The Problem of Eclectic Listening in French and German Concerts, 1860–1910

2018 ◽  
Author(s):  
William Weber
Keyword(s):  
Classical Music ◽  
Social Values ◽  
Conventional System ◽  
Musical Culture ◽  
Mixed Programming

Between 1820 and 1870, European musical culture changed. Previously, a certain type of program had dominated the musical sphere: contemporary works spanning various genres including opera. In the 1870s new actors emerged. A learned world of classical music came into being, focusing on orchestral and chamber pieces, with less of a connection to opera. New kinds of songs, increasingly termed “popular,” began to make their mark in roughly similar European venues. In these contexts, listening practices reflected radically different social values and expectations. But did mixed programming remain in some concert performances? Did listeners demonstrate eclectic musical tastes? Taking examples from Paris, Frankfurt, Leipzig, and Berlin, this chapter shows how links were made between contrasting repertoires by the importation or adaptation of works. A process that seems at first to have been an exception turns out to have been a conventional system of exchange.

scholarly journals SOUTH KOREAN TV SERIES IN THE SERVICE OF MUSIC EDUCATION

2020 ◽  
Vol 16 (3) ◽  
pp. 133-156
Author(s):  
SERGEI A. AIZENSHTADT ◽  
Keyword(s):  
Music Education ◽  
Classical Music ◽  
Symphony Orchestra ◽  
Working Environment ◽  
The South ◽  
Musical Culture ◽  
Musical Life ◽  
Modern Culture ◽  
South Korean ◽  
Serial Films

In this article we study forms and methods used to popularize western classical music in a South Korean TV series. The main subject of analysis is the TV series Beethoven Virus (2008) devoted to a symphony orchestra in a fictional South Korean city. The main purpose of this TV series is the promotion of classical music, and the author of the article comes to the conclusion that its popularity among Korean audience is explained by its engaging, convincing artistic methods with respect to national cultural specificities, which were used to show the working environment of professional musicians. The series reveals real problems of modern Korean musical culture: “crisis of overproduction” of academic musicians; discrimination of graduates of South Korean musical educational institutions; prejudice that classical music is only for the rich. The author emphasizes that immersion into the atmosphere of professional musical life allows the viewers to apprehend the educational value of the TV series more clearly. Beethoven Virus demonstrates traditional Korean attitude towards European classical music determined by the Confucian roots; and at the same time, it depicts changes in the modern culture conditioned by gradual departure from traditional values. The two main characters — the young and the old conductors — symbolize the old and the new in the Korean musical culture. They interact in a traditional eastern way: the new spirit does not openly conflict with the established convention, but sprouts from it. The author suggests that the music is explained in the film through emotional associations which let the viewers fully perceive the musical idea. The author believes that this method, compared to other ways widespread in the West, corresponds to the nature of the specific sensation of European classical music associated with Confucian cultural roots. An opinion is expressed that methods of music education used in Beethoven Virus were chosen in accordance to the South Korean serial genre traditions: leitmotivs in the soundtrack and gesture clichés are of particular significance here. The author suggests that the South Korean experience of promoting musical classics by means of serial films can be used abroad — given that the differences in mentality and realities of musical life are taken into account.

scholarly journals DAGESTAN PROFESSIONAL MUSICAL ART IN HISTORICAL DEVELOPMENT: THE SECOND HALF OF THE XX - BEGINNING OF THE XXI CENTURY

2021 ◽  
Vol 17 (2) ◽  
pp. 363-386
Author(s):  
Elmira B. Abdullaeva
Keyword(s):  
Historical Development ◽  
Classical Music ◽  
Species Differentiation ◽  
Research Experience ◽  
Musical Culture ◽  
Holistic View ◽  
Modern Culture ◽  
The Look ◽  
Historical Periods ◽  
Actual Part

The article describes the patterns and features of the development of the musical art of Dagestan at different stages of its evolution over more than half a century of history. We have analyzed the components of the musical and professional tradition, giving a holistic view of it, versatile reflecting both the originality and originality, and historical variability. These include: genre-species differentiation and systemic connections, stylistics and means of musical expression.The multifaceted study and the possibility of interpreting the data obtained allows one to create an idea of ​​the ways of the formation and development of the musical art of Dagestan during the period under consideration. The initial premises of the study can be summarized as follows.The structure of musical art is formed on the basis of the interrelationships of composer's creativity, performing practice and various cultural interchanges that undergo stylistic and genre-specific changes.The second premise was the look at the musical art of Dagestan as an actual part of modern culture. Therefore, the main source has become various forms of broadcasting musical culture (listening practice and analytical observations at concerts of classical music).Reliance on contemporary musical material and direct observation of the musical process in the field of classical, pop and other spheres of culture presupposes the study of the phenomenon in a synchronic aspect. The presence of publications by different authors and our own research experience make it possible to a certain extent to make diachronic comparisons.The important regularities in the development of the Dagestan academic musical art identified by us can form the basis for further research of genre phenomena in different historical periods.

scholarly journals Jacqueline du Pré as 'The Cellist' (2020)

2021 ◽  
Vol 7 (2) ◽  
Author(s):  
Adam Whittaker
Keyword(s):  
Classical Music ◽  
Sexual Experience ◽  
Musical Instrument ◽  
Media Representations ◽  
Musical Culture ◽  
Her Family ◽  
Musical Representations ◽  
Power Couple ◽  
1960S And 1970S ◽  
The 1960S

Few musicians of the twentieth century are as recognisable as Jacqueline du Pré. Her dazzling and distinctive talent, said to have enraptured audiences the world over, was overcome by a tragic diagnosis of MS. This sense of tragedy was all the more heightened by Du Pré’s famed physicality on the stage, leading critics to use all manner of analogies in describing her playing as a physical (and even sexual) experience. Her status as a musical celebrity, further intensified as she became one half of a classical music power couple, has led to numerous dramatic retellings and reimaginings of her biography, played out in film and TV, and now on stage. The most recent example of this fascination with Du Pré is the ballet The Cellist, Cathy Marston’s new work for the Royal Ballet, premiered in February 2020 to much critical acclaim. Its score, composed by Philip Feeney, features a cello soloist and interweaved repertoire extracts that have become so associated with Du Pré. Along with the characters of Barenboim, Du Pré, and her family, her 1673 Stradivarius cello is given a starring role in the form of Marcelino Sambé, a new take that makes this a distinctive contribution to media representations of Du Pré. This article examines the interactions across this complex web of musical representations of musical personae engrained in the cultural consciousness. It considers acts of musical performance, the musical instrument as living companion, and the representation of classical musical culture of the 1960s and 1970s, drawing attention to key features of Du Pré’s narrative re-presented in a new artistic form.

Christian Reception of the ‘New-Music’ Debate in the Church Fathers and Clement of Alexandria

2018 ◽  
Vol 6 (2) ◽  
pp. 359-378
Author(s):  
Andreas Kramarz
Keyword(s):  
Classical Music ◽  
Fifth Century ◽  
New Music ◽  
Christian Faith ◽  
Church Fathers ◽  
Musical Culture ◽  
Evaluative Judgments ◽  
Clement Of Alexandria ◽  
The Church ◽  
Ultimate Principle

Abstract Evaluative judgments about musical innovations occur from the late fifth century BC in Greece and Rome and are reflected in similar discussions of Christian authors in the first centuries of the Empire. This article explores how pedagogical, theological, moral, and spiritual considerations motivate judgments on contemporary pagan musical culture and conclusions about the Christian attitude towards music. Biblical references to music inspire both allegorical interpretations and the defense of actual musical practice. The perhaps most intriguing Christian transformation of the ancient musical worldview is presented in Clement of Alexandria’s Protrepticus. Well-known classical music-myths serve here to introduce a superior ‘New Song’. Harmony, represented in the person of Christ who unites a human and a divine nature, becomes the ultimate principle of both cosmos and human nature. This conception allows music to become a prominent expression of the Christian faith and even inform the moral life of believers.

scholarly journals The Impact of Arts and Cultural Education on Pupils’ Opinions of Musical Culture – Interdisciplinary Project

2020 ◽  
Vol 22 ◽  
Author(s):  
Jerneja Žnidaršič
Keyword(s):  
Music Education ◽  
Primary Schools ◽  
Classical Music ◽  
Cultural Education ◽  
Musical Culture ◽  
History Teachers ◽  
Positive Effects ◽  
Interdisciplinary Project ◽  
The Arts ◽  
The Impact

In contemporary education, the arts and cultural education provide the possibilities for the development of pupils' creativity, critical thinking and critical attitude towards art and culture. In this respect, we present an interdisciplinary project, based on the implementation of arts and cultural education objectives in didactic units of music education and history, and cooperation between music and history teachers and the composer. The experimental programme was performed in four classes of two Slovenian primary schools. The results of the research confirmed positive effects of the implementation of arts and cultural education regarding the pupils' opinions of musical culture (classical music, musicians, consumerism, musical education and classical music of the 20th century) and the overall popularity of the subjects connected. The example of the designed interdisciplinary project can serve as the guideline for systematic implementation of the arts and culture education in the learning process as well as contribution to raising awareness about the importance of collaboration between schools and artists. Keywords: arts and cultural education; collaboration with the composer; history; interdisciplinarity; music education

Consensus and Crisis in American Classical Music Historiography from 1890 to 1950

2016 ◽  
Vol 33 (2) ◽  
pp. 200-231
Author(s):  
David C. Paul
Keyword(s):  
United States ◽  
Classical Music ◽  
The United States ◽  
Late Nineteenth Century ◽  
Gustav Mahler ◽  
Musical Culture ◽  
The Social ◽  
Anglo American ◽  
Shed Light

In the late nineteenth century American publishers began to answer a burgeoning demand for histories of classical music. Although some of the authors they contracted are well-known to scholars of music in the United States—most notably Edward MacDowell and John Knowles Paine—the books themselves have been neglected. The reason is that these histories are almost exclusively concerned with the European musical past; the United States is a marginal presence in their narratives. But much can be learned about American musical culture by looking more closely at the historiographical practices employed in these histories and the changes that took place in the books that succeeded them in the first half of the twentieth century. In particular, they shed light on the shifting transatlantic connections that shaped American attitudes toward classical music. Marked at first by an Anglo-American consensus bolstered by the social evolutionary theory of prominent Victorians, American classical music histories came to be variegated, a result of the influence of Central European émigrés who fled Hitler’s Germany and settled in North America. The most dramatic part of this transformation pertains to American attitudes toward the link between music and modernity. A case study, the American reception of Gustav Mahler, reveals why Americans began to see signs of cultural decline in classical music only in the 1930s, despite the precedent set by many pessimistic fin-de-siècle European writers.

THE BEGINNING, THE MIDDLE AND THE END OF CLASSICAL MUSIC

2006 ◽  
Vol 3 (3) ◽  
pp. 523-534
Author(s):  
ANYA SUSCHITZKY
Keyword(s):  
New York ◽  
Classical Music ◽  
Musical Training ◽  
Western Music ◽  
Musical Culture ◽  
Oxford University ◽  
Politics And Culture ◽  
The Status ◽  
History Of ◽  
New Ideas

Richard Taruskin, The Oxford History of Western Music, 6 vols. (Oxford and New York: Oxford University Press, 2005)Until recently, serious students of music did not read sweeping histories of music. In a time of increasing specialization, we do not expect to find new ideas in such work. This has changed with the publication of Richard Taruskin's History of Western Music. Monumental in its scope and original in its approach but informal in its prose and always engagingly direct, it offers a provocative perspective on the whole of music's history and sets fresh agendas for anyone interested in music and its relation to the history of ideas, politics and culture. Taruskin's History differs from all previous projects of its kind in that it does not principally survey famous works by famous composers. Focusing instead on particular issues within a chronological framework (his chapter titles refer, amongst other things, to feudalism, humanism, enlightenment, virtuosos, transcendentalism and totalitarianism), and selecting composers whose music contributes to the consideration of those issues (sometimes omitting well-known figures or placing familiar works in radically new contexts), he sets out quite simply to explain why music has been composed as it has, and to show how its existence has relied not on composers in isolation but on a whole musical culture of composers, patrons, performers, critics and many others. Rather than relegating historical events and ideas to the status of context or calling them extra-musical, he places them at the centre of his narrative and in intricate dialogue with music; so while his close analyses of music will mean most to those with musical training, they are part of an argument about history that will be suggestive and illuminating to any reader.

scholarly journals ON THE CULTURAL AND HISTORICAL SIGNIFICANCE OF CHUVASH OPERA MUSIC

2021 ◽  
pp. 202-211
Author(s):  
Dmitry N. Semkin ◽  
Valentina V. Smirnova
Keyword(s):  
Classical Music ◽  
Comprehensive Assessment ◽  
Russian Society ◽  
Social Culture ◽  
Musical Culture ◽  
Historical Significance ◽  
Chuvash Republic ◽  
Vocal Art ◽  
Musical Heritage

The relevance of the topic covered in the article is determined by the need to preserve and promote the musical heritage of outstanding composers of the Chuvash Republic, which celebrated the centenary of its autonomy formation. The aim of the work was to draw attention to a comprehensive assessment of Chuvashia composers’ contribution to the development of vocal art (namely, its opera genre) as the most important part of a multi-faceted musical culture. The article reflects the problems of preserving and promoting classical music. The list of operas by Chuvash composers staged on the theater stage is given. Information about the opera «Ivan Yakovlev», which was staged in the XXI century, is reflected. The article is actually an intersubject topic focused primarily on considering pivotal solo vocal parts in the most famous operas. The article reflects the vocal and performing analysis of the parts in outstanding opera works, their main stylistic features are studied. In particular, the tenor parts of Setner, Sendier, and Kosinsky are described in more detail. Opera works and parts are considered in the context of cultural and historical significance, on this basis the main provisions and conclusions confirming the unique cultural and historical significance of the Chuvash opera music and its contribution to the development of musical and social culture of the Russian society are summarized and systematized.

scholarly journals Dokumenty życia społecznego z kolekcji księgarza Mariana Krzyżanowskiego jako źródło do badań nad życiem muzycznym oraz teatralnym Krakowa i Warszawy w XIX i XX wieku

2019 ◽  
Vol 64 ◽  
pp. 115-129
Author(s):  
Adrian Uljasz
Keyword(s):  
20Th Century ◽  
Social Life ◽  
Classical Music ◽  
Musical Culture ◽  
Musical Life ◽  
Valuable Source ◽  
Cultural Events ◽  
19Th And 20Th Century

From the Collection of the Bookseller Marian Krzyżanowski as a Source of Research on the Musical and Theatrical Life of Cracow and Warsaw in the 19th and 20th Century Programs and posters of theatre performances and concerts, as well as similar prints, serve as a valuable source of research on the tradition of the theatrical and musical life of particular cities. The Scientific Library of the PAAS and the PAS in Cracow contains materials of this kind referring to cultural events in Cracow and Warsaw, which were collected by the Cracow bookseller, antiquarian and publisher Marian Krzyżanowski, a son of the Cracow bookseller and publisher Stanisław Andrzej Krzyżanowski. These are posters from classical music concerts, theatrical programs and invitations. The documents were prepared in the years 1884–1955. A large part of them is the documentation of the activity of the concert office run by Stanisław Krzyżanowski beside the bookshop from 1870. These prints are analysed in the paper. The overview of social life documents was preceded by information about Stanisław Andrzej Krzyżanowski and his son Marian and their activity in such fields as the animation of musical culture.

scholarly journals EDUCATION AS A FACTOR IN THE DEVELOPMENT OF MUSICAL TASTE

2020 ◽  
pp. 131
Author(s):  
Predrag Cvetičanin
Keyword(s):  
Social Factors ◽  
Classical Music ◽  
Cultural Practices ◽  
Longitudinal Research ◽  
Musical Culture ◽  
Level Of Education ◽  
Music Genres ◽  
Introductory Part ◽  
Musical Taste ◽  
Audience Development

In this paper, the influence of the respondents’ level of education, and that of their parents, on the development of musical taste is analyzed. The analyses are based on the survey research into the cultural practices of the citizens of Serbia from 2005, 2010, 2015, and 2017, headed by the author. The introductory part of the text provides a brief overview of the three sociological standpoints on the relation between taste and belonging to social collectives, whose applicability has been tested in the research on cultural practices in Serbia. The following section provides the results of longitudinal research on the manifested preferences for various types of music genres in Serbia and attitudes which the respondents had towards numerous music genres which were analyzed in these studies. In the third part of the paper, following the presentation of the concept of the cultural capital of the French sociologist Pierre Bourdieu, we focus on the research results related to classical music and the opera and explore which social factors influence the formation of esthetic preferences for these music genres. The conclusion contains a brief presentation of the implications of the findings on the activities of audience development for classical music that is mostly studied in the course “Musical Culture” in elementary and secondary schools.

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