scholarly journals Vlach vocal traditional music in the region of Homolje from the legacy of Olivera Mladenovic

Muzikologija ◽  
2020 ◽  
pp. 235-256
Author(s):  
Maja Radivojevic
Keyword(s):  
Current Practice ◽  
Traditional Music ◽  
Ethnic Community ◽  
Musical Culture ◽  
Musical Life ◽  
Continuity And Change ◽  
Partial Picture

Olivera Mladenovic researched Vlach culture in the 1980s. Recordings preserved in the archive of the Institute of Ethnography SASA also contain examples of vocal practice of the Vlachs from Homolje region (Northeast Serbia). The material was recorded on six audio cassettes, which were later digitized. As ethnomusicological studies of this area are very scarce, the recorded material certainly represents a valuable testimony to the musical culture of the Vlach ethnic community. The aim of this article is to determine the particularities of the recorded examples, based on ethnomusicological analysis and transcription, as well as to isolate the vocal genres found on these audio cassettes. Vocal examples from the recordings of Olivera Mladenovic will be paired with existing examples from the literature, as well as examples of current practice recorded by the author of this article. In this way, at least a partial picture of the Vlachs? musical life in Homol?? from the 1980s to the present day will be established, and the comparison will allow us to observe continuity and change.

scholarly journals Simon Lyra and the Lutheran liturgy in the second half-century of the Reformation in Breslau

Muzyka ◽  
2020 ◽  
Vol 65 (1) ◽  
pp. 3-18
Author(s):  
Allen Scott
Keyword(s):  
Sixteenth Century ◽  
Sacred Music ◽  
Musical Culture ◽  
Musical Life ◽  
Lutheran Church ◽  
The Reformation ◽  
Musical Works ◽  
Printed Music ◽  
Congregational Participation ◽  
The Church

In 1593, Simon Lyra (1547-1601) was appointed cantor of the St. Elisabeth Church and Gymnasium in Breslau/Wrocław. In the same year, he drew up a list of prints and manuscripts that he considered appropriate for teaching and for use in Lutheran worship. In addition to this list, there are six music manuscripts dating from the 1580s and 1590s that either belonged to him or were collected under his direction. Taken together, Lyra’s repertoire list and the additional manuscripts contain well over a thousand items, including masses, motets, responsories, psalms, passions, vespers settings, and devotional songs. The music in the collections contain all of the items necessary for use in the liturgies performed in the St. Elisabeth Church and Gymnasium in the last quarter of the sixteenth century. This list provides valuable clues into the musical life of a well-established Lutheran church and school at the end of the sixteenth century. When studying collections of prints and manuscripts, I believe it is helpful to make a distinction between two types of use. Printed music represents possibilities. In other words, they are collections from which a cantor could make choices. In Lyra’s case, we can view his recommendations as general examples of what he considered liturgically and aesthetically appropriate for his time and position. On the other hand, manuscripts represent choices. The musical works in the six Bohn manuscripts associated with Lyra are the result of specific decisions to copy and place them in particular collections in a particular order. Therefore, they can provide clues as to what works were performed on which occasions. In other words, manuscripts provide a truer picture of a musical culture in a particular location. According to my analysis of Lyra’s recommendations, by the time he arrived at St. Elisabeth the liturgies, especially the mass, still followed Luther's Latin "Formula Missae" adopted in the 1520s. The music for the services consisted of Latin masses and motets by the most highly regarded, international composers of the first half of the sixteenth century. During his time as Signator and cantor, he updated the church and school choir repertory with music of his contemporaries, primarily composers from Central Europe. Three of these composers, Gregor Lange, Johann Knoefel, and Jacob Handl, may have been his friends and/or colleagues. In addition, some of the manuscripts collected under his direction provide evidence that the Breslau liturgies were beginning to change in the direction of the seventeenth-century Lutheran service in which the "Latin choir" gave way to more German-texted sacred music and greater congregational participation.

scholarly journals SOUTH KOREAN TV SERIES IN THE SERVICE OF MUSIC EDUCATION

2020 ◽  
Vol 16 (3) ◽  
pp. 133-156
Author(s):  
SERGEI A. AIZENSHTADT ◽  
Keyword(s):  
Music Education ◽  
Classical Music ◽  
Symphony Orchestra ◽  
Working Environment ◽  
The South ◽  
Musical Culture ◽  
Musical Life ◽  
Modern Culture ◽  
South Korean ◽  
Serial Films

In this article we study forms and methods used to popularize western classical music in a South Korean TV series. The main subject of analysis is the TV series Beethoven Virus (2008) devoted to a symphony orchestra in a fictional South Korean city. The main purpose of this TV series is the promotion of classical music, and the author of the article comes to the conclusion that its popularity among Korean audience is explained by its engaging, convincing artistic methods with respect to national cultural specificities, which were used to show the working environment of professional musicians. The series reveals real problems of modern Korean musical culture: “crisis of overproduction” of academic musicians; discrimination of graduates of South Korean musical educational institutions; prejudice that classical music is only for the rich. The author emphasizes that immersion into the atmosphere of professional musical life allows the viewers to apprehend the educational value of the TV series more clearly. Beethoven Virus demonstrates traditional Korean attitude towards European classical music determined by the Confucian roots; and at the same time, it depicts changes in the modern culture conditioned by gradual departure from traditional values. The two main characters — the young and the old conductors — symbolize the old and the new in the Korean musical culture. They interact in a traditional eastern way: the new spirit does not openly conflict with the established convention, but sprouts from it. The author suggests that the music is explained in the film through emotional associations which let the viewers fully perceive the musical idea. The author believes that this method, compared to other ways widespread in the West, corresponds to the nature of the specific sensation of European classical music associated with Confucian cultural roots. An opinion is expressed that methods of music education used in Beethoven Virus were chosen in accordance to the South Korean serial genre traditions: leitmotivs in the soundtrack and gesture clichés are of particular significance here. The author suggests that the South Korean experience of promoting musical classics by means of serial films can be used abroad — given that the differences in mentality and realities of musical life are taken into account.

scholarly journals TRADITIONAL MUSIC AND POETRY OF THE TATARS-MISHARS: MODERN FORMS OF EXISTENCE

2019 ◽  
Vol 7 (6) ◽  
pp. 477-480
Author(s):  
Svetlana Vladimirovna Karkina ◽  
Nelya Khabibullovna Nurgayanova ◽  
Manpreet Kaur
Keyword(s):  
Traditional Music ◽  
Future Generations ◽  
Distribution Area ◽  
Original Material ◽  
Musical Culture ◽  
Language Groups ◽  
Western Group ◽  
Ulyanovsk Region ◽  
Middle Volga ◽  
The Right

Purpose: The Tatars-Mishars are an ethnographic group of the middle Volga and Ural Tatars. Their speech is based on a special dialect and belongs to the Western group of the Tatar language. The Tatars-Mishars were settled on the Right Bank of the Volga in Mordovia, Chuvashia, Tatarstan, Bashkortostan, as well as in the Nizhny Novgorod, Penza, Ryazan, Samara, Saratov, and Ulyanovsk regions. The Mishar sub-ethnic group is divided into three ethnographic components – Sergach, Temnik, and lambir, each of which has its own linguistic and ethnocultural features. The object of our attention is the traditional musical and poetic creativity of the Tatar-Mishars of the Ulyanovsk region, which is a unique layer, characterized by the preservation and to date the existence of original folklore genres. Methodology: In the article the analysis of the materials obtained by the authors during expeditions in the Ulyanovsk region, where the ignorance relating to the khvalynskoe, Karsunsky and melekessky language groups. As a result of research various and interesting, to some extent, the original material was recorded. When collecting information, the instruction on collecting musical folklore was used for detailed certification of the recorded sample, which allowed to identify the distribution area, local features, the picture of the modern functioning of the works of traditional musical and poetic creativity. Results: In general, the study showed that the traditional musical culture of the Tatar-Mishars of the Ulyanovsk region, is a distinctive layer, characterized by a variety of genres and styles. This lyrical lingering and short tunes, takmaks and lyric-epic genres baits, munajat. Application: Therefore, the study and preservation for future generations of musical and poetic folklore of the Tatar-Mishars, which has inexhaustible wealth, will allow feeling the original and universal foundations of spirituality of the Tatar people and its culture.

scholarly journals MUSICAL LIFE OF CHUVASHIA IN THE EARLY 1930s

2020 ◽  
Vol 1 (3) ◽  
pp. 98-105
Author(s):  
Andrey V. Mankov
Keyword(s):  
Cultural Revolution ◽  
Musical Culture ◽  
Musical Life ◽  
Radio Broadcasting ◽  
Symphonic Orchestra ◽  
15Th Anniversary ◽  
The Republic ◽  
Soviet Music ◽  
The Cultural Revolution

The article studies the main directions of musical life of Chuvashia at the beginning of the Cultural Revolution in the USSR in the 1930s. The issues of the journal “Soviet music” were used as a historic source. The article, in particular, tells about the achievements of the Republic in creating the national culture within the framework of the Cultural Revolution which were demonstrated in the days of celebrating in 1935 the 15th anniversary of the Chuvash autonomous region formation. At this, the author pays special attention to the role of Cheboksary music college in forming the musical arts of the region and which became the center of musical life in Chuvashia. The article describes the creative activities of the leading music workers and composers of the Republic of the studied period (S.M. Maksimov, V.M. Krivonosov). The conclusion is made about undoubted successes in the development of musical culture of Chuvashia in the early 1930s. It adopted more modern forms at those times. Thus, in these years in the Chuvash territory the first major musical compositions in the Chuvash language are created. In the republic there were a symphonic orchestra and a state choir, music radio broadcasting was created. Composers from Chuvashia became known both at home and abroad where their songs were performed. Composers actively studied the Chuvash musical folklore.

Music as a Catalyst for Improved Livelihood

2011 ◽  
pp. 83-90
Author(s):  
Rosaleen O. B. Nhlekisana
Keyword(s):  
World Wide Web ◽  
World Wide ◽  
Digital Camera ◽  
Traditional Music ◽  
Musical Culture ◽  
Recording Studio ◽  
Group Culture ◽  
Copyright Laws ◽  
The World ◽  
The Media

This chapter showcases how a traditional music group, Culture Spears, employs ICTs to promote, preserve, and sell musical culture. Their songs have messages of love affairs, adultery, diseases, and marriage. They use the World Wide Web, websites, and others gadgets such as digital camera, CD, DVD, and video to sell their products worldwide. Culture Spears’ existential goal is mainly that of entertainment and education. Being a group from rural and humble poor background, they did not have instruments when they started. They used traditional utensils to produce sound and balls to beat drums. They could not get a loan from any bank as banks discriminate in terms of economic standing, and it was difficult for them to get sponsorship to record their pieces. Their first cassette was self-recorded using a borrowed radio. The group experienced harsh teething problems but the media, especially television advertised them well and now their sales are very impressive. They have a recording studio. Current challenges include piracy, copying, and reproducing their music from computers to sell, and there seems to be no stringent copyright laws in Botswana. This negatively affects their sales. Another problem is the issue of royalties. Promoters cheat them in many respects.

scholarly journals Musik zwischen Nation Building und Internationalität. Italien um 1900

2020 ◽  
Author(s):  
Markus Engelhardt
Keyword(s):  
Music Education ◽  
Nation Building ◽  
Musical Culture ◽  
Musical Life ◽  
International Consensus ◽  
National Music ◽  
Musical Genres ◽  
Different Levels

In this article German contributions to periodicals of the International Musicological Society focussing on Italian musical life in Italy around 1900 are analyzed as testimonies of Italy’s new importance as a music nation at that time. The German perspective on musical culture in the Kingdom of Italy follows hierarchies that are closely linked to political and economic rivalry between the two nations. At different levels (music education, formation of composers and musicians, local repertories, musical genres) well-known concepts of German supremacy can be recognized. Nevertheless, the national music debates include also phenomena which strongly confirm music as art of great potential for international consensus.

scholarly journals Dokumenty życia społecznego z kolekcji księgarza Mariana Krzyżanowskiego jako źródło do badań nad życiem muzycznym oraz teatralnym Krakowa i Warszawy w XIX i XX wieku

2019 ◽  
Vol 64 ◽  
pp. 115-129
Author(s):  
Adrian Uljasz
Keyword(s):  
20Th Century ◽  
Social Life ◽  
Classical Music ◽  
Musical Culture ◽  
Musical Life ◽  
Valuable Source ◽  
Cultural Events ◽  
19Th And 20Th Century

From the Collection of the Bookseller Marian Krzyżanowski as a Source of Research on the Musical and Theatrical Life of Cracow and Warsaw in the 19th and 20th Century Programs and posters of theatre performances and concerts, as well as similar prints, serve as a valuable source of research on the tradition of the theatrical and musical life of particular cities. The Scientific Library of the PAAS and the PAS in Cracow contains materials of this kind referring to cultural events in Cracow and Warsaw, which were collected by the Cracow bookseller, antiquarian and publisher Marian Krzyżanowski, a son of the Cracow bookseller and publisher Stanisław Andrzej Krzyżanowski. These are posters from classical music concerts, theatrical programs and invitations. The documents were prepared in the years 1884–1955. A large part of them is the documentation of the activity of the concert office run by Stanisław Krzyżanowski beside the bookshop from 1870. These prints are analysed in the paper. The overview of social life documents was preceded by information about Stanisław Andrzej Krzyżanowski and his son Marian and their activity in such fields as the animation of musical culture.

Cosmopolitan, National, and Regional Identities in Eighteenth-Century European Musical Life

2011 ◽  
pp. 208-227
Author(s):  
William Weber
Keyword(s):  
Eighteenth Century ◽  
Political Process ◽  
Cultural Authority ◽  
Musical Culture ◽  
Musical Life ◽  
Concert Programs

This article determines how scholars have defined cosmopolitanism. It suggests how this concept can be applied to musical life, and studies how geography is played out with cultural authority. It compares how composers from various regions held concerts in Paris, Vienna, London, and Leipzig during the 1780s by referring to the texts of the concert programs. The discussion shows that concerts were relevant in opera life, and that cosmopolitanism in musical culture should be viewed as a political process.

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