The Virtuoso of Submissiveness

2020 ◽  
pp. 60-109
Author(s):  
Harry White
Keyword(s):  
Comparative Analysis ◽  
Reception History ◽  
Musical Form ◽  
Liturgical Music ◽  
Two Agents ◽  
Musical Works ◽  
History Of ◽  
Musical Traditions ◽  
The Difference ◽  
Stile Antico

This chapter turns to Fux’s engagement with the imperial liturgy and his vigilant custodianship of its received musical traditions. It argues that the principal reception history of Fux as a composer, vested in the ongoing Complete Edition of his works (Gesamtausgabe) inadequately comprehends his actual significance because it privileges his compositions as self-standing musical works. By deconstructing this reception history we can distinguish between Fux’s habitual obedience to the dynastic style (which resulted in a large but blandly-achieved corpus of liturgical music) and two agents of musical refuge which satisfied (by contrast) the composer’s longing for musical form. The first of these is Palestrina and the “stile antico,” through which Fux achieved a much finer corpus of sacred works. The second is the Da capo aria as a model of tonal discourse through which Fux discovered an alternative to the restless changes of texture and technique demanded by the imperial liturgy. Both agents draw Fux into the orbit of Bach. This chapter closes with a comparative analysis of three Da capo arias by each composer. This analysis affirms that the intimacy between musical servitude and imaginative autonomy is of no less significance than the difference between them.

Apocrypha from the History of the Jewish Military Union and its Authors

2008 ◽  
pp. 147-176
Author(s):  
Dariusz Libionka
Keyword(s):  
Comparative Analysis ◽  
Critical Analysis ◽  
Communist Regime ◽  
Research Approach ◽  
Warsaw Ghetto ◽  
History Of

This article is an attempt at a critical analysis of the history of the Jewish Fighting Union (JFU) and a presentation of their authors based on documents kept in the archives of the Institute of National Remembrance in Warsaw. The author believes that an uncritical approach and such a treatment of these materials, which were generated under the communist regime and used for political purposes resulted in a perverted and lasting picture of the history of this fighting organisation of Zionists-revisionists both in Poland and Israel. The author has focused on a deconsturction of the most important and best known “testimonies regarding the Warsaw Ghetto Uprising”, the development and JFU participation in this struggle, given by Henryk Iwaƒski, WΠadysΠaw Zajdler, Tadeusz Bednarczyk and Janusz Ketling–Szemley.A comparative analysis of these materials, supplemented by important details of their war-time and postwar biographies, leaves no doubt as to the fact that they should not be analysed in terms of their historical credibility and leads one to conclude that a profound revision of research approach to JFU history is necessary.

The Modernities of H. Lawrence Freeman

2019 ◽  
Vol 72 (3) ◽  
pp. 719-779
Author(s):  
David Gutkin
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
Reception History ◽  
Black Press ◽  
Late Nineteenth Century ◽  
Starting Point ◽  
History Of ◽  
Late Nineteenth ◽  
White Press ◽  
Grand Opera

H. Lawrence Freeman's “Negro Jazz Grand Opera,” Voodoo, was premiered in 1928 in Manhattan's Broadway district. Its reception bespoke competing, racially charged values that underpinned the idea of the “modern” in the 1920s. The white press critiqued the opera for its allegedly anxiety-ridden indebtedness to nineteenth-century European conventions, while the black press hailed it as the pathbreaking work of a “pioneer composer.” Taking the reception history of Voodoo as a starting point, this article shows how Freeman's lifelong project, the creation of what he would call “Negro Grand Opera,” mediated between disparate and sometimes apparently irreconcilable figurations of the modern that spanned the late nineteenth century through the interwar years: Wagnerism, uplift ideology, primitivism, and popular music (including, but not limited to, jazz). I focus on Freeman's inheritance of a worldview that could be called progressivist, evolutionist, or, to borrow a term from Wilson Moses, civilizationist. I then trace the complex relationship between this mode of imagining modernity and subsequent versions of modernism that Freeman engaged with during the first decades of the twentieth century. Through readings of Freeman's aesthetic manifestos and his stylistically syncretic musical corpus I show how ideas about race inflected the process by which the qualitatively modern slips out of joint with temporal modernity. The most substantial musical analysis examines leitmotivic transformations that play out across Freeman's jazz opera American Romance (1924–29): lions become subways; Mississippi becomes New York; and jazz, like modernity itself, keeps metamorphosing. A concluding section considers a broader set of questions concerning the historiography of modernism and modernity.

THE TIMURID PERIOD FROM THE HISTORY OF THE FINE ARTS

2019 ◽  
Vol 19 (2) ◽  
pp. 28-33
Author(s):  
Ulug'bek Kuryazov ◽  
Keyword(s):  
Comparative Analysis ◽  
Fine Arts ◽  
The World ◽  
History Of

The article examines the works of scholars in the study of the history of fine arts, in particular miniatures of the Amir Temur era and temurids. Special attention is paid to the history of the creativity of Mirak Nakkosh and the outstanding miniaturist Kamoliddin Behzod. A comparative analysis of several miniature works is given. As well as analyzed some miniatures stored in the collections of museums and libraries of the world

Harsdörffers Geschirr

2019 ◽  
Vol 10 (1) ◽  
pp. 23-37
Author(s):  
Natalie Binczek
Keyword(s):  
Design History ◽  
History Of ◽  
The Difference

Der deutsche Barockdichter Georg Philipp Harsdörffer skizziert eine Theorie der Emblematik, die vor allem dessen Anwendungsvielfalt hervorhebt. Er hebt dabei besonders den Unterschied zwischen buchinterner und buchexterner Verwendung auf, indem er sich nicht nur für die Aufnahme der Embleme in Büchern, sondern auch auf Geschirr und Tapeten ausspricht. Der Beitrag liest Harsdörffers extensive Überlegungen nicht nur als Beiträge zur Theorie und Geschichte der Embleme als ›Sinn-Bilder‹, sondern auch als Beitrag zur Designgeschichte. German Baroque poet Georg Philipp Harsdörffer delineates a theory of emblematics that clearly sets itself apart from other contemporary theories, especially by its versatility. In particular, the author negates the difference between internal and external usage of emblems in books not only by promoting the incorporation of emblems into printed works but also by supporting their depiction on dishes and tapestries. This article strives to read Harsdörffer’s extensive thoughts on the matter of emblems not simply as another work on the theory and history of emblematics but rather as a contribution to design history as well

Russian Museum of Emperor Alexander III as a place of memory

2020 ◽  
Vol 2020 (11-1) ◽  
pp. 132-147
Author(s):  
Dmitry Rakovsky
Keyword(s):  
Comparative Analysis ◽  
Historical Consciousness ◽  
Russian Society ◽  
Museum Collection ◽  
Works Of Art ◽  
History Of ◽  
The Creation ◽  
Historical Representations

The main purpose of this article is to study the role of the Russian Museum in the formation of the historical consciousness of Russian society. In this context, the author examines the history of the creation of the Russian Museum of Emperor Alexander III and its pre-revolutionary collections that became the basis of this famous museum collection (in particular, the composition of the museum’s expositions for 1898 and 1915). Within the framework of the methodology proposed by the author, the works of art presented in the museum’s halls were selected and distributed according to the historical eras that they reflect, and a comparative analysis of changes in the composition of the expositions was also carried out. This approach made it possible to identify the most frequently encountered historical heroes, to consider the representation of their images in the museum’s expositions, and also to provide a systemic reconstruction of historical representations broadcast in its halls.

FINANCIAL CONTROLLING IN THE SYSTEM OF FINANCIAL MANAGEMENT

2018 ◽  
Vol 28 (1) ◽  
pp. 137-141
Author(s):  
Petya Yordanova – Dinova
Keyword(s):  
Comparative Analysis ◽  
Financial Management ◽  
Financial Stability ◽  
Business Environment ◽  
Innovative Approach ◽  
Financial Sustainability ◽  
The Common ◽  
The Difference ◽  
Effective Use ◽  
And Control

This paper explores the comparative analysis of the financial controlling, who is a result from the common controlling concept and the financial management. In the specialized literature, financial controlling is seen as an innovative approach to financial management. It is often presented as the most promising instrument of financial diagnostics. Generally speaking, financial controlling is seen as a process of managing the company`s assets which are valued in monetary measures. The difference between the financial management and the financial controlling is that the second covers all functions of management, analysis and control of finances, aiming at maximizing their effective use and increasing the value of the enterprise. Financial controlling is often seen as a function of the common practice of financial management. Its objective is to preserve the financial stability and financial sustainability of enterprises operating in a highly aggressive business environment.

THE CORE AND PERIPHERY OF THE CURRENT CULTURE OF ARTISTIC CREATION ABOUT THE GREAT PATRIOTIC WAR IN THE STUDENTS’ VIEWS

2020 ◽  
Vol 6 (3) ◽  
pp. 130-149
Author(s):  
Elena N. NARKHOVA ◽  
Dmitry Yu. NARKHOV
Keyword(s):  
Historical Memory ◽  
Soviet Period ◽  
Russian Society ◽  
Student Culture ◽  
The Core ◽  
Musical Works ◽  
Great Patriotic War ◽  
History Of ◽  
Current Student ◽  
Historical Periods

This article analyzes the degree of demand for works of art (films and television films and series, literary and musical works, works of monumental art) associated with the history of the Great Patriotic War among contemporary students. This research is based on the combination of two theories, which study the dynamics and statics of culture in the society — the theory of the nucleus and periphery by Yu. M. Lotman and the theory of actual culture by L. N. Kogan. The four waves of research (2005, 2010, 2015, 2020) by the Russian Society of Socio¬logists (ROS) have revealed a series of works in various genres on this topic in the core structure and on the periphery of the current student culture; this has also allowed tracing the dynamics of demand and the “movement” of these works in the sociocultural space. The authors introduce the concept of the archetype of the echo of war. The high student recognition of works of all historical periods (from wartime to the present day) is shown. A significant complex of works has been identified, forming two contours of the periphery. Attention is drawn to the artistic work of contemporary students as a way to preserve the historical memory of the Great Patriotic War. This article explains the necessity of preserving the layer of national culture in order to reproduce the national identity in the conditions of informational and ideological pluralism of the post-Soviet period. The authors note the differentiation of youth due to the conditions and specifics of socialization in the polysemantic sociocultural space.

Child Composers in the Old Conservatories

2020 ◽  
Author(s):  
Robert O. Gjerdingen
Keyword(s):  
Teaching Methods ◽  
Classical Music ◽  
Colleges And Universities ◽  
Mental Ability ◽  
Original Music ◽  
Innovative Teaching ◽  
Musical Works ◽  
History Of ◽  
Youtube Videos ◽  
Typical Day

The original music conservatories were orphanages. Through innovative teaching methods the masters of these old institutions were able to transform poor and often illiterate castoffs into elite musicians, many of whom became famous in the history of classical music. The book tells the story of how this was done. It shows what the lessons were like, what a typical day was like for an orphan, and how children progressed from simple lessons to ones more advanced than any seen today in colleges and universities. Recent rediscoveries of thousands of the old lessons have allowed us to understand how children’s minds were systematically developed to be able to “think” in music. That is, the lessons slowly built up the mental ability to imagine the interplay of two or more voices or instruments. Today we think of Mozart as having a miraculous ability to imagine musical works in his head, but in truth many of the conservatory graduates of that era had attained a similar level of controlled musical imagination. They could improvise for hours at the keyboard, and they could quickly compose whole works for ensembles. The book is accompanied by 100 YouTube videos so that readers can hear what the lessons sounded like.

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