The Cypriotization of Beethoven or Beethoven’s Cypriotization: The Composer’s Traces Throughout the Foundation of the “Westernized” Cypriot Music Scene

2021 ◽  
Vol 61 (1-2) ◽  
pp. 149-159
Author(s):  
Georgia Petroudi
Keyword(s):  
Twentieth Century ◽  
Chamber Music ◽  
Cultural Context ◽  
Symphony Orchestra ◽  
Cultural Institutions ◽  
Symphony Orchestras ◽  
Music Festivals ◽  
Music Scene ◽  
Concert Programming ◽  
Concert Programs

The focus of this paper is the reception of Ludwig van Beethoven’s works at the turn of the twentieth and twenty-first centuries, from the establishment of symphony orchestras and other cultural institutions. These works include symphonic and chamber music, performed in the framework of symphonic concerts as presented by the Cyprus Symphony Orchestra and chamber music as presented by chamber music festivals. This paper will shine a light onto the preserved concert programs of the orchestras, as well as other concerts that can be traced in newspapers and other printed magazines, in order to demonstrate how Beethoven’s compositions became part of the concert programming. The rapid but simultaneously abrupt growth of the cultural scene in the twentieth century, was interweaved with what kind of compositions and what composers could be included in concert programs, taking into consideration the restrictions that governed large performances such as performers’ numbers and the diversity of instrumental players, who would support the staging of certain works. The reception of Beethoven’s works is studied in the changing local political, historical, social and cultural context.

scholarly journals Sharing Music: Social and Communal Aspects of Concert-Going

2016 ◽  
Vol 9 (2) ◽  
Author(s):  
Lucy K. Dearn ◽  
Sarah M. Price
Keyword(s):  
Chamber Music ◽  
Social Interactions ◽  
Classical Music ◽  
Symphony Orchestra ◽  
Academic Community ◽  
Cultural Institutions ◽  
The Social ◽  
Aesthetic Pleasure ◽  
Motivating Factor ◽  
Selection Of

There is increasing interest in the academic community to better understand how concert audiences experience and value live classical music (Kolb 2000; Pitts 2005; Pitts et al. 2013; Radbourne, Glow & Johanson 2013). Numerous authors have recognised the social value of concert attendance, especially important for infrequent and young attendees (Brown 2002; ACE 2004), however it is often assumed that frequent attendees are motivated by purely aesthetic reasons. Similarly, it has been acknowledged that a listener’s experience of a concert is impacted by the presence of other audience members (Pitts 2005), yet there has been little research on the nature of the ‘community’ formed by a concert audience. In this paper, we wish to share our initial findings from our two collaborative doctoral awards in partnership with a regional chamber music promoter and a regional symphony orchestra. Through questionnaires, focus groups and interviews with audience members, we have sought to add additional understanding of concert attendance as a form of socialising, the short-term communal aspects of being ‘in-audience’, and the longer-term communities that surround cultural institutions, which can be seen to be displaying fan-like qualities. We aim to demonstrate that aesthetic pleasure is never the only motivating factor behind concert attendance, even for frequent attendees, as their selection of concerts and their listening experiences are always influenced by social interactions.  

Pablo Neruda's Transnational Modernist Networks: Colombo-Madrid-London-Buenos Aires (1927–1933)

2017 ◽  
Vol 12 (2) ◽  
pp. 198-225
Author(s):  
Patricia Novillo-Corvalán
Keyword(s):  
Chamber Music ◽  
Latin American ◽  
Buenos Aires ◽  
Cultural Institutions ◽  
Complex Composition ◽  
British Colonial ◽  
The One ◽  
Composition Process ◽  
In Transit ◽  
Standing Question

This article positions Pablo Neruda's poetry collection Residence on Earth I (written between 1925–1931 and published in 1933) as a ‘text in transit’ that allows us to trace the development of transnational modernist networks through the text's protracted physical journey from British colonial Ceylon (now Sri Lanka) to Madrid, and from José Ortega y Gasset's Revista de Occidente (The Western Review) to T. S. Eliot's The Criterion. By mapping the text's diasporic movement, I seek to reinterpret its complex composition process as part of an anti-imperialist commitment that proposes a form of aesthetic solidarity with artistic modernism in Ceylon, on the one hand, and as a vehicle through which to interrogate the reception and categorisation of Latin American writers and their cultural institutions in a British periodical such as The Criterion, on the other. I conclude with an examination of Neruda's idiosyncratic Spanish translation of Joyce's Chamber Music, which was published in the Buenos Aires little magazine Poesía in 1933, positing that this translation exercise takes to further lengths his decolonising views by giving new momentum to the long-standing question of Hiberno-Latin American relations.

The Bible in the Twentieth-Century Anglophone World

2018 ◽  
Author(s):  
Mark P. Hutchinson
Keyword(s):  
Twentieth Century ◽  
North Carolina ◽  
Cultural Context ◽  
Biblical Interpretation ◽  
Public Knowledge ◽  
Protestant Churches ◽  
The Bible ◽  
Public Debates ◽  
Billy Graham ◽  
Anglophone World

This chapter looks at the tensions between biblical interpretation and the political, social, and cultural context of dissenting Protestant churches in the twentieth century. It notes that even a fundamental category, such as the ‘inspiration’ of Scripture, shifted across time as the nature of public debates, social and economic structures, and Western definitions of public knowledge shifted. The chapter progresses by looking at a number of examples of key figures (R. J. Campbell, Harry Emerson Fosdick, H. G. Guinness, R. A. Torrey, and R. G. McIntyre among them) who interpreted the Bible for public comment, and their relative positions as the century progressed. Popularization of biblical interpretation along the lines of old, new, and contemporary dissent, is explored through the careers of three near contemporaries: Charles Bradley ‘Chuck’ Templeton (b. 1915, Toronto, Canada), William Franklin ‘Billy’ Graham, Jr (b. 1918, North Carolina), and Oral Roberts (b. 1918, Oklahoma).

Життєтворчість Іллі Саца у вітчизняному культурному просторі початку ХХ століття

2019 ◽  
Vol 4 (36) ◽  
Author(s):  
O. Badalov
Keyword(s):  
Twentieth Century ◽  
Cultural Context ◽  
Creative Activity ◽  
Analysis Method ◽  
Music Criticism ◽  
Comprehensive Understanding ◽  
Musical Life ◽  
Humanitarian Space ◽  
The Subject ◽  
Creative Life

The subject of the study is comprehensive understanding of the life and creativity by I. Sats – a significant figure in the national musical life of the early twentieth century.The purpose of the article is exploring the circumstances of I. Sats’ activity in the socio-cultural context of the era.The methodology of the article includes: historical and chronological method – for studying the events of the artist’s biography; source method – for research of archival materials, correspondence, reconstruction of composer’s creative life; hermeneutical analysis method – for interpretation of literary inheritance (libretto, music criticism) by I. Sats in the context of the early twentieth century; logic-generalization method – to summarize the results of the study.As a result of the research, a complex view on the multivectoral creative activity by I. Sats was formed, his significant role in the formation of new genres of musical and theatrical creativity, development of the humanitarian space of Chernihiv, Irkutsk, and Moscow was proved. The application of the results of the research in scientific, music-pedagogical and educational activities will significantly expand the established ideas about the development of the national musical culture.Key words: music for theater, Moscow Art Theater, satirical opera, I. Sats, Chernihiv region, Irkutsk music classes.

AT THE ORIGINS OF THE UZBEK MUSIC THEATER (STUDIOS, TEACHERS, FIRST EXPERIMENTS: 1920-1930S)

2021 ◽  
pp. 32-45
Author(s):  
MARFUA KHAMIDOVA
Keyword(s):  
Twentieth Century ◽  
Musical Theater ◽  
The State ◽  
Music Theater ◽  
Music Scene ◽  
National Opera ◽  
National Music

This article is about the origins of the national opera that was born in Uzbekistan in the first half of the twentieth century. It also tells about the studio training of production and performing personnel for the national music scene within the framework of the Moscow, Baku studios, the Uzbek Opera Studio at the Moscow State Conservatory; about the first experiments of staging musical plays in the Uyghur Drama Troupe, the Concert and Ethnographic Troupe of M. Kari-Yakubov and further in the State Uzbek Musical Theater.

Music in Turkey

Tempo ◽  
1951 ◽  
pp. 29-30
Author(s):  
George Weldon
Keyword(s):  
Fine Arts ◽  
Piano Concerto ◽  
Symphony Orchestras ◽  
Music Festivals ◽  
British Council ◽  
Almost All ◽  
Vaughan Williams

Turkey has now had four Anglo-Turkish Music Festivals in Ankara, organised by the British Council and the Turkish Ministry of Fine Arts. The first of these (1948) and the fourth (1951) I had the pleasure of conducting.Perhaps because of her distance from England, it is frequently not realised to what extent Turkey has advanced musically during the relatively brief space of time that she has been developing on Western musical lines. There are only two Symphony Orchestras in Turkey, at Ankara and at Istanbul, and both these are composed almost entirely of Turkish musicians. The Presidential Philharmonic Orchestra at Ankara is over seventy strong, and also provides the nucleus for the Radio Orchestra and the Opera Orchestra. For the Festival, seven rehearsals were allowed for each concert, and these were of course necessary to assimilate what were almost all new works to the repertory of the Orchestra, including Vaughan Williams' Job, Richard Arnell's Piano Concerto and Alan Rawsthorne's Symphonic Studies, quite apart from new Turkish works, which I will refer to later. The quality of orchestral playing is reasonably high, by any standard; there is a very pleasant warm string tone, and the principal woodwind players are truly excellent, the brass section is quite reliable, and I was particularly struck by the playing of the first horn.

The Only Tone for Terror: Tony Harrison and the Gorgon’s Gaze

2019 ◽  
pp. 205-220
Author(s):  
Henry Stead
Keyword(s):  
Twentieth Century ◽  
Cultural Context ◽  
Documentary Film ◽  
European History ◽  
Class Politics ◽  
Experimental Medium ◽  
The Gaze ◽  
Current Affairs ◽  
The Holocaust ◽  
Film And Video

This chapter introduces the reader to Tony Harrison’s audiovisual poetry, composed for and broadcast on British television through the late 1980s and 1990s. Harrison has to date made twelve full documentary film-poems, and one film-poem feature, entitled Prometheus (1998). They all brim with the darker side of European history, current affairs and class politics, and explore what limits of what poetry might do, and how it might do it, in the televisual age. The chapter sets Harrison’s film poetry in its cultural context by paying attention to the poet’s major influences in the experimental medium (John Grierson’s GPO film unit and early Soviet filmmaking), before homing in on his 1992 film-poem The Gaze of the Gorgon as a species of social psychotherapy. The act of gazing at the Medusa-like and thus usually petrifying image of twentieth-century atrocity is offered here not as a ‘dope’ to mankind, but a stimulant towards its cure. The film-poem draws explicitly on Nietzsche’s concept of ‘Dionysiac art’ and Simone Weil’s pacifist notion of ‘force’, and Robert Jay Lifton’s work on trauma and the holocaust. Harrison’s hugely ambitious and uniquely accessible film-poems are currently publically unavailable. Are they the ‘missing link’ in the evolution of contemporary film and video poetry?

Beyond What We Are Told Is Fact

2021 ◽  
pp. 33-66
Author(s):  
Zack Kruse
Keyword(s):  
Twentieth Century ◽  
Cultural Context ◽  
Theoretical Framework ◽  
Industrial Workers ◽  
Immigrant Community ◽  
Ayn Rand ◽  
The Mind ◽  
Key Terms

This chapter more fully introduces the theoretical framework for Kruse’s reading of Ditko’s work and includes more thorough definitions for the key terms as well as a historical and cultural context for those terms. The contextualization provided in this chapter offers a look into Ditko’s hometown Johnstown, Pennsylvania and its immigrant community of industrial workers, along with the liberal political voices such as Ayn Rand and Nathaniel Branden alongside occult and mystic voices such as H.P. Blavatsky, and how popular twentieth-century advocates of the mind power movement like Norman Vincent Peale, Dale Carnegie, and other members link each of these seemingly disparate ideas and methodologies. The result of this entanglement—in theory and in practice—is mystic liberalism.

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