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Journal articles on the topic 'Jewish composers Choral music'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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1

Bakhmet, Tetiana. "Archive fund of the composer Mark Karminsky." Aspects of Historical Musicology 19, no. 19 (2020): 10–28. http://dx.doi.org/10.34064/khnum2-19.01.

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Mark Veniaminovich Karminskyi (1930–1995) is a composer who, already during his lifetime, was appreciated by his contemporaries as the brightest figure in musical art, in particular, musical theater. Well-known in the country and his native Kharkiv, he was also the constant reader of the Kharkiv ‘K. Stanislavskyi’ Music and Theater Library for many years, taking part in many events that took place within its walls. An excellent lecturer and interlocutor, benevolent and affable person, he found an attentive audience and ardent admirers of his musical talent among the library’s readers and stuff

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2

Specht, R. John. "Americana: Choral Masterworks of American Composers." American Music 5, no. 2 (1987): 230. http://dx.doi.org/10.2307/3052176.

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3

Beckwith, John. "Choral Music in Montreal Circa 1900: Three Composers." University of Toronto Quarterly 63, no. 4 (1994): 504–17. http://dx.doi.org/10.3138/utq.63.4.504.

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4

Almăşanu, Carmen. "Values of neo-protestant choral works in Romania." Artes. Journal of Musicology 20, no. 1 (2019): 265–79. http://dx.doi.org/10.2478/ajm-2019-0016.

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Abstract Borne from the relevant and efficient expression in the context of contemporary culture, neo-protestant choral spirituality uses a diversified and meaningful language. From the very beginning of the existence of neo-protestant cults on the territory of our country, the establishment of a liturgical repertoire intended for common intonation or by various choral or vocal-instrumental bands has been one of the primordial preoccupations. Along with choral creations translated from the universal literature, there is a significant number of original works created by Romanian composers withi

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5

Rovner, Anton А. "Vocal and Choral Symphonies and Considerations on Text Representation in Music." ICONI, no. 2 (2020): 26–37. http://dx.doi.org/10.33779/2658-4824.2020.2.026-037.

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The article examines the genres of the vocal and the choral symphony in connection with the author’s vocal symphony Finland for soprano, tenor and orchestra set to Evgeny Baratynsky’s poem with the same title. It also discusses the issue of expression of the literary text in vocal music, as viewed by a number of influential 19th and 20th century composers, music theorists and artists. Among the greatest examples of the vocal symphony are Gustav Mahler’s Das Lied von der Erde and Alexander von Zemlinsky’s Lyrische Symphonie. These works combine in an organic way the features of the symphony and

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Roberts, John H. "False Messiah." Journal of the American Musicological Society 63, no. 1 (2010): 45–97. http://dx.doi.org/10.1525/jams.2010.63.1.45.

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In closely connected studies Tassilo Erhardt and Michael Marissen have suggested that Handel's Messiah is fundamentally anti-Jewish. Erhardt, who based his conclusions on books thought to have been in the library of Charles Jennens, compiler of the Messiah libretto, argues that the text was intended as a defense of orthodox Christianity against Judaism as well as Deism; Marissen contends it “was designed to teach contempt for Jews and Judaism.” Closer examination of the theological literature of Jennens's day shows that the theories of both scholars are founded on selective and tendentious rea

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Allphin, Penrose M. "Trans Sonorities in Grey Grant's “Drones for the In-Between Times”." TSQ: Transgender Studies Quarterly 8, no. 3 (2021): 394–402. http://dx.doi.org/10.1215/23289252-9009010.

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Abstract Composer intent has generally been downplayed by contemporary music analysts, often being regarded as an example of an intentional fallacy at best and misleading at worst. This analysis of Grey Grant's choral work posits that such a dismissal not only ignores the potential for an enhanced expressive context afforded by composers' own assessments, but it also contributes to the silencing of already marginalized voices, such as in the case of transgender composers. The author proposes a methodology that incorporates the voices of living composers while circumventing concerns about confi

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Housewright, Wiley L., and Evelyn Davidson White. "Choral Music by Afro-American Composers: A Selected, Annotated Bibliography." American Music 4, no. 3 (1986): 355. http://dx.doi.org/10.2307/3051620.

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9

Drakeford, Richard. "Choral Conundrum. Choirs versus Composers: Choirs and Composers: Are They Really Compatible? Richard Drakeford Charts the Rise and Fall of the Modern Choral Tradition." Musical Times 134, no. 1806 (1993): 441. http://dx.doi.org/10.2307/1003012.

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10

Sokolova, Alla. "FORMATION OF NATIONAL SELF-CONSCIOUSNESS OF FUTURE MUSIC ART TEACHERS IN «CHORAL CLASS»." 1 1, no. 1 (2020): 30–35. http://dx.doi.org/10.34142/27091805.2020.1.01.05.

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Object. The article addresses issues of educating future music teachers, the formation of their national worldview, in which professional knowledge and professional responsibility are formed, are of great importance. The leading role in this direction belongs to the discipline “Choral Class” and the widespread use of choral works written in poetry by Taras Shevchenko. Methods. Traditional historical and pedagogical research methods were used in the work: analytical, historical, and comparative, retrospective, comparative analysis of scientific and pedagogical literature, educational materials.

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Ryzhinskii, Aleksandr S. "The Cantatas by Pierre Boulez in the Context of the Main Trends in the Development of Choral Composition of the 20th Century." Vestnik of Saint Petersburg University. Arts 11, no. 1 (2021): 21–38. http://dx.doi.org/10.21638/spbu15.2021.102.

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The article focuses on Pierre Boulez’s choral style in the cantatas “Le visage nuptial” and “Le soleil des eaux”. The versions of these works, created over the course of almost 40 years (from 1951 to 1989), represent a complex of techniques in regard to texture and timbre, which, on the one hand, are a continuation of experiments by composers of the New Vienna School (A. Schönberg, A. Webern), and on the other hand, they preface a number of innovations in the choral style of Boulez’s contemporaries (L. Nono, L. Berio, K. Stockhausen, I. Xenakis). Evidence is provided in favor of the idea that

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12

Mundy, R. "The "League of Jewish Composers" and American Music." Musical Quarterly 96, no. 1 (2013): 50–99. http://dx.doi.org/10.1093/musqtl/gdt003.

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13

Luttmann, Stephen. "Composers of Classical Music of Jewish Descent (review)." Notes 61, no. 2 (2004): 444–47. http://dx.doi.org/10.1353/not.2004.0147.

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Végh, Mónika. "Antecedents, and Development of the Sacred Choral Concerto in Russia." Studia Universitatis Babeş-Bolyai Musica 65, no. 2 (2020): 173–92. http://dx.doi.org/10.24193/subbmusica.2020.2.12.

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"Upon dealing with Russian religious choral music of the 18th century, one may clearly recognize the outlines of a unique genre, the duhovny kontsert, or in other words, the genre of the religious choral concerto. The subject is suppletory, since very few people in Hungary have dealt with pre-19th century Russian music, let alone with choral repertoire. In the present study, we may follow up the legalization and development of polyphony in church music – which was strictly monophonic up until the 1500s – and the different types of multivocal hymns. We will also get to know the Russian composer

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Dzivaltivskyi, Maxim. "Historical formation of the originality of an American choral tradition of the second half of the XX century." Aspects of Historical Musicology 21, no. 21 (2020): 23–43. http://dx.doi.org/10.34064/khnum2-21.02.

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Background. Choral work of American composers of the second half of the XX century is characterized by new qualities that have appeared because of not only musical but also non-musical factors generated by the system of cultural, historical and social conditions. Despite of a serious amount of scientific literature on the history of American music, the choral layer of American music remains partially unexplored, especially, in Ukrainian musical science, that bespeaks the science and practical novelty of the research results. The purpose of this study is to discover and to analyze the peculiari

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Baker, Vicki, and Carter Biggers. "Research-to-Resource: Programming Ensemble Literature Composed by Women." Update: Applications of Research in Music Education 36, no. 3 (2018): 51–54. http://dx.doi.org/10.1177/8755123318761915.

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Research has indicated that a gender imbalance exists in the field of music composition. This inequitable distribution is clearly demonstrated in a state-mandated repertoire list in which women represent 3% of the wind band composers and 12% of the choral composers (all voicings). Ensemble directors are in a position to affect a change by purchasing, performing, and promoting works by female composers, thus increasing their visibility and creating a demand for women’s publications. Intentional programming of works by female composers is an important factor in equalizing the gender representati

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Radic, Thérèse. "Major Choral Organizations in Late Nineteenth-Century Melbourne." Nineteenth-Century Music Review 2, no. 2 (2005): 3–28. http://dx.doi.org/10.1017/s1479409800002184.

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Australian musical life was founded and sustained for over 150 years by a particular class of displaced British and European professional musicians, mostly men, who brought with them what is now known as Western art music. At the time of Australia's foundation, a number of British musicians (many of them composers at the rudimentary level expected of musicians of the day), unable to find work where Italians and Germans were preferred, opted for migration to the colonies in the hope of trading their way out of a difficult situation. Some took ship to avoid the law (the debt-ridden composer Isaa

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Гуральна Світлана Степанівна. "ТЕНДЕНЦІЙНІ НАПРЯМКИ РОЗВИТКУ ХОРОВОЇ ЛІТУРГІЙНОЇ ПРАКТИКИ В ГАЛИЧИНІ КІНЦЯ ХІХ ‒ ПЕРШОЇ ПОЛОВИНИ ХХ СТОЛІТЬ". World Science, № 9(37) (30 вересня 2018): 80–84. http://dx.doi.org/10.31435/rsglobal_ws/30092018/6142.

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   The article highlights trends in the development of choral liturgical practice in Galicia at the end of the nineteenth and the first half of the 20th century, which were formed on the basis of governmental innovations in the system of education and cathedral and church changes in Western Ukrainian lands. In this, the active role of numerous spiritual and secular choral ensembles had played an important role. At the same time, certain influence were played by touring groups, which, with the spiritual programs of works of the Dnieper-Dnieper composers, considerably deepened

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Barlow, Jill. "London, St John's Smith Square: Vasari Singers Anniversary commissions." Tempo 59, no. 234 (2005): 45–46. http://dx.doi.org/10.1017/s0040298205290307.

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The Vasari Singers, now well established as a much-acclaimed London-based chamber choir, celebrated their 25th Anniversary this year with a concert at St John's Smith Square on 15 May featuring short specially commissioned works by ten notable British composers. As conductor Jeremy Backhouse described to me, a private preview of the works, all on sacred themes, took place at Tonbridge School Chapel in February, in the presence of the composers, thus setting up a ‘dialogue’ on interpretation. Although strictly speaking of amateur status, the choir has achieved much critical success, winning the

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20

Werb, Bret. "Forbidden Music: The Jewish Composers Banned by the Nazis." Holocaust and Genocide Studies 30, no. 1 (2016): 154–57. http://dx.doi.org/10.1093/hgs/dcw013.

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21

Sapundzijev, Mary. "Motivation, Function and Value: The Choral Miniature Repertoire of First Generation Macedonian Composers." International Review of the Aesthetics and Sociology of Music 33, no. 1 (2002): 57. http://dx.doi.org/10.2307/4149786.

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22

Trukhanova, Alexandra G. "The Characteristic Features of Vassily Titov’s Choral Music." ICONI, no. 1 (2021): 61–67. http://dx.doi.org/10.33779/2658-4824.2021.1.061-067.

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Among the Russian composers of the turn of the 17th and 18th centuries a special position is held by the sacred choral works of Vassily Titov (ca. 1650 — ca. 1715), one of the bright representatives of the polyphonic part singing, in which the originality of the Russian Baroque musical culture. The music of Vassily Titov, an outstanding master of choral writing, is diverse in terms of its genres, it comprises nearly two hundred compositions, many of which predominated in the church music repertoire of Russian churches during the course of the 18th century. A study of Vassily Titov’s choral wor

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23

Ribić, Romana. "Contemporary music of Iceland in the post-romantic period: Jôrunn Viđar (Jôrunn Vidar, Reykjavik, Iceland, 1918-)." New Sound, no. 46 (2015): 141–54. http://dx.doi.org/10.5937/newso1546141r.

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This paper presents a brief overview of the development of Icelandic music through historical and artistic circumstances. We shall also point to the specific social attitude towards the female population and we shall deal with the few Icelandic women composers. Among them Jorunn Vidar particularly stands out, as a pianist, accompanist and music teacher. For over two decades, she was the only woman composer to be a member of the Society of Icelandic Composers. She wrote the music for the first Icelandic ballet suite and the first Icelandic film ever, arranging the old narrative songs called the

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24

Tregubenko, Tetiana. "UKRAINIAN CHURCH ELITE IN FORMATION OF MUSICAL CENTERS UNDER SPIRITUAL EDUCATIONAL INSTITUTIONS OF HETMANATE." Almanac of Ukrainian Studies, no. 22 (2017): 136–40. http://dx.doi.org/10.17721/2520-2626/2017.22.23.

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For a long time, the creative heritage of many singers and composers of the seventeenth and eighteenth centuries, which was created at Hetman residences, churches and monasteries remained insufficiently explored, and partly unknown. In recent decades a number of works by domestic musicologists have been published, which largely filled this gap. Works mainly concern secular music or some of the most well-known composers who wrote spiritual music. At the same time, the scope of the activities of the church musical centers remains unexplored to modern days, as are the names of many of their repre

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Stefek, Jakub. "The ethnical factor in european literature for the organ in the 19th and the first half of the 20th centuries based on works by british, italian and Jewish Composers." Notes Muzyczny 1, no. 15 (2021): 43–55. http://dx.doi.org/10.5604/01.3001.0014.9689.

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The article presents examples of the emphasised ethnical factor in works belonging to the European organ literature of the 19th and the first half of the 20th centuries, found in pieces written by British, Italian and Jewish composers. In case of British composers, significant were the proposals of Ralph Vaughan Williams, who primarily saw folk songs as the tool for expressing a national style. Among the composers who wrote music inspired by traditional songs or quoting them directly (which was an important novelty in the British organ literature) were: Cecil Armstrong Gibbs, Percy Whitlock, C

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Filler, Susan. "Jewish nationalism in opera." Studia Musicologica 52, no. 1-4 (2011): 499–506. http://dx.doi.org/10.1556/smus.52.2011.1-4.34.

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From the late nineteenth to the early twentieth century, the Jewish communities of Eastern Europe supported the development of musical theater in Yiddish. Given the difficulties of life in the shtetl, comprising isolation from non-Jewish neighbors, limited educational opportunities, poverty and political oppression, Yiddish opera functioned as a statement of Jewish nationalism. In this paper, I will discuss the historical conditions under which it was presented, including the following factors: effect of folk music styles documented in the field research of ethnomusicologists in Eastern Europe

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Hayes, Malcolm. "Erik Bergman: The Recent Music." Tempo, no. 158 (September 1986): 15–22. http://dx.doi.org/10.1017/s004029820002252x.

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Erik Bergman has long been regarded in his native Finland as one of his country's senior composers, but his music has been slow to make its way abroad. Some of the obstacles are understandable: choral music, for instance, constitutes a large slice of Bergman's output, and the fact that many of his texts are in Finnish or Swedish has obviously (if erroneously) been off-putting for foreign choirs. But the real problem is one of perception. Bergman's music has a particular kind of originality and character which, while in one sense typically Scandinavian, simply does not conform to the expectatio

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Johnson, Bret. "London, St Pancras Parish Church: Philip Moore at 70." Tempo 67, no. 266 (2013): 84–85. http://dx.doi.org/10.1017/s0040298213000983.

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Philip Moore, Organist Emeritus of York Minster was one of the main featured composers at this year's London Festival of Contemporary Church Music, now in its twelfth consecutive year. A week of concerts and services at St Pancras Church in London showcases a number of new works, and this year saw new choral pieces by Gordon Crosse, Diana Burrell and Ed Hughes (whose Chaconne for organ was composed in memory of Jonathan Harvey, who died on 4 December 2012 at the age of 73). The Festival also marked Robin Holloway's 70th birthday, with a concert of his choral works on 17 May.

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Radu-Țaga, Consuela. "13. Transfigurations and Interferences of the Ballad Master Builder Manole with the Opera Genre. Choral Polychromies." Review of Artistic Education 21, no. 1 (2021): 105–12. http://dx.doi.org/10.2478/rae-2021-0013.

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Abstract One of the fundamental myths of the Romanian literature, Master Builder Manole had various approaches in the opera genre. On individual stylistic paths as musical language and show formula, Alfred Mendelssohn, Gheorghe Dumitrescu, and Sigismund Toduță reinterpreted the myth of the human sacrifice, in an extremely nuanced approach of the transfiguration of the ancient folklore. The choral inserts are polychromatic, having different forms and formulas: men choir, female choir, mixed choir, choral conglomerations. The three composers wrote a romantic music, in terms of content, and a cla

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Padley, Danielle. "Tracing Jewish Music beyond the Synagogue: Charles Garland Verrinder's Hear my cry O God." Nineteenth-Century Music Review 17, no. 2 (2019): 181–223. http://dx.doi.org/10.1017/s1479409819000193.

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On 1 September 1887, the Musical Times printed a list of pieces published during the previous month by Novello, Ewer and Co. As Novello's house journal, with a wide circulation across Britain, the Musical Times regularly listed new publications in the knowledge that such advertisements would reach a large and enthusiastic readership. In this particular issue, one of the pieces advertised was an anthem titled Hear my cry O God, composed by Dr C.G. Verrinder (see Fig. 1, highlighted). To anyone unfamiliar with Verrinder, his name blends in with the other composers on the list – one of the now la

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Miller, Malcolm. "Conference Report: Potsdam – The New Jewish School in Music." Tempo 58, no. 230 (2004): 62–67. http://dx.doi.org/10.1017/s0040298204290313.

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Both for the quality of the repertoire and the influence of the composers, the ‘New Jewish School in Music’, the subject of a two-day conference on 10–11 May 2004 at the University of Potsdam, Germany, represents a significant aesthetic movement in the history of 20th-century music. To apply the term ‘school’ to a varied group which lasted from 1908 till 1938, and spread from St. Petersburg, through Russia, to Berlin and Vienna, as in the conference title (it is also that of a new book by Dr Jascha Nemtsov, conference organizer), begs the question of the extent to which there was a unanimity o

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Harrán, Don. "A Jewish Female Cannibal in Two Seventeenth-Century Cantatas." Journal of Musicology 31, no. 4 (2014): 431–70. http://dx.doi.org/10.1525/jm.2014.31.4.431.

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Laments were frequent in both cantatas and operas in the seventeenth century. The two emotions expressed in the lament were those that Aristotle connected with the essence of tragedy, namely, pity (on the fate of the one who laments) and fear (lest the observer share the same fate). Fear turns to fright in two mid-seventeenth century cantatas, in which a Jewish mother cooks her son, eats his flesh, and licks his blood in order to relieve her hunger, then bemoans her act in a lament. The present study describes examples of laments and female cannibals in Scriptures, identifies the particular fe

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Barlow, Jill. "St Albans: ‘Messiah Preludes’." Tempo 58, no. 228 (2004): 70. http://dx.doi.org/10.1017/s0040298204310156.

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The idea of commissioning modern preludes to preface well established pillars of the classical repertoire has apparently been done a few years ago with soft new sounds gracing the air as audiences picnicked as a lead up to performances of Mozart's operas at Glyndebourne. Conversely one hears of The Departure of the Queen of Sheba, and other novelties. However, when conductor George Vass, musical director of the Presteigne Festival, commissioned three modern preludes to Handel's Messiah, to celebrate his tenth anniversary at the festival (2002), this must qualify as a ‘first’, and his brainchil

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Meyer-Kalkus, Reinhart. "The speech choir in central European theatres and literary-musical works in the first third of the 20th century." Muzikologija, no. 18 (2015): 159–74. http://dx.doi.org/10.2298/muz1518159m.

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Speech choirs emerged as an offshoot of the choral gatherings of a wider youth musical and singing movement in the first half of the 20th century. The occasionally expressed opinion that choral speaking was cultivated primarily by the Hitler Youth and pressed into service on behalf of Nazi nationalist and racist propaganda is, historically, only partially accurate. The primary forces of choral speaking in Germany were, from 1919, the Social Democratic workers? and cultural movement and the Catholic youth groups, in addition to elementary and secondary schools. The popularity of speech choirs a

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Thacker, Toby. "Michael Haas, Forbidden Music: The Jewish Composers Banned by the Nazis." European History Quarterly 46, no. 1 (2016): 137–39. http://dx.doi.org/10.1177/0265691415622934h.

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Drew, David. "TESTIMONIES OF WAR 1914 – 1945 (1995)." Tempo 64, no. 252 (2010): 34–36. http://dx.doi.org/10.1017/s0040298210000161.

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This essay appeared as the introduction to the very fully documented booklet notes of the 2-CD set, LARGO 5130, issued in 1995 – for the 50th anniversary of the end of World War II – by Largo Records (Cologne) as Testimonies of War (Kriegszeugnisse) 1914–45. The central composer of this collection is Boris Blacher, who is represented by his Alla Marcia, Dance Scenes, Chiarina, Partita for strings and 6 percussion, Sonatina No. 2 for piano, and Drei Psalmen for baritone and piano. The other composers are Harrington Shortall (Fanfare for Those who Will Not Return), Kurt Weill (Zu Potsdam unter d

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Halec, Barbara. "Professor Jan Szyrocki – the pioneer of the West Pomeranian choral art." Konteksty Kształcenia Muzycznego 4, no. 1 (2017): 57–69. http://dx.doi.org/10.5604/01.3001.0010.5351.

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The article presents the figure of Jan Szyrocki, a conductor, pedagogue and music culture promoter, connected with Szczecin for most of his life. He was the founder of the “Słowiki” Boys’ Choir, the “Berżeretki” Girls’ Choir and, first and foremost, the Choir of the University of Technology in Szczecin, which he cooperated with continually for 50 years. The article also describes Jan Szyrocki’s contribution to the establishment of the International Choral Festival in Międzyzdroje and “In terra pax” Choral Academy, as well as his collaboration with renowned composers (e.g. Andrzej Koszewski, Kr

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Mykhailets, V. V. "The problems of vocal training in the conditions of modern choral art." Aspects of Historical Musicology 18, no. 18 (2019): 141–54. http://dx.doi.org/10.34064/khnum2-18.08.

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Background. The contemporary choral art has accumulated many bright samples, which present various performing directions and genres. Particularly interesting are those that include the traits traditionally not inherent to the choral performance. We will consider some of the requirements for the performance of choral music, put forward by the composers of the twentieth century, in particular, representatives of the new Viennese school and the Italian avant-garde, as well as the performance conditions, which require the tendency to adaptation for the stage of choral works and the improvisational

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Davis, James. "‘Come and See the Blood in the Streets’: Luciano Berio, ‘Coro’, and the Affective Staging of the One-Crowd." Music and Letters 100, no. 4 (2019): 685–712. http://dx.doi.org/10.1093/ml/gcz041.

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Abstract Luciano Berio’s most substantial work from the 1970s was Coro (1976)—an hour-long piece for chorus and orchestra. This work has attracted a small literature that attempts to understand it in terms of the philosophical framework of the French theorists Gilles Deleuze and Félix Guattari. These Deleuzo-Guattari speculations have remained rather abstract; specifically, they have not attempted to relate the work to the concrete political context of 1970s Italy. This essay attempts to enrich our understanding of Berio by relating the choral work to this political context. In so doing, it wi

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Tulyantsev, Andrey, and Ekaterina Guskova. "Cherub chants of M. Berezovsky, D. Bortnyansky, A. Wedel: from innovation to tradition." Музикознавча думка Дніпропетровщини, no. 18 (November 12, 2020): 39–49. http://dx.doi.org/10.33287/222016.

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The article examines the Cherubim chants written by Ukrainian composers of the musical classicism era – by Maxim Berezovsky, Dmitry Bortnyansky and Artemy Wedel. These composers wrote mainly spiritual music, so they did not omit the Cherubim chant – one of the songs in musical part during the Orthodox Liturgy. The purpose of this article is to reveal an innovative view on the musical embodiment of Cherubim songs by Ukrainian composers of the Classicism era, which, compared to previous cherubim chants, appears at the level of musical style and musical form, and the difference from pieces of mus

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Kosaniak, Nataliia. "Vasyl Bezkorovayny’s vocal works in Ukrainian music of the first half of the XX century." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 11(27) (2019): 500–515. http://dx.doi.org/10.37222/2524-0315-2019-11(27)-21.

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Vasyl Bezkorovayny (1880–1966) was a talented artist, an active figure in the musical life of Galicia and a representative of post-war Ukrainian emigrants in the United States of America. He wrote more than 350 works of various genres. Among them are compositions for symphony orchestra; vocal works — for chorus, ensembles or solo singing; chamber and instrumental music — for piano, violin, zither, cello; music for dramatic performances. The article deals with the archival and musicological analysis of expressive and stylistic features of V. Bezkorovayny’s vocal works, based on the materials of

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Климовицкий, А. И. "Cantata “In Memory of Antokolsky”: Almost Forgotten Work of Russian Music." Музыкальная академия, no. 3(767) (September 20, 2019): 100–121. http://dx.doi.org/10.34690/05.

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Статья посвящена совместному произведению А. К. Глазунова и А. К. Лядова, созданному по инициативе В. В. Стасова, - кантате «Памяти Антокольского» на текст С. Я. Маршака. Рассматриваются напряженные и порой почти конфликтные ситуации, сопровождавшие буквально каждую из стадий работы над сочинением. Впервые представлена еврейская песня, которую записал Глазунов, услышав ее в исполнении М. М. Антокольского, и которая была использована Лядовым в кантате. Внимание Лядова к еврейскому напеву, готовность ввести его в свое сочинение стали свидетельством культурной открытости и отзывчивости композитор

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Cohen, Judah M. "Ruth Katz. “The Lachmann Problem”: An Unsung Chapter in Comparative Musicology. Jerusalem: The Hebrew University Magnes Press, 2003. 415 pp. CD encl.; David M. Schiller. Bloch, Schoenberg & Bernstein: Assimilating Jewish Music. New York: Oxford University Press, 2003. x, 199 pp.; Marsha Bryan Edelman. Discovering Jewish Music. Philadelphia: Jewish Publication Society, 2003. xii, 396 pp. CD encl." AJS Review 28, no. 2 (2004): 398–403. http://dx.doi.org/10.1017/s036400940440021x.

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Jewish music study is a loosely unified field that brings together strands from several scholarly traditions. Researchers trained in historical musicology typically use document study, note analysis, and contemporary aesthetic writings to examine how questions of “Jewishness” manifest themselves in the works of selected composers. Ethnomusicologists frequently utilize ethnographic fieldwork methods developed for studying musical practices of Jewish communities within a broad cultural and symbolic system. Jewish music researchers in Israel commonly focus on comparative cultural projects intende

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Potgieter, Zelda, and Vuyani Mazomba. "Liberating voices: narrative strategies and style in township choral music, with specific reference to selected works by three Xhosa composers." Journal of Musical Arts in Africa 2, no. 1 (2005): 23–54. http://dx.doi.org/10.2989/18121000509486700.

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Palmer, Peter. "Fritz Brun: a Swiss Symphonist." Tempo, no. 195 (January 1996): 14–18. http://dx.doi.org/10.1017/s0040298200004721.

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Ferruccio Busoni, who saw out the First World War from the neutral haven of Switzerland, maintained that the best Swiss symphony was Rossini's William Tell overture. Not that the country was completely lacking in resident composers of symphonic music during the Classical and Romantic eras. There was, for example, Gaspard Fritz (d.1783), whom Dr Bumey met in Geneva. There was Xaver Schnyder von Wartensee (d.1868), whose works include an amiable ‘Military’ Symphony. But the dominant force in the 19th century was the composer, publisher and pedagogue Hans Georg Nägeli, whose primary achievement w

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Vasilyeva, Oksana. "THE INFLUENCE OF NATIONAL IDEAS OF T. SHEVCHENKO ON THE UKRAINIAN CHORAL CYLTURE OF THE LATE XIX – EARLY XX CENTURIES." 1 1, no. 1 (2020): 4–9. http://dx.doi.org/10.34142/27091805.2020.1.01.01.

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Object. The objective of this article is studying the influence of T. Shevchenko’s national ideas on the development of student choir movement in Ukraine during the period of the late ХІХ and early XX centuries. Methods. The traditional historical and pedagogical research methods were used in the work: analytical, historical and comparative, retrospective, comparative analysis of scientific and pedagogical literature, archival documents, educational materials. Results of the scientific research show that the problem of youth national education has attracted many people of arts and culture such

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Prokopov, S. "J. S. Bach and G. F. Handel’s works performed by the choir of the Kharkiv National Kotlyarevsky University of Arts students." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (2019): 22–37. http://dx.doi.org/10.34064/khnum1-52.02.

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Background. In Ukraine both musicologists and performers (in particular the choirs conducted by well-known choirmasters) do much for the further development of the home Bach studies. For instance, the direction of the ‘choral bahhiana’ was actively developed by the leading choirmasters of that time professor M. Berdennikov (Kiev), Y. Kulik (Kharkiv) in the 60’s and 70’s. It is known that future students of the choral conducting departments first learn the choral heritage of J. S. Bach and G. F. Handel, as a rule, at the piano lessons at children musical schools and secondary schools. Unfortuna

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Kämper, Dietrich. "Antisemitismus im Berliner Musikleben des Kaiserreichs." Die Musikforschung 73, no. 4 (2021): 305–23. http://dx.doi.org/10.52412/mf.2020.h4.2.

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Max Bruch was one of the most successful German composers of the 19th century. It was only towards the end of the century that his music increasingly lost of its appeal with audiences who turned toward more modern composers (Strauss, Mahler, Reger). Disappointed at the growing number of compositional failures, Bruch began to sympathize with anti-Semitic thought which had been spreading in Berlin since the 1870s. It seems particularly paradox that, in a letter written in 1902 to his publisher Simrock, Bruch attacked three Berlin musicians with brutal anti-Semitic invectives, who had been his be

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Nemtsov, Jascha, Beate Schröder-Nauenburg, and Dean Bell. "Music in the Inferno of the Nazi Terror: Jewish Composers in the "Third Reich"." Shofar: An Interdisciplinary Journal of Jewish Studies 18, no. 4 (2000): 79–100. http://dx.doi.org/10.1353/sho.2000.0147.

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Bowers, Roger. "The Vocal Scoring, Choral Balance and Performing Pitch of Latin Church Polyphony in England, c.1500-58." Journal of the Royal Musical Association 112, no. 1 (1987): 38–76. http://dx.doi.org/10.1093/jrma/112.1.38.

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Embedded into the approaches to their crafts adopted inescapably by the composers and performance directors of church polyphony in England during the century or so before the Reformation were a number of constraints imposed by extraneous factors over which they had no control, but which effected a decisive influence over both the resulting form and the sound of the music which they produced in their respective capacities. Looming large among these was the nature of the performing medium. Over most aspects of this neither composer nor director exercised any influence at all; in terms of, for in

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