scholarly journals Voices from the beginning: The early phase of musical historiography in Serbia

Muzikologija ◽  
2018 ◽  
pp. 77-90
Author(s):  
Vesna Peno ◽  
Aleksandar Vasic

The beginnings of Serbian musical historiography can be traced back to the nineteenth century. The first half of that century is marked by the work of musical amateurs, and later professionals were gradually trained. The beginnings of Serbian musical historiography can be found in articles published in memorials of singing societies, as well as in periodicals. These were portraits of composers and performers, texts on church and folk music, obituaries and other articles. The first history of music in the Serbian language appeared in 1921 in Pancevo. Its author was Ljubomir Bosnjakovic (1891-1987), composer and conductor. This short history of music is written in a popular way, as a guide-book for concert and opera audiences, and as a manual for school youth. It includes a professional approach and a free, literary expression. This study paints a picture of the initial phase of the development of musical historiography in Serbia, as well as an analysis of Ljubomir Bosnjakovic?s book.

Author(s):  
James A. Baer

This chapter provides a short history of anarchism and the ideas of Mikhail Bakunin, giving an overview of the origins and ideas of anarchism and its impact on Spain. It discusses the turbulent late nineteenth century in Spain, the growth of the Spanish Regional Federation, and the beginnings of immigration to Argentina, demonstrating the movement of people between these two countries. By 1890, Spain's anarchist movement had become fractured and weak. By the end of the decade, the federation officially dissolved. But while the movement ebbed in Spain, it began to achieve importance in Argentina, in part as a consequence of the immigration of Spanish anarchist militants.


1942 ◽  
Vol 26 (269) ◽  
pp. 112
Author(s):  
E. H. Lockwood ◽  
Charles Singer

1987 ◽  
Vol 33 (S1) ◽  
pp. 4-24 ◽  
Author(s):  
Garry K.C. Clarke

AbstractScientific investigations on valley glaciers engaged some of the greatest natural philosophers of the nineteenth century. Among these, Louis Agassiz has unique importance for he personifies the transition from the protoscientific period of de Saussure and Scheuchzer to the scientific one of Forbes and his successors. In this brief history I have attempted to connect the achievements of the past 50 years with the aspirations of our predecessors.“The air immediately above me seemed filled with rainbow-dust, for the ice-needles glittered with a thousand hues under the decomposition of light upon them, while the dark storm in the valley below offered a strange contrast to the brilliancy of the upper region in which I stood”.–Louis Agassiz“To myself, I confess that this now appears the strongest argument of all for considering the glacier as a united mass like a river, in which there is a nice equilibrium between the force of gravitation, acting by hydrostatic pressure, and the molecular resistance of the semi-solid; the degree of regularity of the law which connects the partial movements is wonderful, and I maintain that it is inexplicable except upon the viscous theory”.–James D. Forbes


1995 ◽  
Vol 22 ◽  
pp. 165-195
Author(s):  
Toyin Falola

The first edition of this little book a short History of Epe-is to be freely used…No acknowledgement is necessary nor royalty required.With the above words, Chief Theophilus Olabode Avoseh opens his second and most successful book, A Short History of Epe. His generosity was unusual, with his time to researchers, and with publications that he distributed freely and allowed others to use without seeking his permission. His unstated motto would be that knowledge should be acquired and distributed at no charge. His books on Epe and Badagri are his best known works, although he wrote several other obscure pamphlets which I have previously drawn attention to. As this is a continuation of my study on Avoseh, this essay does not intend to repeat previously published information on the author. The primary aim of the present paper is to present the text on Epe, and so to make it more accessible to a larger audience. A few additional points, made possible by the examination of the text under consideration, form the bulk of this introduction intended to shed more light on Avoseh.Epe is an Ijebu-Yoruba town, located on the banks of the lagoon. This location has always facilitated the development of a fishing industry, commerce, and agriculture. Epe was drawn into nineteenth—century Yoruba power politics and then into international diplomacy with the British when it was occupied in the mid-nineteenth century by Kosoko, the indomitable exiled ruler of Lagos. When Kosoko returned to Lagos, not all his adherents followed, and their presence produced far-reaching changes in Epe politics and society to this very day.


Author(s):  
Françoise Genevray

L'étude de la bohème est une page importante dans l'histoire des représentations de l'artiste au XIXe siècle. La décennie considérée dans cet article correspond à l'intervalle séparant l'émergence de la bohème comme motif littéraire et sa consécration définitive par les feuilletons de Henry Murger (1845-1849). La double appellation bohème / bohémien pèse encore fortement à ce stade sur la figure journalistique et littéraire de l'artiste pauvre ou de l'intellectuel démuni que l'on rencontre chez Balzac (Illusions perdues) et Champfleury (Chien-Caillou). Cependant, les travaux sur la bohème (J. Seigel, N. Heinich, A. Glinoer) s'attachent peu aux multiples textes de Sand, qui, des Lettres d'un voyageur (1834-1836) à Teverino (1845) en passant par Consuelo et La dernière Aldini, intéressent cette phase initiale du bohémianisme. La fin de l'article met l'accent sur Horace (1842), roman où la figure mythique, presque intemporelle, du bohémien, artiste indépendant et vagabond, fait place à l'analyse d'une situation historique et d'un état social contraignants, qui n'offrent guère d'avenir aux talents créateurs d'origine populaire.AbstractThe study of bohème is an important chapter in the history of nineteenth-century representations of the artist. The decade under scrutiny in the present article corresponds to the interval between the emergence of bohème as a literary motif and its definitive consecration through Henry Murger's feuilletons (1845-1849). The dual designation as bohème/bohemién still bears heavily, at this point, on the journalistic and literary figure of the penniless artist or the destitute intellectual as portrayed by Balzac (Illusions perdues) and Champfleury (Chien-Caillou). Research work on bohème (J. Seigel, N. Heinich, A. Glinoer), however, takes little account of Sand's numerous texts which, from Lettres d'un voyageur (1834-1836) to Teverino (1845) including Consuelo and La dernière Aldini, belong to this initial phase of bohemianism. The end of the article focuses on Horace (1842), a novel where the mythical, almost timeless figure of the bohemian as an independent, wandering artist gives way to an analysis of the constraints imposed by a historical situation and social conditions that offer very little scope for a promising future to creative talents of humble birth.


2015 ◽  
Vol 12 (2) ◽  
pp. 205-225 ◽  
Author(s):  
Anne Marcoline

In Les Visions de la nuit dans les campagnes (1851–1853), George Sand responded to the French government’s newly announced project of collecting the ‘popular’ or folk songs of France, with a critique of their methods of collection as perfunctory. Sand was adamant not only about a more rigorous approach to amassing the nation’s folk songs but also about the inclusion of the music with the lyrics, and her concise, insightful critique of archival methods came after nearly two decades of her own occupation with rendering music in her fiction and, more immediately, a decade focused on folk music in many of what are known as her ‘rustic’ novels. In particular, I bring to the fore in this article discussions in Sand’s expansive novel Consuelo; La Comtesse de Rudolstadt (1842–1844) which both insist upon the historical, cultural and personal significance of the preservation of folk music and navigate the tensions of preserving an art form that is fundamentally non-static and ephemeral, in order to articulate the value Sand places on musical sensibility, memory and heritage. I argue that Les Visions de la nuit dans les campagnes stands along with Sand’s fiction as an ardent defense against the loss of the musical heritage of provincial France in the hands of the state’s archivists. This article thus situates George Sand’s investment in the cultural production from the Berry region within the early history of nineteenth-century music ethnography in France, while maintaining Sand’s own understanding of her cultural production as poetic rather than scientific.


Author(s):  
Allen MacDuffie

This chapter discusses Dickens’s response to the environmental catastrophe brought about by nineteenth-century industrial modernity, focusing on the ways in which his departures from realism might register the arrival of what would become known as the ‘Anthropocene’. It assesses his place in the short history of eco-criticism, and his importance to recent eco-critical scholarship. It also attempts to take stock of the limits of Dickens’s environmental vision, including his occasional celebrations of the utopic promise of industrial technology; his tendency to blur the distinction between the moral and material valences of terms and concepts like ‘pollution’, and ‘corruption’, and his tendency to locate the solution to systemic ecological problems in individual moral behaviour.


Author(s):  
NANETTE GOTTLIEB

AbstractThe alphabet (rōmaji) has never been considered a serious contender for the national script in Japan, although at several points since the country's modern period began in 1868 supporters have made a case for its adoption on varying grounds, most notably those of education, democracy and office automation. Although such advocates have included influential scholars and bureaucrats, their combined intellectual gravitas has never been sufficient to allow their arguments for romanisation to outweigh the strong cultural traditions and ideologies of writing centred on the existing three-script writing system. Even today, in the face of pressures imposed by modern keyboard technology, discussion of the issue is not on the national agenda. This article considers the place of romanisation in Japan today and offers a short history of the rōmaji movement since the late nineteenth century.


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