“constant sources of experience and tension” — Bartók's influence on transylvanian composers

2007 ◽  
Vol 48 (1-2) ◽  
pp. 171-182
Author(s):  
István Németh G.
Keyword(s):  
Folk Music ◽  
Art Music ◽  
The 1950S

Abstract The paper examines how members of the “Cluj/Kolozsvár School” of composition, the disciples of Sigismund Toduţă, Gábor Jodál, Max Eisikovits and János Jagamas dealt with the influence of Bartók. One can find traces of Bartókian influence in the work of Transylvanian composers beginning from the 1950s, a series of hommage-compositions being written on the occasion of Bartók-anniversaries in 1965, 1970 and especially 1981. The last piece mentioned was composed in 1998. The paper focuses on the cases of five individual composers: Cornel Ţăranu, Ede Terényi, Péter Vermesy, György Orbán and Boldizsár Csíky. In addition to the analysis of certain compositions à la Bartók written by them, their declarations as well as the role of Ernő Lendvai's theories are taken into consideration. A distinction is made among (1) the arrangements of folk music melodies collected by Bartók, (2) the hommage-pieces containing quotations from Bartók's art music, and finally, (3) those longer or shorter periods in a composer's career in which Bartók's influence can be detected in a whole series of compositions.

Talking Italian blues: Roberto Leydi, Giovanna Marini and American Influence in the Italian folk revival, 1954–66

Popular Music ◽  
2019 ◽  
Vol 38 (2) ◽  
pp. 317-334
Author(s):  
Rachel E. Love
Keyword(s):  
Foreign Policy ◽  
Folk Music ◽  
Cultural Influences ◽  
Political Context ◽  
The Political ◽  
Folk Revival ◽  
The 1950S ◽  
Musical Traditions ◽  
Postwar Italy

AbstractThis article examines how Roberto Leydi and Giovanna Marini, two important figures of the Italian ‘folk revival’, negotiated diverse American cultural influences and adapted them to the political context of Italy in the 1950s and 1960s. I argue that American musical traditions offered them valuable models even as many Italian intellectuals and artists grew more critical of US society and foreign policy. To explore this phenomenon in greater depth, I take as examples two particular moments of exchange. I first discuss American folklorist Alan Lomax's research in Italy and its impact on Leydi's career. I then examine how Marini employed American talking blues in order to reject US society in her first ballad, Vi parlo dell'America (I Speak to You of America) (1966). These two cases provide specific examples of how American influence worked in postwar Italy and the role of folk music in this process.

scholarly journals “Our song!” Nationalism in folk music research and revival in socialist Czechoslovakia

2015 ◽  
Vol 56 (4) ◽  
pp. 397-405 ◽  
Author(s):  
Matěj Kratochvíl
Keyword(s):  
National Identity ◽  
Folk Music ◽  
Critical Analysis ◽  
Traditional Music ◽  
Folk Song ◽  
Musical Identity ◽  
Folk Music Revival ◽  
Music Research ◽  
The 1950S

In the Czechoslovakia of the 1950s, traditional folk music was officially presented as the most important resource of national musical identity. Folk- or folk-inspired music was ubiquitous. Although this intensity had subsided in the following decades, the role of folk music as a symbol of national identity remained strong until the end of the communist rule in 1989. While the ideology of nationalism used folk music as its tool, it also influenced the way this music was collected, researched, and presented. The article presents examples from two closely related areas to document this phenomenon: folk music research and folk music revival. A closer look reveals how the idea of state-promoted nationalism influenced the ways researchers presented their findings, how they filtered out material that was deemed unsuitable for publication, and how traditional music was revived on stage or in media by folk music and dance ensembles. Critical analysis of research materials and audiovisual documents from the 1950s and 1960s will show how censorship accompanied a folk song from its collection in the field, through publication, to a stylized production on stage or in film.

Ancient Treasures, Modernized

2017 ◽  
Author(s):  
Tanya Merchant
Keyword(s):  
Folk Music ◽  
Women Musicians ◽  
Art Music ◽  
International Standards ◽  
Soviet Period ◽  
Western Art ◽  
Role Of Women ◽  
Musical Literacy ◽  
Former Soviet Republics

This chapter examines the role of women in the arranged folk music in Uzbekistan in the post-Soviet era. It looks at the rhetoric of Ro'za opa and her students, which focuses much more on musical literacy, virtuosity, and international standards. These priorities stem from the emancipatory impetus, during the Soviet period, to include women in the ethnonational project of creating folk orchestras. The chapter begins with a discussion of the assumptions of youth and femininity associated with certain dutar ensembles. It then traces the origins of dutar ensembles as they share history with similar ensembles from other former Soviet republics. It also presents the accounts of three prominent women musicians of the Soviet period: Faizila Shukurova, Firuza Abdurahimova, and Ro'zibi Hodjayeva. Finally, it considers the importance of Western art music to Tashkent's soundscape, and role that women play in this.

The Lattimore case

2017 ◽  
Author(s):  
Angela Penrose
Keyword(s):  
Cold War ◽  
Internal Security ◽  
Johns Hopkins University ◽  
The Usa ◽  
The 1950S ◽  
Witch Hunt

Edith’s career and collaboration with Fritz Machlup at Johns Hopkins University flourished and she began work on the growth of the firm, and studied the Hercules Powder Company. As Cold War tensions increased during the 1950s she and Penrose became involved in the defence of their friend and colleague Owen Lattimore who was named as the top Soviet spy by Senator McCarthy. The chapter covers the persecution of Lattimore, his trials, the role of Judge Luther Youngdahl, and the operation of his defence fund. Other friends of E. F. Penrose became victims of the anti-communist ‘witch hunt’, he grew increasingly disillusioned with the USA, and determined he must leave. In 1953 Edith and Penrose testified before the Senate Internal Security Subcommittee. They were also investigated by the FBI. After five years the case against Lattimore was dropped. Edith’s father died and her brother Harvey was killed in an air accident.

scholarly journals Reform in the international food aid regime: the role of consensual knowledge

1992 ◽  
Vol 46 (1) ◽  
pp. 225-264 ◽  
Author(s):  
Raymond F. Hopkins
Keyword(s):  
Economic Development ◽  
International Organizations ◽  
Epistemic Community ◽  
Food Aid ◽  
Local Production ◽  
Short Term ◽  
The 1950S ◽  
Food Imports

The principles and norms adopted by the regime governing food aid in the 1950s have changed substantially during the subsequent three decades. Explaining the changes necessarily includes analyzing the efforts of an international epistemic community consisting of economic development specialists, agricultural economists, and administrators of food aid. According to the initial regime principles, food aid should be provided from donors' own surplus stocks, should supplement the usual commercial food imports in recipient countries, should be given under short-term commitments sensitive to the political and economic goals of donors, and should directly feed hungry people. As a result of following these principles, the epistemic community and other critics argued, food aid often had the adverse effects of reducing local production of food in recipient countries and exacerbating rather than alleviating hunger. The epistemic community (1) developed and proposed ideas for more efficiently supplying food aid and avoiding “disincentive” effects and (2) pushed for reforms to make food aid serve as the basis for the recipients' economic development and to target it at addressing long-term food security problems. The ideas of the international epistemic community have increasingly received support from international organizations and the governments of donor and recipient nations. Most recently, they have led to revisions of the U.S. food aid program passed by Congress in October 1990 and signed into law two months later. As the analysis of food aid reform demonstrates, changes in the international regime have been incremental, rather than radical. Moreover, the locus for the change has shifted from an American-centered one in the 1950s to a more international one in recent decades.

scholarly journals Retrospectives Whatever Happened to the Cambridge Capital Theory Controversies?

2003 ◽  
Vol 17 (1) ◽  
pp. 199-214 ◽  
Author(s):  
Avi J Cohen ◽  
G. C Harcourt
Keyword(s):  
Business Cycle ◽  
Endogenous Growth ◽  
Path Dependence ◽  
Real Business Cycle ◽  
Capital Theory ◽  
Economic Process ◽  
The 1950S ◽  
Simple Models

We argue that the Cambridge capital theory controversies of the 1950s to 1970s were the latest in a series of still-unresolved controversies over three deep issues: explaining and justifying the return to capital; Joan Robinson's complaint that, due to path dependence, equilibrium is not an outcome of an economic process and therefore an inadequate tool for analyzing accumulation and growth; and the role of ideology and vision in fuelling controversy when results of simple models are not robust. We predict these important and relevant issues, latent in endogenous growth and real business cycle theories, will erupt in future controversy.

Intermedia – (Not Only) The Visual in the Hypertext of Contemporary Art

2018 ◽  
Vol 2 (1) ◽  
Author(s):  
Mladen Mladenov ◽  
Keyword(s):  
New Media ◽  
Contemporary Art ◽  
Social Engagement ◽  
Artistic Expression ◽  
Social Phenomenon ◽  
Distinctive Features ◽  
Aesthetic Practice ◽  
The Common ◽  
The 1950S

The article presents some historical and theoretical aspects defining intermedia as an aesthetic, cultural and social phenomenon. Its appearance in the 1950s and 1960s was triggered by the changed attitude towards art in the conditions of growing technology in society and the blurring of boundaries between different arts. The concept of intermedia is created by a group of artists who unite under the common name Fluxus, meaning „ flow of life“. Group Manifesto – Dick Higgins, composer, poet, publisher - formulates intermedia as a merger into a „ flow“ of different ways of artistic expression and means of communication. The most important distinctive features of intermedia – accessibility, non-commerciality, freedom, social engagement, compliance of modern lifestyle and the new media in it are traced. It explains the role of this aesthetic practice as an instrument in creating the hypertext of contemporary art.

Landmarks in the Study of Improvisation

2014 ◽  
Author(s):  
Bruno Nettl
Keyword(s):  
Middle East ◽  
Folk Music ◽  
Research Study ◽  
Art Music ◽  
Jazz Improvisation ◽  
Single Model ◽  
Oral Transmission ◽  
Western Art ◽  
Music Making ◽  
History Of

Historically, research on improvisation has been related to the discovery of non-Western musics, folk music, and jazz, and has depended on the development of recording techniques for its principal kinds of data. The concept of improvisation is not unitary, but includes many vastly different kinds of un-notated music-making, which casts some doubt on the efficacy of the term itself. In the history of Western art music, improvisation was originally ignored or seen as craft rather than art, but since ca. 1980 it has occupied increased attention. The association of improvisation with oral transmission has sometimes been misunderstood. The most successful standard research study has been the comparison of performances based on a single model, for example, raga in India, maqam and dastgah in the Middle East, or a series of chord changes or a tune in jazz. Improvisation as a concept—for example, as a metaphor of freedom—has been important in recent research.

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