The Kapellmeister Network and the Performance of CommunityHummel, Moscheles, and Mendelssohn

2018 ◽  
Author(s):  
Dana Gooley
Keyword(s):  
The Public ◽  
Johann Nepomuk Hummel ◽  
Concert Life ◽  
A Performance

Chapter 2 concerns the free fantasy and its relationship to the public concert life that emerged after 1815. Its main protagonists are Johann Nepomuk Hummel, the undisputed master of improvised free fantasia in this period, and his rival Ignaz Moscheles. Hummel’s free fantasias were admired for hybridizing the learned style of the kapellmeisters with the popular style associated with modern virtuosi, modeling a solution to one of the period’s major problems: the gap between experts and laypersons. In private circumstances Hummel improvised in a different way addressed to the values of connoisseurs alone, and some critics objected to his more “popular” public fantasies on given themes. Moscheles’s approach to free fantasies accented the hedonistic values of the genre, and in his reception we find the first stirrings of the improvisation imaginary. This chapter considers how improvisation served as a performance of authority and learnedness rooted in the kapellmeister network, a network that includes Mendelssohn, the little-known Carl Maria von Bocklet, and Hummel’s most celebrated student, Ferdinand Hiller.

The Role and Identity of the Young Dramatist in Romanian Theatre Today. The Dramatist between Two Paradigms: Author of Theatre Plays or Intermediary between the Performance and the Public

2019 ◽  
Vol 9 (2) ◽  
pp. 203-214
Author(s):  
Adriana Creangă
Keyword(s):  
Work Process ◽  
The Public ◽  
A Performance

Abstract The aim of this article is to identify the role and the identity of the young Romanian dramatist within the context of the collaborative theatre in our country. The main means of research have been the interview and the participatory assistance by actual involvement in the making of a performance. We started from the premise that the difficulties met throughout the work process begin as early as the study years at the faculty, as a result of the lack of communication between the departments from the Faculties of Theatre.

scholarly journals Rah Utami Nugrahani STRATEGI PENGGUNAAN MEDIA SOSIAL SAUNG ANGKLUNG UDJO DALAM MENGKOMUNIKASIKAN ESTETIKA BAMBU

2020 ◽  
Vol 2 ◽  
pp. 113-116
Author(s):  
Rah Utami Nugrahani ◽  
Sylvie Nurfebiaraning
Keyword(s):  
Social Media ◽  
Cultural Heritage ◽  
Qualitative Methods ◽  
Western Music ◽  
Intangible Cultural Heritage ◽  
West Java ◽  
Cultural Wealth ◽  
The Public ◽  
Social Media Strategy ◽  
A Performance

Saung Angklung Udjo (SAU) is a performance venue that was founded in 1966 by UdjoNgalagena and hasstood until now for one of them aimed at communicating bamboo music, in this case focusing a lot onangklung, as Indonesia’s cultural wealth, especially West Java. To further develop themselves, SAU alsobegan to move in the online field, which in this case was specifically done through social media, especiallyYoutube and Instagram. To find out more about SAU’s social media strategy in communicating SAU’s aesthetics,observations, interviews and literature studies were conducted. After taking the data which is then processedby qualitative methods, the following results and discussion are obtained: SAU conducts all publicationsand documentation related to on-site performances to be uploaded via Instagram and Youtube, SAUcollaborates to increase the popularity of bamboo music, with one of them picking up composer Eka Gustiwanais able to produce fresh works that are accessible to the public, SAU re-arranged to make bamboo musicfamiliar, especially among Western music listeners, and this strategy is also generally a form of angklungpreservation in its position as Intangible Cultural Heritage of Humanity by UNESCO version which was passedin 2010.

Liszt and the introduction of the new piano

Erard ◽  
2021 ◽  
pp. 88-103
Author(s):  
Robert Adelson
Keyword(s):  
Franz Liszt ◽  
The Public ◽  
Early Success ◽  
Johann Nepomuk Hummel

The Erards realised that as brilliant as the double-escapement action was, it required an equally brilliant pianist to introduce it to the public. The Erards first thought to ask the Austrian pianist and composer Johann Nepomuk Hummel (1778–1837), but soon found another pianist to promote their invention: a musician whose talents eclipsed not only those of Morel, but also those of all other living pianists. Franz Liszt (1811–86), then only twelve years old and largely unknown outside of Vienna, arrived in Paris and became the leading advocate for Erard’s new invention. Liszt’s relationship with the Erard family quickly became advantageous to both parties. For the Erards, Liszt’s arrival was a godsend, as his superhuman technique demonstrated the advantages of their invention. Similarly, Erard’s new piano became an essential part of Liszt’s early success, as its magnificently responsive action and powerful tone allowed the pianist to push his virtuosity to new heights.

Folk Festivals Revisited

1985 ◽  
Vol 7 (1-2) ◽  
pp. 15-16
Author(s):  
Leslie Prosterman
Keyword(s):  
Traditional Culture ◽  
Traditional Music ◽  
Shared Values ◽  
Folk Revival ◽  
The Public ◽  
A Performance

Folk festivals should not be confused with the gatherings of folk revival musicians or the traditional indigenous celebrations of shared values. Folklorists and administrators create folk (or folklife) festivals in order to demonstrate and nuture folkways. These events represent attempts to demonstrate traditional culture to the public in formats other than scholarly articles. They generally include traditional music, crafts and food in a performance and/or workshop format, aiming for a down-home spirit between performers and patrons. We describe these festivals variously as created, contrived, induced, constructed, synthetic, or simulated.

De-monopolizing the Public Sphere: Politics and Theatre in Nineteenth-Century Germany

2012 ◽  
Vol 37 (2) ◽  
pp. 148-162
Author(s):  
MEIKE WAGNER
Keyword(s):  
Nineteenth Century ◽  
Public Sphere ◽  
Police Intervention ◽  
The Public ◽  
The Public Sphere ◽  
A Performance

This article focuses on an incident of censorship and police intervention at the Königstädtische Theater in Berlin in 1828, occasioned by a performance of Gotthilf August von Maltitz'sThe Old Student(Der alte Student). Identifying how the playwright and his actors sought to represent political topics onstage allows me to explore how theatre functioned as a potential player in an incipient public sphere. In turn this reveals how the desire to represent political topics onstage and to become a performative player in the public sphere was already under way in the 1820s, well before the revolutionary turbulence of 1848.

The Aesthetics of the Invisible: Sacred Music in Secular (French) Places

2013 ◽  
Vol 57 (3) ◽  
pp. 132-147 ◽  
Author(s):  
Deborah Kapchan
Keyword(s):  
Sacred Music ◽  
The Political ◽  
The Public ◽  
The Invisible ◽  
A Performance

Is listening a performance? How do “invisible” practices like Sufi Muslim sama', or sacred listening, impact the public and secular spaces of contemporary France? What do listening acts reveal about the political viability and performativity of sacred listening in a secular nation?

The perception of public sector auditors on performance audit in Malaysia: an exploratory study

2016 ◽  
Vol 24 (1) ◽  
pp. 90-104 ◽  
Author(s):  
Chew Har Loke ◽  
Suhaiza Ismail ◽  
Fatima Abdul Hamid
Keyword(s):  
Public Sector ◽  
Postal Questionnaire ◽  
Content Type ◽  
The Public ◽  
Public Resources ◽  
Performance Audit ◽  
Performance Auditing ◽  
Questionnaire Method ◽  
Descriptive Statistical Analysis ◽  
A Performance

Purpose – The purpose of this paper is to explore the perception of public sector auditors on performance audit in Malaysian public sector entities. In particular, this study elicits the respondents’ opinions on the elements of performance audit, the need for involvement of auditors in policy making, relevant experts to undertake a performance audit, major constraints in carrying out performance audit and the potential of performance audit to improve public administration. Design/methodology/approach – The study employed a postal questionnaire method to seek the perception of the auditors. The questionnaire was distributed to the population of public sector auditors in the National Audit Department in Malaysia and a total of 503 usable responses were received. The responses were analysed using descriptive statistical analysis including mean score and mean score ranking. Findings – The results reveal that auditors were of the opinion that effectiveness element should be one of the performance audit elements and that public sector auditors should be given the opportunity to influence policy decisions. In addition, the results show that the public auditor is not the only profession that can carry out performance audit, but can team up with other professions. In relation to constraints in performance audit, “Lack of cooperation and commitment from auditees in conducting a performance audit” was claimed to be the topmost constraint. Furthermore, performance audit was claimed to be able to enhance public accountability, as well as to enable more economical, efficient and effective utilising of public resources. Originality/value – This paper is one of few studies on public sector auditing particularly on performance auditing in the context of a developing country (i.e Malaysia).

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