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1
Clark, Maribeth. "The Quadrille as Embodied Musical Experience in 19th-Century Paris." Journal of Musicology 19, no. 3 (2002): 503–26. http://dx.doi.org/10.1525/jm.2002.19.3.503.
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During the 1830s in Paris the quadrille, a five-movement figure dance, became musically omnipresent to the distress of many critics, who saw the genre as detrimental to French music and musical taste. Discussions of the dance in journalism and literature associate bourgeois women and girls and working-class men with promotion of the genre. As a figure dance with walking steps, the quadrille was enjoyed by respectable women who experienced it as a safe frame for civilized social interaction, although their male counterparts found the dance boring and uninviting. In contrast, working-class men were known for their engaging and energetic performances as cancanneurs, improvisatory dancers exhibiting a lack of control associated with political instability and revolution. Quadrilles were perceived to have a negative influence on musical education for girls, who resembled the cancanneurs in their mechanical and animalistic qualities, and who preferred quadrilles over more ambitious pieces for piano. More serious was the perceived damage that arrangements of operas as quadrilles inflicted on the original, reducing great works to the banal through simplification. By serving as an example of all that stands in opposition to art in French music, the quadrille contributed to the formulation of the concept of music as art.
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Zieziula, Grzegorz. "Beyond the Dogma of a ‘National Style’: Dance-Type Narration in Stanislaw Moniuszko’s Operas." Musicology Today 15, no. 1 (2018): 41–61. http://dx.doi.org/10.2478/muso-2018-0006.
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Abstract A privileged position in discourse on 19th-century opera is occupied by narration concerning the emancipation of national styles. In order to work out a fresh approach in scientific study of this subject, it seems crucial that we should abandon the ethnocentric perspective. This was one of the main postulates of Jean-Marie Pradier’s utopian project of ethnoscenology. Importantly, Pradier also stressed the physical aspect of all stage practice. In the times of Rossini, Verdi, Gounod and Moniuszko, the physicality of the spectacle was associated not only with singing, but also with choreography. The links between 19th-century opera and its broadly conceived dance component are the subject of a highly inspiring essay by Maribeth Clark, whose arguments, theses and conclusions we also present here in detail. Stanisław Moniuszko’s operatic style is commonly associated with Polish dance rhythms. Still, salon dance should also be considered, apart from national dances, as one of the keys to the composer’s entire oeuvre. In a study of his stage works from both the Vilnius and the Warsaw periods, the dance idiom will not be limited to the presence of dance rhythms in the protagonists’ arias or to the ballet sections. Dance qualities can be discerned in Moniuszko’s music on a much deeper, fundamental level of the construction of operatic narration. Dance is frequently a hidden mechanism that serves as an axis of development for the presented events or as an element that organises the dramaturgy of entire scenes and instrumental passages. This paper is an attempt to take a fresh look at the role of the dance idiom in Moniuszko’s operatic narrations, an initial reconnaissance, in which I point to the sources of the composer’s inspirations and illustrate my theses with specific examples.
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Johung, Jennifer. "Choreographic Arrhythmias." Leonardo 48, no. 2 (2015): 172–73. http://dx.doi.org/10.1162/leon_a_00975.
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Aberrations in the constancy and duration of movement challenge the determination of bodies and things within and beyond dance. In fact, 19th-century anthropological studies on animism and recent cognitive science experiments on timescale bias demonstrate that the agency of erratic motion is difficult to apprehend. From irregular and unexpected movements in dance to the variable tempos of cell motility, this paper considers how arrhythmic choreography recalibrates the agency of matter, objects, bodies and environments.
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Dogorova, Nadezhda A. "Anthropological Characteristics of Theatricality in the Context of Mordovian Dance Plasticity." Observatory of Culture, no. 6 (December 28, 2015): 48–51. http://dx.doi.org/10.25281/2072-3156-2015-0-6-48-51.
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The article gives a comparative analysis of historical and ethnographic materials of the late 19th - early 20th century to define the anthropological characteristics of theatricality in the context of Mordovian dance plasticity. For the first time ever, the basis is provided to the artistic and esthetic levels of existence of the syncretic behavioural activities of ancient composition of the “bezaktersky” theater of the “folklore period”.
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Seibert, Andrei Yur'evich. "The livre partition phenomenon in J.-G. Kastner’s oeuvre." PHILHARMONICA. International Music Journal, no. 6 (June 2020): 9–19. http://dx.doi.org/10.7256/2453-613x.2020.6.34651.
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In the 19th century, after a two-centuries oblivion, the interest in a medieval genre “danse macabre” reappeared. Dances of Death were embodied not only in pictorial art, literature and music, but also attracted the attention of scholars. The research subject of this article is one of such scientific works - “Les Danses des Morts” by J.-G. Kastner. Its uniqueness consists in the combination of a theoretical research and practical embodiment of its results in a piece of music. The genre of the tractate is defined by scholars as “livre partition” - a sheet music book. The article contains the biographical data of the life and creative work of the French scholar, music expert and composer, little-known in Russian musicology. Based on their own translation of the original text, the authors study the structure-content components of the tractate and define its specificity. J.-G. Kastner considers the genre “danse macabre” in the historical, philosophical and aesthetic contexts; traces back the interdependence of literary, decorative, and musical versions of the dances. The tractate of the French musicologist considers in detail the range of instruments of dance macabre (based on the collection of wooden engravings of a gothic Doten Dantz printed in the late 15th century). The authors define the features of J.-G. Kastner’s ideas which differ them from the thanatological views of his predecessors H. Peino and E.-H. Langlois.
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Warner, Mary Jane. "Anne Fairbrother Hill: 'A Chaste and Elegant Dancer'." Theatre Research in Canada 12, no. 2 (1991): 169–91. http://dx.doi.org/10.3138/tric.12.2.169.
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Anne Fairbrother Hill was a member of a popular 19th-century family of theatrical entertainers. Following a successful career as a dancer and ingénue in London and the provinces she came to America in the 1840s with her actor/manager husband, Charles Hill, and their three children. The Hills toured widely, but they also spent considerable time in Montreal and Toronto. Anne Hill was instrumental in introducing Canadian audiences to the rich repertoire of the Romantic ballet. A talented teacher, she opened very successful dance schools in both Toronto and Montreal, assisting amateurs in both cities to mount their own theatrical productions. In the 1860s she settled permanently in Montreal where she continued to appear on stage in character roles until shortly before her death.
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Kumpikaitė, Eglė, and Rimvydas Milašius. "Lithuanian National Costume in the 19th Century and in the 2nd Half of the 20th Century: Cultural Pollution and Remains of Authenticity." Societies 11, no. 1 (2021): 17. http://dx.doi.org/10.3390/soc11010017.
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Lithuanian authors, authors abroad, and artists have presented Lithuanian folk clothes in their works. However, the oldest examples of these representations are not very reliable, because the authors painted them according to the descriptions of other people or copied works among each other. In the 20th century, the national costume of Lithuania changed considerably. Attention was not given to ethnographic regional peculiarities; instead, similar materials were chosen without any analysis. This article performs a comparative analysis of folk (the 19th century to the first half of the 20th century) and national (the second half of the 20th century) Lithuanian costumes to establish signs of cultural pollution and remaining authenticity. Over 500 articles of clothing with different purposes are collected from Lithuanian museums. Fabric parameters, such as raw materials, weaving technique, weave, pattern, decoration elements, etc., are established. The research results show that authentic folk clothes of the 19th century differ from the national costume of the second half of the 20th century in their cut, decoration, and patterns. No differences between ethnographic regions survived in the national costumes. Thus, at present, we must preserve our tangible heritage and re-create, as authentically as possible, national costume for folk songs and dance ensembles, folk restaurants, and rural tourism homesteads.
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Rakočević, Selena. "Tracing the discipline: Eighty years of ethnochoreology in Serbia." New Sound, no. 42 (2013): 58–86. http://dx.doi.org/10.5937/newso1341058r.
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The interest for traditional dance research in Serbia is noted since the second part of the 19th century in various ethnographical sources. However, organized and scientifically grounded study was begun by the sisters Danica and Ljubica Janković marked by publishing of the first of totally eight volumes of the "Folk Dances" [Narodne igre] in 1934. All eight books of this edition published periodically until 1964 were highly acknowledged by the broader scientific communities in Europe and the USA. Dance research was continued by the following generation of researchers: Milica Ilijin, Olivera Mladenović, Slobodan Zečević, and Olivera Vasić. The next significant step toward developing dance research began in 1990 when the subject of ethnochoreology was added to the program of basic ethnomusicological studies at the Faculty of Music in Belgrade and shortly afterward in 1996 in the Academy of Arts in Novi Sad. Academic ethnochoreological education in both institutions was established by Olivera Vasić. The epistemological background of all traditional dance research in Serbia was anchored mostly in ethnography focused on the description of rural traditions and partly in traditional dance history. Its broader folkloristic framework has, more or less, strong national orientation. However, it could be said that, thanks to the lifelong professional commitment of the researchers, and a relatively unified methodology of their research, ethnochoreology maintained continuity as a scientific discipline since its early beginnings. The next significant milestone in the development of the discipline happened when traditional dance research was included in the PhD doctoral research projects within ethnomusicological studies at the Faculty of Music in Belgrade. Those projects, some of which are still in the ongoing process, are interdisciplinary and interlink ethnochoreology with ethnomusicology and related disciplines. This paper reexamines and reevaluates the eighty years long tradition of dance research in Serbia and positions its ontological, epistemological and methodological trajectories in the broader context of its relation to other social sciences/humanities in the contemporary era of interdisciplinarity and postdiciplinarity.
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Vilhovchenko, T. "SOME HISTORICAL ASPECTS FORMATION OF MODERN CHOREOGRAPHY." Aesthetics and Ethics of Pedagogical Action, no. 23 (August 4, 2021): 137–45. http://dx.doi.org/10.33989/2226-4051.2021.23.238271.
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The article traces the historical stages of the emergence and development of modern choreography, its main directions, the influence of outstanding choreographers on the development of the plastic language of modern dance. It is noted that modern dance and its many and varied styles, types, forms arouse interest and the most controversial reactions from both the viewer and the critic. The concept of "modern choreography" was used and was relevant at every stage of the historical development of dance. In this or that historical period, dance was considered innovative and in line with the spirit of its time. Particular attention is paid to modern dance in the article. It incorporated both the aesthetic principles of the early 20th century and the further transformation of the modern dance of the second half of the 20th - early 21st centuries. The work also explores the emergence of the theory of movement, which appeared at the turn of the 19th - 20th centuries. However, despite the absence of a system of choreographic structure, tools for its analysis have already been proposed. This dance did not have a specific form and was aimed at conveying a person's spiritual state. In parallel with the birth of modern dance, new views on its perspectives were framed. The innovators sought to minimize the importance of costume, music, and decoration while maximizing lexical material and depth of thought, which rejected any canons of dance composition. It marked the beginning of a new era - the postmodern era, in which modern choreography evolves, moves in search of new forms and means of expression, changes, creating a new vocabulary, artistic symbols, and understandable signs.
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Schwan, Alexander. "Ethos Formula: Liturgy and Rhetorics in the Work of Ted Shawn." Performance Philosophy 3, no. 1 (2017): 23. http://dx.doi.org/10.21476/pp.2017.31168.
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Beginning with Giorgio Agamben�s alignment of ethics and potentiality, this essay questions the ethical dimension of gesture in the field of dance as an eminently potentiality-bound art form. This draws on Daniel Sibony�s concept of law and dance, according to which the body simultaneously repels and longs for the law as a nexus of heteronomous structures. I frame this through a revision of Aby Warburg�s rhetorical concept, pathos formula, into the corollary term, ethos formula, as the encoded movement patterns of ethical attitudes or comportments which are motivated by decision-making rather than emotional content. Do gestures and their citation in dance bear an ethical dimension similar to the encoded transmission of emotions through movement?This new concept of ethos formula finds an excellent example in the work of the American choreographer Ted Shawn (1891�1972). His strikingly hybrid use of ethos formula from the 19th century Catholic theorist Fran�ois Delsarte and his parallel practice of quoting liturgical gestures from Protestant church services, pursues the ambiguity and uncanniness of modernity itself. For Shawn�like many other protagonists of modernist dance�argues on the one hand for freeing the body from the boundaries of classical ballet in the name of individual expression, and on the other hand for an instrumentalized body that still clings to principles of taxonomy and normativity.
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Zakić, Mirjana, and Sanja Ranković. "Current music and dance practice of central Kosovo and Metohija: Transformations since the 1990s." New Sound, no. 49 (2017): 35–51. http://dx.doi.org/10.5937/newso1749035z.
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Ethnomusicological and ethnochoreological research of the central part of Kosovo and Metohija has been conducted since the late 19th century up to the present. However, the gathered data are sparse and provide insufficient (and only partial) information regarding the music and dance tradition of this area. This fact was the main motive for arranging our own field trip to the region, during 2015 and 2016. The recorded material and numerous informants' narratives provided an important insight into the state of both previous and contemporary music and dance practice, enabling one to examine the transformations regarding music and dance that have taken place since the 1990s from several viewpoints: national and multinational, professional and amateur, local and regional. The causes of the changes that have occurred over the course of the last few decades, will be discussed in this paper through the political, ideological, sociological, and cultural prism. Thus, our attention will focus particularly on the national ensembles Shota (Pristina) and Venac (Gračanica), as well as on the local repertoire of different ethnic groups - Serbian, Albanian, Romani and Croatian, in former and contemporary conditions. An especially intriguing question is to what extent, and in what ways did geopolitical restructuring and cultural evaluations in the post-socialist period influence the sustainability, i.e. the change in music and dance forms, as important aspects of the self-representation of the ethnicities that exist in this region?
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이서현. "A Study to Compare Women’s Body Images Found in the 19th Century Dance Works - Focusing on 「Chunangjeon」 and 「Giselle」 -." Korean Journal of Dance Studies 48, no. 3 (2014): 111–39. http://dx.doi.org/10.16877/kjds.48.3.201405.111.
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Kucherenko, Anastasia L., and Nina A. Konopleva. "Adaptation of Spanish Flamenco Dance to the Cultural and Language Environment Conditions of Contemporary Russia." ICONI, no. 1 (2019): 176–83. http://dx.doi.org/10.33779/2658-4824.2019.1.176-183.
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The article reveals the phenomenon of the existence of Spanish flamenco dance in the cultural and language environment of modern Russia. The premises for introducing of this art form in the Russian society of the 19th century have been considered, as well as its dissemination throughout Russia up to the present time. A brief analysis of the etymology of the term “flamenco” is carried out, emphasizing the inconsistency and ambiguity of this concept, which complicates its adequate interpretation in the Russian language. The authors have developed a classification of flamenco styles from the perspective of a non-bearer of flamenco culture. This classification defines the styles according to the complexity degree of perception by Russian performers. It is concluded that the most difficult for the Russians are the authentic ancient manifestations of flamenco, such as sigiriya, kanya, solea, etc., which are quite different in musical size and rhythm. The lexico-semantic analysis of certain Spanish terms and exclamations characterizing the flamenco dance was carried out. Such expressions have been adopted into the vocabulary of the Russian flamenco performers representing: zapateado, floreo, braceo, bata de cola etc. The general structure of flamenco dance is represented by means of typical positions and movements. The structure was worked out on the basis of content analyses of the Spanish film-ballets, devoted to flamenco dance. The article also analyzes the polysemy of the term “duende” – a phenomenon that has a spiritual nature and is an integral part of the flamenco art. It is concluded that the professional performance of the flamenco dance in the non-native social and cultural environment requires from a performer not only technical mastery, but also a deep understanding of the meaning of the flamenco dance, its history, as well as the semantics of some Spanish terms and expressions.
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Telesco, Paula. "Forward-Looking Retrospection: Enharmonicism in the Classical Era." Journal of Musicology 19, no. 2 (2002): 332–73. http://dx.doi.org/10.1525/jm.2002.19.2.332.
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Enharmonicism steps to the fore only occasionally in 18th-century music. Indeed, over the past two centuries, it has been commonly assumed that it was invoked only when a special affect demanded it (as in the much-discussed "Dance of the Furies" from Rameau's Hippolyte et Aricie). But a survey of 18th-century music refutes this perception and reveals that the enharmonicism of the 18th century can be broadly defined as belonging to one of two categories: simultaneous or immediate enharmonicism, and retrospective enharmonicism. Most early 18th-century examples restrict their usage to the simultaneous/immediate type, which consists of reinterpretations of enharmonic pivot chords. Retrospective enharmonicism, on the other hand, is less common than immediate enharmonicism but is remarkable because it presages the expansion of the diatonic tonal system into the chromatic tonal system of the 19th century. Retrospective enharmonicism does not involve the reinterpretation of an enharmonic pivot chord, nor is a reinterpretation perceived at any one point; it becomes clear only in retrospect that one must have occurred. Rather than a negation of some resolution tendency, as happens in the reinterpretation of a dominant seventh as an augmented sixth, there is a (typically large-scale) trajectory away from some tonic which is eventually regained through the enharmonic door. Some note or chord is respelled as its enharmonic equivalent, but without any aural clue. Drastic key changes of the sort typically encountered in instances of retrospective enharmonicism are for the most part proscribed in the writings of such composers and theorists as Rameau, Kirnberger, Koch, Heinichen, and Vogler, all of whom wrote in detail about staying within an orbit of closely related keys and rarely going directly from one key to another too far away. Nevertheless, this type of enharmonicism was a recognized compositional resource which, though used relatively infrequently in the 18th century, came to occupy a more central place in the realm of available compositional techniques in the 19th century.
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Padeski Ferreira, Ana Leticia, and Marchi Júnior Wanderley. "Concerning Abolitionism, Black People, and Capoeira in the History of Brazil: Social and Moral (Im)Balances." Physical Culture and Sport. Studies and Research 56, no. 1 (2012): 33–40. http://dx.doi.org/10.2478/v10141-012-0021-4.
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Abstract The purpose of this article is to discuss the changes that took place in relation to the peculiarities of Capoeira within Brazilian society. This popular practice, which is considered a martial art, a dance and a game, developed during the 19th century, where it was practiced by individuals from the lower walks of life. Practicing Capoeira was a felony, as it posed a threat to public safety, order, and morality. Presently, it has been upgraded to a Brazilian cultural asset, which shows how the perception of its practice has changed. These changes follow the different views of the historical processes related to abolitionism and the perverse incorporation of blacks into society at that time, which have continued until present time, having undergone significant changes and grown as a valued physical expression
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Portnova, Tatiana Vasilyevna. "Picture and Image of Dance (Episodes from the Creative Experience of Russian Ballet Masters of the Late 19th - Early 20th Century)." Observatory of Culture 1, no. 1 (2016): 62–69. http://dx.doi.org/10.25281/2072-3156-2016-1-1-62-69.
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Hilliker, Rebecca. "Alaska's Lost Heritage: The Unprecedented Flowering of Drama, Dance and Song in the 19th Century Potlatch of the Northwest Coast Indians." Journal of Popular Culture 21, no. 4 (1988): 63–76. http://dx.doi.org/10.1111/j.0022-3840.1988.681143.x.
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Berkey, Jonathan P. "Circumcision Circumscribed: Female Excision and Cultural Accommodation in the Medieval Near East." International Journal of Middle East Studies 28, no. 1 (1996): 19–38. http://dx.doi.org/10.1017/s0020743800062760.
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In a famous passage in his Account of the Manners and Customs of the Modern Egyptians, E. W. Lane described the ceremonies commonly held to celebrate the circumcision of a young boy in 19th-century Cairo. Family and friends of the boy, his schoolteacher, the barber who performed the operation and his assistant, musicians, and other retainers all participated in a celebration of an overtly public character. Dressed in fancy clothes and feted with song and dance, the boy, aged five or six or slightly older, was paraded through the streets of his neighborhood, often on horseback, to his parents' house, where the operation was performed. Cups of coffee might be distributed to passersby while guests and relations were, of course, treated to a celebratory feast. Modes of celebration may have changed, but festivities surrounding the circumcision of a young boy are still common in the Muslim countries of the Near East.
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Harutyunyan, M. "THE COVERAGE OF THE THEATRICAL LIFE OF ARTSAKH IN THE SECOND HALF OF THE 19TH CENTURY AND THE BEGINNING OF THE 20TH CENTURY ON THE PAGES OF THE NEWSPAPER “KARABAKH” (1911-1912)." ASJ 1, no. 50 (2021): 4–9. http://dx.doi.org/10.31618/asj.2707-9864.2021.1.50.106.
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Thus, summarizing our scientific research, we can clearly emphasize that theatrical art flourished in Artsakh in the second half of the 19th century and the beginning of the 20th century. It should be noted that until the second half of the 19th century, the Armenians of Artsakh had their theatrical traditions for centuries. There was theater in dance art, at parties and events. But there was no professional theater yet, preconditions were created for that only when in 1865 famous figures of the Armenian theater Gevorg Chmshkyan, Mihrdat Americyan and Sedrak Mandinyan came to Shushi. And the Mkrtich Khandamiryan Theater was built in Shushi in 1891. It had a 350-seat hall. 
 Separate issues related to the socio-economic, political and cultural events in Artsakh were covered in almost all issues of the three-day literary-social newspaper "Karabakh". Covering the theatrical art of Artsakh in 19111912, the newspaper emphasized that the theater continued to flourish in that period. Theatrical performances took place in different parts of Artsakh. A number of interesting and multi-genre theatrical performances took place at the Diocesan school of Shusha, at the Mariamyan girls 'school, at the Hripsimyan girls' school, at the school of the Saint Astvatsatsin church of Aguletsots, at the school of boys of the Saint Astvatsatsin church of Megretsots, at the Mariam-Ghukasyan school, at the school of Realakan. A number of interesting and multi-genre theatrical performances also took place at the Diocesan School of Shushi, at the Girls' School of Mariamyan, at the Girls' School of Hripsimyan, at the school of Aguletsots St. Astvatsatsin Church, at the Boys' School of Meghretsots St. Astvatsatsin Church, at the school of Mariam-Ghukasyan, at the school of Realakan, at kindergartens, in private homes of wealthy people and at other places at that time. 
 Numerous multi-genre performances also took place in 1911-1912: "Adam and Eve" Vardanank, " The savage", "The Charlatan", "Heart is a mystery", "Naughty", "The Valley of Tears", "The Engaged" drama, "Modern Heroes" comedy, famous playwright Gordin's drama "The devil", the drama "Christine", Nardos' drama "The Killed Dove", Measnitsky's drama "I died" and other performances.
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Bashmakova, N. V., та K. V. Kravchenko. "CAPRICCIOʼS GENRE IN MANDOLIN MUSIC AT THE END OF THE 19th – THE EARLY OF THE 20th CENTURIES (for example of the concert pieces by С. Munier)". Музикознавча думка Дніпропетровщини, № 14 (21 січня 2019): 60–71. http://dx.doi.org/10.15421/221822.
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The purpose of this article is process of analyzing in reference to concert capriccio by C. Munier for mandolin with piano («Bizzarria», op. 201, Spanish сapriccio, op. 276) from the point of view of their genre specificity. Methodology. The research is based on the historical approach, which determines the specifics of the genre of Capriccio in the music of the late 19th and early 20th centuries and in the work of C. Munier; the computational and analytical methods used to identify the peculiarities of the formulation and the performing interpretation of the original concert pianos for mandolins with piano that, according to the genre orientation (according to the composerʼs remarks), are defined as capriccio. Scientific novelty. The creation of Florentine composer,61mandolinist-vertuoso and pedagog C. Munier, which made about 300 compositions, is exponential for represented scientific vector. Concert works by C. Munier for mandolin and piano, created in the capriccio genre, were not yet considered in the art of the outdoors, as the creativity and composer’s style of the famous mandolinist. Conclusions. Thus, appealing to capriccio by С. Munier, which created only two works, embodied in them virtually all the evolutionary stages of the development of genre. In his opus of this genre there are a vocal, inherent in capriccio of the 17th century solo presentation, virtuosity, originality, which were embodied in the works of 17th – 18th centuries and the national color of the 19th century is clearly expressed. Thus, the Spanish capriccio is a kind of «musical encyclopedia» of national dance, which features are characteristic features of bolero, tarantella, habanera, and so forth. The originality of opus number 201 – «Bizzarria», is embodied in the parameters of shaping (expanded cadence of the soloist in the beginning) and emphasized virtuosity, which is realized in a wide register range, a variety of technical elements.
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Navetnaya, Anna P. "The Traditional and the Innovative in the Dramaturgy and Composition of Béla Bartók’s Ballets." Observatory of Culture 17, no. 6 (2021): 626–37. http://dx.doi.org/10.25281/2072-3156-2020-17-6-626-637.
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This article investigates the development of the 20th century ballet genre on the example of the Hungarian composer Béla Bartók (1881—1945). The study aims to reveal the features of B. Bartók’s ballets in the context of trends in Western European art of the 20th century and to show the composer’s innovative techniques. The article identifies specific musical formative means that reflect the genre definition of “pantomime”, and emphasizes his innovation. The early 20th century ballet art is an extremely bright phenomenon associated with the active search for new ways of developing the genre, which took place at the turn of the 19th and 20th centuries. Classical ballet, which had reached its peak in the works of the Russian ballet school and the works of M. Petipa, was suddenly recognized as outdated and unviable. The new generation of choreographers sought to refute, to a certain extent, the genre’s old laws. The idea of searching for new means of expression became the leading one, and the canon of classical choreography was replaced by pantomime and a new unusual dance technique, which later became known as modern dance. B. Bartók’s ballets “The Wooden Prince” (1917) and “The Miraculous Mandarin” (1919) are examples of the new type of ballet performance of the early 20th century. The article shows that the composer focused on creating a symphonic score corresponding to the ideas of pantomime. His appeal to this had been primarily dictated by the librettos themselves, in which B. Balázs and M. Lengyel had defined the work character in this way. Naturally, the rejection of classical ballet’s traditional forms influenced the works’ compositional features. The article demonstrates that the scores of “The Wooden Prince” and “The Miraculous Mandarin” are distinguished by a new approach to the musical structure, in which the principles of instrumental forms play a significant role. At the same time, each of the ballets expresses the dialectical pair of “canon and heuristic” in its own way: “The Wooden Prince” retains to a certain extent the flair of classical ballet; in “The Miraculous Mandarin”, this genre pattern is violated almost ostentatiously. In this work, B. Bartók’s appeal to such an anti-classical subject reflects the era’s new trends associated with the artistic movement of expressionism. In the Hungarian composer’s ballets, the dualism of the traditional and the innovative gives rise to a different type of ballet score itself.
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Myers, Tamara. "Women Policing Women: A Patrol Woman in Montreal in the 1910s." Journal of the Canadian Historical Association 4, no. 1 (2006): 229–45. http://dx.doi.org/10.7202/031064ar.
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Abstract The policewoman movement in England, Canada, and the United States begun in the 19th century with the prison reform movement. Just as separate prisons for women would protect them from the sexual danger of incarceration so would police matrons save the detained woman from the threat posed by male criminals and station officials. The next step in the evolution of the movement in the 1910s propelled women onto the streets as safety workers, patrol women, and policewomen, ostensibly to protect young women from lecherous males and to prevent the moral downfall of working-class women. The first generation of policewomen were a combination of social workers and cops, their duties being to chaperon the city's young women at dance halls, in parks and on urban streets. In 1918, Montreal hired its first policewomen to investigate women criminals. Using the files of one of the protective officers (Elizabeth Wand), Myers analyses the impact of this new disciplinary force. As a pioneer policewoman, whose job it was to patrol women and keep them safe from sexual danger and immorality, Wand expanded the meanings of crime, policing, and discipline. For this she encountered resistance from male officers and judges and from the policed women as well.
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Goodall, Dominic. "Rudragaṇikās: Courtesans in Śiva’s Temple? Some Hitherto Neglected Sanskrit Sources". Cracow Indological Studies 20, № 1 (2018): 91–143. http://dx.doi.org/10.12797/cis.20.2018.01.06.
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Much ink has been spilt on the status and rôles of the Devadāsī in pre- modern times, but some Sanskrit works that contain potentially useful nuggets of information have until now, for various reasons, been neglected. To cite one instance, some scholars have drawn passages about dancers from an edition of what purports to be a Śaiva scripture called the Kāmikāgama. In 1990 however, Hélène Brunner denounced that ‘scripture’, as a late-19th-century forgery concocted for the purpose of winning a legal case, and thereby called into question the value of the text as evidence for much of what it had to say about, for instance, the initiation of dancers in pre-modern times. Meanwhile, hiding, so to speak, in plain view, passages from a rather older Kāmikāgama, one that has been published by the South Indian Archaka Association and that appears to survive in many South Indian manuscripts, actually also contain information about the status of Rudragaṇikās in medieval times. But these seem not to have been examined to date by historians of dance and dancers. The purpose of this paper is to draw into the debate some hitherto unnoticed passages of relevance that are to be found in pre-modern Sanskrit texts.
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Horowitz, Michael M. "Dams, Cows, and Vulnerable People: Anthropological Contributions to Sustainable Development (The Distinguishedl Lecture)." Pakistan Development Review 34, no. 4I (1995): 481–508. http://dx.doi.org/10.30541/v34i4ipp.481-508.
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It is with considerable trepidation that I agreed to address so distinguished a gathering of development economists, theoreticians, and practitioners. I was enormously honoured when Professor Naqvi invited me to make this presentation, and at the same time impressed with my own temerity at having accepted. I am not an economist; at best, I contribute to the emerging discipline of economic anthropology, that subfield of anthropology that some have baptised as the “dismal science of the 20th century.” I locate my research within a subfield of that subfield, in a specifically development anthropology, making the claim that is still received in some quarters with only partial tolerance, that anthropologists–those curious people identified in the popular mind with the recovery and study of isolated people, bones, and potsherds–have also something useful to add to both the theory and praxis of development. As a self-conscious field of inquiry, development anthropology dates only from the last 20-25 years, though its roots can be found in the late 19th century, when scientists working for the United States Bureau of American Ethnology tried to understand the Ghost Dance, a great messianic movement that spread rapidly among subjugated Native Americans who were forced on to reservations by the government and in very large part deprived of the means of social and economic reproduction [Mooney (1965)]. Especially in Britain, a policy-relevant anthropology emerged in conjunction with its colonial service [Asad (1973)], and during the 1940s, some of the most prominent American anthropologists–including Margaret Mead, Geoffrey Gorer, Ruth Benedict, Robert Lowie, Alexander Leighton, and Conrad Arensberg–tried to apply an anthropology that had traditionally focused on tribal and peasant populations to the understanding of our Russian allies and our German and Japanese adversaries during the Second World War.
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Surette, Ray. "A copycat crime meme: Ghost riding the whip." Crime, Media, Culture: An International Journal 16, no. 2 (2019): 239–64. http://dx.doi.org/10.1177/1741659019865305.
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A 2006 US copycat crime wave came into being, surged with thousands of crimes committed, and dissipated without substantial news media attention. The development of this early copycat crime meme is traceable to the nature of the crime, “ghost riding the whip,” and the social media and popular music communication channels associated with it. Ghost riding the whip involved traffic violations where drivers exit their cars and dance atop or alongside the moving driverless vehicles. Social media allowed the widespread diffusion of detailed instructions that spread this crime from a single minority community to the middle class within a 3-month period. The study of this copycat crime meme examined four types of data: Google Trends, rap songs, ProQuest news media data, and YouTube videos. The examination of the crime wave suggests how Gabriel Tarde’s 19th-century ideas operate in the contemporary social media era. However, unlike pre-social media-based crime waves that were launched via interpersonal and legacy media communication pathways, for ghost riding, rap songs, YouTube postings, and Google searches spurred its growth. Legacy media were found to be most important during the crime wave’s decline, but not during its diffusion. For this copycat crime meme, social media’s influence flowed in a unique upward and outward pattern and the results raise the research questions as to how social media have changed the dynamics of crime waves and how important legacy media will be in future crime waves.
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Siuta, Bohdan. "Notion “Genre Type” as the Metalіngual Unit of the Modern Musical Theory". Terminological Bulletin, № 5 (2019): 188–95. http://dx.doi.org/10.37919/2221-8807-2019-5-25.
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The notion “genre type” is actual metalіngual unit of the modern musicology and musical theory. The theoretical comprehension of this term is connected with the problem of the theory of the musical genre, which is actual for contemporary musicology. This term (as far as its correspondences in musicological discourse of the countries of Eastern, Central and Western Europe) in Ukrainian musicology is still totally uncertain and not codified. This creates an obvious metalіngual lacuna. In the adequate theoretical representation, the term “genre type” outlines the higher level of the hierarchical category of the speech genre, which combines the characteristics of the speech and creative genres in music. Since the end of the 19th century phenomena musical forms / models / patterns (song form, form of rondo, etc.) and the content of music are the subject of studying and classification within the academic discipline “The doctrine of the musical form”. And in relation to the studying of genre types, other criteria are the determining factors: performance composition (instrumental, vocal, vocal-instrumental, musical and theatrical work), text, functions, place of execution, structure of construction. Additional factors of the systematic classification are periods (such as the Renaissance, Baroque, Viennese classicism) and styles (respectively, genres). The process of emancipation of functional music (which had certain social functions) determined the emergence in the 20th century so called “pure music”, almost unrelated to the primary circumstances of origin and existence. In 20th century composers begin to avoid the narrow qualifications of “genres” and established “genre types” and create “hybrid mixed forms” within the usual “classical genre types” (such as chamber symphony) or with the involvement of other types of art (for example, performances as a mixed form of art based on singing action of dance, theatre and music). In the middle of the 20th century began to differentiate musical-creative and musical-language genres within the T. Adorno’s classification of music practices for E-music, U-music and F-music. However, in contemporary Ukrainian musicology we have not a general acceptance of theoretical and methodological principles for the demarcation of classical music and entertainment. Accordingly, there is no proper musicology terminology. Working out of approaches and convincing criteria of the decision of these difficult theoretical and practical issues still continues. In connection with this, the necessity of introducing into the scientific circle the concept of “genre type”, as well as comprehension of its musical and speech nature is actualized.
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Gerdova, T. S. "Theater Art in Oleksandrivsk (Zaporizhzhya): end of the 19th – beginning of the 20th сenturies". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, № 57 (2020): 228–45. http://dx.doi.org/10.34064/khnum1-57.14.
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Introduction. Theoretical background. The territorial formation and economic development of Оlexandrivsk and the district is associated with the activation of social, including artistic, life all aspects in the Russian Empire. The creative potential of small towns, including Olexandrivsk, has become a fertile ground for the development of the principles and means of theatrical and stage creativity. Theater, as the most democratic form of art, is directly connected with changes in public life. The theater significant social role and insufficient knowledge on it in the Olexandrivsk conditions and its district determined the relevance of the research topic. The researches by S. Voitkovsky (2014), G. Dadamyan (1987), M. Yevreinov (2019) constitute the scientific and theoretical basis of the work. The study of theatrical art in the Oleksandrivsk (Zaporizhzhya) region is based on the works of O. Antonenko (2017), S. Grushkina (2011), T. Martynyuk (2003). The aim of the research is to study the theater art in Olexandrivsk and the district of the same name as an integral phenomenon of a certain time. The tasks of the work are determine the origins of the theater art in the region, coverage of the features of this phenomenon, identification of theater companies’ organizational forms, study of the theater groups’ repertoire and genre priorities, consideration of theater art professionalization issues in the region. The methodology involves the application of the basic dialectic principles (to reveal the internal contradictions of the research subject and the sources of its development); historical principle (to study the theater’ development as a process of changes in existence’ some forms); comparative method (to identify the theater art characteristics in the region); source study method (to create an archival and historical base for studying the problem); axiological approach (to identify of the theater artistic troupes’ value orientations in the region). Results of the research. Historical materials contain a few facts about the theatrical entertainment of the local population long before the foundation of Olexandrivsk. Similar to the more inhabited neighboring regions, in these territories the existence of a folk theater is likely, the roots of which M. Yevreinov sees in magical actions, rituals and buffoonery. The researcher considers the theater of Russia, the roots of which are in the theatrical art of Europe, to be a counterbalance to folk theater. At the state level, these traditions have been inculcated since the 17th century. This process in the region began from the time of Olexandrivsk foundation. There are two most stable groups of theater collectives in the theater environment of the region. Domestic and foreign drama and opera troupes, which were guided by the Western European theater traditions, are made up the first group. Ukrainian artists’ association and local amateur drama circles that further developed the traditions of folk theater consisted the second group. They united by the idea of national dramatic art. The factors of theater collective’ differentiation in this region are the form of organization of theater business, repertoire and genre priorities, issues of professionalization. The sole proprietorship form is characteristic for the Western European tradition collectives. In Olexandrivsk and the district, the private enterprise was the dominant form, as the most active organization type of theater business. This type of enterprise does not have the conventions of imperial, state, municipal and other theaters in terms of repertoire and personnel relations. This provided it with freedom, mobility and ingenuity. The organizational form of the partnership is characteristic for the troupes oriented towards the traditions of folk theater. Democracy of this form manifested itself in collective decisionmaking. The next factor in differentiating theater groups is repertoire and genre priorities. The Western European tradition troupes gave preference to the works of Western European and Russian authors. Ukrainian authors’ works, Ukrainian song and dance folklore dominated in the repertoire of Ukrainian associations, which continued the traditions of folk theater. These groups preferred works of a pronounced national orientation. The repertoire differences between the two groups reflected to the methods and skills of acting. It is necessary to master Italian vocal technique, classic instrumental technique, conducting symphonic skills in the Western European tradition troupes. In Ukrainian troupes’ music and dramatic performances, universal training actor is needed, equally skillful in stage speech, the folk dance, the style of folk singing. The theater groups’ genre preferences repertoire related to an orientation towards the original artistic traditions. The Western European tradition’ collectives repertoire abounded in dramas, operas, operettas and the romances, arias, opera scenes in the concert departments. The Ukrainian folk-theater tradition repertoire dominated by music and drama plays, simple Ukrainian opera and Ukrainian folk songs, romances by domestic composers in concert departments. In Olexandrivsk and the district, questions of theater art’ professionalization were not publicly raised widely. Some striving for the performances artistic level increase we can saw in the practice of inviting famous artists for touring performances. Thanks to this, acting skills, methods of working on the role and the performance as a whole enriched. Invitations to participation in the performance of famous performers of the folk-theatrical tradition to Ukrainian troupes were episodic. An indicative fact of development was the director’s position emergence in the Western European tradition troupes. Conclusions. The peculiarity of theater art in the Olexandrivsk region is the absence of a local professional theater, represented, on the one hand, by the work of guest domestic and foreign troupes, on the other – by Ukrainian artistic societies and local amateur associations. The dominant groups of groups embodied two types of theater: Western European tradition and folk tradition. These types of theater functioned in various organizational forms. Dramatic and operatic corpses of the European tradition were characterized by a form of individual private enterprise; Ukrainian groups that developed the traditions of folk theater – a form of acting society. Theater troupes of these two traditions distinguished by their repertoire priorities. The core of the repertoire of the Western European tradition groups was the Russian and Western European authors’ works. The groups, which developed the folk theater, staged mainly plays by Ukrainian and local authors. The vector of theatrical art development in the Olexandrivsk and region is not clear enough at the historical period under consideration. An organized and purposeful movement towards the theater art professionalization in the region of this historical period is not visible. Certain facts of attracting famous artists and interaction with other groups as well as the emergence of the directed theater can be considered as elements of а professionalization.
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Rankovic, Sanja. "Traditional music of Prizren Gora in the shadow of the Ottoman empire." Muzikologija, no. 20 (2016): 101–32. http://dx.doi.org/10.2298/muz1620101r.
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Located at the southernmost part of Kosovo and Metohija, on the slopes of the Sharr Mountains, Gora represents a place once inhabited by the Serbian Orthodox population, who converted to Islam under the Turkish occupation of the Balkans. The faith conversion began in the 16th and ended in the 19th century, at which point there had still been some remains of Orthodox churches left on the territory of Gora. The acceptance of the new religion and other values passed on by the Ottoman Empire brought about changes in terms of identity, so, nowadays, inhabitants identify themselves as the Goranci/Gorani people. To this very day, their cultural matrix reflects a combination of musical creations which probably preceded the change of religion as well as those variations established by the Turkish domination. These phenomena can be tracked on the level of both their context and the musical text. The Gorani celebrate Christian holidays (Christmas and St George?s Day), and keep those holidays that are part of Islamic practice (Sunnah and Bayram). As an example of an older, traditional manner of musical expression, the two-part ?aloud? (na glas) singing has a dominant second interval in a narrow tonal ambitus and a free metro-rhythmical organization. This form of singing is usually shaped into octosyllable and it is characterized by text improvisation which happens simultaneously with a certain action. Its interpretation is associated with St George?s Day, wedding, Sunnah, and other holidays. Songs that accompany the dance are sung in a heterophonic manner or in unison, accompanied by the tambourine (emic term: daire or def). Unlike the two-part ?aloud? singing, performing the songs in unison with the tambourine and dance has wider tonal systems with a periodical case of an excessive second. However, the very emergence of numerous instruments such as the tambourine, kaval, tambura and zurla, shows a considerable Turkish-Eastern influence. This influence is especially noticeable in the Romani ?musicking? using zurla, which typically involves a combination of traditional music of different nations, predominantly Turkish and Albanian. Turkish influence tied to instrumental music was conveyed to the vocal singing, particularly to singing songs together with using the tambourine while dancing, as well as to singing to the accompaniment of the tambura. Within these modes of musical performance, asymmetrical rhythms are used, along with the augmented second, which ethnomusicological literature often cites as an element of Oriental culture. By overviewing the Gorani musical practice and the ?otherness? in diachrony, it is evident that what was known as otherness in the past now represents an integral part of the identity. The practices established before Islam, as well as those brought by this religion, are manifested in terms of context and text. It is obvious that the Gorani people have created their own musical uniqueness throughout the centuries of cultural turmoil.
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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.
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Yakhno, Olena. "Vocal stylistics in rock music: dialectics of general and special." Aspects of Historical Musicology 21, no. 21 (2020): 279–92. http://dx.doi.org/10.34064/khnum2-21.18.
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The article aimed to identify the specific features of vocal style in rock music. This issue is considered in a complex way proceeding from the integral system of vocal intonation in its origins and evolution. It is noted that the vocal component in rock music is a synthesis of diverse origins, among which the primary and comprehensive is the song beginning, presented in all the diversity of its manifestations. Being assimilated into the forms of professional music-making, which include rock music and its historically closest source – jazz, the song component in rock music becomes the basis of meaning expression, takes the stage forms of representation, supplemented with various visual and acoustic effects and comes out to the stadium spaces with audience of many thousands. For the first time, the article proposes a systematization of those dialectical processes that were resulted in vocal rock stylistics and determined its fundamental pluralism – verballinguistic and musical-intonation, combined with social indication characteristic of rock aesthetics The article supports the idea, that vocal stylistics is a two-component concept in which two levels of terminological generalization are combined – general (“stylistics” as a set of techniques and methods, by which a music composition is created) and specific (“vocal”, which is determined by the genus of the music and its performers as a functional basis of genre). Any stylistic phenomenon, despite its concreteness, is characterized by the qualities of a meta-system, which is reflected in such concepts as “historical stylistics”, “genre stylistics”, “national stylistics” (E. Nazaikinsky). The specific stylistics, derived from the “style of any kind of music” (V. Kholopova), has the same qualities. Among them there is the vocal style which is associated with the musical implementation of the speech line, including such different forms of intonation as recitative, declamation, cantilena, also the song itself as a musical genre that incorporates all the features of “musical speech” (B. Asafiev). Therefore, the song, as the primary genre in the system of vocal intonation, was produced in the syncretism of playful forms of musical art, which included music, dance, and ritual (J. Huizinga). Keeping the quality of “conservatism” (O. Sokolov), the song on the way of its historical and evolutionary development acquired wide range of forms, being performed in different stylistic conditions and in different genre interpretations. The most general unification of multiformity of the song culture is the theory of three layers (V. Konen), in each of which it is presented as primary vocal intonation. However, despite its general origins, arising from the formula “a voice is a person” (E. Nazaikinsky), vocal art within each of the three layers – folklore, academic and the “third” – is distinguished by a number of specific features. A certain differentiation is also observed within each stratum, which also applies to the “third”, which is distinguished as something middle between folklore and academic. In the most general terms, “non-academic” vocals are distributed between such types of “third” music (V. Syrov) as jazz, rock and pop music. This article offers a comparative characteristic of the peculiarities of the varietyized forms of vocal style in rock music and jazz. Along with the general aesthetic, communicative and technological aspects, significant differences are observed here. The main one is the dominance of the vocal beginning in rock music and instrumental in jazz. At the same time, having emerged on a semi-folklore basis, as well as under the influence of entertaining forms of dance youth music of the 50s of the last century (rock & roll, youth protest songs, soul, funk, etc.), rock music has developed its own system of vocal intonation, which is distinguished by: 1) the priority of word over the music; 2) a special approach to improvisation, the role of which is less significant in rock compositions than in instrumental jazz (the exception is scat improvisation); 3) the tendency towards the revival of the genre of “poems with music”, which is peculiar to the academic song culture of Europe in the late 19th – early 20th centuries. The article proves that the “whateverism” of rock (V. Zinkevich) is not only in the variety in the “intonemas”, which are used in it (E. Barban), but also in all kinds of “splitting” of the vocal and the instrumental rock compositions into genre and stylistic subspecies. Acceleration of the processes of assimilation and modification of the intonation complexes, due to the system of musical mass culture, allows observation, since the second half of the XX century, the different hybrid varieties (jazz-rock, folk-rock, etc.) and the relatively new forms of vocal and speech music (freestyle, fusion) making with the connection of dance and theatrical components (disco, hip-hop, rap, R&B). On this basis, the vocal rock style is formed, which, however, has its own specifics. It always tends to the synthesis of music and words, and the word is often a priority and defines the ideology of rock as of a system of ideological and artistic communication. Based on the abovementioned, the conclusions are about the presence of processes of dialectical interaction in the vocal style of rock of the general (patterns of vocal sound, forms of the relations between music and word, genre origins of prototypes) and the special (their realization, at the level of aesthetics and poetics, – rock as a “way of thinking” and “lifestyle”, according to V. Zinkevich). It is noted, that the study of these processes supposes referring to specific samples – styles and compositions of rock bands confessing different points of view due to their art and the role of the vocal component in it. As the perspective, the national aspects of vocal rock stylistics need the studying, including such a little researched one as the Ukrainian.
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Flack, Corey. "Is Dante a pilgrim? Pilgrimage, material culture, and modern Dante criticism." Forum Italicum: A Journal of Italian Studies 55, no. 2 (2021): 372–98. http://dx.doi.org/10.1177/00145858211021554.
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The phrase “Dante the pilgrim” has become commonplace within scholarship on the Commedia as a way to refer to the character within the text who travels the Christian afterlife, as distinct from “Dante the poet,” the voice which narrates the poem. Yet, despite such prevalence, the validity of the term “pilgrim” goes rather unquestioned by scholars. This study aims to challenge the label through Dante’s own definition of a peregrino in the Vita nuova as “chiunque è fuori de la sua patria” (XL.6), a definition that shows a more nuanced understanding of the term than modern scholarship acknowledges. Instead, by tracing out the legacy of the term “Dante the pilgrim” as emerging from late 19th-century criticism such as Francesco de Sanctis’s Storia della letteratura italiana, this article will show that the typical understanding of pilgrim ignores a central dimension of Dante’s own definition: a sense of physical displacement. For Dante, pilgrimage becomes constitutive of the virtual world in the poem, drawing off of material practices of travel to inform the physical experiences of the protagonist. This literal level, signified by an embodied protagonist in similar ways as pilgrims to holy sites interacted with those places, is fundamental for interpreting the larger theological truths Dante conveys, even in minute details such as kicking rocks in Inferno 12.
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Roguska, Agnieszka. "Piano in the land of unsaid love – musical contexts of emotional lives of married female characters in Thomas Mann’s Buddenbrooks and Sándor Márai’s Embers." Notes Muzyczny 1, no. 15 (2021): 125–39. http://dx.doi.org/10.5604/01.3001.0014.9693.
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In The Sorrows of Young Werther, an epistolary novel by J.W. Goethe, we can find a literary portrait of a beloved woman playing a keyboard instrument. This is the motif Adam Mickiewicz referred to in his Dziady, Part 4. Both texts describe unrequited love to a woman belonging to another man. Belles-lettres reflect repertoire issues – at the turn of the 19th century girls from a proper home performed simple pieces, often dances. Subsequent decades of the 19th century came with the development of piano methodics, and composers wrote pieces which today constitute part of concert canon, whereas the piano became the perfect musical tool. The plot of Thomas Mann’s Buddenbrooks is set in the second half of the 19th century. Music plays an important role in that novel. Mann depicts the problem of clashing views in the marriage of Thomas, who was fond of “pretty melodies”, and Gerda, a magnificent violin and piano player who performed ambitious compositions and showed no mercy in criticising her husband’s musical taste. An important motif is the appearance of a young officer who visits Gerda in order to perform chamber works together. Thomas fears the mysterious bond between his wife and the lieutenant on the one hand and people’s opinions on the other. The motif of music as a platform for communication between a man and a woman can also be found in the novel Embers by Sándor Márai. Here as well it is a connection unavailable to the husband of the main heroine. At the end of his life, Henri, Christine’s husband, refers to music as the “melodious and obscure language” which allows “certain people” to communicate. Both novels include the motif of the end of an era and death of the characters for whom music was extremely significant and who performed compositions of the highest artistic value. Texts by Mann and Márai reflect a decline of a certain stage in the history of culture. It is also the end of the typical ways how burgesses and aristocrats spent their leisure time, how they treated the sphere of emotions and communed with the widely understood art. The result of these changes is the dethronement of the piano, which no longer was one of the most important pieces of furniture in a drawing room nor the most important instrument – as it used to be in the 19th century culture.
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Baier, Martin, Sri Kuhnt-Saptodewo, H. J. M. Claessen, et al. "Book Reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 150, no. 3 (1994): 588–623. http://dx.doi.org/10.1163/22134379-90003081.
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- Martin Baier, Sri Kuhnt-Saptodewo, Zum Seelengeliet bei den Ngaju am Kahayan; Auswertung eines Sakraltextes zur Manarung-Zeremonie beim totenfest. München: Akademischer Verlag,1993 (PhD thesis, Ludwig-Maximilian-Universitiy München). - H.J.M. Claessen, Annette B. Weiner, Inalienable Possessions; The paradox of keeping-while-giving. Berkeley: University of California Press, 1992, 232 pp. Bibl. Index - Charles A. Coppel, Wang Gungwu, Community and Nation; China, Southeast Asia and Australia. Sydney: Asian studies of Australia in association with Allen & Unwin, 1992 (2nd revised edition), viii + 359 pp - Heleen Gall, W. J. Mommsen, European expansion and Law; the encounter of European and Indigenous Law in 19th- and 20th- century Africa and Asia. Oxford; Berg publishers, 1992, vi + 339 pp, J.A. de Moor (eds.) - Beatriz van der Goes, C. W. Watson, Kinship, Property and inheritance in Kerinci, Central Sumatra. Canterbury:University of Kent, Centre for Social Anthropology and computing Monographs no: 4. South-East Asian Series, 1992, ix + 255 pp - Kees Groeneboer, Tom van der Berge, Van Kenis tot kunst; Soendanese poezie in de koloniale tijd. Proefschrift Rijksuniversiteit Lieden, November 1993, 220 pp - Kees Groeneboer, J.E.A.M. Lelyveld, ‘... waarlijk geen overdaad, doch een dringende eisch..’’; Koloniaal onderwijs en onderwijsbeleid in Nederlands-Indië 1893-1942. Proefschrift Rijksuniversiteit Utrecht, 1992. - Marleen Heins, R. Anderson Sutton, Variation in Central Javanese gamelan music; Dynamics of a steady state. Northern Illinois University: Center for Southeast Asian Studies, Monograph series on Southeast Asia, (Special Report 28 ),1993. - Marleen Heins, E. Heins, Jaap Kunst, Indonesian music and dance; Traditional music and its interaction with the West. Amsterdam: Royal Tropical Institute/Tropenmuseum, University of Amsterdam, Ethnomusicology Centre `Jaap Junst’, 1994, E. den Otter, F. van Lamsweerde (eds.) - David Henley, Harold Brookfield, South-East Asia’s environmental future; The search for sustainability. Tokyo: United Nations University Press, Kuala Lumpur: Oxford University Press, 1993, xxxii + 422 pp., maps, tables, figures, index., Yvonne Byron (eds.) - Antje van der Hoek, Keebet von Benda-Beckmann, De emancipatie van Molukse vrouwen in Nederland. Utrecht: Van Arkel,1992, Francy Leatemia-Toma-tala (eds.) - Michael Hitchcock, Brita L. Miklouho-Maklai, Exposing Society’s Wounds; Some aspects of Indonesian Art since 1966. Adelaide: Flinders University Asian studies Monograph No.5, illustrations, 1991, iii + 125 pp - Nico Kaptein, Fred R. von der Mehden, Two Worlds of Islam; Interaction between Southeast Asia and the Middle East.Gainesville etc: University Press of Florida 1993, xiii + 128 pp - Nico Kaptein, Karel Steenbrink, Dutch Colonialism and Indonesian Islam; Contacts and Conflicts 1596-1950. Amsterdam-Atlanta, GA: Rodopi, 1993. - Harry A. Poeze, Rudolf Mrázek, Sjahrir; Politics and exile in Indonesia. Ithaca, N.Y.: Cornell University, Southeast Asia Program, 1994. - W.G.J. Remmelink, Takao Fusayama, A Japanese memoir of Sumatra 1945-1946; Love and hatred in the liberation war. Ithaca: Cornell University (Cornell Modern Indonesia Project Monograph series 71), 1993, 151 pp., maps, illustrations. - Ratna Saptari, Diana Wolf, Factory Daughters; Gender, Household Dynamics, and Rural Industrialization in Java. Berkeley: University of California Press, 1992. - Ignatius Supriyanto, Ward Keeler, Javanese Shadow Puppets. Singapore (etc.): Oxford University Press, 1992, vii + 72 pp.,bibl., ills. (Images of Asia). - Brian Z. Tamanaha,S.J.D., Juliana Flinn, Review of diplomas and thatch houses; Asserting tradition in a changing Micronesia. Ann Arbor: University of Michigan Press, 1992. - Gerard Termorshuizen, Dorothée Buur, Indische jeugdliteratuur; Geannoteerde bibliografie van jeugdboeken over Nederlands-Indië en Indonesië, 1825-1991. Leiden, KITLV Uitgeverij, 1992, 470 pp., - Barbara Watson Andaya, Reinout Vos, Gentle Janus, merchant prince; The VOC and the tightrope of diplomacy in the Malay world, 1740-1800. Leiden: KITLV Press, 1994, xii + 252 pp.
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Ha, Sha. "Cosmic Pessimism in Giacomo Leopardi’s “Night Song of a Wandering Shepherd in Asia”." International Journal of Comparative Literature and Translation Studies 7, no. 1 (2019): 14. http://dx.doi.org/10.7575/aiac.ijclts.v.7n.1p.14.
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The present paper analyses the lyrical expression of ‘cosmic pessimism’ contained in the “Night song of a wandering shepherd in Asia” of the Italian poet and philosopher Giacomo Leopardi (1798-1836), a central figure of the European literary and cultural landscape of the first half of the 19th century, who was acclaimed as ‘the greatest Italian poet after Dante’ by the British cultural critic Matthew Arnold. The ‘song’, composed in the period 1828-1829, bridges neoclassic and romantic sensibilities: it is composed of 143 verses without rhyme, subdivided into six parts, called ‘stanze’ and the scenario is that of a night in a desert landscape where a flock is sleeping, while the shepherd addresses himself to the moon, posing her unanswered questions about the meaning of life.
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Collani, Tania. "Représenter le renouveau : la modernité dans les traductions françaises de la "Vita nova" de Dante." Między Oryginałem a Przekładem 25, no. 45 (2019): 33–54. http://dx.doi.org/10.12797/moap.25.2019.45.02.
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Representing a Renewal: Modernity in French Translations of Dante’s Vita nova
 The young Dante Alighieri’s “little book” Vita nuova (or Vita nova or New Life), has achieved an unprecedented editorial success since the 19th century. In fact, five translations into French were published in less than 70 years, showing the value that this “minor” work of the medieval Florentine poet acquired in this period. As a matter of fact, Dante’s medieval lifetime assumed alternately romantic, melancholic, decadent and symbolist nuances and embodied the emerging ideal of life as a work of art. This “life” depicted in Dante’s book was defined by an adjective, sometimes given in its Latin form nova, sometimes Italianized as nuova, which easily started the contemporary and vivid debate on modernity, where youth and novelty became salient features.
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Daehoe Ahn. "A Study on Tak Muhan as a Mask Dancer and a Maker of Korean Mask Drama in the 18th and 19th Century." Korean Studies Quarterly 33, no. 4 (2010): 235–60. http://dx.doi.org/10.25024/ksq.33.4.201012.235.
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Kuzmina, O. A. "“The House That Jack Built” by Jessie L. Gaynor as an example of an English language operetta for children." Aspects of Historical Musicology 15, no. 15 (2019): 231–49. http://dx.doi.org/10.34064/khnum2-15.12.
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Background. The children’s opera in all its diversity has undergone a rapid path to its formation and development, responding to changes in the art and aesthetic space of musical culture. The active being and the practical use of this phenomenon only emphasize the gaps in musicology science more acutely. Some researchers combine with the notion of «children’s opera» both works that involve children to participate in the performing process, and those which are aimed at a certain age audience. Other authors put the term «opera for children» as universal, but use it to describe various works. However, if the information about this genre is contained in the scientifi c literature, research on opera for children-performers analogue, children’s operetta which was formed and used by considerable demand in the late 19th – in the fi rst half of the 20th century in the English-speaking countries, is practically absent. This determines the relevance of the chosen subject. Objectives. The objective of this study is to consider the features of the libretto, the compositional and dramaturgical properties of the children’s operetta by J. L. Gaynor The House that Jack Built as one of the English-language samples of the genre. Methods. So far these methods were been applied: historical, structural and functional, comparative. Results. It is diffi cult to indicate the exact date of the children’s operetta emergence. It is known from available literature that it became widespread in the 1880s. In the following decades, the popularity of children’s operettas does not fade, rather, it only grows. The school authorities even were worried about such an intensity of extracurricular work. However, this fact did not affect the number of performances. There are books containing instructions and guidance, tips on probable diffi culties that could be faced by fi rst-time directors. In particular, it was recommended to divide responsibilities between school departments and draw up a general plan of action. Attention was paid to organizing an advertising campaign to attract as many viewers as possible. With such performance enthusiasm, there was a certain lack of repertoire written specifi cally for children and adolescents. Not surprisingly, the music teachers sought to replenish it. Among them was an American piano and harmony teacher Jessie Lovel Smith Gaynor (1863–1921) who composed The House that Jack Built (1902). This is not the only sample of children’s operetta in the heritage of J. L. Gaynor, she wrote a few more works, mostly after fairy tales: The Lost Princess Bo-Peep (its plot matches Jack’s one), The Toy Shop, Snow White, The Magic Wheel, Three Wishes, The Return of Proserpina, and On Plymouth Rock. The libretto of The House that Jack Built, written by A. G. D. Riley, is compiled on the basis of nursery rhymes, which are an integral part of the English-speaking countries culture. The operetta includes 24 folklore texts (full or fragmented): poems, two counters, and a ballad. To organize the plot, the librettist used the «stringing» method, or the cumulative principle, joining each subsequent element to the previous one with the help of the Mother Goose’s recitative lines. She is the key character, who greets and introduces new guests at her party. This principle is refl ected in the organization of the whole operetta. Mother Gooses’ cues are a refrain similar to the poem The House that Jack Built. Each character is not related to the previous one or the next, they are united only by belonging to the images of folk poetry. Since the libretto is mainly based on miniatures (with one or two verses), there are many participants of the performance: 43 characters, 21 thrushes, and collective characters, the number of which is not specifi ed precisely. There is no plot in common sense – as a series of related events built in accordance with certain principles – in The House that Jack Built. Rather, it reminds the carnival procession, in which characters are appearing one by one. They have bright, sometimes extravagant costumes, which vary with the speed of the pattern in the kaleidoscope. The structure of the operetta is simple and clear. It consists of two acts, divided into 19 big numbers (9 in the fi rst action, 10 in the second), which are often built in the form of a suite. The balance among solo-ensemble and choral numbers in The House that Jack Built is unequal. The choruses prevail in the operetta (there are about 20 of them). It is diffi cult to name the exact number because the author does not always clarify the exact cast. Solo and ensemble numbers are 4 times fewer; in addition, there are 2 numbers in the 2d act, in which the soloist and choir sing together. To achieve compositional and dramatic unity, there was a need to involve additional means in addition to the cross-cutting image of Mother Goose, since the Jack’s plot is deprived of the consistent development of events. This function is performed by several themes: «fairy tale» (in the future it is associated with the appearance of fairies and elves), «pastoral» (its emergence is marked by the remark Andante Pastorale), the theme of Jack, the dance motive, and the theme of King Cole. They are exhibited in the overture for the fi rst time. When the act begins, they are joined by the themes of Mother Goose and Thrushes. For the fi rst time, most of the themes are conducted in the overture. This determines the suite character of its structure: 6 episodes that contrast with each other by tempo. The piano part plays an important role in the operetta. It presents the leading themes, the main image-bearing and poetic motives, and supports the performers in the vocal appearances. The revealed signs give grounds to consider the English-language children’s operetta a national model of opera for children-performers. Conclusions. In the English-speaking countries, particularly in the USA, at the end of the 19th – in the fi rst half of the 20th century the tradition to perform operettas at schools was formed. This works from their form and contents were similar to compositions which were called children’s operas (operas for children-performers) in Europe. An analysis of The House that Jack Built by J. L. Gaynor allows us to interpret the author’s genre name in its original linguistic meaning – «small opera». A signifi cant number of such works still remain beyond the attention of scholars and require a thorough study both in historical and in theoretical directions.
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Василишина Наталія Анатоліївна. "ЛІТЕРАТУРНІ СЮЖЕТИ В ТВОРАХ Е. ДЕЛАКРУА – “ЗАГИБЕЛЬ КОРАБЛЯ ДОН-ЖУАНА” ТА “ПІСЛЯ КОРАБЕЛЬНОЇ АВАРІЇ”". Science Review, № 5(22) (30 червня 2019): 33–42. http://dx.doi.org/10.31435/rsglobal_sr/30062019/6546.
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In this article, we have studied problems associated with features of the painting development in the Romantic era. We have highlighted questions on the interrelationship between literature and painting and considered new trends in the development of the French painting in the first half of the 19th century. Artists of this era, in particular E. Delacroix, searched for new subjects actively by finding interesting themes in works of the world literature. E. Delacroix was inspired by works of Dante, L. Ariosto, T. Tasso, W. Shakespeare, J. Goethe, G. Byron, F. R. de Chateaubriand, W. Scott etc. Among them we should make the English writer G. Byron stand out: His character personified the romantic ideal of the whole era and his heroic life became a role model for young generation. In Byron’s works Eugène Delacroix was searching for new themes and his romantic hero and every time finding the relevant ways for his artistic solution system. Е. Delacroix’s works show us the integrity of romantic ideas clearly and the close mutual influence of the Western European literature and French painting allows speaking about the uniqueness of this era.
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Mori, Pierluigi. "Brevi cenni sul rapporto tra turismo e letteratura italiana." Studia Universitatis Babeș-Bolyai Historia 65, no. 2 (2021): 135–55. http://dx.doi.org/10.24193/subbhist.2020.2.08.
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"Brief notes on the relationship between tourism and Italian literature. Using literary sources, the essay covers three points in the relationship between Italians and holidays: the first is the transition from vacation to tourism; the second from summer vacation as a moment of rest (mainly in the countryside) to vacation as an opportunity for fun (mostly at the seaside). In addition to these two, we have a third point: in the second half of the Twentieth century, holidays become a mass phenomenon, no longer elitist as they had been until the first half of the same century. They become something possible for most Italians who, especially in August, leave the cities empty. This historical-sociological parable is revisited through literary testimonies that go back to the roots of the mother literature, the Latin one and then it resumes its path, interrupted in the High Middle Ages, around 1300 in conjunction with the first literary testimonies (the triad Dante, Petrarca, Boccaccio). The vacation phenomenon, intended as staying for the summer months in a villa more or less outside the city walls, finds its maximum expression starting from the 16th century with the Renaissance villas of the aristocracy, until it meets the aspirations of the small nobility and of the upper middle class in the 18th and 19th centuries. Crucial testimony is Carlo Goldoni's “Vacation Trilogy”, a triptych of three comedies that actually constitute a single text portraying the vacation phenomenon as a status symbol far from the motivations of previous centuries (vacation as a moment of peace, ‘’otium’’, rest). During the Nineteenth century, holidays are associated with tourism (especially in the thermal baths and in the mountains), while from the Twentieth century, the favourite option is the seaside. However, another change will characterize the use of leisure in the Twentieth century: the birth of mass tourism. With brief literary notes, we try to explain how in Italy holidays have now turned into something with anxiety-inducing traits, especially among young people and not only, in an almost spasmodic search for fun (with Dionysian and Bacchic traits) at the expense of original motivations (rest, leisure, “otium”) in a relationship in which the “horror vacui” seems to have ousted the “horror pleni”. Keywords: vacation, tourism, holidays, literature, Italy. "
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Serdiuk, Ya O. "Chamber music works by Amanda Maier in the context of European Romanticism." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (2020): 121–35. http://dx.doi.org/10.34064/khnum1-56.08.
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Background. The name of Amanda Maier (married – Röntgen-Maier), the Swedish violinist, composer, pianist, organist, representative of the Leipzig school of composition, contemporary and good friend of С. Schumann, J. Brahms, E. Grieg, is virtually unknown in the post-Soviet space and little mentioned in the works of musicologists from other countries. The composer’s creativity has long been almost completely forgotten, possibly due to both her untimely death (at the age of 41) and thanks to lack of the research interest in the work of women composers over the past century. The latter, at least in domestic musicology, has significantly intensified in recent decades, which is due in part to the advancement in the second half of the XX and early XXI centuries of a constellation of the talanted women-composers in Ukraine – L. Dychko, H. Havrylets, A. Zagaikevych, I. Aleksiichuk, formerly – G. Ustvolska, S. Gubaydulina in Russia, etc. Today, it is obvious that the development of the world art is associated not only with the activities of male artists, but also with the creative achievements of women: writers, artists, musicians. During her life, A. Maier was the well-known artist in Europe and in the world and the same participant in the musical-historical process as more famous today the musicians of the Romantic era. Objectives and methodology. The proposed study should complement the idea of the work of women-composers of the 19th century and fill in one of the gap on the music map of Europe at that time. The purpose of this article is to characterize the genre-stylistic and compositional-dramaturgical features of selected chamber music works by A. Röntgen-Maier. In this research are used historical-stylistic, structural and functional, analytical, comparative, genre methods. Research results. Carolina Amanda Erika Maier-Röntgen was born in Landskrona, Sweden, where she received her first music lessons from her father. Then she studied at the Royal College of Music in Stockholm, where she mastered playing on the several instruments at once – violin, cello, piano, organ, as well as studied the music theory. She became the first woman received the title of “Musik Direktor” after successfully graduating from college. She continued her studies at the Leipzig Conservatory – in the composition under Carl Reineke and Ernst Friedrich Richter direction, in the violin – with Engelbert Röntgen (concertmaster of the Gewandhaus Orchestra, the father of her future husband J. Röntgen). She toured Europe a lot, firstly as a violinist, performing her own works and her husband’s works, alongside with world classics. After the birth of her two sons, she withdrew from active concert activities due to the deterioration of her health, but often participated in music salons, which she and her husband organized at home, and whose guests were J. Brahms, C. Schumann, E. Grieg with his wife, and A. Rubinstein. It is known that Amanda Maier performed violin sonatas by J. Brahms together with Clara Schumann. The main part of the composer’s creative work consists of chamber and instrumental works. She wrote the Sonata in B minor (1878); Six Pieces for violin and piano (1879); “Dialogues” – 10 small pieces for piano, some of which were created by Julius Röntgen (1883); Swedish songs and dances for violin and piano; Quartet for piano, violin, viola and cello E minor (1891), Romance for violin and piano; Trio for violin, cello and piano (1874); Concert for violin and orchestra (1875); Quartet for piano, violin, viola and clarinet E minor; “Nordiska Tonbilder” for violin and piano (1876); Intermezzo for piano; Two string quartets; March for piano, violin, viola and cello; Romances on the texts of David Wiersen; Trio for piano and two violins; 25 Preludes for piano. Sizable part of the works from this list is still unpublished. Some manuscripts are stored in the archives of the Stockholm State Library, scanned copies of some manuscripts and printed publications are freely available on the Petrucci music library website, but the location of the other musical scores by A. Maier is currently unknown to the author of this material; this is the question that requires a separate study. Due to the limited volume of the article, we will focus in detail on two opuses, which were published during the life of the composer, and which today have gained some popularity among performers around the world. These are the Sonata in B minor for Violin and Piano and the Six Pieces for Violin and Piano. Sonata in B minor is a classical three-part cycle. The first movement – lyricaldramatic sonata allegro (B minor), the second – Andantino – Allegretto, un poco vivace – Tempo I (G major) – combines lyrical and playful semantic functions, the third – Allegro molto vivace (B minor) is an active finale with a classical rondosonata structure. The Six Pieces for Violin and Piano rightly cannot be called the cycle, in the Schumann sense of this word, because there is no common literary program for all plays, intonation-thematic connections between this musical numbers, end-to-end thematic development that would permeate the entire opus. But this opus has the certain signs of cyclization and the common features to all plays, contributing to its unification: tonal plan, construction of the whole on the principle of contrast, genre, song and dance intonation, the leading role of the violin in the presentation of thematic material. Conclusions and research perspectives. Amanda Maier’s chamber work freely synthesizes the classical (Beethoven) and the romantic (Schubert, Mendelssohn, Schumann) traditions, which the composer, undoubtedly, learned through the Leipzig school. From there come the classical harmony, the orderliness of her thinking, clarity, conciseness, harmony of form, skill in ensemble writing, polyphonic ingenuity. There are also parallels with the music of J. Brahms. With the latter, A. Maier’s creativity correlates trough the ability to embody freely and effortlessly the subtle lyrical psychological content, being within the traditional forms, to feel natural within the tradition, without denying it and without trying to break it. The melodic outlines and rhythmic structures of some themes and certain techniques of textured presentation in the piano part also refer us to the works of the German composer. However, this is hardly a conscious reliance on the achievements of J. Brahms, because the creative process of the two musicians took place in parallel, and A. Maier’s Violin Sonata appeared even a little earlier than similar works by J. Brahms in this genre. Prospects for further research in this direction relate to the search for new information about A. Maier’s life and creativity and the detailed examination of her other works.
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Oleh, Klendii. "The Semantics of Virtuosity in Genre-Stylistic System of C. Saint-Saëns’s Album for Piano op. 72." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (2019): 38–52. http://dx.doi.org/10.34064/khnum1-52.03.
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Background. In recent decades an intensive development of art semiotics, which contributes to the investigation of the concept of musical compositions and their functioning in performance practice, has been observed. Music semantics and performance texture are closely interrelated, since texture elements as semantic signs are able to convey the semantic expression of the language of music. Texture depends on a lot of factors. There is a strong semantic interrelation between an individual music genre and its typical texture, which has established itself in music practice and has become its distinctive feature. The typical examples are chant chords, which is a typical accompaniment of a waltz, and toccata martellato as an articulation technique. There is an interdependence of music styles and texture elements at historical, national and individual composer’s levels. For example, there is exquisite embellishment in French clavecinists’ works and Alberti bass in Viennese classics’ works. An unexpected outburst of virtuoso style in performance art has become a cultural heritage of Romantic era. In the 19th century the semantics of virtuosity, which is evident in the choice of the mediums of expression in piano works, was of significant importance more than ever before. Texture was in focus and tempo-rhythm, articulation, dynamics and agogics created tonal variations (clarity of Chopin’s jeu perlé, bravura octaval passage works by Liszt). Together with the main meaning-making mechanisms of genre and style in piano works of the 21st century, there is program music. In Baroque era it was closely connected with oratory and the theory of affects. Romanticists gained a better understanding of the potential of music art as a universal language. As a result, during the last two centuries, a “dictionary” of texture semantic signs connected with program music was in the process of its creation. Its demonstrative and wide-spread example is the onomatopoeia of bells (indexical sign by V. Kholopova), which provided for using chords, a broad range of registers and polyrhythm (F. Liszt, O. Borodin, S. Rachmaninoff, C. Debussy). C. Saint-Saëns is one of the most brilliant representatives of French piano school, who personifies the phenomenon of a “composer-virtuoso”. That is why, among all the kinds of conceptual-music and conceptual-word signs (by V. Kholopova), which make up the texture of C. Saint-Saëns’s piano music, virtuosity signs are of great importance and their scientific apprehension reveals the principles of his piano style better. Album for piano op. 72 was written in the years of C. Saint-Saëns’s intensive creative work as a performer and as a composer and it emphasizes the main trends in mature pianoforte mentality. Objectives. The paper covers the determination of the style basics of C. Saint-Saëns’s piano music in terms of the influence of a virtuoso performance practice, which was developed in Western European art. Methods. Research methodology is based on the unity of style, genre, intonation and system analysis types, which highlight the significance of the piano music heritage of the great artist for contemporary performers. Results. A genre and stylistic system of the miniature cycle of Album for piano op. 72 is complex and various. There is a principle of genre interrelation, which manifests itself in the use of folk genres of Italian music culture as a national tradition of this country and the combination of prelude genres of Baroque and Romantic eras (Baroque principles of composition in creating a romantic character). The composition of Album can be roughly divided into two “small cycles”, which are characterized, first of all, by the presence of motor (motor-dance) genres in the final parts and, secondly, by the contrast in the middle part, namely a sound representing one and a cantilena one. The first cycle contains Prélude, Carillon, and Toccata and the second one includes Valse, Chanson Napolitaine and Finale. As for the virtuosity, three main semantic complexes, through which it is manifested, can be distinguished. Their differentiation depends on the dominating expressive means. A high tempo, loud dynamics (ff, fff) and a high level of articulation clarity (non legato, marcatissimo, rinforzando) are the most significant ones in the first cycle. The second cycle is characterized by a multilayer texture with a complex metro-rhythm organization and the elements of a polyphonic notation, which compensates a medium tempo. The third complex represents the semantic values, which are opposite to the first one. They are reached due to a clear light texture, fine finger action combined with articulatory leggiero and dynamics (p, pp). C. Saint-Saëns’s Album for piano op. 72 requires the performer to have the whole set of technical skills. The works of this cycle contain not only a creative synthesis of the piano music of Baroque, Classicism and Romantic era, which is heritable for the artist, but also new ideas of a thematic organization followed by the appearance of music impressionism stylistics in future. Conclusions. C. Saint-Saëns’s piano music style combines the fundamentals of common European instrumental music and mental evidences of French national tradition. The main principles of the composer’s pianoforte mentality include polygenre, stylization, onomatopoeia in program music and virtuosity that were brilliantly embodied in the original authenticated forms of piano music. The virtuosity signs, which were determined in the process of the semantic analysis of Album, bring French instrumental miniature to the whole new level of artistic music creation. Being a virtuoso, C. Saint-Saëns further developed miniature poetics, and thus, contributed to the understanding of the virtuosity style of piano music performance.
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Bogucki, Mateusz. "O fragmentaryzacji srebra wczesnośredniowiecznego: na ile wiarygodne są dane metrologiczne? Przypadek skarbu z Mózgowa na Warmii (t.p.q. 1009)." Slavia Antiqua. Rocznik poświęcony starożytnościom słowiańskim, no. 60 (January 1, 2020): 221–38. http://dx.doi.org/10.14746/sa.2019.60.8.
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For years, a discussion has been held about the circulation of silver in the early Middle Ages and the role played by fragments of coins and ornaments. This multi-faceted discussion has also revolved around the function of the smallest fragments. Metrological research has indicated certain regularities in the incidence of fragments of a specified weight depending on region and chronology. New data for this discussion was provided by a treasure trove originally discovered in 1868 in Mózgowo in Warmia. Only slightly more than 400 coins have survived from the items discovered in the 19th century; they are a part of a collection of the Herzog Anton Ulrich Museum in Braunschweig. The place where the treasure was discovered was identified in 2010; more than 800 coins and fragments thereof were unearthed. In 2012, the area was examined as a site of excavation where subsequently over 370 specimens were discovered. The treasure trove must have been hidden sometime after 1009, most probably around 1015. The coins from the museum in Braunschweig are not suitable for metrological analysis because they were intentionally separated for a systematic collection. Following an analysis of the specimens discovered in 2010 and 2012, considerable discrepancies in weight frequencies were observed. It turns out that in the collection of objects excavated by professional metal detector operators, very small fragments of silver prevail. Before, they were rarely registered in early medieval treasures (fragments weighing more than 1 gram represent only 6.66%, pieces weighing less than 1 g represent 93.33%, fragments of up to 0.5 g represent 87.61%, while pieces weighing less than 0.1 g represent a whopping 55% of the entire collection).The differences in the weight of silver fragments in the specific parts of the treasure trove from Mózgowo shed new light on both the methodology of examining treasure troves and how representative the data used so far in statistical and metrological analyses are.
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Waszak, Zbigniew. "Franz Liszt – a world citizen or a Hungarian patriot? Hungarian Rhapsodies as an example of implementing the concept of national music." Notes Muzyczny 1, no. 9 (2018): 107–22. http://dx.doi.org/10.5604/01.3001.0012.9901.
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The article is an attempt to determine the attitude of Franz Liszt to Hungary – the country where the composer was born, which in the 19th century was part of the Austrian Empire. The artist was shaped in accordance with the Western European culture model. That in combination with contacts with the intellectuals and the world of art deeply transformed Liszt’s worldview and shaped his artistic profile. This cosmopolitan attitude changed at a certain stage of his life when he returned to his home country. In Hungary, a process began, which allowed Liszt to notice the meaning of his country’s culture. This tendency was expressed in the composer’s interest in Gypsy music and national folklore. The article characterises the music of Hungarian Roma people as well as folk dances (verbunkos, czardas). The influence of the aforementioned elements is noticeable in Liszt’s compositions from that period, especially in the nineteen Hungarian Rhapsodies. The cycle includes clear references to Gypsy music, the sound of a Roma band in particular. A reference to folklore is the form of the pieces and the stylistic means taken from verbunkos, among others. The Rhapsodies are a masterly combination of virtuoso technique with the capacities of the piano (imitation of the cimbalom or glockenspiel). The composer incorporated new harmonic qualities, such as a Gypsy scale or imitation of folk bass. At the same time, the cycle remains in accordance with the rules of classical harmony. Liszt’s searching for new composition possibilities and sound qualities gave an impulse for the development of ethnomusicology, exploring and formulating new concepts in the art of piano playing (e.g. by Béla Bartók).
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Bušmane, Brigita. "Slavic Loanwords in the Terms for Dumplings in Latvian." Acta Baltico-Slavica 40 (December 28, 2016): 38–59. http://dx.doi.org/10.11649/abs.2016.004.
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Slavic Loanwords in the Terms for Dumplings in LatvianFood is an essential part of the material culture of every nation. It frequently preserves national traditions and old names longer than other spheres do, additionally, it lets observe the influence of other cultures. According to dictionary data, dumplings were known in Latvia already in the 18th century. Many names for them have been attested in regional subdialects of Latvian; borrowings usually cover wide areas.In this article, basing on ethnographic and linguistic material notations of different antiquity thus tracing the use of names for dumplings almost a century long and referring to dictionary data from 18th–19th century, the author tried to reveal the use and distribution of names for dumplings of Slavic origin in subdialects of Latvian, as well as to offer fragmentary data on the use of particular Slavic borrowings in neighboring languages.The Slavic borrowings kļocka, zacirka alongside variant names are widespread in Eastern Latvia, i.e. in a rather narrow or wide area of the High Latvian dialect. In Eastern Latvia, the names klučki, klučkas derived from the Germanic borrowing kluči, with insertion of the consonant k under influence of Russian, have also been registered.From the semantic angle, the borrowings kļockas, klučkas and their variants are denoting dumplings made of various raw materials (e.g., different kinds of flour, also pea-flour, potatoes). Further references to ingredients of this food and its preparation are included in the explanation of the Slavic borrowing zacirka and its variants most typical for the peasants vocabulary in Latgale.The Slavic borrowings examined in this article have not seldom (even up to the last decades of the 20th century) been serving as the only names of the said dish in the speech of representants of the oldest generation in the particular area in Eastern Latvia. Słowiańskie zapożyczenia wśród nazw pierogów w języku łotewskim Żywność stanowi zasadniczą część kultury materialnej każdego narodu. Nazwy związane z nią często zachowują narodowe tradycje i dawne nazwy dłużej, niż to ma miejsce w innych sferach, a ponadto umożliwiają zaobserwowanie wpływu innych kultur. Według danych słownikowych, pierogi były znane na Łotwie już w XVIII w. Potwierdzono wiele ich nazw w regionalnych subdialektach łotewskich; zapożyczenia na ogół występują na całym obszarze.W tym artykule autorka stara się – na podstawie zapisów w materiałach etnograficznych i lingwistycznych z różnych okresów, śledząc użycie nazw pierogów w ciągu niemal stulecia i odnosząc się do danych ze słowników z XVIII–XIX w. – pokazać użycie i dystrybucję różnych nazw pierogów pochodzenia słowiańskiego w subdialektach łotewskich, jak też podać fragmentaryczne dane o użyciu poszczególnych zapożyczeń słowiańskich w sąsiednich językach.Słowiańskie zapożyczenia kļocka, zacirka, obok ich odmianek, są rozpowszechnione we wschodniej Łotwie, tj. w obszarze dialektu wysokołotewskiego. We wschodniej Łotwie zarejestrowano też nazwy klučki, klučkas, derywaty od niemieckich zapożyczeń kluči z insercją spółgłoski k pod wpływem języka rosyjskiego.Pod względem semantycznym zapożyczenia kļockas, klučkas i ich odmianki oznaczają pierogi zrobione z różnych surowców (np. różnych rodzajów mąki i ziemniaków). Dalsze odniesienia do składników tej potrawy i sposobu jej przygotowania zawarte są w objaśnieniu słowiańskiego zapożyczenia zacirka i jego odmianek najbardziej typowych dla słownictwa łotewskich chłopów.Słowiańskie zapożyczenia analizowane w tym artykule nierzadko (jeszcze do ostatnich dekad XX w.) służyły jako jedyne nazwy omawianych dań w mowie przedstawicieli najstarszej generacji mieszkańców obszaru wschodniej Łotwy.
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Hundorova, Tamara. "“The Blue Rose” by Lesia Ukrainka as the ‘rite de passage’: biography, psychiatry and writing." Слово і Час, no. 1 (February 2, 2021): 3–31. http://dx.doi.org/10.33608/0236-1477.2021.01.3-21.
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The paper explores “The Blue Rose” (1896) by Lesia Ukrainka in terms of the ‘rite de passage’ as the text with a ritual function that reflects the cultural, gender, and author status transformations within the field of literature. In the most general sense, the first drama by Lesia Ukrainka is analyzed as an act of initiation into the fin de siècle culture. Peculiar features of this ritual are the critical comments of the modern culture, transformation of the autobiographical facts into aesthetic phenomena, and interiorization of the motif of death.
 “The Blue Rose” discusses a female genetic illness — a popular topic of the late 19th century — and depicts an attempt of escaping into the illusionary world of platonic love. Representation of the female insanity and ‘unconventional love’, as well as the critique of a bourgeois view of happiness and the patriarchal world, is also an important aspect of the drama. References to the unpublished materials of Lesia Ukrainka’s archive — her excerpts from the “Psychiatry” by Krafft-Ebing — allow concluding that “The Blue Rose” treats insanity as a psychiatric and not a psychological phenomenon. The mother-daughter relations as well as the tension of the mother-son relations in the family of Kosaches are also an important element in Lesia Ukrainka’s work.
 “The Blue Rose” (1896) is a multidimensional and experimental drama. Its author transforms numerous autobiographical facts into cultural situations and engages in a discussion on the topical themes and motifs of the fin de siècle, in particular female insanity, hysteria, and maternity. The writer employs naturalistic methods of analysis and reinforces descriptions of female insanity with the facts from psychiatric practice. “The Blue Rose” displays an interest of Lesia Ukrainka in Neoplatonism, which she would later associate with a Neo-romantic impulse ‘ins Blaue’.
 In general, the author did not follow the foreign patterns, as the critiques noted, but explored the Zeitgeist of the new era. She involved authentic practical experience of her own life and the lives of her relatives and friends, analyzed moral norms and psychological states referring to the cultural codes that ranged from “The Romance of the Rose”, Dante, Shakespeare, and Heine to Zola, Ibsen, and Nadson. This practice ensured Lesia Ukrainka’s initiation into the fin de siècle culture and paved her way to the modernist drama.
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Balta, Ivan. "Care for people in diaspora up to a latent conflict with the domicile nation – updating the past to the present of Bosnia and Herzegovina." Historijski pogledi 2, no. 2 (2019): 85–119. http://dx.doi.org/10.52259/historijskipogledi.2019.2.2.85.
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The beginning of the 19th and the 20th century marked the period of nations’ constitution in southeastern Europe and greater care for nations’ oases living out of their parent nations. Sometimes that care turned into intended or unintended hegemony over other nations. This phenomenon is actual even today in various nations, especially in the Balkans, so it is interesting how "the care of the people out of their home country" (nowadays people would say "diaspora"), implemented various "actions" that were sometimes politically conducted from the Austro-Hungarian centres of power to the territory of Bosnia and Herzegovina, Croatia and Slavonia, especially in the case of the Hungarian government's pro-government project "Julian Action".So-called Julian Action was not unique at that time, neither it was the only, nor the first or special, but it can be somewhat comparable to the same work methodology in the same regions, for example, with the similar German project Schulvereine, the Italian action by Dante Alighieri, and even to not so significant Slavic action of the Cyril and Methodius societies, as well as to some other less-known "actions" that operated abroad, i.e. mainly outside the home countries, on the territory of Austria-Hungary. The opposite views were mostly manifested in the interpretation of justification, e. g. of Julian Action (which got the prosaic name). For instance, the Hungarian side (similar to German, Italian ... through their associations), justified the action of the association "Julian" by the care of its own people outside the borders of the home state (in order to preserve identity, culture and language). On the contrary, the Croatian (and also Bosnian-Herzegovinian,…) side in the activity of the "Julian" organization recognized a sort of political alienation and Hungarization (or Germanization, Italianization, ...) of the majority of domicile population. The Hungarian Julian campaign was conducted on the basis of: A) Statute of the Julian Society, (voted in 1903), and B) Hungarian, Bosnian-Herzegovinian and Croatian-Slavonic-Dalmatian laws. For example, the Hungarian Julian Schools in Bosnia and Herzegovina, Croatia and Slavonia could be founded, organized and act not only on the basis of the applicable Hungarian laws, but also on the basis of the school laws of Bosnia and Herzegovina, Croatia, Slavonia and Dalmatia, which allowed and even encouraged the organization of public and private schools, rural and wilderness schools (e. g. through Hungarian Julian schools), factory schools (e. g. Hungarian state railway schools), confessional schools (e. g. Hungarian reformatory schools), which opened a wide area of the Hungarian Julian Action operation from 1904 in Croatia and Slavonia, and from the 1908 occupation in Bosnia and Herzegovina. A vast majority of pupils were of non-German nationality, and they were enrolled there because of better conditions, employment opportunities in enterprises, state and public services, as well as because of future education. Hungarian schools and Hungarian railways, as well as Hungarian churches and societies in Croatia and Slavonia, existed in the second half of the 19th century. They had the purpose of implementing the so-called Hungarian State Thought (Magyar Állami eszme), which had been politically instrumentalized. Since 1904 until the end of the First World War they put the so-called Julian action into their systems and programmes. Almost identical relationship had existed in Bosnia and Herzegovina since 1908. There were constant conflicts between the state of Hungary and Julian campaign with the majority of Slavic population outside of Hungary, for example, in Bosnia and Herzegovina. When the Julian campaign was politically instrumentalized because of “taking care of its people in diaspora", and in some parts crossed the boundaries of "preserving" them, it began with "unintentional" assimilation through schools, railways and cultural societies. So it necessarily had to come into conflict with other nations. From the Hungarian point of view, the so-called "Bosnian Action" and "Slavonic Action" of the Hungarian Government were directed towards the care of Hungarians in the so-called "affiliated" and annexed province, as well as to strengthening and expansion of Hungarian influence in the countries where the majority of population were Muslims-Bosnians, Serbs and Croats. The same action ranged from the accusation of "Hungarianization” to the theory of the Hungarians threatened by assimilation; however, the action did not achieve a long-term goal and did not prove permanent because, after the end of the First World War, a small group of Hungarians in the newly established countries did not have any legal guarantees, and new authorities did not ensure its survival.
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Koudal, Jens Henrik. "Fra bondedans til karakterstykke for klaver. Musik i et proprietærlignende miljø i mellemkrigstiden." Fund og Forskning i Det Kongelige Biblioteks Samlinger 52 (December 19, 2016). http://dx.doi.org/10.7146/fof.v52i0.41301.
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Although squires, proprietors and larger farmers played an important cultural andpolitical role in Denmark between 1870 and 1940, only very little is know about musicin their private homes in the countryside. The article is a perspective of musical lifeon the farm Torpelund in Northwest Zealand during the interwar period. It examinesa previously unresearched aspect of Danish music culture in the 20th century on thebasis of comprehensive source studies and a contemplation of forms of music and cultureswithin that spectrum, of which the researched subject matter forms a part. Thecore of this is an in-depth analysis of the publication Gamle Danse fra Nordvestsjælland(Old Dances from Northwest Zealand), 1–3 (1923–28). It was created and used at Torpelundin a cooperation between two siblings from the farm, namely folklore collectorand columnist Christian Olsen, who collected and published the melodies, and thepianist Christiane Rützou, who put them to piano. The publication is a key to understandingthe importance of music in the environment at Torpelund.The article characterises the cultural transformation, which these dance melodiesunderwent from string and brass accompanied peasant dances that were played by thefather of the two siblings in Northwest Zeland in the 19th century to becoming pianopieces in the living rooms of the larger farms during the interwar period. With themusical analysis, the author would like to develop analytical grips on this type of repertoireused, which respect the musical characteristics of these repertoires. The studydiscusses the special nature of Christiane Rützou’s piano arrangements and comparesthem with a couple of Louis Glass’ rural pieces, which the composer and his wife performedthemselves at Torpelund. Is this dance music, educational teaching material,popular music or romantic character pieces? The answer is that Christiane Rützou’s piano arrangements merge elements from popular dance music with romantic pianomusic of the 19th century in a special way.For Christian Olsen, the dance version was part of a conservative cultural struggle,which at one and the same time desired to oppose the introduction of modern Americandancing while creating progressive, cheerful music to be used by farmers andlarger landowners. He wanted to transform the old dance music of the peasants in orderto preserve the values of the farmer and proprietary culture.
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Admink, Admink. "РЕСТАВРАЦІЯ БАЛЕТІВ ХІХ СТОЛІТТЯ ЯК ТРЕНД". УКРАЇНСЬКА КУЛЬТУРА : МИНУЛЕ, СУЧАСНЕ, ШЛЯХИ РОЗВИТКУ (НАПРЯМ: КУЛЬТУРОЛОГІЯ), № 30 (9 березня 2020). http://dx.doi.org/10.35619/ucpmk.vi30.187.
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Реставрація балетів ХІХ століття – один із трендів балетного театру кінця ХХ – початку ХХІ ст. Серед сучасних теоретиків та практиків балету сформувалися полярні думки щодо користі та перспективності реставрацій й рівня балетмейстерського креативу реставраторів. Провідні балетмейстери-реставратори кінця ХХ – початку ХХІ ст. – М. Ходсон, С. Вихарев, О. Ратманський, Ю. Бурлака. Основними проблемами виявилися: складність відтворення танцювальної стилістики балету ХІХ ст., що пов’язано з примусом артистів, особливо солістів, відмовитись від попереднього виконавського досвіду; невідповідність пантомімічних елементів сучасному лексичному темпоритму; масштабність сценографічного оформлення, що було природним для ХІХ ст., відволікає увагу безпосередньо від танцю. Основні набутки реконструкцій – відновлення втрачених рухів класичного танцю, відкриття купюр.Ключові слова: балет, реставрація балету, балетна класична спадщина, танець, хореографія.
 Restoration of ballets of the 19th century is one of the trends in the ballet theater of the late ХХ th and early ХХІ st centuries. Among modern theorists and practitioners of ballet, polar opinions have formed about the benefits and prospects of restorations and the level of the balletmasters' creative work of restorers. Leading choreographers-restorers of the late XX – early XXI century. – M. Hodson, S. Vikharev, A. Ratmansky, U. Burlaka. The main problems turned out to be: the difficulty of reproducing the dance style of the ballet of the 19th century, due to the compulsion of artists, especially soloists, to abandon their previous performing experience; the mismatch of pantomimic elements to the modern lexical tempo; the scale of scenographic design, which was natural for the 19th century, distracts attention directly from the dance. The main achievements of the reconstruction are the restoration of the lost movements of classical dance, the opening of notes.Key words: ballet, ballet restoration, classical ballet heritage, dance, choreography.
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Fitzsimmons Frey, Heather. "“A Place Where It Was Acceptable To Be Unacceptable”: Twenty-First-Century Girls Encounter Nineteenth-Century Girls Through Amateur Theatricals and Dance." Journal of Childhood Studies, September 19, 2019, 85–105. http://dx.doi.org/10.18357/jcs00019176.
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This self-reflexive article about girl-centered, performance-based historiography uses Carole Lynne D’Arcangelis’s cautions about self-reflexive research writing and Caroline Caron’s concerns about girl studies as activist research focused on social change to explore how the presence of girls and listening to girls shaped the knowledge that was created. By staging encounters between living 21st-century girls and 19th-century girls, the process reveals possibilities about the lives of girls in both eras. Encounters drew attention to issues concerning power, gender, agency, present-mindedness, emotion work, embodiment, and racialized identities. The article demonstrates how girls’ actions and insights complicated understandings about 19th-century girlhoods and at-home theatricals and, simultaneously, exposed power structures influencing their lives today and opportunities to work within or subvert them. Working through concepts like “radical reflexivity” (D’Arcangelis), “theatrical ethic of inappropriation” (Michelle Liu Carriger), “the wince” (Stephen Johnson), and the “foolish witness” (Julie Salverson), the article describes research pivot points and argues that ways of listening to girls alters how meaning is made.
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Lawson, John, David Reed, Colin Wallace, Jonathan Millar, and Mike Middleton. "Conservation and change on Edinburgh's defences:archaeological investigation and building recording of the Flodden Wall, Grassmarket 1998-2001." Scottish Archaeological Internet Reports 10 (January 1, 2004). http://dx.doi.org/10.9750/issn.1473-3803.2003.10.
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This report presents the results of a historic building survey and archaeological watching brief undertaken between 1998 and 2001 during restoration work (undertaken as part of the Scottish Dance Base development) on the Flodden Wall running between Edinburgh's Grassmarket and Johnston Terrace. The Flodden Wall is the name given to the 16th-century extension of the capital's town defences, traditionally seen as having been constructed in the months following the defeat at Flodden in 1513. Prior to this project the extent and condition of this particular stretch of the Flodden Wall (the north-western boundary of the Grassmarket and a Scheduled Ancient Monument) was not fully understood. This project has shown that here the Flodden Wall and surrounding area had undergone three major phases of construction and redevelopment, from its origins in the early 16th century to the formation of a drying green (Granny's Green) to the west of the Wall in the late 19th century. In particular the results have demonstrated that the surviving southern section of the Wall here was largely rebuilt during the third quarter of the 18th century, when a complex of buildings was constructed along Kings Stables Road abutting the Wall's western face.