLAANG MONGONDOW REGENCY." Jurnal Agroekoteknologi Terapan 2, nr 2 (12.11.2021): 53. http://dx.doi.org/10.35791/jat.v2i2.35313.
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Insects are one part of the biodiversity that exists on this earth. Insect species and populations have a very important impact on stability in the lowland rice ecosystem. The sedated insects are placed on white paper and then counted in numbers and put in a collection bottle containing alcohol and labeled on the bottle. The things that were observed were the type and population of insect pests. The results of observations of the types and populations of insect pests found in the village of Mogoyunggung District Dumoga Bolaang Mongondow district found 6 (six) types of insect pests. In the vegetative phase found 5 (five) types of insects namely Scotinophara coartata, Paraeucosmetus pallicornis, Sogatela furcifera, Oxya sp. and Scirpophaga innotata, while the generative phase of the insect species found were Leptocorisa oratorius, S. coartata, P. pallicornis, S. furcifera, and Oxya sp. Keywords: Diversity; insect; pests; Oryza sativa L AbstrakSerangga merupakan salah satu bagian dari keanekaragaman hayati yang ada dimuka bumi ini. Jenis dan populasi serangga memiliki dampak yang sangat penting bagi kestabilan di dalam ekosistem padi sawah. Indeks keanekaragaman dapat digunakan untuk menyatakan hubungan kelimpahan spesies dalam suatu komunitas. Penelitian bertujuan mengetahui jenis, populasi dan keanekaragaman serangga hama pada tanaman padi di Desa Mogoyunggung, Kecamatan Dumoga Timur, Kabupaten Bolaang Mongondow. Serangga yang telah terbius diletakkan pada kertas putih kemudian dihitung jumlahnya dan dimasukkan dalam botol koleksi yang berisi alkohol dan diberi label pada botol tersebut. Hal-hal yang diamati yakni jenis dan populasi serangga hama yang terjaring dalam net serangga. Hasil pengamatan jenis serangga hama di Desa Mogoyunggung Kecamatan Dumoga Kabupaten Bolaang Mongondow ditemukan 6 (enam) jenis serangga hama. Pada fase vegetatif ditemukan 5 (lima) jenis serangga yakni Scotinophara coartata (kepinding tanah), Paraeucosmetus pallicornis (kepik hitam), Sogatela furcifera (wereng punggung putih), Oxya sp. (belalang) dan Scirpophaga innotata (penggerek batang putih), sedangkan fase generatif jenis serangga yang ditemukan yaitu Leptocorisa oratorius (walang sangit), S. coartata (kepinding tanah), P. pallicornis (kepik hitam), S. furcifera (wereng punggung putih), dan Oxya sp. (belalang).Kata Kunci: Keanekaragaman; serangga; hama; Oryza sativa L.
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Mohamed, Tartoura, Korechi Raouf, Kemassi Abdellah i Ould El Hadj Didi. "Etude du régime alimentaire de quelques espèces de Mantodea dans les conditions naturelles de la vallée du M’Zab (Sahara septentrional Est-Algérien)". Lebanese Science Journal 20, nr 3 (27.12.2019): 413–29. http://dx.doi.org/10.22453/lsj-020.3.413-429.
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Le régime alimentaire de cinq espèces de Mantodeacapturées dans différents biotopes de la vallée du M’Zab (Nord du Sahara Algérien) est étudié. Il s’agit de MantisreligiosaLinnaeus., 1758;SphodromantisviridisForskal., 1775, BlepharopsismendicaFabricius., 1775;Iris oratoriaLinnaeus., 1758;EmpusagutullaThunberg., 1815et AmblythespisgranulataSaussure, 1870.La reconnaissance et l'identification des espèces proies contenues dans les fèces des mantes,a permis de dénombrer 27 espèces d’Arthropoda appartenant à 08 catégories d’ordre et 11 familles trophiques. Une prédominance desformicidae (18%)est enregistrée.La prédation chez M. religiosa, S. viridis, I. oratoria, B. mendica,Empusagutulla et A. granulatas’est manifestée visiblement à partir du mois de mai jusqu’au mois de décembre 2014. Elle atteint son maximum en juillet avec 19 espèces. Ce phénomène de prédation s’est incliné dès le mois d’Aout 2014. Mantisreligiosa et Sphodromantisviridis semblent être les espèces de mantes les plus voraces, avec respectivement 51,9%et 48,1%des espèces proies consommées.
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Huussen jr., A. H. "S. Berger, Classical oratory and the Sephardim of Amsterdam. Rabbi Aguilar's Tratado de la retórica". BMGN - Low Countries Historical Review 113, nr 3 (1.01.1998): 399. http://dx.doi.org/10.18352/bmgn-lchr.4761.
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Maul, Michael. "Neues zu Georg Balthasar Schott, seinem Collegium musicum und Bachs Zerbster Geburtstagskantate". Bach-Jahrbuch 93 (12.03.2018): 61–103. http://dx.doi.org/10.13141/bjb.v20071817.
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Anhand des von 1720 bis 1729 wirkenden Neukirchen-Musikdirektors Georg Balthasar Schott wird gezeigt, dass Ermittlungen zu Kollegen Johann Sebastian Bachs überraschende Einblicke in das damalige Leipziger Musikleben liefern können, die ihrerseits wieder zu einem besseren Verständnis von Bachs eigenem Wirken beitragen und zuweilen auch die Hintergründe eines bachschen Werks erhellen. Zunächst wird die Biographie Schotts dargestellt. Danach steht sein Wirken als Komponist für die Neukirche im Vordergrund. Sodann gilt das Interesse seinem Collegium musicum und dem dort aufgeführten Repertoire, speziell einem unter der Leitung Schotts aufgeführten, bisher unbekannten Oratorium. Dies erweist sich als Schlüssel, um die Entstehungsumstände von Bachs "Geburtstagskantate" für den Fürsten Johann August von Anhalt-Zerbst (BC G 13) aufzuklären. (Autor, Quelle: Bibliographie des Musikschrifttums online)
Erwähnte Artikel: Barbara Reul: "O vergnügte Stunden / da mein Hertzog funden seinen Lebenstag". Ein unbekannter Textdruck zu einer Geburtstagskantate J. S. Bachs für den Fürsten Johann August von Anhalt-Zerbst. BJ 1999, S. 7-18
Hans-Joachim Schulze: Johann Sebastian Bach und Zerbst 1722: Randnotizen zu einer verlorenen Gastmusik. BJ 2004, S. 209-214
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Martinec, Thomas. "“FÜRBILD ALLER TUGENDEN”. RHETORIK UND MORAL IN DER BAROCKEN TRAUERSPIELPOETIK". Daphnis 35, nr 1-2 (1.05.2006): 133–61. http://dx.doi.org/10.1163/18796583-90000972.
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Der vorliegende Aufsatz untersucht die Frage, weshalb die barocke Trag�dienpoetik unter Berufung auf Aristoteles eine Vorstellung entwickelt, die bei Aristoteles in dieser Weise nicht zu finden ist: die Vorstellung n�mlich, da� die Trag�die den Zuschauer moralisch zu bessern habe. Hierzu werden zun�chst die zentralen Z�ge des aristotelischen Trag�dienmodells als Rezeptionsgrundlage skizziert (I), wobei deutlich wird, da� Aristoteles s�mtliche Gattungselemente in den Dienst der Trag�dienwirkung stellt, die allerdings keine moralische ist. Im n�chsten Schritt wird dann die Rhetorisierung des aristotelischen Modells im Humanismus nachgewiesen (II): Die Trag�dienwirkung ger�t in das Bezugsfeld der officia oratoris (die Katharsis wird als docere aufgefa�t), und andere Trag�dienelemente (Personal, Ereignis, Verh�ltnis der Trag�die zur Geschichte) erfahren eine neuartige Ausrichtung durch die rhetorische Stillehre. Schlie�lich wird gezeigt, da� sich die barocke Poetik zwar auf Aristoteles bezieht, sie dabei jedoch dessen Trag�dienmodell auf der Grundlage der humanistischen Rhetorisierung moralisch nutzbar macht (III): Die Wirkung besteht nun in der Besserung des Zuschauers, und vom tragischen Helden wird moralische Vollkommenheit gefordert.
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Mangais, Rowland, Laurentius Rumokoy i Parluhutan Siahaan. "Diversity and Abundance of Entomopathogenic Fungi and Their Hosts in Rice Fields of Kembang Mertha Village-Bolaang Mongondow". JURNAL BIOS LOGOS 13, nr 2 (31.07.2023): 118–26. http://dx.doi.org/10.35799/jbl.v13i2.48123.
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The diversity of entomopathogenic fungi in an area can provide information about the potential for controlling insect pests. This is important to do to find suitable biological control agents to reduce the impact of using synthetic pesticides. This research was conducted to look at the diversity and abundance of entomopathogenic fungi and their host insects, so that potential entomopathogenic fungal and pest species were identified in the rice fields of Kembang Mertha Village. The results obtained were four species of host insects, namely Leptocoarisa oratorius, Schotinopara coarctata, Ricelia dorsalis and Nilaparvata lugens, and three species of entomopathogenic fungi, namely Beauveria bassiana, Metarhizium sp. and Hirsutella sp.. The host insect diversity indices in the medium category were S. coarctata (1.10) and N. lugens (1.04) and for entomopathogenic fungi, the three fungal species found were in the medium category respectively B. bassiana (1.31), Metarhizium sp. (1.07) and Hirsutella sp. (1.05). The highest abundance index values for host insects were S. coarctata (84.62%) and N. lugens (50%), while for pathogenic fungi were Hirsutella sp. (43.73%).