scholarly journals Kolberg’s opinions on changes in the choice of instruments in 19th century folk music

2014 ◽  
Vol 11 (1) ◽  
pp. 6-12
Author(s):  
Zbigniew Jerzy Przerembski
Keyword(s):  
World War I ◽  
19Th Century ◽  
Folk Music ◽  
Well Being ◽  
Folk Song ◽  
Musical Background ◽  
Expressive Performance ◽  
Culture Heritage ◽  
The 19Th Century ◽  
Choice Of Instruments

Abstract In the second half of the 19th century, when Oskar Kolberg conducted his folkloristic and ethnographic work, folk song and music were still alive and, to a great extent, functioned in their natural culture context. However, already at that time, and especially in the last decades of the century, gradual changes were taking place within folk tradition. Those changes were brought about by industrialization and factors in the development of urban civilization, which varied in intensity depending on the region. Folk music was also influenced by those changes and they themselves were further fuelled by the final (third) Partition of Poland by Austria, Prussia and Russia, declared in 1795 and lasting till the end of World War I. Oskar Kolberg noticed and described changes in the musical landscape of villages and little towns of the former Polish Republic in the 19th century, as well as in the choice of instruments. To be quite precise, musical instruments are not featured as a separate subject of his research, but various references, though scattered, are quite numerous, and are presented against a social, cultural and musical background, which provides an opportunity to draw certain conclusions concerning folk music instrumental practice. However, changes in the makeup of folk music ensembles resulted in the disappearance of traditional instruments, which were being replaced by the newer, factory-produced ones. This process worried Kolberg and he noticed its symptoms also in a wider, European context, where bagpipes or dulcimers were being supplanted not only by “itinerant orchestras” but also by barrel organs or even violins. Writing about our country, Poland, he combined a positive opinion on the subject of improvised and expressive performance of folk violinists with a negative one on clarinet players and mechanical instruments. Summing up, the musical landscape of Polish villages and both small and larger towns was definitely influenced in the 19th century by the symptoms of phenomena which much later acquired a wider dimension and were defined as globalization and commercialization. Sensing them, Oskar Kolberg viewed the well-being of the traditional culture heritage with apprehension.

Da nazionalismo non dominante a nazionalismo dominante: il caso transilvano

2011 ◽  
pp. 37-61
Author(s):  
Stefano Santoro
Keyword(s):  
World War I ◽  
Eastern Europe ◽  
19Th Century ◽  
Democratic Values ◽  
World War ◽  
The 19Th Century

The Rumanian nationalism of Transylvania, which developed during the 19th century to defend the rights of the Rumanian population from the Magyarization policies implemented by Budapest's government, suddenly found itself in a completely different situation at the end of World War I: from non-dominant it had become dominant. As in other areas of postwar Eastern Europe during the 1920s and 1930s,, this transition involved a reversal of the paradigms of reference of the Rumanian nationalists that changed from inclusive and democratic values into an exclusive and fundamentally totalitarian ideology.

Humanitarianism, Development, and Security in the 21st Century: Lessons from the Syrian Refugee Crisis

2016 ◽  
Vol 48 (2) ◽  
pp. 382-386 ◽  
Author(s):  
Nell Gabiam
Keyword(s):  
World War Ii ◽  
World War I ◽  
19Th Century ◽  
21St Century ◽  
Western World ◽  
World War ◽  
Humanitarian Action ◽  
Syrian Refugee Crisis ◽  
The Cold War ◽  
The 19Th Century

The term humanitarianism finds its roots in 19th-century Europe and is generally defined as the “impartial, neutral, and independent provision of relief to victims of conflict and natural disasters.” Behind this definition lies a dynamic history. According to political scientists Michael Barnett and Thomas G. Weiss, this history can be divided into three phases. From the 19th century to World War II, humanitarianism was a reaction to the perceived breakdown of society and the emergence of moral ills caused by rapid industrialization within Europe. The era between World War II and the 1990s saw the emergence of many of today's nongovernmental and intergovernmental organizations. These organizations sought to address the suffering caused by World War I and World War II, but also turned their gaze toward the non-Western world, which was in the process of decolonization. The third phase began in the 1990s, after the end of the Cold War, and witnessed an expansion of humanitarianism. One characteristic of this expansion is the increasing prominence of states, regional organizations, and the United Nations in the field of humanitarian action. Their increased prominence has been paralleled by a growing linkage between humanitarian concerns and the issue of state, regional, and global security. Is it possible that, in the 21st century, humanitarianism is entering a new (fourth) phase? And, if so, what role have events in the Middle East played in ushering it in? I seek to answer these questions by focusing on regional consultations that took place between June 2014 and July 2015 in preparation for the first ever World Humanitarian Summit (WHS), scheduled to take place in Istanbul in May 2016.

scholarly journals Između nadzora i funkcionalnosti

2018 ◽  
Vol 16 (2) ◽  
pp. 303-318
Author(s):  
Vinko Drača
Keyword(s):  
World War I ◽  
19Th Century ◽  
Psychiatric Hospitals ◽  
Mental Illnesses ◽  
Linear Type ◽  
Moral Treatment ◽  
Control Effectiveness ◽  
Type Of Institution ◽  
Institutional Architecture ◽  
The 19Th Century

This paper reviews the architecture of the Royal National Institute for the Insane in Stenjevec during its construction and the first years of its existence. Since the opening of the Institute in 1879 until the end of the World War I, there were numerous adaptations and extensions of the original capacities. The paper shows how these extensions reflected the existing paradigm of the institutional architecture in the second half of the 19th century. Architecture, under the influence of Pinel’s “moral treatment” as a primary therapeutic approach to mental illnesses in the 19th century, was considered to be a remedy and its therapeutic importance in the context of psychiatry was not questioned. While early examples of the architecture of psychiatric hospitals copied prison construction and were adapted to control the mentally ill (e.g., the Viennese “Narrenturm”), later plans, such as linear and separate (pavilion), sought to simultaneously increase control effectiveness, act therapeutically and respond to some practical needs of the more crowded institutes. The Stenjevec Institute, designed by the Viennese architect Kuno Waidmann, was created exactly at the transition between the linear and the separate type. The institute, originally conceived as a linear type of institution, was later transformed into a separate or pavilion type institute.

scholarly journals Marginal Architecture [How will we live together?] - a process under construction…

2021 ◽  
Author(s):  
Ana Bordalo ◽  
◽  
Ana paula Rainha ◽  
Keyword(s):  
19Th Century ◽  
Well Being ◽  
Structuring Element ◽  
The World ◽  
Structural Contribution ◽  
Under Construction ◽  
The 19Th Century ◽  
Housing Units ◽  
Health Parameters

The organization of territory and cities is a structuring element for the management of epidemic crises. The existence of basic sanitary structures is, nowadays, an acquired and determined factor for the healthiness of territories, as well as for the structural contribution to the well-being of the populations. Since the 19th century epidemic crises established health parameters for Architecture and Urbanism, which are still a reference today. Almost after one hundred years, where the questions of salubrity were supposed to be consolidated, we find that, suddenly, without advice, new alarm bells rings: we found that the world was not prepared to be closed in its “housing units”. Assuming Portimão as an urban laboratory and as a waterfront city, we will present the process developed for studies, searching for proposals witch solutions look for a contemporary assignment, which imposes to Architecture a principle settled on options of sustainability, impermanence, reuse and recycling.

Maps and Cartography in the History of South Africa: From Print to Digital

2020 ◽  
Author(s):  
Norman Etherington
Keyword(s):  
South Africa ◽  
World War I ◽  
19Th Century ◽  
Racial Inequality ◽  
Geographical Information Systems ◽  
Geographical Information ◽  
Volatile Element ◽  
European Colonialism ◽  
The 19Th Century ◽  
The Impact

The first well-attested maps showing Southern Africa date from the late 15th century. Before the 19th century, maps provided little information about the interior but depicted coastlines in great detail, thanks to the requirements of seaborne navigators. Information about the inhabitants was scanty and skewed by misconceptions about the nature of African societies. Land-based exploration activity increased dramatically in the 1830s but the poorly trained and equipped human agents made many errors that had significant historical consequences. Accuracy in the mapping of physical topography improved with the advent of skilled civil and military surveyors, but entanglement with advancing forces of European colonialism resulted in biased representations of the nature and distribution of the indigenous people. Competition among European invaders during the so-called Scramble for Africa in the last decades of the 19th century made cartography a volatile element in the general mix of combustible material. Continual war among Europeans and Africans also affected the production of maps. The impact of African resistance to colonial surveys and land seizures on map making was for too long neglected by historians. By the end of World War I, the geopolitical boundaries of the region assumed their present configuration, marking off South Africa from its neighbors. The imposition of European rule, racial inequality, and segregation introduced cartographical distinctions between areas in which land was held in freehold title by members of a ruling racial elite and so-called African reserves and locations where land was held communally under the surveillance of traditional authorities. Decolonization beginning in the 1960s swept away the colonial racial order but did not abolish its legacy of boundaries, inequality, and parallel systems of land governance. The advent of geographical information systems, digital mapping, and satellite imaging has revolutionized cartography.

The Harvard University Library: A National Resource

1997 ◽  
Vol 9 (2) ◽  
pp. 127-141
Author(s):  
Kenneth E. Carpenter
Keyword(s):  
19Th Century ◽  
Well Being ◽  
Harvard University ◽  
Space Problem ◽  
University Library ◽  
University Archives ◽  
Almost All ◽  
The University ◽  
The 19Th Century ◽  
National Resource

Harvard University is a decentralized university, with each of its nine faculties basically responsible for its own financial well-being. The library operates within the framework of this decentralization. The term ‘Harvard University Library’ therefore has two different meanings. In one seise it refers to those who are responsible for carrying out certain functions where coordination is required. Specifically, the University Library provides a unified catalogue for the c.90 library units throughout the university. It also manages the Harvard Depository, which helps to ease the space problem, and provides certain preservation services to the decentralized libraries. The Harvard University Archives is a University Library institution, and there are also University Library functions in the areas of personnel and publications. The decentralized library system began to be developed in the 19th century. Not only do the libraries not share common funding or administration; they have varied purposes and types of reader. Short-term access for outsiders is possible in almost all of the libraries. A distinguishing feature of the library is its international collections, whose development began to be emphasized at the very aid of the 19th century. The library's digital initiatives are largely aimed at providing better service to the library's readers.

Traditions of Russian Folklore in P. A. Vyazemsky’s Poems “Another Troika” and “In Memory of the Painter Orlovsky”

2020 ◽  
pp. 56-65
Author(s):  
Сейран Акопович Джанумов
Keyword(s):  
19Th Century ◽  
Folk Songs ◽  
Folk Song ◽  
National Character ◽  
Literary Critic ◽  
Nature Poetry ◽  
Image Structure ◽  
Functionally Diverse ◽  
The 19Th Century ◽  
The Relationship

Статья посвящена проблеме взаимоотношений литературы и фольклора на материале двух стихотворений русского поэта, литературного критика XIX в. П. А. Вяземского (1792-1878) « Еще тройка» (1834) и «Памяти живописца Орловского» (между 1832 и 1837), в которых слиты воедино народно-песенная образность, традиционные фольклорные мотивы и проникновенный лиризм. Отмечается, что обращение Вяземского к фольклору глубоко органично и вполне закономерно для него, неразрывно соединено с его пониманием народности литературы, поэзии природной, самобытной, а не заимствованной. Делается вывод, что связь рассмотренных в статье стихотворений Вяземского с устным народным творчеством нашла выражение в широком и функционально разнообразном использовании поэтики народных песен, пословиц и поговорок, а также мифологических персонажей русского фольклора. Применяя фольклорные образы и мотивы, Вяземский меньше всего заботится о соблюдении местного, национального колорита, так называемого couleur locale (фр.). Введение поэтических формул русского фольклора всегда обусловлено идейно-художественным замыслом, содержанием и образным строем стихотворения. Именно органичная, нерасторжимая и глубокая связь творчества Вяземского с русской национальной стихией, литературными и народнопоэтическими традициями обеспечила его произведениям непреходящую ценность и эстетическую значимость. The article considers the problem of the relationship between literature and folklore based on two poems by the 19th-century Russian poet and literary critic P. A. Vyazemsky (1792-1878), “Another Troika” (1834) and “In Memory of the Painter Orlovsky” (between 1832 and 1837). The poems merge folk song imagery, traditional folk motifs and heartfelt lyricism. The author notes that Vyazemsky’s appeal to folklore is deeply organic and quite natural for him, inextricably linked with his understanding of the national character of literature, nature poetry, and originality. The author demonstrates that the connection of Vyazemsky’s poems with oral folk art manifests itself in an extensive and functionally diverse use of the poetics of folk songs, proverbs and sayings, as well as in references to mythological characters of Russian folklore. Using folk images and motifs, Vyazemsky downplays the depiction of local, national color (so-called “couleur locale”). The introduction of poetic formulas of Russian folklore is due to the poet’s ideological and artistic design and corresponds to the poem’s content and image structure. It is the organic, indissoluble and deep connection of Vyazemsky’s poetry with the Russian national element - literary and folk poetic traditions - that provides his works with enduring value and aesthetic significance.

scholarly journals Transformations of a Ukrainian song in Hungarian territories during the first half of the 19th century

2021 ◽  
pp. 420-451
Author(s):  
Zsófia Kalavszky
Keyword(s):  
19Th Century ◽  
Folk Song ◽  
Napoleonic Wars ◽  
German Translation ◽  
Hungarian Literature ◽  
German Speaking ◽  
The Creation ◽  
The 19Th Century ◽  
Hungarian Version

In my study I examine through what channels the Ukrainian song “Ïhav kozak za Dunaj” reached Czech and Hungarian territories through German mediation at the beginning of the 19th century. In the German-speaking territories, the Ukrainian song was spreading in German almost like a folk song. “Schöne Minka”, a Christophor Tiedge’s adaptation of the Ukrainian song, which differs significantly from the original, probably reached the territory of the Czech Crown and later the Kingdom of Hungary in the 1810s with the soldiers participating in the Napoleonic wars. A decade later, another version of the Ukrainian song much closer to the original appeared in the Czech and Hungarian territories. In Czech this version was published by František Čelakovský in 1822, and we owe the creation of the Hungarian version to Count Ferenc Teleki. Teleki did not work with Russian or Ukrainian sources, he translated the Ukrainian song into Hungarian with the help of a German translation. This text mediating between Ukrainian and Hungarian is Theodor Körner’s translation “Russisches Lied”. At the same time, Teleki’s translation is especially exciting for Russian and Hungarian literature since it shows surprising correspondences with Wilhelm Küchelbecker’s text “Der Kosak und das Mädchen” (1814), which is also a translation of the Ukrainian song.

scholarly journals From Ally to Enemy: the Ottoman Empire in Publicistic Works by Ephraim Deinard

2018 ◽  
Vol 18 ◽  
pp. 77-92
Author(s):  
Esther Zyskina
Keyword(s):  
World War I ◽  
Ottoman Empire ◽  
19Th Century ◽  
Radical Change ◽  
The State ◽  
Russian Society ◽  
World War ◽  
Russian Government ◽  
The Government ◽  
The 19Th Century

The paper considers is the transformation of the image of the Ottoman Empire in the publicistic texts by Ephraim Deinard, outstand ing Jewish writer and journalist of the turn of the 19th and 20th centu ries. The research was based on two Deinard’s works, “Atidot Israel” (“The Future of Israel”, 1892) and “Tzion be’ad mi?” (“Zion for Whom?”, 1918), which deal with a variety of topics, including Deinard’s opinion on the Ottoman Empire. In particular, the radical change of his position from the statements in “Atidot Israel” to those in “Tzion be’ad mi?” is observed. Deinard discusses the following three aspects, each case being a vivid example of this controversy: 1. The Ottoman government’s attitude towards Jews and the pros pects of the collaboration of the Jewish community with the government; 2. The economic situation in the Ottoman Empire and its foreign policy; 3. The culture and cultural policy in the Ottoman Empire. Deinard’s interest in Turkey was initially caused by his Zionist views, as the Land of Israel was part of the Ottoman Empire. Later, after World War I and especially after the Balfour Declaration in 1917, the Zionists placed their expectations on Britain, while Turkey, after losing the war and the territory so important for Jews, could no more be praised by Dei nard. In addition, Deinard had lived in the USA for more than 30 years by 1918, and it is merely logical that his publicistic works were aimed against the USA’s enemy in World War I. This shift looks especially interesting when looked at through the context of the history of the Russian Jewish Enlightenment. A very simi lar process occurred in the ideology of the Russian maskilim in the 19th century. Throughout the 19th century, they believed that the Jews should be integrated in the Russian society and viewed the Russian government as their ally. The Russian authorities, correspondingly, tried to assimilate the Jews and to make them an integral part of the society. However, af ter the pogroms of 1880s, the authorities’ attitude towards Jews changed dramatically, and so did that of the maskilim towards the government. Laws regarding Jews were tightened and became openly anti-Semitic, and the maskilim started to criticize the state instead of hoping for col laboration with it. Deinard’s works used for this research date to a later period. More over, the aforementioned events influenced his positive attitude towards the Ottoman Empire: concerning the status of Jews in the both countries, Deinard opposed Turkey to Russia. Eventually, however, Turkey took the same place for Deinard as Russia did for his predecessors, the maskilim. His hopes for collaboration with the state were just as replaced by disap pointment and criticism. To conclude, the above similarity may suggest that the shift in Dein ard’s views might have correlated with the change in the ideology of the Russian maskilim.

scholarly journals Die Anfänge der Volksmusikbewegung. Begriffsbestimmung und Sammelstrategien

2021 ◽  
pp. 601-623
Author(s):  
Peter Gretzel
Keyword(s):  
19Th Century ◽  
Folk Music ◽  
Music Research ◽  
The 19Th Century

The beginnings of the folk music movement. Definition and collecting strategies. In the 19th century, a folk music movement emerged in Lower Austria, fueled by the 18th century’s awakening interest in everything to do with the “peasantry”. One of the main characteristics and inspirations of this movement was the collecting, gathering and transliterating of songs and tunes handed down orally. The lack of a clearly defined concept of folk music due to the absence of scholarly folk music research led to diverging collectors’ movements and strategies; the collections reveal a conflict between national and supranational tendencies (Gesamtsstaatspatriotismus), both of which served the documentation and the cultivation of folk music on the part of the cultured classes. This “authentic” and collected folk music was intended as a counterbalance to the commercial interpretations performed on stages by “national singers”. Via dedicated collections, the folk music movement essentially shaped the folk-musical topography of the 19th century.

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