scholarly journals Psychiatric and other Diseases of Russian Composers

2021 ◽  
Vol 57 (2) ◽  
pp. 223-228
Author(s):  
Darko Breitenfeld ◽  
Marko Lucijanić ◽  
Vesna Lecher-Švarc ◽  
Ivan Šimunec ◽  
Ankica Akrap ◽  
...  
Keyword(s):  
The Other ◽  
Musical Expression ◽  
Russian Composers

In this article the authors are presenting medical diseases of the Russian composers. On the first place the authors analyzed “The Five” (M. A. Balakirev, A.P. Borodin, C.A. Cui, M.P. Musorgski and N. Rimski-Korsakov). “The Five” created special and different musical expression in the contrast to the rest of the Europe. Their work is a spontaneous continuation of one tradition and also the inspiration for the other composers. The other 29 Russian composers and their patographies are presented chronologically.

Ernest Bloch's Second String Quartet

Tempo ◽  
1959 ◽  
pp. 11-16
Author(s):  
Frederick Rimmer
Keyword(s):  
String Quartet ◽  
String Quartets ◽  
The Other ◽  
Sonata Form ◽  
Musical Expression ◽  
The Right

The four string quartets* of Bloch are a convenient medium for assessing both the strength and weakness of his unusual talent, revealing, as they do, an imperfect endowment of those processes of thought and feeling from which, in the right amalgam, a masterpiece of musical expression can emerge. Only the second quartet represents him at his best. It is one of the few works where inspiration and emotion are under the control of the intellect. There are weaknesses in the other quartets largely brought about by preoccupation with cyclic procedures—a notorious and dangerous expedient for a composer unable by nature to accept the traditional usages and disciplines of sonata form.

scholarly journals Against Nature? or, Confessions of a Darwinian Modernist

2014 ◽  
Vol 75 ◽  
pp. 151-182
Author(s):  
Murray Smith
Keyword(s):  
Final Section ◽  
Aesthetic Experience ◽  
Classical Music ◽  
The Other ◽  
Musical Form ◽  
Musical Expression ◽  
Musical Sound ◽  
Musical Sounds ◽  
Western Classical Music ◽  
The Way

A few years ago I gave a paper on the aesthetics of ‘noise,’ that is, on the ways in which non-musical sounds can be given aesthetic shape and structure, and thereby form the basis of significant aesthetic experience. Along the way I made reference to Arnold Schoenberg's musical theory, in particular his notion ofKlangfarbenmelodie, literally ‘sound colour melody,’ or musical form based on timbre or tonal colour rather than on melody, harmony or rhythm. Schoenberg articulated his ideas aboutKlangfarbenmelodiein the final section of hisHarmonielehre(1911). ‘Pitch is nothing else but tone colour measured in one direction,’ wrote Schoenberg. ‘Now, if it is possible to create patterns out of tone colours that are differentiated according to pitch, patterns we call ‘melodies’…then it must also be possible to make such progressions out of the tone colours of the other dimension, out of that which we simply call “tone colour.”’ In other words, traditional melodies work by abstracting and structuring the dominant pitch characterizing a musical sound, while ‘sound colour melodies’ work, Schoenberg argues, by structuring the combined set of pitches contained in a given musical sound (the overtones as well as the dominant pitch). Schoenberg is emphatic that, although a neglected and underdeveloped possibility within Western classical music, ‘sound colour melody’ is a perfectly legitimate and viable form of musical expression; indeed for Schoenberg it is a musical form with enormous potential.

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.

A Thematic Catalogue of the Orchestral Works of Giuseppe Matteo Alberti (1685–1751)

1976 ◽  
Vol 13 ◽  
pp. 1-26
Author(s):  
Michael Talbot
Keyword(s):  
The Other ◽  
Musical Expression ◽  
Orchestral Works

His contemporaries did not find Giuseppe Matteo Alberti a composer out of the ordinary. In the diary of the Bolognese apothecary Ubaldo Zanetti where his death is noted he is described prosaically as ‘secondo violino e compositore riguardevole di musica’. In England, where his music was especially well disseminated as a result of its publication by Walsh in London and Le Cène in Amsterdam, it was regarded as fodder for less advanced players. Burney remarks that his twelve Sinfonie a quattro, ‘being slight and easy, were much played in England about fifty years ago, particularly in provincial concerts’. Less kindly, Avison placed him among the lowest class of composers (his companions in ignominy being Vivaldi, Tessarini and Locatelli) – those ‘whose compositions, being equally defective in various harmony and true invention, are only a fit amusement for children’. In his Remarks on Mr. Avison's Essay on Musical Expression William Hayes did his best to salvage Vivaldi's reputation - at the expense of the other three composers, whose ‘servile, mean copy’ he contrasted with Vivaldi's ‘original’.

Béla Bartók: An Estimate and an Appreciation

Tempo ◽  
1945 ◽  
Vol -3 (13) ◽  
pp. 236-240
Author(s):  
Ernest Chapman
Keyword(s):  
Nineteenth Century ◽  
Art Music ◽  
The Other ◽  
Bela Bartok ◽  
Racial Consciousness ◽  
Musical Expression ◽  
History Of ◽  
The One

The history of nineteenth-century Hungarian art music, like that of England, is mainly one of foreign domination. Although Liszt and his chief national contemporary Ferenc Erkel both gave musical expression to racial consciousness—the one in his employment of popular gypsy airs, the other in a series of patriotic operas—the accumulated weight of German tradition (Liszt) and Italian operatic supremacy (Erkel) was too heavy suddenly to be overthrown. The results, viewed from the standpoint of an indigenous national art, cannot be considered important.

‘STRUGGLING BUT FAILING TO MASK’: THE MUSIC OF MARK R. TAYLOR

Tempo ◽  
2013 ◽  
Vol 67 (265) ◽  
pp. 2-15
Author(s):  
David Maw
Keyword(s):  
The Other ◽  
Musical Expression ◽  
Controlled Processes ◽  
Initial Characterization ◽  
The One

AbstractThe music of Mark R. Taylor (b. 1961) is as yet little known. In part, this derives from his unusual profile in the current musical scene. The initial characterization of his work given in this article takes his own remarks from a note inscribed at the end of a piano fragment from the mid-1990s as a framework. From his earliest compositions onwards, the handling of musical materials has depended on strictly controlled processes that are conveyed through a notable ‘simplicity of presentation’. This gives the work a semblance of postmodernism; but Taylor distances himself from the allusiveness, playfulness and irony of this movement, preferring to recognize a ‘personal expressivity’ characteristic of ‘the better kind of postmodernism’. These opposing tendencies to objectivity on the one hand and to expressivity on the other are components of a dialectical musical expression in which the music is ‘struggling but failing to mask profound inner turmoil’.

scholarly journals Davies and Levinson on the Musical Expression of Emotion

2021 ◽  
Vol 21 (61) ◽  
pp. 71-92
Author(s):  
David Collins
Keyword(s):  
Dynamic Properties ◽  
Human Behaviour ◽  
The Other ◽  
Artistic Expression ◽  
Musical Expression ◽  
Expression Of Emotion ◽  
Music And Emotion ◽  
Jerrold Levinson

Stephen Davies and Jerrold Levinson have each offered accounts of how music can express emotions. Davies’s ‘Appearance Emotionalism’ holds that music can be expressive of emotion due to a resemblance between its dynamic properties and those of human behaviour typical of people feeling that emotion, while Levinson’s ‘Hypothetical Emotionalism’ contends that a piece is expressive when it can be heard as the expression of the emotion of a hypothetical agent or imagined persona. These have been framed as opposing positions but I show that, on one understanding of ‘expressing’ which they seem to share, each entails the other and so there is no real debate between them. However, Levinson’s account can be read according to another—and arguably more philosophically interesting— understanding of ‘expressing’ whereas Davies’s account cannot as easily be so read. I argue that this reading of Hypothetical Emotionalism can account for much of our talk about music in terms of emotions but must answer another question—viz., how composers or performers can express emotions through music—to explain this relation between music and emotion. I suggest that this question can be answered by drawing on R. G. Collingwood’s theory of artistic expression.

Concentration and tension

1991 ◽  
Vol 8 (2) ◽  
pp. 167-179 ◽  
Author(s):  
Martin Gellrich ◽  
Richard Parncutt
Keyword(s):  
Piano Music ◽  
The Body ◽  
The Other ◽  
Musical Expression ◽  
Emotional Involvement ◽  
Music Practice ◽  
Complete Relaxation ◽  
And Performance ◽  
Different Parts

Relaxation clearly plays an important role in music practice and performance. However complete relaxation is neither possible nor musically appropriate. A certain degree of tension is always necessary to enable a suitable level of concentration and musical expression.Concentration inevitably produces muscular reactions in different parts of the body. These cause problems when they occur in mutually opposing combinations. Common locations for such tension knots or blocks in music practice are the back of the neck, the wrists, and the hands (grasping reflex). Causes include overconcentration, emotional involvement in the music, fear of making mistakes in difficult passages, and insufficiently practised playing movements. The described effects are illustrated by reference to the practice and performance of a piece of piano music.The article is based on two lectures given in 1987, one at an ESTA conference in Germany, and the other at an EPTA conference in Yugoslavia.

Stromatoporoids from the Famennian (Devonian) Wabamun Formation, Normandville oilfield, north–central Alberta, Canada

1988 ◽  
Vol 62 (03) ◽  
pp. 411-419 ◽  
Author(s):  
Colin W. Stearn
Keyword(s):  
Patch Reef ◽  
Abundant Species ◽  
The Other ◽  
North Central ◽  
Biotic Crisis

Stromatoporoids are the principal framebuilding organisms in the patch reef that is part of the reservoir of the Normandville field. The reef is 10 m thick and 1.5 km2in area and demonstrates that stromatoporoids retained their ability to build reefal edifices into Famennian time despite the biotic crisis at the close of Frasnian time. The fauna is dominated by labechiids but includes three non-labechiid species. The most abundant species isStylostroma sinense(Dong) butLabechia palliseriStearn is also common. Both these species are highly variable and are described in terms of multiple phases that occur in a single skeleton. The other species described areClathrostromacf.C. jukkenseYavorsky,Gerronostromasp. (a columnar species), andStromatoporasp. The fauna belongs in Famennian/Strunian assemblage 2 as defined by Stearn et al. (1988).

D. The Line Spectrum of Pulsating Variable Stars

1967 ◽  
Vol 28 ◽  
pp. 207-244
Author(s):  
R. P. Kraft
Keyword(s):  
Variable Stars ◽  
The Other ◽  
Line Spectrum ◽  
Afternoon Session ◽  
Empirical Information ◽  
Pulsating Variable Stars ◽  
Almost Continuous ◽  
Informal Approach

(Ed. note:Encouraged by the success of the more informal approach in Christy's presentation, we tried an even more extreme experiment in this session, I-D. In essence, Kraft held the floor continuously all morning, and for the hour and a half afternoon session, serving as a combined Summary-Introductory speaker and a marathon-moderator of a running discussion on the line spectrum of cepheids. There was almost continuous interruption of his presentation; and most points raised from the floor were followed through in detail, no matter how digressive to the main presentation. This approach turned out to be much too extreme. It is wearing on the speaker, and the other members of the symposium feel more like an audience and less like participants in a dissective discussion. Because Kraft presented a compendious collection of empirical information, and, based on it, an exceedingly novel series of suggestions on the cepheid problem, these defects were probably aggravated by the first and alleviated by the second. I am much indebted to Kraft for working with me on a preliminary editing, to try to delete the side-excursions and to retain coherence about the main points. As usual, however, all responsibility for defects in final editing is wholly my own.)

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