From the history of manufacturing Romanian nai at the turn of 20–21 centuries

2018 ◽  
pp. 71-74
Author(s):  
A. Drutsé
Keyword(s):  
20Th Century ◽  
Fine Arts ◽  
Research Interest ◽  
Modern World ◽  
Music Theater ◽  
Technical Improvement ◽  
Performance Skills ◽  
Doctoral Candidate ◽  
History Of ◽  
And Performance

The modern world popularity of the nai — a traditional Romanian instrument — has identified interest in writing this article. This problematic constitutes the circle of our research interest as a doctoral candidate, but also as a concert performer, a graduate of the Academy of Music, Theater and Fine Arts. One of the most interesting aspects of the study of nai is its technical improvement since 60s of the 20th century, which led to the acquisition of a number of new, innovative skills and performance skills. In this article we have identified some pages of the modern history of the manufacture of this ancient instrument associated with these processes.

scholarly journals PERFORMANCE CHARACTERISTICS of Eugene Goossens’s Concerto for Oboe and Orchestra

2021 ◽  
Vol 60 (60) ◽  
pp. 167-183
Author(s):  
Jin Tao
Keyword(s):  
Performance Analysis ◽  
20Th Century ◽  
Research Methodology ◽  
High Performance ◽  
Scientific Activity ◽  
Performance Characteristics ◽  
Early 20Th Century ◽  
Performance Skills ◽  
History Of ◽  
And Performance

Statement of the problem. The study of the process of development of the concert style of oboe performance is a relevant area of modern musicology, as evidenced, in particular, by the scientific activity of the International Double Reed Society (IDRS) and works of other researchers on the history of the instrument and its repertoire starting with the second half of the 20 century (Bate, 1975; Bartalozzi, 1967; Reeves & Hooper, 1985; Goossens & Roxburgh, 2001). The concept of “concert oboe” is actualized by V. Martynova (2018, 2019) on the basis of the performance art of the 19th – 20th centuries. As for works for oboe of the early 20th century, in particular by E. Goossens, there are a few studies devoted to the development of modern style of the concert oboe (Del Mar, 1984; Lopez-Pelaez-Casellas & Garcia-Herrera, 2019) and to E. Goossens’s Concerto (Woodworth, 2016). This determines the scientific novelty of this research, which involves genre-style and performance analysis of the Concerto. The purpose of this study is to identify typical genre-stylistic and performance characteristics of E. Goossens’s composition in the context of the development of the concert style of oboe performance. The research methodology is based, first, on the genre and style approach, which is traditional for musicology, in particular, on research on the code of reflexivity (Shapovalova, 2006), and pastoral genre in music (Shapovalova, Chernyavska, Govorukhina & Nikolaievska, 2021). Another methodological dimension is related to the positions of analytical interpretology and principles of performance analysis (Nikolaievska, 2020), which focus on such elements as form-creation, performance dramaturgy, performance poetics. Results and conclusions. The typical genre and stylistic features of E. Goossens’composition refer to the traditions of the romantic concerto (onemovement structure; the presence of a symphonic model of the genre; the use of initial intonation as the main sound symbol of the work; the absence of a single tonal centre; reflexivity; the involvement of pastoral colour as an established image of the instrument). From the viewpoint of performance poetics we have marked the overcoming of the formality of rondeau nature by the continuity of performance form-creation; the presence of such difficulties requiring high performance skills of an oboist as playing of whole-tone scale, high notes and extreme sounds of the registers, polyrhythmic structures, the abundance of virtuoso passages in the composition, the variety of articulation techniques, fast-frequency vibrato, etc., which is crucial in the process of development of the concert style of oboe performance in the early 20th century.

Chocolate Surrealism

2016 ◽  
Author(s):  
Njoroge Njoroge
Keyword(s):  
Civil Rights ◽  
Civil Rights Movement ◽  
Production Performance ◽  
Caribbean Region ◽  
Modern World ◽  
American Empire ◽  
Global Age ◽  
History Of ◽  
And Performance ◽  
Politics Of Race

Chocolate Surrealism: Music, Movement, Memory and History is a (w)holistic historiography of the circum-Caribbean region. The book highlights connections among the production, performance, and reception of popular music at critical historical junctures in the late 19th and 20th centuries. The book moves through different sites and styles to place socio-musical movements into a larger historical framework: Calypso during the turbulent interwar period and the ensuing crises of capitalism; the Cuban rumba/son complex of the postwar era of American empire; jazz in the Bandung period and the rise of decolonization; and, lastly, Nuyorican Salsa coinciding with the period of the civil rights movement and the beginnings of black/brown power. The book thinks about the circum-Caribbean region as integrated culturally and conceptually while paying close attention to the fractures, fragmentations, and historical particularities that both unite and divide the region. At the same time, the book engages with a larger discussion of the Atlantic world. The project interrogates the interrelation between music, movement, memory, and history, a ‘contrapuntal’ analysis that treats the music of the African diaspora as both epistemological anchor and as a mode of expression and representation of both black identities and political cultures. Music and performance offer ways to re-theorize the politics of race, nationalism and musical practice, geopolitical conjunctures, as well as re-assess the historical development of the modern world system, through the examination of local, popular responses to the global age. In short, the book utilizes different styles, times, and politics to render a brief history of Black Atlantic sound.

scholarly journals La recuperación de los centros históricos durante el Franquismo. El caso de Jaén

Imafronte ◽  
2020 ◽  
pp. 29-58
Author(s):  
José Manuel Almansa Moreno
Keyword(s):  
20Th Century ◽  
National Economy ◽  
Special Function ◽  
Fine Arts ◽  
Directorate General ◽  
History Of ◽  
Siglo Xx ◽  
The City ◽  
Santa Maria ◽  
Modern Image

PRUEBA - A mediados del siglo XX se inicia la revalorización de los centros históricos en Es- paña, especialmente de aquellas ciudades vinculadas con la historia de nuestro país, buscando desarrollar su potencial turístico como pieza clave para mejorar la economía nacional y ofrecer una imagen de modernidad en el extranjero.En esa labor tiene especial importancia la Sección de Ordenación de Ciudades de Interés Artístico Nacional, organismo dependiente de la Dirección General de Arquitectura, cuyos arquitectos son los encargados de diseñar proyectos de mejora y embellecimiento urbano, los cuales generalmente se complementaban con otras intervenciones acometidas en los edificios monumentales por otras instituciones (como, por ejemplo, la Dirección General de Bellas Artes o los cabildos municipales).A través de este estudio pretendemos analizar las intervenciones acometidas en la ciudad de Jaén durante la década de los 60 y 70, proyectos urbanísticos llevados a cabo si- guiendo otros ejemplos en la provincia como las reformas acometidas en Úbeda y Baeza una década antes, y que pretendían embellecer espacios tan emblemáticos como la Plaza de Santa María y el histórico barrio de la Magdalena. In the middle of the 20th. century began the revaluation of the historical centers in Spain, especially those cities linked to the history of the country, seeking to develop their tourist potential as a key piece to improve the national economy and to offer a modern image abroad. In this work it has special function the Section of Ordination of Cities of National Artistic Interest, organism dependent of the Directorate General of Architecture, whose architects are in charge of designing projects of improvement and urban beautification, which were generally complemented by other interventions in monumental buildings by other institutions (such as the Directorate General of Fine Arts). Through this study we intend to analyze the interventions undertaken in the city of Jaén during the decades of the ' 60s and ' 70s, urban projects carried out following other examples in the province as the reforms undertaken in Úbeda and Baeza a decade before, and which sought to beautify so emblematic as the Square of St. Mary and the historic district of the Magdalene.  

scholarly journals Uma escola permanentemente provisória ou provisoriamente permanente? Avaliações das escolas isoladas paulistas em documentos oficiais (1907-1944)

2017 ◽  
Vol 1 (2) ◽  
pp. 203
Author(s):  
Angélica Pall Oriani
Keyword(s):  
20Th Century ◽  
Primary Education ◽  
History Of Education ◽  
Sao Paulo ◽  
Educational Institutions ◽  
São Paulo ◽  
School Superintendents ◽  
Education School ◽  
History Of ◽  
And Performance

O artigo analisa as avaliações das escolas isoladas contidas nos Annuários do ensino do estado de São Paulo (1907-1937) e nos Relatórios das delegacias regionais de ensino (1933-1944) para compreender a representação dessas instituições de ensino ao longo das décadas iniciais do século XX. Esses documentos continham os resultados das inspeções de diretores e delegados de ensino a respeito da criação, da manutenção e da atuação dos professores das escolas isoladas. A função desses documentos é perscrutada como um procedimento adotado concomitantemente à construção do sistema de ensino modelar paulista nas primeiras décadas republicanas, com o que é possível identificá-los como legitimadores, propagadores e defensores de um modelo de escola vinculado aos grupos escolares do qual as escolas isoladas se afastavam em razão de suas condições precárias. Com isso, considera-se que nos processos de avaliação e de atribuição de sentidos às instituições de ensino primário, que evidenciavam as conquistas dos grupos escolares e a provisoriedade das escolas isoladas, propagou-se a imagem destas instituições como um constante "vir a ser".A permanently provisional or provisionally permanent school? Evaluations of isolated schools of São Paulo in official documents (1907-1944). The article analyzes the evaluations of isolated schools in the Annuários do ensino do estado de São Paulo (1907-1937) and in the Relatórios das delegacias regionais de ensino (1933-1944) to understand the representation of these educational institutions throughout the first decades of the 20th century. These documents contained the results of inspections developed by school superintendents regarding the creation, maintenance and performance of teachers in isolated schools. The function of these documents is analyzed as a procedure that occurred simultaneously with the construction of the modeling teaching system of São Paulo in the first republican decades, which identify them as legitimators and advocates of a school model linked to the school groups from which isolated schools were far from due to their conditions. Therefore, it is considered that in the processes of evaluation and attribution of senses to primary education institutions, which evidenced the achievements of the school groups and the provision of isolated schools, the image of these institutions was propagated as a constant "become". Keywords: Isolated schools; São Paulo education; School groups; History of education.

scholarly journals Whose Canon? Culturalization versus Democratization

2012 ◽  
Vol 4 (2) ◽  
pp. 257-274
Author(s):  
Erling Bjurström
Keyword(s):  
Popular Culture ◽  
20Th Century ◽  
Identity Politics ◽  
Fine Arts ◽  
Social Identities ◽  
Canon Formation ◽  
Primary Means ◽  
Representational Model ◽  
History Of ◽  
The One

Current accounts – and particularly the critique – of canon formation are primarily based on some form of identity politics. In the 20th century a representational model of social identities replaced cultivation as the primary means to democratize the canons of the fine arts. In a parallel development, the discourse on canons has shifted its focus from processes of inclusion to those of exclusion. This shift corresponds, on the one hand, to the construction of so-called alternative canons or counter-canons, and, on the other hand, to attempts to restore the authority of canons considered to be in a state of crisis or decaying. Regardless of the democratic stance of these efforts, the construction of alternatives or the reestablishment of decaying canons does not seem to achieve their aims, since they break with the explicit and implicit rules of canon formation. Politically motivated attempts to revise or restore a specific canon make the workings of canon formation too visible, transparent and calculated, thereby breaking the spell of its imaginary character. Retracing the history of the canonization of the fine arts reveals that it was originally tied to the disembedding of artists and artworks from social and worldly affairs, whereas debates about canons of the fine arts since the end of the 20th century are heavily dependent on their social, cultural and historical reembedding. The latter has the character of disenchantment, but has also fettered the canon debate in notions of “our” versus “their” culture. However, by emphasizing the dedifferentiation of contemporary processes of culturalization, the advancing canonization of popular culture seems to be able to break with identity politics that foster notions of “our” culture in the present thinking on canons, and push it in a more transgressive, syncretic or hybrid direction.

scholarly journals Rote Instruction in Secondary Instrumental Music Classrooms: A Review of the Literature

2020 ◽  
Vol 39 (1) ◽  
pp. 59-69
Author(s):  
Alyssa N. Grey
Keyword(s):  
Instrumental Music ◽  
Teaching Method ◽  
The United States ◽  
Music Educators ◽  
Contextual Knowledge ◽  
Music Reading ◽  
Performance Skills ◽  
History Of ◽  
And Performance ◽  
Music Classrooms

Rote versus note beginning instrumental pedagogy has been an active topic for music educators. Traditional method books have often comprised a significant portion of beginning instrumental curricula, though content has varied and may have been based on convention. Advocates of a rote-before-note approach have recommended that singing, movement, developing aural skills, teaching expressiveness, and creativity may provide students with enhanced contextual knowledge and experiences to better learn to read notation. However, there may be gaps in research of music reading and teaching method. This literature review includes a discussion of the history of rote and note education in the United States, an overview of five major pedagogical approaches, and an examination of music reading and performance research. The article is intended to initiate a discussion of teaching methods, practices, and curriculum selection for developing literacy and performance skills in secondary instrumental music classrooms.

Prelude to Live Cinema

2011 ◽  
Vol 10 (2) ◽  
pp. 255-265 ◽  
Author(s):  
Douglas Kahn
Keyword(s):  
20Th Century ◽  
Film Theory ◽  
Musical Instruments ◽  
Media Technology ◽  
History Of ◽  
Contemporary Media ◽  
And Performance ◽  
20Th Century Art

This article investigates the increasingly prevalent discourse of ‘live cinema’ as the name of a concrete practice and conceptual aspiration within contemporary media aesthetics. The author argues that this oxymoronic conjunction encapsulates certain fundamental questions recurring throughout the history of 20th-century art in its increasingly important intersection with both media technology and performance. Contrasting contemporary digital ‘interfaces’ with classical musical instruments, he asks how traditional forms of embodiment and virtuosity have been transformed within contemporary audiovisual performance. Finally, he explores ideas of speed and the cut from Sergei Eisenstein’s film theory to explore Abigail Child’s 1983 film Mutiny as a work that, while not itself ‘Live Cinema’, sheds important light on what such a future aesthetic might conceivably entail.

scholarly journals Eternal Heroes Of Uzbek Cinema

2020 ◽  
Vol 02 (11) ◽  
pp. 614-622
Author(s):  
Khafiza Khakimovna Niyazova ◽  
Keyword(s):  
20Th Century ◽  
Point Of View ◽  
Performance Skills ◽  
History Of

This article examines such films as “Tahir and Zuhra”, “Nasriddin in Bukhara”, “Alisher Nava’i”, which are some of the brightest samples of Uzbek cinema of the 20th century. We will talk about the history of these films, their creators - screenwriters, directors, cameramen, composers, artists, ensemble of actors and their performance skills. These films are analyzed from the point of view of cinematography, and their success and shortcomings are clearly stated.

scholarly journals Christ Our Light: The Expectation of Seeing God in Calvin’s Theology of the Christian Life

Perichoresis ◽  
2020 ◽  
Vol 18 (1) ◽  
pp. 25-40
Author(s):  
Carsten Card-Hyatt
Keyword(s):  
20Th Century ◽  
Christian Ethics ◽  
Modern World ◽  
Close Reading ◽  
Christian Life ◽  
Beatific Vision ◽  
History Of ◽  
Biblical Commentaries ◽  
Vision Of God

AbstractThe beatific vision plays a prominent role in the history of Christian ethics. Reformed ethics has an ambiguous relationship to this history, on two counts. First, it offers some qualified critiques of the role of vision in ordering ethical understanding, and second, on some accounts, Reformed ethics shares some responsibility for the loss of transcendence in the modern world, and the narrowing of the ethical field that has resulted from this loss. This essay argues that the vision of God in John Calvin’s understanding of the Christian life offers resources to defend a Reformed ethics from some recent detractors. Further, it provides a constructive contrast with the role of eschatology in a prominent strand of 20th century ethics. This argument is sustained through a close reading of Calvin’s biblical commentaries on the role of theophanies and the promise of the vision of God, and of Book III, chapters 6-10 of the Institutes.

Selected New Books: The Decorative Arts. Part 1

1978 ◽  
Vol 3 (4) ◽  
pp. 47-49
Author(s):  
Gaye Smith
Keyword(s):  
20Th Century ◽  
Fine Arts ◽  
Decorative Arts ◽  
Graphic Arts ◽  
Vast Amount ◽  
History Of ◽  
History Of Design

The literature of art traditionally concentrates on the fine arts and, to a lesser extent, the applied and decorative arts. There is a vast amount of spadework to be done in researching the history of design (especially 20th century design). Often, periodical articles or exhibition catalogues are the only source of published documentation. Since exhibitions are dealt with in another section of the journal, here I shall look at some recent books. I have further limited this selection to exclude architecture and the graphic arts. I have chosen books which are visually stimulating and of use to the practical designer as well as works of a more academic approach.

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