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Journal articles on the topic 'Sinzig (Germany)'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Sintzova, S. V., and R. F. Saifullin. "Is C Actually Red? (Ist C Rot? Eine Kultur- und Wissenschaftsgeschichte zum Problem der wechselseitigen Beziehung zwischen Ton und Farbe: von Aristoteles bis Goethe) by Joerg Jewansky. Sinzig Studio, Verl. Schewe, 689 S. Berliner Musik Studien, Bd. 17, Germany, 1999." Leonardo 33, no. 3 (2000): 233–34. http://dx.doi.org/10.1162/leon.2000.33.3.233.

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Furmanik, Martin. "Spišskí Nemci v rokoch 1920 – 1937." Kultúrne dejiny 13, no. 2 (2022): 248–72. http://dx.doi.org/10.54937/kd.2022.13.2.248-272.

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The study deals with various areas of life of Spiš Germans (Zipsers) during the period of the first Czechoslovak Republic, specifically between 1920 and 1937. The first part of the study discusses the political activities of Germans in Spiš. The greatest attention is paid to the Zipser German Party (Zipser deutsche Partei) and the Carpathian German Party (Karpatendeutsche Partei), because these parties were voted for by most Germans in Spiš. To a lesser extent, this part is devoted to other parties that the Germans from Spiš (Zipsers) voted for. Part of this section are tables showing which pa

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Thompson, Paul. "“Wipe out the Vons!” The Pietermaritzburg Citizens Vigilance Committee and the sinking of the Lusitania, May 1915." New Contree 74 (December 30, 2015): 22. http://dx.doi.org/10.4102/nc.v74i0.160.

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The Pietermaritzburg Citizens Vigilance Committee was an extra legal body which discovered disloyal persons of German extraction in the city following the riots caused by the German torpedoing of the British passenger liner Lusitania in May 1915. A public indignation meeting created the Committee and gave it a broad mandate to ferret out suspect enemy aliens. The European polity of Pietermaritzburg was essentially British; there were relatively few Germans, so the Committee worked quickly. It discovered no disloyalty, but it did discover much intimidation by so-called patriots, which it condem

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Reznichenko, N. A. "‘In a real tragedy, it is not the hero who perishes — it is the chorus’. Reading Paul Celan’s ‘Death Fugue’." Voprosy literatury, no. 3 (June 12, 2025): 74–85. https://doi.org/10.31425/0042-8795-2025-3-74-85.

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The article sets out to explain the complex subtexts of Celan’s ‘Death Fugue’ by analyzing the poem’s artistic history, poetics, style, leitmotifs, and reminiscences. Protagonists of the lyrical plot stand out as the ‘chorus’ (‘we’) of singing and dancing Jews and a ‘master,’ or ‘capellmeister,’ (‘he’), recognizable as the commandant of an extermination camp as well as the ‘death, a master from Germany.’ ‘He,’ ‘death master,’ whose whim decides the fate of the chorus, is portrayed as a typical Aryan: he has blue eyes, writes letters to a golden-haired Margarete in Germany, and, just like Nietz

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FREEDMAN, JESSE. "Political Participation and Engagement in East Germany Through Chilean Nueva Canción." Yearbook for Traditional Music 54, no. 1 (2022): 1–25. http://dx.doi.org/10.1017/ytm.2022.4.

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AbstractChilean musical and political themes were an important element of East German life during the socialist presidency of Salvador Allende (1970–1973) and the violent military dictatorship (1973–1990) that overthrew him. The musical movement nueva canción (new song) was critical in mobilising solidarity with Chile around the world. In East Germany, the state-sponsored Singebewegung (singing movement) and the Liedermacher*innen1 (song makers) who were sometimes more openly critical both performed Chilean themes and covers. In addition to promoting solidarity, both groups drew on the musical

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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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Mecking, Sabine. "Gelebte Transnationalität." European Journal of Musicology 19, no. 1 (2020): 1–17. http://dx.doi.org/10.5450/ejm.19.1.2020.01.

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In this article singing is not first and foremost interpreted in its tonal texture, but as a cultural, social and political-historical phenomenon. Using the example of the German vocal culture in the USA in the "long 19th century", the function and effect of singing is examined. The focus is on songs, musical symbols and rituals as an expression of social and political communication. Singing together strengthened the formation and sharpening of a specific identity of the so-called German-Americans. In the German-language singing the old "Heimat" did not remain abstract, but was experienced in

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Liebert, E. A. "German dialects of the Tomsk and Novosibirsk regions (based on the open online archive of German dialects in Siberia)." Sibirskiy filologicheskiy zhurnal, no. 3 (2020): 275–87. http://dx.doi.org/10.17223/18137083/72/21.

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The paper interprets the data from the open online archive of German dialects (https:// www.tomdeutsche.ru/dialects/). This work was started ten years ago in Tomsk by Prof. Z. M. Bogoslovskaya and her students. The archive provides the records of the native dialects and folklore of Russian Germans whose speech originates from different mother tongues and has different degrees of preservation. Archival materials were collected on the territory of Tomsk and Novosibirsk regions during linguistic expeditions of recent years. Many dialects of the upper German and middle German types appear to be mi

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Tunbridge, Laura. "Singing Translations." Representations 123, no. 1 (2013): 53–86. http://dx.doi.org/10.1525/rep.2013.123.1.53.

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British attitudes toward German-language song repertoire were transformed in the interwar period by a potent combination of politics and technology. The use of translations gained and lost ground; native musicians struggled to compete with international stars; and new listening strategies developed around the gramophone and radio. In the process, notions of cosmopolitan connoisseurship became established that still dominate reception and performance practices today.

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Bowersox, Jeff. "Seeing Black: Foote’s Afro-American Company and the Performance of Racial Uplift in Imperial Germany in 1891." German History 38, no. 3 (2020): 387–413. http://dx.doi.org/10.1093/gerhis/ghaa064.

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Abstract By 1914 African American entertainers had become a regular part of variety show programmes across the German lands, but despite their evident popularity, they have received little scholarly attention except as part of the pre-history of jazz. But even before 1914 African American performers took an active part in transatlantic conversations about the meanings of race, challenging racialized understandings of nation, culture and modernity. To illustrate the challenge presented by African American performance and the range of German responses, this article takes up a little-known case s

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JOUBERT, ESTELLE. "SONGS TO SHAPE A GERMAN NATION: HILLER’S COMIC OPERAS AND THE PUBLIC SPHERE." Eighteenth Century Music 3, no. 2 (2006): 213–30. http://dx.doi.org/10.1017/s1478570606000583.

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In this article I assert that our modern understanding of the singspiel as a genre has been shaped not by eighteenth-century principles but rather by nineteenth-century notions of ‘romantic’ German opera. In contrast to a later through-composed ideal, Johann Adam Hiller’s comic operas, often viewed as the prototype of the German comic genre, were designed precisely in order that the songs might easily be detached from the spoken dialogue, disseminated outside of the public opera house and sung by audiences in various other contexts. The express purpose of these songs, as articulated by librett

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Berg, Gregory. "The Media Gallery." Journal of Singing 80, no. 3 (2024): 365–70. http://dx.doi.org/10.53830/sing.00017.

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Abstract: In this installment of “The Media Gallery,” there are reviews of two audio recordings featuring the music of Herschel Garfein and Gwyneth Walker, respectively. The third review is of “The State Opera,” a documentary film about the Bavarian State Opera in Munich, Germany, one of the world’s oldest and most renowned opera companies.

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Kertz-Welzel, Alexandra. "The Singing Muse? Three Centuries of Music Education in Germany." Journal of Historical Research in Music Education 26, no. 1 (2004): 8–27. http://dx.doi.org/10.1177/153660060402600104.

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Лелюх, Софія. "ДУХОВНА ОСВІТА В ЧЕСЬКІЙ ТА НІМЕЦЬКІЙ СПІЛЬНОТАХ ВОЛИНІ У ХІХ – НА ПОЧАТКУ ХХ СТОЛІТТЯ". Інноватика у вихованні, № 20 (24 листопада 2024): 198–210. http://dx.doi.org/10.35619/iiu.v1i20.644.

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The paper characterizes the peculiarities of the spiritual education of children and youth of the Czech and German communities of Volyn in the 19th – at the beginning of the 20th century. It was established that in these communities only the primary and non-institutional (religion education in families and thanks to the activities of public educational societies) level of spiritual educational institutions was represented. It was determined that the most important feature of the German community in Volyn was its socio-cultural isolation, as a result of which the model of German schooling (prim

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Muscianisi, Domenico Giuseppe. "Singin’ in the Night." Amsterdamer Beiträge zur älteren Germanistik 83, no. 1 (2023): 26–44. http://dx.doi.org/10.1163/18756719-12340283.

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Abstract Starting from present-day German Nachtigall ‘nightingale’, which shows an uncommon and unexpected i-linker, this article provides a morphological analysis of the word and its cognates. Through the frame of historical linguistics, and in particular the historical phonology and morphology of Proto-Germanic, it can be shown that Nachtigall and its Germanic cognates witness a relic word-formation that can be traced back to a delocatival compound in Proto-Indo-European. Comparative evidence allows for just such an etymology within poetic phraseology as well.

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Mathis, Wolfgang. "Egbert von Lepel and the Invention of the Spark-Gap Transmitter." Advances in Radio Science 21 (December 1, 2023): 65–75. http://dx.doi.org/10.5194/ars-21-65-2023.

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Abstract. On 29 October 1923, radio broadcasting or “Rundfunk” was officially opened in the Voxhaus in Berlin and thus the new communication medium was now also available in Germany, but later than in other countries such as the US and the UK. However, first experiments with wireless telephony, which is the technical basis of this medium, were carried out more than ten years earlier (Pungs, 1922; Mathis, 2019; Titze and Mathis, 2020; Mathis and Titze, 2021). One of the pioneers of this technology was the German Egbert von Lepel, who developed in 1907 a new concept of wireless transmitters that

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S., A., and Doreen Helen Klassen. "Singing Mennonite: Low German Songs among the Mennonites." Yearbook for Traditional Music 22 (1990): 159. http://dx.doi.org/10.2307/767949.

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Keillor, Elaine, and Doreen Helen Klassen. "Singing Mennonite: Low German Songs among the Mennonites." Ethnomusicology 34, no. 3 (1990): 482. http://dx.doi.org/10.2307/851641.

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Heike Bungert. "The Singing Festivals of German Americans, 1849–1914." American Music 34, no. 2 (2016): 141. http://dx.doi.org/10.5406/americanmusic.34.2.0141.

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Bohlman, Philip V., and Doreen Helen Klassen. "Singing Mennonite. Low German Songs among the Mennonites." Jahrbuch für Volksliedforschung 36 (1991): 120. http://dx.doi.org/10.2307/847636.

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21

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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Santi, Matej. "Choir singing: Performing Identities and Loyalties." Musicological Annual 53, no. 2 (2017): 91–101. http://dx.doi.org/10.4312/mz.53.2.91-101.

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This paper traces the practice of choral singing of the three major ethnolinguistic groups – Italians, Slovenians, Germans – in pre-war Trieste, while the city was still part of the Habsburg Monarchy. Through widespread reviews in the media, choral singing in different social and linguistic contexts became politicised, with the goal of establishing political and national alliances.

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Grudule, Māra. "The Transition from Song to Poetry in Latvian Literature in the Second Half of the 19th Century." Interlitteraria 28, no. 1 (2023): 49–63. http://dx.doi.org/10.12697/il.2023.28.1.5.

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The Latvian nation is a singing nation. The Singing Revolution and similar song- and singing-related references are traditionally associated with the image of Latvians. The origins of written Latvian are also related to song: the oldest known Christian song in Latvian, dating from 1530, is also one of the oldest examples of Latvian-language text. In the second half of the 18th century, as a result of transferring from a German to a Latvian cultural space, a new genre of song was created by the German pastor Gotthard Friedrich Stender, the secular, didactic and sentimental ziņģe (a term c

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Solanki, Tanvi. "Aural philology: Herder hears Homer singing." Classical Receptions Journal 12, no. 4 (2020): 401–24. http://dx.doi.org/10.1093/crj/claa007.

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Abstract In 1769, Johann Gottfried Herder describes a private reading experience of a remarkably paradoxical nature. He tells us that he can only read ‘his’ Homer properly when he hears Homer singing Greek, while silently reading and translating by means of his German thoughts and mother tongue. Herder’s performative reading is anchored in what I call aural philology, a method innovative in its emphasis on the aural dimension in reconstructively imagining historical epochs. It is one which demarcates cultural difference through practices of listening and their remediation into reading. The pro

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Kruglova, Elena. ""Ancient music – Historical singing" ("Alte Musick – Historischer Gesang") in German Music Universities." Философия и культура, no. 2 (February 2023): 12–26. http://dx.doi.org/10.7256/2454-0757.2023.2.39688.

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The article is devoted to the actual problem of historically grounded performance of Baroque vocal music by academic vocalists. Listening activity, the demand for ancient music in Russia raises issues for performers that need to be resolved within the framework of historical performance practice. To fulfill all the conditions, it becomes important to receive an appropriate specialized education. In Russia, little attention is paid to the professional training of academic vocalists in the field of historical singing or baroque singing, whereas in Italy and Germany independent faculties of ancie

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Cutsforth-Huber, Bonnie. "Bel Canto des Wortes— The Pedagogy of Cornelia (Cornelie) van Zanten." Journal of Singing 81, no. 2 (2024): 141–53. http://dx.doi.org/10.53830/sing.00076.

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Abstract: The Neapolitan School is well-known for its superb pedagogues who shaped the art of bel canto singing, one of whom was Cornelia van Zanten (1855–1946). Her 1911 treatise Bel Canto des Wortes , with its many voice exercises and an overview of the history of the bel canto movement, reveals Zanten as a superb pedagogue whose work deserves more exposure. Zanten’s methods were forged by her own operatic career, which spanned both Europe and the United States, her studies with Francesco Lamperti and Julius Stockhausen, and her many years teaching in both Germany and The Netherlands.

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Igolka, D. A., and F. Otten. "Rapid Mechanized Shaft Sinking." Mining Industry (Gornay Promishlennost), no. 6/2020 (December 29, 2020): 22–29. http://dx.doi.org/10.30686/1609-9192-2020-6-22-29.

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REDPATH DEILMANN GmbH from Germany has been sinking and lining two shafts and initial underground development since 2017 on the territory of the Republic of Belarus (Starobinskoe potassium salt deposit, Luban) by request of Slavkaliy LLC. Shaft sinking is one of the most complicated and time-consuming stages in renovation and construction of new underground mines. In the absolute majority of cases, shaft sinking and lining are at the critical path for implementation of such projects. Rapid rates of shaft construction ensure high technical and economic performance during the commissioning phase

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ZAKRASNIANA, Zhanna. "VOCAL SCHOOLS OF ACADEMIC SINGING IN ITALY AND GERMANY: A COMPARATIVE ANALYSIS." Humanities science current issues 1, no. 75 (2024): 85–90. http://dx.doi.org/10.24919/2308-4863/75-1-12.

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Nafisi, Julia. "Gesture and body-movement as teaching and learning tools in the classical voice lesson: a survey into current practice." British Journal of Music Education 30, no. 3 (2013): 347–67. http://dx.doi.org/10.1017/s0265051712000551.

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This article discusses the use of gesture and body-movement in the teaching of singing and reports on a survey amongst professional singing teachers in Germany regarding their use of gesture and body movement as pedagogic tools in their teaching. The nomenclature of gestures and movements used in the survey is based on a previous study by the author (Nafisi, 2008, 2010) categorising movements in the teaching of singing according to their pedagogical intent intoPhysiological Gestures, Sensation-related Gestures, Musical GesturesandBody-Movements. The survey demonstrated thatGestureswere used by

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Hambridge, Katherine. "Staging Singing in the Theater of War (Berlin, 1805)." Journal of the American Musicological Society 68, no. 1 (2015): 39–98. http://dx.doi.org/10.1525/jams.2015.68.1.39.

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Almost fifty years after the original event, Willibald Alexis’s historical novel Ruhe ist die erste Bürgerpflicht (1852) commemorated a musical performance that had taken place on October 16, 1805, at Berlin’s Nationaltheater. According to both Alexis’s reimagining and contemporary reports, after the closing “Reiterlied” of Schiller’s Wallensteins Lager a new war song was sung by audience and actors. The sensation this caused—in a city awaiting its troops’ departure for war against Napoleon—established Schiller’s play as a privileged site for political singing in Berlin and across German lands

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Sigurðardóttir, Þórunn, and Þorsteinn Helgason. "Singing the News in Seventeenth-century Iceland." Quaerendo 50, no. 3 (2020): 310–36. http://dx.doi.org/10.1163/15700690-12341470.

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Abstract In 1631 the Protestant town of Magdeburg fell to the Catholic Imperial army and was burned to the ground with casualties of some 20.000 people. This event reverberated far and wide in broadsheets and pamphlets, songs and images, and not only in Germany. The destruction of Magdeburg echoed in faraway Iceland, where pastor Guðmundur Erlendsson wrote a poem about the event. In this article we argue that news of the event (perhaps in the form of broadsides) must have arrived quite early to Iceland and travelled through the learned community around the diocese of Hólar in the northern regi

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Veidemann, Rein. "Estijos Dainų šventė semiotiniu požiūriu." Lietuvos kultūros tyrimai 7 (2015): 38–52. https://doi.org/10.53630/lkt.2015.6.

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The article focuses on the semiotic analysis of the Estonian Song Celebration within the framework of the Tartu-Moscow school of cultural semiotics (the works of Juri Lotman). It seeks to understand the historical context of the song festivals. The following segments are identified: the formation of the initial meaning under the influence of various impact sources; the repertoire as a text; the song festival as a ritual; a dichotomy between exterior and interior form of the song festivals. It may be stated that the Estonian Song Festivals reflects the centre-periphery relations. The tradition

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Painter, Karen. "Singing at Langemarck in the German Political Imaginary, 1914–1932." Central European History 53, no. 4 (2020): 763–84. http://dx.doi.org/10.1017/s0008938920000424.

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AbstractThis article reconstructs the history of the famous anecdote about the battle at Langemarck, where German youth allegedly sang “Deutschland, Deutschland über alles” as they hurled themselves against British soldiers, bayonet in hand. Variants, including in poetry and other creative genres, helped to shape a public discourse about bravery. I also reconstruct the discourse on music and war in music journals and daily newspapers, suggesting possible influences on the German High Command, where the anecdote originated. The musical establishment initially ignored this lore—so remote was mus

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Gross, Suzanne, and Wesley Berg. "Singing It "Our Way": Pennsylvania-German Mennonite Notenbuchlein (1780-1835)." American Music 19, no. 2 (2001): 190. http://dx.doi.org/10.2307/3052613.

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Kennedy, Katharine. "Singing about soldiers in German schools, from 1890 to 1945." Paedagogica Historica 52, no. 1-2 (2016): 76–91. http://dx.doi.org/10.1080/00309230.2016.1139602.

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Bittner, F. "Rheinberg shaft: sinking and lining the freezing shaft (In German)." International Journal of Rock Mechanics and Mining Sciences & Geomechanics Abstracts 28, no. 6 (1991): A392. http://dx.doi.org/10.1016/0148-9062(91)91619-3.

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Anzani, Valentina. "Antonio Bernacchi (1685â–“1756): An Unconventional Singing Teacher." Music Theory and Analysis (MTA) 11, no. 1 (2024): 36–48. http://dx.doi.org/10.11116/mta.11.1.2.

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The castrato Antonio Bernacchi was a leading practitioner in the musical world of the early eighteenth century. A pupil of Francesco Antonio Pistocchi, he became a successful virtuoso on the stages of Italy, Germany, and England. Later in his career, he gathered a large group of students around him—many of whom became famous in the next generation—and was princeps of the renowned and influential Accademia Filarmonica of Bologna for two consecutive terms. Bernacchi's role as a pedagogue was praised by coeval authors and in subsequent literature in such a way that the well-known eighteenth-centu

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Stepens, Ojārs. "MANIFESTATIONS OF LEFTISM IN LATVIA DURING THE NAZI OCCUPATION: 1941–1945." Culture Crossroads 8 (November 13, 2022): 38–44. http://dx.doi.org/10.55877/cc.vol8.158.

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During the Nazi occupation (1941–1945), Latvia was subject to nazification. In the course of this process, the left wing elements of the Nazi ideology were actively introduced into Latvia. The process manifested itself in two ways: firstly, in the propaganda of the postulates of the Nazi ideology and, secondly, in a series of practical political activities. The main themes of the Nazi left wing propaganda were as follows: propaganda of the so-called German socialism and its achievements; criticism of the soviet socialism and the political system of the USSR; propaganda of the formation of clas

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Šťovíček, Jan. "Česká beseda v Liberci a česká menšina v 2. polovině 19. století." Lidé města 2, no. 1/3 (2000): 73–78. http://dx.doi.org/10.14712/12128112.4046.

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In the second half of the 19th century Liberec was considered as a center of Germans in Bohemia. Czechs, almost exclusively members of lower social strata, formed an ethnic minority there. After the fall of the Austrian neo-absolutism, in the situation of the initial development of association life in the monarchy, the Liberec Czechs established their association - česká beseda (1863). At the time of iits foundation it associated all strata of the Czech population in the town. However, soon after this, the workers started to distinguish themselves as they had their own specific political and s

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Huang, Yao. "Singing Skills and Artistic Characteristics of "I Live in the Yangtze River Head"." International Journal of Education and Social Development 2, no. 2 (2025): 6–8. https://doi.org/10.54097/gmj30126.

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In the first year of the Republic of China, during the period of Mr. Youth master staying in Germany, his musical accomplishment was greatly improved. Although he did not specifically study music, he also learned many other Musical Instruments, especially in music theory and composition. Influenced by Schubert and others, his works have western characteristics. He is good at the combination of Chinese and Western songwriting, and also have western characteristics in musical thought, which is more inclined to expressionism.

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Doyle, Christine. "Singing Mignon's Song: German Literature and Culture in the March Trilogy." Children's Literature 31, no. 1 (2003): 50–70. http://dx.doi.org/10.1353/chl.2003.0005.

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Lee, Sai-Yune. "The meaning of ruling on Japan's music academy royalty and the review of Korea's performance royalty regulations of music academies." Institute for Legal Studies Chonnam National University 45, no. 1 (2025): 191–230. https://doi.org/10.38133/cnulawreview.2025.45.1.191.

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Japan's ruling on ‘music academy royalty’ is a major precedent in the judgment on interpretation of ‘public’ and ‘purpose of performance’. And in this ruling, it is judged that the court's intention was not to collect excessive performance royalty from a music academy, and to exclude learners' performance from performance royalty. Considering that there is a paper requesting the introduction of an American fair use clause through this case in Japan, the application of Article 35-5, Korean Copyright Law, will be a major issue, if a similar case is reviewed in Korean courts. As the most importan

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PAPADOGIANNIS, NIKOLAOS. "A (Trans)National Emotional Community? Greek Political Songs and the Politicisation of Greek Migrants in West Germany in the 1960s and early 1970s." Contemporary European History 23, no. 4 (2014): 589–614. http://dx.doi.org/10.1017/s0960777314000332.

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AbstractThis article examines the emotional standards and experiences connected with the entehno laiko music composed by Mikis Theodorakis that was immensely popular among left-wing Greek migrants, workers and students, living in West Germany in the 1960s and the early 1970s. Expanding on a body of literature that explores the transnational dimensions of protest movements in the 1960s and the 1970s, the article demonstrates that these transnational dimensions were not mutually exclusive with the fact that at least some of those protestors felt that they belonged to a particular nation. Drawing

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Lukin, Michael. "The Ballad in Eastern European Jewish Folklore: Origins, Poetics, Music." Judaic-Slavic Journal, no. 1 (3) (2020): 191–228. http://dx.doi.org/10.31168/2658-3364.2020.1.10.

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Analysis of the poetics and music of Yiddish folk ballads reveals that the Ashkenazi Jews of Eastern Europe did not preserve German songs,widely popular among them up to the beginning of their gradual migration to the east, but instead developed a ballad repertoire of their own.The group of songs, designated as “medieval” by Sophia Magid, the author of a monumental study on the Yiddish ballad, includes both old ballads and those borrowed from the Germans towards the end of the 18th century and later. While the borrowed songs carried a similarity to the German originals as shown in their melodi

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Molchanova, Tetiana. "A Stranger in the Musical Interior of Romanticism: Fanny Cecilia Mendelssohn-Hensel." Bulletin of Kyiv National University of Culture and Arts. Series in Arts, no. 46 (May 22, 2022): 108–18. https://doi.org/10.31866/2410-1176.46.2022.258623.

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The purpose of the article is an attempt to draw the attention of domestic researchers and performers to the life and work of the German composer, the older sister of Felix Mendelssohn-Bartholdy, a significant figure in the musical life of Germany in the first half of the 19th century — Fanny Cecilia Mendelssohn-Hensel, who belongs to the unexplored figures in Ukrainian musicology; to outline the principles of her work as a performer and composer; to determine the genre and stylistic direction of her creative work. The article demonstrates the relevance of the analysis of her heritage, t

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Exner, K., J. Aldorf, and J. Ciganek. "Outbursts and their causes in shaft sinking in stable rock (In German)." International Journal of Rock Mechanics and Mining Sciences & Geomechanics Abstracts 28, no. 6 (1991): A395—A396. http://dx.doi.org/10.1016/0148-9062(91)91642-5.

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Hage, Jan, and Marcel Barnard. "Muziek als missie: Over Willem Mudde en zijn betekenis voor de kerkmuziek." NTT Journal for Theology and the Study of Religion 66, no. 4 (2012): 283–98. http://dx.doi.org/10.5117/ntt2012.66.283.hage.

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Under the influence of Calvinism, the musical situation in the Protestant churches in the Netherlands was for a long time marked by sobriety, with attention focused on congregational singing. In the 20th century, church music gained importance through a dominant flow of Lutheran influence. Generally, the liturgical movement highlighted the role of music in worship. The Lutheran church musician Willem Mudde successfully called attention to the German church music reform movement. Inspired by the writings of the German theologian Oskar Söhngen, he strived to apply the ideals and practices of thi

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Vogt, Peter. "Christian Gregor's “Treatise Concerning the Singing in the Brethren Congregation” (1784): A Bilingual Edition." Journal of Moravian History 21, no. 2 (2021): 163–209. http://dx.doi.org/10.5325/jmorahist.21.2.0163.

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Abstract In 1784 Christian Gregor wrote a treatise on the Moravian understanding and practice of singing, intended as a contribution for the Deutsche Encyclopaedie, a multivolume dictionary project of the German Enlightenment. It appeared in print in 1787, yet it was also circulated in the 1784 edition of the “Gemeinnachrichten,” to be read for instruction and edification in Moravian congregations and societies. Moreover, an English translation appeared in the 1784 edition of the “Congregational Accounts,” the British counterpart of the “Gemeinnachrichten.” Gregor's essay offers a detailed acc

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Andersson, Reino. "Invandringsförloppet hos vitstjärnig blåhake Luscinia svecica cyanecula på svenska västkusten." Ornis Svecica 32 (February 1, 2022): 5–13. http://dx.doi.org/10.34080/os.v32.23429.

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White-spotted Bluethroat Luscinia svecica cyanecula is the latest addition to the Swedish bird fauna, with the first breeding in Scania in 2015. There were only three records on the Swedish West Coast north of Scania through 2016 and the first breeding was reported in 2018. Censuses performed in 2020 and 2021 revealed 12 and 17 singing males, respectively. Out of 39 singing males 2017–2021, 36 were found in Halland. Most birds were found in coastal wetlands with reedbeds, to which they arrived mainly in April. Nine males represented breeding pairs and second clutches were later observed for fo

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Gray Atha, Marisa. "Reflections: Valborg Werbeck-Svärdström’s Uncovering the Voice." Journal of Singing 79, no. 1 (2022): 95–103. http://dx.doi.org/10.53830/hjvo2228.

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Born in Gäyle, Sweden, in 1879, Valborg Werbeck-Svärdström studied and performed opera before moving to Germany, where she met Rudolph Steiner, proponent of anthroposophy and founder of Waldorf education. Through her own internal work, and her ongoing collaboration with Steiner, Werbeck came to an understanding of the voice that inspired her to found Schule der Stimmenthüllung (School for Uncovering the Voice), the first anthroposophical singing school, in 1924. She published Uncovering the Voice: The Cleansing Power of Song in 1938. The School for Uncovering the Voice still continues today wo

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