Chorus

2020 ◽  
pp. 234-280
Author(s):  
Andrea F. Bohlman
Keyword(s):  
Art Music ◽  
Performance History ◽  
Real Power ◽  
The Real ◽  
The Core ◽  
Historical View ◽  
History Of ◽  
Communicative Power ◽  
A Performance

The chapter presents the history of one patriotic and Catholic hymn, “God Save Poland” (1816), to take a long historical view and gesture toward the real power of imagined musical solidarity. The hymn was ubiquitous in Poland in the 1980s and exemplifies the saturation of symbols at the heart of Solidarity’s nationalist enterprise, even showing this nationalism to be driven by song. A performance history of the song reveals its constant position as both a hymn of Polish Catholicism and a galvanizing refrain at the secularized scenes of popular uprisings. At times the song has challenged Catholicism as normative for Polish identity, at times confirmed it. Collective song’s communicative power is also articulated in Krzysztof Meyer’s Polish Symphony (1982). The symphony, like other art music examples across Musical Solidarities, suggests that, despite their abnegation of political entanglement, composers, too, joined in the core musical strategies of the opposition.

THE PROFILE OF A LEADER AND HIS LEDERSHIP

2018 ◽  
Vol 28 (1) ◽  
pp. 345-350
Author(s):  
Ali Hajro
Keyword(s):  
Leadership Skills ◽  
Real Power ◽  
Governmental Organization ◽  
Factors Affecting ◽  
The Real ◽  
The Core ◽  
Behavior Code ◽  
The People ◽  
Study Case ◽  
Personal Skills

The Current and future leaders live in a turbulent and chaotic environment, where the real power of acting derives from the recognition of the concept of change and looking for options. In this type of environment a lot of competence is necessary for the leaders to survive. The aim of this study case was to explore i.e. gain a clearer picture of the position of the leader, their characteristics, functions, levels, the core and the factors affecting the leader and their leadership. To see what type of leader the people want simply to draw conclusions about the characteristics, qualities and techniques of a leader and their leadership. So that in the end, to have empirical proof of the leader. The set goal in this study case is today’s leaders in everyday process, starting from the very beginning of their work, to serve as an example in developing inter-personal skills at the same time as treating people with dignity and respect. In other words, they have to possess leadership skills, characteristics and the necessary actions. This research aims at finding out the real attributes that is the profile of a leader and their leadership running an organization regardless if it is economic, political, and military or some other non-governmental organization. The values are more than a set of rules, they are not only behavior code, and they say what a leader should be every day in every action that they take. The values shade the leaders’ identity and the organization that they run.

A Performance History of Aureliano in Palmira

1999 ◽  
Vol 15 (1) ◽  
pp. 33-37
Author(s):  
T. KAUFMAN
Keyword(s):  
Performance History ◽  
History Of ◽  
A Performance

“An Essential Expression of the People”: Interpretations of Hasidic Song in the Composition and Performance History of Ernest Bloch's Baal Shem

2012 ◽  
Vol 65 (3) ◽  
pp. 777-820 ◽  
Author(s):  
Joshua S. Walden
Keyword(s):  
Twentieth Century ◽  
Jewish Identity ◽  
Art Music ◽  
Eastern European ◽  
Performance History ◽  
Jewish Communities ◽  
Jewish Music ◽  
The People ◽  
History Of ◽  
And Performance

Abstract This article examines Ernest Bloch's Baal Shem: Three Pictures of Chassidic Life, considering its score, its performance history, and early recordings of the second movement, “Nigun,” by Yehudi Menuhin, Joseph Szigeti, and Mischa Elman, to investigate the idea, promoted by the composer and many of his performers and critics, that the music represented Jewish identity through the evocation of Hasidic song. Bloch's score and Menuhin's performances were described as expressing what was often characterized during the early twentieth century as a self-affirming racial feeling that linked the modern diaspora in America to Eastern European Hasidic Jewish communities. With Baal Shem, Bloch and his performers and listeners participated in a self-conscious effort to construct a modern Jewish identity that they believed could be conveyed in the sounds and structures of art music. Menuhin's lifelong friendship and collaboration with Bloch underscores the crucial roles of Bloch's performers in working with the composer to devise compositional and performance tropes for the representation of Hasidic song, and in creating his broad reputation as a composer of a definitive Jewish music, a reputation Bloch would sometimes embrace and at other times disavow.

Julius Stockhausen's Early Performances of Franz Schubert's Die schöne Müllerin

2018 ◽  
Vol 41 (3) ◽  
pp. 206-224
Author(s):  
Natasha Loges
Keyword(s):  
Song Cycle ◽  
Performance History ◽  
Complete Cycle ◽  
History Of ◽  
Early Performance ◽  
Foregone Conclusion ◽  
A Performance

Franz Schubert's song cycle Die schöne Müllerin makes enormous demands not only on the performers but also on its audience, a factor that shaped the early performance history of the work. In this article, the pioneering complete performances of Die schöne Müllerin by the baritone Julius Stockhausen (1826–1906) will be explored, as well as the responses of his audiences, collaborators, and critics. The circumstances surrounding the first complete performance in Vienna's Musikverein on 4 May 1856, more than three decades after the cycle was composed in 1823, will be traced. A survey of subsequent performances reveal two things: within Stockhausen's concert career at least, it was no foregone conclusion that the complete cycle should always be performed; and a performance of the “complete cycle” meant many different things in his day. Stockhausen's artistic idealism jostled against the practical forces that necessarily influenced his approach to recital programming, leading to a multifaceted, untidy performance history for this cycle.

How It Is

2020 ◽  
Vol 32 (1) ◽  
pp. 86-103
Author(s):  
Nicholas E. Johnson
Keyword(s):  
Audience Member ◽  
The Novel ◽  
Performance History ◽  
User Experiences ◽  
Art Installation ◽  
Audio Recordings ◽  
History Of ◽  
A Performance

Abstract After first developing a taxonomy of intermedial prose performance based on distinctions in how an audience member or user experiences the work phenomenologically, this essay offers a performance history of some unusual translations, adaptations and intermedial responses to Samuel Beckett’s novel How It Is. Examples range widely across media, from the audio recordings of Patrick Magee to the experimental jazz records of Michael Mantler, and from the recent stage work of Gare St Lazare to the art installation of Mirosław Bałka. Such works reflect the experimental character of the novel itself, forcing a reconsideration of the discourse of the ‘unperformable.’

A performance history of the base catalyzed decomposition (BCD) process

1999 ◽  
Vol 9 (4) ◽  
pp. 1-11 ◽  
Author(s):  
Donald A. Schupp ◽  
E. Radha Krishnan ◽  
George L. Huffman
Keyword(s):  
Performance History ◽  
History Of ◽  
A Performance
Sign in / Sign up

Export Citation Format

Share Document