scholarly journals Populism and Folklorism in Central European Music Pedagogy of the Nineteenth and Early Twentieth Centuries

2009 ◽  
pp. 35-53
Author(s):  
Rhoda Dullea
Keyword(s):  
Twentieth Century ◽  
Folk Music ◽  
Folk Art ◽  
Art Music ◽  
Music Pedagogy ◽  
Only Children ◽  
Central European ◽  
Political Ideologies ◽  
The Masses ◽  
Selection Of

The nineteenth century saw the beginnings of a fascination for ‘naïve’ folk art as a supposed encapsulation of ‘national spirit’, a fascination which juxtaposed and frequently intersected with a growing interest by many composers in the creation of didactic art music for children. Folk themes, considered ‘child-like’ and ‘pure’ in character, informed many of these works because of their apparent aptness for a young audience. Such works led to a populist trend peaking in the early twentieth century that saw composers using everyday folk-art themes and references, in the context of their own compositional idiom, as a means of introducing not only children but the general public to arcane principles of art music in an accessible way.Bound up with the populist concern for the musical education of ‘the masses’ (through reference to ‘their’ folk-music genres) were topical social and political ideologies, chiefly nationalism and later, at the start of the twentieth century, evolutionism, which influenced the composers’ selection of folk-music themes for their pedagogical works and were clearly evident in their explanatory literature about this music. Through reference to composers from Schumann to Kodály and Orff, this article traces the development and influence of the Volk concept, from both nationalist and evolutionist perspectives, on Central European musical pedagogy of the nineteenth and early twentieth centuries.

scholarly journals Mythology in folklore and its features

2020 ◽  
Vol 6 ◽  
pp. 63-66
Author(s):  
Hikmatova Muqadas Nurilloevna
Keyword(s):  
Folk Music ◽  
Performing Arts ◽  
Folk Art ◽  
Folk Theater ◽  
The Masses ◽  
Applied Arts

In the article, folk art - artistic, creative-practical and amateur activity of the masses; folklore, folk music (folklore), folk theater (performing arts), folk dances (dances), puppetry, wood and wooden foot games (folk circus), folk fine and applied arts of traditional material and intangible culture information and examples of art and technical and artistic hobbies

The Third Biennial International Conference on Twentieth-Century Music, University of Nottingham, 26–29 June 2003

2004 ◽  
Vol 1 (1) ◽  
pp. 147-151
Author(s):  
Claire Taylor-Jay
Keyword(s):  
Twentieth Century ◽  
Popular Music ◽  
Art Music ◽  
Central Feature ◽  
International Conference ◽  
The Third ◽  
Twentieth Century Music ◽  
Musical Practices ◽  
The University ◽  
Selection Of

The great stylistic diversity of the music written during the twentieth century (and beyond) would seem to make the organization of any conference devoted to it a formidable task: can one really hope to cover a representative selection? While a decade ago such an event might well have covered only art music (a disparate enough field in itself), nowadays one would expect to see some attention given to jazz, popular music, and film. The organizers of the Third Biennial International Conference on Twentieth-Century Music at the University of Nottingham made a conscious attempt at inclusivity, selecting papers that might have been better put together under the title of ‘Twentieth-Century Musics’. The diversity of music represented by the papers was reflected in the plurality of approaches and methodologies. Indeed, one central feature of the conference was its concern not only with musical works, or with twentieth-century composers, but with musical practices. Alongside the statutory selection of more or less canonical art composers and their music, there were several sessions on popular music, jazz, and perspectives from ethnomusicology.

scholarly journals Historical Background for the Creation of the Research Room of Music

2021 ◽  
Vol 4 (2) ◽  
pp. 230-239
Author(s):  
Leyla Aslanova
Keyword(s):  
Twentieth Century ◽  
Cultural Values ◽  
Folk Music ◽  
Folk Art ◽  
Point Of View ◽  
Historical Background ◽  
Research Issues ◽  
Modern Times ◽  
Early Twentieth Century ◽  
The World

The article discusses the research issues conducted in the field of music education in Azerbaijan in the early twentieth century. The article also looks at the process of collecting and transmitting the oral folk heritage of Azerbaijan to future generations and examines the purposeful work carried out in this area. In addition, the article provides information about prominent Azerbaijani educators in the field of writing and studying samples of national folklore, based on archival materials, highlights several relevant sources in this regard. The article emphasizes the peculiarities of the folklore environment of Baku and Sheki, where oriental concerts are held. The purpose of the research is to determine the features of the collection and recording of Azerbaijani folklore samples. The article emphasizes the work of the Research Music Room, which is important in the field of education. The study of national and cultural values of the Azerbaijani people in modern times and the solution of the problems of spiritual heritage protection are the basis of the research as a working principle of the research music room. The research methodology is based on music-analytical and historical analysis. It was noted that the research music room has established its activities in the field of collection and study of folklore within the requirements of modern times. At the same time, the methodological basis of the article is based on the scientific-theoretical principles and research practices of Azerbaijani and foreign musicologists in the study of musical folklore, comparison of oral folk-art examples, recording of folk music samples. The scientific novelty of the research is that for the first time, the activity features of the scientific room within the framework of Azerbaijani music were examined, and the working principles were studied in detail. At the same time, based on the research, the article presents a scientifically substantiated study of the features of the process of collecting and studying musical folklore in the early twentieth century, the oral folklore recording. Conclusions. The presented article allows us to cover the activity of the Research Room of Music established at the Azerbaijan State Conservatory in 1932, in particular, to get important results in the study of Azerbaijani folklore. The article analyzes the continuation of the educational movement in Azerbaijan, in particular, the popularization and use of oral folklore, using articles, transcripts and speeches of meetings periodically published in the press. It is noted that the processes of globalization taking place in the world today emphasize the value system of traditional heritage. This is especially important in the field of humanities in terms of studying the history and folklore of Azerbaijani music culture up to modern times. The problems of writing and studying Azerbaijani music folklore were raised by national educators. From this point of view, it is especially important to systematically publish materials on the study of oral folk art in periodicals. It was noted that the educators paid special attention to the educational significance of oral folk art. In this sense, the research draws attention to Hasan bey Zardabi’s research on folk art, especially its educational function. From this point of view, it is very important to emphasize that the first researches on oral folklore carried out by Azerbaijani enlighteners allowed national folklore to enter the world folk art system. Such issues as identifying the uniqueness of the collection of oral folk art, studying music folklore as a whole, comparing examples of oral music, determining the regularities and harmonization of folk music from the activities of the Research Room of Music, and assessing the protection of spiritual heritage were noted. At present, the research music room continues to play an important role in the study of music folklore and generalizes the study of music science at a certain stage in the history of Azerbaijan.

Incan or Not? Building Ecuador’s Musical Past in the Quest for a Nationalist Art Music, 1900–1950

2019 ◽  
Vol 36 (2) ◽  
pp. 228-260
Author(s):  
Vera Wolkowicz
Keyword(s):  
Twentieth Century ◽  
Music History ◽  
Art Music ◽  
Primary Component ◽  
Global History ◽  
The Past ◽  
Musical Discourse ◽  
History Of ◽  
Musical Heritage ◽  
Selection Of

When the development of Ecuadorian national art music began at the end of the nineteenth century, composers and music historians followed European models and studied folklore as a window onto the past. In this quest to discover and articulate what was truly “Ecuadorian,” Incan culture occupied a complex position, sometimes hailed as a primary component of Ecuador’s musical heritage and sometimes dismissed as irrelevant. This article explores the music histories written by composers Pedro Pablo Traversari, Segundo Luis Moreno, and Sixto María Durán, and investigates a selection of Traversari’s compositions and Moreno’s music analyses. It demonstrates how they either included Incan culture in or excluded it from a national music history, in dialogue with scholars outside Ecuador. Early twentieth-century musical discourse in Ecuador produced a series of conflicting and converging perspectives on national and continental music that contribute to our understanding of the global history of nationalistic art musics.

Veiling Esther, Unveiling Her Story

2018 ◽  
Author(s):  
Adam J. Silverstein
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Case Studies ◽  
Muslim World ◽  
Historical Narratives ◽  
Modern Times ◽  
Religious Background ◽  
Literary Context ◽  
Shed Light ◽  
Selection Of

This book examines the ways in which the biblical book of Esther was read, understood, and used in Muslim lands, from ancient to modern times. It zeroes-in on a selection of case studies, covering works from various periods and regions of the Muslim world, including the Qur’an, premodern historical chronicles and literary works, the writings of a nineteenth-century Shia feminist, a twentieth-century Iranian dictionary, and others. These case studies demonstrate that Muslim sources contain valuable materials on Esther, which shed light both on the Esther story itself and on the Muslim peoples and cultures that received it. The book argues that Muslim sources preserve important, pre-Islamic materials on Esther that have not survived elsewhere, some of which offer answers to ancient questions about Esther, such as the meaning of Haman’s epithet in the Greek versions of the story, the reason why Mordecai refused to prostrate himself before Haman, and the literary context of the “plot of the eunuchs” to kill the Persian king. Furthermore, throughout the book we will see how each author’s cultural and religious background influenced his or her understanding and retelling of the Esther story: In particular, it will be shown that Persian Muslims (and Jews) were often forced to reconcile or choose between the conflicting historical narratives provided by their religious and cultural heritages respectively.

A Culture in Crisis

2017 ◽  
Author(s):  
Erika Fischer-Lichte
Keyword(s):  
Twentieth Century ◽  
Body Ideal ◽  
The Masses ◽  
Of Greece ◽  
New Devices

Chapter 4 investigates the role of the new image of Greece in the first decades of the twentieth century. ‘A Culture in Crisis: Max Reinhardt’s Productions of Greek Tragedies (1903–1919)’ addresses two problems: first, the new body ideal and its liberation from the restraints imposed on it until then, and, second, the division within society of those who made a cult of their individuality and the rapidly growing masses of the proletariat. While in Reinhardt’s Electra (1903) Gertrud Eysoldt displayed her body as that of a maenad or a hysteric, a number of new devices were developed in Oedipus the King (1910) and the Oresteia (1911), both performed in a circus, which temporarily transformed the masses of actors and spectators into a—theatrical—community. The chapter also discusses Leopold Jessner’s production of Oedipus (1929) as a quest for a ‘philosophical theatre’ (Brecht).

The Yellow Wall-Paper and Other Stories

2009 ◽  
Author(s):  
Charlotte Perkins Gilman
Keyword(s):  
Twentieth Century ◽  
Short Fiction ◽  
Social Problems ◽  
Charlotte Perkins Gilman ◽  
Early Twentieth Century ◽  
Selection Of

Charlotte Perkins Gilman was America's leading feminist intellectual of the early twentieth century. The Yellow Wall-Paper and Other Stories makes available the fullest selection of her short fiction ever printed. In addition to her pioneering masterpiece, ‘The Yellow Wall-Paper’ (1890), which draws on her own experience of depression and insanity, this edition features her Impress ‘story studies’, works in the manner of writers such as James, Twain, and Kipling. These stories, together with other fiction from her neglected California period (1890-5), throw new light on Gilman as a practitioner of the art of fiction. In her Forerunner stories she repeatedly explores the situation of ‘the woman of fifty’ and inspires reform by imagining workable solutions to a range of personal and social problems.

A Polanyian rationale for a liberal arts core curriculum

2021 ◽  
pp. 147787852199623
Author(s):  
Jon Fennell ◽  
Timothy L. Simpson
Keyword(s):  
Twentieth Century ◽  
Subject Matter ◽  
Liberal Arts ◽  
Core Curriculum ◽  
Moral Imagination ◽  
Philosophy Of Education ◽  
Michael Polanyi ◽  
Character Formation ◽  
Selection Of

What would we have the school teach? To what end? In the name of democracy, and building on the pioneering epistemology of Michael Polanyi, Harry S. Broudy, a leading voice in philosophy of education during the twentieth century, calls for a liberal arts core curriculum for all. The envisioned product of such schooling is a certain sort of person. Anticipating the predictable relativistic challenge so much on display in our own time, Broudy justifies the selection of subject matter (and thus the envisioned character formation and cultivation of moral imagination) by reference to the authority of experts in the disciplines. This response fails to fully repel the assault, thereby revealing the need for a dimension of Polanyi’s thought whose significance exceeds even that of the epistemology that Broudy so effectively invokes.

scholarly journals Genetic Similarity of Avena sativa L. Varieties as an Example of a Narrow Genetic Pool of Contemporary Cereal Species

Plants ◽  
2021 ◽  
Vol 10 (7) ◽  
pp. 1424
Author(s):  
Magdalena Cieplak ◽  
Sylwia Okoń ◽  
Krystyna Werwińska
Keyword(s):  
Genetic Diversity ◽  
Avena Sativa ◽  
Genetic Similarity ◽  
Breeding Programs ◽  
Central European ◽  
Cereal Species ◽  
Genetic Pool ◽  
Selection Of ◽  
High Genetic Similarity

The assessment of the genetic diversity of cultivated varieties is a very important element of breeding programs. This allows the determination of the level of genetic differentiation of cultivated varieties, their genetic distinctiveness, and is also of great importance in the selection of parental components for crossbreeding. The aim of the present study was to determine the level of genetic diversity of oat varieties currently grown in Central Europe based on two marker systems: ISSR and SCoT. The research conducted showed that both these types of markers were suitable for conducting analyses relating to the assessment of genetic diversity. The calculated coefficients showed that the analyzed cultivars were characterized by a high genetic similarity. However, the UPGMA and PCoA analyses clearly indicated the distinctiveness of the breeding programs conducted in Central European countries. The high genetic similarity of the analyzed forms allow us to conclude that it is necessary to expand the genetic pool of oat varieties. Numerous studies show that landraces may be the donor of genetic variation.

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