Instrumental Music and Urban Gravitas

2021 ◽  
pp. 134-170
Author(s):  
Katharine Ellis
Keyword(s):  
Instrumental Music ◽  
Soft Power ◽  
Local Politics ◽  
Third Republic ◽  
State Regulation ◽  
New Music ◽  
Orchestral Music ◽  
Urban Centers ◽  
Chamber Ensembles ◽  
Opera Houses

Bands, chamber ensembles, and (especially) orchestral societies acted as indicators of the musical maturity of urban centers. Together with conservatoires and opera houses, orchestras formed centers of gravity often overseen by town councils as an interconnected unit or as a set of overlapping units. A relative lack of state regulation resulted in less focus on centralization and more on internal organization (including dealing with the progressive unionization of musicians), rivalries between concert societies, and distinctive patterns in repertory selection and programming. Nevertheless, a strong touring circuit for composer-conductors, the soft power of Parisian institutions (notably the Concerts Populaires of Jules Pasdeloup), and town council demands for standard repertory rather than new music, meant that regionalist particularism had little part to play. Angers, Bordeaux, Montpellier, Nancy, and Toulouse provide case-studies of the intersections of local politics, concert administration and orchestral professionalization; Lyon, Lille, and Strasbourg emerge as centers with an especially distinctive mix of chamber and orchestral music, especially during the Third Republic.

Maxim Berezovsky C-dur symphony in a context of new biographical scenario of artist’s life-creativity

2018 ◽  
pp. 13-25
Author(s):  
Olha Shumilina
Keyword(s):  
Eighteenth Century ◽  
Instrumental Music ◽  
Analytical Approach ◽  
Spiritual Direction ◽  
Theoretical Research ◽  
Orchestral Music ◽  
Musical Life ◽  
Analysis And Synthesis ◽  
Mental Modeling ◽  
Independent Work

Relevance of the study. The article studies recently found symphony of the prominent Ukrainian composer of the second half of the eighteenth century Maxim Berezovsky. He is widely known now as the author of cyclic spiritual concerts written for the Orthodox worship, and is practically unknown as a musician instrumentalist associated with the imperial theater and the court musical life. The work of M. Berezovsky as a secular musician determined the creative interest in composing instrumental music intended for secular chamber and orchestral music. Main objective of the article is a clarification of M.Berezovsky symphony as one of secular field artworks in the light of new summaries about artist’s life-creativity. Methodology. Taking into account peculiarities of the material and the analytical approach to its study, the methods of theoretical research have been chosen(abstraction, analysis and synthesis, induction and deduction, mental modeling, ascension from abstract to concrete, etc.). Conclusions. As a result of a study the symphony analysis in a context of new authentic statements about M.Berezovsky’s life-creativity. It was stated that this artwork was written not accidentally and detects absolute awareness of the artist in all composer’s niceties – how to build a topic and build a homophonic construction based on it, in a technique of orchestral construction, form creations of that time and etc. From the beginning of his creative career, M. Berezovsky was well aware of the possibilities of the orchestra as a performer, attached to the Italian opera and instrumental music. Symphony enriches our imagination about the works of M. Berezovsky in the field of secular instrumental and operatic music and extends the range of works of the artist beyond the spiritual direction. Some signs indicate that the Symphony was not an independent work, but an overture to the opera Demofont.

Maxim Berezovsky C-dur symphony in a context of new biographical scenario of artist’s life-creativity

2018 ◽  
pp. 13-25
Author(s):  
Olha Shumilina
Keyword(s):  
Eighteenth Century ◽  
Instrumental Music ◽  
Analytical Approach ◽  
Spiritual Direction ◽  
Theoretical Research ◽  
Orchestral Music ◽  
Musical Life ◽  
Analysis And Synthesis ◽  
Mental Modeling ◽  
Independent Work

Relevance of the study. The article studies recently found symphony of the prominent Ukrainian composer of the second half of the eighteenth century Maxim Berezovsky. He is widely known now as the author of cyclic spiritual concerts written for the Orthodox worship, and is practically unknown as a musician instrumentalist associated with the imperial theater and the court musical life. The work of M. Berezovsky as a secular musician determined the creative interest in composing instrumental music intended for secular chamber and orchestral music. Main objective of the article is a clarification of M.Berezovsky symphony as one of secular field artworks in the light of new summaries about artist’s life-creativity. Methodology. Taking into account peculiarities of the material and the analytical approach to its study, the methods of theoretical research have been chosen(abstraction, analysis and synthesis, induction and deduction, mental modeling, ascension from abstract to concrete, etc.). Conclusions. As a result of a study the symphony analysis in a context of new authentic statements about M.Berezovsky’s life-creativity. It was stated that this artwork was written not accidentally and detects absolute awareness of the artist in all composer’s niceties – how to build a topic and build a homophonic construction based on it, in a technique of orchestral construction, form creations of that time and etc. From the beginning of his creative career, M. Berezovsky was well aware of the possibilities of the orchestra as a performer, attached to the Italian opera and instrumental music. Symphony enriches our imagination about the works of M. Berezovsky in the field of secular instrumental and operatic music and extends the range of works of the artist beyond the spiritual direction. Some signs indicate that the Symphony was not an independent work, but an overture to the opera Demofont.

After Beethoven

2020 ◽  
pp. 143-168
Author(s):  
Mark Evan Bonds
Keyword(s):  
Instrumental Music ◽  
New Music ◽  
Musical Life ◽  
Concert Hall ◽  
Public Nature

Beethoven’s style, composers and critics agreed, could not be imitated. But his subjectivity—or, more precisely, his perceived attitude of subjectivity—could be emulated quite readily, and it became the new norm soon after his death. Critics, moreover, heard compositional subjectivity not only in new music but also in selected works of the pre-Beethovenian past. In the meantime, the increasingly public nature of musical life created a growing demand for journals, miniature scores, and composer biographies that could help listeners comprehend an instrumental repertoire that was becoming stylistically ever more diverse and technically difficult. Composer biographies, a rarity before 1800, had become commonplace by mid-century. Concert-hall audiences now assumed that the instrumental music they were hearing came from deep within the soul of the composer.

A newly discovered keyboard source (Gonzalo de Baena's Arte nouamente inuentada pera aprender a tanger, Lisbon, 1540): a preliminary report

1996 ◽  
Vol 5 (1) ◽  
pp. 81-112 ◽  
Author(s):  
Tess Knighton
Keyword(s):  
Sixteenth Century ◽  
Iberian Peninsula ◽  
Instrumental Music ◽  
Preliminary Report ◽  
Historical Context ◽  
New Music ◽  
Rhetorical Style ◽  
Keyboard Music ◽  
History Of ◽  
Portuguese Music

The discovery of a musical source is always something of an event. This volume of keyboard music dated 1540 and printed in Lisbon was discovered – appropriately for an Iberian source – in 1992 by Alejandro Iglesias who announced his find at a conference held at the Institution ‘Fernando el Católico’ in Zaragoza in the autumn of that year. It was heralded in the Castilian rhetorical style as the ‘discovery of the century’, and it provided a moment of high drama, especially when it became clear from Iglesias's brief description of the source that it included works by Franco-Netherlandish composers such as Josquin, Ockeghem, Compère, Agricola, Caron and Obrecht. The volume is indeed of considerable interest, not only because it offers keyboard intabulations of previously unknown works by both Franco-Netherlandish and Spanish composers, but also because it is the earliest surviving source of keyboard music from the Iberian peninsula and a rare example of printed instrumental music from the first half of the sixteenth century. Manuel Carlos de Brito, making an assessment of Renaissance Portuguese music in 1989, was perfectly justified in thinking that new music sources were unlikely to appear, and that lack of musical texts to confirm or refute the historical context suggested by documents would limit the history of Portuguese music to the realms of speculation. This discovery, surprising though it is, rescues something from that shadowy kingdom.

Choral Voices

2021 ◽  
pp. 105-133
Author(s):  
Katharine Ellis
Keyword(s):  
Soft Power ◽  
The State ◽  
Chamber Ensembles ◽  
Concert Life

Discussion of why choral and instrumental concerts were only lightly regulated by the state provides a springboard for examining the freedom the French provinces enjoyed and the considerable expansion of concert life that was based on individual and collective initiative. Core institutions such as the orphéon, “concerts populaires” and reconstituted cathedral choir schools (maîtrises—some of them state-subsidized) complemented private clubs and chamber ensembles in a bourgeois musical economy that often displayed a varied mix of high and low genres in comparison with Paris. Local administrative machinery aided a “democratizing” shift from private to public (accessibility). Parisian modes of choral and orchestral concert life are introduced as a prelude to discussion in chapters 3 and 4 of the distinctiveness of provincial centers. Discussion touches on provincial attitudes to touring ensembles from Paris and the increasing extent of soft power exerted by the capital.

The Rockefeller Foundation, the University New Music Center, and “Foundation Music”

2020 ◽  
pp. 101-128
Author(s):  
Michael Sy Uy
Keyword(s):  
Electronic Music ◽  
Rockefeller Foundation ◽  
Experimental Music ◽  
New Music ◽  
New Yorker ◽  
Chamber Ensembles ◽  
Milton Babbitt ◽  
Music Ensembles ◽  
Twentieth Century Music ◽  
The University

This chapter focuses on the Rockefeller Foundation’s support of university new music centers and contemporary chamber ensembles, offering new insights into a commonly understood historiography of U.S. twentieth-century music: the dominance and prestige of experimental music and serialism at universities. Most notably, composers at Columbia, Princeton, the University of Chicago, and Mills College served dually as outside experts and commissioned artists and performers. Milton Babbitt, Otto Luening, and Vladimir Ussachevsky benefited greatly from their involvement at Rockefeller and the Columbia–Princeton Electronic Music Center. The composers and performers justified their work initially through the Soviet threat and rivalries with European studios, and later with innovation and creativity. The new music ensembles solidified a musical circuit that crisscrossed the country, making stops at many Rockefeller-funded centers. The foundation revealed ways it was both an advertent and inadvertent patron of what New Yorker critic Winthrop Sargeant pejoratively referred to as “foundation music.”

“Staying On Our Feet”

2013 ◽  
Vol 61 (4) ◽  
pp. 431-451 ◽  
Author(s):  
Catherine G. Bell-Robertson
Keyword(s):  
Instrumental Music ◽  
Online Community ◽  
Music Teachers ◽  
New Music ◽  
Music Teacher ◽  
Emotional Needs ◽  
Specific Content ◽  
School Year ◽  
Instrumental Music Teachers

Multiple forms of support for teachers new to the profession are important and necessary. The use of an online community by 11 novice instrumental music teachers at the middle school and high school levels was investigated in this case study. The teachers exchanged messages and information within the online community during the 2010–2011 school year; data sources included all transcripts from the online community and multiple interviews with each participant. The participants’ experiences in the utilization of the wikispace as an online community of practice was analyzed using Wenger’s three components of domain, community, and practice. The findings suggest that the online community appeared to have met novice teachers’ emotional needs as they learned to become music teachers but that their positions were often also quite different in terms of specific responsibilities and music curricula they taught. Thus, online conversations focused more on the affective issues that surround being a new music teacher rather than on curriculum and classroom-specific content.

scholarly journals «SOFT POWER» STRATEGIES IN CONDITIONS OF GLOBAL COMPETITION

2020 ◽  
Vol 113 (6) ◽  
pp. 47-66
Author(s):  
KUDYRKO Liudmyla
Keyword(s):  
Soft Power ◽  
State Regulation ◽  
Global Trade ◽  
Cultural Dimension ◽  
Case Method ◽  
Economic Competition ◽  
Scientific Publications ◽  
Wide Range ◽  
Power Strategies ◽  
Analytical Services

Background. In conditions of unprecedented aggravation of competition in the 21st century for strategic markets for goods and services, the practice of introducing not only traditional open methods but also latent ones for promoting national goods and brands on foreign markets, including strategies of so-called «soft power», is becoming more widespread. Analysis of recent research and publications. Despite the wide range of research on the issue of «soft power», the most of them are characterized by political and cultural dimension. Publications on the economic consequences of using «soft power»resources mostly focus on their individual elements and components. The aim of this article is to assess the potential impact of «soft power»strategies onto strengthening the position of countries in global trade and economic competition and to evaluate some successful international regulatory practices based on «soft power»strategies as the part of a system of latent external expansion. Materials and methods. The information base for the study were scientific publications of foreign and domestic scientists, data of analytical services and international rankings. The combinatorics of the institutional approach and the Case method were used to assess the results of the implementation of «soft power»strategies into the regulatory practice of individual states. Results. The article identifies the channels of impact of «soft power»strategies onto strengthening the position of countries in the global trade and economic environment. Some successful international regulatory practices for the implementation of «soft power»strategies in the system of state regulation have been assessed. Conclusion. The generalization of the results of the international rankings of the TOP-10 countries of the world testifies to the dominance of traditional leaders –countries from the group of the so-called Golden Billion. The use of Case method approaches to the latest strategic priorities of China, Japan and Turkey allows us to assess the focus of national rebranding programs on modernizing the economies of these countries and their external sector, achieving balance between import dependence and export orientation during the post-industrial challenges.

scholarly journals Maxim Berezovsky C-dur symphony in a context of new biographical scenario of artist’s life-creativity

2018 ◽  
pp. 13-25
Author(s):  
Olha Shumilina
Keyword(s):  
Eighteenth Century ◽  
Instrumental Music ◽  
Analytical Approach ◽  
Spiritual Direction ◽  
Theoretical Research ◽  
Orchestral Music ◽  
Musical Life ◽  
Analysis And Synthesis ◽  
Mental Modeling ◽  
Independent Work

Relevance of the study. The article studies recently found symphony of the prominent Ukrainian composer of the second half of the eighteenth century Maxim Berezovsky. He is widely known now as the author of cyclic spiritual concerts written for the Orthodox worship, and is practically unknown as a musician instrumentalist associated with the imperial theater and the court musical life. The work of M. Berezovsky as a secular musician determined the creative interest in composing instrumental music intended for secular chamber and orchestral music. Main objective of the article is a clarification of M.Berezovsky symphony as one of secular field artworks in the light of new summaries about artist’s life-creativity. Methodology. Taking into account peculiarities of the material and the analytical approach to its study, the methods of theoretical research have been chosen(abstraction, analysis and synthesis, induction and deduction, mental modeling, ascension from abstract to concrete, etc.). Conclusions. As a result of a study the symphony analysis in a context of new authentic statements about M.Berezovsky’s life-creativity. It was stated that this artwork was written not accidentally and detects absolute awareness of the artist in all composer’s niceties – how to build a topic and build a homophonic construction based on it, in a technique of orchestral construction, form creations of that time and etc. From the beginning of his creative career, M. Berezovsky was well aware of the possibilities of the orchestra as a performer, attached to the Italian opera and instrumental music. Symphony enriches our imagination about the works of M. Berezovsky in the field of secular instrumental and operatic music and extends the range of works of the artist beyond the spiritual direction. Some signs indicate that the Symphony was not an independent work, but an overture to the opera Demofont.

scholarly journals Soft Power In the politics and reform process of China (1978-1992)

2021 ◽  
Vol 7 (4) ◽  
pp. 16-23
Author(s):  
Hiwa Aziz Saeed ◽  
Ayub Zahir Tawfeeq
Keyword(s):  
Soft Power ◽  
Local Politics ◽  
Time Frame ◽  
Reform Process ◽  
Diplomatic Relations ◽  
Standard Management ◽  
Local Standard ◽  
Social Scientific ◽  
Precise Time ◽  
Technological Strength

China is one of the rare world events that almost every country in the world has unforgettable. This may become the basis for the development of economic, political and ideological methods within a short and precise time frame. China has developed from a primitive agricultural country such as life cycle, medical care, education and local standard management to a country with strong economic, scientific and technological strength. Regional and international norms have transformed China from a ruined and despised country into a valuable international political force. While influencing the international and regional political equations, it also puts the world’s powerful countries first. This is the application of soft power in politics and international relations, enabling them to obtain basic materials for establishing and strengthening local politics and conducting social, scientific, military, and technological reforms while voluntarily joining the bondage. And closed the door on a regional and international scale. Establish standards and establish opaque diplomatic relations with different continents. Through these standards, they can ensure the market for their products and provide the necessary energy for the production process they initiate.

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