Representing Russia's Orient

2020 ◽  
Author(s):  
Adalyat Issiyeva
Keyword(s):  
Nineteenth Century ◽  
Art Songs ◽  
Folk Songs ◽  
Folk Song ◽  
Late Nineteenth Century ◽  
Imperial Identity ◽  
Musical Discourse ◽  
Political Differences ◽  
Russian Composers ◽  
Musical Elements

This book examines the musical ramifications of Russia’s nineteenth-century expansion to the east and south and explores the formation and development of Russian musical discourse on Russia’s own Orient. It traces the transition from music ethnography to art songs and discusses how various aspects of (music) ethnographies, folk song collections, music theories, and visual representations of Russia’s ethnic minorities, or inorodtsy, shaped Russian composers’ perception and musical representation of Russia’s oriental “others.” Situated on the periphery, minority peoples not only defined the geographical boundaries of the empire, its culture, and its music but also defined the boundaries of Russianness itself. Extensively illustrated with music examples, archival material, and images from long-forgotten Russian sources, this book investigates the historical, cultural, and musical elements that contributed to the formation and creation of Russia’s imperial identity. It delineates musical elements that have been adopted to characterize Russians’ own national hybridity. Three case studies—well-known leader of the Mighty Five Milii Balakirev, lesser known Alexander Aliab’ev, and the late-nineteenth-century composers affiliated with the Music-Ethnography Committee—demonstrate how and why, despite the overwhelming number of pejorative images and descriptions of inorodtsy, these composers decided to disregard their social and political differences and sometimes confused and combined diverse minorities’ identities with that of the Russian “self.” The analysis of the arrangements of folk songs of Russia’s eastern and southern minorities reveals the trajectory of the ways their music was treated, from denigration and “othering” to embracing peoples from all the provinces of the empire.

The Folk Song Project at the Confluence of Music and Nationalism

2017 ◽  
Author(s):  
Philip V. Bohlman
Keyword(s):  
Nineteenth Century ◽  
South America ◽  
Cultural History ◽  
Intellectual History ◽  
English Translation ◽  
Paradigm Shift ◽  
Folk Songs ◽  
Folk Song ◽  
World Music ◽  
Musical Thought

Published in six folios during 1778 and 1779, Herder’s Volkslieder (Folk songs) has been one of the most influential works in modern intellectual history, even though it has never before appeared in English translation. The Volkslieder not only became the first collection of world music—songs came not only from many regions of Europe, but also from Africa, the Mediterranean, and South America—but also served as the source for European composers throughout the nineteenth century. Aesthetics, ethnography, and literary and cultural history converge to transform modern musical thought. Part one of the chapter contains translations from Herder’s own introductions to the songs, and part two contains twenty-four songs that represent the paradigm shift inspired by this monumental work on folk song.

Ethnographic Concerts in the Service of Empire

2020 ◽  
pp. 209-254
Author(s):  
Adalyat Issiyeva
Keyword(s):  
Detailed Analysis ◽  
Ethnic Minorities ◽  
Folk Songs ◽  
Folk Song ◽  
Musical Language ◽  
Russian Culture ◽  
Russian Composers ◽  
Folk Song Arrangements

This chapter discusses how the composers affiliated with the Music-Ethnographic Committee used several strategies to circumscribe the peoples of the empire under the umbrella of Russian culture. Most of the so-called Ethnographic Concerts organized in Moscow by this committee (1893–1911) featured Russian or Slavic music followed by arrangements of folk songs of Russia’s inorodtsy, helping to reinforce the idea of Russia as a multiethnic state. Detailed analysis of folk song arrangements representing Russia’s ethnic minorities suggests that Russia was determined to appropriate and recontextualize the cultures of its newly acquired southern and eastern subjects. By introducing into inorodtsy music some elements associated with Russianness—the Dorian mode, avoidance of the leading tone, modal harmony, and what was called the “Glinka variation”—Russian composers reduced both the cultural and musical distances between Russia and its “others.” The arrangements performed in the Ethnographic Concerts, however, completely transformed inorodtsy musical language and stripped it of its historical and traditional meanings.

scholarly journals ANALISIS STRUKTUR MUSIKOLOGIS ARANSEMEN LAGU O INA NI KEKE UNTUK ORKESTRA

2021 ◽  
Vol 5 (2) ◽  
pp. 249
Author(s):  
Joko Suprayitno ◽  
Ayub Prasetiyo
Keyword(s):  
Qualitative Research ◽  
Music Composition ◽  
Folk Songs ◽  
Folk Song ◽  
Musical Structure ◽  
North Sulawesi ◽  
Analysis Process ◽  
Almost All ◽  
Musical Elements ◽  
Written Sources

AbstrakIndonesia memiliki kekayaan lagu rakyat yang beragam sesuai keberadaan suku-suku yang tersebar dari Sabang sampai Merauke. Warisan budaya yang tak ternilai ini tidak hanya perlu dilestarikan, tapi juga diberi langkah strategis agar dapat berkembang dan dikenal lebih jauh. Dalam konteks ini, O Ina Ni Keke, sebuah lagu rakyat dari Sulawesi Utara, telah menjadi repertoar standar orkestra yang mendunia. Penelitian ini bertujuan mengetahui bagaimana komposisi struktur musikal yang diciptakan oleh Joko suprayitno untuk lagu sederhana khas lagu rakyat seperti O Ina Ni Keke mengubah lagu tersebut menjadi kelindan melodi, harmoni, tekstur, dan struktur elemen musikal lainnya dan pada akhirnya menjadi sebuah karya yang pernah dimainkan oleh Shanghai Philharmonic Orchestra. Penelitian ini menggunakan metode penelitian kualitatif dengan paparan deskriptif. Proses analisis menggunakan analisis teoretis musikologis atas bentukan struktur elemen musikal dalam aransemen lagu O Ina Ni Keke. Pendalaman proses analisis akan ditunjang oleh sumber-sumber tertulis seperti buku-buku komposisi musik dan juga notasi atau score hasil aransemen sebagai data pokok dalam proses analisis. Penelitian ini menemukan penggunaan variasi melodi kontrapungtal, penempatan melodi pokok di hampir semua instrumen musik yang memunculkan karakter bunyi yang berbeda-beda, dan penggunaan teknik pedal point.AbstractIndonesia has a wealth of folk songs that vary according to the existence of tribes that spread from Sabang to Merauke. This valueless cultural heritage should not only be preserved but also need strategic steps to strive for it to develop and be known further. From a folk song from North Sulawesi to a global standard orchestra repertoire. This study aims to find out how to composed the musical structure of simple songs typical of folk songs such as the song O Ina Ni Keke by Joko Suprayitno into a combination of melodies, harmonies, textures and other musical elements into a masterpiece that was once played by the Shanghai Philharmonic Orchestra during a concert at the Shanghai Philharmonic Orchestra. Simfonia Hall Jakarta in the framework of the Fundraising Concert for Palu & Donggala Tsunami Victims. This research uses qualitative research with descriptive exposure. The analysis process uses musicological theoretical analysis of the formation of musical elements in the arrangement of the song O Ina Ni Keke. The deepening of the analysis process will be supported by written sources such as music composition books and of course the notation or score of the arrangement as the main data in the analysis process. The results of the study found that the use of contrapuntal melody variations, the placement of the main melody in almost all instruments gave rise to different characters, and the use of the pedal point technique

The ‘Folk-Song’ Competition: An Aspect of the Search for an English National Music

Rural History ◽  
2000 ◽  
Vol 11 (2) ◽  
pp. 181-205
Author(s):  
John Francmanis
Keyword(s):  
Nineteenth Century ◽  
Art Music ◽  
Folk Song ◽  
Theory And Practice ◽  
Late Nineteenth Century ◽  
Perceived Need ◽  
The Subject ◽  
Late Nineteenth ◽  
National Music ◽  
National Resource

On 10th April 1902 a sometime landscape artist and self-educated musical antiquarian took his seat in the Drill Hall at Kendal in Westmorland. Frank Kidson, an acknowledged authority on the subject, had been invited there to judge the first ever Folk-Song Competition. In introducing his guest the general adjudicator ‘could only say Mr Kidson was a walking encyclopoedia on these things’.The perceived need for a characteristically English art music bestowed considerable significance on folk-song, for both theory and practice in continental Europe suggested that such material comprised the essential ingredient of any such national music. To contextualise the importance of Kidson's task this article begins by briefly examining the condition of music in England in the late nineteenth century before considering the requirements to be made of this as yet largely untapped national resource.

scholarly journals GOTTSCHEER FOLK SONG – FROM A MEANS OF FOSTERING NATIONAL DIFFERENTIATION TO A MEMORY KEEPER IN THE DIASPORA

Traditiones ◽  
2020 ◽  
Vol 49 (2) ◽  
pp. 141-166 ◽  
Author(s):  
Anja Moric
Keyword(s):  
Nineteenth Century ◽  
National Identity ◽  
Folk Songs ◽  
Folk Song ◽  
Insight Into ◽  
Linguistic Islands

The article focuses on changes in the roles and uses of Gottscheer folk song from the mid-nineteenth century to the present day. The first part addresses how nationalist activists used folk songs from the end of the nineteenth century to 1941/42 in order to instill the idea of a national identity in the Kočevje region. The second part offers insight into the role of folk song in preserving the identity of present-day Gottscheers in the diaspora. The paper also touches on the concept of “German linguistic islands” and points to the role of scholarship in the (mis)understanding of the multicultural reality of linguistically mixed regions.

Realism, Idealism and the French Reception of Hanslick

2016 ◽  
Vol 14 (1) ◽  
pp. 51-64
Author(s):  
Noel Verzosa
Keyword(s):  
Nineteenth Century ◽  
Music Education ◽  
Conceptual Framework ◽  
Art Criticism ◽  
First Century ◽  
Late Nineteenth Century ◽  
Musical Aesthetics ◽  
Musical Discourse ◽  
Programmatic Music ◽  
Rich Spectrum

When Charles Bannelier’s French translation of Hanslick’s Vom Musikalisch-Schönen was published in 1877, it elicited discussions among French musicians and critics that can seem puzzling from our twenty-first century vantage point. The French were almost entirely ambivalent to the issue of descriptive versus non-programmatic music and were perfectly comfortable disregarding this seemingly central point of contention in Hanslick’s treatise. French critics focused instead on issues that seem tangential to the main thrust of Vom Musikalisch-Schönen: German music education, the merits of philosophy versus philology, and so forth.The French reception of Hanslick becomes less puzzling, however, when we consider the conceptual framework within which French musical discourse operated in the late nineteenth century. By 1877, musical aesthetics and criticism in France were an extension of broader trends in French intellectual culture, in which a materialist, realist view of the world vied with a metaphysical, idealist conception of the divine. Between these two ideological poles lay a rich spectrum of ideas that had profound ramifications for music and art criticism. The degree to which works of art could be understood as products of historical circumstances, for example, or whether art embodied ineffable meanings resisting explanation, were questions whose answers depended on one’s position along this realist–idealist spectrum.In this article, I show how this tension between realism and idealism formed the conceptual framework for French critics’ readings of Hanslick’s Vom Musikalisch-Schönen. I survey writings by Théodule Ribot, Jules Combarieu, Camille Bellaigue and others to show how this network of texts, when placed alongside each other, was effectively a manifestation of the realist–idealist spectrum. By putting these writings in conversation with each other, this article brings to light the intellectual premises of French writings on music in the nineteenth century. Only by understanding these premises, I argue, can we make sense of the French reception of Hanslick.

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