scholarly journals Music and the Jesuit “Way of Proceeding” in the German Counter-Reformation

2016 ◽  
Vol 3 (3) ◽  
pp. 377-397
Author(s):  
Alexander J. Fisher
Keyword(s):  
Appropriate Use ◽  
Musical Culture ◽  
Religious Difference ◽  
Steady Growth ◽  
Present Essay ◽  
Gradual Shift ◽  
Counter Reformation ◽  
Musical Practices ◽  
Musical Resources ◽  
Attitudes Toward Music

The present essay considers the Jesuits’ relationship to musical culture along the confessional frontier of Germany, where the immediate presence of religious difference led to an explicit marking of space and boundaries, not least through visual and aural media. While Jesuit reservations concerning the appropriate use of music were always present, individual churches and colleges soon developed ambitious musical practices aimed at embellishing the Catholic liturgy and stimulating religious affect. The present essay traces a gradual shift in Jesuit attitudes toward music between roughly 1580 and 1650, showing steady growth in the Society’s use of musical resources in churches, colleges, hymnbooks, processions, and theatrical productions in the confessionally-contested German orbit.

Extraordinary voices: Helen Keller, music and the limits of oralism

2019 ◽  
Vol 4 (2) ◽  
pp. 139-156
Author(s):  
Michael Accinno
Keyword(s):  
World View ◽  
Musical Culture ◽  
Vocal Production ◽  
Cultural Logic ◽  
Human Voice ◽  
Shared Identity ◽  
Helen Keller ◽  
Voice Teacher ◽  
Musical Practices ◽  
Opera Singers

Abstract This article examines iconic American deafblind writer Helen Keller's entræ#169;e into musical culture, culminating in her studies with voice teacher Charles A. White. In 1909, Keller began weekly lessons with White, who deepened her understanding of breathing and vocal production. Keller routinely made the acquaintance of opera singers in the 1910s and the 1920s, including sopranos Georgette Leblanc and Minnie Saltzman-Stevens, and tenor Enrico Caruso. Guided by the cultural logic of oralism, Keller nurtured a lively interest in music throughout her life. Although a voice-centred world-view enhanced Keller's cultural standing among hearing Americans, it did little to promote the growth of a shared identity rooted in deaf or deafblind experience. The subsequent growth of Deaf culture challenges us to reconsider the limits of Keller's musical practices and to question anew her belief in the extraordinary power of the human voice.

EPINICIAN VARIATIONS: MUSIC AND TEXT IN PINDAR,PYTHIANS2 AND 12

2013 ◽  
Vol 63 (1) ◽  
pp. 37-56 ◽  
Author(s):  
Tom Phillips
Keyword(s):  
The Self ◽  
Musical Performance ◽  
Musical Culture ◽  
Classical Greece ◽  
Starting Point ◽  
Musical Practices ◽  
Long Time ◽  
Archaic And Classical Greece

The importance of music for epinician, as for all other types of choral performance in Archaic and Classical Greece, has long been recognized, but the exiguousness of the evidence for the compositional principles behind such music, and for what these poems actually sounded like in performance, has limited scholarly enquiries. Examination of Pindar's texts themselves for evidence of his musical practices was for a long time dominated by extensive and often inconclusive debate about the relations between metres and modes. More recently scholars have begun to explore Pindar's relations to contemporary developments in musical performance, and in doing so have opened up new questions about how music affected audiences as aesthetically and culturally significant in its own right, and how it interacted with the language of the text. This article will investigate the performance scenarios of two of Pindar's epinicians, arguing that in each case the poems contain indications of specific musical accompaniments, and use these scenarios as a starting point for engaging with wider interpretative questions. The self-referential dimension of these compositions will be of particular importance; I shall argue that Pindar deployed a type of musical intertextuality, in which his compositions draw on pre-existing melodic structures, utilizing their cultural associations for the purposes of his own pieces, a process crucial to the dynamics of performance of the poems concerned. By doing so I shall attempt to reach a better understanding of the roles played by music in epinician performance and of Pindar's place in relation to the musical culture in which he worked.

The Creolization of American Culture

2013 ◽  
Author(s):  
Christopher J. Smith
Keyword(s):  
Musical Culture ◽  
Performance Practices ◽  
Interracial Interaction ◽  
Black And White ◽  
The North ◽  
Blackface Minstrelsy ◽  
Performance Techniques ◽  
Musical Practices ◽  
Music Collection ◽  
American Popular Music

This book examines the artworks, letters, sketchbooks, music collection, and biography of the painter William Sidney Mount (1807–1868) as a lens through which to see the multi-ethnic antebellum world that gave birth to blackface minstrelsy. As a young man living in the multiethnic working-class community of New York's Lower East Side, Mount took part in the black-white musical interchange his paintings depict. An avid musician and tune collector as well as an artist, he was among the first to depict vernacular fiddlers, banjo players, and dancers precisely and sympathetically. His close observations and meticulous renderings provide rich evidence of performance techniques and class-inflected paths of musical apprenticeship that connected white and black practitioners. Looking closely at the bodies and instruments Mount depicts in his paintings as well as other ephemera, the book traces the performance practices of African American and Anglo-European music-and-dance traditions while recovering the sounds of that world. This book uses Mount's depictions of black and white vernacular fiddlers, banjo players, and dancers to open up fresh perspectives on cross-ethnic cultural transference in Northern and urban contexts, showing how rivers, waterfronts, and other sites of interracial interaction shaped musical practices by transporting musical culture from the South to the North and back. The “Africanization” of Anglo-Celtic tunes created minstrelsy's musical “creole synthesis,” a body of melodic and rhythmic vocabularies, repertoires, tunes, and musical techniques that became the foundation of American popular music.

‘Japanese music’ can be popular

Popular Music ◽  
2002 ◽  
Vol 21 (2) ◽  
pp. 195-208 ◽  
Author(s):  
Hugh De Ferranti
Keyword(s):  
Popular Music ◽  
Musical Culture ◽  
Concert Music ◽  
Music Production ◽  
Audience Interaction ◽  
Musical Practices ◽  
Inclusive Approach ◽  
Production Techniques ◽  
Music Research ◽  
Japanese Music

Traditional genres, modern popular music, ‘classical’ concert music and other styles of music-making in Japan can be viewed as diverse elements framed within a musical culture. Bourdieu's concept of habitus, and Williams' of dominant, residual and emergent traditions, are helpful in formulating an inclusive approach, in contrast to the prevailing demarcation between traditional and popular music research. Koizumi Fumio first challenged the disciplinary separation of research on historical ‘Japanese music’ and modern hybrid music around 1980, and the influence of his work is reflected in a small number of subsequent writings. In Japanese popular music, evidence for musical habitus and residual traits of past practice can be sought not only in characteristics typical of musicological analysis; modal, harmonic and rhythmic structures; but also in aspects of the music's organisation, presentation, conceptualisation and reception. Among these are vocal tone and production techniques, technical and evaluative discourse, and contextual features such as staging, performer-audience interaction, the agency of individual musicians, the structure of corporate music-production, and the use of songs as vehicles for subjectivity. Such an inclusive approach to new and old musical practices in Japan enables demonstration of ways in which popular music is both part of Japanese musical culture and an authentic vehicle for contemporary Japanese identity.

Imagined Hearing

2016 ◽  
Author(s):  
Jeanette DiBernardo Jones
Keyword(s):  
Case Studies ◽  
Political Identity ◽  
Deaf Culture ◽  
Musical Culture ◽  
Linguistic Differences ◽  
Rock Band ◽  
Musical Practices

Using as case studies the creative works and performances of Deaf musicians, including the Deaf rock band Beethoven’s Nightmare and rappers Sean Forbes and Signmark, this essay challenges the hearing world to think about the alternative modes of hearing that a deaf musical culture offers. Examining the musicians’ biographies, repertories, performance spaces, and audiences within a greater context of Deaf culture and history, this essay argues for a way of making and listening to music that is specifically Deaf, a way that celebrates deafness and also situates the Deaf as a minority within a hearing world. Musical practices that arise from this political identity create a Deaf musical culture that calls us to acknowledge the linguistic differences and histories that are present in the performance and reception of Deaf music.

scholarly journals Methods and Means Used in Forming the Preschoolers Musical Culture

2021 ◽  
Vol 7 (6) ◽  
Author(s):  
A. Abdykadyrov
Keyword(s):  
Moral Education ◽  
Continuous Process ◽  
Educational Activity ◽  
Appropriate Use ◽  
Musical Culture ◽  
Moral Culture

The article discusses information about effective methods and tools used in the formation of signs of musical culture of preschoolers. This should be carried out in a continuous process of education and upbringing. Therefore, it is widely stated that the methods and means set forth in the content of the article can be guided by the organization of each organized educational activity, the conduct of each educational event. As signs of the moral culture of preschoolers were taken: modesty, thrift, restraint, contentment, appropriate use, the tasks of moral education of preschoolers was determined.

scholarly journals The place of ‘Russian music’ on the multicultural map of Europe

Muzikologija ◽  
2016 ◽  
pp. 109-122 ◽  
Author(s):  
Anna Piotrowska
Keyword(s):  
19Th Century ◽  
Musical Culture ◽  
Russian Music ◽  
European Tradition ◽  
Musical Practices ◽  
Western European ◽  
National Music ◽  
Russian Composers ◽  
The 19Th Century

Both Russian and non-Russian composers and music critics willingly used the notion of Russian exoticism to differentiate the Russian musical legacy from the (western) European tradition, especially in the 19th century. At the same time, various Russian musical practices were considered to be exotic in Russia itself. In this article it is suggested that these two perceptions of Russian music influenced each other, having an impact on the formation of Russian national music. It is further claimed that Russian music served both as an internal and external tool for defining the country?s musical culture on the multicultural map of Europe.

Music-making in the social world of a Cretan town (Heraklion 1900–1960): a contribution to the study of non-commercial rebetiko

Popular Music ◽  
2011 ◽  
Vol 30 (1) ◽  
pp. 1-24
Author(s):  
Yiannis Zaimakis
Keyword(s):  
Social Life ◽  
Social World ◽  
Musical Culture ◽  
Music Making ◽  
Historical Factors ◽  
Local Variant ◽  
The Social ◽  
Musical Practices ◽  
Musical Traditions ◽  
The Relationship

AbstractDrawing on a range of biographical, historical, ethnographical and musicological sources, this article presents the social and historical factors contributing to the evolution in the early 20th century of a local variant of rebetiko around the Lakkos brothel district in Heraklion, the largest city in Crete. It explores the influence of a wider multicultural context on local music-making and reveals the relationship between the social life and economy of the Lakkos area and its musical and stylistic sensibilities. Emphasis is also placed on the musical culture of local subcultural space, particularly with respect to the functions of musical practices in everyday life and the poetics of improvised songs. Investigation of the social world in Lakkos suggests that the forerunners of rebetiko can be explored as a hybrid music scene associated with cross-cultural interaction between different social and ethnic groups and musical traditions. The societal and aesthetic codes of this scene, with its low life themes, coarse melodies and allegedly alien influences were seen by local elites as compromising the moral values of respectable society and subverting efforts to cultivate a national identity.

scholarly journals Sounding identity. Music-making in eighteenth-century Dutch noble homes

2020 ◽  
Vol 27 ◽  
pp. 33-54
Author(s):  
Joris Van Son
Keyword(s):  
Eighteenth Century ◽  
Identity Construction ◽  
Historical Narrative ◽  
National Identities ◽  
Musical Culture ◽  
Music Making ◽  
Interpretive Approach ◽  
Musical Practices ◽  
Shed Light

From the 1980s, music-making in eighteenth-century Dutch homes has received increasing scholarly attention, particularly in studies on noble families. While these studies shed light on the role of music in noble homes, they do not venture much beyond establishing a factual historical narrative. In contrast, recent studies on eighteenth- and nineteenth-century English domestic musical culture demonstrate a more interpretive approach by focusing on class, gender and national identity. This raises the question what role these issues play in the Dutch context. Taking a similar approach, this article revisits case studies on music-making in the homes of the Van Reede family and Belle van Zuylen (1740-1805), of the Van Tuyll family, to illuminate how music related to different aspects of their identity. This study shows how their musical practices confirmed and challenged elite gender conventions, as well as resonated with and transcended their various national identities. These findings suggest that identity construction is a useful framework for studying elite music-making, helping us understand what music might have meant for those involved.

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