Context of the existence of Chinese national music: ethnomusicological and anthropological analysis

2020 ◽  
Vol 2020 (12-3) ◽  
pp. 216-229
Author(s):  
Wang Chenyu
Keyword(s):  
Musical Culture ◽  
Scientific Thought ◽  
History Of ◽  
National Music

The article is devoted to the study of the anthropology of Chinese national music. The history of the development of musical art and musical culture in China, role and place of musical anthropology in Chinese scientific thought is revealed. The research is based on ethnomusicological and anthropological approaches. The analysis of the practice of conducting ethnomusicological research in China, as well as the history of the development of ethnomusicology, as a separate scientific direction, is performed.

scholarly journals MODERN SCIENTIFIC THOUGHT ABOUT THE DEVELOPMENT OF WIND MUSIC AND PERFORMANCE

2021 ◽  
Vol 1 (192) ◽  
pp. 209-212
Author(s):  
Anna Stepanova ◽  
Keyword(s):  
Wind Instruments ◽  
Wind Music ◽  
Musical Culture ◽  
Scientific Thought ◽  
Current State ◽  
History Of ◽  
The Subject ◽  
Brass Music ◽  
And Performance ◽  
Scientific Achievements

The purpose of the article is to review modern scientific works of a monographic nature, created on the basis of dissertation research, which is one of the main directions of scientific thought on the development of native wind music and performance in the history of European musical culture. The research methodology is based on the dialectical interconnection of historical, sociological and analytical methods; it allows the analysis of scientific achievements in the study of the development of wind music. The scientific novelty of the article is to identify the main scientific approaches of domestic and foreign scientists to research on historical and sociological processes that affect the development of Russian brass music against the background of European musical art. Conclusions. The current state of scientific and theoretical thought on the development of wind music and performance on wind instruments is characterized by four main areas, which cover the subject: the history of wind instruments development; improvement of game techniques and performance; vocational training of spiritual wind musicians and prospects for the development of wind music and its role in the world of music. Modern scientific works of a monographic nature, created on the basis of dissertation researches – is one of the main directions of research of the history and theory of wind music.

Materialism. An Outline of the History of Scientific Thought

Books Abroad ◽  
1952 ◽  
Vol 26 (4) ◽  
pp. 402
Author(s):  
Carlton W. Berenda ◽  
M. N. Roy
Keyword(s):  
Scientific Thought ◽  
History Of

MODERN PERFORMANCE ON THE KAZAKH KOBYZ

2020 ◽  
Vol 1 (2) ◽  
pp. 176-180
Author(s):  
T. Zh. Yeginbayeva ◽  
Keyword(s):  
Cultural Development ◽  
Ancient History ◽  
Musical Culture ◽  
The Past ◽  
Ensemble Performance ◽  
Natural Tendency ◽  
New Development ◽  
Key Factor ◽  
History Of ◽  
Ancient Times

Global processes in the musical culture of Kazakhstan are the result of the numerous events that have taken place in the country over the past 20 years. The independence of the state has become a key factor that has had a decisive impact on the economic, socio-political and cultural development of the country. We have entered a new life, which has a rich cultural heritage and was carefully preserved by our ancestors. One of the proofs is the history of Kazakh kobyz art from ancient times to the present day. Modern kobyz art is closely connected with ancient history and has a rich natural tendency for new development, based on centuries of experience. Therefore, kobyz music of the XXth–XXIst centuries absorbed the traditions of European genres and styles, and is widely used in mass music, in various directions of ethnorock, art-rock, folk and others. Two lines of development of music for kobyz and music on kobyz existed in ancient times and nowadays. From here comes the divergence of creative direction among modern composers and in ensemble performance.

scholarly journals Passeism in the Musical Culture of France

2019 ◽  
Vol 16 (2) ◽  
pp. 171-182
Author(s):  
Galina A. Eremenko
Keyword(s):  
20Th Century ◽  
Cultural Influences ◽  
Young Generation ◽  
Musical Culture ◽  
Self Identity ◽  
The Past ◽  
Cultural Life ◽  
Opposite Trend ◽  
History Of ◽  
French Composers

The specialists note and highly appreciate the openness to creative dialogue with different European and regional cultures in their works about the artistic history of France. In the introductory section, the article is focused on the importance of the opposite trend, developed in the 19th — early 20th century in all spheres of art. The purpose of the new movement is “national revival”, interest in the ori­gins of the great heritage of the French masters of past epochs. The author concentrates on the peculiarities of interaction between leading composers, musicians-performers and teachers with the traditions of music professionalism of the French compo­ser school. Furthermore, she explains the main reason of “back to the past” addiction by desire to preserve the unique distinction of artistic thinking in the terms of intensive cultural influences in Italy, Germany and Russia. The article provides the facts of creative activity of the leaders of “national renewal”. There are presented some journalistic statements of the leading French composers to confirm their unanimous recognition of the actual value of national classics to the future of French culture. There is explicated the pa­norama of creative experiments (C. Franck, C. Saint-Saëns, E. Satie, impressionists and composers of the “young generation”) on reconstruction of national traditions of distant epochs. The coverage of events and display of artistic phenomena of musical and cultural life of France allowed the author to form a context to consider the problem of aesthetic and stylistic character: new understanding of the phenomenon of “artistic tradition” and “dialogue with tradition” in the epoch of modernism. The comparison of diffe­rent forms of “dialogue with the past” in the Russian culture of the beginning of the 20th century and in creative works of the leader of European retrospectivisme I.F. Stravinsky gave grounds to use the concept of “passeism” to characterize the special French type of inheritance of the “lessons” of the predecessors. Introducing the concept of “passeism” in contrast to the accepted in Russian musicology “musical neoclassicism” and giving reasons of the effectiveness of its application, the author seeks to identify the idea of preser­ving soil foundations of tradition as a way of national self-identity (prosody, rhetoric, form) pertaining to the French composer school.

Cosmos: The Universe Translated

2018 ◽  
pp. 187-232
Author(s):  
Alison E. Martin
Keyword(s):  
Natural History ◽  
Original Work ◽  
Natural World ◽  
Scientific Thought ◽  
Physical Description ◽  
The World ◽  
Terrestrial Life ◽  
Fourth Volume ◽  
History Of ◽  
The Universe

This chapter is devoted to Humboldt’s last, great work Cosmos. This multi-volume ‘Sketch of a Physical Description of the World’ ranged encyclopaedically from the darkest corners of space to the smallest forms of terrestrial life, describing the larger systems at work in the natural world. But, as British reviewers were swift to query, where was God in Humboldt’s mapping of the universe? Appearing on the market in 1846, just a year after Robert Chambers’ controversial Vestiges of the Natural History of Creation, Humboldt’s Cosmos unavoidably underwent close scrutiny. Hitherto overlooked correspondence between Humboldt and Edward Sabine shows how the Sabines deliberately reoriented the second volume of the English translation for Longman/Murray explicitly to include references to the ‘Creator’ and thus restore Humboldt’s reputation. The fourth volume of the Longman edition on terrestrial magnetism – Edward Sabine’s specialism – included additions endorsed by Humboldt which made Sabine appear as co-writer alongside the great Prussian scientist, and Cosmos a more obviously ‘English’ product. Otté, who produced the rival translation for Bohn, was initially under pressure herself to generate ‘original’ work that differed from its rival, producing a version of a work that would remain central to scientific thought well up to the end of the nineteenth century.

Minotaurs or musonauts? ‘World Music’ and Cretan Music

Popular Music ◽  
1999 ◽  
Vol 18 (2) ◽  
pp. 209-225 ◽  
Author(s):  
Kevin Dawe
Keyword(s):  
Middle East ◽  
Middle Eastern ◽  
Aegean Sea ◽  
Musical Culture ◽  
Eastern Aegean ◽  
Cultural Spaces ◽  
History Of ◽  
Eastern Music ◽  
European Periphery ◽  
Political Economic

In a recent issue of Popular Music devoted to the music of the Middle East, Martin Stokes and Ruth Davis note that ‘the movement of Middle Eastern sounds into Western cultural spaces … has largely been ignored’ (1996, p. 255) and that ‘Middle Eastern popular musics will probably continue to mark an unassimilable and unwelcome “otherness” for most Europeans and Americans’ (ibid, p. 257). In this paper, written partly in response to these remarks, I examine the movement of contemporary Middle Eastern sounds into Greek cultural space and Greek musical culture, a musical culture that has an affinity with ‘Eastern’ musics but also a strong sense of its own identity. Middle Eastern music can indeed take on the form of an ‘unwelcome “otherness”’ in Greece and I shall provide examples of this from my own fieldwork on the Greek island of Crete. Greece and the Greek islands are outposts, on the European periphery, on the frontier between ‘the East’ and ‘the West’, where a history of confrontations, invasions and forced exchanges in political, economic and demographic terms with the Middle East has ensued for millenia. Greece and Turkey still remain in dispute over territory from the Thracian borderlands to the smaller islands of the Eastern Aegean Sea.

The Eighteenth-Century Origins of the Musical Canon

1989 ◽  
Vol 114 (1) ◽  
pp. 6-17 ◽  
Author(s):  
William Weber
Keyword(s):  
Eighteenth Century ◽  
Early History ◽  
Critical Plane ◽  
Musical Culture ◽  
Literary Context ◽  
Gradual Evolution ◽  
Musical Taste ◽  
History Of ◽  
Musical Canon ◽  
Modern Form

Joseph Kerman has suggested a distinction crucial in defining the meaning of ‘canon’ in musical culture: repertory, he argues, was simply the performance of old works; canon, by contrast, is their reverence on a critical plane and in a literary context. The distinction is a fertile one, for it challenges us to define when works were not just offered by convention, but when they functioned as models for musical taste critically and aesthetically. The distinction can be extremely fruitful in tracing the early history of the canon – its origins in repertory and gradual evolution into its modern form. What I would like to show here is how repertories grew up originally without true status as canon; before canon there was repertory, and that is where the whole tradition began. In inquiring just where the modern practice of performing old music regularly came about we can look into some of the most fundamental social and intellectual bases upon which the tradition was established.

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