The Baroque Violin & Viola

2020 ◽  
Author(s):  
Walter S. Reiter
Keyword(s):  
Holistic Approach ◽  
Historical Background ◽  
Successful Performance ◽  
Early Music ◽  
The Past ◽  
Baroque Music ◽  
The Individual ◽  
Individual Voice ◽  
Early Music Revival ◽  
The Voice

The Early Music revival has had far-reaching consequences on how music of the past is performed, both by specialists and non-specialists. This timely book is a practical step-by-step course of lessons for violinists and violists in both these categories, covering the interpretation, technique, culture, and historical background of the Baroque violin repertoire. Written by a violinist and teacher specializing in Baroque music over many years, it guides readers from the basics (how to hold the violin) to Bach, via music from a wide variety of styles. Avoiding obscure musicological jargon, it is eminently readable and accessible. Packed with information, detailed observations on the music under discussion, and relevant quotations from historical and contemporary sources, it covers everything the Baroque violin student should know and may be considered the equivalent of two to three years of individual lessons. The book contains over 100 exercises devised for and tested on students over the years. The author’s holistic approach is evident through the exercises aimed at bringing out the individual voice of each student, and his insistence that what happens within, the identification and manipulation of affects, is a vital part of successful performance. Imitating the voice, both spoken and sung, is a constant theme, beginning with the simple device of playing words. There are fifty lessons, including five Ornamentation Modules and ones on specific topics: temperament, rhetoric, the affects, and so on. All the music, transcribed for both violin and viola, is downloadable from the website, where there is also a series of videos.

scholarly journals Evolution versus Authenticity: Johannes Brahms, Robert Franz, and Continuo Practice in the Late Nineteenth Century

2006 ◽  
Vol 30 (2) ◽  
pp. 182-204 ◽  
Author(s):  
Elaine Kelly
Keyword(s):  
Nineteenth Century ◽  
Johannes Brahms ◽  
Late Nineteenth Century ◽  
Early Music ◽  
The Past ◽  
Baroque Music ◽  
Heated Debate ◽  
Late Nineteenth ◽  
High Level ◽  
Early Music Revival

The early-music revival provoked much heated debate in the second half of the nineteenth century. The leading scholars of the era, Philipp Spitta and Friedrich Chrysander were keen to encourage performances and editions of early music that presented it in the spirit in which it was conceived. This approach met with vociferous opposition from Robert Franz and his supporters, who embraced a Darwinian aesthetic. Although committed to reviving the past, Franz believed that the tastes of nineteenth-century listeners had become too sophisticated to enjoy early music in its original state and modernized it accordingly. The source of the most heated debates was the issue of continuo realization, a topic in which Brahms, through his performing and arranging activities, had a vested interest. Franz, who dismissed the musicologists as artistic philistines, found a difficult adversary in Brahms. Brahms's scholarly inclinations have been well documented, and predictably, his approach to reviving Baroque music reflected a high level of historical awareness. He was, however, first and foremost a creative musician, and as a consequence, aesthetic issues were paramount in his performances and publications. Considerable tensions arose between Franz, and Brahms, and Chrysander, which are explored here in relation to the latter's editions of Handel's Italian duets and trios. The difficulties surrounding continuo practice were not confined to opposition from Franz; even among musicologists there was much disagreement about how the music should be performed. Brahms's approach to continuo realization is considered in this context.

scholarly journals Lyrikline

2021 ◽  
pp. 93-99
Author(s):  
Heiko Strunk
Keyword(s):  
Young Adult ◽  
The Internet ◽  
Original Language ◽  
Full Effect ◽  
And Performance ◽  
The Individual ◽  
Individual Voice ◽  
The Voice ◽  
Rhythmic Structures

Artikelbeginn:[English title and abstract below] Der Rhythmus wählt mich und erstrahlt in mirIch bin der Geige Klang, nicht ihr SpielerMahmud Darwish Als literarischer Veranstalter mit Schwerpunkt Poesie hatte die Literaturwerkstatt Berlin, Initiatorin von Lyrikline und 2016 in Haus für Poesie umbenannt, vor 1998 bereits viele überzeugende Erfahrungen mit den ≫Berliner Sommernächten der Lyrik≪ gemacht, sodass von Anfang an klar war, dass Stimme und Vortrag bei unserem Vorhaben eine zentrale Rolle spielen müssen. Als wir anfingen, wollten wir mit Lyrikline eine Anlaufstelle im Internet schaffen, die jedem die Möglichkeit bietet, einfach und unaufwendig mit zeitgenössischer Poesie in Kontakt zu kommen, dieser vermeintlich schwierigen, von vielen respektvoll ignorierten und im Buchladen mit schwindend knappem Platz abgespeisten und zu oft bleischweren Materie. LyriklinePoets on the Internet in Their Own Voices This article is an overview of Lyrikline, a website that presents contemporary German and international poetry in text and sound. Users can hear the poems recited in the poet‘s own voice and can read the poem in the original language and in various translations. About 1,500 poets can be currently heard on the website, all with their individual poetic and poetological characteristics. Those interested in children’s and young adult poetry will find contemporary poems in the category ≫Poetry for Children≪ (under Genres & Aspects). Above all, Lyrikline offers the voice, sound, and performance of the poet and the poem. Aside from this fascinating authenticity, the listener gets to hear beyond the individual voice and timbre of the poet, as the tonal aspects of a poem, the phonetic references and the rhythmic structures become audible. Rhymes, assonances, and alliterations unfold to their full effect, stricter stanza forms reveal their structure audibly, and mood, intensity, and even pathos, may manifest itself. Lyrikline demonstrates why poetry must be heard to be fully appreciated.

Music in museum (second half of 20th century, Ukraine)

2018 ◽  
pp. 61-65
Author(s):  
N. Svyrydenko
Keyword(s):  
20Th Century ◽  
Western Europe ◽  
Fine Arts ◽  
Early Music ◽  
Performance Style ◽  
Russian Art ◽  
The Past ◽  
Music Collection ◽  
Concert Programs ◽  
Early Music Revival

Due to the process of early music revival, started in the USSR from the 60s of the 20th century, there are searches of the appropriate premises, in which early music could be perceived naturally, where one can feel a single style in combination of rooms, music, instrumentation and performance style that would increase the perception of each of the components of the creative process. Such most suitable premises are found out to be the halls of museums — former mansions, or palaces, which serve as museums in our time. The practice of conducting concerts in museums was introduced in Western Europe in the first half of the 20th century as a part of the overall process of early music revival and became an example for other countries including Ukraine.The Museum of Ukrainian Fine Arts was one of the first museums where concerts of early music were held in 1988. The concert programs featured the music of prominent Ukrainian composers of the 16th–18th centuries. Since 1989, the «Concerts in Museum» began to be held at the Museum of Russian Art, where one could hear music from the 18th to the beginning of the 19th century from «The Music Collection of the Razumovsky Family». Since 2003, the door has opened for concerts at the National Museum of History of Ukraine, where, in addition to chamber music, the visitors watched the whole performance — the chamber opera by D. Bortniansky «Sokil». The performance of this opera was also held at other museums of Ukrainian cities, as well as in Poland.Ancient instruments in some museums, that have lost its sound and artistic qualities, attracted attention of the musical experts. In association with scholars and the administration of museums, restoration work was carried out and brought back the old tools to life, which made it possible to hear the true «voice of the past «. This happened from the pianoforte at the Museum of Ukrainian History, the Lesia Ukrainka Museum in the village Kolodyazhny of Kovelsky District in Volyn and the Memorial Museum of Maxim Rylsky in Kyiv. Nowadays many museums in Ukraine have become centres of culture, both visual and musical. Due to this process, contemporaries’ views about the past art have expanded, the recordings of ancient music phonograms initiated film-making.

Developments and Dangers: The Training of Young Composers

Tempo ◽  
1989 ◽  
pp. 4-11
Author(s):  
Jessica Duchen
Keyword(s):  
Electronic Music ◽  
Contemporary Music ◽  
Formal Structure ◽  
Musical Experience ◽  
Good Teacher ◽  
General Sense ◽  
The Past ◽  
Younger Generation ◽  
The Individual ◽  
Individual Voice

As the 1980s draw to their close, contemporary music is becoming more eclectic than ever before. In the tremendous range of idioms, from symphonies to synthesizers via many ‘isms’ and ‘neos’, composers of the younger generation have a baffling choice of directions for their preferred moves. Ideologies have altered considerably during the past two decades; the demands of technology have left some institutions unable to keep up with the progress of electronic music in others; now the early musical experience of children in schools is changing too, with the introduction of GCSE placing emphasis on creativity and composition. But amongst the changes some aspects of a composer's training remain unaltered. There is a general sense that composers are ‘born and not made’, although they can be helped – or hindered – by their teachers. As Professor Alexander Goehr remarked: ‘I can teach anybody to compose so long as they are not a composer’. The mechanics of composing, such as formal structure or writing counterpoint, can be taught; the source of inspiration is as inexplicable as ever. The young composer remains something of a rebel figure, with a need for a particular means of self-expression that can be shaped but not dictated to. The rudiments of harmony and counterpoint, form and orchestration, can all be explained and absorbed by the student. But for a gifted composer in training, the essential search remains for the individual voice which must be found through independent choices, under the careful guidance of a good teacher.

Choralities

2016 ◽  
Vol 13 (1) ◽  
pp. 3-23 ◽  
Author(s):  
STEVEN CONNOR
Keyword(s):  
The Political ◽  
Implicit Relation ◽  
Political Force ◽  
Collective Voice ◽  
The Individual ◽  
Individual Voice ◽  
The Voice ◽  
Monty Python

AbstractThe voice has often been identified with the assertion of idiosyncrasy or exception (The Chanting Crowd: ‘We are all individuals!’ An Individual: ‘I'm not.’ Monty Python,The Life of Brian). This article explores why humans (though not uniquely them) feel urged to merge and magnify the individual voice through assimilating it to the voices of others. What are the powers, menaces, and satisfactions of these singular–plural megavoices, in choirs, collective chants, and other forms of what may be calledchorality, that have become more familiar than ever in the mass spectacles (‘audicles’?) of sport, entertainment, and politics? I suggest that the chorus represents the challenge of the inchoate, in that it is the making manifest of what menaces music, the matter that must be made into form, a reservoir of unschooled energy that must be converted to information. I suggest that there may be an implicit relation between the individual voice and the collective voice it may seem to convoke, such that every individual vocality has a connection to a phantasmal chorality. Finally, I consider the political force of chorality, and the fantasy focused on and through the collective voice, and what this means in a world that seems to have moved from the dominion of the mass to that of the multitude.

The Tritone Paradox and the Pitch Range of the Speaking Voice: A Dubious Connection

1994 ◽  
Vol 12 (2) ◽  
pp. 227-255 ◽  
Author(s):  
Bruno H. Repp
Keyword(s):  
Individual Differences ◽  
Striking Difference ◽  
Voice Pitch ◽  
Pitch Range ◽  
Significant Difference ◽  
Tritone Paradox ◽  
The Individual ◽  
Individual Voice ◽  
Voice Range ◽  
The Voice

Deutsch and coworkers (Deutsch, 1991; Deutsch, North, & Ray, 1990) have proposed that individual differences in the perception of the "tritone paradox" derive from listeners' reference to a mental pitch template, acquired through experience with the pitch range of their own voice, as well as with the voice ranges typical of their language community. These authors have reported a correspondence between perceptual results and the upper limit of the individual voice range for a small group of selected subjects, as well as a striking difference in tritone perception between American and British listeners. The present study compared groups of Dutch, British, and American listeners on two tritone tests and also collected voice pitch data for the first two groups in a reading task. There was no within-group correlation of perceptual results with individual differences in voice range. Differences in tritone perception as a function of stimulus characteristics (spectral envelope) were much larger than reported by Deutsch, which casts doubt on the notion of stable individual pitch templates. A significant difference between British and American listeners, with the Dutch group in between, was found in one of the two tritone tests but not in the other. Although the origin of this difference remains unclear, it seems unlikely that it has anything to do with regional differences in voice pitch range.

A Reconstruction of Late Renaissance Music in Nono's Prometeo

2021 ◽  
Vol 61 (3-4) ◽  
pp. 241-253
Keyword(s):  
Musical Composition ◽  
Live Electronics ◽  
Early Music ◽  
Avant Garde ◽  
Baroque Music ◽  
Renaissance Music ◽  
Late Renaissance ◽  
The Relationship ◽  
The Voice ◽  
Shed Light

Abstract This paper attempts to stress that the composer Luigi Nono never overlooked early music, particularly Renaissance music, and his avant-garde works were created on the basis of late Renaissance and early Baroque music. Furthermore, this paper has tried to shed light on the relationship between music and space, which was an essential parameter of musical composition in the twentieth century as well as in the Renaissance. The sound modulated by live electronics transports the listener into synesthetic and perceptive listening and sonic space. As a result, it is demonstrated that Nono indicated the power and fascination of the voice, the polychoral structure, and the influence of the interaction between sound and space in his Prometeo.

Critical Reflections on the Operatic Canon

2020 ◽  
pp. 524-533
Author(s):  
John Rockwell
Keyword(s):  
Musical Theater ◽  
George Frideric Handel ◽  
Early Music ◽  
West Side ◽  
Half Century ◽  
West Side Story ◽  
The Core ◽  
The Past ◽  
Early Music Revival ◽  
Critical Reflections

This chapter looks back at the core canon in opera, tracing its evolution and mutation during the half century when its author served as a professional critic and then festival director. The chapter sees the core canon as either fixed or shrinking over the last ninety years. The public’s resistance to Modernist dissonance led to an explosion of repertory in areas immediately outside what had been the traditional canon. The need for novelty has been sated by directorial innovation (Regietheater), the early music revival (with George Frideric Handel the principal operatic beneficiary), and the ceaseless search for new curiosities to revive from the past. Moreover, the operatic canon has been enlarged by lighter forms of musical theater (West Side story and Sweeney Todd) and also by influence from non-Western cultures bearing their own canonic traditions and repertories. This chapter is paired with Kasper Holten’s “Inside and outside the operatic canon, on stage and in the boardroom.”

The Voice of a Child Archaeological Limitations in Interpretive Stories

2005 ◽  
Vol 10 (2) ◽  
pp. 44-57
Author(s):  
Bronwyn A. Jewell
Keyword(s):  
Archaeological Research ◽  
Archaeological Record ◽  
The Past ◽  
Applied Archaeology ◽  
The Individual ◽  
And Behavior ◽  
The Voice

In the archaeological record, it seems children are rarely seen. If they are, children are referred to, to explain symbolism, rituals, past lifeways, and behavior of a society or culture rather than the past lifeways of children and their relationship to family and society. This lack of investigation suffers in all forms of archaeological research. However, this bias appears to be unconscious rather than intentionally applied. Archaeology, generally, involves the nameless and faceless rather than the individual. The archaeological signature of children appears minimal. It is adults, or more succinctly, society that generates material remains. This paper discusses interpretation of sites within the context of different archaeologies, thereby providing researchers with information that may not usually be considered when approaching interpretation of sites to visitors.

The “individual” in Johann Friedrich Overbeck’s and Franz Liszt’s Seven Sacraments

2013 ◽  
Vol 54 (4) ◽  
pp. 339-356
Author(s):  
Dolores Pesce
Keyword(s):  
Nineteenth Century ◽  
Franz Liszt ◽  
Individualized Treatment ◽  
Sacred Art ◽  
The Individual ◽  
Individual Voice ◽  
Emotional Effects ◽  
The Church

In the preface to his Septem sacramenta (1878–1884), Franz Liszt acknowledged its stimulus — drawings completed in 1862 by the German painter J. F. Overbeck (1789–1869). This essay explores what Liszt likely meant by his and Overbeck’s “diametrically opposed” approaches and speculates on why the composer nonetheless acknowledged the artist’s work. Each man adopted an individualized treatment of the sacraments, neither in line with the Church’s neo-Thomistic philosophy. Whereas the Church insisted on the sanctifying effects of the sacraments’ graces, Overbeck emphasized the sacraments as a means for moral edification, and Liszt expressed their emotional effects on the receiver. Furthermore, Overbeck embedded within his work an overt polemical message in response to the contested position of the pope in the latter half of the nineteenth century. For many in Catholic circles, he went too far. Both works experienced a problematic reception. Yet, despite their works’ reception, both Overbeck and Liszt believed they had contributed to the sacred art of their time. The very individuality of Overbeck’s treatment seems to have stimulated Liszt. True to his generous nature, Liszt, whose individual voice often went unappreciated, publicly recognized an equally individual voice in the service of the Church.

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