The Art Songs of Kodály

Tempo ◽  
1963 ◽  
pp. 2-12
Author(s):  
Cynthia Jolly
Keyword(s):  
19Th Century ◽  
Folk Music ◽  
Art Song ◽  
Art Songs ◽  
Art Music ◽  
Slow Process ◽  
The West ◽  
The 19Th Century ◽  
True Measure ◽  
West European

It would be an error to underestimate the magnitude of Kodály's achievement in his art-songs by relating them too closely to the West European art-song instead of setting them against their national background. He was working almost from scratch: as he remarks in Folk Music of Hungary (p. 13), the country was not musically literate until the end of the 19th century. His songs lack the slow process of evolution which made the Lied: Schubert was the culmination of many centuries of reciprocal interplay between folk music and art music, between music and poetry. To create a Hungarian art-song within the lifetime of a single composer was an act of faith and astonishing audacity, and the true measure of the achievement will probably only come clear after decades, if not centuries.

scholarly journals The Images of Mary of Egypt, Mary Magdalene and Cleopatra in Russian Literature: the Christian and the Pagan

2020 ◽  
Vol 18 (2) ◽  
pp. 42-63
Author(s):  
Galina Yu. Zavgorodnyaya
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Russian Literature ◽  
The West ◽  
Female Images ◽  
Mary Magdalene ◽  
The 19Th Century ◽  
Mary Of Egypt ◽  
West European

<p><span lang="EN-US">The article examines the orthodox tradition of paying homage to Venerable Mary of Egypt. The perception of the image of Mary of Egypt is compared with that one of Mary Magdalene in the West-European World, particularly in literature and art. The different forms of interaction between the hagiography of Mary of Egypt and Russian literature are traced: adaptation of the plot, allusions, insertion of the motif of a repented whore. The plot of Cleopatra, as of an impenitent whore, is opposite to a hagiographic plot (by its semantic pole of attraction). Two female images symbolize two divergent paths&nbsp;&mdash; to spiritual rebirth and to the ruin. As a result of the analysis of the works of A.&nbsp;Pushkin, I.&nbsp;Aksakov, N.&nbsp;Leskov, V.&nbsp;Bryusov, A.&nbsp;Remizov it is deduced that both plots turned out to be productive for Russian literature of the 19th century and the beginning of the 20th century, namely because of their paired relationship.</span></p>

The Relationship between Trade and Foreign Direct Investment: Testing Ahmed Midhat Efendi's Hypothesis

2008 ◽  
Vol 40 (4) ◽  
pp. 547-549
Author(s):  
V. Necla Geyikdagi
Keyword(s):  
Foreign Direct Investment ◽  
Ottoman Empire ◽  
19Th Century ◽  
Subject Matter ◽  
Direct Investment ◽  
The West ◽  
Normative Framework ◽  
The 19Th Century ◽  
The Relationship ◽  
Independent Thinking

“Jack of all trades” Ahmed Midhat Efendi, one of the most famous and popular Ottoman writers of the 19th century, ranged widely in his subject matter, which included economics. Although he was criticized for not having a proper education in the field, his independent thinking made him the most important critic of the laissez-faire system that prevailed in the Ottoman Empire. He disapproved of the liberalism transferred from the West in a normative framework.

scholarly journals PEMIKIRAN JAMALUDDIN AL-AFGHANI (JAMAL AD-DIN AL-AFGHANI) (1838 – 1897 M)

2017 ◽  
Vol 13 (1) ◽  
pp. 9-24
Author(s):  
Akmal Hawi
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
The Other ◽  
The West ◽  
Unique Position ◽  
Islamic Reform ◽  
Other Hand ◽  
The People ◽  
The One ◽  
The 19Th Century

The 19th century to the 20th century is a moment in which Muslims enter a new gate, the gate of renewal. This phase is often referred to as the century of modernism, a century where people are confronted with the fact that the West is far ahead of them. This situation made various responses emerging, various Islamic groups responded in different ways based on their Islamic nature. Some respond with accommodative stance and recognize that the people are indeed doomed and must follow the West in order to rise from the downturn. Others respond by rejecting anything coming from the West because they think it is outside of Islam. These circles believe Islam is the best and the people must return to the foundations of revelation, this circle is often called the revivalists. One of the figures who is an important figure in Islamic reform, Jamaluddin Al-Afghani, a reformer who has its own uniqueness, uniqueness, and mystery. Departing from the division of Islamic features above, Afghani occupies a unique position in responding to Western domination of Islam. On the one hand, Afghani is very moderate by accommodating ideas coming from the West, this is done to improve the decline of the ummah. On the other hand, however, Afghani appeared so loudly when it came to the question of nationality or on matters relating to Islam. As a result, Afghani traces his legs on two different sides, he is a modernist but also a fundamentalist. 

scholarly journals "However, the language here is changing gradually, and in the presence of so many local dialects the Croatian and its kindred Slovenian world cannot be separated very precisely" – Drawing the Slovenian-Croatian National Border in the Territory of the Present-day Prekmurje Region

2017 ◽  
Vol 57 (2) ◽  
pp. 33-50
Author(s):  
Jernej Kosi
Keyword(s):  
19Th Century ◽  
The West ◽  
Demarcation Line ◽  
National Space ◽  
National Movement ◽  
National Border ◽  
The 19Th Century ◽  
First Time

The article analyses the process involved in the formation of the idea to separate the "Slovenian" and "Croatian" national territory in the west of the Kingdom of Hungary. The concept was initially articulated as a linguistic premise in the works written by the famous linguist Jernej Kopitar, who understood the territory of the today's Prekmurje region as an area where Slovenian language was spoken. As of the middle of the 19th century, Kopitar's classification had been appropriated by the Slovenian national movement, which presupposed that the speakers of the Slovenian language in the Kingdom of Hungary were also members of the envisioned Slovenian community. In this context the Slovenian linguistic – national border was, in the middle of the 19th century, depicted on a map for the first time (Peter Kozler). In just a few decades, the idea of the national demarcation line in the today's Prekmurje, supposedly separating Slovenians from Croats at the river Mura, had strengthened considerably among the Slovenian national activists in the Cisleithanian lands. After the dissolution of Austro-Hungary and the signing of the Treaty of Trianion, this line in fact became a border between the Slovenian and the neighbouring Croatian national space. 

scholarly journals The personality and the creative work of A. Pasculli in the context of the West European music art of the 19th century

2021 ◽  
pp. 1-10
Author(s):  
Liliya Orlanovna Norbu ◽  
Mariya Vladimirovna Kholodova
Keyword(s):  
19Th Century ◽  
Early 20Th Century ◽  
Creative Work ◽  
Music Culture ◽  
Research Focus ◽  
The West ◽  
Russian Scientific ◽  
The 19Th Century ◽  
Creative Life

The authors of the research focus on Antonio Pasculli, a famous Italian virtuoso oboe player and composer of the late 19th - the early 20th century, whose name had long and undeservingly been in the wilderness. In the last two-three decades, his legacy has been getting a new lease on life. Pasculli&rsquo;s compositions are on the concert list of oboe players all over the world. Despite the performance popularity, the personality and creative work of the outstanding Italian musician are still on the periphery of the research focus of Russian musicologists. All valuable information is contained in rare foreign researches. Therefore, the purpose of the article is to reconstruct the artistic portrait of Antonio Pasculli in the context of time. This research is the first in Russian musicology to introduce into Russian scientific discourse the data from foreign sources revealing the peculiarities of Pasculli&rsquo;s creative life. Based on the analysis of the collected data, the authors conclude about the necessity to revise the role of Pasculli&rsquo;s work and legacy in the context of European music culture of the 19th century. It is believed that familiarization with the information about the Italian musician, unknown to the Russian audience, will help to not only dive deeper into the specificity of Pasculli&rsquo;s compositions, but also to reinterpret his place and role in the evolution of playing woodwind instruments.

Orientalism in the Art Music of the Ionian Islands

2019 ◽  
pp. 296-317
Author(s):  
Kostas Kardamis
Keyword(s):  
Roman Empire ◽  
Case Studies ◽  
19Th Century ◽  
Early Stage ◽  
Art Music ◽  
Ionian Islands ◽  
The Enlightenment ◽  
The 19Th Century

The Ionian Islands were at an early stage cut off from the Eastern Roman Empire, experienced the changes that came with the Renaissance, actively participated in the Enlightenment and were in contact with the multifarious ideologies of the 19th century. These factors transformed their art music, which followed the ‘western’ trends. In this context, ‘orientalism’ appeared as an additional creative element in certain indigenous composers’ works. Its use ranged from the stereotypical ‘western’ approach regarding the Orient to the employment of ‘oriental’ elements as media of political (especially during the struggles for the Islands’ annexation to the Greek Kingdom), national (as a conventional ‘Greek characteristic’) and social statements, and as a way for the works’ entrepreneurial promotion to a larger audience. The chapter discusses these changing—and often concurrent and diverging—attitudes through case studies; it stresses that ‘orientalism’ never became a compositional fixation for Ionian Islands composers.

scholarly journals “Bold and Ragged”: A Cross-Cultural Case for the Aesthetics of Melodic Angularity

2020 ◽  
Vol 3 ◽  
pp. 205920432094906
Author(s):  
Aaron Carter-Ényì ◽  
Quintina Carter-Ényì
Keyword(s):  
19Th Century ◽  
Primary Source ◽  
Art Music ◽  
Musical Aesthetics ◽  
Linguistic Features ◽  
Music Practice ◽  
Interval Size ◽  
Two Measures ◽  
Tone Level ◽  
The 19Th Century

Smaller corpora and individual pieces are compared to a large corpus of 2,447 hymns using two measures of melodic angularity: mean interval size and pivot frequency. European art music and West African melodies may exhibit extreme angularity. We argue in the latter that angularity is motivated by linguistic features of tone-level languages. We also found the mean interval sizes of African-American Spirituals and Southern Harmony exceed contemporary hymnody of the 19th century, with levels similar to Nigerian traditional music (Yorùbá oríkì and story songs from eastern Nigeria). This is consistent with the account of W. E. B. Du Bois, who argued that African melody was a primary source for the development of American music. The development of the American spiritual coincides with increasing interval size in 19th-century American hymnody at large, surpassing the same measure applied to earlier European hymns. Based on these findings, we recommend techniques of melodic construction taught by music theorists, especially preference rules for step-wise motion and gap-fill after leaps, be tempered with counterexamples that reflect broader musical aesthetics. This may be achieved by introducing popular music, African and African Diaspora music, and other non-Western music that may or may not be consistent with voice leading principles. There are also many examples from the European canon that are highly angular, like Händel’s “Hallelujah” and Schönberg’s Pierrot Lunaire. Although the tendency of textbooks is to reinforce melodic and part-writing prescriptions with conducive examples from the literature, new perspectives will better equip performers and educators for current music practice.

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