scholarly journals Historical Source Materials for the Modern and Contemporary Music History of Korea

音.樂.學 ◽  
2019 ◽  
Vol 27 (1) ◽  
pp. 137-157
Author(s):  
BangSong Song
Keyword(s):  
Contemporary Music ◽  
Music History ◽  
Historical Source ◽  
History Of ◽  
Source Materials

Oral Testimony as Historical Source Material for the Reconstruction of the Judicial History of Shipping in India (1600-1800)

2019 ◽  
Vol 7 (1) ◽  
Author(s):  
Mir Kamruzzman Chowdhary
Keyword(s):  
Nineteenth Century ◽  
Source Material ◽  
Maritime History ◽  
Historical Source ◽  
Alternative Source ◽  
Oral Testimony ◽  
History Of ◽  
Judicial History ◽  
Source Materials

This study was an attempt to understand how the available alternative source materials, such as oral testimonies can serve as valuable assets to unveiling certain aspects of maritime history in India. A number of themes in maritime history in India failed to get the attention of the generation of historians, because of the paucity of written documents. Unlike in Europe, the penning down of shipping activities was not a concern for the authorities at the port in India. The pamphlets and newsletters declared the scheduled departure of the ship in Europe but, in India, this was done verbally. Therefore, maritime history in India remained marginalised. Hence, in this article, I make an endeavour to perceive how the oral testimonies can help shed some new light on certain aspects of maritime history in India, such as life on the ship, maritime practices, and perceptions among the littoral people in coastal societies. This article also outlines an approach on how the broader question on the transformation of scattered maritime practices among coastal societies can be adapted and transferred into an organised institution of law by the nineteenth century, and how these can be pursued in future. I also suggest in this article that the role of Europeans, especially the British, in the process of transformation, can be investigated further through oral testimonies in corroboration with the colonial archival records.

Isaac's Signature

2011 ◽  
Vol 28 (1) ◽  
pp. 9-33 ◽  
Author(s):  
Rob C. Wegman
Keyword(s):  
Contemporary Music ◽  
Music History ◽  
Musical Work ◽  
Personal Style ◽  
Contractual Obligation ◽  
Commercial Transaction ◽  
Musical Works ◽  
History Of

ABSTRACT The notion of the signature could serve as an appropriate metaphor by which to explore Heinrich Isaac as a man of his time and world. It may be mere coincidence that he has left more documents signed in his own hand than contemporary composers, but some of the documents he authenticated in this way really do attest to a new idea of professional musicianship that Isaac was the earliest and most successful in implementing: that of the professional composer who undertakes to produce new works under contractual obligation. Isaac is the first-known musician who signed a document specifically in this capacity. Yet his signature, or at least the assurance that he personally composed and signed a musical work, is also found in the context of practical musical sources, where they would appear to have no legal significance. Martin Just has shown, however, that the particular folios containing these compositions, in the manuscript Berlin 40021, were originally sent as letters. The implication is that Isaac's signature, in this case, is not an attribution so much as a mark of authentication—something that would have been required only if the musical works in question were sent, and changed hands, as part of a commercial transaction. Taking the metaphor of the signature in a broader figurative sense, one could suggest that Isaac's work also bears his musical signature—namely in the personal style that his contemporaries tried to recognize and in some cases to characterize in words. Two authors who tried to capture the peculiar quality of Isaac's music are Paolo Cortesi and Heinrich Glarean. The latter's attempt is especially significant, since Glarean seems to attest to a new way of hearing and conceptualizing polyphony. Although it is hard to identify specifically which passages in Isaac's music he would have had in mind, the key to his appraisal seems to lie in a different way of conceptualizing the interplay of contrapuntal voices in contemporary music. To the extent that we can associate this with Isaac's musical signature, it would appear, once again, that this composer, more than any other, was at the forefront of some of the most significant developments in the music history of his time.

The King Abdulaziz Foundation for Research and Archives

2001 ◽  
Vol 35 (1) ◽  
pp. 45-46
Author(s):  
Fahd Al-Semmari
Keyword(s):  
Oral History ◽  
Oral Traditions ◽  
Royal Family ◽  
Historical Source ◽  
Kingdom Of Saudi Arabia ◽  
Information Center ◽  
History Of ◽  
Private Donations ◽  
Source Materials ◽  
Center Research

The King Abdulaziz Foundation for Research and Archives (KAFRA) (Arabic title: Darat al-Malik Abdulaziz) was established in 1972 with the aim of preserving the history of the Kingdom of Saudi Arabia, along with its geography, literature, thought, and architecture. The Foundation is an independent academic establishment governed by a board of directors, chaired by HRH Prince Salman bin Abdulaziz Al-Saud. Its funds are based on project returns, investment activities, government funds, and private donations. Its major sections are: Saudi History Archives, Oral History Center, Information Center, Research Department, Female Center, Ad-darah Journal, the Library, King Abdulaziz Memorial Exhibition Hall, Muraba Palace, and the Royal Family History Center.During its twenty-nine years of existence, the King Abdulaziz Foundation has collected and preserved huge quantities of historical source materials: documents, manuscripts, books, magazines, photographs, sketches, paintings, films, and oral traditions. The Foundation is keen to collect, classify, and preserve historical documents in both original and duplicate forms. It has collected, as well as copied from, various archives and research centers outside the Kingdom.

scholarly journals Ethical encounters in the archives

2020 ◽  
Vol 29 ◽  
Author(s):  
Maarit Leskelä-Kärki
Keyword(s):  
Ethical Challenges ◽  
Historical Source ◽  
Archival Material ◽  
The Past ◽  
Multiple Contexts ◽  
Starting Point ◽  
History Of ◽  
Source Materials

This article discusses archival sources and biographical history in the context of the history of modern esotericism. Presenting a case study and archival material of a Finnish writer Aarni Kouta (1884-1924) the article asks, what are the ethical challenges of studying individuals and their intimate sources in the context of esotericism. The starting point is in the forgotten figures of esoteric history, and thus the article reflects how our understanding of history and more precisely on the history of esotericism changes when we look at those whose history has not been presented before. I will argue that we need to be much more sensitive to the differences in the past when doing interpretations concerning individuals, and we have to be ethically aware of our position as interpreters. This means careful working with historical source materials, but also sensitivity to both the long traditions of esotericism and to the multiple contexts of particular historical moments.   

Legend of the Feodorov’s Icon of the Mother of God as a Historical Source about Sacred Thing of the House of Romanov

2010 ◽  
pp. 44-49
Author(s):  
Olga N. Radeeva
Keyword(s):  
Historical Source ◽  
History Of ◽  
Actual Material ◽  
Book Culture

The article is devoted to the history of Feodorovskaya icon. The article conclusions are based on research of the Legend about appearance and wonders of deiparous icon, which is the main historical source on this theme. The Legend of Feodorovskaya icon not only contains an interesting actual material, but also is an integral part of Russia's book culture.

Nashville Cats

2020 ◽  
Author(s):  
Travis D. Stimeling
Keyword(s):  
Music History ◽  
Country Music ◽  
Primary Sources ◽  
Recording Industry ◽  
Global View ◽  
Production And Distribution ◽  
History Of ◽  
The 1950S ◽  
Hall Of Fame ◽  
The City

Nashville Cats: Record Production in Music City, 1945–1975 is the first history of record production during country music’s so-called Nashville Sound era. This period of country music history produced some of the genre’s most celebrated recording artists, including Country Music Hall of Fame inductees Patsy Cline, Jim Reeves, and Floyd Cramer, and marked the establishment of a recording industry that has come to define Nashville in the national and international consciousness. Yet, despite country music’s overwhelming popularity during this period and the continued legacy of the studios that were built in Nashville during the 1950s and 1960s, little attention has been given to the ways in which recording engineers, session musicians, and record producers shaped the sounds of country music during the time. Drawing upon a rich array of previously unexplored primary sources, Nashville Cats: Record Production in Music City, 1945–1975 is the first book to take a global view of record production in Nashville during the three decades that the city’s musicians established the city as the leading center for the production and distribution of country music.

A new history of Ireland

1969 ◽  
Vol 16 (63) ◽  
pp. 241-257 ◽  
Author(s):  
T.W. Moody
Keyword(s):  
Scholarly Work ◽  
Irish History ◽  
New Knowledge ◽  
History Of ◽  
Special Studies ◽  
Source Materials

The completion in 1967 of thirty years of Irish Historical Studies has been the occasion for a stocktaking (still in progress) of the achievement of those years in Irish historiography. They are coming to be seen as an era of remarkable advances in specialist research, in professional technique, in historical organisation, and in the publication of special studies, source materials, bibliographies and aids to research. Though this research has been unevenly spread, it has produced an impressive body of new knowledge on many periods and topics. The conditions for scholarly work on Irish history have thus been transformed; and there is a world of difference between the prospects for Irish historiography in 1938 and now.

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