Studies in Blackfoot Indian Musical Culture, Part IV: Notes on Composition, Text Settings, and Performance

<p>Writers on 18th-century musical ornamentation have traditionally focused on the execution of notated ornaments, and on certain disputes arising from ambiguous and contradictory primary sources. Less attention has been given to the addition of ornaments where not prescribed by the composer. Such ornaments can be short, defined, patterns such as trills, turns, and mordents, or larger measured or unmeasured additions known as diminutions, divisions, or passaggi. Additions of this nature are only in the rarest of cases compulsory. However, the practice of more or less spontaneous embellishment by the performer was so integral to pre-19th-century musical culture that this must have had a significant effect on composition. The scope of this thesis is loosely defined by its titular composers, covering the period between Georg Muffat‟s later publications in the last years of the 17th century and G.P. Telemann‟s death in 1767. Both lived and worked in the German states, a region which had traditionally looked to Italian models of composition and performance. This period saw a flowering of German composition into its own unique and diverse genre which integrated aspects of various styles, most prominently Italian and French music. This thesis centres on stringed instruments, but is directly relevant to woodwind players. Many aspects are also transferrable to the keyboard and to vocal music; however, these musicians will find a large volume of more targeted research elsewhere.</p>

ORGANIZATION AND CONDUCT OF FOREIGN TOURS OF THE MOSCOW STATE SYMPHONY ORCHESTRA HEADED BY V. B. DUDAROVA IN THE 1970S

History and Archives ◽

10.28995/2658-6541-2021-3-65-75 ◽

2021 ◽

pp. 65-75

Author(s):

Mikhail A. Andreev ◽

Keyword(s):

Symphony Orchestra ◽

Point Of View ◽

National Program ◽

Musical Culture ◽

Musical Works ◽

The Status ◽

The Media ◽

Soviet Ideology ◽

And Performance ◽

General Range

The article considers the reasons for foreign tours of the Moscow State Symphony Orchestra’s headed by V.B. Dudarova in the 1970s, the specifics of those tours, as well as their results both from the point of view of popularizing symphonic music and from the point of view of popularizing Soviet ideology abroad. Among the most important reasons for the organization of the first foreign tours by the Moscow State Symphony Orchestra of V.B. Dudarova in the 1970s, one can mention the active participation of the orchestra in numerous Soviet festivals, competitions for young performers, the preparation and performance of new works by Soviet composers, the expansion of the repertoire of performed musical works, the work with foreign conductors, Also the participation of V.B. Dudarova as a guest conductor in foreign tours with other orchestras, the musical community positive reviews and reports on the work of the orchestra as well as increasing the status and prestige of the orchestra in the general range of symphony orchestras of the USSR. The organization and conduct of foreign tours in the Polish People’s Republic and the GDR included the briefing, the development of a concert program, which provided for concerts in several major cities with a developed musical culture, as well as in the capitals of the countries selected for the foreign tour. In addition to the concerts themselves, the organization of the tour included a meeting of the Orchestra’s direction with the cultural intelligentsia of the People’s Republic of Poland and the GDR after each of the concerts, advertising concerts and the orchestra’s work in the media of the People’s Republic of Poland and the GDR, selling souvenirs and recordings of the orchestra. Thus, the concerts of the Moscow State Symphony Orchestra conducted by V.B. Dudarova were only a part, or rather one of the instruments, of the national program of Soviet propaganda and the maintenance of a favorable image of the USSR abroad.

“Don't Sing It on a Feast Day”: The Reception and Performance of Western Sacred Music in Soviet Russia, 1917–1953

Journal of the American Musicological Society ◽

10.1525/jams.2012.65.1.67 ◽

2012 ◽

Vol 65 (1) ◽

pp. 67-111

Author(s):

Pauline Fairclough

Keyword(s):

Soviet Union ◽

Sacred Music ◽

Cultural Appropriation ◽

Careful Selection ◽

Musical Culture ◽

The Soviet Union ◽

Bourgeois Culture ◽

And Performance ◽

Soviet Russia ◽

Selection Of

Abstract Despite official hostility to religion and ambivalence towards Western bourgeois culture, the Soviet Union's major orchestras and choirs retained a high number of Western sacred works in their concert repertoire. In this article, I examine the apparent incongruity of this aspect of Soviet concert practice, with specific focus on the two most important Soviet choirs in Moscow and Leningrad: the Leningrad Capella, and the Moscow-based Russian Choir of the USSR. I argue that the process of cultural appropriation in the Soviet Union embraced a sufficiently broad conception of Western musical culture for this repertoire to be considered not only safe, but of central canonic importance. With an appropriate ideological varnish, and even textual alteration, a careful selection of Western sacred music could be rendered “Soviet” enough to remain core repertoire, albeit subject to fast-changing currents in cultural politics throughout the period 1917–53.

Activities of music societies of Eastern Galicia as a prerequisite for the development of professional performance (ist third of the XX century)

National Academy of Managerial Staff of Culture and Arts Herald ◽

10.32461/2226-3209.4.2021.250295 ◽

2021 ◽

Author(s):

Olena Spolska

Keyword(s):

Twentieth Century ◽

Professional Education ◽

Cultural Context ◽

Methodological Approach ◽

Educational Institution ◽

Musical Performance ◽

Musical Culture ◽

Late Nineteenth ◽

And Performance

The purpose of the article is to present the activities of music societies in Eastern Galicia during the late nineteenth – first third of the twentieth century, which laid the foundations for the development of national professional music education and performance, including piano. The methodological basis of the publication is historical-stylistic and comparative approaches, methods of historical-cultural discourse (V. Cherkasov), fundamental historical-musicological positions (L. Korniy, L. Kianovska, etc.). Problems of musical culture, education, and performance were considered by Galician musicians of that time (S. Lyudkevych, V. Barvinsky, N. Nyzhankivsky, etc.) in the broader context of national and cultural life, cooperation of Ukrainian cultural and educational societies, the active position of composers, performers, and teachers, which contributed to the development of professional education and performance, music culture in general. This methodological approach was continued by modern musicologists (M. Zagaykevych, L. Kiyanovska, L. Korniy, L. Mazepa, M. Cherepanin, etc.), who interpret the cultural and artistic life of Galicia in the second half of the nineteenth - early twentieth century. as a turning point in the process of formation of professional musical culture, due to the adoption of the so-called "cultural autonomy" (1867). Scientific novelty. A significant role in this process was played by music centers founded by the Society for the Distribution of Music in Galicia, the Galician Music Society (hereinafter - the Polish Music Society), the GMT Conservatory (1854) as the main musical educational institution in Galicia in the second half of the nineteenth century. The role of Ukrainian music societies was important, most of all – the centers of "Boyan" and "Union of Boyans", Music Society M. Lysenko, which became the basis for the establishment of the Ukrainian professional music institution – Higher Music Institute (1903), then - Lysenko Higher Music Institute (VMIL), the activities of an extensive network of its branches in various cities of Galicia. Significant educational activities of cultural, educational, and musical societies have encouraged professional composers to create original musical works, arrangements of folk songs, compiling the appropriate professional repertoire. In turn, this necessitated the development of professional music criticism in the Ukrainian periodicals. Analyzing the socio-cultural context of music societies, we relied on the developed classifications of their activities (N. Kobrin). This allowed us to outline the role of numerous monographic and thematic concerts dedicated to Ukrainian and Western European composers, solo concerts of prominent Ukrainian vocalists, and instrumentalists in the growth of performing skills of Ukrainian artists of this period. Conclusions. Conclusions are made about the decisive role of the network of cultural, educational, and musical societies of Eastern Galicia in the late nineteenth - first third of the twentieth century. in the process of development in the region of musical performance and musical culture in general. Keywords: musical culture of Western Ukraine, end of XIX – first third of XX century, cultural-educational and musical societies, musical performance.

VIA “Chervona Ruta” in the context of variety- ensemble performance of Ukraine

Current issues of social sciences and history of medicine ◽

10.24061/2411-6181.2.2021.270 ◽

2021 ◽

Vol 30 (2) ◽

pp. 63-67

Author(s):

Andrii Furdychko ◽

Olesya Ilyenko

Keyword(s):

Social Life ◽

Historical Context ◽

Sound Recording ◽

Musical Culture ◽

Song Repertoire ◽

Ensemble Performance ◽

Functional Features ◽

New Vision ◽

And Performance ◽

Instrumental Ensembles

The aim of the article is to clarify the artistic role of the ensemble “Chervona Ruta” in the context of Ukrainian musical culture. The relevance of the study lies in the development of principles of a new vision, trends in the development of the ensemble “Chervona Ruta” in the context of Ukrainian pop and ensemble performance and its role in the development of musical culture of Ukraine. The methodology of this study is the application of comparative-historical method, which allows us to trace the historical context of the ensemble and the context of the development of pop and ensemble art of Ukraine. The chronological method allows to determine the stages of formation and development of the team on the example of the analysis of concert and performance activities of the ensemble. Vocal and pop performance on the examplebof the ensemble “Chervona Ruta” appears as a dynamic cultural and artistic phenomenon. The song repertoire of the ensemble appears as a translator of the identity of Ukrainian culture, which is confirmed by the presence of folk intonations and the involvement of appropriatebinstruments. The study of the processes of formation and development of ensembles allows us to identify the traditions of Ukrainian pop music, which is a prerequisite for the formation and development of musical art in Ukraine. Despite the existing achievements in the study of ensemble performance, the issues of the influence of ensemble work on Ukrainian artistic music culture remain insufficiently studied, which highlights the need for a comprehensive analysis of the specifics of pop vocal and ensemble performance, especially the band “Chervona Ruta” as a creative phenomenon of pop ensemble. The creative path of the ensemble “Chervona Ruta” began a new stage in the formation of pop song repertoire, which differs from the previous significant changes in genre richness, functional features and new means of performance. The popularization of Ukrainian pop song contributed to the development of television, the improvement of sound recording and reproducing equipment, the emergence of electromusical instruments. All this contributed to the emergence of numerous amateur vocal and instrumental ensembles – a hallmark of a new era in the development of popular music. The advent of VIA brought new ways of artistic expression to the stage – new timbre paints, the use of electromusical instruments with their specifics, the use of various electronic systems, the strange sound of voices in extreme tension. Conclusions. Ensemble art in various genre and stylistic forms has always played a significant role in social life and has enjoyed the widest popularity among composers, performers and listeners in all historical epochs and in general remains popular today. The rise and prosperity of VIA coincided with a period of intensive scientific and technical discoveries – radio engineering, electronics, sound recording. Participants of vocal-instrumental ensembles can be called musicians-performers of a new type, they are at the same time singers, musicians, actors and authors. The new domestic VIA combined the features of big beat and enriched them with national elements, in their programs there is a tendency to synthesize with theater, choreography. A new youth spectator stood out from the former regular audience of the stage, the regulatory functions of the mass media increased.

Greek Music in America

10.14325/mississippi/9781496819703.001.0001 ◽

2018 ◽

Cited By ~ 1

Keyword(s):

United States ◽

Sacred Music ◽

The United States ◽

Musical Culture ◽

Musical Performances ◽

Musical Genre ◽

Biographical Sketches ◽

The Subject ◽

And Performance ◽

The Many

Greek Music in America: A Reader provides a foundation for understanding the scope, practice, and development of Greek music in America through essays by the principal scholars in the field. This is the first book to offer a comprehensive view of the subject; despite the richness, diversity, and longevity of Greek music in America, there has been relatively little available on the topic. The volume includes several previously published essays, as well as recent work by contemporary specialists on the Greek diaspora. The book opens with a sociohistorical overview of Greek music in America, followed by four major sections. The essays brought together in Musical Genre, Style, and Content cover topics ranging from changes in sacred music in the United States to Café Aman, rebetika, amanedes, Turkish influences, and verbal interjections in musical performances. In the Places section, authors interrogate the musical culture of specific Greek American communities. Delivering the Music: Recording Companies and Performance Venues examines the many ways that music was made available. Profiles provides biographical sketches of noteworthy individuals or entities that shaped the course of Greek music in America or contributed to its allure and perpetuation through their exceptional skills. An additional essay on publicly available Greek music collections completes the book.

Melodic ornamentation from Muffat to Telemann

10.26686/wgtn.17008279.v1 ◽

2021 ◽

Author(s):

◽

Megan Ward

Keyword(s):

19Th Century ◽

Large Volume ◽

18Th Century ◽

Vocal Music ◽

Primary Sources ◽

Musical Culture ◽

French Music ◽

Stringed Instruments ◽

German States ◽

And Performance

<p>Writers on 18th-century musical ornamentation have traditionally focused on the execution of notated ornaments, and on certain disputes arising from ambiguous and contradictory primary sources. Less attention has been given to the addition of ornaments where not prescribed by the composer. Such ornaments can be short, defined, patterns such as trills, turns, and mordents, or larger measured or unmeasured additions known as diminutions, divisions, or passaggi. Additions of this nature are only in the rarest of cases compulsory. However, the practice of more or less spontaneous embellishment by the performer was so integral to pre-19th-century musical culture that this must have had a significant effect on composition. The scope of this thesis is loosely defined by its titular composers, covering the period between Georg Muffat‟s later publications in the last years of the 17th century and G.P. Telemann‟s death in 1767. Both lived and worked in the German states, a region which had traditionally looked to Italian models of composition and performance. This period saw a flowering of German composition into its own unique and diverse genre which integrated aspects of various styles, most prominently Italian and French music. This thesis centres on stringed instruments, but is directly relevant to woodwind players. Many aspects are also transferrable to the keyboard and to vocal music; however, these musicians will find a large volume of more targeted research elsewhere.</p>

Music in the bulgarian school at the end of the 19th and the beginning of the 20th century. Author: Rositsa Draganova. Sofia, Institute of Art Studies – BAS, 2020, 211 p. ISBN: 978-954-8594-00-4

Pedagogical Almanac ◽

10.54664/vgef6941 ◽

2021 ◽

Vol 29 (1) ◽

Author(s):

Zornitsa Dimitrova ◽

Keyword(s):

Secondary Schools ◽

20Th Century ◽

Educational System ◽

Musical Culture ◽

Normative Documents ◽

Training Materials ◽

History Of ◽

Basic Reference ◽

And Performance ◽

And Training

In her monograph Rositsa Draganova introduces new data and facts in the unique process of the creation and performance of bulgarian educational system particularly in its sector dealing with musical teaching. In the first three chapters of this survey the author analyzes in details the normative documents, the pedagogic practice, the philosophic and pedagogical concepts, the published during the surveyed period textbooks, guide books and training materials, as well as discussions between the musical pedagogues. The last chapter of this book presents historic information on Bulgarian musical professionals who are of particular importance for the development of musical pedagogy in our country. This book presents great interest not only for the researchers in the musical pedagogy sphere and for the professionals focused on the history of Bulgarian musical culture, but also for the teachers in music at the secondary schools. It could be used as basic reference in the training of future musical pedagogues.

The Place of Music in the Artist’s Home

The Music Room in Early Modern France and Italy ◽

10.5871/bacad/9780197265055.003.0004 ◽

2012 ◽

Author(s):

TRACY E. COOPER

Keyword(s):

Public Perception ◽

Da Vinci ◽

Leonardo Da Vinci ◽

Musical Culture ◽

Early Music ◽

Musical Practice ◽

The Social ◽

And Performance ◽

Domestic Setting ◽

Degree Of Participation

Visual representation of instruments and musical practice has long been integral to the study of the iconology and archaeology of early music. Critical to any assessment of such evidence is an understanding of the authority of the artist, and his/her knowledge and degree of participation in musical culture. Contemporary sources reveal that music played a variety of roles in the lives and public perception of the Renaissance artists. Its most tangible manifestation was that of the artist-musician, of whom Leonardo da Vinci is one of the best-known examples. An association with courtliness was one of several markers of status conferred by musical practice. This chapter investigates the domestic setting of the artist, whether in a courtly environment or in a republic, to develop themes of the social elevation of the artist, entertainment and performance, as well as creativity.

Music and War

Military History ◽

10.1093/obo/9780199791279-0188 ◽

2019 ◽

Author(s):

Catherine V. Bateson

Keyword(s):

Military Service ◽

Musical Culture ◽

Conflict Zones ◽

American Military ◽

Military Band ◽

Political Statement ◽

Musical Discourse ◽

Anglo American ◽

And Performance ◽

The Impact

Since the earliest days of troop movements and military maneuvers, music has been an integral part of army and navy life. Drums, fifes, and bugles have marked and measured out parades, mobilizations, battlefield and naval tactics, advances, retreats, bivouacs and encampment life. They have also been employed at military ceremonies and remembrance services. Indeed, it is impossible not to recall military tunes when thinking about war throughout history. Military music has become part of countries’ collective culture commemorations. Army, navy, and air force band music and performance have long generated much public and historical interest. They have become part of national musical discourse and production, especially within Anglophone musical culture. In addition, war and military music has invaded the world of classical tunes, with grand pieces being composed to mark specific battles, victories, and conflicts, most notably Tchaikovsky’s 1812 Overture, written in honor of Russia’s defense against Napoleon’s invasion. However, there is far more to the symbiotic relationship between music and war than just a military band playing on a march or orchestral pieces celebrating martial success. Music and song have also been a fundamental part of military life. Drums, fifes, bugles, and even fiddles and banjos have been played and heard by soldiers, sailors, and aviators across encampments, on bases, and in conflict zones since the dawn of war. Music, alongside its lyrical sister poetry, has often been the predominant cultural product of war and military service. Those fighting, and those wanting to write about those fighting, have employed music and song as a comforting tonic, as a political statement, as a tool for remembrance, and as a general pastime. Wars, the violence of conflicts, the aftermath of fighting domestically and internationally, and the impact of military engagements on veteran and family lives have long been a genre of folk music and popular lyrical culture throughout societies, as observed in many of the scholarly examples in this bibliography. The field of analysis currently centers predominantly on Anglo-American and Western examples, focusing on the appearance of war in British Isles and Irish street ballads, diasporic use of song to emphasize war service, specific conflict studies, and the dominance of American military music. War ballad and musical outputs have generated research in historical, musicological, and cultural studies areas. The study of war and music lends itself to interdisciplinary focus. The works in this bibliographical list reflect this, and the fact that the study of music and war is developing into a full discourse in its own right. It is a rich area of discussion and research, and this bibliography shows the scope and range of music and war studies to date.