Gotthard Friedrich Stender and Latvian Vocal Music in the Age of Enlightenment

2021 ◽  
pp. 395-414
Author(s):  
Māra Grudule
2016 ◽  
Vol 69 (1) ◽  
pp. 1-46
Author(s):  
Tim Carter

Monteverdi's Il sesto libro de madrigali a cinque voci (1614) is often viewed as an outlier in his secular output. His Fourth and Fifth Books (1603, 1605) were firmly embroiled in the controversy with Artusi over the seconda pratica, while his Seventh (1619) sees him shifting style in favor of the new trends that were starting to dominate music in early seventeenth-century Italy: the Sixth Book falls between the cracks. But it also suffers—in modern eyes, at least—for the fact that it reflects the composer's first encounters with the poetry of Giambattista Marino, marking what many see as the start of a fundamental reorientation, if not downward spiral, in his secular vocal music. The problems are exposed by one of the Marino settings in the Sixth Book, “Batto, qui pianse Ergasto: ecco la riva,” in which an unnamed speaker tells Batto how Ergasto has been abandoned by Clori. The text has often been misunderstood. Uncovering the sources for the story—and the literary identities of Batto, Ergasto, and Clori—forces a new reading of the poetry and more particularly of Monteverdi's music. It also answers some profound questions in terms of how best to address issues of narration and representation, and of diegesis and mimesis, in this complex repertory.


2020 ◽  
Vol 74 (2) ◽  
pp. 253-273
Author(s):  
Hyeongjoo Kim ◽  
Carina Pape

In his famous essay from 1784, Kant denied that we "live in an enlightened age"; yet he claimed that we "live in an age of enlightenment". If we should answer the question if we live in an enlightened age now, we could basically give the same answer. The enlightenment as an ongoing process can be found throughout Kant's whole work. This article focuses on how the concept of enlightenment can be applied to the Kantian psychology, which marks an important change of theory of the soul within modern western metaphysics. Kant's idea of enlightenment and 'critique' will be illustrated with reference to the "Paralogisms" of the Critique of Pure Reason. Finally, an analysis of some passages of the "Paralogisms" shall demonstrate that Kant's critique of the previous metaphysical doctrine of the human soul should not be understood as a complete rejection of this doctrine; rather, Kant's critique of what is called rational psychology should be understood as a critical transformation.


Author(s):  
Nataliia Kosaniak

Vasyl Bezkorovayny (1880–1966) was a talented artist, an active figure in the musical life of Galicia and a representative of post-war Ukrainian emigrants in the United States of America. He wrote more than 350 works of various genres. Among them are compositions for symphony orchestra; vocal works — for chorus, ensembles or solo singing; chamber and instrumental music — for piano, violin, zither, cello; music for dramatic performances. The article deals with the archival and musicological analysis of expressive and stylistic features of V. Bezkorovayny’s vocal works, based on the materials of Stefanyk Lviv National Library of Ukraine. Attention is paid to the place of the composer’s vocal masterpieces in the context of Ukrainian vocal music of the first half of the XX century. The most important achievements of the composer related to the genres of choral and chamber vocal music. In style, the composer’s works combine the influences of M. Lysenko, composers of the «Peremyshl school» and Western European romantic and post-romantic models. The original secular choral music of V. Bezkorovayny covers genres of songs, plays, and large-form choirs. In his solo songs the influences of romantic western European music and Ukrainian folk songs affected the formation and approval of the composer’s style. Keywords: vocal music, chorus, solos, melodic-intonation means, harmony, rhythm.


Author(s):  
Gabriela González

The concluding chapter explains how race had served defenders of slavery by providing them with an excuse to hold men and women in bondage. For their inhumane treatment of Africans during the Age of Enlightenment to be justified, their humanity needed to be ideologically stripped away—scientific racism served that purpose. Racist theories also kept other groups in subaltern positions. Mexicans with mestizo, mulatto, and Indian genealogies experienced racialization in the United States. Simply put, Americans, proud of their liberal political heritage and their democratic institutions, needed to see oppressed groups as somehow sub-human in order to reconcile their political beliefs with the nation’s less than egalitarian realities. It is for this reason that the politics of redemption practiced by Mexican immigrant and Mexican American activists merits attention.


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