Two Paths to Daniel's Mountain: Poetic-Musical Unity in Aquitanian Versus

2006 ◽  
Vol 23 (4) ◽  
pp. 620-646
Author(s):  
RACHEL GOLDEN CARLSON
Keyword(s):  
Narrative Structure ◽  
British Library ◽  
Musical Language ◽  
Rhetorical Strategies ◽  
Musical Expression ◽  
Linear Path ◽  
12Th Century ◽  
Musical Discourse ◽  
Circuitous Route ◽  
Poetic Texts

ABSTRACT Textual-musical integration in representative 12th-century Aquitanian versus suggests that poetic and musical language were shaped not independently but rather in conjunction, inspired by the same rhetorical principles. The versus Resonemus hoc natali (Paris, Bibliothèèque nationale fonds latin 1139, fol. 50v) and De monte lapis scinditur (London, British Library, Additional Manuscript 36881, fol. 19v), both underexplored in the musicological literature, centrally treat the Biblically inspired topos of Daniel's mountain as a metaphor for Mary's virginity. Witnessing opposite ends of the versus manuscript chronology, these compositions together offer two discrete snapshots of active and shifting approaches to textual-musical expression in veneration of the Virgin. Stylistic contrasts between the versus parallel a two-pronged path described by English rhetorician Geoffrey de Vinsauf in his influential treatise Poetria nova (ca. 1210). In particular, Geoffrey's notions of the natural and artistic paths furnish interpretive tools for understanding both poetic and musical discourse. While the earlier Resonemus hoc natali takes a linear path that emphasizes narrative structure, the later De monte lapis travels a more circuitous route of permutation and reconstitution, evoking artifice rather than nature. As poetic texts demanded, or conformed to, new rhetorical strategies, music did likewise, and according to similar rhetorical ideals.

Parallelism between Linguistics and Music – Noam Chomsky and Heinrich Schenker

2021 ◽  
Vol 13 (62) (SI) ◽  
pp. 287-294
Author(s):  
Botond SZOCS
Keyword(s):  
Heinrich Schenker ◽  
Musical Analysis ◽  
Musical Language ◽  
Transformational Grammar ◽  
Verbal Language ◽  
Noam Chomsky ◽  
Musical Discourse ◽  
Linguistic Categories ◽  
New Perspective ◽  
Structural Levels

The paper aims to compare musical language with verbal language, creating a new perspective on music and natural language. The three categories of linguistics, phonology, syntax and semantics are analyzed. Bernstein highlights the analogies between the linguistic categories and music, researching the same three components of linguistics in music. The possibility of applying the transformational grammar procedures to the musical text is studied. In the second part of the paper, the authors investigate the method of analysis based on harmony and counterpoint, differentiating several structural levels conceived by the theoretical musician H. Schenker. Schenkerian analyzes are a relatively recent appearance in the field of musical analysis, which proposes as an innovation in the field of musical analysis the structural vision of musical discourse.

scholarly journals «MUSIC FRESCOES» BY BOHDANA FILTS AS A FACTOR OF DEVELOPMENT OF CREATIVE AND POTENTIAL FORCES OF THE MUSICIAN'S PERSONALITY

2020 ◽  
Vol 1 (190) ◽  
pp. 81-85
Author(s):  
Valentina Belikova ◽  
Keyword(s):  
Educational Process ◽  
National Character ◽  
Musical Language ◽  
Musical Expression ◽  
Creative Potential ◽  
Considerable Effort ◽  
Creative Imagination ◽  
Musical Works ◽  
Piano Cycle ◽  
The Individual

The activity of a teacher of music-pedagogical profile always involves the use of musical works. The latter makes it possible for teachers to use such musical works, the musical basis of which is available both for performance by the teacher and for perception by students. After all, students' perception of a teacher-performer will always be brighter than the perception of technical means for sounding a piece of music. In the classroom there is a kind of creative search for the teacher-performer (performance always requires considerable effort of imagination, creative inspiration). The teacher's verbal preface will help pupils to reproduce in their minds the necessary musical image, which serves to be a special coverage of the individual to whom there is a specific dedication of the cycle. The means of musical expression used by the composer influence the feelings of the listeners, develop their creative imagination, and the school lesson turns into a long-awaited musical meeting with the music of Bohdana Mykhailivna Filts. The piano cycle «Musical Frescoes» is an example of glorifying the musical impressions of the artist, which remained from the meeting with people of previous years, who became her friends and good acquaintances, with whom Bohdana Mykhailivna had to work in the field of Ukrainian musical art. Summing up the review of «Musical Frescoes» by Bohdana Filts, we highlight the general features of the musical language of the composer's works that influence and develop the creative potential of the future specialist, namely: application of traditional forms of musical expression (two-part and three-part musical forms); use of foreslags, soft syncopated rhythmic shifts; use of sound comparisons of polar registers; combination of homophonic-harmonic and polyphonic textures of representing musical material; emphasizing with a dynamic line the wavy development of musical phrases of the work, etc. The national character of the musical language of Bohdana Filts' works is manifested in the whole complex of expressive means of the composer's piano cycle, which provides a basis for the active use of the cycle in the educational process of various levels of musical institutions.

scholarly journals New technologies and musical expression; other languages in education

Comunicar ◽  
2004 ◽  
Vol 12 (23) ◽  
pp. 25-30 ◽  
Author(s):  
Juan-Bautista Romero-Carmona
Keyword(s):  
Learning Process ◽  
New Technologies ◽  
The Other ◽  
Musical Language ◽  
Musical Expression ◽  
Other Hand ◽  
Language Spread ◽  
Nuevas Tecnologías ◽  
The One ◽  
Teaching Learning

This paper tries to show a brief but profound view about new languages of communication introduced at school. On the one hand, the musical language included in the curriculo and the other hand the technological language spread in our society in order to transmit the importance of new technologies as well as the different posibilities that they offer to the teaching-learning process inside the educational area focusing on the musical educational one. Con este artículo se pretende dar una visión superficial, pero cargada de intencionalidad, sobre algunos de los nuevos lenguajes de comunicación que se han implantado en la escuela. Por un lado, el lenguaje musical recogido en el currículo y por otro, el lenguaje tecnológico extendido en nuestra sociedad. Se intenta transmitir la importancia que tienen las nuevas tecnologías, así como las diferentes posibilidades que ofrecen para el proceso de enseñanza-aprendizaje dentro del ámbito educativo, centrándonos de manera especial en el campo de la educación musical.

scholarly journals Narratiiv ja topos Heino Elleri “Sümfoonilises legendis”

Mäetagused ◽  
2021 ◽  
Vol 81 ◽  
pp. 91-120
Author(s):  
Karl Joosep Pihel ◽  
Keyword(s):  
Narrative Analysis ◽  
Instrumental Music ◽  
Narrative Structure ◽  
Main Theme ◽  
Musical Narrative ◽  
Symphonic Poems ◽  
Musical Characteristics ◽  
Musical Discourse ◽  
Primary Order ◽  
Abrupt Shifts

This article focuses on the narrative analysis of late-romantic instrumental music. Having adopted the structuralist-semiotic conception of musical narrative as proposed by Byron Almén (2008) as the transvaluation of an opposing hierarchy, and the concept of the musical topic as musical elements with specific stylistic-cultural associations, I analyse the expressive form of Heino Eller’s early symphonic poem “Symphonic Legend” (1923). Narrative logic was found to permeate the musical work despite its collage or suite-like form, as the composer introduces characteristic musical actors that re-appear in different musical contexts. These actors are largely distinguished by musical topics, the conventional stylistic associations related with their musical characteristics as Eller’s piece presents a wide synthesis of styles – from musical impressionism and expressionism to lyrical or chromatic late-romantic; and various topics, such as fantastic, ombra, apassionata, pianto, heroic, and pastoral. Further, I propose a layered narrative structure for the “Symphonic Legend”, as the jarring and abrupt changes in musical material, affect and topic between different movements of the piece suggest shifts in the level of musical discourse and a framed narrative, as proposed by Hatten (1994). The primary order-imposing hierarchy is identified as the pastoral-impressionist topic that acts as the introduction and coda to the entire piece while the transgressive hierarchy is carried by antagonistic musical material associated with fantastical and dysphoric topics (whole-tone scale, chromaticism, fanfare-like brass and ombra) and with the main theme-actor of the piece (a theme strongly resembling the main theme of the first part of Rimsky-Korsakov’s “Scheherezade”). While the pastoral beginning and end of the piece (1st and 11th sections) suggest a narrative trajectory of a romance or “the victory of the order-imposing hierarchy over the transgression”, the abrupt shifts that occur between those sections and the middle-sections of the piece suggest that these take place at a different level of discourse, placing the narrative weight in sections 2–10, where the primary conflict seems to be between the antagonistic material and the theme-actor. In the middle sections Eller seems to problematize the typical narrative trajectory of dysphoric to euphoric in 19th-century symphonic poems, as the theme-actor’s heroic apotheosis in the 9th section is undermined by its reprise in section 10 and ultimate inability to be united with the order-imposing hierarchy in the coda, suggesting an ironic narrative. This reading is hopefully the first of many narrative analyses of Eller’s and other Estonian composers’ unique late-romantic and early modern symphonic poems.

Tonality

Music ◽  
2019 ◽  
Author(s):  
Thomas Christensen
Keyword(s):  
20Th Century ◽  
Classical Music ◽  
Early 20Th Century ◽  
Musical Language ◽  
Evolutionary Models ◽  
Tonal Music ◽  
Pitch Organization ◽  
Musical Discourse ◽  
Diatonic Scale ◽  
Hybrid Forms

Tonality is a ubiquitous term in musical discourse as indispensable as it is obfuscating. Typically, the term tonality (and more generally, “tonal music”) references the pitch-centric “common-practice” language of the transposable major and minor key system within which most classical music has been composed in the West from at least the mid-17th century through the early 20th century. Many theorists have highlighted certain empirical features of melody or harmony as being particularly characteristic or even essential to the tonal system (e.g., the content and structure of the diatonic scale, hierarchies of scale degrees and chord functions, or the cadence in defining or stabilizing tonal centers). At the same time, many theorists have emphasized the psychological power of tonal music for evoking strong affective responses from listeners by arousing strong expectations of tonal behavior that may be realized, delayed, or even thwarted. Clearly, then, any study of tonality needs to take into account the varying and often conflicting ways the concept is understood and used by given writers. But the concept of tonality has also been useful to musicologists for constructing evolutionary models of musical development while also describing—and contrasting—other musical styles and historical languages of music that do not always follow the norms of Western “common-practice” music. Particularly important in this regard is the chromatic language of many late-19th- and early-20th-century composers that is thought to have extended, deviated from, or even negated normative tonal syntax. Here Wagner’s use of chromaticism and extended modulation is usually cited as the progenitor of this process, one that is seen by many of these same observers to have led in the 20th century to the gradual dissolution of classical tonality in favor of a non-hierarchic kind of pitch organization, termed by neologisms such as “suspended tonality,” “post-tonality,” and perhaps most conventionally, “atonality.” Of course, tonality did not pass away; it continued to thrive as a common musical language through the 20th century, particularly in popular music idioms, even as it evolved into numerous dialects and hybrid forms within our globalized and digitalized musical marketplace. Yet the persistence of this myth of tonal evolution and devolution in Western histories of music suggests how high the stakes are in defining the content and perimeters of tonality. Tonality seems to be simultaneously an object and an ideal that continues to exert unparalleled influence—and not a little anxiety—to this day.

scholarly journals To the problem of interpreting the genre of choral miniatures in the creation of Lesya Dichko (on the example of choral miniatures on poetic texts „Winter”, „Na chovni”, „Spring”)

2019 ◽  
pp. 5-17
Author(s):  
І. М. Рябцева
Keyword(s):  
Visual Arts ◽  
Complex Analysis ◽  
Scientific Investigation ◽  
Practical Implementation ◽  
Musical Language ◽  
Basic Principles ◽  
Choral Works ◽  
Poetic Text ◽  
The Creation ◽  
Poetic Texts

The purpose of the article is to identify the features of the genre ofUkrainian choral miniature and to identify the basic principles of theirimplementation in the choral works by Lesya Dychko. The purpose of thework determines the relevant tasks, which are in identifying the genrestyle landmarks of the musical language of L. Dichko, available in selectedchoral miniatures for poetic texts and, based on their analysis, outline anumber of immanent features inherent in the creativity of the composer.The methods of the research is formed by the using of empiricalapproaches of scientific investigation, namely observations, analyzes and generalizations, which allow the practical implementation of this studyingthemetic destination. The textological and semantic analytical approachesof the poetic text are also used in the work. The scientific novelty of thearticle is determined by the factor of primacy of the complex analysis ofselected choral miniatures from the standpoint of revealing immanentgenre-stylistic traits of L. Dychko’s creativity. Conclusions. The analysisof choral miniatures „Winter”, „Na chovni”, „Spring” on poetic textsallows to classify them as extremely bright, artistically expressiveexamples of modern interpretation of the genre with a relief display ofnationally characteristic stylistic features, which can be considered as anexample of the synthesis of neo-folklore neo-romantic orientation ofcreativity of L. Dychko. The choir miniature of Lesya Dychko is nowfirmly in the repertoire of numerous choirs of Ukraine. The composerforms a comprehensive outlook model of being in interaction with creativethinking. Her vision of the artistic text takes place at the same time in thedimension of literature, music and painting due to the constantinvolvement of elements of the visual arts vocabulary in her works,orientation to „painting”, and work with poetic images.

scholarly journals The Historical Erudition of the Compiler of “The Word on the Council of Chalcedon”

Slovene ◽  
2014 ◽  
Vol 3 (2) ◽  
pp. 130-174 ◽  
Author(s):  
Dmitri G. Polonski
Keyword(s):  
Narrative Structure ◽  
Church History ◽  
The Other ◽  
History Of Christianity ◽  
Manuscript Tradition ◽  
12Th Century ◽  
History Of ◽  
Ecumenical Council ◽  
Northern Russia ◽  
The Church

The article focuses on a literary monument presenting Christological debates of the 5th century and the circumstances of the Fourth Ecumenical Council (the Council of Chalcedon), its sources, and the history of dissemination in the Slavic manuscript tradition. It introduces a list of forty-two East Slavic manuscripts of the 15‒17th centuries, including The Word on the Council of Chalcedon, a work on the history of Christianity and its dogmas. In thirty-nine of the manuscript copies, the literary monument serves as an introduction to the Slavic translation of Pope Leo the Great’s Tome to Archbishop Flavian of Constantinople (451), confirmed by the Fourth Ecumenical Council as an essential document of dogma. Judging by the provenance of the manuscript sources, in the 15‒17th centuries The Word on the Council of Chalcedon, along with the translation of Pope Leo’s Tome, were widely read and copied in the monasteries and churches of Moscow, Volok Lamsky, Pereyaslavl-Ryazansky, and Novgorod Veliky, as well as those of northern Russia. As its first researcher, O. M. Bodianskii, showed in 1848, the Slavic translation of the pope’s Tome was made from Greek by the monk Feodosii (“Theodosius the Greek”) in the 12th century. However, the attribution of The Word on the Council of Chalcedon to the same translator remains to be proved. The present work shows that the anonymous compiler of The Word on the Council of Chalcedon was well aware of the church history of the 5th century, remembering many historical details he would most probably have come across in Greek rather than in translated Slavic sources. On the other hand, several historical mistakes made by the compiler suggest that he lacked the texts necessary to verify the facts and had to rely on his memory, which occasionally failed him. Nevertheless, despite occasional factual errors and a compilative narrative structure, The Word on the Council of Chalcedon is in some ways more informative than many Byzantine chronicles.

scholarly journals The Value of Narrative in Al-Bayātī 's Broken Pitchers

2021 ◽  
Vol 58 (1) ◽  
pp. 622-632
Author(s):  
Khalid Muhammed Saleh, Ali Abdul-Raheem Kareem
Keyword(s):  
Narrative Structure ◽  
Point Of View ◽  
Creative Work ◽  
Free Verse ◽  
Poetic Text ◽  
The Subject ◽  
And Performance ◽  
Methodological Principles ◽  
Poetic Texts ◽  
Narrative Techniques

The subject of our study is the narrative techniques in the poetry of ʻAbd al-Wahhāb al-Bayātī (1926-1999) which were taken into account through the example of his second published works Abārīq Muhashshamah “Broken Pitchers, 1954”, as narration. The aim of the article is to define the features of narration and how the same techniques appear in creative work of a poet, one of the pioneers of modernity in contemporary Arabic poetry, in addition to Badr Shākir al-Sayyāb (1926-1964), and Nāzik al-Malā'ikah (1926-2007). The study defines the following objectives: Determining the approaches developed in studying the aspects of narration in poetry, to distinguish the narrative examples in the modern poetic text under study; To show the process of creating the poetic genre in the Bayati literature through the example of free verse poems. This article seeks, through the methodological principles of narrative research, to reveal the features of the narrative model that organizes communication in al-Bayātī 's poetry, as well as the features of the composition of the narrative structure of the text in al-Bayātī 's collection Broken Pitchers. The article analyzes the poetic texts and their intertwining with prose, as it tries to uncover the narrative and performance discourses from which the poet set out in determining the techniques of narration he uses, the communicative possibilities such as dialogues and the narrator's point of view in the poems at al-Bayātī.

Airy Forms

2019 ◽  
pp. 32-63
Author(s):  
Katherine R. Larson
Keyword(s):  
Early Modern ◽  
British Library ◽  
Musical Expression ◽  
Musical Practice ◽  
Early Modern English ◽  
Dynamic Interplay

This chapter probes the lexical slipperiness of “song” in relation to the dynamic interplay between early modern lyric production and musical practice. It also activates the resonances at play within the equally elusive notion of “form” further to animate song as an embodied genre straddling the boundary between poetic and musical expression. Larson considers the implications these taxonomical reflections hold for an analysis of the anonymous settings of Mary Sidney Herbert’s translations of Psalms 51 and 130, preserved in the British Library. These pieces offer an opportunity to bring a musical approach to lyric form to bear on psalm translations that are typically studied and taught from a visual, rather than an acoustic, perspective. Reading the psalms in terms of sung performance transforms our understanding of Pembroke’s experimental translations and of women’s broader engagement with the genre in the early modern English context.

State Ceremony and Music in Meiji-era Japan

2013 ◽  
Vol 10 (2) ◽  
pp. 223-238
Author(s):  
Yasuko Tsukahara
Keyword(s):  
Traditional Music ◽  
Western Music ◽  
Special Role ◽  
Musical Language ◽  
Musical Expression ◽  
Music Culture ◽  
Edo Period ◽  
Meiji Restoration ◽  
Original Musical ◽  
Meiji Era

The music culture of Japan following the Meiji Restoration of 1868 is characterized by the coexistence and interdependent development of three types of music: (1) traditional music passed down from the Edo period (1603–1867) as exemplified by gagaku (court music); (2) the Western music that entered the country and became established after it was opened to the outside world; and (3) modern songs that were the first to be created in East Asia, such as shōka and gunka (school and military songs). These three types of music each played the role required of them by the Meiji state, and they became indispensable elements of the music culture of modern Japan. Traditional music is an irreplaceable fund of original musical expression intrinsic to Japan, Western music offers a common language facilitating musical contact in international society, especially with countries of the West, and modern songs are an essential tool for unifying the Japanese people through the act of ‘singing together in Japanese’.This article examines the way in which the coexistence of these three types of music began, from the perspective of the musical expression of national identity in the state ceremonies of the Meiji era, namely imperial rites, military ceremonies and school ceremonies. Gagaku was reorganized and strengthened in the 1870s as the music of Japan's imperial rites, and it was given priority both within Japan and overseas, as the most intrinsic of Japan's genres of traditional music. The gagaku scales, defined clearly only from 1878 onwards, were used to amalgamate the musical language of Japan's state ceremonies by their use in ceremonial pieces for military and school ceremonies. This article clarifies the special role played by gagaku in post-Restoration nineteenth-century Japan.

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