Twentieth-Century School Music Literature in China: A Departure from Tradition

2005 ◽  
Vol 27 (1) ◽  
pp. 33-48 ◽  
Author(s):  
Wai-Tong Lau
Keyword(s):  
Twentieth Century ◽  
Music Literature ◽  
School Music

Percy Scholes on Music Appreciation: Another View

1987 ◽  
Vol 4 (2) ◽  
pp. 139-156
Author(s):  
Estelle R. Jorgensen
Keyword(s):  
Twentieth Century ◽  
Instructional Methods ◽  
Music Appreciation ◽  
Careful Examination ◽  
Future Research ◽  
Philosophical Argument ◽  
Research And Practice ◽  
Practical Strategy ◽  
School Music

Percy A. Scholes' (1877–1958) defence of music appreciation remains one of the most clearly articulated among the twentieth-century approaches to school music. His published work is eminently readable, spiced with wit, and attractive to non-musicians. Scholes has gone beyond philosophical argument to practical strategy, as his published work attests. Nevertheless, his ideas ought not either be accepted at face value or ‘written off’ as a ‘failure’ without careful examination of them.1This paper attempts to reconstruct Scholes' ideas about music appreciation evidenced in his published work; to examine his assumptions about the rationale, objectives, instructional methods and curriculum for music appreciation; and to suggest implications of this analysis for future research and practice.

From Cage to Glass: Lessons for the Late Twentieth Century

1990 ◽  
Vol 7 (1) ◽  
pp. 15-24
Author(s):  
Patricia Shehan Campbell
Keyword(s):  
Twentieth Century ◽  
Art Music ◽  
Pop Music ◽  
Music Classroom ◽  
Steve Reich ◽  
Historical View ◽  
School Music ◽  
Late Twentieth ◽  
Terry Riley ◽  
Late Twentieth Century

Because art music of the late twentieth century has received little attention in North American school music settings, this paper proposes a rationale as well as procedures for the teaching of one of its emerging styles: minimalism. A brief historical view of the development of minimalism is offered, the influence of Cage's concepts of music as an ongoing [if indeterminate] process is recognised, and the relationship of minimalism to other musical sytles and genres is noted. Listening lessons for works by composers Terry Riley, Steve Reich, and Phillip Glass are devised, along with suggestions for performance and composition experiences in the music classroom. Due to its eclectic nature, including the influence of rock and pop music, instruction in the music of the minimalist composers is viewed as a gateway to other art music styles and techniques of the late twentieth century.

scholarly journals Ruggero Jacobbi alla radio

2008 ◽  
Keyword(s):  
Twentieth Century ◽  
Literary History ◽  
Private Life ◽  
Recent History ◽  
Music Literature ◽  
Writer's Voice ◽  
The Voice

Recent years have seen the publication of a great deal of the work of Ruggero Jacobbi, a legendary figure of Italian twentieth-century culture, thanks to a praiseworthy retrieval of unpublished material conserved in the «A. Bonsanti» contemporary archive of the Gabinetto «G.P. Vieusseux». However, despite so many new pages of poetry and translation, what was still lacking was the writer's voice. The voice which, thanks to the painstaking work of Eleonora Pancani, we can now read (if not hear), as with characteristic dexterity it intermingles verses and music, literature and theatre, politics and entertainment. Ruggero Jacobbi alla radio presents the transcription of several radio programmes of the 70s featuring the genial culture of this multi-faceted intellectual. Jacobbi entertains his audience, discorsing on literary history, the figurative arts and opera, quoting poetry, discussing plays, mingling observations on Goldoni, Pirandello, Bontempelli, Savinio, Pessoa and García Lorca in an engaging anecdotal style that involves the cinema, the theatre and literature, while the great figures of tradition and recent history are interwoven with reminiscences of private life.

scholarly journals Reasons to teach music: establishing a place in the contemporary curriculum

2000 ◽  
Vol 17 (1) ◽  
pp. 32-42 ◽  
Author(s):  
Stephanie Pitts
Keyword(s):  
Twentieth Century ◽  
Music Education ◽  
Questionnaire Survey ◽  
Music Educators ◽  
Small Scale ◽  
Music Teaching ◽  
Musical Identity ◽  
British Music ◽  
School Music ◽  
History Of

Studies in the history of music education reveal much about the place and purpose of music in the changing curriculum. In this article, the ideas of some significant British music educators of the twentieth century are considered, in an evaluation of the apparent goals of music teaching that have been articulated over the decades. The connections between rationale and practice are discussed, with published ideas placed alongside the views of contemporary teachers in a small-scale questionnaire survey. The conclusion is proposed that school music, as a small part of the child's musical identity, must be modest in its intentions but ambitious in its provision.

“Are You Only an Applauder?” American Music Correspondence Schools in the Early Twentieth Century

2014 ◽  
Vol 62 (4) ◽  
pp. 446-461
Author(s):  
Dorothy Vogel
Keyword(s):  
Teacher Education ◽  
Twentieth Century ◽  
Distance Education ◽  
Music Education ◽  
Faculty Recruitment ◽  
Advantages And Disadvantages ◽  
School Of Music ◽  
Early Twentieth Century ◽  
School Music ◽  
Schools Of Music

The purpose of this study was to examine correspondence schools of music in the early twentieth century. Advertisements in widely circulated household and music periodicals and archival copies of courses from Siegel-Myers Correspondence School of Music, United States School of Music, American College of Music, and others were examined. Research questions focused on course offerings, faculty, recruitment, and reputation of the schools. The study also examined the advantages and disadvantages of this first generation of distance education and implications for current distance education practices today. Results revealed that correspondence schools of music had more breadth and, in some cases, depth than previous research had indicated. Instruction at numerous schools was offered on a wide variety of instruments, including voice, as well as in music history, music theory, and music teacher education. One of the prominent teacher education resources was Frances Elliott Clark’s Course in Public School Music offered through Siegel-Myers Correspondence School of Music. Instruction reached a wide demographic, including segments of the population without alternate access to music education. This rich history shows that distance education has been and will remain a viable and valuable option for accessing music education.

PROBLEMS IN THE DEVELOPMENT OF CREATIVE ABILITIES OF STUDENTS OF PRIMARY CLASSES THROUGH A.ESBAEV SONGS

2020 ◽  
Vol 68 (4) ◽  
pp. 232-239
Author(s):  
A.K. Akhmetova ◽  
◽  
L.U. Brimgazina ◽  
Keyword(s):  
Detailed Analysis ◽  
Music Programs ◽  
Creative Ability ◽  
Music Lessons ◽  
Language And Music ◽  
Music Literature ◽  
National Spirit ◽  
School Music ◽  
Creative Abilities ◽  
Young Students

The article considers the development of creative abilities of young students. The concepts of "ability", "creativity", "creative ability" are studied in detail in the work of scientists. Also, there was discussed the issue and the question of regeneration of virtues, inherited from our forgotten ancestors, rooted in our blood and roots. In particularly, our national traditions, language and music, literature, customs, especially, our national spirit must always remain in our heart. In the framework of "Spiritual Revival" is a detailed analysis of the use of the song by Abilahata Espaeva in school music programs, which correspond to the problem of education. In particularly, the composer's songs in music lessons are intended for the development of creative abilities of young schoolchildren. The authors thoroughly studied the content, character and theme of the song of the composer.

scholarly journals To the problem of "polyphony of consciousness" in the context of the aesthetics of constructivism

2021 ◽  
pp. 229-233
Author(s):  
Katerina Ishchenko
Keyword(s):  
Twentieth Century ◽  
Fine Arts ◽  
Theoretical Method ◽  
Avant Garde ◽  
Early Twentieth Century ◽  
Music Literature ◽  
Important Means ◽  
The Individual ◽  
First Time

The purpose of the article is to trace the peculiarities of the phenomenon of "polyphony of consciousness" as one of the main patterns of artistic thinking of the early twentieth century, which became widespread in various arts and reflected artistic and aesthetic trends of such a bright movement of the first avant-garde as constructivism. On the examples of music, literature, theater, cinema, fine art to reveal this phenomenon as an important manifestation of the aesthetics of constructivism. In selected works of art, to identify and consider characteristics of the musical text polyphonic techniques, which in turn have been widely used and reflected the individual stylistic features of representatives of different spheres of creativity of the period. The methodological basis of this study is a comprehensive approach, which contains historical and cultural, stylistic, and holistic methods of analysis. The theoretical method acquires special significance among them, as it is aimed at identifying the principles of writing in various fields of art. The scientific novelty of this work is based on the originality of the generalized study of the phenomenon of "polyphony of consciousness". This phenomenon is being considered as an important manifestation of the aesthetics of constructivism, based on the examples of music, literature, theater, cinema, and fine arts. Such an understanding of the implementation of the polyphonic principles of writing in the context of such an artistic movement as constructivism is undertaken for the first time in Ukrainian musicology. Conclusions. Experiments and searches of the artists of the early twentieth century in the fields of expression, content, composition, and language that "provoked" the development of stylistic pluralism in all spheres of art, strengthened the role of polyphonic principles of writing, and, more broadly, artistic thinking. Polyphonic techniques find their place in the trends of the aesthetics of constructivism, going beyond the musical texture and penetrating into all kinds of art. Polyphony and its principle of combining self-developing lines, voices, and layers, was perhaps the most important means of artistic reflection of the contradictions of the world, as well as the direction of the search in the field of content and means of expression.

A ‘Northern Athens’? Cultural and intellectual life

2020 ◽  
pp. 92-139
Author(s):  
Alice Johnson
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Middle Class ◽  
Intellectual Life ◽  
Early Twentieth Century ◽  
Victorian Period ◽  
Music Literature ◽  
Scientific Associations

In the Victorian period, Belfast was known as the ‘Northern Athens’ – a title which referred to the city’s cultural and intellectual credentials. The term was still being used in the early twentieth century. Yet in the second half of the nineteenth century, as the city’s cultural societies struggled to survive, Belfast’s cultural claims were increasingly under question. By the end of the century it was felt that Belfast was now known more for its hard-headed business character than for its culture. This chapter assesses the cultural and intellectual life of Victorian Belfast and questions the validity of the ‘cultural centre to cultural desert’ narrative. It offers a nuanced discussion of the city’s cultural strengths and weaknesses and those of comparable provincial centres elsewhere. Cultural and scientific associations are examined in some detail; and theatre, music, literature and newspapers are all covered. In addition, the mental intellectual landscape of Belfast’s middle-class elite is discussed.

Cubism

2018 ◽  
Author(s):  
Chara Kolokytha ◽  
J.M. Hammond ◽  
Lucie Vlčková
Keyword(s):  
Twentieth Century ◽  
Three Dimensional ◽  
Pablo Picasso ◽  
Still Life ◽  
Late Work ◽  
Fernand Leger ◽  
Music Literature ◽  
Paul Cezanne ◽  
Color Treatment ◽  
Art Critics

Cubism is an influential modernist art movement that emerged in Paris during the first decade of the twentieth century. The term was established by Parisian art critics, derived from Louis Vauxcelles, and possibly Henri Matisse’s description of Braque’s reductive style in paintings of 1908. Subsequently, it soon became a commonplace term and was widely used to describe the formalist innovations in painting pioneered by Pablo Picasso and Georges Braque from 1907 to 1914. Cubism signals the break with Renaissance tradition through the rejection of three-dimensional illusionist composition. The dull and monochromatic palette (Picasso, Still Life with a Bottle of Rum, 1911) of early Cubist painting, in addition to its emphasis on geometry, can be alternatively viewed as a reaction against the pure bright colors of the Fauves and the spontaneous color treatment of the Impressionists. Cubist art was largely influenced by the late work of Paul Cézanne and the study of primitive art and, more precisely, African religious masks, statuettes, and artefacts. Picasso’s Les Demoiselles d’Avignon (1907) and Braque’s Maisons à l’Estaque (1908) are considered to be the first manifestations of proto-Cubist painting. However, artists such as Fernand Léger (Les fumeurs, 1912), Juan Gris (Grapes, 1913), and Robert Delaunay (Windows, 1912) developed their own distinctive styles, pushing forward the color perspectives, the shifting geometrical elements and the non-objective approach (Léger, Contraste de formes, 1913) of the Cubist synthesis. Alternative Cubist perspectives were also introduced by painters such as Jean Metzinger, Albert Gleizes, Henri Le Fauconnier, Roger de La Fresnaye, and André Lhote and sculptors such as Jacques Lipchitz and Henri Laurens. Its influence was not limited to painting and sculpture but extended to architecture, poetry, music, literature, and the applied arts.

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