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1
Tomson, Earl. "GERARD SCHURMANN IN INTERVIEW." Tempo 59, no. 231 (January 2005): 17–28. http://dx.doi.org/10.1017/s0040298205000033.
Повний текст джерелаАнотація:
Gerard Schurmann was born of Dutch parents in the former Dutch East Indies in 1924, but spent more than 40 years, including the most formative period of his musical life, in England before moving to the US in 1981. Even during his years in the Netherlands as orchestral conductor with the Dutch Radio in his early twenties, he maintained an apartment in London, sometimes commuting to his place of work in Hilversum. His experience was similar to Bernard van Dieren, another Dutch-born composer who lived in England, although not for as many years as Schurmann: Holland has made no particular move to claim either as a Dutch composer. It was in England that Schurmann developed his skills and persona as a musician, after arriving as a teenager in 1941.
2
Devyatko, Ekaterina D. "The Literary Legacy of the Dutch Composer Alphons Diepenbrock." Music Scholarship / Problemy Muzykal'noj Nauki, no. 3 (September 2015): 40–46. http://dx.doi.org/10.17674/1997-0854.2015.3.040-046.
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3
Pabbruwe, Aagje. "Cornelis Thymensz. Padbrué: A Dutch Composer Contemporary of Heinrich Schütz." Schütz-Jahrbuch 39 (January 6, 2023): 29–32. http://dx.doi.org/10.13141/sjb.v20173108.
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4
Sanicheva, Elizaveta V. "“A King, Riding” by Klaas de Vries as an Artwork of the 20th Century." Observatory of Culture, no. 5 (October 28, 2014): 57–65. http://dx.doi.org/10.25281/2072-3156-2014-0-5-57-65.
Повний текст джерелаАнотація:
Considers the scenic oratorium “A King, Riding” by contemporary Dutch composer Klaas de Vries. It was composed after his own libretto based on the “Waves” novel by Virginia Woolf, which is a classic example of the stream of consciousness literature. The libretto and the opera work are studied as a part of rich and powerful mixture of different contemporary styles, manners, techniques and retrospections, such as impressionism, expressionism, neoclassicism. Its performance of 1996 in Brussels directed by Christoph Marthaler is also analysed.
5
Metzelaar, Helen. "An Unknown 18th-Century Dutch Woman Composer: Josina Boetzelaer (1733-1797)." Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis 40, no. 2 (1990): 3. http://dx.doi.org/10.2307/938825.
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6
Williams, Nick. "HOKETUS: OF HIERARCHY AND HICCUPS." Tempo 69, no. 273 (July 2015): 5–11. http://dx.doi.org/10.1017/s004029821500008x.
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AbstractBetween 1976 and 1986 the Dutch group Hoketus were central to the creation of the sound and aesthetic of the Hague school. Through their rehearsal process they challenged and redefined the role of the composers who wrote for them in relation to the ensemble, and in doing so they challenged conventional notions of composer privilege and power. While not going as far as free improvisation groups in erasing the boundaries between composers and performers, they created a situation in which traditional hierarchies were overturned. Without ever claiming co-ownership of the resulting works, the group actively participated in the creative process and so could claim a higher degree of ownership and responsibility for the music they played than is usually the case.
7
van, der. "Alphons Diepenbrock and the European world of composers at the fin-de-siècle." Muzikologija, no. 2 (2002): 157–69. http://dx.doi.org/10.2298/muz0202157v.
Повний текст джерелаАнотація:
The article consists of three parts. In the first part the author gives a survey of the large artistic renewal that took place in the Netherlands around 1900. Special attention is given to "de beweging van Tachtig"(the movement of the "Tachtigers"), a renewal movement in literature in which the composer Alphons Diepenbrock was involved. In the second part a short description of the life and work of this most important Dutch composer of the end of the nineteenth century is given. In his early years Diepenbrock orientated himself to composers like Wagner, especially around the First World War (in which the Netherlands remained a neutral country), and he became a fervent admirer of French art. His music is a unique synthesis of Wagner's chromaticism, the word-bound rhythms of plain-chant and the polyphonic music of the old Flemish schools of Ockeghem and Josquin. In the third part the author deals with a couple of Diepenbrock's (artistic) contacts. There are highlights on Mahler, Sch?nberg and Debussy, primarily based on their correspondence.
8
Veldhorst, Natascha. "PHARMACY FOR THE BODY AND SOUL: DUTCH SONGBOOKS IN THE SEVENTEENTH CENTURY." Early Music History 27 (October 2008): 217–86. http://dx.doi.org/10.1017/s0261127908000326.
Повний текст джерелаАнотація:
Mention sixteenth- and seventeenth-century Dutch vocal music and the knowledgeable music lover usually thinks immediately of the brilliant polyphonic creations of famous Flemish masters like Josquin des Prez, Adrian Willaert and Orlande de Lassus. And they did indeed write compositions that still appeal to the imagination. Take Josquin’s polyphonic, chirping El Grillo, a relatively simple but effective piece that can entice even the most a-musical twenty-first-century student into the world of the Renaissance. Those familiar with the Baroque will recall Jan Pietersz Sweelinck, the organist of the Oude Kerk in Amsterdam and a composer of bewitching instrumental and vocal music, including his four books of polyphonic Pseaumes de David (1604–21) to the texts of Clément Marot and Theodore Bèze, which are still being performed regularly. Perhaps, too, the French, Latin and Italian arias by Constantijn Huygens from his Pathodia sacra et profana (1647). But it is then that the singing seems to stop in the Low Countries. The names of the composers, at least, are barely known beyond our borders.
9
Godfrey, John. "London, Queen Elizabeth Hall and Brighton Dome: Big Noise Tour." Tempo 58, no. 228 (April 2004): 61–62. http://dx.doi.org/10.1017/s0040298204240153.
Повний текст джерелаАнотація:
Big Noise – heard in London on 21 November and repeated at the Dome (Corn Exchange) in Brighton on the 22nd – was a collaboration between the highly idiosyncratic New Music ensembles Orkest de Volharding (Holland) and Icebreaker (UK). The former was established by the amazingly influential Dutch composer Louis Andriessen: reacting against the elitist music of his youth, he saw the need for a new type of Art-music ensemble which could travel into the streets and play music with a broad appeal. Borrowing from the model of Dutch street bands (the equivalent, perhaps, of the UK's brass bands), jazz of the 1920s, Minimal music coming out of America and the European avant-garde, Andriessen created an ensemble and a language with an overt non-elitist agenda.
10
van Lieburg, Fred. "Interpreting the Dutch Great Awakening (1749–1755)." Church History 77, no. 2 (May 12, 2008): 318–36. http://dx.doi.org/10.1017/s0009640708000565.
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In 1754, the Scottish minister John Gillies (1712–1796) published a collection of historical accounts concerning “remarkable periods of the success of the Gospel.” Its composer was a spider in a web of correspondents in Europe and North America who believed they were living in an extraordinary time of revival in Christianity. Collective conversions and signs of repentance and faith were reported from all parts of the world and placed in a large eschatological perspective. After the Protestant Reformation—the climax of church history since the New Testament—a great decline had set in comparable to the Middle Ages. The “Great Awakening” seemed to recapture the spirit of the first Pentecost and offered prospects for a further extension of God's Kingdom. By means of missionary work among the heathen peoples, the Gospel would reach the ends of earth. Finally, after the collective conversion of the Jews and a millennium of peace, the time would come for the Lord of the Church to appear on the clouds of heaven to gather the harvest of all times.
11
Vyshynskyi, Vitalii. "Compositional Technique as a Tool of Political Statement in the Works of Louis Andriessen." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 132 (November 29, 2021): 121–38. http://dx.doi.org/10.31318/2522-4190.2021.132.249987.
Повний текст джерелаАнотація:
Relevance of the study. The work of Louis Andriessen, a Dutch composer, is regarded as a significant contribution to the formation of music culture of the second half of the 20th century. Despite his influence, however, there are practically no research papers in domestic musicology that would analyze Andriessen’s work and personality or his professional musical and political activities. One of the main research topics related to Andriessen’s work is the influence of politics on music. The topic itself is quite particular and somewhat controversial because it always leaves a lot of questions that need further clarification, may require a different perspective and a new approach. One of such questions with a controversial view is a discussion of how compositional techniques can be influenced by and formed based upon the composer’s political views.
Main objective of the study. Taking into consideration Louis Andriessen’s own experiences, analyze how his compositional techniques created political content of his works, and particularly the writing of the cantata “De Staat” (“The Republic”) by Plato.
Methods. The following were used in the research analysis: biographical (in the analyses of the style and work of the composer); historical (in the analyses of the cultural and socio-political context); comparative (in the analyses of the political and aesthetic views and standpoints of artists); analytical (in the analyses of the musical works).
Results/findings and conclusions. There were several reasons that led Louis Andriessen to appeal to minimalism. The main reason was the composer’s desire to respond to his fellow composers that themselves were searching for their own applicable techniques and style to disseminate political ideas. Minimalism was particularly attractive to the composer because it was relevant, easily accessible to the general public, and reflective. At the same time, it was politically appropriate and democratic. The musical and political activism of Andriessen was aimed at creating a new type of communication and relationships between a composer and a performer, a performer and audience, and ultimately at creating a new musical community. This new type of communication and community is reflected in the composer’s work “The Republic”. For performers in particular, “The Republic” became a practical exercise similar to the style of Lehrstück B. Brecht, which allowed performers to adapt to new musical interactions proposed by the composer. Andriessen was able to achieve this goal by using hocket techniques — i. e., by removing the role inequality among performers and emphasizing the expressive importance of each performer in a musical composition. However, Andriessen’s compositional techniques used in “The Republic” to reflect his political views did not support, but rather emphasized the composer’s contradictory political position and in particular his binary position to Plato’s views on the place of music in politics. Nevertheless, it was “The Republic” that started the creation of a unique performance and approach in musical composition called “Andriessen’s approach”, which would successfully combine minimalism with traditional European compositional techniques, modern and experimental techniques, and components of music at large. At the very end, the unique combination of the aforementioned compositional techniques is what identifies the specificity of the content of Andriessen’s music. Significance of these results consists in the point of view on the question of how a compositional technique forms political content in the music written by Louis Andriessen
12
SPILLER, HENRY. "Tunes That Bind: Paul J. Seelig, Eva Gauthier, Charles T. Griffes, and the Javanese Other." Journal of the Society for American Music 3, no. 2 (May 2009): 129–54. http://dx.doi.org/10.1017/s1752196309090117.
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AbstractThe powerful concept of orientalism has undergone considerable refinement since Edward Said popularized the term with his eponymous book in 1978. Orientalism typically is presented as a totalizing process that creates polar oppositions between a dominating West and a subordinate East. U.S. orientalisms, however, reflect uniquely North American approaches to identity formation that include assimilating characteristics usually associated with the Other. This article explores the complex relationship among three individuals—U.S. composer Charles T. Griffes, Canadian singer Eva Gauthier, and German-trained Dutch East Indies composer Paul J. Seelig—and how they exploited the same Javanese songs to lend legitimacy to their individual artistic projects. A comparison of Griffes's and Seelig's settings of a West Javanese tune (“Kinanti”) provides an especially clear example of how contrasting approaches manifest different orientalisms. Whereas Griffes accompanied the melody with stock orientalist gestures to express his own fascination with the exotic, Seelig used chromatic harmonies and a chorale-like texture to ground the melody in the familiar, translating rather than representing its Otherness. The tunes that bind Griffes, Gauthier, and Seelig are only the raw materials from which they created their own unique orientalisms, each with its own sense of self and its own Javanese others.
13
METZELAAR, HELEN. "Women and ‘Kraakgeluiden’: the participation of women improvisers in the Dutch electronic music scene." Organised Sound 9, no. 2 (August 2004): 199–206. http://dx.doi.org/10.1017/s1355771804000287.
Повний текст джерелаАнотація:
The field of electroacoustic improvisation in the Netherlands is largely male dominated. Flutist, improviser and composer Anne La Berge signalled this and other problems related to gender in ‘Kraakgeluiden’, a Dutch venue for improvisation in electroacoustic music. Four possible factors contributing to gender discrimination are proposed: the stereotypical gendered concept of an improviser, differences in communicative styles, the dominance of male networks, and music technology itself. This is followed by a consideration of gendered differences in music improvisation. It is posited that male improvisers often seek to establish a hierarchy among themselves, while women performers tend to project themselves less to the forefront. Women improvisers may traditionally have a different sense of autonomy, in adherence to gender norms. While music education might offer a means to change behaviour patterns, it appears that these gender norms are internalised at a surprisingly young age. While concentrating on electroacoustic improvisation, this essay also includes relevant experiences of other improvisers. Gender discrimination in electroacoustic music improvisation is a complex issue deserving more research.
14
Cherednychenko, O. V. "Concert genres for piano and orchestra in the works of Sergei Bortkiewicz." Aspects of Historical Musicology 15, no. 15 (September 15, 2019): 138–57. http://dx.doi.org/10.34064/khnum2-15.07.
Повний текст джерелаАнотація:
Background. The last two decades testify to the fact that the music of the Ukrainian composer S. Bortkiewicz (1877–1952) has become popular in various countries not only in Europe, but also around the world, giving birth to a so-called multilingual “Bortkiewicziana”. It would be already enough to mention the works published in German, English, Bulgarian, Dutch, Italian, Portuguese, Polish, Russian, Ukrainian and Japanese. The literature and multi-genre musical heritage left by the composer provides vast opportunities for researchers. However, many creativity aspects of the “last romanticist”, refl ected in various research projects, do not lose their relevance for contemporary musicians. Objectives. The goal of the article is to reveal the image and the stylistic peculiarities the music pieces by S. Bortkiewicz, composed for piano and orchestra. Methods. The study is based on the historical, theoretical and comparative methods of analysis, which allow to bring in critical reviews of contemporaries and researchers about S. Bortkiewicz’s music, reveal the compositional and dramatic features of his piano concerto opus, reveal the individual approach to the inherited tradition. Results. The composer’s legacy includes three Concertos and the Russian Rhapsody, created between 1910s and the fi rst half of the 1930s. The interest in this fi eld of creativity can be explained by the pianistic activity of the composer, who “started” with the Concerto Op. 1 for the favorite music instrument. Despite the fact that the author ultimately abandoned his “fi rst-born” work, judging by the Kharkiv press publications of the fi rst decade of the 20th century, he presented it to the public. Actually, 1st Concerto for piano and orchestra op. 16, B-dur (1912) bares the tradition of a three-part structure with contrasting comparison of movements. Despite the seemingly impressive appearance of the piano part, S. Bortkiewicz summarizes the best achievements of Western European and Russian music, revealing his creative individuality. While maintaining a clear delimitation and contrast between the three movements, he seals the cycle with thematic arches. He also involves the idea of a multi-episodic mood swings, revealing closeness to the poetic type of thinking. The predominance of lyrical expression in S. Bortkiewicz’s Concertos indicates the composer’s orientation to the experience of romantic culture. However, he does not seek to establish the domination of the soloist, his priority position in the concert dialogue. There is an equal parity of both parties, which is beyond the tradition of alternate duplication-development of the same material. S. Bortkiewicz does not tend to use symphonic methods either, handling the contrast technique and as a means of creating dramatic collisions that move the process forward, and as one of the most effective methods of development. The composer uses the entire arsenal of pianistic techniques, except for the passage technique of style brilliant. The principles of a poem found their further implementation in the 3rd Piano Concerto, Op. 32, c-moll, entitled “Per aspera ad astra” (“Through thorns to the stars”), which is a single-cyclic music piece, referring to the works of F. Liszt. The choice of compositional and dramatic solution is determined by the artistic idea. It also brings into existence the intonation, the mode and tonal, and the texture allusions that give birth to vivid imaginative associations and ideas about deep semantic connections that relate composers from different eras to each other. The combination of different style phenomena, based on the commonality of their context, the activation of associative relations, the free application of accumulated experience reveal the composer’s modern thinking, an active search for new approaches to the established tradition, refl ecting the polystylistic tendencies in the music of the 20th century. Russian Rhapsody for piano with orchestra op. 45, a-moll is a concentrated expression of the “folk” line in the works of S. Bortkiewicz. It summarizes the specifi c features of the composer’s large-scale music pieces: the multi-episode structure based on contrasting material, and the purposefulness of the dramatic process, ensuring an active movement to the unfolded “fi nal” climax; the suite structure that appears from the change of the whole expressive means complex on the borders of the sections; and the refrain structure that builds the “frame” of the contrast composite form; the principle of “threading” themes that are different in emotional content, and the gradual consolidation of the main imagery sphere through the extrusion of the previously using thematic ideas. For the Russian rhapsody, using the fresco principles of writing, the larges-cale and brightness of the instrumental palette is typical. These properties bear the imprint of individuality that is common to Bortkiewicz, since the solo piano is considered as one of the equal participants in the orchestra. The 2nd Concerto op. 28 for the left hand (1924), at fi rst glance, stands somewhat apart from similar works by the composer. However, the composer does not limit himself in his choice of pianistic methods. Instead, he uses the whole complex of technical and expressive means: the fi gurative movement, octaves, hidden two-voice theme with the typical “landscape – background” texture, dialog cross-talks, fullness of timbre and register space, a variety of playing techniques that help to reveal the imagery and the emotional content. Conclusions. Large cyclical genres demonstrate the creative approach of S. Bortkiewicz to the established patterns, which can be seen through the specifi c interpretation of the sonata form and the cycle as a whole, in using the technique of variation and the poem principles, the dynamization of the dramatic process and the relative completeness in each section of the form, the mode and harmonic freedom within the construction elements and overall tonal balance. To concretize the imagery world and the artistic idea of a music piece, the composer makes extensive use of genre and style allusions and the quoted material.
15
Driessen, Veerle. "La fille de Madame Angot." De Moderne Tijd 5, no. 1 (January 1, 2021): 5–34. http://dx.doi.org/10.5117/dmt2021.1.001.drie.
Повний текст джерелаАнотація:
Abstract La fille de Madame Angot French operetta in the Netherlands in the 1870s: popular and contested In the second half of the nineteenth century, French operetta was one of the most popular genres of music theatre in Amsterdam and in the Netherlands. The comedic pieces written by composer Jacques Offenbach were by far the most popular, and his opéras bouffes have long determined the image of operetta in the nineteenth-century, but also in Dutch historiography. With the premiere of La fille de Madame Angot by Charles Lecocq in Amsterdam in 1873, a new subgenre of operetta – opéra comique – was introduced in the Netherlands. This article analyses the way in which this new form of operetta was introduced in Amsterdam, how it differed from operettas that had previously been popular in the Netherlands, and how it was received by audiences and critics that were already well-acquainted with earlier operettas.
16
Serdiuk, O. V. "Maria Szymanowska as a recital pianist‑composer of the Romantic epoch." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 180–94. http://dx.doi.org/10.34064/khnum2-17.12.
Повний текст джерелаАнотація:
Вackground. The composer creativity of the talented Polish pianist Maria Szymanowska, her concert activity was arousing an exceptional interest among the public in the 1920s. However, shortly after her death, she was undeservedly forgotten for a long time. At the end of the XX – beginning of the XXI centuries a revival of interest in her work is observed. Her works are increasingly performed by contemporary musicians, and not only Polish (among them, for example, the Dutch pianist Bart van Oort is); international scientific symposiums are devoted to her creativity – in particular, in November 2015, the Сonference was held in Paris on the works by M. Szymanowska. In 2019, in connection with the 230th anniversary of this outstanding Polish artist, the Polish Sejm declared the year of Maria Szymanowska. The time distance between the eras and the change in cultural paradigms that has occurred today, prompt to rethink approaches to various cultural-forming activity in past eras, in particular, in the first half of the 19th century, to evaluate them from the standpoint of the modern creative thought. Indeed, the problems of choosing between universalism and specialization, of the search for effective means of artistic communication, the freedom of interpretation of the author’s text, with which M. Szymanowska has be faced, remain relevant and for modern cultural figures. In Ukraine, a steady interest in the music of M. Szymanowska, as well as the desire of scientists to study her works, has not yet been observed. The separate steps have been taken in this direction – for example, the publication of Maria Yanyshyn (2016), who is trying to explore some aspects of the creative work of the Polish artist, relying on modern methodological tools. Oddly enough, the concert activity of M. Szymanowska in Ukrainian cultural centers is also ignored: local historians did not publish a single critic review of her performances, although not only the Polish pianist was participating in such concerts, but also the local musicians. At one time, the example of such careful archival work was demonstrated by I. Belza (1956), who analyzed the newspaper reviews that were printed primarily in Moscow and St. Petersburg, and the correspondence of the figures of Russian culture, in which he found the references to M. Szymanowska and published them in his monograph. The present article intends to designate a corpus of problematic issues rather than thoroughly solve them. It cannot be said that and Polish scientists today made significant progress in their resolution, although Renata Suhovejko (2012) and others (Slavomir Dobzansky, Maria Stolarzhevich) touch on certain aspects Maria Szymanowska’s creative activity in their articles. The purpose of this article is to reveal the features of M. Szymanowska’s creative approaches to piano (concert) performing and composer activity, which are the object of this study. The subject of the study is the features of cultural arising, of the formation of creative attitudes and the principles of artistic activity, of the means of cultural communication and artistic interpretation of M. Szymanowska. The results of the study. The scientific novelty of the study is to identify little-known facts of Maria Szymanowska’s creative biography and their new interpretation, to form new ideas about the specifics of her creative methods in both piano and composer works. The important role of self-education in her creative development and the ability to self-development are emphasized, as well as the conscious cultural universalism, the penchant for innovation (for example, the introduction to concert practice of playing without the notes – from memory, playing in “three hands”, the rapid formation of playing skills on various types of instruments). Attention is focused on conflicting moments of the approach to the interpretation of copyright texts (for example, the frequent use of cuts). The comparative characteristics of pianism and individual creative methods of Maria Szymanowska and Clara Schumann also give in the article. Perhaps the most important difference between Clara Schumann and Maria Szymanowska was laying in their relation to the mission of the performer. Clara Schumann was among the first artists in the history of pianism who acted as a fairly strict “intermediary”, subordinated to the composer “guide” of his musical ideas to the listener. M. Szymanowska asserted the right of a performer to greater creative independence, taking the same position that, in essence, F. Liszt defended. At the same time, individual reading of the text, personal attitude to the work was important for both pianists. Emotional openness, lyricism and poetry, sincere performance, melodious full-blooded sound, large scale of the playing, ardent temperament, and a tendency to improvisation were distinguished the both from a number of pianists of the academic direction. Rationalistically verified approaches of M. Szymanowska to the organization of information support of her concert activity are determined, based on three communicative levels: there are friendship, professional contacts and short-term acquaintances. These communicative spheres realize in such directions of activity as maintenance of the albums of autographs, preparation and sending the letters of recommendation, establishing the contacts with the press, and the use of musical criticism. The latter becomes an instrument for the formation of an artistic myth that mobilizes the audience. The study also reveals, through which Ukrainian cities went along the route of the concert tours of the Polish pianist (Kiev, Tulchin, Zhytomyr, Dubno, Kremenets, Lviv and Vinnitsa). The success of the tour, confirmed by the press, proved the high competitive ability of M. Szymanowska in the European concert market, and the proficiency to offer an original creative product ensured a stable interest to her of the audience. Сonclusions. Using the example of M. Szymanowska’s creative biography, it is proved that on the basis of the growth of the personality’s cultural potential, the process of self-development, self-education acquires a conscious and focused character and contributes to the artist’s creative productivity. In a situation of the choice between specialization and universalism, M. Szymanowska demonstrates a penchant for creative universality. Her intensive performing and composing activities are marked by the search for effective means of artistic communication, by innovativeness, creativeness, emotional openness, freedom of interpretation of the musical text.
17
Zinchenko, Veronika. "Maxim Shaligin’s Ballet “Hopper”: at the Crossroads of Interspecific Interpretation and Artistic Translation." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 131 (June 30, 2021): 154–66. http://dx.doi.org/10.31318/2522-4190.2021.131.243227.
Повний текст джерелаАнотація:
Relevance of the study. Maxim Shalygin’s ballet “Hopper” is for the first time explored both from the point of view of its genre and intonation specifics, and in terms of interspecific connections with the painting by American artist Edward Hopper “Morning Sun”. The author’s methods of interspecific literary translation of E. Hopper’s style are revealed by immanently intonation means. The expediency of using the definition of intermedial interpretation, which is a kind of interpretation by composer of a work of a related art form by means of interspecific literary translation, has been substantiated. The relevance of the study is due to the first scientific appeal to the ballet work of the Ukrainian-Dutch composer Maksim Shalygin (1985) in the context of an intermedia composer’s interspecific. An analytical study of M. Shalygin’s ballet "Hopper" with an emphasis on identifying the specifics of the transplantation of E. Hopper’s style into the genre-intonational essence of ballet provides the innovative status of the presented study. The main objective of the study is to reveal the interpretational specifics of M. Shalygin’s ballet “Hopper” in the aspect of intermedial interpretation. Based on the study of the artistic style of E. Hopper (in particular, his painting “Morning Sun”), the features of the composer’s work on the “translation” and transplantation of the artist’s style into the immanent-musical plane (the model of “pictorial music”) are investigated. The following research methods are adapted in the work: the comparative method (to compare the genre features of M. Shalygin’s ballet and E. Hopper’s painting), the method of genre-intonation analysis — to highlight the immanently musical specifics of ballet; the method of theoretical generalization — for understanding the tendencies of the composer’s work in the intermedial space. Results. In the course of the research, it was found that M. Shalygin, who displays a tendency to-wards intermedial artistic thinking in his work, creates in the ballet “Hopper” an interpretation and sound commentary on the painting by E. Hopper. An important feature of the ballet is the process of transformation at all levels of genre-intonation organization. It is a partial rethinking of the themes of his already existing work “Duet” with the transformation of a non-ballet work into a ballet one proper, and, if we take into account the author’s title of the work “Serenade”, a transformation of the serenade`s genre, which in the process of development loses its real genre coordinates, and, occurrence intonational “transformers” from two ballet themes, each of which represents the main features of E. Hopper’s work (clarity of lines, playing with the light’s).In the process of intermedial interpretation, the phenomenon of “musical painting” is born, which realizes the artistic translation of the American artist’s style by means of music. Thanks to finding musical and intonational equivalents to the main stylistic features of the artist (clear geometric lines, playing with light, the imaginative system of loneliness and alienation) M. Shalygin manages to create a picturesque picture by intonation means.
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Van der Mescht, H. "Die agtergrond en ontstaansgeskiedenis van Hubert du Plessis se Duitse en Franse liedere." Literator 24, no. 2 (August 1, 2003): 125–44. http://dx.doi.org/10.4102/lit.v24i2.294.
Повний текст джерелаАнотація:
The background and genesis of Hubert du Plessis’s German and French songs On 7 June 2002 the South African composer Hubert du Plessis turned 80. Among his 77 art songs there are (apart from songs in Afrikaans, Dutch and English) eleven on German texts and one on a French text. The aim of this article is to investigate the genesis of these German and French songs. Du Plessis was influenced by his second cousin, the Afrikaans poet Barend J. Toerien, who lived in the same residence as Du Plessis at the University of Stellenbosch where they studied in the early 1940s. Toerien introduced Du Plessis to the work of Rilke, of whose poetry Du Plessis later set to music “Herbst”. Du Plessis’s ten Morgenstern songs were inspired by a chance gift of a Morgenstern volume from Susanne Stark-Schwietering, a student in Grahamstown where Du Plessis taught at Rhodes University College (1944-1951). During his studies in London (1951-1954) Du Plessis also received a volume of Morgenstern poetry from Howard Ferguson in 1951. The choice of French verses from Solomon’s Song of Songs was influenced by the advice of Hilda de Wet (Stellenbosch, 1966). It is notable that Du Plessis’s main composition teachers, William Bell, Friedrich Hartmann and Alan Bush, had practically no influence on the choice of the texts of his German and French songs.
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Karamanova, Marina Leonidovna, and Alina Gavrilovna Asriyan. "Pierre van Houwe and his concept of "Playing with Music" in the history of music education." PHILHARMONICA. International Music Journal, no. 5 (May 2023): 34–41. http://dx.doi.org/10.7256/2453-613x.2023.5.68958.
Повний текст джерелаАнотація:
The object of research of this work is the creative and pedagogical activity of the Dutch conductor, composer and teacher Pierre van Hauwe (1920-2009). The subject of the study is the conceptual foundations of his pedagogical theory of "Playing with Music", which has become widespread not only in European countries, but also in South America, Africa and Asia. The authors of the article consider in detail the features of P. van Hauwe's concept, the foundations of which are based on the elements of the Zoltan Kodai system, which became widespread in Hungary, and the method of musical education of Karl Orff, whom P. van Hauwe met in Salzburg. Special attention is paid to the methodical publication "Playing with Music" ("Spielen mit Musik"), where P. van Hauwe outlined his concept step by step, accompanied by specific recommendations for teachers. The research used theoretical (analysis, synthesis, etc.) and empirical (comparative-historical, structural-typological) research methods. The main conclusions of the study: P. van Hauwe's pedagogical activity had a great impact on the development of music education not only in the Netherlands, but also in other countries of the world. His concept of "Playing with music" ("Spielen mit Musik") combined elements of the educational systems of two outstanding teachers of the twentieth century – Z. Kodai and K. Orff, as a result of which it became a natural continuation of the development of European musical and pedagogical thought. A special contribution of the authors of the article to the study of the topic, reflecting its novelty, was a detailed analysis of the methodological publication "Spielen mit Musik" ("Playing with music"), on the basis of which the essential relationship of the ideas of P. van Hauwe and his predecessors was revealed. Also, for the first time in Russian musicology, the facts of the musician's biography are more fully disclosed.
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Tabyisova, Fedosia W. "To the perfect instruments of Arnolt Schlick." Contemporary Musicology, no. 1 (2020): 3–22. http://dx.doi.org/10.56620/2587-9731-2020-1-003-022.
Повний текст джерелаАнотація:
Arnolt Schlick was a Palatine organist, composer and organ expert of the Renaissance who is best known for Spiegel der Orgelmacher und Organisten (1511), a treatise on building organs. In this work he presented a certain ideal of the organ seen from his own perspective. Schlick also published Tabulaturen etlicher Lobgesang (1512), a collection that enjoyed an imperial privilege and featured organ works of great originality of skill so much different from his Italian, French and Dutch contemporaries. Schlick demonstrates an even more bizarre technique in a later manuscript of compositions marking the coronation of the Holy Roman Emperor Charles V (1520). The article is an attempt to establish a relationship between Schlick's organ writing and the features of the instrument his works were written for. What instrument did the famous blind musician write for? Did he write for the ideal instrument he described in his treatise Spiegel der Orgelmacher und Organisten? Was it the one he played until the end of his life after landing a lifetime contract with the Palatine court in 1509? The next aspect of the study, which may be of special interest to organists, focuses on the interpretation and execution of Schlick’s organ works. The South German organ tradition, with its heyday in the Renaissance, is still little studied by Russian and international musicologists alike. Only a few 135 delightful church instruments have survived since that time. They usually feature original organ cases, while all other structural parts are dated later. No less rare is the organ music of that period which does not only spark an interest, but also creates a certain difficulty for researchers. The methodology of the study combines historical and cultural approaches as well as the tradition of studying ancient musical art based on historically informed performance. The research findings contribute to the development of musicology and may inform music performers.
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Schmidt, Dörte. "„The practical problems of the composer”." Die Musikforschung 48, no. 4 (September 22, 2021): 400–403. http://dx.doi.org/10.52412/mf.1995.h4.1090.
Повний текст джерелаАнотація:
Anhand der in der Sammlung Carter der Paul-Sacher-Stiftung, Basel, befindlichen Korrespondenz wird der Weg von der Erteilung des Kompositionsauftrags 1956 durch das Stanley Quartet bis zur Uraufführung des zweiten Quartetts durch das Juilliard Quartet (25.3.1960) nachgezeichnet. Dabei wird ein Blick auf Carters Beurteilung der jenseits der kompositorischen Arbeit entstehenden praktischen Probleme geworfen, wie er sie u. a. in Seminaren am "Salzburg Seminar in American Studies" (1958) und in dem durch Paul Fromm initiierten "Princeton Seminar in Advanced Musical Studies"(1959) formuliert hat. Das erhaltene Princetoner Vortragsmanuskript mit dem Titel <The practical problems of the composer> wird in Basel verwahrt. (Autorin)
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Kaur, Kairit. "The Seasons by James Thomson and the Baltic German Poetry about the Seasons in the Era of Baltic Enlightenment." Interlitteraria 28, no. 2 (December 31, 2023): 301–15. http://dx.doi.org/10.12697/il.2023.28.2.9.
Повний текст джерелаАнотація:
Since 2016 one of my research topics has been the Baltic German reception of English poetry through the lens of cultural historical book collections in Estonia. One of my findings has been that James Thomson’s The Seasons belonged among the most often received works of English poetry by Baltic Germans in Estonia, after James Macpherson’s Poems of Ossian and John Milton’s Paradise Lost and followed by Edward Young’s Night-Thoughts. (Kaur 2018: 375) Except for Milton’s, these works are almost unknown to modern Estonian readers. Therefore a few words to introduce Thomson and his famous work should be said.
James Thomson (1700–1748) was an 18th century Scottish poet and playwright. Son of a Presbyterian minister, he studied at the College of Edinburgh to become a minister (1715–1719). However, very soon he found that preaching was not his calling and moved in 1725 to London to commit himself to literary work. There he created his poetic tetralogy in blank verse Winter (first published in 1726), Summer (1727), Spring (1728) and Autumn, which appeared together under the title The Seasons in 1730 (revised version in 1744). Enthusiastic, patriotic and full of love for flora, fauna, people, landscapes and everchanging weather conditions of his surroundings, but also of the wider world, it was received with great admiration by his British compatriots. But not only them: a new fresh interest in nature and especially in the phenomenon of the seasons as well the wish to describe and express them through poetry and other artistic means can be traced in Europe. Some years before Thomson the famous Italian composer Antonio Vivaldi had created his violin concerto The Four Seasons (1718) and a German poet and senator from the city of Hamburg, Barthold Hinrich Brockes, had started to publish his series Irdisches Vergnügen in Gott (Earthly Delight in God) (1721–1748) in which he meticulously described many objects from and views of nature as God’s creations, inspired by English and Dutch physical theology.
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Nataliia, Sun. "The genesis of Taiwanese piano art: historical and cultural context." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 63, no. 63 (January 23, 2023): 52–74. http://dx.doi.org/10.34064/khnum1-63.03.
Повний текст джерелаАнотація:
Introduction. The article examines the origins of Taiwanese piano art, its evolution, the influence of national and numerous non-national musical traditions. Until today, no special study devoted to the general panorama of these important processes has been created. The general picture of the formation and development of Taiwanese musical culture in the context of the political, economic and social situation is considered. The purpose of the article is to highlight the origins of Taiwanese piano art, which influenced its evolution, the process of introducing national and numerous non-national elements at the main stages of its formation and development. With the help of analytical, historical, comparative, interdisciplinary methods of research, a number of tasks are solved: the role of Western Christian missionaries in the development of musical education and piano art on the island is determined, the reasons why the Western classical music was accepted by the local society, the questions about the founders of the system of Western of classical music education, the programs and forms of learning in the first music schools in Taiwan, the names of the first Taiwanese composers-pianists are clarified; а periodization of the development of piano art in Taiwan is proposed. Results. The most important historical stages of the formation and development of Taiwanese piano art can be considered: – the period of its creation from the end of the 16th century to 1894; – the period of Japanese colonial rule from 1895 to 1945; – the period of development of national self-awareness, 1946–1986; – the period of reunification with mainland China from 1987. The proposed periodization makes it possible to reveal the entire historical and cultural context of the existence of piano art in Taiwan, to project its genetic settings for further stages of its development. Its basis was national folklore, but since the middle of the 16th century, the island was visited by Spanish, Portuguese, Dutch and Canadian colonists, and the first contacts of Western music with the indigenous population of Taiwan were made thanks to the activities of Western missionaries and were subordinated mainly to religious purposes. The stage of Japanese colonial rule was important for the development of piano art on the island. Due to the influence of Japan, Taiwanese musicians had further opportunities to join the system of Western classical music education, as the Japanese government was helping Taiwanese youth to obtain it. After 1920, Western classical music becomes popular in Taiwan; the formation of composer creativity in the field of piano music also takes place – the activities of such Taiwanese composers and pianists as Chiang Wen-Yeh, Chen Sizhi, Kuo Chih-Yuan, Kao Tzu-Mei and others. In the years 1946–1986, we observe the further development of performing and teaching activities at the island, a bright burst of creativity by such composers as Chang-Hui Hsu, Hsiao Tyzen, Shui-Long Ma and others. After 1987, active musical contacts between China and Taiwan contribute to the further progress of the island’s piano art. The piano works of Taiwanese composers Shih-Hui Chen, Fan-Ling Su, Chien-Yu Huang and others are widely popularized. In recent decades, the performing activities of Taiwanese pianists, represented in the international space by the names of Chien-Yu Huang, Yi Chih Lu, Chiu Tze Lin and many others, have become very active. Today, the piano art of Taiwan is the most important part of not only Chinese, but also world music culture. Conclusions. The study of the origins of the piano art of Taiwan, the periods of its development, ways of refracting different musical traditions will help to understand both the historical-theoretical and aesthetic-pedagogical and artistic significance of this phenomenon in musical art. The most important events in the social and cultural life of Taiwan, since the end of the 16th century, indirectly affected the development of national piano art, which underwent qualitative changes connected with the emergence of new musical forms and means of expression, the methods of using the national and Western compositional techniques. The prospect of further study of the topic consists in a more detailed study of the modern stage of developing piano art in Taiwan and clarifying the influence of its extensive genetic roots on the compositional and performing creativity of representatives of Taiwanese musical culture.
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Sieradz, Małgorzata. "‘With deepest respect and gratitude…’. On the early years of Myroslaw Antonowycz’s musicological path, from his letters to Adolf Chybiński." Muzyka 67, no. 2 (July 8, 2022): 113–60. http://dx.doi.org/10.36744/m.1296.
Повний текст джерелаАнотація:
Myroslaw Antonowycz (1917–2006) was a musicologist, conductor and composer, a Ukrainian whose entire career in musicology was associated with his work at Utrecht University. He is well known primarily among musicologists studying the music of Josquin des Prez, and more generally – of Franko-Flemish composers, as well as among Byzantinists. He was an alumnus of the Faculty of Musicology at Lviv’s (then Lwów’s) Jan Kazimierz University, where he studied for three years in the last period of Adolf Chybiński’s (1880–1952) academic work in Lviv. Chybiński was the founder and head of the chair, as well as one of the founding fathers of Polish musicology. The history of Lviv musicology and the representation of the Ukrainian minority in this milieu has already been studied by such Polish and Ukrainian musicologists as Ulyana Hrab, Vasyl Vitvitskyi, Luba Kijanowska, Leszek and Teresa Mazepa, Yuri Yasinovskyi, Michał Piekarski, and Małgorzata Sieradz. Since unfortunately most of their works have been published in either Polish or Ukrainian, that is, languages less common in international research, the present paper is an attempt to present the figure of this eminent scholar to a wider audience. This biographical sketch concerning Antonowycz’s early years as a musicologist was directly inspired by a set of forty-one letters and nine postcards sent by this researcher to Adolf Chybiński in 1939–52. This correspondence is now kept at the Poznań University Library, the Adolf Chybiński Archive at the Music Collections Studio, Special Collections Department, shelf mark 803 III/1, c. 4–58). These sources in this publication they have been printed in full and with commentary (see the Appendix). Their presentation is complementary to Yuri Yasinovskyi’s edition of Chybiński’s letters to Antonowycz (Musica Humana [Lviv] I 2003 pp. 67–110). Antonowycz spent World War II in Vienna, Linz, and Łódź, where he focused first and foremost on his singing skills (appearing in opera houses, on concert stages, and in radio broadcasts). He also continued his musicological studies at the University of Vienna. Having settled in the Netherlands after the war, he started work under Professor Albertus Smijers, founder and long-time head (from 1930 till his death in 1957) of the chair of musicology at De Universiteit Utrecht, who is universally recognised at the founder of the Dutch school of musicology. Having obtained his doctorate, he became Smijers’s assistant and co-editor of the Werken van Josquin des Prez, initiated and edited from 1922 by Smijers. After Smijers’s death Antonowycz undertook to complete work on the successive volumes in this series, first on his own and later with Willem Elders. In this way he made a name for himself in history of the world musicology. The surviving letters by Myroslaw Antynowycz offer direct proof of his strong attachment to the Lviv university circles and his first mentor, Professor Adolf Chybiński. Though Antynowycz was associated from the late 1940s and throughout his professional career with Utrecht University, where he obtained his PhD, it needs to be emphatically stated that his scholarly attitude had been shaped during his studies at the Faculty of Musicology of Lviv’s Jan Kazimierz University, and he frequently declared that Chybiński, a founding father of the Polish musicology and its Lviv centre, was his model as a scholar.
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Cicovacki, Borislav. "Zora D. by Isidora Zebeljan: Towards the new opera." Muzikologija, no. 4 (2004): 223–45. http://dx.doi.org/10.2298/muz0404223c.
Повний текст джерелаАнотація:
Opera Zora D., composed by Isidora Zebeljan during 2002 and 2003, and which was premiered in Amsterdam in June 2003, is the first Serbian opera that had a world premiere abroad. It is also the first Serbian opera that has been staged outside Serbia since 1935, after being acclaimed at a competition organized by the Genesis Foundation from London. Isidora Zebeljan was commissioned (granted financial backing) to compose a complete opera with a secured stage realization. The Dutch Chamber Opera (Opera studio Nederland) and the Viennese Chamber Opera (Wiener Kammeroper) were the co-producers of the first production. The opera was directed by David Pountney, the renowned opera director, while an international team of young singers and celebrated artists assisted the co-production. The opera was played three times in Amsterdam. Winfried Maczewski conducted the Amsterdam Nieuw Ensemble whereas Daniel Hoyem Cavazza conducted the Wiener Kammeroper on twelve performances. The Viennese premier of Zora D. opened the season of celebrations, thus marking the 50th anniversary of the Wiener Kammeroper. The libretto, based on the script for a TV film by Dusan Ristic, was co-written by Isidora Zebeljan, Milica Zebeljan and Borislav Cicovacki. Speaking of genre, the libretto represents a m?lange of thriller, melodrama and mystery, with elements of fiction. The opera consists of the prologue and seven scenes. The story, set in the present-day Belgrade, also goes back to the 1930?s and the periods interweave. The opera was written for four vocalists: the soprano, the baritone, and two mezzo-sopranos. The chamber orchestra has fifteen musicians. The story: One summer day in 1935, Belgrade poetess Zora Dulijan mysteriously disappears. Sixty years later, Mina, an ordinary girl from Belgrade, quite unexpectedly becomes part of an incredible story, which gradually unravels as time goes by. Led by a dream (recurring night after night, with some vague verses about poplar trees and contours of a mysterious woman with a silver scarf being all that Mina remembers) she sets out to solve the mystery that seems to haunt her for no apparent reason. Part of the secret is also an invisible force, which Mina uses to gradually piece together the story of a great love that was brutally brought to an end 60 years ago and now seeks fulfillment. At the same time, Vida, a woman in her 80s, who has just returned to Belgrade from a long exile, begins to feel tortured and haunted by ghouls from the past, the very same she has been trying to escape all those years. Mina, desperate to solve the mystery, and Vida, in search of final rest and redemption, meet to disclose to us the answer and tell us what really happened to Zora D. The leading characters of the opera, whose main attribute is illusiveness, undergo transformation that is something rarely found in opera literature. This quality of the characters and the story, as well as the absence of a real drama in the libretto, matches the specific idea of a contemporary opera. Unlike composers who insist on giving characters psychological quality, thus reducing their emotions to clich?s for reasons of clarity, Isidora Zebeljan demonstrates a need for a completely different type of opera. Her idea is to have an opera which focuses on the sensual exploits of music itself. This is the very type of opera sought after by Isidora Zebeljan. The first and most striking feature of her music is a very unique melodic invention. Opera Zora D. could be described as a necklace of thickly threaded music pearls. Microelements of the traditional music from Serbia (Vojvodina), Romania and the south of the Balkans give her melodies a very special quality. Those elements, however, have not been taken over in their entirety, nor do they exist in the form that would link this music to any particular type of folk music. Music elements of the traditional music, incorporated in the music expression of Isidora Zebeljan, provide additional distinctiveness and the colour, while being experienced as an integral part of Zebeljan?s creative being which carries within itself the awareness of the composer?s musical roots. Melodic elements of the opera expressed in such a manner give form to vocal parts, which require of performers great musicality and perfect technique without compromising the nature of their vocal expression. Specific chords with a diminished fifth, resulting from the use of folk music scales with augmented second, give the opera a distinct harmonic quality. The rhythmic and metric components of music are complex, naturally stemming from the melody and are characterized by a mixture of rhythms and changeable metrics. The rhythmic patterns of percussion are incorporated in the whole by parallel lining up of melodic and rhythmic layers, so that they produce sonorous multiplicity. Very often the rhythmic elements have characteristics of a dance. The chamber orchestra consists of flute (piccolo and alto), clarinet and bass-clarinet, saxophone (soprano and alto) bassoon, French horn, trumpet, harp, piano, percussion, and string quintet. By providing specific orchestration and coloring, Isidora Zebeljan manages to completely shift the real dramatic suspense from words to music particularly the orchestra, thus causing various emotional states to quickly change. Speaking of structure, the opera represents an infinite sequence of melodies. Although rarely, melodic entities have, in some places, the form of arias. There are no real recitatives in the entire opera. Each segment of the opera belongs to a corresponding melodic section of the stage that they are part of. The extraordinary quality of the music in Zora D. lies in the music surprise that it provides, which is an element of the composer?s language and style rarely seen in the music literature but is a symbol of a special talent. Emotional states are not merely evoked through particular musical clich?s, the unusual origin of which may be found in the exceptional parallel quality of states stemming from the very music. The listener, in his or her initial encounter with the music of the opera, will never hear dark and disconsolate music when tragic and dramatic happenings are taking place. Listening to the music will, however, help them feel the sound layer of the tragedy that is present in the offered sound. They will not follow it consciously but, instead, they will be leaded to the exact emotional stimulus that they will not be able to defy rationally. Such a music expression we call a music fiction. Artistic team involved in the first production of Zora D. has discovered a HVS technique, which helps shifting elements of scenography, from one set into the next, very efficiently and effectively. Isidora Zebeljan?s opera Zora D. represents a great success of Serbian music on the international scene, and undoubtedly the greatest success of Serbian opera. Her music liberates listeners from the compulsion of reflecting upon the content they are listening to. Instead, her music compels them to feel.
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Armstrong, Adrian. "Self-Translation in the Northern Renaissance: Jan van der Noot’s French Verse." Magnificat Cultura i Literatura Medievals 7 (December 8, 2020): 211. http://dx.doi.org/10.7203/mclm.7.17177.
Повний текст джерелаАнотація:
The Brabantian poet Jan van der Noot (1539-95?) wrote in both Dutch and French, and composed several works in both languages. Sometimes the two versions were published separately: the Dutch collection Het Theatre and its French counterpart, Le Theatre, were each printed in London in 1568. More often, the versions appeared alongside each other in bilingual editions: Cort begryp der XII boeken Olympiados / Abregé des douze livres Olympiades (1579), Lofsang van Braband / Hymne de Braband (1580), and various short pieces reproduced in anthologies of Van der Noot’s poetry (1580-95). The present study contends that Van der Noot’s self-translations should be read as translations from Dutch to French, rather than from French to Dutch as scholars have commonly assumed. It examines Van der Noot’s self-translational strategies, focusing in particular on his handling of form and versification, and the role played by paratext and illustrations. In doing so, it offers an alternative perspective on a figure whose translational activity is generally considered to have operated in the opposite direction, introducing innovations into Dutch poetry by imitating the work of Ronsard and the Pléiade.
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Dlabačová, Anna, and Margriet Hoogvliet. "Religieuze literatuur tussen het Middelnederlands en het Frans." Tijdschrift voor Nederlandse Taal- en Letterkunde 136, no. 3 (January 1, 2020): 99–129. http://dx.doi.org/10.5117/tntl2020.3.002.dlab.
Повний текст джерелаАнотація:
Abstract Making use of ideas and concepts from Barbara Cassin’s philosophy of translations and of l’histoire croisée, this essay explores the shared cultures of religious reading between the Dutch and French languages in the late medieval period. While religious literature disseminated in both Dutch and German has received a fair amount of attention in recent scholarship, religious and devotional texts that were available to readers in both Dutch and French have remained understudied. By providing an overview of the most important religious literature that was translated from French into Dutch and the other way around, and of texts originally composed in Latin in the Low Countries and translated into both vernacular languages, we argue that textual mobility between the two languages was frequent and reciprocal. Casestudies of two texts – Pierre Michault’s La Danse aux aveugles and Gerrit van der Goude’s Boexken vander Missen – further indicate that changes – or the lack thereof – in texts that moved between the two languages point to shared cultures of religious reading on equal terms.
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weaver, william woys. "The Water Gate Inn: Pennsylvania Dutch Cuisine Goes Mainstream." Gastronomica 9, no. 3 (2009): 25–31. http://dx.doi.org/10.1525/gfc.2009.9.3.25.
Повний текст джерелаАнотація:
This article deals with the creation of a new type of high-end Pennsylvania Dutch food tourism as packaged by Marjorie Hendricks (1897––1978) in her tastefully furnished Water Gate Inn which operated in Washington, DC from 1942 to 1966. Rather than draw on the Old Order Amish then emerging as tourism themes in places like Lancaster County, Pennsylvania, Hendricks and her menu developer, Flora G. Orr (1893––1953) went back to original sources with the idea of showcasing some of the classic dishes for which Pennsylvania Dutch cooking was once well known. This included various pork-and-saurkraut recipes, the layered dishes called Gumbis (shredded cabbage with layers of fruit and/or meat), and a number of recipes invented by Hendricks but inspired by old, traditional preparation techniques. While Hendrick's restaurant won national acclaim for its high-quality fare and interior decorations composed of real Pennsylvania Dutch antiques, it had little effect on the menus then developing in Pennsylvania by the tourism industry, menus which were largely constructed around an inaccurate interpretation of both Amish foods and foodways and Pennsylvania Dutch culture in general.
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RUSMAN, Paul. "The Netherlands selling submarines to Taiwan: how to judge government action?" Journal of European Integration History 25, no. 1 (2019): 111–24. http://dx.doi.org/10.5771/0947-9511-2019-1-111.
Повний текст джерелаАнотація:
The Dutch sale of major weapons to Taiwan in 1980 ran counter to the Netherlands’ recent recognition of the People’s Republic of China as the sole representative of China. This led to a rupture of diplomatic relations, an outcome seemingly unexpected in spite of the Dutch Foreign Ministry’s strong opposition to the deal. A few years later a new government composed of the same parties turned down a follow-up order. Why did the Dutch government sail so close to the wind and what made it change course? Such questions are tackled using approaches from international relations theory, such as politico-military strategy, good judgment in foreign policy, and (international) political economy. Yet in this case the analyst cannot be satisfied with easy explanations. Might not a fruitful angle be to consider the Netherlands as a highly competent but small state, driven by the high stakes involved to explore to the limit what little manoeuvring room it had vis-a-vis China?
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RUBINOFF, KAILAN R. "Cracking the Dutch Early Music Movement: the Repercussions of the 1969 Notenkrakersactie." Twentieth-Century Music 6, no. 1 (March 2009): 3–22. http://dx.doi.org/10.1017/s1478572210000034.
Повний текст джерелаАнотація:
AbstractThe Notenkrakersactie of 17 November 1969 was a landmark event for Dutch musical life: a group of composers disrupted a concert of the Concertgebouw Orchestra, protesting against the orchestra's lack of contemporary music programming. Scholars have tended to interpret this protest as a watershed for the avant-garde, but historical performance – not just contemporary music – proved to be a significant beneficiary. Early Musicians, like New Musicians, had common political goals and appealed to the youth counterculture. Ensuing reforms to the federal arts subsidy system, state-funded music schools, and conservatories in the 1970s were also advantageous for the Dutch Early Music movement. During the welfare retrenchment of the 1980s and the subsidy restructuring of the 1990s, Early Music ensembles economized and had greater success with mainstream recording companies and audiences than new music groups. Nearly forty years after the Notenkrakersactie, traditional symphony orchestras have less influence on Dutch musical life, but recent cutbacks to arts subsidies threaten contemporary music and historical performance alike.
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Schvéd, Brigitta Kinga. "A 17. századi svéd gyarmatosítás egy rövid epizódja." Belvedere Meridionale 31, no. 3 (2019): 25–38. http://dx.doi.org/10.14232/belv.2019.3.2.
Повний текст джерелаАнотація:
The possibility of Swedish colonialism emerged for the first time during the reign of Gustav II Adolph of Sweden (1611–1632), when he issued a decree on the policy of Swedish colonization outside Europe in 1625. The Kingdom of Sweden was one of the most spectacularly expanding states in Europe in the 17th century, and the unmatched success of Swedish dynasticism was primarily due to their expansive foreign policy. The establishment of the Swedish colonization of the era – the founding of New Sweden in North America and the Swedish Gold Coast in West Africa – composed important foreground to the Swedish expansion. It is essential to explore the Dutch cultural transfer and intermediation in order to analyze the phenomenon of Swedish colonization, as the political and economic relations with The Hague (Staten-Generaal) and the activity of Dutch agents, diplomats, artists, architects, traders and entrepreneurs produced important background for the Kingdom of Sweden’s ambitions in the 17th century. The present study summarizes the Swedish colonization in North America and examines the activities of the Swedish Africa Company (Svenska Afrikakompaniet) from 1648–1649 to 1663, from the point of view of the Swedish–Dutch cultural transfers of the era, due to the Dutch affiliates involved in the operation of the company.
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Taguchi, Hiroyuki, and Rifah Tamannah Shammi. "Emigrant’s Remittances, Dutch Disease and Capital Accumulation in Bangladesh." South Asian Journal of Macroeconomics and Public Finance 7, no. 1 (April 23, 2018): 60–82. http://dx.doi.org/10.1177/2277978718760070.
Повний текст джерелаАнотація:
This article examines varying macroeconomic impacts of international emigrant remittances in Bangladesh since 1976 by using a vector auto-regression (VAR) framework. Bangladesh has recorded better economic performance during last two decades, 1996–2014, compared to earlier two decades, 1976–1995. The time-series analysis therefore uncovers some transition in the remittance impacts composed of the ‘Dutch Disease’ effect and the capital accumulation effect. The empirical results reveal the existence of the Dutch Disease effect for the first period, 1976–1995, but turned to show the positive impact on capital accumulation for the second period, 1996–2014. We speculate that the recent manufacturing-oriented policies together with institutional improvements have contributed to the transformation in the remittance impact towards a positive direction between two periods. JEL: F22, F39, O53
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Postma, Ferenc. "Ex libris Steph. S. Mányoki." Acta Neerlandica, no. 16-17 (March 1, 2021): 11–35. http://dx.doi.org/10.36392/actaneerl/2020/16-17/2.
Повний текст джерелаАнотація:
Some years ago, we discovered a Dutch item in the famous Klimo Library at Pécs. It is a Convolute, composed of 67 booklets, all printed in the Netherlands in the first half of the 17th century. The collection was made by a Hungarian student of theology from Debrecen, Stephanus / István S. Mányoki, during his stay as a peregrinus in the Netherlands, where he studied at the protestant universities in Groningen, Franeker, Leiden and Utrecht respectively (1646–1648). Later on, this collection of academic imprints came into the possession of Matthias / Mátyás Domsics (1691–1768), a Canon of the Cathedral at Pécs, in order to be used for his Refutation of the Protestant Doctrine of the Faith. However, Domsics could not finish his dogmatic studies. In 1767, the new Roman Catholic bishop of Pécs, Georgius / György Klimo (1710–1777), took over all the books Domsics had collected for that purpose. Thus, Mányoki’s Convolute of Dutch protestant academic imprints became a part of bishop Klimo’s library.
Mányoki’s Convolute makes a valuable contribution to current Dutch research in book history. This Convolute will be a great enrichment, especially for the “Short-Title Catalogue Netherlands” (STCN).
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Harpster, Donald E. "The Reverend Joseph F. Berg: Revivalism, the Protestant Crusade, and the Mercersburg Movement." Pennsylvania History: A Journal of Mid-Atlantic Studies 91, no. 2 (2024): 127–64. http://dx.doi.org/10.5325/pennhistory.91.2.0127.
Повний текст джерелаАнотація:
ABSTRACT The Reverend Joseph F. Berg was pastor of First German Reformed Church in Philadelphia from 1837 to 1852. He was a revivalist in the tradition of Charles G. Finney. In addition, he was an active participant in the Protestant crusade against the Roman Catholic Church. His anti-Catholic sermons and writings contributed to the emotional atmosphere that culminated in the Philadelphia Riots of 1844. The faculty of the German Reformed Church Seminary in Mercersburg, Pennsylvania, was composed of Philip Schaff and John W. Nevin. Berg accused Schaff and Nevin of having “Romanizing Tendencies” in their writings, which resulted in heresy trials. He left the German Reformed Church to become a minister in the Dutch Reformed Church in Philadelphia. Later, he became the Professor of Polemic and Didactic Theology at the Dutch Reformed Seminary in New Brunswick, New Jersey.
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Masmoudi Mardessi, Sana, and Yosra Makni Fourati. "The impact of audit committee on real earnings management: Evidence from Netherlands." Corporate Governance and Sustainability Review 4, no. 1 (2020): 33–46. http://dx.doi.org/10.22495/cgsrv4i1p3.
Повний текст джерелаАнотація:
This paper aims to examine the effect of the characteristics of an audit committee on real earnings management in the Dutch context. Our sample is composed of 80 non-financial companies listed on the Amsterdam Stock Exchange during the period between 2010 and 2017. Four proxies are used to measure audit committee characteristics, namely, audit committee independence, financial expertise, gender diversity, and audit committee meetings. To test our hypotheses, we use a regression model to identify the influence of a set of audit committee characteristics on real earnings management after controlling for firm audit committee size, leverage, size, loss, growth and board size. Our analyses provide evidence that audit committee independence and gender diversity constrain real earnings management. Our findings also suggest that audit committee financial expertise reduces to some extent the likelihood of engaging in real earnings management. To the best of our knowledge, the Dutch context is not yet explored especially following the issue of the long-awaited new Dutch Corporate Governance Code in 2016 which has been updated for a long period in 2008. Therefore, corporate governance is a relevant topic in the Netherlands. This study contributes geographically to the Audit Committee and earnings management literature that examines another possible method, specifically, real earnings management.
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Wolkenfeld, Stefan. "Über die verschollenen geglaubte Schauspielmusik zu Shakespeare "Othello" von August Wilhelm Ambros." Die Musikforschung 60, no. 1 (September 22, 2021): 21–30. http://dx.doi.org/10.52412/mf.2007.h1.520.
Повний текст джерелаАнотація:
Der Musikwissenschaftler August Wilhelm Ambros (1816-1876) spielte als Feuilletonist und Komponist im Prager Musikleben der 1840er Jahre eine wichtige Rolle. Seine 1848 komponierte Schauspielmusik zu William Shakespeares "Othello" (die in Prag zahlreiche Aufführungen erlebte) wurde nie publiziert und galt als verschollen. Diese Ansicht muss revidiert werden. Das Autograph der Komposition befindet sich seit 1939 unbeachtet im Besitz der Österreichischen Nationalbibliothek. Die erste Sichtung ergab folgenden Befund: Ambros hat sich an dem für eine Schauspielmusik üblichen Modell orientiert. Neben Ouvertüre und Finale besteht die Komposition aus mehreren Zwischenaktmusiken, die durch die Handlung des Dramas miteinander verknüpft sind. Stilistisch orientiert sich die Komposition an den Werken Felix Mendelssohn Bartholdys und Robert Schumanns, die für den Prager Davidsbündler Ambros als wichtige Vorbilder fungierten. Durch die Entdeckung der Schauspielmusik zu "Othello" lässt sich diese immer wieder betonte Nähe nun an einem größeren Werk untersuchen.
The musicologist August Wilhelm Ambros (1816-1876) played an important role as feature writer and composer in the musical life of Prague during the 1840s. In 1848 he composed an incidental music for William Shakespeare's drama "Othello" which was performed in Prague for several times, but never was published. It has been considered to be lost, what has to be revised. The autograph of the composition is owned by the Austrian National Library since 1939, but has met with no response so far. The results of a first investigation are: the music to the drama "Othello" does not diverge from the common patterns of this genre. It consists an overture, a finale and some intermission music. Its style is affected, like most of Ambros' other compositions, by Robert Schumann and Felix Mendelssohn Bartholdy. The recovering of this composition now allows to research this influence on a larger opus.
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Barducci, Marco. "The Anglo-Dutch Context for the Writing and Reception of Hugo Grotius’s De Imperio Summarum Potestatum Circa Sacra, 1617-1659." Grotiana 34, no. 1 (2013): 138–61. http://dx.doi.org/10.1163/18760759-03400011.
Повний текст джерелаАнотація:
As an illustration of the complexity of Anglo-Dutch intellectual connections in the seventeenth century, this essay focuses on the transnational context for the writing and reception of Grotius’s De imperio summarum potestatum circa sacra. DI was composed by Grotius during the dispute between Remonstrants and Contra-Remonstrants, but it was addressed not solely to a Dutch audience, but also to an English one. DI was intended by Grotius and by his patron Oldenbarnevelt to win the favour of James I to the cause of the Remonstrants in the context of their struggle against the orthodox Calvinists, the Contra-Remonstrants. Grotius praised the control of James I over the state church, and expressed his admiration for the hierarchical organisation of Anglican episcopacy. In doing so, he expressly took the English civil and ecclesiastical government of James I as a blueprint for the solution of the Dutch religious troubles. This article argues that despite of Grotius’s attempt to gain the approval of James I’s entourage before sending DI to press, DI was criticized both by his English interlocutors and, consistently throughout the century, by English Anglican-Royalist readers. The first part of this article will sketch the Anglo-Dutch cultural and political context which formed the background of DI. Secondly, it will examine the English sources of this work and how Grotius bent them to his and Oldenbarnevelt’s internal and foreign policy. Finally, it will offer some brief considerations concerning the controversial reception of DI in mid-seventeenth century England with a special focus on the Anglican tradition.
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Kołek, Paweł. "Ruch Narodowo-Socjalistyczny NSB w Niderlandach i jego koncepcja polityki zagranicznej w latach 1931–1945." Studia nad Autorytaryzmem i Totalitaryzmem 40, no. 4 (February 18, 2019): 31–57. http://dx.doi.org/10.19195/2300-7249.40.4.2.
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THE NATIONAL SOCIALIST MOVEMENT NSB IN THE NETHERLANDS AND ITS CONCEPT OF FOREIGN POLICY, 1931–1945The National Socialist Movement in the Netherlands NSB, established in 1931, was the most important collaborating political party in that country during World War II. The movement developed its own concept of foreign policy, which differed from the policy of Nazi Germany. The party aimed at upholding Europe’s dominant position in the world. To achieve that, the European system should be reconstructed and Germany’s leading role within it needed to be acknowledged. Close cooperation of nation-states should form the basis of the continental order. The prospective Dutch national state — “Dietsland” — was to be composed not only of the Dutch people, but also of the Flemish and the Afrikaners. This united country was also supposed to secure its colonial possessions overseas. This concept of foreign policy was maintained during the whole period of the movement’s existence, even though some minor modifications did occur in the meantime.
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Merkens, Henk W., Henk C. Schambardt, Geertruda J. V. M. van Osch, and Wrister Hartman. "Ground reaction force patterns of Dutch Warmbloods at the canter." American Journal of Veterinary Research 54, no. 5 (May 1, 1993): 670–74. http://dx.doi.org/10.2460/ajvr.1993.54.05.670.
Повний текст джерелаАнотація:
Summary Ground reaction force (grf) patterns from 20 clinically sound Dutch Warmbloods were recorded at the right fore-leading canter, and a standard horse was composed. These grf data for the standard can be used for evaluation of jumping horses. The grf patterns were asymmetric for all 4 limbs. The leading right forelimb decelerated the body. The trailing left forelimb propelled the body and decelerated it slightly. The trailing left hind limb propelled, and the leading right hind limb contributed to deceleration and propulsion. Referred to the maximal vertical load of the leading right forelimb, the load of the trailing left forelimb was 25% more; the load of the right hind limb was slightly less, whereas the load of the left hind limb was about 80% of that value.
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Taslim, Noriah. "Narratives of War: Acehnese Perception of the Prang Kaphe in 19th/20th Century Colonial Era." Malay Literature 26, no. 2 (December 8, 2013): 139–54. http://dx.doi.org/10.37052/ml.26(2)no2.
Повний текст джерелаАнотація:
The so-called narratives of war refer to hikayat literature composed especially during the Dutch occupation of Aceh in 19th century and early 20th century; they relate mostly battles and exploits of the Acehnese heroes and fighters against the Dutch incursion, beginning in 1873. Since war fought against the Dutch was considered as a jihad war, these hikayats then came to be known as the Hikayat Prang Sabi (or the story of the war in the path of God) or Hikayat Prang Kaphe (or war against the infidels). Besides their cultural and historical significance, these hikayats are also reliable documents to understand the Acehnese perception of the jihad war or the prang kaphe . This essay then is an attempt to study these hikayats as sources in reading the Acehnese perception of jihad . To facilitate analysis, three war hikayats viz. the Hikayat Prang Sabi , Hikayat Prang Cut Ali and Hikayat Prang Rundeng will be chosen as focus of critical study. From the analysis the essay comes to an interesting conclusion: that contrary to popular belief, the jihad war did not have a similar grip on every Acehnese; apparently there were varied responds and emotions towards the war which influence Acehnese perception towards the whole ideology of jihad. Keywords: narrative of war, Hikayat Prang Kaphe , Acehness perception, jihad
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Gillet, Sophie, Cristina Barbu, and Martine Poncelet. "Early bilingual immersion school program and cognitive development in French-speaking children: Effect of the second language learned (English vs. Dutch) and exposition duration (2 vs. 5 years)." PLOS ONE 16, no. 10 (October 14, 2021): e0258458. http://dx.doi.org/10.1371/journal.pone.0258458.
Повний текст джерелаАнотація:
The results of studies targeting cognitive and academic advantages in children frequenting early bilingual immersion school programs (CLIL) have been contradictory. While the impact of the amount of CLIL experience has already been studied, the role of the second language learned has been little studied to account for differences among study findings. The link between executive skills (EF) and scholar abilities (e.g., mathematics) in the CLIL context has also been little investigated. The purpose of the present study was to determine if the impact of CLIL on EF and academic performances varies depending on the immersion language and the duration of CLIL experience. The sample included a total of 230 French-speaking children attending second (141) and fifth (89) grade classes. Within each grade, there were three matched language groups composed of children respectively immersed in English, immersed in Dutch, and non-immersed controls. The children were administered tasks assessing executive functions [alerting, cognitive flexibility, and working memory], as well as arithmetic abilities. In second grade, we detected no difference in EF between the language groups. On the other hand, in fifth grade, the two immersed groups outperformed the non-immersed group on the cognitive flexibility task but did not differ between them. Moreover, only the Dutch immersed group outperformed the control group on the working memory task. Arithmetic performances also differed depending on the language learned; in second grade, Dutch learners performed better than the monolingual group. In fifth grade, Dutch learners outperformed the two other groups. These results suggest that the impact of CLIL on executive skills and arithmetic performances might be modulated by the amount of CLIL experience and the second language learned in immersion.
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Gillet, Sophie, Cristina Barbu, and Martine Poncelet. "Early bilingual immersion school program and cognitive development in French-speaking children: Effect of the second language learned (English vs. Dutch) and exposition duration (2 vs. 5 years)." PLOS ONE 16, no. 10 (October 14, 2021): e0258458. http://dx.doi.org/10.1371/journal.pone.0258458.
Повний текст джерелаАнотація:
The results of studies targeting cognitive and academic advantages in children frequenting early bilingual immersion school programs (CLIL) have been contradictory. While the impact of the amount of CLIL experience has already been studied, the role of the second language learned has been little studied to account for differences among study findings. The link between executive skills (EF) and scholar abilities (e.g., mathematics) in the CLIL context has also been little investigated. The purpose of the present study was to determine if the impact of CLIL on EF and academic performances varies depending on the immersion language and the duration of CLIL experience. The sample included a total of 230 French-speaking children attending second (141) and fifth (89) grade classes. Within each grade, there were three matched language groups composed of children respectively immersed in English, immersed in Dutch, and non-immersed controls. The children were administered tasks assessing executive functions [alerting, cognitive flexibility, and working memory], as well as arithmetic abilities. In second grade, we detected no difference in EF between the language groups. On the other hand, in fifth grade, the two immersed groups outperformed the non-immersed group on the cognitive flexibility task but did not differ between them. Moreover, only the Dutch immersed group outperformed the control group on the working memory task. Arithmetic performances also differed depending on the language learned; in second grade, Dutch learners performed better than the monolingual group. In fifth grade, Dutch learners outperformed the two other groups. These results suggest that the impact of CLIL on executive skills and arithmetic performances might be modulated by the amount of CLIL experience and the second language learned in immersion.
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Boje, Ammelie Svea, Katja Klausz, Lukas Pekar, Christian Kellner, Stefan Zielonka, and Matthias Peipp. "Rekrutierung von Natürlichen Killerzellen durch optimierte Immunliganden." BIOspektrum 28, no. 6 (October 2022): 601–4. http://dx.doi.org/10.1007/s12268-022-1836-0.
Повний текст джерелаАнотація:
AbstractNK cells emerged as promising immune cells for cancer therapy. Beyond antibody-based approaches triggering NK cell activity via the FcγRIIIa, also multifunctional approaches are being exploited to redirect NK cell cytotoxicity against malignant cells. In this respect, immunoligands which are fusion proteins composed of an antibody-derived targeting arm and a natural ligand for an activating receptor on NK cells show great promise in inducing effector cell activation against tumor cells.
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Dams, Britt. "Production, Communication, and Comprehension of Knowledge of the New World: Ethnographic Descriptions in Caspar Barlaeus’ Rerum per Octennium." Journal of Early American History 2, no. 3 (2012): 223–46. http://dx.doi.org/10.1163/18770703-00203002.
Повний текст джерелаАнотація:
This article deals with the textual legacy of Dutch Brazil, in particular the ethnographic descriptions in one of the most popular works about the colony: Barlaeus’ Rerum per Octennium in Brasilia et alibi nuper gestarum. Barlaeus never set foot in Brazil, but was an important Dutch intellectual authority in the seventeenth century. To compose the Rerum per Octennium, he relied on a wide variety of available sources, not only firsthand observations, but also classical, biblical and other contemporary sources. From these, he made a careful selection to produce his descriptions. Recent research shows that the Dutch participated in networks of knowledge and imagination as well as in a more familiar early modern trading network. This article reveals that Barlaeus’ descriptions not only circulated as knowledge, but also produced new knowledge. The Rerum soon became one of the standard works about the colony due to the importance of its author and its composition. Furthermore, the article discusses the rhetorical techniques used in some selected descriptions in order to shed light upon the strategies Barlaeus used in his discourse on the strange reality of the New World. For example, his ethnographic descriptions employed parallel customs or events from the classical Antiquity or the Bible. In these comparisons he displays both his intellectual capacities and shows his desire to comprehend this exotic reality.
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Stuyckens, Geert. "Influence of relational and referential coherence on the distribution of coordinated verb-second clauses in German and Dutch." Information Structure, Discourse Structure and Grammatical Structure 26 (November 2, 2012): 35–64. http://dx.doi.org/10.1075/bjl.26.02stu.
Повний текст джерелаАнотація:
This paper investigates, from the point of view of role and reference grammar, the formal and the functional side of SLF (‘subject gap in finite/frontal clauses’) coordination on the basis of a bidirectional parallel German-Dutch corpus. The main research question is how relational and referential coherence are mapped to the syntactic structure of SLF and coordination constructions alternating with it. A typology of the alternative constructions is proposed. Since both relational and referential coherence at the discourse level, as well as the nexus types at the syntax level, are composed of more or less prominent states of affairs, the paper defines a relative concept of prominence on both these grammar levels and examines whether and, if so, how this concept influences the mapping between discursive and syntactic structure. In particular, it looks at absolute and relative frequencies so as to find potential trends in this mapping. There is a tendency that the more prominent the discursive states of affairs are, the more syntactically prominent the chosen coordination alternative is. The states of affairs linked by the interclausal coherence relation seem to affect the distribution of the coordination alternatives both in German and in Dutch. The state of affairs expressed by the information-structural status of the first subject seems to affect at least the distribution of two types. To a certain extent, both German and Dutch strive to iconically map discursive to syntactic prominence.
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Andrade, Tonio. "Political Spectacle and Colonial Rule: The Landdag on Dutch Taiwan, 1629–1648." Itinerario 21, no. 3 (November 1997): 57–93. http://dx.doi.org/10.1017/s0165115300015230.
Повний текст джерелаАнотація:
In 1637 Hans Putmans, having just retired as governor of the Dutch East India Company's Taiwan comptoir, set out from the East Indies to return to Holland. During the long voyage home he composed a report about his last year as governor, describing how he had expanded the Company's control over large parts of the island's hinterlands. He himself had led Dutch troops against the town of Mattau, one of the most powerful aboriginal towns of Taiwan, and against the towns of Soulang and Taccareangh. The results of his expeditions were, he wrote, spectacular: ‘Through the […] guidance and will of God, [the conquest] was easily accomplished, and, since they had never before seen such a manner of war, our authority and respect among these blind heathen was extended and raised to such a point that not only the towns of Soulangh, Backeluan, […] Taccareijangh, […] and Mattau presented their lands to the Dutch state, but also Pangsoia, Tapouliang, and many other towns in the area’. In all some twenty aboriginal towns sought peace with the Company after Putmans' expeditions, a huge increase in the Company's holdings on Taiwan. When, in 1929, Putmans had taken his oath of office, his job had been to run a small trading factory on the island's coast, a base from which the Company could profit from the rich China trade. The subjugation of these twenty towns abruptly changed his job, and changed the Company's mission on Taiwan: How were these towns to be administered?
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Janse, Maartje, and Anne-Lot Hoek. "Dissenting Voices: Challenging the Colonial System." Bridging Humanities 2, no. 1 (April 1, 2019): 0. http://dx.doi.org/10.1163/25425099-00102001.
Повний текст джерелаАнотація:
This publication emerges from a process of co-creation in which historian Maartje Janse and research journalist Anne-Lot Hoek challenge the dominant national narrative about the colonial experience in the Dutch East Indies (present-day Indonesia). In combining journalistic and academic writing with musical performance by musician Ernst Jansz they amplify the critical voices that have spoken out against colonial injustice and that have long been ignored in public and academic debate. Even though it is often suggested that the mindset of people in the past prevented them from seeing what was wrong with things we now find highly problematic, they argue that there was indeed a tradition of colonial criticism in the Netherlands, one that included the voices of many ‘forgotten critics’ whose lives and criticism are the subject of this publication. The voices however were for a long time overlooked by Dutch historians. The publication is organized around the biographies of several critics (whose lives Janse and Hoek have published on before), the historical debate afterwards and includes reflective videos and texts on the process of co-creation.Maartje Janse started the process by tracing the life history of an outspoken nineteenth-century critic of the colonial system in the Dutch East Indies, Willem Bosch. The authors argue that it was not self-evident how criticism of colonial injustices should be voiced and that Bosch experimented with different methods, including organizing one of the first Dutch pressure groups.The story of Willem Bosch inspired Ernst Jansz, a Dutch musician with Indo roots, to compose a song (‘De ballade van Sarina en Kromo’). It is an interpretation of an old Malaysian ‘krontjong’ song, that Jansz transformed into a protest song that reminds its listeners of protest songs of the 1960s and 1970s. Jansz, in his lyrics, adds an indigenous perspective to this project. He performed the song during the Voice4Thought festival in 2016, a gathering that aimed to reflect upon migration and mobility in current times. Filmmaker Sjoerd Sijsma made a video ‘pamplet’ in which the performance of Ernst Jansz, an interview with Maartje Janse, and historical images from the colonial period have been combined.Anne-Lot Hoek connected Willem Bosch to a series of twentieth-century anti-colonial critics such as Dutch Indies civil servant Siebe Lijftogt, Indonesian nationalists Sutan Sjahrir, Rachmad Koesoemobroto, Dutch writer Rudy Kousbroek and Indonesian activist Jeffry Pondaag. She argues that dissenting voices have been underrepresented in the post-war debates on colonialism and its legacy for decades, and that one of the main reasons is that the notion of the objective historian was not effectively problematized for a long time.http://dissentingvoices.bridginghumanities.com/
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Gärtner, Stefan, Jacques Körver, and Martin Walton. "Von Fall zu Fall." International Journal of Practical Theology 23, no. 1 (February 28, 2019): 98–114. http://dx.doi.org/10.1515/ijpt-2017-0040.
Повний текст джерелаАнотація:
Abstract In 2016, the Dutch Case Studies Project in Chaplaincy Care (CSP) was launched, an interdenominational and interuniversity empirical research project on case studies from different fields of chaplaincy. The article presents the methodological approach and the procedure of description and evaluation. The CSP works with research communities composed of chaplains working in a similar context under supervision by a research scholar. The article also analyzes the social and institutional framework of pastoral and spiritual care in a secular setting and its influence on the orientation of the CSP. In conclusion, a comparison to the situation in German speaking countries is drawn.
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Bond, Katherine. "Mapping Culture in the Habsburg Empire: Fashioning a Costume Book in the Court of Charles V." Renaissance Quarterly 71, no. 2 (2018): 530–79. http://dx.doi.org/10.1086/698140.
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AbstractThis article introduces two manuscript editions of a richly illustrated costume album dated ca. 1548–49. Commissioned by Christoph von Sternsee (d. 1560), the captain of Charles V’s German guard, and composed using visual material sourced from Dutch master Jan Cornelisz Vermeyen (ca. 1500–59), the costume album records the diversity of subjects, customs, and costumes that the guard witnessed across imperial Habsburg Europe. Shaped by Sternsee’s personal experiences of travel, war, and empire, his costume album paints a vivid picture of imperial propaganda and personal ambition, demonstrating the significant role that Habsburg networks and relationships had upon the period’s visual culture.
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Teensma, B. N. "Take Florida: Or the Unattended Project of a Dutch Sephardi Phantast." Itinerario 21, no. 3 (November 1997): 142–50. http://dx.doi.org/10.1017/s0165115300015266.
Повний текст джерелаАнотація:
In the languages of the Iberian Peninsula, there is a word unknown to other Romance languages: arbitrista. This term denotes a person who invents often impractical plans and projects to improve the general financial, political or social situation in his country, presenting them unsolicitedly to his government. The species was particularly prolific in the seventeenth century, when the term arbitrista became more or less synonymous to day-dreamer. In this field Spanish historiography even boasts of a specific bibliography of over seven hundred pages, composed by Evaristo Correa Calderón, entitled: Registro de arbitristas, economistas y reformadores españoles, 1500–1936: Catälogo de impresos y manuscritos (Madrid 1981). There even existed the sub-species of colonial arbitristas, with well known authors like Francisco Rodrigues Silveira (Reformaçao da Milícia e Governo do Estado da Índia Oriental), and Jacques de Coutre (Como Remediar o Estado da Índia?).