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Journal articles on the topic 'Musicians – History – 19th century'

Author: Grafiati

Published: 10 March 2023

Last updated: 31 July 2025

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1

Fufaeva, Irina V. "On the history of Russian argotism “chuvikha”." Vestnik of Saint Petersburg University. Language and Literature 21, no. 1 (2024): 166–81. http://dx.doi.org/10.21638/spbu09.2024.109.

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The study addresses the problem of incompleteness of data on the origin of Russian slang expression chuvikha ‘woman, girl’. It has long been associated with thieves’ cant, in which, according to A. P. Barannikov, the lexeme was gypsyism. Then the gypsy etymology began to be rejected. The purpose of the study is to fill in the gaps in the history of the word chuvikha using the methods of corpus and lexicographic analysis on the material of the Russian National Corpus, the collection of digitized books google.books, the diary service Prozhito.org, dictionaries of secret languages, slang dictiona

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2

Zhang, Yi. "Analysis of German art song style and singing." Journal of Arts, Society, and Education Studies 6, no. 1 (2024): 8–14. http://dx.doi.org/10.69610/j.ases.20240508.

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<p class="MsoNormal"><span style="font-family: Times New Roman;">The music and cultural phenomenon of the 19th century around one hundred years in the history of Western development is called the Romanticism period, due to the genre of art song and Romantic musicians' aesthetic pursuit (focus on emotion, promote individuality, and aspire to freedom) is very suitable, so the 19th century by the favor of many musicians. Art songs have a high literary quality, this paper mainly discusses the style and singing of German art songs, aiming to provide help for vocal learners.</span>

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Șabac, Karina. "The Forgotten Sounds of a Century. Romanian Music and Lithographies From the 19th Century: Reflections on Half a Century of Censorship." Musicology Today: Journal of the National University of Music Bucharest XIV, no. 55 (2025): 207–35. https://doi.org/10.69608/mt.55.05.

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Towards 1850, a fully developed industry of editors, lithographers, instrument-manufacturers from UK, Germany, France, and Austria arrived with its 400 years old legacy to a region deeply steeped in folklore and Byzantine traditions: the Romanian Principalities. At this point we see arguably one of the fastest cultural transformations of a nation, the process of assimilation of occidental standards being greatly catalyzed by the instauration of a new constitutional monarchy in Romania with King Carol I (1866-1914) and the innovative Queen Elisabeth (1869-1916). As my research revealed, she has

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Vasic, Aleksandar. "The beginnings of Serbian music historiography: Serbian music periodicals between the world wars." Muzikologija, no. 12 (2012): 143–64. http://dx.doi.org/10.2298/muz120227007v.

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The transition of the 19th into the 20th century in Serbian music history was a period of music criticism, journalism and essay writing. At that time, Serbian musicology had not yet been developed as an academic discipline. After WWI there were many more academic writings on this subject; therefore, the interwar period represents the beginning of Serbian music historiography. This paper analyses Serbian interwar music magazines as source material for the history of Serbian musicology. The following music magazines were published in Belgrade at the time: Muzicki glasnik (Music Herald, 1922), Mu

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Vojvodić Nikolić, Dina D. "PREDLOG ODREĐENjA POJMA MUZIČKA KRITIKA I TIPOLOGIJE KRITIČKIH TEKSTOVA MEĐURATNOG DOBA U SRBIJI." Nasledje Kragujevac XX, no. 55 (2023): 299–312. http://dx.doi.org/10.46793/naskg2355.299vn.

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The paper presents a proposal for defining the concept of music criticism and types of critical texts. The historical development of music criticism, its problems, methods, goals and main representatives are presented. The history of music criticism is ideologically connected with music, and primarily appeared in occasional publications. Criticism of musicians began continuously in the middle of the 18th century, when the first open discussions on various issues of music appeared. Jean-Jacques Rousseau, Johann Mattheson and Charles Burney stand out among the first music critics. The last years

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Tedesco, Anna. "National identity, national music and popular music in the Italian Music Press during the long 19th century." Studia Musicologica 52, no. 1-4 (2011): 259–70. http://dx.doi.org/10.1556/smus.52.2011.1-4.20.

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Discusses the notions of national identity, national music and popular music as they emerged in Italian music periodicals during the years 1840–1890, in relation to the process of Italy’s political unification and the dissemination of foreign operas such as French grands opéras in the years 1840–1870 and Wagner’s Musikdramen from 1871 on. Essays and articles by relevant critics and musicians, such as Abramo Basevi and Francesco D’Arcais are discussed. Articles by lesser known journalists such as Pietro Cominazzi and Mattia Cipollone are also taken into account. The use of words like “national”

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Ginsborg, Jane. "“The brilliance of perfection” or “pointless finish”? What virtuosity means to musicians." Musicae Scientiae 22, no. 4 (2018): 454–73. http://dx.doi.org/10.1177/1029864918776351.

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The concept of virtuosity has been explored by music historians and theorists from disciplines ranging from aesthetics and anthropology to semiotics. Its history goes back to ancient times, although it is often thought to culminate in the 19th century with Liszt and Paganini. Many historical sources quote well-known performers and composers but little is known as to how music students and professional musicians define virtuosity today, and what it means to them as performers and audiences. The present study was exploratory, employing a mixed methods approach. A total of 102 musicians provided

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Gîscă, Petrea. "7. Franz Joseph Strauss, a Joachim of the Horn." Review of Artistic Education 1, no. 23 (2022): 53–60. http://dx.doi.org/10.2478/rae-2022-0007.

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Abstract Franz Joseph Strauss was one of the brightest horns of the 19th century. He was born in Germany and worked all his life in Munich, being a first - horn player, composer, conductor and teacher. As a composer he wrote two concerts for horn and orchestra and several pieces for horn and piano, most of them, the author singing them in the first absolute audition. As a teacher, he participated in the creation of a German horn school, and his studies for natural horn are still valid today. Difficult and sometimes misunderstood by musicians of the time, Franz Strauss remains a landmark in the

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9

Rossikhina, Maryna. "The influence of the Italian vocal school on the professional formation of Ukrainian singers (the end of the XVIII – the beginning of the XIX century)." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 219–25. http://dx.doi.org/10.32461/2226-2180.39.2021.238727.

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The purpose of the article is to study the influences of the Italian vocal school, the traditions of Italian opera performance on the professional development of Ukrainian singers in this period. Methodology. Analysis was carried out on the basis of such methods as historical and chronological to study trends and patterns of Ukrainian music at the end of the 17th – the beginning of the 19th century, analytical – for a comprehensive consideration of the influence of Italian culture on the emergence of opera in East Slavic areas, source – for elaboration and analysis of sources, bio-bibliographi

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HOCAOĞLU ALAGÖZ, Kadriye. "Entertaining Characters in Classical Turkish Literature: Dancers, Musicians and Dancing Boys." Akademik Dil ve Edebiyat Dergisi 6, no. 3 (2022): 146–55. http://dx.doi.org/10.34083/akaded.1160802.

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It is a known that all societies have had a relationship with dance throughout history. In Turkish society, the origin of the dance dates back to the Shamans, independent of gender. In the Ottoman era, non-religious dancers were called çengi, köçek, tavşan/tavşanoğlanı, kasebâz, curcunabâz, cin askeri, beççegân, çeganebâz and çârpârezen. Among these nomenclatures, the most common literary terms were çengi (dancer/musician) and köçek (dancing boy). People who dance extravagantly to music were called çengi or köçek. While all dancers were called çengi, regardless of their gender in the old texts

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Zubarev, Sergei A. "Academic Music in the Practice of Russian Military Bands in the 19th – Early 21st Centuries." Scientific and analytical journal Burganov House. The space of culture 18, no. 4 (2022): 56–65. http://dx.doi.org/10.36340/2071-6818-2022-18-4-56-65.

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The article is devoted to the theoretical and practical aspects of military musicians’ arrangement practice, considered in the context of developing a system of Russian military orchestras. When studying the socio-cultural foundations of the formation and development of the art of arrangement, factors that reveal the role of Russian composers in the history of military musical culture are highlighted (such works as P.Tchaikovsky’s Skobelev March, A.Rubenstein’s Cavalry Trot are noted). The works of A.Ermolenko (The Evolution of Instrumentation in Russian Wind Music Until the 70s of the 19th Ce

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Vasic, Aleksandar. "Music critic Gustav Michel." Muzikologija, no. 4 (2004): 167–95. http://dx.doi.org/10.2298/muz0404167v.

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The writers whose real vocation was not music left significant traces in the history of Serbian music critics and essayism of the late 19th century and the first half of the 20th century. Numerous authors, literary historians theoreticians and critics, jurists and theatre historians, wrote successfully on music in Serbian daily newspapers, literary and other magazines, until the Second World War. This study is devoted to Gustav Michel (1868 - 1926), one of the music amateurs who ought to be remembered in the history of Serbian music critics. Gustav Michel was a pharmacist by vocation. He ran a

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Wu, Di. "A Study of Clara Schumann's Piano Music Performance, Composition and Teaching under the Feminist Movement." Journal of Education, Humanities and Social Sciences 5 (November 23, 2022): 22–27. http://dx.doi.org/10.54097/ehss.v5i.2878.

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The music of female composers has long been little studied, and the importance attached to female composers is far less than that of male composers. However, there are many excellent female composers in the history of music development, such as Clara Schumann. The 19th century, when Clara lived in the West, was a time of great talent, and poetry, literature, and music all developed tremendously, and some of the great works that have been passed down to the next generation were basically written in that era, and their authors are also remembered. This is another reflection of how difficult it w

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Bajic-Stojiljkovic, Vesna. "The process of shaping stage folk music through the prism of the development of folk dance choreography." Muzikologija, no. 33 (2022): 209–29. http://dx.doi.org/10.2298/muz2233209b.

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Understanding the historical processes in the shaping of stage folk music raises an important question about the application of traditional music in stage choreographic works. Since the 1930s in Serbia, the history of music and dance was cre?ated by prominent individuals, musicians and composers, initiated by the work of choreographers such as Maga Magazinovic, Russian artists, and later by many domestic performing artists gathered around cultural and artistic societies and the National ensemble ?Kolo?. In this article, all available data relevant for the consideration of stage folk music as a

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Tsiuliupa, S. D. "Doctoral dissertations of wind instruments musicians in Ukraine (the end of XX – early XXI century)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (2019): 24–39. http://dx.doi.org/10.34064/khnum1-54.02.

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This paper is the first attempt to lay out the major scientific achievements of teachers of faculties of wind and percussion instruments of Ukrainian universities with 3-4 accreditation levels, for the period from second half of XX – to beg. of XXI century. This article systematizes and precisely analyzes the content of obtained PhD dissertations on musical art, theory and methodic of professional education, musical art, theory, the methodic and organization of cultural and educational activities. In the period of Ukraine’s integration into the European entities, scientific work becomes the le

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Brie, Mihai. "Gheorghe Dima – Seiten von der wertvollen hermannstädter musikalischen Tätigkeit." Studia Universitatis Babeş-Bolyai Musica 65, no. 2 (2020): 129–42. http://dx.doi.org/10.24193/subbmusica.2020.2.10.

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"An indisputable musical personality of all times, the great musician Gheorghe Dima gave a new breath to Romanian music but also to religious music. Activating in the second half of the 19th century, turbulent times for history and nation and the first half of the 20th century, he established himself through his substantial and rich academic training in famous western schools. It remained in the consciousness of researchers and generations as one who put Romanian music (instrumental or polyphonic) on the research corridor of the late nineteenth and early twentieth centuries. In this sense, the

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Vasiljevic, Maja. "The concept of “musical degeneration”: From fin-de-siècle pesimism to the nationalsocialist rule." Filozofija i drustvo 23, no. 3 (2012): 237–52. http://dx.doi.org/10.2298/fid1203237v.

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The paper follows the discursive path of one of the dominant, and yet forgotten, terms in the history of ideas - that of ?degeneration.? The richness of uses and various illuminations of the term, as well as its discursive dispersion and blurring, can be seen from the mid 19th until the first decades of the 20th century. The term was almost inescapable in studies of thinkers from various fields starting in the middle of the 19th century, it was successfully adopted from French, Italian and British medical terminology into the art discourse of modern European societies. By focusing on music, th

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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'

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Tschogoschwili, Nino. "Deutsche Siedler im Tiflis des 19. Jahrhunderts." Iran and the Caucasus 8, no. 1 (2004): 65–79. http://dx.doi.org/10.1163/1573384042003000.

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AbstractThe article sheds a new light on the history of German settlers in Tiflis of the 19th century. The main focus lies on emphasizing the important role these settlers played in cultural and economic life of the city. The records the emigrants left behind, depict in vivid tints the circumstances of their existence. Most of the Germans in Tiflis were craftsmen and merchants, others earned their life, for instance, as teacher, scientist, pastor, painter, musician or as enterpriser and man of business. Short biographies of some of the most outstanding characters round off the article.

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Budzar, Maryna. "Music in Social and Cultural Environment in a Noble Estate in the end of the 18th — the mid of the 19th century: from the History of Serf Orchestra of Galagan’s Family." Kyiv Historical Studies 12, no. 1 (2021): 58–69. http://dx.doi.org/10.28925/2524-0757.2021.17.

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The issue of musical culture development in a noble estate in Ukraine from the end of the 18th — to the mid of the 19th century was considered in the article on the grounded source base. This objective has been realised via reconstruction of the creation and activity circumstances of serf orchestra belonged to Galagan’s family in the estates in Sokyryntsi and Digtiari. The purpose of the article is to analyse a summary of social and cultural factors that secured Galagan’s family estates as the centers of musical art in the atmosphere of which refined amateurship of the owners co-existed with h

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Minenko, Anatolii. "“School” of trombone playing as a means of developing European trombone art of the 19th century." Aspects of Historical Musicology 28, no. 28 (2022): 38–63. http://dx.doi.org/10.34064/khnum2-28.03.

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Statement of the problem. The historical context of the influence of trombone players on the performance style of European schools has not yet been studied despite the widespread use of method books “The schools of trombone playing” by all musicians, from amateurs to professionals. However, in the past, leading teachers and methodologists mainly from conservatories presented the performance trends of that time and developed new ones in their works, which guided the further development of the future generations’ performers. Recent research and publications. The issue of method books and their i

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Brie, Mihai. "Das Gebet „Vaterunser” in der komponistischen Sicht von Ciprian Porumbescu – theologische und musikologische Aspekte." Studia Universitatis Babeş-Bolyai Musica 67, no. 1 (2022): 229–42. http://dx.doi.org/10.24193/subbmusica.2022.1.15.

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"The Messianic model of prayer uttered on the Mount of Olives, which has become a standard for the entire treasury of the later church, is our interdisciplinary research today. Given that it was uttered by Jesus Christ himself, it becomes relevant to any believer who wants his daily life to be in continual communion with God. In the liturgical richness of the Christian church of all times, the Lord’s Prayer (Our Father) is an integral part of any time of the day, morning, noon, or evening, because it represents the quintessence of the key words that every Christian visionary must have in his v

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Vasic, Aleksandar. "'The Music Herald' 1922: A esthetical and ideological aspects." Muzikologija, no. 9 (2009): 97–111. http://dx.doi.org/10.2298/muz0909097v.

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The Music Herald was the first music magazine to appear in Belgrade after WWI. It was published monthly, for a year (January - December 1922). Its editor-in-chief was Petar Krstic, a composer. Other members of the editorial staff were Bozidar Joksimovic, Stevan Hristic, Kosta Manojlovic (composers) Vladimir R. Djordjevic (an ethnomusicologist) and Jovan Zorko (a violinist). Over 200 articles were published in the magazine. It dealt with different genres of music writings, such as articles, treatises, documents on the history of Serbian / Yugoslav music, music criticism, polemics, necrologies a

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Dyatlov, Dmitry A. "Archive of composer Savely Orlov: on the problem of actualization." Sphere of culture 4, no. 2 (2023): 127–47. https://doi.org/10.48164/2713-301x_2023_12_127.

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The article is devoted to the archive of the famous Samara composer Savely Orlov. The archive does not reflect the life and work of the musician in detail, some part should be considered lost. Nevertheless, the surviving volume of documents can become the subject of study by local history specialists, historians, culturologists, and art historians. The archive includes photographic materials and documents from the end of the 19th to the middle of the 20th century, published works from 1924 to 1946, and the composers manuscripts from 1900 to 1950. The collection of evidence of the era and music

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Белянский, Д. В. "“The Poems of Ossian” in European Art: On the Origins of Danish Romanticism." Научный вестник Московской консерватории, no. 4(39) (December 7, 2019): 128–61. http://dx.doi.org/10.26176/mosconsv.2019.39.4.005.

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С тех пор, как во второй половине XVIII века шотландский поэт Джеймс Макферсон опубликовал «Поэмы Оссиана», этот литературный памятник оказывал огромное влияние на представителей всех видов искусств. Европейские писатели, поэты, художники, музыканты нередко воплощали «оссиановские» образы и сюжеты в своих произведениях. Это явление недостаточно освещено в российском искусствознании. В настоящей работе приводится подробный экскурс в историю «Поэм Оссиана» в европейском искусстве; в том числе, в связи с творчеством К. Д. Фридриха, Ф. О. Рунге, Ф. Шуберта, Ф. Мендельсона, Р. Шумана. Особое вниман

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Mittler, Barbara. "Rhapsody in Red: How Western Classical Music Became Chinese. By SHEILA MELVIN and JINDONG CAI. [New York: Algora Publishing, 2004. x+362 pp. ISBN 0-87586-179-2.]." China Quarterly 181 (March 2005): 199–201. http://dx.doi.org/10.1017/s0305741005380106.

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This is a delightful book. It opens up a cultural arena much neglected in scholarship on China. Nine engagingly narrated chapters take us through the history of Sino-foreign musical contact since the late 19th century, with one digression, which goes back to encounters since the 16th century (chapter two). The book follows the life story of three important institutions (the Shanghai Municipal Orchestra, the Shanghai Conservatory and the Central Conservatory) and three important men: violinist Tan Shuzhen, who was the first Chinese to join the orchestra in colonial Shanghai; conductor Li Delun,

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Belov, Alexey V. "Serf Theater of the Demidovs ‘Sloboda Palace’ in German Quarter: Organization, Creativity and Decline of the Noble Home Theaters Tradition in Moscow at the Turn of 19th Century." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 69 (2023): 119–31. http://dx.doi.org/10.37816/2073-9567-2023-69-119-131.

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Serf theaters played an important role in the development of the European theatrical tradition in Russia. For the most part they were nonprofessional and private. Both public and professional serf collectives were rather rare. The paper analyzed the history of the home serf theater, created by Russian nobles and industrialists N. A. and N. N. Demidov. It functioned in their Moscow house “Sloboda Palace”, located within the German Quarter — an elite suburb which contributed to the spread of theatrical culture here. The Demidov Theater was related to a small group of serf theaters that stood bet

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YI, Jeong Hwan. "For the Escape of the "Archetypal Romantic Musician" in the "Romantic Era" Robert Schumann as a German Bildungsbürgertum Musician in 19th Century Biedermeier Music History." Music Theory Forum 24, no. 1 (2017): 31–76. http://dx.doi.org/10.15571/mtf.2017.24.1.31.

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YI, Jeong Hwan. "For the Escape of the "Archetypal Romantic Musician" in the "Romantic Era" Robert Schumann as a German Bildungsbürgertum Musician in 19th Century Biedermeier Music History." Yonsei Music Research 24, no. 1 (2017): 31–76. http://dx.doi.org/10.16940/ymr.2017.24.31.

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Gintsburg, Sarali, Luis Galván Moreno, and Ruth Finnegan. "Voice in a narrative: A trialogue with Ruth Finnegan." Frontiers of Narrative Studies 7, no. 1 (2021): 1–20. http://dx.doi.org/10.1515/fns-2021-0001.

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Abstract Ruth Finnegan FBA OBE (1933, Derry, Northern Ireland) took a DPhil in Anthropology at Oxford, then joined the Open University of which she is now an Emeritus Professor. Her publications include Oral Literature in Africa (1970), Oral Poetry (1977), The Hidden Musicians: Music-Making in an English Town (1989), and Why Do We Quote? The Culture and History of Quotation (2011). Ruth Finnegan was interviewed by Sarali Gintsburg (ICS, University of Navarra) and Luis Galván Moreno (University of Navarra) on the occasion of an online lecture delivered at the Institute for Culture and Society a

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Катулина, Н. А. "CHARLES BURNEY. LIFE JOURNEY OF A MUSICIAN AND A TRAVELLER." Music Journal of Northern Europe, no. 2(22) (May 8, 2024): 1–17. http://dx.doi.org/10.61908/2413-0486.2020.22.2.1-17.

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Чарльз Бёрни – выдающийся деятель музыкальной культуры Англии второй половины XVIII – начала XIX века, музыкальный энциклопедист. В контексте изучения музыкальной культуры Европы XVIII века, его работы и в наши дни не потеряли своего значения. Труды английского исследователя имеют огромную значимость для изучения истории музыки, однако русскоязычные материалы о нём малочисленны. В статье излагаются биографические сведения о Чарльзе Берни и его семье, представлены его разносторонние интересы, художественные вкусы и предпочтения, круг общения, а также некоторые материалы о путешествиях музыканта

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Bovsunivska, N. "Activities of the Polish Community in Volyn in the Sphere of Music Education in Ukraine." Zhytomyr Ivan Franko state university journal. Рedagogical sciences, no. 4(86) (December 21, 2016): 30–34. http://dx.doi.org/10.35433/pedagogy.4(86).2016.30-34.

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Development of Ukrainian musical pedagogics in a separate region is not only artistic traditions of local population but also traditions of representatives of other nationalities. A lot of ethnic population always lived on the area of Volyn. The history connected Ukrainians and Poland in one sociocultural community. This community has stipulated cultures interaction. There was "Ukrainian direction" in the Polish art. It was characterized by romantically-emotional moods at the beginning of the 18th of century. From the middle of the 19th century that relation changes: musical work has become th

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Peno, Vesna. "Athens: New capital of traditional Greek music: Testimonies on musical life at the beginning of the twentieth century." Muzikologija, no. 9 (2009): 15–32. http://dx.doi.org/10.2298/muz0909015p.

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During its long Byzantine and Post-Byzantine history Constantinople was the center for church art in general, but especially for music. This old city on the Bosporus maintained its prime position until the beginning of the 20th century when, because of new political and social conditions, the Greek people started to acquire their independence and freedom, and Athens became the new capital in the cultural as well as the political sense. During the first decades of the 20th century the Athenian music scene was marked by an intensive dispute between those musicians who leaned towards the European

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YUZYUK, Nataliya. "STANISLAV LIUDKEVYCH – GREAT UKRAINIAN COMPOSER, PROGRESSIVE PUBLIC ACTIVIST, ORGANIZER OF THE MUSICAL LIFE IN THE WESTERN UKRAINE." Bulletin of the Lviv University. Series of Arts Studies 109, no. 21 (2023): 16–29. http://dx.doi.org/10.30970/vas.21.2023.12126.

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The article investigates the main features of artistic, educational, pedagogical, scientificpublicist and sociopolitical progressive activity of Stanislav Liudkevych that is exceptionally significant for the development of the national culture and, specifically, Ukrainian music, even in the new historical circumstances. It also dwells upon Stanislav Liudkevych’s public activity as the organizer of the musical life in Lviv and other cities of the Western Ukraine that resulted in the organization of the Union of Professional Musicians of Ukraine (1934–1939), the work of which put an end to the p

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Зверева, С. Г. "Sacred Music in the USSR and the Russia Abroad in the 1920s and 1930s." Научный вестник Московской консерватории, no. 4(31) (December 21, 2017): 178–99. http://dx.doi.org/10.26176/mosconsv.2017.31.4.07.

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Cтатья посвящена истории русской православной духовной музыки в СССР и в русском зарубежье в 1920–1930-х годах. В ней уделяется внимание истории хоров и исполнению духовной музыки на богослужениях и в концертах, судьбам духовных композиторов и их творчеству. Ставится вопрос об истории в СССР и русском зарубежье Нового направления — передового творческого течения, возникшего в императорской России в конце XIX века. Обсуждаются новые тенденции в развитии духовной музыки, связанные с образованием национальных Православных Церквей за пределами СССР.Источники демонстрируют большое значение религиоз

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Douche, Sylvie. "150 years of Colonne Concerts." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 139 (February 28, 2024): 134–42. https://doi.org/10.31318/2522-4190.2024.139.301126.

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In the early decades of the 19th century, France created many Musical Societies with a dual objective: to offer (symphonic) music to the widest possible audience, and to perform a repertoire combining new works and masterpieces of the past. The Association artistique des Concerts Colonne is one such Society. Founded in 1873 by Édouard Colonne (1838–1910), the group took over from the short-lived Concert national invented by Georges Hartmann (1843-1900), while maintaining Sunday concerts in the Théâtre du Châtelet. Colonne quickly found itself in competition with the Concerts Lamoureux, making

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Kokanović-Marković, Marijana. "Srpski zvuci: Serbian Sounds, rhapsodies for piano by Jovan Paču: Presenting the sheet music edition and CD." New Sound, no. 63-1 (2024): 105–24. https://doi.org/10.5937/newso2463105k.

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The life journey of the medical doctor and musician Jovan Paču (1847-1902) brought together the various branches of his prolific and richly creative personality , providing him with a prominent place in the history of Serbian 19th-century music. Although his primary vocation was medicine, he had also acquired education in music from early childhood, also working, during his active creative period, as a composer, pianist, music teacher, and writer. This first printed edition of Paču's piano rhapsodies titled Srpski zvuci (Serbian Sounds) comprises eight of his 12 rhapsodies, which are kept in m

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Юдин, А. Н. "The History of the Origin and Development of the Department of Concertmaster Skills of the Saint Petersburg (Leningrad) Conservatory." OPERA MUSICOLOGICA, no. 2022 (October 10, 2022): 112–24. http://dx.doi.org/10.26156/om.2022.14.4.006.

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Появление в России 2-й половины XIX в. первых консерваторий стало важнейшей вехой в развитии русской музыки. Их почти одновременное возникновение в двух крупнейших городах нашего отечества — Санкт-Петербурге и Москве — ознаменовало собой новую историческую эпоху, коренным образом изменив отношение общества к профессии музыканта. Начался процесс «узаконивания» в правах исполнительского и композиторского творчества. Концертмейстерское искусство долгое время оставалось в тени этого движения. Потребуется еще не менее 50 лет, прежде чем в прославленных российских вузах начнется развитие внутренних

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Царёва, Е. М. "From the History of the String Quartet. Felix Mendelssohn and Fanny Hensel in a Dialogue with Beethoven." Музыкальная академия, no. 1(769) (March 29, 2020): 42–57. http://dx.doi.org/10.34690/35.

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Статья посвящена непосредственным композиторским откликам на поздние квартеты Бетховена. Наряду с более известными, но недостаточно освещенными в отечественной литературе струнными квартетами Феликса Мендельсона-Бартольди рассматривается также Квартет Es-dur его сестры Фанни Хензель (1805-1847), талантливого композитора и музыкального деятеля, чье творчество - несмотря на имеющийся опыт музыкально-исторического и аналитического его рассмотрения - еще не вошло в общие представления о развитии музыки в XIX веке. Между тем этот квартет вписывает интересную страницу в историю жанра; он заслуживает

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Н.Б., Захарьина. "Расшифровка и транснотация древнерусских песнопений в XIX — начале ХХ века". OPERA MUSICOLOGICA 16 / 3, № 2024 (2024): 66–83. http://dx.doi.org/10.26156/operamus.2024.16.3.004.

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Расшифровка древнерусских церковных песнопений, записанных невменной нотацией, началась в XIX в. Основной корпус знаменного распева был издан св. Синодом в нотации, называемой киевской. Синодальные певческие книги использовались в церковной службе, примеры из изданий включались в учебники, формируя представления об истории русской музыки. Однако невменные рукописи содержали и некоторые песнопения других стилей. Стихиры путного роспева, приписываемые Ивану Грозному, записанные в рукописи руки Логина Шишелова с необычной нотацией, были обнаружены архимандритом Леонидом и расшифрованы И. А. Форто

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Iațeșen, Loredana Viorica. "7. Advocating the Poetics of Sound in the Cycle Les Nuits d´Été by Hector Berlioz." Review of Artistic Education 15, no. 1 (2018): 59–73. http://dx.doi.org/10.2478/rae-2018-0007.

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Abstract By consulting monographies, musicological studies, specialty articles about the personality of romantic musician Hector Berlioz and implicitly linked to the relevance of his significant opera, one discovers researchers’ constant preoccupation for historical, stylistic, analytical, hermeneutical comments upon aspects related to established scores (the Fantastic, Harold in Italy symphonies, dramatic legend The Damnation of Faust, dramatic symphony Romeo and Juliet, the Requiem, etc.). Out of his compositions, it is remarkable that the cycle Les nuits d´été was rarely approached from a m

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Zohn, Steven. "Images of Telemann: Narratives of Reception in the Composer's Anecdote, 1750-1830." Journal of Musicology 21, no. 4 (2004): 459–86. http://dx.doi.org/10.1525/jm.2004.21.4.459.

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Studies of musical Rezeptionsgeschichte tend to construct and privilege an "official" history based largely upon the writings of scholars, critics, and lexicographers-sources full of authoritative opinions and verifiable facts. Often devalued in this process are "unofficial," unverifiable, and apparently less serious sources such as published anecdotes, which may in fact have no less to tell us about how posterity viewed a given composer. The posthumous reputation of Georg Philipp Telemann is a case in point. Almost universally revered during his lifetime but gradually reduced to the stature o

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Baia, Silvano Fernandes. "“Professor, você não tem orgulho de ser brasileiro?”: a música do Brasil no fim do século XIX e início do século XX." ouvirOUver 13, no. 1 (2017): 202. http://dx.doi.org/10.14393/ouv20-v13n1a2017-15.

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Este texto apresenta a transcrição adaptada para artigo de uma palestra proferida a alunos do curso de Música da Universidade Federal de Uberlândia. A palestra expôs uma visão panorâmica da música no Brasil do fim do século XIX às primeiras décadas do século XX, em especial nas cidades do Rio de Janeiro e São Paulo. O artigo identifica quatro vertentes composicionais, abrangendo desde uma linha mais afinada ao romantismo europeu até os compositores/intérpretes populares não letrados musicalmente que começaram a registrar suas invenções após a chegada da gravação mecânica ao Brasil, em 1902. Ta

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Eremenko, Galina A. "Passeism in the Musical Culture of France." Observatory of Culture 16, no. 2 (2019): 171–82. http://dx.doi.org/10.25281/2072-3156-2019-16-2-171-182.

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The specialists note and highly appreciate the openness to creative dialogue with different European and regional cultures in their works about the artistic history of France. In the introductory section, the article is focused on the importance of the opposite trend, developed in the 19th — early 20th century in all spheres of art. The purpose of the new movement is “national revival”, interest in the origins of the great heritage of the French masters of past epochs. The author concentrates on the peculiarities of interaction between leading composers, musicians-performers and teachers with

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Ян, Т., and Д. И. Варламов. "The development of Chinese vocal music of the 20th century in the context of the processes of academization of art." АКТУАЛЬНЫЕ ПРОБЛЕМЫ ВЫСШЕГО МУЗЫКАЛЬНОГО ОБРАЗОВАНИЯ, no. 1(72) (April 1, 2024): 76–84. http://dx.doi.org/10.26086/nk.2024.72.1.012.

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Вокальное искусство Китая, одно из самых древних в мире, не прекращает своего развития на протяжении тысячелетий. Начиная со второй половины XIX века, этот процесс стал особенно интенсивным: в китайской культуре появилось «бельканто», под которым китайские музыканты подразумевали общеевропейскую манеру пения, Пекинская опера, современное национальное пение. В ХХ веке национальная вокальная музыка Китая начала активно перенимать западные музыкальные традиции, чему способствовало основательное знакомство с ними и обучение музыкантов Китая в Европе, в том числе в Советском Союзе, и Америке. При э

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Žarskienė, Rūta. "The Sound of Trumpet will Stir the World and Raise the Dead: Prayers Accompanied by Brass Instruments in the Folk Piety Tradition." Tautosakos darbai 55 (June 25, 2018): 177–97. http://dx.doi.org/10.51554/td.2018.28504.

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The article focuses on a phenomenon that has so far evaded scholarly attention and research. Apparently, in Samogitia, where brass instruments still play at traditional Catholic or even Lutheran funerals and death anniversaries, participate in the Easter morning processions and the Catholic Church feasts (Lith. atlaidai), yet another practice of folk piety involving brass instruments is thriving: i.e. prayers at the graveside in summer time, during Catholic Church feasts and All Souls’ Day (more frequently still, All Saints’ Day). During her fieldwork of 2013–2017 in various parts of Mažeikiai

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Musalı, Vusala. "Mir Möhsün Nevvâb’ın Araştırılmamış Yazma Eserleri." Edeb Erkan 2 (November 20, 2022): 55–70. http://dx.doi.org/10.59402/ee002202204.

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Mir Mohsun Navvab (1833-1919) is an important poet, literary, scholar, painter, historian, musician, lecturer and publisher who grew up in the Karabakh region of Azerbaijan in the 19th century. He has more than twenty works in the fields of literature, history, religion, music and astronomy. Some of the works he wrote were published in his private printing house in Shusha, and some of them have survived to the present day in the form of manuscripts. Mir Mohsun Navvab is the author of works such as Turkish and Persian Divans, Tezkire-i Navvab, Shams al-Hidayeh, Bahr al-Huzan, Kenz al-Mihan, Maz

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Chernyavska, Marianna, and Oksana Mits. "M. Moshkovsky’s fingering reform and its significance for the piano art of the 20th century." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 74, no. 74 (2025): 121–42. https://doi.org/10.34064/khnum1-74.06.

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Statement of the problem. The article is devoted to the interpretation of M. Moszkowski’s keyboard fingering reform, which reflected his performance, pedagogical, and editorial activities. The fingering principles developed by the Polish musician are analyzed using the material from the not well known piano publications “School of Double Notes”, op. 64 (1900), and “Book of Scales” (1904). Objectives, methods, and novelty of the research. The purpose of the article is to determine the significance of M. Moszkowski’s fingering reform, as presented in his collections “School of Double Notes”, op.

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Kupets, Lyubov A. "Where does Russian Music Begin? The Case of Mikhail Glinka in the Biographical Series of “The Lives of Wonderful People”." Music Scholarship / Problemy Muzykal'noj Nauki, no. 1 (2022): 143–55. http://dx.doi.org/10.33779/2782-3598.2022.1.143-155.

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Since the second half of the 19th century, the figure of Mikhail Glinka has become the dominant one for constructing the total history of Russian music and understanding the significance of other Russian composers. Among the multitude of historical and theoretic research works pertaining to Russian musicology, especially noteworthy is the publication of the musician’s biography in the popular scholarly series “The Lives of Wonderful People” for the period of 1892– 2019. A long-term analysis of the author’s narratives in the historical and cultural context revealed the mechanisms of cultural re

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Yang, Fuyin. "The Canzone Napoletana Phenomenon in the reflection of scientific critical thought." Aspects of Historical Musicology 21, no. 21 (2020): 98–112. http://dx.doi.org/10.34064/khnum2-21.06.

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Introduction. The Neapolitan song is a phenomenon associated with stable patterns of perception. This was a consequence of the popularity of the genre in the field of “light music”, when from the end of the 19th century to the 1970s, other non-pop forms of Canzone Napoletana were ousted from the musical context and the minds of listeners. The transfer of interest from authenticity to the field of musical “pop culture” naturally provoked a certain mode of silence in the research environment. Little interest in the study of the genre indicated a lag in scientific and analytical processes in comp

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