To see the other types of publications on this topic, follow the link: Composers 19th century.
Journal articles on the topic 'Composers 19th century'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Composers 19th century.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Kruglova, M. G. "Romantic Style in American Music and Its Place in Courses of Disciplines of Universities of Culture and Art." Uchenye Zapiski RGSU 19, no. 4 (December 29, 2020): 220–27. http://dx.doi.org/10.17922/2071-5323-2020-19-4-220-227.
Full textAbstract:
in the development of American music of the 19th century, researchers find stylistic trends in romanticism. During this period, the characteristic features of national musical thinking and the features of the composer’s work of US composers manifest themselves. A similar thing was observed in European music of the same century: the Polish national composer school was formed in Chopin’s works, Liszt embodied the features of Hungarian music, Grieg – Norwegian, etc. Since the beginning of the 19th century, American composers have been passionate about European romantic trends, but at the same time they have gone and developed along their special path. The influence of Schubert, Schumann, Mendelssohn is felt in the works of American composers of the mid-19th century, in the literature of the USA romanticism manifested itself much earlier, and its development was peculiar and special due to the ethnic and historical development of the country. However, all these most important historical pages still remain almost without the attention of scholars, researchers, and are also absent from the courses of music history not only colleges, but also universities of art culture. In this work, an attempt is made to outline ways to master the artistic and creative experience of composers of the USA of the 19th century in the process of studying professional disciplines by students of universities of culture and art and at the same time enriching the scientific experience of musicology with new discoveries in the field of American romantic music.
2
Dziadek, Magdalena. "Polish Female Composers in the Nineteenth Century." Musicology Today 16, no. 1 (December 31, 2019): 31–42. http://dx.doi.org/10.2478/muso-2019-0002.
Full textAbstract:
Abstract The article discusses the activities of selected women-composers who worked in Poland in the 19th century. They have been presented in a broad social-political context. Specific historical conditions have been taken into account, which have contributed to the perception of women’s creativity as a mission. The model of women’s activity discussed in the categories of social and political mission influenced the shape and forms of Polish women’s creativity in the first half of the century. In the second half of the century, women’s access to education increased and finally a milieu of professional women-composers emerged. Among them, we should distinguish the group of women born into musical families, due to the fact that some among them took up the profession of composer.
3
Shushkova, O. M. "DANTE AND MUSIC OF THE 19TH CENTURY COMPOSERS: CERTAIN PARALLELS." Bulletin of Kemerovo State University of Culture and Arts, no. 46 (February 15, 2019): 24–32. http://dx.doi.org/10.31773/2078-1768-2019-46-24-32.
Full text
4
Vergadou-Mavroudaki, Christina. "Greek composers of the Ionian islands in Italian musical life during the 19th century." Muzikologija, no. 3 (2003): 57–63. http://dx.doi.org/10.2298/muz0303057v.
Full textAbstract:
During the 19th century most of the Ionian islands played a leading role in the Greek musical life. The vicinity of the islands with Italy combined with the Venetian domination were two facts that helped the creation of strong links between the Ionian islands' and the Italian cultures. The phenomenon of the visits of Greek composers to Italy during the 19th century in order to study at the principal conservatories of the country is one of the most interesting aspects of the history of Ionian music. The relations of individual composers with Italian composers, professors and music institutions are considered together with relevant aspects of Greek and Italian musical ties. The traveling of Greek composers to Italy for educative purposes is regarded not only as a historic phenomenon but also as a major step in their career. References are made regarding their contacts with distinguished Italian composers and intellectuals. Furthermore, the success of Greek composers in Italy is an undoubtful fact. A considerable part of Greek composers' musical works was performed and published in Italy. Facts indicating the success and the effect of Greek composers' work on the Italian musical life are given with references to primary music and literary sources.
5
Haydarov, Azizbek. "A LOOK AT RUSSIAN MUSICAL CULTURE IN THE SECOND HALF OF THE XIX CENTURY." CURRENT RESEARCH JOURNAL OF PEDAGOGICS 02, no. 11 (November 1, 2021): 24–31. http://dx.doi.org/10.37547/pedagogics-crjp-02-11-08.
Full textAbstract:
This article tells about the activities of Russian composers in the second half of the XIX century, the creative life of Russian music, the work of composers of these years.In the first half of the 19th century, the role of the Russian classical school proved to be important in countries other than Russia.In the second half of the nineteenth century, Russian music became one of the most advanced forms of musical art that determined the further development of European musical art.
6
Glushkova, Svetlana. "PIANO WORKS OF THE POLTAVA COMPOSERS IN THE EDUCATIONAL REPERTOIRE OF THE MUSICAL INSTRUMENT." Aesthetics and Ethics of Pedagogical Action, no. 18 (September 9, 2018): 123–33. http://dx.doi.org/10.33989/2226-4051.2018.18.176330.
Full textAbstract:
The question of the formation of personality and professionalism of the future music teacher with national repertoire is analyzed. Peculiarities of development of musical art of different periods of the 19th-20th centuries are characterized. National educational value of piano works of Ukrainian national school of composers XІX – XX century; their didactic and cognitive potential reasonably allows you to include them, along with the works of Western European and Russian composers, into learning repertoire of students of music of higher educational institutions. Significant creative achievements, active educational activities of well-known and little-known figures of Ukrainian national composer school of Poltava region from the beginning of the 19th and the middle of the 20th century – A. Yedlychki, M. Lysenko, P. Shchurovsky, M. Kolachevsky, L. Lisovsky, S. Shevchenko is highlighted. Inclusion of their piano works in the modern educational repertoire of students of higher pedagogical educational institutions in the mastering of «Musical Instrument» course is considered. Their piano pieces are played in concerts, exams, performances. Study of the musical repertoire of the Ukrainian composers of Poltava region, understanding the characteristics of its various genres, creates ample opportunity for spiritual formation of the future music teachers.
7
Бахтина, Зарета Вахтангиевна. "Adyghe (Circassian) theme in the work of Western European composers of the 19th century." Вестник Адыгейского государственного университета, серия «Филология и искусствоведение», no. 2(277) (October 6, 2021): 171–81. http://dx.doi.org/10.53598/2410-3489-2021-2-277-171-181.
Full textAbstract:
Целью является рассмотрение в контексте эстетики романтизма тип отражения образов Кавказа композиторами XIX века в Западной Европе без апелляции к «чужому слову» и использования этнических языковых элементов. Вводятся в научный обиход две фортепианные пьесы - «Черкесский марш» австрийского композитора Иоганна Штрауса (сына), «Черкесская песня» немецкого композитора Жана Вогта (Фогта) и пьеса Альфреда Лебо для фисгармонии (органа) «Черкесский марш». Использование контекстного подхода и музыковедческого инструментария анализа, позволяет выявить существенные черты музыкальной поэтики сочинений и прийти к выводу, что инонациональная образность передается западноевропейскими композиторами посредством условного обобщенно-поэтического воплощения темы Кавказа. Теоретическая значимость состоит в изучении творчества европейских композиторов, в том числе и «второго ряда», но весьма значимых для выявления отношения к адыгской (черкесской) теме в культуре Европы XIX в. и понимания специфики отражения этой темы в творчестве композиторов иных музыкальных культур. Практическая значимость - в возможности дополнения содержания дисциплин национально-регионального компонента образовательных программ вузов культуры и искусства. The goal is to consider, in the context of the romanticism aesthetics, the type of reflection of the images of the Caucasus by composers of the 19th century in Western Europe without an appeal to the "alien word" and the use of ethnic language elements. Two piano pieces "Circassian March" by the Austrian composer Johann Strauss (son), "Circassian Song" by the German composer Jean Vogt and the play by Alfred Lebeau for harmonium (organ) "Circassian March" are introduced into scientific use. The use of a context approach and musicological tools of analysis allows us to identify significant features of musical poetics of compositions. The author concludes that Western European composers convey foreign imagery through a conditional generalized poetic embodiment of the Caucasus theme. Theoretical significance lies in the study of the work of European composers, including the "second row", but very significant in identifying the attitude to the Adyghe (Circassian) topic in the culture of Europe of the 19th century and understanding the specifics of reflecting this topic in the work of composers of other musical cultures. Practical significance - in the possibility of supplementing the content of disciplines of the national-regional component of educational programs of universities of culture and art.
8
Wu, Di. "A Study of Clara Schumann's Piano Music Performance, Composition and Teaching under the Feminist Movement." Journal of Education, Humanities and Social Sciences 5 (November 23, 2022): 22–27. http://dx.doi.org/10.54097/ehss.v5i.2878.
Full textAbstract:
The music of female composers has long been little studied, and the importance attached to female composers is far less than that of male composers. However, there are many excellent female composers in the history of music development, such as Clara Schumann. The 19th century, when Clara lived in the West, was a time of great talent, and poetry, literature, and music all developed tremendously, and some of the great works that have been passed down to the next generation were basically written in that era, and their authors are also remembered. This is another reflection of how difficult it was for a woman to occupy a place under male domination. In contrast, female musicians were somewhat underappreciated, due to the gender inequalities that society had given them, and their talents were buried. Clara's achievements as a multi-tasker, performer, composer, and educator have led the music world to reexamine the role of women in music history.
9
TOTAN, Virginia. "Musical styles approached by Serbian composers in the first half of the 20th century." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 14(63), Special Issue (January 27, 2022): 183–92. http://dx.doi.org/10.31926/but.pa.2021.14.63.3.18.
Full textAbstract:
The musical creation of Serbian composers is not well known in the European area, primarily due to censorship in the first half of the 20th century when music influenced by European orientations was considered capitalist and was banned on the one hand, and on the other hand due to the fact that most of the works are written in Cyrillic and thus did not reach the European research circuit. It should be mentioned that the course of development of music history in Europe, with its periodization into stages of Baroque, Classicism, Romanticism, Impressionism, Expressionism, Neoclassicism, Avant-garde, and Postmodernism, was not applied to music in Serbia. However, all these styles will be found in the musical creations of Serbian composers in the period from the end of the 19th century and during the 20th century.
10
Adetu, Edith Georgiana, and Petruța Maria Coroiu. "The Evolution of Italian Melodrama: from Donizetti to Verdi." Studia Universitatis Babeş-Bolyai Musica 66, no. 2 (December 30, 2021): 79–87. http://dx.doi.org/10.24193/subbmusica.2021.2.06.
Full textAbstract:
"This study presents the evolution of the Italian melodrama of the nineteenth century, having as a major composer exponents such as Gaetano Donizetti and Giuseppe Verdi. The rich culture of the Italian Romantic space, as well as the socio-political events of the 19th century, influenced the mentality and style of opera composers. Thus, titles such as “La donna del lago” (1819), “Wilhelm Tell” (1829) – G. Rossini, “I Capuleti e i Montecchi” (1830) – V. Bellini, foreshadow the new directions of Italian romantic opera. The maturation process of Italian romantic opera is crowned by Gaetano Donizetti and Giuseppe Verdi, who, through melodrama, achieve important stylistic synthesis. Keywords: Italian, melodrama, evolution, Donizetti, Verdi"
11
Rzepecki, Karol. "The Reception of Józef Wieniawski’s Works in the Light of Nineteenth-Century Writings – A Survey of Sources." Kwartalnik Młodych Muzykologów UJ, no. 47 (4) (2020): 103–37. http://dx.doi.org/10.4467/23537094kmmuj.20.044.13917.
Full textAbstract:
The output of Polish composers active at the turn of the twentieth century has largely been forgotten and is still waiting to be properly researched nowadays. Józef Wieniawski and his oeuvre, which once used to attract the attention of both Polish and foreign critics, is a case in point. This article seeks to provide a synthetic study of this subject on the basis of 19th-century literature.
12
Gurgul, Wojciech. "Ukrainian Elements in Polish Guitar Music of the 19th Century." Folk art and ethnology, no. 3 (July 30, 2022): 22–36. http://dx.doi.org/10.15407/nte2022.03.022.
Full textAbstract:
The elements of Ukrainian folk music have appeared in Polish guitar music at the early 19th century, both in music The elements of Ukrainian folk music have appeared in Polish guitar music at the early 19th century, both in music for English guitar tuned in G major (sources for this instrument appeared chronologically first) and for 6-string Spanish guitar. Composers have used stylized dances, mainly kozachok, for composing simple technical arrangements intended for domestic parlour music. Apart from four anonymous manuscripts for English guitar there are two anonymous kozachoks in manuscripts from the National Library of Poland in Warsaw and the Princes Czartoryski Library in Krakow and one kozachok in manuscripts from the National Library of Poland in Warsaw and the Princes Czartoryski Library in Krakow and one kozachok by Eduard Salle neuve. Also another form – duma / dumka – is popular among the19th century Polish guitarists; it has appeared both in the solo and in the original version, intended for vocal with accompaniment. The authors of dumki are, among others Jan Rywacki, and anonymous dumas are preserved in the Jasna Góra Monastery (Library of the Pauline Fathers in Częstochowa), the Jagiellonian Library in Krakow and in mentioned Princes Czartoryski Library. Solo improvised dumkas have been performed by the greatest Polish 19th century virtuosos – Stanisław Szczepanowski and Marek Konrad Sokołowski, as evidenced by extensive press coverage. Three composers – Jan Nepomucen Bobrowicz, Felix Horetzky and the less known Cyprian Leonowicz – also used the Ukrainian folk melodies, mainly as a basis for virtuoso sets of variations. Leonowicz’s piece, which is a kind of written improvisation, is based on the famous song Ikhav Kozak za Dunaj. The melody used by Bobrowicz is more difficult to identify, although the title of the piece indicates the Ukrainian element – Air d’Ukraine varié. Horecki arranged two melodies, including the song Ikhav Kozak za Dunaj, in technically simple arrangements. The Ukrainian thread also appears in the biographies of some 19th century Polish guitarists, including Sokołowski,Numa Łepkowski and Karol de Wyhowski. This article shows that Ukrainian folklore was the strongest foreign element in Polish guitar music of the 19th century. Areas requiring further research are also indicated – related to little-known sources(such as guitar manuscripts from Jasna Góra, the Jagiellonian Library or from the collection of Oskar Kolberg), as well as those concerning Ukrainian guitar music from the 19th century, practically unknown outside Ukraine.
13
Demchenko, Alexander I. "Post Scriptum. A Few More Composers’ Names." ICONI, no. 3 (2021): 84–102. http://dx.doi.org/10.33779/2658-4824.2021.3.084-102.
Full textAbstract:
In the previous lectures, which made up the cycle “Classics of Russian Music of the 20th Century”, the works of Sergei Rachmaninov, Igor Stravinsky, Sergei Prokofiev, Nikolai Myaskovsky, Dmitry Shostakovich, Aram Khachaturian, Georgy Sviridov, Rodion Shchedrin and Alfred Schnittke were examined. Let us supplement this panorama with two final lectures: the first is intended to extend the range of composers’ names, the second will be devoted to an overview of 20th century music with an outlet into the universal space. As it is well-known, since the time of Peter the Great, who established St. Petersburg, two capitals coexisted in Russia, each of which possessed its own face and style, among other things, in the creation of music. By the end of the 19th century, two compositional schools had developed: the St. Petersburg school, the core of which was the “Mighty Handful”, and the Moscow school, headed by Piotr Tchaikovsky. During the 20th century, these schools continued their fruitful interaction. Among the names presented in the main sections of my lectures, Stravinsky, Prokofiev, Myaskovsky, Shostakovich, Sviridov began their activities in St. Petersburg- Petrograd-Leningrad, and later they became Muscovites (except for Stravinsky, who lived abroad from the early 1910s). In the second half of the 20th century, the leaders of the musical process in Russia were the Moscow composers Rodion Shchedrin and Alfred Schnittke, along with whom many other names can be mentioned, including Edison Denisov, Sofia Gubaidulina and Vladimir Martynov. Representatives of the Leningrad school continued to make a significant contribution to the treasury of Russian music. The following short overviews of the works of Sergei Slonimsky and Valery Gavrilin will testify to this. In addition to the two capitals, composers from a number of other cities in Russia, primarily, those with conservatories, have worked tirelessly in the field of the art of music, which has significantly expanded the scale of the panorama of the musical art in our country — the creative heritage of Elena Gokhman is cited as a characteristic example.
14
Gevorkian, Armen. "Valery Bryusov and the musical world of Russia in the late 19th — early 20th centuries (Introduction)." Literary Fact, no. 15 (2020): 213–36. http://dx.doi.org/10.22455/2541-8297-2020-15-213-236.
Full textAbstract:
While there are many studies on biography, literary work, and the epistolary heritage of V.Ya. Bryusov, his connections with the musical world of Russia in the late 19th — early 20th centuries remain on the periphery of research interest. Significantly less attention was paid to the historical and literary study of the poet’s personal and creative contacts with composers, music critics, and musicologists. In the late 19th — early 20th centuries V.Ya. Bryusov’s poetry as a source of musical compositions attracted composers of various creative and aesthetic principles, from realistic to modernist, each of whom found in Bryusov's works related images, themes and motifs. Today, the names of more than thirty composers, who addressed both original works and translations of the head of Russian Symbolism, are known. Among them are composers who by the beginning of the 20th century had become original figures of Russian musical culture — A.T. Grechaninov, S.V. Rachmaninov, N.K. Metner, R.M. Glier, S.I. Vasilenko — and less known today V.I. Rebikov, A. Kankarovich, A.G. Shaposhnikov et al. One of the first works devoted to this topic was an article by the poet’s sister, Nadezhda Bryusova, “Music in Valery Bryusov’s works” (Iskusstvo, 1929, no. 3 – 4), outlining two main areas of research: historical and literary and theoretical, philosophical and historical. O. Tompakova, V. Dronov, E. Etkind et al. also researched Bryusov’s connections with the musical culture of Russia at the beginning of the 20th century. Interest in Bryusov’s work did not fade even after the poet’s death, many Soviet composers turned to his poetry in the new socio-political environment. The Appendix contains materials for the annotated bibliography of music editions related to Bryusov
15
Sakai, Naotaka. "Keyboard Span in Old Musical Instruments: Concerning Hand Span and Overuse Problems in Pianists." Medical Problems of Performing Artists 23, no. 4 (December 1, 2008): 169–71. http://dx.doi.org/10.21091/mppa.2008.4034.
Full textAbstract:
The keyboard spans (i.e., octave spans) of old keyboard instruments was compared with those of modern pianos to explore whether the relationship between keyboard span and hand span is a contributory factor in overuse problems among pianists. The distance on the keyboard between the left side of the C4 key and the right side of the C5 key was measured in 120 old keyboard instruments, including 26 harpsichords, 8 clavichords, 7 spinets, 4 virginals, 75 pianofortes, and 20 square pianos, manufactured from 1559 through 1929. The oldest harpsichords and pianoforte showed a keyboard span equal to that of the modern piano. In late 18th and early 19th centuries, the span diminished by 3 to 6 mm on average. In the later 19th century, the keyboard span returned to the 188-mm modern size. Unfortunately, almost all famous piano pieces composed in that 100-year period use a small keyboard, and this fact is compatible with the paradoxical situation that many modern pianists struggle with difficult piano techniques on a modern keyboard, which is broader than the old type that the 18th and 19th-century composers used.
16
Rusu-Persic, Dalia. "Critical reception of late 19th century Iași-based music. Alexandru Flechtenmacher." Artes. Journal of Musicology 18, no. 1 (March 1, 2018): 190–206. http://dx.doi.org/10.2478/ajm-2018-0012.
Full textAbstract:
Abstract In late 19th-century periodicals, music criticism captured only a few details on the composition techniques, the structural organization, the rhythmic-melodic or vocal and stage interpretation of various performances. The press shed light on these pieces only at an informative level, mentioning titles, composers, and interpreters and even omitting some details due to, on the one hand, the authorities’ indifference to the musical phenomenon and, on the other hand, the editors’ sheer ignorance of particular stylistic or musical language features. However, the attempts made by the personalities active in the cultural and artistic life were real and unrelenting, their results being guided by the desire to promote music with specific national traits. This study provides an analytical perspective on the current reception of that social-artistic context. Taking into account that new sources have favored a more detailed and profound investigation of the 19th-century critical phenomenon, our analysis supplements the information presented in the music history studies already published in Romania. Consequently, the first section of this paper approaches the extremely dynamic phenomenon represented by the creation of new journals / newspapers in the 19th century. It is our belief that starting from general journalism we can acquire a better understanding of the development of musical criticism. This research aimed to discover new dimensions of Iași-based music, placing special emphasis on the critical reception of the composer Alexandru Flechtenmacher. We have followed its reflection in the Romanian press, starting from the first accounts in this respect, and ending with the subsequent assessments formulated in 20th-century musicology. Although the texts that tackle musical issues are quite few and social aspects prevail in the commentators’ list of interests, by combining the information provided by general literary/historical/social sources with the details included in specialized articles we can create a new perspective on late 19th-century Iași-based compositions.
17
Kämper, Dietrich. "Antisemitismus im Berliner Musikleben des Kaiserreichs." Die Musikforschung 73, no. 4 (September 22, 2021): 305–23. http://dx.doi.org/10.52412/mf.2020.h4.2.
Full textAbstract:
Max Bruch was one of the most successful German composers of the 19th century. It was only towards the end of the century that his music increasingly lost of its appeal with audiences who turned toward more modern composers (Strauss, Mahler, Reger). Disappointed at the growing number of compositional failures, Bruch began to sympathize with anti-Semitic thought which had been spreading in Berlin since the 1870s. It seems particularly paradox that, in a letter written in 1902 to his publisher Simrock, Bruch attacked three Berlin musicians with brutal anti-Semitic invectives, who had been his best and most loyal friends for decades, and to whom he owed decisive contributions to his compositional career: Joseph Joachim, Friedrich Gernsheim and Siegfried Ochs. Although in this partivular case the anti-Jewish statements of the composer were triggered by dashed hopes for performances and publications, and although his bitter outburst was deeply rooted in his particular personality structure, Max Bruch can be regarded as the exemplary case of the "bourgeois" anti-Semitism of the imperial era.
18
Rzepecki, Karol. "Recepcja twórczości Józefa Wieniawskiego w świetle XIX-wiecznego piśmiennictwa – przegląd źródeł." Kwartalnik Młodych Muzykologów UJ, no. 47 (4) (2020): 105–39. http://dx.doi.org/10.4467/23537094kmmuj.20.019.13205.
Full textAbstract:
Reception of Joseph Wieniawski’s work in the light of nineteenthcentury literature – a review of sources The work of Polish composers active at the turn of the 20th century has largely been forgotten, awaiting to be researched nowadays. Józef Wieniawski and his output, which used to attract the attention of Polish and foreign critics, is the case in point. This article seeks to provide a synthetic study of this issue on the basis of 19th century literature.
19
O'Loughlin, Niall. "What is English music? The Twentieth Century Experience." Musicological Annual 43, no. 1 (December 1, 2007): 147–66. http://dx.doi.org/10.4312/mz.43.1.147-166.
Full textAbstract:
Many countries in the 19th century wanted to assert their national character, with music being one way of doing so. We can distinguish four ways in which in music national identity can be established: composers may use the folk music, they can base their music on folk music, they can set the words of a nation to music and the last possibility can be found in the idea of an association of certain music with specific events and festivities in a tradition. The author discusses in detail these four possibilities of the establishment of Englishness in music in 20th century.
20
Kokanović Marković, Marijana. "Dance in the Salons: Waltzes, Polkas and Quadrilles in Serbian Piano Music of the 19th Century." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 133 (March 21, 2022): 120–33. http://dx.doi.org/10.31318/2522-4190.2022.133.257328.
Full textAbstract:
As public events, balls had an important role in social life among the Serbs in the Habsburg monarchy in the 19th century. They were organised by the aristocracy and citizens, various associations and ethnic groups. The most prestigious were the so-called “nobles”, id est aristocratic balls, while the civil ones were less elegant. A repertoire of dances was to some extent conditioned by the type of the ball. Waltz, polka and gallop were very popular at civil balls, as well as stylised Serbian folk dances, such as kolo. At noble balls, on the other hand, besides waltzes, polkas and gallops, it was quadrilles and cotillions that enjoyed special popularity. On the other hand, in the young Principality of Serbia, the organisation of the balls began in the 1860’s, both at the prince’s court and in better hotels in Belgrade. In the 1860’s, the ball season in Belgrade was opened by Prince Mihailo Obrenović. The dancing repertoire included Serbian folk and civil dances, as well as modern European dances. Following the example of larger European cities, a trend of dancing in salons was as well widespread among the Serbs. Socialising could spontaneously grow into dancing, and sometimes dancing was the expected grand finale of the evening. In salons one could dance for family entertainment, without guests. In court and civil salons in Belgrade, the gatherings, almost as a rule, ended with dancing of popular international and Serbian folk dances. International salon dances make up about a third of the salon music repertoire for piano. The polka is one of the most frequent international dancing genres in the Serbian piano music of the 19th century. Besides the polka, there are other subtypes of this dance: the polka-mazurka, the polka française, the schnell polka, the polka tremblante, the galopp polka, the polka valse and the polka caprice. After the polka, the waltz is the most frequent international dance genre in the Serbian piano music. Besides the waltzes originally written for the orchestra, numerous waltzes were composed for the piano. The popularity of quadrilles in ballrooms is also reflected in the albums of salon music for the piano. This dance genre, which was composed in a potpourri manner, was especially suitable for having the melodies of popular folk and civil songs arranged in it. While in the first half of the 19th century melodies in the quadrilles were either transcribed from popular operettas or operas, or were originally written by composers, in the second half of the century composers mostly resorted to melodies of Serbian or Slavic folk and civil songs. In the second half of the 19th century, Serbian folk dances, such as kolos, took over the ballrooms and the albums of salon music alike. The approval of the Serbian identity was sought in the kolo, and the emphasis on national characteristics through music was politically dominant in the 19th century.
21
Mykola, Udovychеnko. "Ways of shaping the concert repertoire for the viola in the 17th–19th centuries." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 62, no. 62 (September 16, 2022): 7–24. http://dx.doi.org/10.34064/khnum1-62.01.
Full textAbstract:
Statement of the problem. In the study, an attempt was made to highlight the process of the viola repertoire shaping, which occurred due to the improvement of the viola as a solo concert instrument. In view of the increasing popularity of the viola in the 20th century and the growth of scholars’ attention to modern viola practice, the previous stages of the development of viola art need new evaluations. Such a review and reassessment turned out to be especially relevant for the national musicology, which has been in informational isolation for a long time; therefore, the involvement of little-known sources determined the expediency and certain scientific novelty of this attempt. The purpose of this work was to analyze the process of shaping the concert repertoire for the viola during the 17th–19th centuries in the context of the viola performance development. As a result, the factors that contributed to a radical change in attitude towards this instrument on the part of composers, performers and listeners during the selected historical period were identified. The main sources for making conclusions were the catalogues by V. Borissovsky, and V. Altmann “Literaturverzeichnis für Bratsche und Viola d’amore” (Altmann, Borissovsky, 1937), the researches by D. Havrylets (2012) where for the first time in Ukrainian musicology the evolution the viola concerto as a genre is covered from the origins to the present; and M. Kugel (2009), where his rich performance experience is summarized. Results and conclusion. Based on the analysis of the sources, systematization and generalization of its results, the path of the viola performance development is traced up to the beginning of the 20th century, from the work of G. Telemann, brothers Antonin and Carel Stamitz, I. Holzbauer, L. Lebrun, E. Eichner, through the creative work of F. A. Hoffmeister (the 18th century), A. Rolla, H. Sitt (the 19th century). It is emphasized that the leading viola players, most of whom were composers, made a decisive contribution to the transformation of the viola from an accompanying instrument into a full-fledged solo instrument. The circumstances of the cultural life of the society, which influenced the change of attitude to the viola, and the following factors of the development of the concert viola repertoire in the 19th century have been marked: the emergence of virtuosos, intensification of touring, music business, development of pedagogy, formation of sustainable performing trends, schools, the tradition of viola playing in the composers environment, etc., which led to the rapid development of the viola repertoire in the 20th century
22
Szabó, Eszter. "Friendship of Well-known and Undeservedly Forgotten Masters in Late 19th and Early 20th Century Russian Piano Music. The Life and Work of Medtner, Rachmaninoff, and Scriabin." Studia Universitatis Babeş-Bolyai Musica 66, no. 2 (December 2021): 123–32. http://dx.doi.org/10.24193/subbmusica.2021.2.09.
Full textAbstract:
"In this study, I explore the life and work of three outstanding pianists and composers in the late 19th and early 20th century: Medtner, Rachmaninoff, and Scriabin, who were not only contemporaries and colleagues but also supportive friends to each other. All three were largely influenced by their years at the Moscow Conservatory, where they became prominent pianists and first showed promise as composers. They received similar impulses and could learn from the same teachers. As a defining common element in their lives, they explored and strived to combine Russian musical traditions and Western classical music. At the same time, their different personalities are apparent from their music, so despite their common roots, their individual musical language is unmistakable. Even at the beginning of their careers, it was clear that despite the commonalities, their lives and careers took a different direction. All three tried their luck abroad, but only Scriabin returned home for the rest of his short life. In addition to their distinct life paths and musical language, their recognition is quite different. Scriabin’s name sounds familiar to many, but he does not belong to the most popular composers of our time. Rachmaninoff’s widespread popularity can be observed among professional musicians as well as the public. In contrast, it is not impossible to meet a professional for whom Medtner’s music is unknown. This is not necessarily explained by disparities in talent and abilities but rather by differences in circumstances, opportunities, and personalities. In this study, I attempt to shed light on the reasons for the three composers’ contrasting popularity from the perspective of their life and work. Keywords: Russian composers, Russian music, Late 19th, and early 20th century, Rachmaninoff, Scriabin, Medtner "
23
Krivopalova, Veronika, and Maria Filyushina. "Valery Kalistratov «The cry of the bride - orphans at the grave of parents» from the cycle "Five wedding songs" for women's choir." Muzykal'nyj al'manah Tomskogo gosudarstvennogo universiteta, no. 13 (2022): 146–53. http://dx.doi.org/10.17223/26188929/13/16.
Full textAbstract:
There are periods of special interest in folklore in the history of Russian music. This is the second half of the 19th century - the period of national self-consciousness and the activity of the composers of the Mighty Handful. And the second half of the twentieth century and the "New Folk Wave". If the work of Valery Kalistratov (1942-2020) is not well known, then it is indicative of the artistic world of his era. Therefore, it is interesting to pay attention to his choral work.
24
Rovner, Anton А. "The Transformation of a Music Festival in St. Petersburg “The World of Art. Contrasts”." ICONI, no. 2 (2019): 159–71. http://dx.doi.org/10.33779/2658-4824.2019.2.159-171.
Full textAbstract:
The article presents the history of an extraordinary music festival organized in St. Petersburg by two composers Igor Rogalev and Igor Vorobyev. The festival was fi rst called “From the Avant-garde to the Present Day,” subsequently “From the Avant-garde to the Present Day. Continuation,” and during the last three years — “The World of Art. Contrasts.” This festival was founded in 1992, and its aim was to create a venue for performance of music by contemporary composers and representatives of the “forgotten generation” of the early 20th century Russian avant-garde movement, such as Nikolai Roslavetz, Alexander Mosolov, Arthur Lourie, etc. Many premieres of these and other composers were performed at this festival, as well as well-known works by such early 20th century established masters as Arnold Schoenberg, Alexander von Zemlinsky, Igor Stravinsky, Bela Bartok, etc. Some of the leading contemporary composers of the late 20th and early 21st century were invited to participate in the festival, as were numerous outstanding performances, ensembles and orchestras up to the St. Petersburg Mariinsky Theater, artists, poets and writers. At the present time the artistic goal of the festival is to connect the strata of music by contemporary composers with the masterpieces of the great classics of the previous centuries — from the Renaissance era to the 19th century. Each year the festival has a certain particularthemes, such as, for instance, Italian music or Japanese music, around which the program is built endowed with a broad stylistic and genre-related pallette.
25
Jacobshagen, Arnold. "Beethoven im „Brockhaus“." Die Musikforschung 74, no. 3 (September 23, 2021): 210–28. http://dx.doi.org/10.52412/mf.2021.h3.3004.
Full textAbstract:
Full-length biographies about Ludwig van Beethoven were not published until after the composer's death. During his lifetime, biographical articles in dictionaries and encyclopaedias were therefore a particularly important source of information, since general encyclopaedias achieved a much wider circulation than specialist music publications. The first entry on Beethoven appeared as early as 1790 in Ernst Ludwig Gerber's Historisch-Biographisches Lexicon der Tonkünstler. The most widely read encyclopaedia for the educated middle class was the Conversations-Lexicon oder enzyklopädisches Handwörterbuch für gebildete Stände, first published by Brockhaus in 1809. This paper comparatively examines the articles on Beethoven from the first decades of the 19th century until the eleventh edition of 1863 and with regard to the emergence of typical narratives. It is noteworthy that the early entries on Beethoven, were shorter than those for other contemporary composers, contained false biographic information and were reluctant in their assessment of Beethoven’s oeuvre. This only changes after the composer’s death and raises the question whether, in the eyes of the general reading public, Beethoven really was the predominant musical figure in the first decades of the nineteenth century.
26
Scurtu, Codruț-Dumitru. "Aspects of the Paternity of Metropolitan Iosif Naniescu’s Liturgical Chant (1818-1902)." Artes. Journal of Musicology 17, no. 1 (January 1, 2018): 74–88. http://dx.doi.org/10.2478/ajm-2018-0003.
Full textAbstract:
Abstract The Romanian Orthodox Church in the 19th century and the first half of the 20th century had a valuable generation of hierarchs protopsalts, composers, translators and promoters of the psaltic music of the Byzantine tradition. From this exceptional generation, Iosif Naniescu is the most valuable composer and interpreter of the 19th century psaltic music. By his rich musical work, Metropolitan Iosif stands out as a reference point for the composition and translation of Greek psaltic chanting. Thanks to the original compositions and translations from the old music notation system, Iosif Naniescu may be included among the promoters of the Christian music notation system in our country alongside Macarie the Monk (with whom he would collaborate), Anton Pann (with whom he bound a close friendship between 1839-1854), and Dimitrie Suceveanu (whom he promoted as a protopsalter of Moldavia). The quality of his performance is highlighted by the countless written testimonies over time. Iosif Naniescu shows a special talent and zeal in his widespread work of over 100 musical manuscripts (stored in our country and in the Holy Mountain of Athos); he is also acknowledged for the Psalms of Time, which he copied in anthologies besides his own chants. Therefore, the present article comes to assert the origins of his chants and pays tribute to classical music of Byzantine tradition.
27
Popielska, Klaudia. "Sylwetka twórcza Aleksandra Zarzyckiego – zapomnianego kompozytora doby romantyzmu." Kwartalnik Młodych Muzykologów UJ, no. 46 (3) (2020): 23–39. http://dx.doi.org/10.4467/23537094kmmuj.20.010.12852.
Full textAbstract:
The Artistic Profile of Aleksander Zarzycki: A Forgotten Composer of the Romantic Era The second half of the 19th century in the history of Polish music is a neglected period, both in the aspect of performance and the aspect of research on this music. Unfortunately, works of many composers from this period have been forgotten. One of such composers is undoubtedly Aleksander Zarzycki (1834–1895), a composer, teacher, virtuoso pianist; the author of over 40 opuses and the composer of many solo songs with piano accompaniment, which were often compared to the songs of Stanisław Moniuszko. Similarly to the most famous Polish composer of songs, Zarzycki created two songbooks that are part of the trend of egalitarian songs. He was also renowned for his short piano pieces, written in a salon style with virtuoso elements. One of his most famous works was the Mazurka in G major, which was popularised by the Spanish virtuoso violinist Pablo Sarasate. Also noteworthy is his Piano Concerto in A flat major Op. 17, referring to the Piano Concerto in A minor by Fryderyk Chopin and the Concerto in G minor by Józef Wieniawski. Zarzycki’s works are characteristic of his era, including references to folklore, national style, virtuosity and the socalled "Romantic mood".
28
Płaczek, Katarzyna. "Między dźwiękiem, słowem i obrazem: o przestrzenności w muzyce." Investigationes Linguisticae 36 (May 14, 2018): 70–85. http://dx.doi.org/10.14746/il.2017.36.5.
Full textAbstract:
The aim of this paper is to analyse the role of space in the imagination of music listeners. It includes general observations on the place and the importance of the problem of space in musical studies and it explores the peculiarity of some aspects of the music reception. Furthermore, it focuses on the relationship between literature and 19th century programme music in order to point different techniques used by composers to produce spatial associations in listeners’ imagination.
29
Balan, Mihaela-Georgiana. "Dostoevskian Literary Poliphony as Lyrical-Theatrical Hypostasis of Sergey Prokofiev’s Opera The Gambler." Artes. Journal of Musicology 21, no. 1 (March 1, 2020): 19–35. http://dx.doi.org/10.2478/ajm-2020-0002.
Full textAbstract:
AbstractFyodor Dostoevsky’s perspective on humankind and society continues to intrigue any reader, whether specialized or from other areas of activity, due to the universality of the topics and the complexity of the characters involved. The novel entitled The Player depicts the life and specific concerns of 19th-century world society, a subject which attracted Sergey Prokofiev to compose a work with the same title, at the beginning of the 20th century. His opera is a unique work through the avant-garde musical language, the atypical construction of the discourse, the elements of style and conception of the libretto in relation to the original source. These elements generate a multiple correlation between the Dostoevskian prose, literary theory, the philosophy of language through studies and volumes of hermeneutic analysis, such as those signed by critic and semiotician Mikhail Bakhtin, on which we will focus our attention during this research. The terminology used by Bakhtin (dialogism, polyphony, ventrilogism, carnival) indicates a profound insight into the connection between Dostoevsky’s prose and the theatrical, dramatic, lyrical, musical aspects of the epic substratum in his novels. At the same time, Dostoevsky was an involuntary forerunner of the artistic movement initiated in Western Europe by German composers – Expressionism –, which also had echoes in the works of Russian composers from the first half of the last century, as we shall see in Sergey Prokofiev’s approach of The Gambler.
30
Dalos, Anna. "Ein symphonisches Selbstbildnis: Über Zoltán Kodálys Symphonie in C (1961)." Studia Musicologica 50, no. 3-4 (September 1, 2009): 203–20. http://dx.doi.org/10.1556/smus.50.2009.3-4.1.
Full textAbstract:
After the revolution in 1956, the cultural policy in Hungary shifted to allow a new openness toward Western-European movements: consequently 1956–1967 became one of the most important transitional periods of Hungarian music history. Composers turned away from the tradition of the foregoing thirty years, determined by the influence of Bartók and Kodály, imitating rather the works of Schoenberg, Berg, Webern, Boulez, Nono, Lutosławski, Penderecki and Stockhausen. In this context the 78-year-old Zoltán Kodály’s Symphony, written in 1960–1961 for the Swiss Festival Orchestra and dedicated to the memory of Arturo Toscanini, was rejected by the young generation of composers and also Hungarian music critics, who turned themselves for the first time against the much-revered figure of authority. The Symphony’s emphasis on C major, its conventional forms, Brahms-allusions, pseudo self-citations and references to the 19th-century symphonic tradition were also received without comprehension in Western Europe. Kodály’s letters and interviews indicate that the composer suffered disappointment in this negative reception. Drawing on manuscript sources, Kodály’s statements and the Symphony itself, my study argues that the three movements can be read as caricature-like self-portraits of different phases of the composer’s life (the young, the mature and the old) and that Kodály identified himself with the symphonic genre and the C-major scale.
31
Sysolyatina, Sofiya V. "“Jephthah’s Daughter” by Amy Beach: the Biblical World in the Words of a Woman." ICONI, no. 2 (2019): 59–67. http://dx.doi.org/10.33779/2658-4824.2019.2.059-067.
Full textAbstract:
The article examines from the positions of musical content by means of analysis of the musical and poetical the composition “Jephthah’s Daughter” by Amy Beach, an American composer of the late 19th and early 20th century, a member of the “Boston six” — a group of American composers of the turn of the century, also known as the New England School, among which Amy Beach was the only woman. “Jephthahʼs Daughter” is a concert aria for voice and orchestra, which is interesting in the context of the composer’s musical legacy, as well as an exemplary composition of its era. The aria is devoted to the Biblical subject matter or, more precisely, the well-known Old Testament plot of the sacrifi ce of the daughter of the Israelite judge Jephthah. Besides the analysis of the musical fabric, the article examines the author’s approach to the subject of the principle of the choice of the material and the work with the textual sources — the Biblical story and the French poem, which comprised the basis of the aria’s text. As a result, the conclusion is arrived at about the composer’s artistic intentions and about the conceptual component of the work. The article contains information about Amy Beach’s biography, her artistic approach, her attitude to religious subject matter and social problems of the society contemporary to her, in particular, the issues of equal rights for women.
32
Stanisławska, Dorota. "The history of Polish viola literature – the 19th and 20th centuries." Notes Muzyczny 2, no. 16 (December 30, 2021): 101–16. http://dx.doi.org/10.5604/01.3001.0015.5493.
Full textAbstract:
After the Romanticism era, when virtuoso music was dominated by the violin, cello and piano, there was a noticeable tendency among composers to search for new and fresh sound inspired by instruments previously functioning mainly in an orchestra. One of the instruments which acquired a new glory back then was the viola. Even though Western European literature earned a permanent place in the repertoire of violists worldwide, Polish pieces representing this genre are lesser-known and performed not as often, except for a few compositions. The library of Polish 20th century viola works is quite rich, but many compositions did not stand the test of time and we would look for them in vain within the performance canon; others were not published in print or recorded, and their manuscripts are owned by private collections. Some autographs of compositions have gone missing and only their titles have been preserved to this day. The present article is an attempt to systematise the state of knowledge about Polish viola compositions written before the end of the 20th century.
33
Palmer, Peter. "Fritz Brun: a Swiss Symphonist." Tempo, no. 195 (January 1996): 14–18. http://dx.doi.org/10.1017/s0040298200004721.
Full textAbstract:
Ferruccio Busoni, who saw out the First World War from the neutral haven of Switzerland, maintained that the best Swiss symphony was Rossini's William Tell overture. Not that the country was completely lacking in resident composers of symphonic music during the Classical and Romantic eras. There was, for example, Gaspard Fritz (d.1783), whom Dr Bumey met in Geneva. There was Xaver Schnyder von Wartensee (d.1868), whose works include an amiable ‘Military’ Symphony. But the dominant force in the 19th century was the composer, publisher and pedagogue Hans Georg Nägeli, whose primary achievement was to develop a choral tradition. Instrumental music in Switzerland depended largely on imports. Joachim Raff, who came from the Lake Zurich region, did not begin to find his feet as a symphonist until he settled in Germany. The vocal bias persisted into the 20th century: thus Othmar Schoeck could say that writing a violin sonata was something of a ‘crime’ for him.
34
Chupakhina, T. I. "Definition of the Semantic Facets of the Phenomenon of Sacred Music by Russian Composers of the 19th Century." Culture Space of Russian World 5, no. 3 (2021): 10–13. http://dx.doi.org/10.24147/2782-2532.2021.5(3).10-13.
Full text
35
Abasheva, D., V. Sigov, and R. Sharyafetdinov. "Formation and development of the Chuvash folklore studies and literary criticism of the 19th century." Rhema, no. 4, 2018 (2018): 190–203. http://dx.doi.org/10.31862/2500-2953-2018-4-190-203.
Full textAbstract:
History of literary criticism of various nations of Russia in the 19th century is many-sided and is important both for further development of literature and for the process of mutual enrichment, addition of literatures and literary studies. A special place in this context belongs to the Kazan province which has always been characterized by ethnic diversity an multinational structure and to the University of Kazan which is the acknowledged center for studying traditional ways of life, folklore and literature of the Volga region. In the formation of literary criticism and the development of literature of the Volga region in general and Chuvash literature in particular, the activities of the Chuvash writers, actors, artists, composers (I. Yurkin, G. Timofeev, M. Akimov, K. Ivanov, N. Shubossinni, M. Trubina, F. Pavlov, P. Pazukhin, etc.) and researchers (A.A. Fuchs, V.A. Sboev, S.M. Mikhailov, P. Malkhov, I.Ya. Yakovlev, N.M. Ashmarin, etc.) are of special importance.
36
Opiela-Mrozik, Anna. "Nieustające powroty. O literackim i artystycznym odkrywaniu Mallarmégo." Przegląd Humanistyczny 61, no. 4 (459) (May 21, 2018): 163–71. http://dx.doi.org/10.5604/01.3001.0012.0675.
Full textAbstract:
The article discusses selected literary and artistic discoveries of Mallarmé’s aesthetics from the end of the 19th to the beginning of the 21st century. Mallarmé, whom Verlaine included in the circle of “poètes maudit” and who was considered a master of decadence thanks to Huysmans’s novel Against Nature, was announced a surrealist in Surrealism Manifesto by André Breton and his name appeared in the writing of Valéry and other 20th-century poets and writers. The Cubists were delighted with “spatialization” of poetry in A Roll of the Dice. In addition, constant discovering of the poet by the composers – from Debussy and Ravel, through Boulez, to the contemporary artists such as Marc-André Dalbavie or Jean-Luc Hervé cannot be overlooked.
37
Barut, Adil Koray. "M. DE FALLA, M. PONCE VE J. RODRIGO’NUN ESERLERİNDE BULUNMUŞ ORTAK TEMATİK MOTİFİN İNCELENMESİ." e-Journal of New World Sciences Academy 15, no. 4 (October 31, 2020): 242–57. http://dx.doi.org/10.12739/nwsa.2020.15.4.d0264.
Full textAbstract:
The Iberian Peninsula has been home to different societies for centuries. With the arrival of Andalusia Umayyads to these lands (711), Eastern culture started to flourish in this geography. Andalusia's architecture, music, literature and popular culture have been able to preserve its traditional structure until today. Towards the end of the 19th century, Spanish piano music started its golden age, and composers used Andalusian folkloric elements in their own musical language. In this study, the characteristics of Spanish music are mentioned, and these musical features are supported by giving examples from the works of Spanish composers. The focus of the study is the common thematic motif which was found in three separate works composed by Manuel de Falla (1876-1946), Manuel Ponce (1882-1948), and Joaquin Rodrigo (1901-1909). These works are respectively En los Jardines de la Cierra de Cordoba part of Noches en las Jardines de Espana, the first movement of Concierto del Sur (Allegro moderato) and the last movement of Concierto para una Fiesta (Allegro moderato). The thematic motif in the mentioned works has the same sound material and rhythmic structure. Distinctive aspects of this motif specific to Andalusia have been investigated.
38
Tedesco, Anna. "National identity, national music and popular music in the Italian Music Press during the long 19th century." Studia Musicologica 52, no. 1-4 (March 1, 2011): 259–70. http://dx.doi.org/10.1556/smus.52.2011.1-4.20.
Full textAbstract:
Discusses the notions of national identity, national music and popular music as they emerged in Italian music periodicals during the years 1840–1890, in relation to the process of Italy’s political unification and the dissemination of foreign operas such as French grands opéras in the years 1840–1870 and Wagner’s Musikdramen from 1871 on. Essays and articles by relevant critics and musicians, such as Abramo Basevi and Francesco D’Arcais are discussed. Articles by lesser known journalists such as Pietro Cominazzi and Mattia Cipollone are also taken into account. The use of words like “national” and “popular” is analysed when referring to Italian opera, to its history and to the operas by foreign composers.
39
Yaroslava, Serdiuk. "Evolution of Amanda Maier’s chamber music work." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 63, no. 63 (January 23, 2023): 124–43. http://dx.doi.org/10.34064/khnum1-63.07.
Full textAbstract:
Statement of the problem. In modern performance and musicological practice, there is a clear tendency to revite the works of little-known or forgotten authors, in particular, female composers. The study of their work in modern discourse, mainly English-speaking, is mostly of an overview nature. The work of female composers is often considered from the standpoint of gender inequality and gender psychology. A certain lack of actually musicological studies of the works by female composers is observed. One of such little-known figures is Amanda Maier Röntgen – a Swedish violinist and composer, a graduate of the Royal Academy of Music in Stockholm and the Leipzig Conservatory, the first woman received the title of “Musik Direktor” and was actively toured in Europe, whose work is practically not studied in Ukrainian musicology. Analysis of recent publications. The figure of A. Maier is briefly mentioned in a number of works devoted to Swedish musical culture, in reference materials (Jönsson, 1995; Karlsson, 1994; Öhrström, 1987; Öhrström & Eriksson, 1995; Riemann, 2017; Laurence, 1978), in the studies devoted to other composers: J. Brahms, E. Grieg, J. Röntgen (Internationaler Brahms-Kongress Gmunden, 2001; Hofmann & Hofmann, 2006; Grieg, 2001; Vis, 2007). The most meaningful study dedicated to A. Maier is J. Martin’s dissertation (2018), but it focuses on the biographical moments and the position of female artists in the 19th century in general, omitting the actual musicological consideration of the composer’s works. Analysis of recent research and publications. The figure of A. Maier is briefly mentioned in a number of works devoted to Swedish musical culture, in reference materials (Jönsson, 1995; Karlsson, 1994; Öhrström, 1987; Öhrström & Eriksson, 1995; Riemann, 2017; Laurence, 1978), studies devoted to other composers: J. Brahms, E. Grieg, J. Röntgen (Internationaler Brahms-Kongress Gmunden, 2001; Hofmann & Hofmann, 2006; Grieg, 2001; Vis, 2007). The most meaningful study dedicated to the creative personality of A. Maier is the dissertation of J. Martin, but the researcher focuses on biographical moments and the position of female artists in the 19th century in general, omitting the actual musicological consideration of the composer’s works. The purpose of this article is to characterize A. Maier’s chamber work, to prorose its periodization and to trace the specifics of evolution of the composer’s chamber-instrumental style. The scientific novelty. For the first time in Ukrainian musicology, a comprehensive study of A. Maier’s chamber-instrumental work is carried out. Methodology of the research. The research results is based on such scientific and culturologic methods as historical and biographical; historical and genrestylistic; also the analytical musicological methods were used when considering A.Maier’s chamber instrumental works. Conclusions. The main phases of A. Maier’s professional development as a composer are the early and mature periods. Taking into account both, the biographical and purely musical stylistic factors, we regarde it inappropriate to talk about the late period of the artist’s work. We consider the early period to be the study time at the Royal Academy of Music in Stockholm. The mature period begins after its end with the creation of the Sonata for violin and piano (1873). The mature period of the composer’s creativity is also subject to internal differentiation, since the time period from 1873 to 1880 (the year of marriage) was marked by much more active creative searches, a greater variety of genres and instrumental compositions, than the later years of A. Mayer’s life (in addition to chamber instrumental works, the Concerto for violin and orchestra, the chamber and vocal pieces were written). In the mature period, such notable opuses as Piano Trio, String Quartet, cycles of miniatures for piano and violin were created. The analysis of A. Maier’s scores revealed the main trends in the development of the composer’s chamber-instrumental style: an aspiration to symphonize the chamber music; the expansion of the imagery palette (the dominance of lyricodramatic impulses in the first mature works, the synthesis of lyrico-dramatic, lyrico-epic, epico-heroic, folklore-genre imagery spheres in the laters ones); active search for an individual solution to the violin miniature genre, in which the Swedish national musical traditions are most vividly embodied.
40
Piotrowska, Anna. "The place of ‘Russian music’ on the multicultural map of Europe." Muzikologija, no. 21 (2016): 109–22. http://dx.doi.org/10.2298/muz1621109p.
Full textAbstract:
Both Russian and non-Russian composers and music critics willingly used the notion of Russian exoticism to differentiate the Russian musical legacy from the (western) European tradition, especially in the 19th century. At the same time, various Russian musical practices were considered to be exotic in Russia itself. In this article it is suggested that these two perceptions of Russian music influenced each other, having an impact on the formation of Russian national music. It is further claimed that Russian music served both as an internal and external tool for defining the country?s musical culture on the multicultural map of Europe.
41
Rovner, Anton А. "Vocal and Choral Symphonies and Considerations on Text Representation in Music." ICONI, no. 2 (2020): 26–37. http://dx.doi.org/10.33779/2658-4824.2020.2.026-037.
Full textAbstract:
The article examines the genres of the vocal and the choral symphony in connection with the author’s vocal symphony Finland for soprano, tenor and orchestra set to Evgeny Baratynsky’s poem with the same title. It also discusses the issue of expression of the literary text in vocal music, as viewed by a number of influential 19th and 20th century composers, music theorists and artists. Among the greatest examples of the vocal symphony are Gustav Mahler’s Das Lied von der Erde and Alexander von Zemlinsky’s Lyrische Symphonie. These works combine in an organic way the features of the symphony and the song cycle. The genre of the choral symphony started with Beethoven’s Ninth Symphony and includes such works as Mendelssohn’s Second Symphony, Scriabin’s First Symphony and Mahler’s Second, Third and Eighth Symphonies. Both genres exemplify composers’ attempts to combine the most substantial genre of instrumental music embodying the composers’ philosophical worldviews with that of vocal music, which expresses the emotional content of the literary texts set to music. The issue of expressivity in music is further elaborated in examinations of various composers’ approaches to it. Wagner claimed that the purpose of music was to express the composers’ emotional experience and especially the literary texts set to music. Stravinsky expressed the view that music in its very essence is not meant to express emotions. He called for an emotionally detached approach to music and especially to text settings in vocal music. Schoenberg pointed towards a more introversive and abstract approach to musical expression and text setting in vocal music, renouncing outward depiction for the sake of inner expression. Similar attitudes to this position were held by painter Wassily Kandinsky and music theorist Theodor Adorno. The author views Schoenberg’s approach to be the most viable for 20th and early 21st century music.
42
Nanqiao, Lyu. "Contribution of the “Mighty Bunch” Composers to the Development of Russian Music Pedagogy of the XIX Century." Prepodavatel XXI vek, no. 3, 2020 (2020): 201–11. http://dx.doi.org/10.31862/2073-9613-2020-3-201-211.
Full textAbstract:
The article considers the pedagogical component of the activity of the composers of the “Mighty bunch” — M. A. Balakirev and N. A. Rimsky-Korsakov, who had a significant influence on the formation and development of Russian music education. Developing the musical and aesthetic ideas put forward by the creative work of the kuchkists, both representatives of the “New Russian music school” justified progressive pedagogical attitudes and principles that are in great demand in the modern practice of music education. Realizing their pedagogical views in the process of leadership and teaching in such Russian musical and educational institutions of the 19th century as the free music school, the Court singing Capella, the St. Petersburg Conservatory, etc., the above-mentioned representatives of the “Mighty bunch” moved to solve the problem they faced from alternative positions: if Balakirev was characterized by an empirical approach to solving creative, including pedagogical tasks, then Rimsky-Korsakov was able to justify the conceptual foundations and basic provisions of Russian music pedagogy. This article is devoted to the consideration of these provisions.
43
Raimkulova, A. "KAZAKH MUSIC CULTURE ON THE GLOBALIZATION CROSSROADS: ETHNIC TRADITIONS VERSUS COMPOSER SCHOOL IN INTERCULTURAL INTERACTION." BULLETIN 384, no. 2 (April 15, 2020): 185–93. http://dx.doi.org/10.32014/10.32014/2020.2518-1467.58.
Full textAbstract:
At the present stage, Kazakh musical culture is heterogeneous. It represents traditions coexisting at the same time and interacting with each other: Kazakh ethnic and newly established composer school (tradition). Examining changes in cultural landscapes of the 20th century I reveal the peculiarities of interaction and dialogue between two kinds of culture: ethnic and global (endogenous and exogenous). The procedures include the complex study of the history of Kazakh culture in the 20th century, stylistic analysis of traditional and composer’s music, semiotic approach to intercultural interaction, as far as a comparative analysis of oral and written music of 19th and 20th centuries. On one hand, dramatic changes in the structure of music culture were caused by external objective reasons: new industrial and postindustrial civilization phases (urbanization and information technologies); intensification of interaction with western (mainly Russian) cultures, etc. On the other hand, some changes were inspired by inner factors: diverse development of local song and kui (dombyra piece) traditions; Soviet cultural policy. As a result new type (or layer) of national culture – Kazakh composers’ music – appeared. It was connected with the formation of a national style based on transcriptions and borrowing. Traditional music was influenced by new social institutions (philharmonic halls, theatres, radio, conservatoire) that caused changes in the creative process (decrease of oral transmission, lack of traditional social context) as well as in the style (virtuoso performance, new genres of songs).
44
TÜRKMENOĞLU, Ömer, and Gülay LAÇİN. "‘OPERETTAS’ FROM THE OTTOMAN PERIOD TO THE PRESENT." Zeitschrift für die Welt der Türken / Journal of World of Turks 13, no. 1 (April 15, 2021): 313–33. http://dx.doi.org/10.46291/zfwt/130116.
Full textAbstract:
We need to give information about the definition and historical process of “operetta” before starting this study titled “Operettas from the Ottoman period to the present”. Operetta was a term used for short and unpretentious operas in the eighteenth century. At the end of the nineteenth century, "operetta" was called "small opera" and "musical theater" as a stage work, born out of the comic opera genre, developed in Paris and Vienna, one of the cultural and artistic centers of Europe. The operettas, which explained fun and emotional subjects in a simple language and appealed to a wide audience, also had the satiric feature of the lower class. In the Nineteenth Century Ottoman Period, when the influence of westernization began to be seen, interest in western style music increased along with the developments in Turkish music. Western style music was initially adopted by the people around the palace and later by the public and began to be performed. During this period, operettas were staged by Italian groups, and operettas were written by Turkish composers using Turkish and Western music together in the last quarter of the 19th century. In operettas written, the musical and instrumental features of Turkish music were used together with the harmony of Western music, and works were tried to be written using two different structures together. In this study, the development of operetta from the Ottoman period to the present day, which emerged in line with the Westernization movement, was discussed. The operettas that were written in this period but were not supported by the conditions of that period, could not be completed and therefore were not performed and forgotten, and operettas that have survived to the present day and have the characteristics of Turkish Music have been identified according to the sources. "Arif's Hilesi", known as the first Turkish operetta written in the Ottoman period and composed by Dikran Çuhaciyan, and the "İstanbulname" operetta composed by Turgay Erdener, one of the last generation composers, were also examined. Keywords: Ottoman, Republic, Period, Turkish, Operetta
45
Karácsony, Noémi, Mădălina Dana Rucsanda, and Mihaela Buhaiciuc. "Indian Rhythmic Gesture and Tinta in French Operas of the Second Half of the 19th Century and Early 20th Century." Studia Universitatis Babeş-Bolyai Musica 67, no. 2 (December 20, 2022): 33–50. http://dx.doi.org/10.24193/subbmusica.2022.spiss2.03.
Full textAbstract:
"As part of a larger study which compresses three layers of analyses — dramatic, visual, and musical — the present article deals with the rhythmic component of the musical phenomenon in French operas within a half century timeframe, 1862–1923. Orientalism and exoticism were represented through melody, rhythm, timbre, and libretti in operas by F. David, G. Bizet, L. Delibes, J. Massenet, and A. Roussel. The melodic dimension, discussed in a previous study, offered perhaps more opportunities for the evocation of an allegedly oriental sound than rhythm and meter deliver within the operas, while the timbre of various instruments proposes the sensuality of the Orient — an accepted Western stereotype regarding the East. To identify certain rhythmic formulae of Indian inspiration and to understand the concept of tāla, several studies and works of Indian musicians and authors have been consulted, among these Sãrngadeva’s Sangītaratnākara, a thirteenth century treatise considered one of the most important Indian musicological texts. Whether invented or extracted directly from its original source, the article aims to identify composers’ rhythmic gestures. The blend of personal musical language with the Indian tinta reflected in rhythmic patterns create a romantic texture cognoscible to the discussed French exotic operas: David’s opéra-comique Lalla-Roukh, Bizet’s Les Pecheurs de perles, Delibes’ Lakmé, Massenet’s five-act grand-opéra Le Roi du Lahore, and Roussel’s opéra-ballet Padmâvatî. Keywords: Hindu rhythm, ethnomusicology, French opera, orientalism, Indian tinta, timbre "
46
Yang, Fuyin. "“Passatempi musicali” by GuillaumeLouis Cottrau as the way Neapolitan song actualization in 19th century music." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 268–84. http://dx.doi.org/10.34064/khnum2-19.15.
Full textAbstract:
Background. In 19th century European music has been enriched by national phenomena, such as Polish mazurka, Austrian waltz, Hungarian czardas, which went into the academic genres system, expanded the boundaries of its intonational fund and audience perceptions. The Neapolitan song participated in this process. It was a real discovery for music lovers in different countries. Canzone Napoletana conquered the music salons area in France, from where it spread in all the Europe, and was reflected in the work of many composers. This genre phenomenon is not fully unraveled, probably due to the distortion of the ingrained ideas about it. This theme is mainly reflected in the publications of Italian experts in the second half of the 20 century D. Carpitella, E. De Martino, R. De Simone, and in the 21 century R. Di Mauro (2013). Interest in this genre intensified in the musical science of China also. This is due to the extraordinary melody of Neapolitan songs, which is consonant with Chinese samples. Chinese singers increasingly include the popular canzone Napoletana in their repertoire. In the musical science of China, this topic has been developed since the last decades of the 20th century in the studies of Song Jing (1985), Wu Shikai (1997), Pei Yisi (2011), Liu Shanshan (2007), Fang Yahong (2011), Chang Jinge (2018). However, many scientific works are of the same type, which is caused by the lack of direct access to the study of musical, poetic, bibliographic material. In the same time, the 19th century deserves attention as a period of the rapid spread of Neapolitan folk songs in the musical art of Europe. The outstanding role in these processes belongs to the representatives of the creative dynasty – Teodoro Cottrau (1827–1879), the author of the famous “Santa Lucia”, and his father Guillaume-Louis Cottrau (1797–1847). Given the current lack of knowledge on this topic, as the research goal of this article, we consider it necessary to get acquainted with the creative figure of G.-L. Cottrau, which contributed to the spread of Neapolitan folk songs in the European music of the 19th century. For the first time in the musical science of Ukraine and China, the collection of Neapolitan songs “Passatempi musicali” / “Musical entertainments” is used as an object of research compiled by G.-L. Cottrau, as well as selected fragments of operatic works by G. Paisiello and D. Cimarosa. In this work, the historicalcomparative and biographical research methods are used, as well as generally accepted models of musicological and performing analysis of music. Results. When studying the Canzone Napoletana, the research problem lies in the difficulties of reconstructing song samples of the 16th–19th centuries. It is necessary to restore their exact chronology, authorship, conduct a comparative analysis of numerous editions, and comprehend the processes of historical evolution. This situation is known to most ethnological scholars, who are actually engaged in musical archeology and bring back almost lost samples of the past from oblivion. Thanks to the processes of national self-determination that swept Italy in the second half of the 20th century, a decisive breakthrough was made in ethnomusicology in the study of the musical and poetic heritage of the Neapolitan region. This is a strong help for any researcher dealing with this topic. The composer and music publisher Guillaume-Louis Cottrau belonged to a famous surname in France. Hisfather served Joachim-Napoléon Murat, Napoleon Bonaparte’s son-in-law. As a child, he ended up in Italy, in Naples, forever falling in love with this land and its culture. Subsequently, Guillaume-Louis adopted Neapolitan citizenship. Being engaged in the affairs of the music publishing house and composing, Guillaume-Louis made up and published in 1824 a collection of Neapolitan songs “Passatempi musicali” / “Musical entertainments”. This includes 104 Canzone Napoletana. Afterwards, the number of songs in different issues was increasing slightly (up to 113), the authorship of some fragments was clarifying, but the main block of tunes remained unchanged. This collection gained immense popularity in the music salons of France. It has been reprinted several times. According to R. di Mauro (2013), about sixty of the 104 songs in the first edition were written by G.-L. Cottrau, the rest are the result of processing of folk originals or songs by other authors. The essence of the undertaken arrangement consisted not only in recording musical and poetic texts (often in several versions), not only in creating a piano accompaniment part in the style of salon music-making. The composer personally collected these cantos and lyrics to them, communicating with servants, peasants, merchants, artisans, direct bearers of the oral musical tradition from different parts of the Neapolitan region. It includes old peasant songs, epic ballads, fragments from operas by G. Paisiello, D. Cimarosa, and other composers of the 18th century, which became truly people’s. This article compares the composer and folk versions of the Serenade of Pulcinella by Paisiello and Cimarosa, which were included in the first edition of the collection under the folk guise. Conclusions. The publication of the Neapolitan songs collection “Passatempi musicali” by G.-L. Cottrau played the role of actualizing this song genre in the musical space of the Romantic era. Its popularization outside Italy, repeated reprints made it possible to “legalize” the song South Italian folklore in the European musical space.
47
Kokanovic-Markovic, Marijana. "Kornelije Stankovic´s piano repertoire - from European practice to national ideology." Muzikologija, no. 25 (2018): 103–17. http://dx.doi.org/10.2298/muz1825103k.
Full textAbstract:
Of particular importance for the artistic commitment and maturation of Kornelije Stankovic, was his training in Vienna, which at that time represented the center of the Slavic elite. The whole cultural and social atmosphere of Vienna left a strong imprint on the young artist: a rich cultural and political life of the city, contacts with Serbian and Slavic circles and their ideas, especially studies under distinguished professor at the Conservatory - a composer, pianist and theorist Simon Sechter. By studying the inscriptions in the Serbian press from the 19th century (Srbski list, Vidovdan, Juzna pcela, Danica, Trgovacke novine, Sumadinka) and preserved posters of Stankovic?s concerts, we have selected the compositions that were part of the Kornelije Stankovic piano repertoire. Besides his own compositions, his repertoire included some works of Franz Liszt and Sigismund Thalberg, and even, then popular and now forgotten salon composers-pianists: Jacob Blumenthal, Louis Lacombe, Rudolf Willmers, Eduard M. Pirkhert, and a certain man named Wald. It is possible that this selection of works was influenced by Sechter himself. Blumental and Lacombe were his students. However, the fact remains that the compositions of those authors, which Stankovic performed, also represented the most famous works of those composers, as well as the standards of the salon repertoire at the time. The aim of this paper is to highlight the equal importance and representation of the foreign composers within Stankovic?s piano repertoire, as well as the actuality of performed compositions, which has allowed us to gain an insight into the German press of the considered period.
48
Lajic-Mihajlovic, Danka. "Audio collection in the SASA Institute of Musicology." Muzikologija, no. 10 (2010): 141–51. http://dx.doi.org/10.2298/muz1010141l.
Full textAbstract:
The paper is relating to audio collection of the Institute of Musicology SASA as extremely important part of this institution?s fund. The collection comprises of valuable sound materials, especially significant collections of fieldwork recordings of traditional folk and church music, as also recordings of pieces of the 19th and 20th century Serbian composers. Information on sound carriers, methodologies and circumstances in which the recordings have been made, their preservation and further treatment with modern technologies, are a part of ethnomusicological and musicological histories in Serbia. According to number of sound recordings, diachronical dimensions that encompass, geographical areas and genre diversity, this collection is one of the most important sound collections of scientific profile in Serbia.
49
VanHandel, Leigh. "The War of the Romantics: An Alternate Hypothesis Using nPVI for the Quantitative Anthropology of Music." Empirical Musicology Review 11, no. 2 (January 10, 2017): 234. http://dx.doi.org/10.18061/emr.v11i2.5474.
Full textAbstract:
This response offers an alternate interpretation for the data described in Joseph Daniele's 2016 article "A tool for the quantitative anthropology of music: Use of the nPVI equation to analyze rhythmic variability within long-term historical patterns in music." I examine Daniele's argument that there is an overall rising trend in rhythmic variability in German composition from 1600-1950, and offer an alternate, historically informed explanation based on the re-examination of the data. The rising trend does not appear to be consistent throughout time, and rather than being the result of the waning influence of Italian music on German music, I suggest an alternative hypothesis concerning documented differences between late 19th century German composers and their compositional styles.
50
Hayes, Malcolm. "Erik Bergman: The Recent Music." Tempo, no. 158 (September 1986): 15–22. http://dx.doi.org/10.1017/s004029820002252x.
Full textAbstract:
Erik Bergman has long been regarded in his native Finland as one of his country's senior composers, but his music has been slow to make its way abroad. Some of the obstacles are understandable: choral music, for instance, constitutes a large slice of Bergman's output, and the fact that many of his texts are in Finnish or Swedish has obviously (if erroneously) been off-putting for foreign choirs. But the real problem is one of perception. Bergman's music has a particular kind of originality and character which, while in one sense typically Scandinavian, simply does not conform to the expectation that has been conditioned by the more exportable aspects of 19th-century nationalism.