Journal articles: 'The Concert of Europe'

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Mueller, John. "A New Concert of Europe." Foreign Policy, no. 77 (1989): 3. http://dx.doi.org/10.2307/1148766.

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Zelikow, Philip. "The new concert of Europe." Survival 34, no. 2 (June 1992): 12–30. http://dx.doi.org/10.1080/00396339208442639.

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Romanova, E. V. "THE CONCEPT OF “THE CONCERT OF EUROPE” IN XX CENTURY BRITISH AND AMERICAN HISTORIOGRAPHY." MGIMO Review of International Relations, no. 1(46) (February 28, 2016): 7–17. http://dx.doi.org/10.24833/2071-8160-2016-1-46-7-17.

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The article provides a critical analysis of the interpretations of the Concert of Europe by British and American historians of the XXth century. The interest in the study of this phenomenon is rooted in its relation to the problems of the maintenance of international order and stability. It is not only academic, being partly determined by the fact that throughout the XX century first Britain and then the USA was at the top of the world hierarchy, and accordingly played a leading role in the construction and maintenance of the European order. Current international environment, the experience of the two World Wars of the XXth century determined the angle from which the phenomenon of the Concert of Europe was studied. Whereas in the second half of the 1910s - early 1920s historians pointed to the deficiencies of the international system of the preceding century (and in particular, the institution of the Concert of Europe), the students of the Vienna system working after the Second World War regarded the period of 1815-1914 as relatively stable, compared to the short interwar interlude. The Concert of Europe was named as one of the factors contributing to stability and peace. Certain logic can be discerned in the development of the historiography of the problem, which to some degree reflected the evolution of ideas about international relations management. At the same time, the differences in the interpretations of the Concert of Europe derive from the fact that this very concept in the XIXth century was not fixed and static. Great Powers' readiness to cooperation did not mean that there were no conflicts of interests. They struggled for leadership within the Concert and sought to impart to it their own interpretation.

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Blanning, T. C. W. "Paul W. Schroeder's Concert of Europe." International History Review 16, no. 4 (December 1994): 701–14. http://dx.doi.org/10.1080/07075332.1994.9640692.

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ADANIR, FIKRET. "Turkey's entry into the Concert of Europe." European Review 13, no. 3 (July 2005): 395–417. http://dx.doi.org/10.1017/s1062798705000530.

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From the start, Turkey's aspirations to join the European Union aroused considerable opposition. Recently, the debate has focused increasingly on supposed disparities in the spheres of culture, politics or mentality, implying that this Muslim country would not be able to comply with European norms and values. Supporters of Turkey's candidacy, on the other hand, have pointed out that Turkey has always been an important element of the European balance of power and was, in the nineteenth century, even a member of the Concert of Europe. Both sides invoke history to justify their arguments. The present paper examines the evolution of the European state system and the major stages in the history of the Turkish–European relationship, with a view to arriving at a more balanced judgement. It can be shown that new concepts, such as state interest and balance of power, had already begun in the sixteenth century to undermine the old theological worldview and, beginning with the eighteenth century, the Ottoman Empire was treated – at least de facto – as an actor that observed fully the norms of European public law (jus publicum Europeum). However, a de jure recognition of the Empire's status had to wait until the Treaty of Paris (1856), but even then it did not include an effective guarantee of Ottoman territorial integrity.

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RENDALL, MATTHEW. "Defensive realism and the Concert of Europe." Review of International Studies 32, no. 3 (July 2006): 523–40. http://dx.doi.org/10.1017/s0260210506007145.

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Why do great powers expand? Offensive realist John Mearsheimer claims that states wage an eternal struggle for power, and that those strong enough to seek regional hegemony nearly always do. Mearsheimer’s evidence, however, displays a selection bias. Examining four crises between 1814 and 1840, I show that the balance of power restrained Russia, Prussia and France. Yet all three also exercised self-restraint; Russia, in particular, passed up chances to bid for hegemony in 1815 and to topple Ottoman Turkey in 1829. Defensive realism gives a better account of the Concert of Europe, because it combines structural realism with non-realist theories of state preferences.

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Līduma, Diāna, Ārijs Orlovskis, Uldis Drišļuks, and Antra Dreģe. "CONTEMPORARY MUSIC PRODUCT SELLING EXPERIENCE IN LATVIA AND EUROPE." Problems of Management in the 21st Century 13, no. 1 (August 10, 2018): 18–33. http://dx.doi.org/10.33225/10.33225/pmc/18.13.18.

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During the age when outcomes of the creative process develop in a great diversity, the issue about product sales and appropriate marketing implementation becomes topical both in clients’ attraction and in the existing products competition from the side of culture organizations’ management. The aim of the research is on the basis of the analysis outcomes of the international and Latvian leading contemporary music festivals and concert organizers’ work experience determine the currently existing trends in contemporary music product sales, including the most appropriate marketing activities for clients’ attraction. Within the framework of research, the survey of managers and marketing specialists (in total 22, incl.13 foreign and 9 local organizers) of working organizations in the branch on Latvian and European scale and 138 listeners of contemporary music festivals and concerts in Latvia has been carried out. In the research it is discovered that contemporary music from the point of priority takes the second place in European concert organizers’ programmes and the third place from the point of interests among listeners in Latvia. The values included in the concert organizers’ products in Europe and Latvia – high level performers’ performance, an interesting programme and innovative content, coincide with the hearers’ main reasons for the choice of the event. Concert organizers in Latvia also see the significance in the offer of classical values, combining them with education and alternative content, but concert organizers in Europe – educating content in combination with alternative environment. The research outcomes reveal that contemporary music in Latvia is regularly consumed by about 40% of total listeners’ number, in Europe the regular consumers’ proportion reaches 50% listeners. In Latvia, despite the critical demographic situation, the tendency of concert attendance is increasing in comparison with other European countries, where it is assessed as firmly stable. According to the obtained data in the research, in the contemporary music product sales the most essential information channel is the social media, which is used for information acquisition by 43% listeners in Latvia, but for information provision it is used by 47% concert organizers in Latvia and 40% in Europe. In the Latvian concert organizers’ practice outdoor advertising (20%) is also popular and forms the point of listeners – posters (31%). Concert organizers in Europe create additional creative products for interest, apply public relations and the integrated marketing communication. The research outcomes have revealed the need for the concert organizers to focus on marketing communication and society’s education issues both in culture-policy of updates and collegial cooperation promotion among event creators in the branch for the contemporary music product sales. Keywords: culture product, contemporary music festival, concert organizers, marketing activities.

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Eshel, Ruth. "Concert Dance in Israel." Dance Research Journal 35, no. 1 (2003): 61–80. http://dx.doi.org/10.1017/s0149767700008779.

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Israel is a society of Jewish immigrants who have returned to their ancient biblical homeland. It is also a complex society made up of people of varied cultures and ideologies, enduring changing economic and political situations. For the past eighty years, Israeli dancers have reflected and helped to shape the internal dialogues of Israeli life and contributed to a global exchange of dance ideas, especially with modern dancers from Europe and America.The independence of ancient Israel came to an end in C.E. 73, when Romans destroyed the Temple in Jerusalem after fierce battles with the Jews. The great revolt against Roman rule (132–135) failed, and in its wake the Romans banished the Jews from their country. Thus began a two-thousand-year exile, during which the Jews in the diaspora preserved their religion, suffered anti-Semitic persecutions, and dreamed of returning to their land, to Eretz Israel—Zion.

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Millman, Richard. "Napoleon III and the Concert of Europe. William E. Echard." Journal of Modern History 57, no. 1 (March 1985): 142–43. http://dx.doi.org/10.1086/242802.

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Lysetska, Nataliia. "KONZEPT „EUROPA“ AN DER SCHWELLE ZWEIER JAHRTAUSENDE." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no. 9(77) (January 30, 2020): 51–55. http://dx.doi.org/10.25264/2519-2558-2020-9(77)-51-55.

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The article deals with the analysis of the concept „Europa“ and its interpretation by the speakers of German linguistic culture at the turn of the two millennia. The semantic content of the concept „Europa“ was explored on the basis of Internet sources for identifying dominant and systemic relationships within this concept; the evolutionary process of forming the concept „Europa“ is shown as a fragment of the conceptual picture of the world; the concept „Europa“ of the XX century is discussed on the basis of the book by the ex-Chancellor of Germany G.Schmidt „Die Deutschen und ihre Nachbarn. Menschen und Mächte II“; the functioning of the concept „Europa“ in the modern German-language mass media is analyzed. The analysis of the factual material has revealed that the concept „Europa“ in German-speaking linguistic culture has multiple meanings. The three-dimensional structure of the concept – notional, figurative and evaluative – changes and acquires new meaningful shades over different historical intervals. The evolutionary dynamics of the chosen concept within the defined temporal space are as follows: EUROPA – a spiritual and multinational unity (where Christianity and European languages are decisive), united Europe, common Europe / ein einheitliches Europa, Gesamteuropa, new united Europe / das vereinte neue Europa, split Europe / gespaltetes Europa (notional component); Europe is a kaleidoscope / Europa ist ein Kaleidoskop, Europe is a fortress / Festung Europa, Europe in danger / Europa in Gefahr (figurative component); unity with a democratic state form and a high standard of living with the rule of law (Western Europe) / ein Ganzes mit demokratischer Staatsform und hohem Lebensstandard, in dem Menschenrechte verwirklicht warden (Westeuropa), multinational Europe / multikulturelles Europa, disoriented Europe / desorientiertes Europa (evaluative component). It is proved that the meaning of the concept „Europa“ can be fully revealed only by taking into account and combining a number of factors (historical, geographical, economic, cultural, religious, political, social, etc)., taking into account their evolutionary dynamics in the past and at the present stage of development.

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Goodby, James. "Commonwealth and Concert: Organizing Principles of Post—Containment Order in Europe." Washington Quarterly 14, no. 3 (September 1991): 71–90. http://dx.doi.org/10.1080/01636609109443723.

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Slantchev, Branislav L. "Territory and Commitment: The Concert of Europe as Self-Enforcing Equilibrium." Security Studies 14, no. 4 (October 2005): 565–606. http://dx.doi.org/10.1080/09636410500468792.

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YAMADA, NORIHITO. "GEORGE CANNING AND THE SPANISH QUESTION, SEPTEMBER 1822 TO MARCH 1823." Historical Journal 52, no. 2 (May 15, 2009): 343–62. http://dx.doi.org/10.1017/s0018246x09007493.

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ABSTRACTHarold Temperley's The foreign policy of Canning, 1822–1827 (1925) has been widely acknowledged as the standard work on George Canning's foreign policy in 1822–7. Since its publication, historians have accepted its central theme: that the principal aim of Canning's foreign policy in 1822–7 was to destroy the post-1815 system of great-power concert in Europe. Temperley's book is remarkable for its consistency, and his account of Canning's policy with regard to the Spanish crisis of 1822–3 – that Canning's main concern was not to prevent foreign intervention in Spain, but to weaken the power and authority of the Concert of Europe by exploiting differences among the European allies over the question of Spain – is certainly consistent with its central theme. This article re-examines Canning's diplomacy on the Spanish question from the start of his second tenure in the foreign office to the French invasion of Spain, and contends that its reality fits neither Temperley's account of this particular subject nor his general thesis on Canning's foreign policy. A careful examination of Canning's early diplomacy indicates that its primary object was to prevent foreign military intervention in Spain, and that it was not influenced by a supposed dislike of great-power concert.

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Dahlbäck, Kajsa. "Den kvinnliga sopranen i barockrepertoaren." Trio 10, no. 1 (July 10, 2021): 65–73. http://dx.doi.org/10.37453/trio.110126.

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The artistic doctoral project of soprano Kajsa Dahlbäck is in two parts. The theme of the concert series is “The female soprano within the baroque repertoire 1600–1750” and that of the thesis is “Singing-in-the-world – a phenomenological study on the singer’s inner work”. In her concerts, Dahlbäck has performed music from different parts of Europe and particularly from communities with female singers, such as for instance Italian nun convents, Vivaldi’s time at La Pietà in Venice and the court of Swedish Queen Christina in Stockholm and Rome. In her thesis, Dahlbäck shares insights from her experience as a singer specializing in early music as well as the genre’s generally intimate concert and rehearsal atmosphere. Experience texts from rehearsals and concerts have been mirrored against phenomenological theories. The practice-based triadic concept of body–breath– mind is linked to the theoretical singing-in-the-world. Body–breath–mind is the foundation for singing-in-the-world, a synthesis of the phenomenological tradition of Heidegger’s being- in-the-world (in-der-Welt-sein), Merleau-Ponty’s being toward-the-world (suis à) and in recent years Škof and Berndtson’s breathing-in-the-world.

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Koivisto, Nuppu. "New data, new methods? Sources on ladies’ salon orchestras in Europe, 1870-1918." Muzikologija, no. 26 (2019): 41–60. http://dx.doi.org/10.2298/muz1926041k.

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This article addresses the problems that pertain to macro-historical data in music research. By presenting examples from recent research on European ladies? orchestras of the late nineteenth century, I aim to establish how large data sets could be used in a meaningful way. First, I shall present an overview of source materials. Second, methods for analyzing concert programmes will be critically assessed. Third, the possibilities of visualizing concert tours will be explored. Finally, special attention will be paid to questions regarding social class and gender.

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Moens, Alexander. "The European security and defence identity and the non‐concert of Europe." European Security 2, no. 4 (December 1993): 567–84. http://dx.doi.org/10.1080/09662839308407144.

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Loy, Johanna K., Nicki-Nils Seitz, Elin K. Bye, Kirsimarja Raitasalo, Renate Soellner, Jukka Törrönen, and Ludwig Kraus. "Trends in alcohol consumption among adolescents in Europe: Do changes occur in concert?" Drug and Alcohol Dependence 228 (November 2021): 109020. http://dx.doi.org/10.1016/j.drugalcdep.2021.109020.

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LILA, Fejzi. "Rising Nationalism in the Balkans." European Journal of Multidisciplinary Studies 4, no. 4 (January 21, 2017): 31. http://dx.doi.org/10.26417/ejms.v4i4.p31-35.

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Balkans consists of the geographic and demographic diversity of the complex, with division of the region into new states, with local antagonisms. Balkan leaders, the Great Powers would urge the expansion of national states where and when he wanted interest and would not ignore claims it was one nation over another. The process of developing the nationalist movements and the state - forming in the Balkans, starting with the Patriarchies autonomous movements within the Ottoman Empire, involves the movement of Serbs, Greeks, Bulgarians, Romanians and Albanians. The fall of Bonaparte in 1815, was accompanied by significant changes in Europe in the system of international relations, the diplomacy of the Great Powers. Europe was thrown into the system the concert of Europe, after that of Vienna, while the Ottoman Empire was beginning its stagnation, other European powers had begun to feel the threat of Russia's interests in the Middle East. During this period of time the nationalist movement took place in the region. The nationalism confronted Concert of Vienna principles provoking the First World War.

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Upalevski, Ilija. "Europa Środkowa – wspólnota tekstów. Intertekstualność jako przestrzeń funkcjonowania i podtrzymywania mitu środkowoeuropejskiego." Sprawy Narodowościowe, no. 48 (August 2, 2016): 160–81. http://dx.doi.org/10.11649/sn.2016.010.

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Central Europe – a community of texts. Intertextuality as a plane of functioning and maintaining the myth of Central EuropeIn this article I examine two primary (sets of) questions:1. How, why and by whom the concept of Central Europe has been (re)constructed, (re)defined and (re)imagined within the field of literature in the course of the 20th century(?); and2. Through what transformations this concept has gone during the major social and political shifts in the region(?). In order to do so I am employing Roland Barthes’ semiological approach on myth in the analysis of the texts in which concept and the myth of Central Europe is constituted. I argue that these texts, creating the myth of Central Europe, use/adopt/resemantize texts/signs which previously functioned in other semiological systems. While the so called Habsburg Myth is its core structural element, the myth of Central Europe adopts/reinterprets even such cultural texts in relation to which it stands in ideological opposition – for example the myth of national tragedy. Referring to the concept of discourse community, introduced and developed in the linguistics and literary theory by John Swales, as well as to the concept of intertextuality, I argue that Central Europe can be approached as a community of texts within which the notion of the Central-Europeanness is (re)evaluated, (re)imagined and thus historically maintained. Europa Środkowa – wspólnota tekstów. Intertekstualność jako przestrzeń funkcjonowania i podtrzymywania mitu środkowoeuropejskiegoW niniejszym artykule zajmuję się pytaniami: jak, dlaczego i przez kogo pojęcie Europy Środkowej zostało społecznie zrekonstruowane w literaturze regionu na przestrzeni XX wieku oraz jak przybiegała jego transmisja/dystrybucja w zmieniających się kontekstach społeczno-politycznych. By odpowiedzieć na te pytania, semiologiczne podejście do mitu Rolanda Barthesa zostanie zastosowane w analizie tekstów budujących pojęcia, ale także mit Europy Środkowej. Analiza ta ma pokazać, że myślenie w kategoriach Europy Środkowej aktywizuje się w chwili dodatkowej semantyzacji znaków/tekstów istniejących już wcześniej w innych systemach semiologicznych. Podczas gdy tzw. mit habsburski jest jego podstawowym elementem strukturalnym, mit Europy Środkowej nawiązuje także do takich tekstów kultury, w stosunku do których stoi w opozycji – na przykład mit tragedii narodowej. Odwołując się do koncepcji wspólnoty dyskursywnej, wprowadzonej do językoznawstwa i teorii literatury przez Johna Swalesa, jak również do pojęcia intertekstualności, zakładam, że Europa Środkowa istnieje w postaci pewnej wspólnoty tekstów, w której pojęcie środkowoeuropejskości jest negocjowane, oceniane i wyobrażane na nowo.

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Zenderowski, Radosław, and Andrzej Rudowski. "Europa Środkowa — od idei literacko-kawiarnianej do koncepcji politycznych." Rocznik Europeistyczny 3 (June 14, 2018): 127–45. http://dx.doi.org/10.19195/2450-274x.3.10.

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Europa Środkowa stanowi zarówno ideę wspólnoty kulturowej, przestrzeń geopolityczną i geokulturową, jak i pewną koncepcję polityczną. W ostatnich kilku dekadach jesteśmy świadkami przejścia czy raczej interferencji od idei literacko-kawiarnianej ku politycznym formom instytucjonalizacji Europy Środkowej. Celem niniejszego artykułu jest ukazanie owej drogi oraz kluczowych dylematów stojących przed architektami politycznej Europy Środkowej. W artykule omówiono zatem dyskurs środkowoeuropejski w latach 70. i 80. XX w., a następnie poszczególne uwarunkowania i etapy politycznej instytucjonalizacji Europy Środkowej z naciskiem na okres po 2004 r.Central Europe — from the café literary idea to political concepts Central Europe is both an idea of a cultural community, a geopolitical and geocultural space, as well as a concrete political concept. In the last decades, we are the witnesses of transition or rather an interference from the literary-cafeteria idea towards the political forms of institutionalization of Central Europe. The aim of this article is to show this way and key dilemmas facing the political architects of Central Europe. The article discusses the Central European discourse in the 70s and 80s of the 20th century, and then the various conditions and stages of the political institutionalization of Central Europe with an emphasis on the period after 2004.

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Gasché, Rodolphe. "Patočka on Europe in the aftermath of Europe." European Journal of Social Theory 21, no. 3 (December 13, 2017): 391–406. http://dx.doi.org/10.1177/1368431017748148.

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Jan Patočka’s elaborations in ‘Europe after Europe’ concern a kind of irrationalism and nativism proper to European thought that has prohibited the embryonic core of the idea of Europe, namely, the renewed Socratic-Platonic motif of the ‘care of the soul’ in Christian Europe, to unfold its full potential. The article investigates a further ‘irrationalism’ that narrows the universalist thrust of the idea of Europe, precisely, by conceiving of it in terms of the Greek concept of an idea. This article draws on the inner resources of the notion of the idea in order to recast Europe as a Europe beyond the idea.

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Rendall, Matthew. "Miroslav Šedivý, Crisis Among the Great Powers: The Concert of Europe and the Eastern Question." European History Quarterly 48, no. 1 (January 2018): 183–84. http://dx.doi.org/10.1177/0265691417747183aa.

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Rendall, Matthew. "A Qualified Success for Collective Security: The Concert of Europe and the Belgian Crisis, 1831." Diplomacy & Statecraft 18, no. 2 (June 6, 2007): 271–95. http://dx.doi.org/10.1080/09592290701322358.

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Thurman, Kira. "Performing Lieder, Hearing Race: Debating Blackness, Whiteness, and German Identity in Interwar Central Europe." Journal of the American Musicological Society 72, no. 3 (2019): 825–65. http://dx.doi.org/10.1525/jams.2019.72.3.825.

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When African American concert singers began to perform German lieder in central Europe in the 1920s, white German and Austrian listeners were astounded by the veracity and conviction of their performances. How had they managed to sing like Germans? This article argues that black performances of German music challenged audiences' definitions of blackness, whiteness, and German music during the transatlantic Jazz Age in interwar central Europe. Upon hearing black performers masterfully sing lieder by Schubert, Schumann, Brahms, and others, audiences were compelled to consider whether German national identity was contingent upon whiteness. Some listeners chose to call black concert singers “Negroes with white souls,” associating German music with whiteness by extension. Others insisted that the singer had sounded black and therefore un-German. Race was ultimately the filter through which people interpreted these performances of the Austro-German musical canon. This article contributes to a growing body of scholarship that investigates how and when audiences began to associate classical music with whiteness. Simultaneously, it offers a musicological intervention in contemporary discourses that still operate under the assumption that it is impossible to be both black and German.

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Hughes, Bernard. "Guillaume Connesson Les Bains Macabre. Théâtre de l'Athénée Louis-Jouvet, Paris, 1 February 2020." Tempo 74, no. 293 (June 10, 2020): 88–89. http://dx.doi.org/10.1017/s0040298220000066.

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Guillaume Connesson is a French composer widely performed across Europe and the US, but almost entirely unheard in the UK, in concert or broadcast. The article ‘Glimmers in a Dark Age’ (TEMPO 73/288 (2019), 70–80) was my attempt to introduce a British audience to a composer whose work I find compelling, beautifully crafted and worthy of wider attention.

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Teale, M. "Europe--matters of concern." Veterinary Record 125, no. 3 (July 15, 1989): 72–73. http://dx.doi.org/10.1136/vr.125.3.72.

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Caballero, F. "Europe--matters of concern." Veterinary Record 125, no. 7 (August 12, 1989): 161. http://dx.doi.org/10.1136/vr.125.7.161-b.

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Polinceusz, Łukasz. "Strategic International Environment – Is Europe Ready for a New Concert of the Superpowers? Central European Perspectives." Studia Europejskie-Studies in European Affairs 23, no. 1 (February 26, 2019): 157–72. http://dx.doi.org/10.33067/se.1.2019.09.

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Morin, Edgar, Peter Hawkins, and Barbara Lebrun. "The Salut les copains generation." Popular Music 39, no. 3-4 (December 2020): 393–400. http://dx.doi.org/10.1017/s0261143020000598.

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In Paris on 22 June 1963, the French youth magazine Salut les copains celebrated its first year in print by organising a free outdoor concert on the Place de la Nation. The artists headlining the gig were young male and female pop singers who had been propelled to the top of the French charts thanks to the regular broadcasting of their music on the show Salut les copains (on private radio station Europe 1 since 1959), and extensive coverage in the weekly magazine of the same name (since 1962). The 150,000-strong crowd at the concert exceeded all expectations, but also generated a sense of moral panic in the media as worried commentators speculated on the dangerous mindlessness of such ‘rhythmic’ music for impressionable French youngsters.

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Graziano, John. "The Early Life and Career of the "Black Patti": The Odyssey of an African American Singer in the Late Nineteenth Century." Journal of the American Musicological Society 53, no. 3 (2000): 543–96. http://dx.doi.org/10.2307/831938.

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The early career of the African American singer Matilda Sissieretta Jones (1868-1933), known as the "Black Patti," was unique in nineteenth-century America. Reviewers gave high praise to her singing, and she attracted large mixed-race audiences to her concerts across the country. Her fame was such that, during the early 1890s, she appeared as the star of several companies in which she was the only black performer. This article documents her early life in Portsmouth, Virginia, and Providence, Rhode Island; her two tours, in 1888 and 1890, to the Caribbean and South America; and her varied concert appearances in the United States and Europe up to the formation of the Black Patti Troubadours in the fall of 1896.

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Rendall, Matthew. "Russia, the concert of Europe, and Greece, 1821–29: A test of hypotheses about the Vienna system." Security Studies 9, no. 4 (June 2000): 52–90. http://dx.doi.org/10.1080/09636410008429413.

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Boterbloem, Kees. "Russia and Europe: The Koenraad van Klenk Embassy to Moscow (1675-76)." Journal of Early Modern History 14, no. 3 (2010): 187–217. http://dx.doi.org/10.1163/157006510x497997.

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AbstractIn this article based on Russian, Dutch, German, English, and Latin sources, Kees Boterbloem shows how the Dutch Embassy led by Koenraad van Klenk that visited Muscovy in 1675 and 1676 unfolded to the satisfaction of both the Russian hosts and their Dutch guests. This was in large measure the result of van Klenk’s expert knowledge about Muscovy and his sober assessment of the foreign policy priorities of Tsars Aleksei and Fyodor as well as his own country’s government. Meanwhile, the evidence regarding the embassy and its historical context are testimony to of a sudden intensified Muscovite interest in Europe and European interest in Muscovy. It suggests that Muscovy was no longer an “Orientalized” or “barbaric” outsider and had entered the Concert of Europe a generation before historians propose that Peter the Great “opened Russia’s window to the West.”

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Harrington, Austin. "Ernst Troeltsch’s Concept of Europe." European Journal of Social Theory 7, no. 4 (November 2004): 479–98. http://dx.doi.org/10.1177/1368431004046704.

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Drakos, Konstantinos, and Cathérine Müller. "Terrorism risk concern in Europe." Economics Letters 112, no. 2 (August 2011): 195–97. http://dx.doi.org/10.1016/j.econlet.2011.04.003.

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Sawicka, Irena. "Syllabic patterns in South-Eastern Europe." Slavia Meridionalis 15 (September 25, 2015): 220–27. http://dx.doi.org/10.11649/sm.2015.018.

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Syllabic patterns in South-Eastern EuropeWhereas in most of the world’s languages syllable patterns are built according to the principles of sonority theory (they have the one-peak syllable pattern), in some Balkan languages, there occur deviations from the one-peak syllable pattern of a systemic nature. Such deviations occur also in the northern Slavic languages. They mainly concern the distribution of nasal consonants and appear either in the onset (Albanian) or coda (Romanian). At the very south of Europe the open syllable pattern occurs. Struktury sylabiczne południowo-wschodniej EuropyPodczas gdy zdecydowana większość języków świata preferuje tzw. sonorycznościowy (jednoszczytowy) model sylaby, to południowo-wschodnia Europa jest pod tym względem dość zróżnicowana. Odstępstwa od zasady jednoszczytowości występują w językach północnosłowiańskich. Na Bałkanach natomiast odstępstwa takie dotyczą głównie dystrybucji sonantów nosowych i występują albo w nagłosie, albo w wygłosie. Samo południe Europy (dialekty występujące na południowych częściach półwyspów Morza Śródziemnego) ma natomiast niesymetryczny model sylaby – w wygłosie wyrazów występują głównie sylaby otwarte.

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Voigt, C., U. Schumann, T. Jurkat, D. Schäuble, H. Schlager, A. Petzold, J. F. Gayet, et al. "In-situ observations of young contrails – overview and selected results from the CONCERT campaign." Atmospheric Chemistry and Physics Discussions 10, no. 5 (May 17, 2010): 12713–63. http://dx.doi.org/10.5194/acpd-10-12713-2010.

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Abstract. Lineshaped contrails were detected with the research aircraft Falcon during the CONCERT – CONtrail and Cirrus ExpeRimenT – campaign in October/November 2008. Thereby the Falcon was equipped with a set of instruments to measure particle properties such as the particle size distribution, shape, extinction, chemical composition as well as trace gas concentrations of sulfur dioxide (SO2), reactive nitrogen and halogen species (NO, NOy, HNO3, HONO, HCl), ozone (O3) and carbon monoxide (CO). During 12 mission flights over Western Europe numerous contrails and cirrus clouds were probed at altitudes between 8.5 and 11.6 km and temperatures above 213 K. 22 contrails from 11 different aircraft were observed near and below ice saturation. The observed NO mixing ratios, ice crystal and soot number densities are compared to a process based contrail model. Further we investigate in detail the contrail from a CRJ-2 aircraft detected on 19 November 2008 in 10.1 km altitude. The contrail with an age of 1 to 2 min had average ice crystal concentrations of 128 cm−3 in the size range 0.4

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Parfentyeva, Irina. "National-patriotic education of future teachers of musical art in the study of the disciplines of the conductor-choral cycle (on the example of the revival of the choral heritage of A. Wedel abroad)." Scientific Visnyk V.O. Sukhomlynskyi Mykolaiv National University. Pedagogical Sciences 65, no. 2 (2019): 224–27. http://dx.doi.org/10.33310/2518-7813-2019-65-2-224-227.

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The article deals with the problems of the national-patriotic education of future teachers of musical art by means of choral art on the example of one of the outstanding representatives of the Ukrainian composer and choirmaster school – Artemy Lukyanovich Vedel. The stages of knowledge of the choral heritage of the Ukrainian composer of the late eighteenth and early nineteenth centuries in Western Europe and America of the twentieth century are considered. Sources from periodicals allow us to analyze various forms of perception of his works by a foreign listener during concert performances. Named the national choir, Ukrainian and foreign performers, who were direct popularizers of the artist’s creativity. The distribution of A. Vedel’s choral heritage in the countries of Western Europe and America of the twentieth century had its own definite place. The problem of popularizing the choral heritage of the outstanding Ukrainian composer Artemii Lukyanovich Vedel is not sufficiently covered in modern scientific research. Domestic educators and culturologists pay more attention to revealing the secrets of biography, outlook and search of little-known works of the composer, therefore the question of widespread distribution of his musical work is now relevant, which helps to highlight the bright personality of the artist. The source of our searches is based on the materials of publications of the national periodicals of the twentieth century. These are, first and foremost, magazine and newspaper articles related to concert performances by well-known domestic choral groups and individual performers of the last century. Available factual materials allow us to conclude that despite all the prohibition on singing the works of this composer in the 19th and the first half of the 20th century, his art proved his vitality in concert performance by choir collectives, in the pedagogical repertoire of educational choir collectives, which was confirmed by modern practice. national musical pedagogy. This topic, with all its obvious features, has a prospect of development in various areas of musical and pedagogical research.

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Horáková, Hana. "Europe and Culture." Anthropological Journal of European Cultures 18, no. 2 (September 1, 2009): 6–27. http://dx.doi.org/10.3167/ajec.2009.180202.

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After the fall of the Iron Curtain a new concept of Europe as a socially relevant object of study emerged in the social sciences challenging the model of Europe as historical entity, or a philosophical or literary concept. This concept provoked an upsurge of interest in the study of European identity among anthropologists who began to study how Europeanness is constructed and articulated both by the architects of the EU themselves and at a grass-root level. Drawing on notions of European culture and identity, this text examines the image of Europe/the EU in post-communist Europe, particularly in the Czech Republic, from two different perspectives. First, how the institutionalisation of Europe as a cultural idea is viewed by some of the Czech political commentators, and second, from an ethnographically grounded anthropological perspective, focusing on how and at what levels a Czech local community identifies with Europe and the EU. Drawing on a broad range of data, the text attempts to provide new insights into the pitfalls of collective European identity in the making, with the emphasis on its cultural dimension in the post-communist Czech Republic.

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Lee, Kyungboon. "Japanese Musicians Between Music and Politics During WWII: Japanese Propaganda in the Third Reich." Itinerario 38, no. 2 (August 2014): 121–38. http://dx.doi.org/10.1017/s0165115314000382.

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Even before signing the pact between Japan and Germany, Japanese musicians performed in the concert halls of the Third Reich. In particular, there was an active demand due to propagandistic performances such as German–Japanese concerts or concerts for German soldiers on the Eastern front or occupied territories. This study describes the activities of two “Japanese” conductors who became members of the Reich Chamber of Culture and performed with the Berliner Philharmonic orchestra: Ahn Ekitai (Iktae) from colonial Korea and Konoye Hidemaro, a high-ranking Japanese peer. Extracted from documents of the German–Japanese Society at the Federal Archives Koblenz (Germany), this article explores the cultural and political functions that these conductors faced in terms of German war propaganda and how their different musical compositions, both named “Etenraku”, related to propagandistic values. This essay further shows that Ahn, whom Koreans considered a patriot and fighter against Japanese colonial power in Europe for a long time, was active as a Japanese conductor in the Third Reich, calling Konoye's assertion that he was pursued by the Nazis into question.

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Brisku, Adrian. "Internalizing Europe." Journal of Educational Media, Memory, and Society 1, no. 2 (September 1, 2009): 97–124. http://dx.doi.org/10.3167/jemms.2009.010205.

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This article argues that post-socialist Albanian myths and images surrounding the concept of Europe need to be considered from a triadic dimension of (geo)politics, modernities, and cultural identity as well as within a larger historical perspective of the modern Albanian political and intellectual landscape. Seen from a perspective stretching from the late nineteenth century to the present, a triadic Europe appears pluralistic with continuous as well as contested images and narratives. Yet, behind these images and narratives stands one constant understanding of the continent: a political and military power and prosperously untamed marketplace through which Albanians have attempted to navigate their modern existence.

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Cecchini, P. "Europe and the concept of enlargement." Survival 43, no. 1 (March 1, 2001): 155–66. http://dx.doi.org/10.1093/survival/43.1.155.

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Dupouy-Camet, J. "Trichinellosis: still a concern for Europe." Eurosurveillance 11, no. 1 (January 1, 2006): 3–4. http://dx.doi.org/10.2807/esm.11.01.00590-en.

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Trichinellosis is a zoonotic disease caused by the ingestion of raw meat containing larvae of the nematode Trichinella. Four species of Trichinella are found in Europe : Trichinella spiralis (cosmopolitan), T. britovi (in wildlife from mountainous areas), T. nativa (in wildlife from colder and northern regions) and T. pseudospiralis (a cosmopolitan nonencapsulating species). Human trichinellosis causes high fever, facial oedema, myositis and eosinophilia. It can be a serious disease, particularly in elderly patients in whom neurological or cardiovascular complications can lead to death.

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Muñoz-García, Antonio. "Religion and Environmental Concern in Europe." Archive for the Psychology of Religion 36, no. 3 (December 2014): 323–43. http://dx.doi.org/10.1163/15736121-12341289.

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McClelland, B., E. Love, S. Scott, and L. M. Williamson. "Haemovigilance: Concept, Europe and UK Initiatives." Vox Sanguinis 74, S2 (June 1998): 431–39. http://dx.doi.org/10.1111/j.1423-0410.1998.tb05453.x.

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Spiridon, Simona. "The symphonic music of the national schools in 20th century Europe in the repertoire of the Philharmonic of Cluj (1955-1989). Creative perspectives of C. Silvestri’s Chants Nostalgiques op. 27 no. 1." Journal of Education Culture and Society 6, no. 1 (January 5, 2020): 143–52. http://dx.doi.org/10.15503/jecs20151.143.152.

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The present work focuses on the national cultures of the early 20th century in several European countries, such as Czechoslovakia, Poland, Hungary, Spain, Russia and Romania. Since my PhD thesis analyses the evolution of the Philharmonic “Transilvania”of Cluj between 1955-1989, there will be a thorough statistic of the concerts which were held during that period in which the orchestra performed musical pieces of the composers mentioned in this essay. For some concerts, there will also be stated the date when the concert took place, as well as the conductor who was invited to Cluj. There will also be an analysis of a piano work of the Romanian composer Constantin Silvestri (Chants Nostalgiques op. 27 no. 1) which I personally played a few years ago. The study will contain a musical bibliography, as well as several footnotes stating the documents found in the archives of the Philharmonic of Cluj.

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KWAN, JONATHAN. "THE CONGRESS OF VIENNA, 1814–1815: DIPLOMACY, POLITICAL CULTURE, AND SOCIABILITY." Historical Journal 60, no. 4 (June 27, 2017): 1125–46. http://dx.doi.org/10.1017/s0018246x17000085.

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On 29 November 1814, the Austrian Emperor Francis, the Russian Tsar Alexander, and the Prussian King Frederick Wilhelm, along with 6,000 others, attended a concert in Vienna's Redouten Hall; Beethoven personally conducted three of his works: the Seventh symphony, the bombastic ‘Wellington's victory’, and a newly written cantata entitled ‘The glorious moment’. In this cantata, the figure of ‘Vienna’ sings the following words:Oh heaven, what delight!What spectacle greets my gaze!All that the earth holds in high honourHas assembled within my walls!My heart throbs! My tongue stammers!I am Europe – no longer one city.

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Schab, Alon. "Purcell performances in Palestine under the British Mandate." Early Music 47, no. 4 (November 2019): 533–50. http://dx.doi.org/10.1093/em/caz076.

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Abstract Palestine, from the end of World War I to the foundation of the state of Israel, had a vibrant concert scene led partly by local musicians (and from 1933 onwards, by an elite of leading performers and composers who fled from Europe), and partly by the cultural institutions of the British Mandate, including the Palestine Broadcasting Service. While the collaborations between these two forces often yielded inspired musical results, each had its own agendas and priorities. The music of Henry Purcell was perceived as a cultural asset of the British and, as such, its performance became the platform for tacit negotiation of local musical identity, as well as a means to communicate with the British administration. The present study examines how Purcell’s music was treated in Palestine, which works by Purcell were performed, which scores and editions were available to local musicians, how the 250th anniversary of his death (1945) was commemorated, what motivated musicians to perform Purcell in concert, and what happened to the performance of Purcell’s music in Israel after Britain withdrew its forces from Palestine in 1948.

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Strenacikova Sr., Maria, and Maria Strenacikova Jr. "Slovak music culture and music professions during Classicism era." ICONI, no. 1 (2021): 68–74. http://dx.doi.org/10.33779/2658-4824.2021.1.068-074.

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The Classicist period in Slovakia developed between 1760 and 1830. At that time Slovakia was a part of the territory of the Hungary. Musical culture during the reign of Maria Theresa, Joseph II and Francis I evolved in three stages under the infl uence of the European musical tradition and contacts with foreign composers from Austria, Germany and Czechia. People could listen to all sorts of music in opera houses, concert halls, noblemen’s courts, petty bourgeois salons and in the countryside. Musical professions in Slovakia were comparable with those in Central Europe. Musicians’ jobs included those of performers, composers, teachers, writers, theoreticians and organizers of cultural life. Usually, one person held two or more of these positions. Composers wrote works which were performed at various occasions. Music teachers taught at state-run music schools, pedagogical colleges and parochial schools. Manufacturers of musical instruments created a number of new instruments, especially wind instruments, violins and organs, many of which were regarded as being highly signifi cant throughout Europe.

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PRITCHARD, MATTHEW. "Who Killed the Concert? Heinrich Besseler and the Inter-War Politics of Gebrauchsmusik." Twentieth-Century Music 8, no. 1 (March 2011): 29–48. http://dx.doi.org/10.1017/s1478572211000272.

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AbstractBy examining the ideas expressed by the German musicologist Heinrich Besseler in his 1925 essay ‘Grundfragen des musikalischen Hörens’, this article attempts to find precedents in Weimar Germany for a contemporary social conception of music, and to trace the effects of this conception on music history between the wars. Although Besseler's position is seen to be complex and not wholly consistent, from his ideal of music as an expression of community (Gemeinschaft) arose two influential claims: that the concert was in crisis because it could no longer correspond to that ideal, and that the real source of communal vitality lay in Gebrauchsmusik, music for everyday use. The article explores the immediate political and musical consequences of these claims, both for the German youth music movement (Jugendmusikbewegung) and for Gebrauchsmusik as composed by Weill, Hindemith, and Eisler. It argues that the social aims of the Gebrauchsmusik movement were in fact best met when combined with an earlier understanding, rejected by Besseler himself, of the concert's own ‘community-forming power’ – a theoretical combination that was to lead outside Europe to the American musical and the Soviet symphony. By contrast, the sidelining of such ideas in post-war Germany was reflected in Adorno's outright rejection of musical community, a move which served to confirm only Besseler's first, negative claim – thereby establishing as normative an ‘autonomous’ conception of concert music and leaving musicology unable to give any positive account of the concert's social role.

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Margry, Peter Jan. "Memorialising Europe." Anthropological Journal of European Cultures 17, no. 2 (September 1, 2008): 6–33. http://dx.doi.org/10.3167/ajec.2008.170202.

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In the economic and political unification process of Europe, the idea of the creation of a pan-European identity was put high on the political agenda. With the failure of this effort, the emphasis shifted to the apparently less fraught concept of 'shared cultural heritage'. This article analyses how the politically guided rediscovery of Europe's past has contributed to the creation of a 'Religion of Heritage', not only by raising up a political altar for cultural heritage, but also through the revitalisation, instrumentalisation and transformation of the Christian heritage, in order to try to memorialise and affirm a collective European identity based on its Christian past. In the context of this process, the network of European pilgrims' ways appears to have been an especially successful performative form of heritage creation, which has both dynamised Christian roots as a relevant trans-European form of civil religion that has taken shape, capitalising on the new religious and spiritual demands created by secularisation, and responded to the demand for shared - and Christian inspired - European values and meanings in times of uncertainty and crisis.

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Journal articles on the topic 'The Concert of Europe'

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