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Journal articles on the topic 'Sacred duets with piano'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

MILLER, BONNY H. "Augusta Browne: From Musical Prodigy to Musical Pilgrim in Nineteenth-Century America." Journal of the Society for American Music 8, no. 2 (2014): 189–218. http://dx.doi.org/10.1017/s1752196314000078.

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AbstractAugusta Browne Garrett composed at least two hundred piano pieces, songs, duets, hymns, and sacred settings between her birth in Dublin, Ireland, around 1820, and her death in Washington, D.C., in 1882. Judith Tick celebrated Browne as the “most prolific woman composer in America before 1870” in her landmark study American Women Composers before 1870. Browne, however, cast an enduring shadow as an author as well, publishing two books, a dozen poems, several Protestant morality tracts, and more than sixty music essays, nonfiction pieces, and short stories. By means of her prose publicat

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Nerovnaia, Tatiana Evgen'evna. "Modern piano duet: a retrospective analysis of performing arts." Человек и культура, no. 4 (April 2020): 141–50. http://dx.doi.org/10.25136/2409-8744.2020.4.33379.

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The subject of this research is the evolution of the art of piano duets since the middle of the XX century to the present day. Leaning on the retrospective analysis of ensemble uniqueness, an attempt is made to determine the key trends in artistic activity of piano duets of that time. The goal of this work consists in the analysis of the types of professional duet ensembles and their peculiarities, substantiated by the mobile form of concerts; study of the relevant questions of renewal of the repertoire; classification of piano duets by &ldquo;performing specialization&rdquo;: educatio

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3

Yang, Ji. "Teaching Methods for the Original Piano Duets." Korean Society of Music Education Technology 35 (April 16, 2018): 63–82. http://dx.doi.org/10.30832/jmes.2018.35.63.

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Jones, Daniel A. "Paul Hindemith's Symphonic Metamorphosis of Themes by Carl Maria von Weber for Orchestra: A Historical and Analytical Perspective." Musicology Today 17, no. 1 (2020): 60–71. http://dx.doi.org/10.2478/muso-2020-0005.

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Abstract A now standard component of orchestral and wind band repertoire, Symphonic Metamorphosis of Themes by Carl Maria von Weber was originally intended to be ballet music. This study examines the history and background surrounding Paul Hindemith's orchestral piece and demonstrates how Hindemith crafted each movement based off Weber's original piano duets and incidental orchestral music. The study was undertaken as limited information exists about the piece in its entirety, and much of what has been written primarily concerns itself with grammatical and contextual aspects of Hindemith's tit

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Mureșan, Valentin. "Examples in the Development of Clementi’s Four-Hand Piano Sonata." Studia Universitatis Babeş-Bolyai Musica 68, no. 2 (2023): 311–22. http://dx.doi.org/10.24193/subbmusica.2023.2.23.

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"Muzio Clementi exploits the possibilities of duet texture more, individualizing the middle voices as a separate layer. However, it cannot compete with the refinement of the interweaving of voices in Mozart’s duets. The bass and middle voices often provide a supporting function for the melodic material concentrated in the primo part. Clementi’s four-hand sonatas are among the earliest significant works of four-hand piano in musical history. They reflect the composer’s individual and intense journey through the genre and the variety of his approaches. Keywords: Muzio Clementi, Sonata, piano fou

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6

Atlas, Raphael. "Text and Musical Gesture in Brahms's Vocal Duets and Quartets with Piano." Journal of Musicology 10, no. 2 (1992): 231–60. http://dx.doi.org/10.2307/763613.

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Atlas, Raphael. "Text and Musical Gesture in Brahms's Vocal Duets and Quartets with Piano." Journal of Musicology 10, no. 2 (1992): 231–60. http://dx.doi.org/10.1525/jm.1992.10.2.03a00030.

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8

Shevchenko, Liliia. "Sacred Origins of the Instrumental Multiplicity of the Musical Performances as Signs of Piano Playing." Bulletin of KNUKiM. Series in Arts, no. 42 (July 14, 2020): 163–69. https://doi.org/10.31866/2410-1176.42.2020.207646.

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The purpose of the article is to identify the sacred and genetic features of instrumentalism, piano in particular, as the embodiment of Christian-vocal modelling of the play-breathing (mozartianism) and the revival of the original selfsignificant rhythmic and sound principle in the piano orchestration (beethovenianism). The research methodology is the phenomenological perspective of R. Ingarden’s aesthetics and philosophy and phenomenologically oriented art studies of B. Аsаfiev, N. Коryhаlоvа, V. Меdushevskij, E. Маrkоvа, and others, analysis, synthesis, and distributive methods, which

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9

Radu-Ţaga, Consuela. "Dragobete Stories." Theatrical Colloquia 10, no. 1 (2020): 204–12. http://dx.doi.org/10.2478/tco-2020-0015.

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AbstractMonday on February 24th 2020, in the Auditorium of Mihai Eminescu Central University Library in Iaşi the show-recital entitled Dragobete Stories took place. Having the love theme, 4 teachers and 9 singer-actors from George Enescu National University of Arts present to the public arias and duets from the national and international repertoire, pages extracted from the genre of opera and operetta. The excursion on a route that included opera seria, comedy, historical opera, lyrical-dramatic legend, Viennese operetta, Romanian operetta, Russian operetta was coordinated by the presentation

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LeSueur, Richard, and Lucien Stark. "Brahms's Vocal Duets and Quartets with Piano: A Guide with Full Texts and Translations." Notes 56, no. 1 (1999): 130. http://dx.doi.org/10.2307/900487.

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11

ZUBKO, Natalia. "REINTERPRETATIONS OF THE ORIGINAL CONCEPT: EXAMPLES OF ARRANGEMENTS OF OWN WORKS FOR PIANO DUETS." Humanities science current issues 2, no. 77 (2024): 84–89. http://dx.doi.org/10.24919/2308-4863/77-2-12.

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12

Garipova, N. F. "TO THE QUESTION OF SACRED MEANINGS IN N. SABITOV’S PIANO CYCLE "SEVEN TUNES"." Arts education and science 1, no. 2 (2020): 81–87. http://dx.doi.org/10.36871/hon.202002010.

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Interest in the piano work of the Bashkir composer Nariman Sabitov especially increased on the eve of the 95th anniversary of his birth. In 2004, the author of this article published an essay on the composer’s piano cycle "Seven Tunes". However, the perception of music changes over time. This article is supplemented by analytical studies related to the development of folklore, with a special view on poetic folklore in terms of sacred, magical and mythological problems. There are interesting works in this direction. They pushed the author to re-analyze the musical content of the cycle from this

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13

Fang, Fang. "A Brief Analysis of Brahms Violin Concerto in D Major, Op.77." Arts Studies and Criticism 4, no. 2 (2023): 42. http://dx.doi.org/10.32629/asc.v4i2.1459.

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Brahms is a giant in the era of romantic music, his works contain complex and delicate ideological changes in the hearts of the characters. His creative inspiration is deeply influenced by Schumann and other musicians, and the musical language expression in his works is sometimes tactful and sometimes obscure. Brahms has composed a large number of musical works throughout his life, including a large number of orchestral works, piano ensemble works, string ensemble works, solo piano songs, piano four-hand joint play, vocal duets, chorus, and solo works. Brahms's violin concerto consists of thre

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Chuvashov, A. V. "Dmitriy Bortnyansky’s Sacred Music in Arrangements for Domestic Music–Making (Setting a Problem)." Art of Music, no. 2 (December 2024): 164–93. https://doi.org/10.51678/2307-5015-2024-31-164-193.

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The article deals with the arrangements of Dmitriy Bortnyansky’s sacred music intended for domestic music-making. Arrangements of this kind became widespread in Russia in the early 19th century. The piano transcriptions done by Archpriest P. Turchaninov on Bortnyansky’s request are examined, as are the unusual arrangements for choir and organ from the collection of Emperor Alexander I, stored now at the Ekaterininskiy (Catherine) Palace of Tsarskoe Selo. The topic is for the first time presented in scholarly literature. The published materials will enlarge the scope of our knowledge about a hi

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Mullen, Erin. "Suite for Horn and Piano, and: Suite (Twelve Duets) for Horn and Tuba, and: Horn Sonata, and: Horn! for Horn in F and Piano, and: Sonata for Horn and Piano (review)." Notes 60, no. 3 (2004): 801–4. http://dx.doi.org/10.1353/not.2004.0030.

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Goebl, Werner, and Caroline Palmer. "Synchronization of Timing and Motion Among Performing Musicians." Music Perception 26, no. 5 (2009): 427–38. http://dx.doi.org/10.1525/mp.2009.26.5.427.

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WE INVESTIGATED INFLUENCES OF AUDITORY FEEDBACK, musical role, and note ratio on synchronization in ensemble performance. Pianists performed duets on a piano keyboard; the pianist playing the upper part was designated the leader and the other pianist was the follower. They received full auditory feedback, one-way feedback (leaders heard themselves while followers heard both parts), or self-feedback only. The upper part contained more, fewer, or equal numbers of notes relative to the lower part. Temporal asynchronies increased as auditory feedback decreased: The pianist playing more notes prece

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17

Krainz, Thomas A. "Transforming the Progressive Era Welfare State: Activists for the Blind and Blind Benefits." Journal of Policy History 15, no. 2 (2003): 223–64. http://dx.doi.org/10.1353/jph.2003.0014.

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On the evening of 21 November 1918, more than one hundred people gathered at Sullivan's Hall in Denver, Colorado, to celebrate voters’ recent approval of the Act for the Relief of the Adult Blind, a statewide initiative commonly referred to as blind benefits or blind pensions or blind aid. The new law guaranteed up to $300 annually in cash relief for each impoverished blind resident. The evening's entertainment included piano, violin, and vocal solos and duets as well as readings of poetry and literature. While people listened, they enjoyed a simple assortment of sandwiches, pies, and doughnut

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18

Payne, Emily. "The craft of musical performance: skilled practice in collaboration." cultural geographies 25, no. 1 (2017): 107–22. http://dx.doi.org/10.1177/1474474016684126.

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This article examines the nature of skilled practice within two settings of musical performance, the rehearsal and the compositional workshop. Drawing primarily on the work of Richard Sennett and Tim Ingold, I suggest that a characterisation of musical performance as a craft practice attends to the development of skill and expertise through the performer’s physical and everyday encounters with the world and provokes a reconsideration of the dimensions of performance that might otherwise be taken for granted. The first case study addresses rhythmic coordination during a rehearsal of Four Duets

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19

Talbot, Michael. "Maurice Greene's Vocal Chamber Music on Italian Texts." Royal Musical Association Research Chronicle 48 (2017): 91–124. http://dx.doi.org/10.1080/14723808.2016.1271573.

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Maurice Greene (1696–1755), best known for his sacred and secular vocal music on English texts, left a substantial corpus of vocal chamber music set to Italian texts that remained unpublished during his lifetime and has not been studied in detail until now. It comprises ten cantatas for soprano and continuo, one cantata and seven chamber arias for voice, violin and continuo, four chamber duets and a cycle, scored variously for soprano and bass voice with continuo, of 15 settings of Anacreontic odes translated into Italian by Paolo Rolli. Greene was the only major English composer contemporary

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20

Zakharbekova, Irina S. "Georges Bizet in the Service of the Opera: More than “Just” a Composer?" Contemporary Musicology 8, no. 4 (2024): 64–90. https://doi.org/10.56620/2587-9731-2024-4-064-090.

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Georges Bizet occupies an important place in the history of French musical theatre thanks to his works such as Carmen and Les pêcheurs de perles. However, the musical career of this bright and original composer includes not only his own compositional oeuvre, which is relatively modest in terms of the number of works he created, but also his work in adjacent spheres. The article discusses the editorial and correction work on the works of other authors, which Bizet began to carry out in the mid-1850s and was especially active in the 1860s and early 1870s. Bizet worked on transcriptions (piano-vo

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21

Asfandyarova, Amina I. "Images of Instrumental Duets in the Musical Texts of Haydn’s Keyboard Sonatas and Their Implementation by Means of the Modern Piano." Music Scholarship / Problemy Muzykal'noj Nauki, no. 4 (December 2017): 108–14. http://dx.doi.org/10.17674/1997-0854.2017.4.108-114.

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22

Pan, Hon Engi. "Chinese National Traditions in the Musical Poetry of the Piano Concert "The Four Spirits" by Chen Yi." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 1, no. 1 (2018): 101–11. https://doi.org/10.31866/2616-7581.1.2018.146265.

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Genre of the piano concert holds a prominent place in the works of contemporary Chinese composers. The interest is due to the integration of Chinese culture into the Western music world, the awareness of piano versatility for national musical material adaptation. Article analyses for the first time one of the most recently written works of the contemporary Chinese-American composer Chen Yi – the piano concert “The Four Spirits” (2016). The purpose of the article is to determine the effect of ancient Chinese mythology on the content and structure of the piano concert “Th

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23

Alekseeva, Irina V. "THE THEME OF MEMORY IN MIKHAIL KOLLONTAY’S TRIO “TEN WORDS OF MUSSORGSKY ON THE DEATH OF VICTOR HARTMANN”." Arts education and science 4, no. 37 (2023): 44–52. http://dx.doi.org/10.36871/hon.202304044.

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In the spiritual life of a person, remembrance plays a significant role. The resurrection of the priceless past experience of one’s own and someone else’s opens the way to comprehension of the present, one’s own Self. Artists strive to reflect the amazing ability of a person to cross the border of the real and sacred worlds in memory. In the musical art of the second half of the XXth — early XXIst centuries, the theme of memory is embodied through a dialogue of compositions from different eras, traditions, concepts. In this vein, the article examines the unique composition by our compatriot an

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24

Starodub, Iryna. "Piano music by Viktoria Poleva: Experience of performing embodiment." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 135 (December 26, 2022): 48–57. http://dx.doi.org/10.31318/2522-4190.2022.135.270999.

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Relevance of the study. The main characteristic identifiers of Victoria Poleva's compositional style are considered, in particular, the dominant piano component of the music worldview, which translates the main ideas and meanings in the spiritual and instrumental genres of oeuvre. The actual factors of the special study of the meaningfulness of the texture embedded in the piano within the style of "sacred minimalism" are highlighted. The main performance specifics of the works were found to be close to the correct understanding in the construction of the interpretive version. The piano work of

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25

Tick, Judith. "Ruth Crawford's Spiritual Concept: The Sound-Ideals of an Early American Modernist, 1924-1930." Journal of the American Musicological Society 44, no. 2 (1991): 221–61. http://dx.doi.org/10.2307/831604.

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This article investigates the musical thought and stylistic evolution of the American modernist composer Ruth Crawford Seeger (1901-1953) in her formative years. It shows the relationship of style and idea to what she termed "spiritual concept": the core of her transcendental modernism. The sources of Crawford's spiritual aesthetics are Theosophy, Eastern religious philosophy, nineteenth-century American Transcendentalism, and the imaginative tradition of Walt Whitman. Thus Crawford drew on an eclectic legacy of ideas that had been linked in American intellectual life since the turn of the cen

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26

Haringer, Andrew. "Program Music as Sacramental Prayer: Liszt, Lamartine, and Bénédiction de Dieu dans la solitude." 19th-Century Music 49, no. 1 (2025): 17–47. https://doi.org/10.1525/ncm.2025.49.1.17.

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Franz Liszt considered Bénédiction de Dieu dans la solitude—the third piece from his 1853 piano cycle Harmonies poétiques et religieuses—to be one of his most significant works for solo piano, but its roots in the eponymous poem by Alphonse de Lamartine have yet to receive full consideration. Scholarship on the Bénédiction and the Harmonies as a whole has tended to focus more on the cycle’s convoluted twenty-year genesis than on the poetic cycle that inspired it. This omission is consistent with the persistent belief that Liszt was haphazard in his application of programmatic titles. However,

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Motorna, Tetiana. "O. Messian's piano cycle "20 views on the infant Jesus" in the aspect of connection with the legacy of О. Scriabin". National Academy of Managerial Staff of Culture and Arts Herald, № 2 (17 вересня 2021): 287–91. http://dx.doi.org/10.32461/2226-3209.2.2021.240096.

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Purpose of the article. To investigate the significant stylistic influences of О. Scriabin's creative method on О. Messian's compositional approach. Determine the means by which the liturgical and mysterious orientation of the work of both composers is realized. Methodology. The methodological foundations of the work include analytical, comparative-historical and genre-nominative musicological approaches determined by aesthetic, cultural and philosophical positions. This methodological approach allows us to reveal and analyze individual plays of the cycle "20 views on the infant Jesus" in orde

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Boettcher, Bonna J., Dallas A. Weekley, and Nancy Arganbright. "Schubert's Music for Piano Four-Hands: A Comprehensive Guide to Performing and Listening to the Dances, Fantasies, Marches, Polonaises, Sonatas, Variations, Waltzes and Other Duets." Notes 48, no. 2 (1991): 521. http://dx.doi.org/10.2307/942065.

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Petsche, Johanna J. M. "G. I. Gurdjieff’s Piano Music and Its Application in and outside “The Work”." Religion and the Arts 21, no. 1-2 (2017): 70–95. http://dx.doi.org/10.1163/15685292-02101003.

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Gurdjieff (c. 1866–1949) wrote a diverse collection of piano pieces at his “Institute for the Harmonious Development of Man” at the Chateau du Prieuré d’ Avon at Fontainebleau near Paris in a unique collaboration with pupil Thomas de Hartmann, a Ukrainian composer. This music was composed most intensely between the years 1925 and 1927, after Gurdjieff’s near-fatal car accident of 1924 when all work on his “Movements” or “sacred dances” had ceased. Thus this music was not written for the Movements but for other spiritual purposes. Gurdjieff would whistle, sing, and tap Eastern-sounding melodies

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Downe, Michael. "‘Ordre et beauté’." Journal of Romance Studies 21, no. 3 (2021): 419–36. http://dx.doi.org/10.3828/jrs.2021.23.

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The British composer Jonathan Harvey is generally associated with Eastern sacred texts rather than the secular Western literary canon. However, evidence from works composed over several decades suggests that Charles Baudelaire was a significant if subterranean influence upon his music. This article considers these works in detail. ‘L’Horloge’ [‘The Clock’] (1963) is a remarkable interpretation of Baudelaire’s text which reveals in it parallels with Harvey’s own contemporary preoccupations with the nature of musical time. Correspondances (1975) is a sequence of settings from Les Fleurs du mal a

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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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Kirkegaard-Larsen, Thomas Jul. "Fornægtelse og forsoning i Tekla Griebels ”Det bødes der for”." Tidsskriftet SANG 2, no. 1-2 (2021): 16–39. http://dx.doi.org/10.7146/sang.v2i1-2.137220.

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Denial and reconciliation in Tekla Griebel’s ”Det bødes der for” This article is a close analysis of Tekla Griebel’s song ”Det bødes der for”. The analysis serves three purposes: First, I intend to highlight motivic, tonal, harmonic and other structural remedies with which Griebel underlines a subtle development in J.P. Jacobsen’s poem; she does this by setting the voice as a subject that constantly denies the sorrowful realities – represented by the piano – before the subject finally resigns in painful reconciliation. Second, as the first-ever analytical study of a work by Tekla Griebel

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33

Clark, Walter. "Of Self and Circumstance: Music and Representation in the Works of Rodrigo." Soundboard Scholar 7, no. 1 (2021): 1–17. http://dx.doi.org/10.56902/sbs.2021.7.5.

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Though Joaquín Rodrigo (1901-99) is renowned for his guitar works, especially the Concierto de Aranjuez, less well known is the fact that his compositions embrace a wide variety of genres, styles, and media, from piano solos to art songs and from orchestral tone poems to film scores. This article proposes a novel way of organizing and comprehending the roughly 200 works in his catalogue. Rather than the standard method of organization by chronology or medium, it surveys his oeuvre through multiple lenses, including literary, folkloric, virtuosic, sacred, historical, theatrical and descriptive.

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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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Jefferson, Meriel. "Fingers and Thumbs Books 1–3 by John York. Boosey and Hawkes, 1993, £3.50 each. - Play Boogie Duets, Boogie Duets for Beginners by Daryl Runswick. Faber Music, 1993. £4.95 each. - Let's all Play the Ollie Way! by Alison Hedger. Chester Music. 1992. £5.95; cassette, £4.95. - Mikrokosmos Volume 1 by Bela Bartok. Boosey and Hawkes, 1987. Book and CDROM, £12.95. - Abracadabra Piano Books 1–3 arranged by Jane Sebba. A. and C. Black, 1993. £3.99 each. - The Piano Duet Collection edited by Alan Ridout. Kevin Mayhew, 1992. £6.95. - Jazzy Duets by Mike Cornick. Universal Edition. - Blue Piano by Mike Cornick Universal Edition, £3.95." British Journal of Music Education 11, no. 3 (1994): 255–57. http://dx.doi.org/10.1017/s0265051700002254.

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Kasianenko, Liudmyla. "Chopin's Music: Understanding and New Insight into Its Content (the 210th Anniversary of the Composer's Birth)." Bulletin of KNUKiM. Series in Arts, no. 42 (July 14, 2020): 103–12. https://doi.org/10.31866/2410-1176.42.2020.207639.

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The purpose of the article is to consider the degree of music theory development on the interpreting issue of F. Chopin works in the context of understanding the melody semantics in his music; to provide theory base on methods for studying the emotional subtext of works by a comparison of melodies with musical rhetoric and sacred symbolism. Research methodology. The defining methodological principle was the method of analysing the construction of melodies through traditional musical symbols, as well as their texture for understanding the psychological states that music conveys. The method of s

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Rickards, Guy. "New Releases of music by Women Composers." Tempo 59, no. 231 (2005): 74–80. http://dx.doi.org/10.1017/s0040298205260072.

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CECILIE ØRE: A. – a shadow opera. Joachim Calmeyer, Anneke von der Lippe, Tilman Hartenstein, Henrik Inadomi, Lakis Kanzakis, Rob Waring (voices). Aurora ACD 5034.BETH ANDERSON ‘Swales and Angels’: March Swale1; Pennyroyal Swale1; New Mexico Swale2,1,3; The Angel4,1,5,6,8; January Swale1; Rosemary Swale1; Piano Concerto6,1,7,3,8. 1Rubio String Quartet, 2Andrew Bolotowsky (fl, picc), 3David Rozenblatt (perc), 4Jessica Marsten (sop), 5Joseph Kubera (vc, pno), 6André Tarantiles (hp), 7Darren Campbell (bass), c. 8Gary M. Scheider. New World 80610-2.RAGNHILD BERSTAD: Anstrøk for violin and cello1;

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Beinyk, Yevheniia. "Cultural Peculiarities of Franz Liszt's Spiritual Work." Issues in Cultural Studies, no. 42 (November 13, 2023): 34–43. https://doi.org/10.31866/2410-1311.42.2023.293699.

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<em>The aim of the article </em>is to examine the spiritual works of Franz Liszt, dedicated to fragments of Holy Week, identify Christian worldview motifs in compositions of this type; outline the cultural features of the composer’s spiritual work. <em>The results of the research </em>are based on the study of the intonation approach of B. Asafiev school in Ukraine, demonstrated in the works of D. Androsova, O. Markova, O. Muravska, O. Roshchenko, and O. Sokol. In particular, the highlighted materials are the basis for further research into the cultural traditions of F. Li

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Theobald, Marjorie R. "The Sin of Laura: The Meaning of Culture in the Education of Nineteenth-Century Women." Victoria 1990 1, no. 1 (2006): 257–71. http://dx.doi.org/10.7202/031019ar.

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Abstract In the iconography of nineteenth-century female education, the centralfigure is a woman at the piano. This figure embodies a form ofeducation, the female "accomplishments" — music, art, modern languages, literature, and the natural sciences — which was widespread in Britain by the end of the eighteenth century and which spread rapidly throughout the English-speaking world. Yet this form of education has been overlooked or dismissed by both mainstream and feminist historiography. This paper considers the rise of the accomplishments curriculum as a precursor to the emergence, late in th

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Polska, I. І. "«Exegi monumentum»: the reflection of Schumann’s images in the Variations by J. Brahms on the theme by R. Schumann op. 23." Aspects of Historical Musicology 17, no. 17 (2019): 249–61. http://dx.doi.org/10.34064/khnum2-17.16.

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Background. The problematics associated with the personal and creative relationships between Johannes Brahms and Robert Schumann, as well as the nature of their reflection in art, have been worrying the minds of researchers for more than a century and a half. One of significant, but little-studied aspects is the embodiment of Schumann’s images and associations in the four-handed piano works by J. Brahms. The article objective is revealing of the semantic specifics of the reflection of Robert Schumann creativity in the Variations by Johannes Brahms on the Theme by R. Schumann, op. 23. The study

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Kopeliuk, O. O. "First Piano Concerto by Ivan Karabyts in terms of the renewal of concertо genre in Ukraine". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, № 56 (2020): 8–29. http://dx.doi.org/10.34064/khnum1-56.01.

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Background. The political and cultural movement of the “Sixtiers” in XX century opened wide horizons for Ukrainian composers to search for a new artistic and imaginative sphere, for new means of expressiveness, stylistics, form etc. The aspirations of young Ukrainian composers for concert genre renewal are realized through a rethinking of reality, intellectual and philosophical searching and psychologism in creativity. One of the brightest creative assets of this time is the First Piano Concerto by Ivan Karabyts, the talented Ukrainian composer, the outstanding representative of Ukrainian musi

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Onalbayeva, Kadisha, and Aizhan Kalibayeva. "In search of Versatility: The History of Music Through the Prism of Musicians’ Specialization." Saryn 12, no. 4 (2024): 20–38. https://doi.org/10.59850/saryn.4.12.2024.219.

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The article presents a new look at music history from the versatility of the musician’s creative activity point of view, which manifests itself in the diversity of his talent, the multiplicity and cultural breadth of his creative interests. In the field of creative activity, versatility was an integral property of professional musicians both in various cultural traditions and in Western European music until the 18th century.The research methodology is based on a combination of a comprehensive value method and comparative analysis, which helps to form a holistic idea of the creative versatility

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Burtsev, Mуkyta. "Christian images in chamber vocal music of Western Europe of the 19–20th centuries." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 66, no. 66 (2023): 27–41. http://dx.doi.org/10.34064/khnum1-66.02.

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Statement of the problem. The development and popularization of vocal genres in performance practice of the 19th century was accompanied by a tendency to move liturgical singing to concert halls. Its consequence was the appearance of a new genre variety – “sacred song”. This is a chamber composition for the voice and piano with a brightly pronounced sacred meaning of the poetic base (sometimes borrowing texts from the Bible). Despite the fact, that vocal music was dominated by secular themes at that time (sometimes even demonic, as evidenced by the popularity of the image of Mephistopheles), r

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Burel, Oleksandr. "“Nuit Persane” by C. Saint-Saëns: Oriental Story from a Frenchman." Aspects of Historical Musicology 34, no. 34 (2024): 55–91. http://dx.doi.org/10.34064/khnum2-34.03.

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Statement of the problem. Since the 18th century, oriental theme have been firmly established in French classical music . Camille Saint-Sa&#235;ns (1835–1921) did not miss it in his vocal cycle “Persian Melodies” for voice and piano op. 26 (1870), which he transformed later into a picturesque symphonic canvas “Nuit Persane” op. 26-bis (1891). The very fact of such a transformation cannot fail to arouse research interest, especially since the score became not just a vocal-orchestral version of “Persian Melodies”, but acquired features of spectacular theatricality. If the early period of the

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Дедов, С. В. "Специфика работы с однородными и смешанными ансамблями в классе гитары детских музыкальных школ". Modern Humanities Success, № 8 (29 серпня 2024): 204–10. http://dx.doi.org/10.58224/2618-7175-2024-8-204-210.

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статья посвящена анализу игры обучающихся на начальной ступени музыкального образования (в детских музыкальных школах / детских школах искусств) в различных ансамблях в классе гитары. Чаще всего в практике преподавателей детских музыкальных школ и детских школ искусств выбор падает на однородный ансамбль. То есть гитарные дуэты, трио, квартеты, большие гитарные ансамбли, реже гитарный оркестр. Но также весьма интересна практика организации смешанных ансамблей, то есть сочетание гитары с другими инструментами (фортепиано, духовые, струнно-смычковые, народные). Работа с подобными видами ансамбля

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Duvernoy, Jean. "La Procédure de répression de l'hérésie en Occident au Moyen-Âge." Heresis 6, no. 1 (1986): 45–53. http://dx.doi.org/10.3406/heres.1986.2120.

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Investigatory proceedings against those accused of heresy in northern Europe all cases decided by ordeal, up to the year 1204. At that date many Cathars were burnt to death in Braine, (Aisne department). This procedure made sacred by the chuch up to the Lateran Council of 1215, was the normal procedure of common law. It was also the procedure that prevailed in the south of France. After the submission of the Count of Toulouse in 1229, the council held in Toulouse during the same year paid particular attention to what concerned the denunciation of heretics, either «perfects» or their abettors,

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Chykalova, Olha. "The spiritual concept “Hope in God!” in the psalms by F. Mendelssohn-Bartholdy." Aspects of Historical Musicology 34, no. 34 (2024): 7–24. http://dx.doi.org/10.34064/khnum2-34.01.

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Statement of the problem. The spiritual music by Felix Mendelssohn-Bartholdi remains insufficiently covered in domestic scientific research. To a greater extent, the interest of musicologists is observed in his secular work – large symphonic or chamber-instrumental compositions (the overture “A Midsummer Night’s Dream”, “Songs Without Words” for piano etc.). However, the musical embodiment of religious texts by F. Mendelssohn testifies to how deeply they were heard by the author. Since the composer was a religious person, spiritual choral music occupies a significant place in his legacy. In ad

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Odnosum, Natalia V. "MUSICAL CONCEPT OF THE NOVEL DOCTOR ZHIVAGO BY BORIS PASTERNAK IN THE CONTEXT OF THE SPIRITUAL AUTOBIOGRAPHY GENRE." Alfred Nobel University Journal of Philology 2, no. 22 (2021): 43–56. http://dx.doi.org/10.32342/2523-4463-2021-2-22-4.

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The purpose of the article is to study the role of the musical imperative in the modernization, transformation of the spiritual autobiography genre in the novel by B.L Pasternak Doctor Zhivago. To achieve this goal, the following tasks are required: a brief overview of biographical facts of the writer’s life, illustrating the path of his aesthetic philosophy and worldview, artistic formation, in which music played a dominant role; to study the musical imperative at the ideological-philosophical, system-structural, and aesthetic-artistic levels. While researching, biographical, systemic, struct

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Anderson, Martin. "Estonian Composers (combined Book and CD Review)." Tempo 59, no. 232 (2005): 60–66. http://dx.doi.org/10.1017/s0040298205210161.

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Ancient Song Recovered: The Life and Music of Veljo Tormis, by Mimi S. Daitz. Pendragon Press, $54.00/£36.00.The Works of Eduard Tubin: Thematic-Bibliographical Catalogue of Works by Vardo Rumessen. International Eduard Tubin Society/Gehrmans Musikförlag, E.57.TORMIS: ‘Vision of Estonia’ II. The Ballad of Mary's Land; Reflections with Hando Runnel; Days of Outlawry; God Protect Us from War; Journey of the War Messenger; Let the Sun Shine!; Voices from Tammsaare's Herdboy Days; Forget-me-not; Mens' Songs. Estonian National Male Choir c. Ants Soots. Alba NCD 20.TORMIS: ‘Vision of Estonia’ III. T

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Даніч, Г. В. "К. ГОРСЬКИЙ ЯК КОМПОЗИТОР: ОСНОВНІ РИСИ ТА ЕТАПИ СТАНОВЛЕННЯ АВТОРСЬКОГО СТИЛЮ". Традиції та новації у вищий архітектурно-художній освіті, № 5 (4 січня 2019): 96–102. https://doi.org/10.5281/zenodo.2532041.

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The article is devoted to the study of the important aspect in the work of K. Gorski, one of the founders of professional musical creation in Kharkiv during the 1880s – 1910s. The composition component of his work, which was formed under the influence of Polish and Ukrainian musical mentality, has been distinguished and characterized. As is shown by the rather small data on the composer Gorski’s work, his creative interests covered various genres – from romances to major forms, including two operas. The article gives a generalized description of the stages and genre variation

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