scholarly journals THE DYNAMICS OF CHORAL CULTURE DEVELOPMENT IN CHINA IN THE 1930S ON THE EXAMPLE OF HUANG TZI’S ORATORIO ETERNAL REGRET

2021 ◽  
Vol 17 (5) ◽  
pp. 109-124
Author(s):  
Xu Yanping
Keyword(s):  
Music Education ◽  
20Th Century ◽  
Choral Music ◽  
Instrumental Music ◽  
Political Life ◽  
Theoretical Research ◽  
Special Role ◽  
Choral Works ◽  
Chinese Music ◽  
Culture Development

Choral music in China is a dynamically developing form of contemporary musical art. Scientific works devoted to the Chinese choral culture consider the 1930s of the 20th century as the most productive period in the development of this branch of musical creativity. The article examines the phase of the active entry of Chinese choral music into the sphere of the oratorio genre, which is directly related to the name of the great Chinese composer — Huang Tzi. It also highlights the issues of the country’s political life in the 1930s, which actively influenced the creation of nationwide singing movements and new choral works in the country. The oratorio genre, the genesis of which refers us to the European religious musical tradition of the 17th century, spread in China owing to the massive flow of Chinese intelligentsia to the territory of Western states throughout the entire beginning of the 20th century. In the article, the actualisation of the oratorio and its interpretation in a new light is presented as the merit of Huang Tzi, whose civic position was directly related to the desire to preserve ethnic origins in Chinese music and to complement them with Western composing techniques organically. Having proved himself not only as a composer but also as a theorist and teacher, Huang Tzi devoted most of his life to educating a large number of music professors, initiating a progressive approach to music education. His desire to raise the level of the composing school in China made it possible to enrich the repertoire of vocal and instrumental music with characteristics of the folk style. The oratorio Eternal Regret presented in the article is a unique creation that organically combines ethnic music and Western composition techniques. In the story of Emperor Xuanzong and Yang Guifei (to the poems of Tang poet Bai Juyi), taken by the composer as the theme for the libretto, there is certain symbolism that has the conceptual plan of addressing the power to demonstrate the alleged results of Kuomintang’s unclear policy. Thus, directly related to political cataclysms and their final embodiment in the form of the Sino-Japanese war (1937-1945), the oratorio Eternal Regret is presented in the article as a consolidating core that inspired the civilian masses to fight the Japanese invaders. The analysis of Bai Juyi’s original poem “Eternal Regret” and a fragmentary historical-stylistic and vocal-choral analysis of the oratorio have been carried out. The artistic features of individual parts of the oratorio, seven of which were completed by the composer, are revealed. Based on literary sources and theoretical research presented in the article, the author asserts the special role of the oratorio Eternal Regret in history and its far-reaching influence on the prospects for the development of the Chinese choir.

An active e-book to foster self-regulation in music education

2014 ◽  
Vol 11 (4) ◽  
pp. 254-269 ◽  
Author(s):  
Luca Andrea Ludovico ◽  
Giuseppina Rita Mangione
Keyword(s):  
Music Education ◽  
Instrumental Music ◽  
Self Regulation ◽  
Cognitive Strategies ◽  
Theoretical Research ◽  
Web Based ◽  
Content Type ◽  
Self Regulated Learning ◽  
Instrumental Music Education ◽  
Regulated Learning

Purpose – The purpose of this work is to analyze the concept of self-regulated learning and applying it to a web-based interface for music teaching. Design/methodology/approach – This work starts from a systematic review about music education and self-regulation during learning processes. Then, the paper identifies those meta-cognitive strategies that music students should adopt during their instrumental practice. The goal is applying such concepts to rethink the structure of a didactic e-book for instrumental music education. Thanks to the adoption of the Institute of Electrical and Electronics Engineers (IEEE) 1599 standard, the paper outlines a model of active e-book able to improve learners’ performances through proper cognitive and multi-modal scaffolds. In the last section, the design principles for an implementation will be proposed. Findings – This work applies theoretical research on self-regulated learning to the design and implementation of a working prototype. Research limitations/implications – A limitation is the lack of experimentation data, required to test the efficacy and effectiveness of the proposed e-book model and its impact on self-regulated music abilities. A validation strategy – e.g. based on scenarios – will be proposed in our future works, thanks to the support of music learning centres and focus groups composed by young Italian students. Originality/value – This work has been invited as an extension of the paper presented by the authors at EL2014 International Conference held in Lisbon. The previous work has been awarded as the best paper of the conference. In this extension, the authors provide further details about the proposed framework, highlighting in particular the implementation of scaffolds in the interface.

scholarly journals National musical instrument; Timbre; Charm; Piano music

2018 ◽  
Vol 1 (4) ◽  
pp. 105
Author(s):  
Xiaolan Cui
Keyword(s):  
Music Education ◽  
20Th Century ◽  
Piano Music ◽  
Traditional Music ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Western Music ◽  
Social Activities ◽  
Music Culture ◽  
Chinese Music

At the beginning of the 20th century, Western music gradually integrated into Chinese music education institutions and various music social activities. The timbre, range and comprehensive expression of Western musical instruments have played an important role in promoting the performance of Chinese national musical instruments. At the same time, Chinese traditional music culture has also had an important impact on the localization of Western music in China, especially for the piano music.

scholarly journals LETTER FROM THE EDITOR

2021 ◽  
Vol 17 (5) ◽  
pp. 8-9
Author(s):  
Maria A. Burganova
Keyword(s):  
Doctoral Students ◽  
20Th Century ◽  
Fine Arts ◽  
Historical Context ◽  
The State ◽  
Theory And Practice ◽  
Political Life ◽  
Andrea Palladio ◽  
Avant Garde ◽  
Culture Development

Dear readers, We are pleased to present to you Issue 5, 2021, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research areas concern topical problems in multiple areas of culture, art, philology, and linguistics. This versatility of the review reveals the main specificity of the journal, which represents the current state of the cultural space. The journal traditionally opens with the Academic Interview rubric. In this issue, we present an interview with Alexander Burganov, Academician of the Russian Academy of Arts, an outstanding Russian sculptor, National Artist of Russia, Doctor of Art History, Professor, Director of the Burganov House Moscow State Museum, interviewed by Irina Sedova, the Head of the 20th Century Sculpture Department of the State Tretyakov Gallery. This dialogue became part of the sculptor’s creative evening at the State Tretyakov Gallery, which included a personal exhibition, donation of the sculptural work Letter, screening of a special film and a dialogue with the audience in the format of an interactive interview. In the article “The Apocalypse Icon from the Kremlin’s Assumption Cathedral. Dating and Historical Context”, T. Samoilova points out the similarities between some motifs of the Apocalypse iconography and the motifs of Botticelli’s illustrations to the Divine Comedy, as well as the role of a line in both artworks which testifies to the influence of the Renaissance art on icon painting of the late 15th — early 16th centuries. Studying palaeography and stylistic features of the icon, the author clarifies the dates and believes that the icon was most likely painted after 1500, in the first decade of the 16th century. P. Tsvetkova researches the features of the development of the Palladian architectural system in Italy, in the homeland of Andrea Palladio. On the examples of specific monuments, drawings and projects created during two and a half centuries, the author analyses the peculiarities of the style transformation in the work of Palladio’s followers, the continuity of tradition, deviations from canonical rules. In the article “Artistic Features of the Northern White Night Motif in the Landscapes of Alexander Borisov and Louis Apol”, I. Yenina conducts art analysis and compares the works of the Russian “artist of eternal ice”, A. Borisov, and the Dutch “winter artist”, L. Apol. They were the first to depict such a phenomenon as a white night in the Far North. V. Slepukhin studies the artworks of the first decades of the Soviet era in the article “Formation of the Image of a New Hero in Russian Art of 1920- 1930”. The author concludes that the New Hero in the plastic arts of the 1920s–1930s was formed as a reflection of social ideals. The avant-garde artists searched for the Hero’s originality in the images of aviators, peasants, women. The artists of socialist realism began to form the images of the “typical” heroes of the time — warriors, athletes, rural workers, scientists, as new “people of the Renaissance”. In the article “Dialogues of the Avant-garde”, A. N. Lavrentyev presents a comparative analysis of spatial constructions created by the Russian Avant-Garde Artist Alexander Rodchenko and the famous kinetic European and American artist Alexander Calder in the first half of the 20th century. Wei Xiao continues his analysis of contemporary art in the article “Chinese Sculpture in the New Era”. The author notes that the art of sculpture is in many ways a reflection of social change, both in terms of cultural content and practice. The author emphasises the need for cultural identity to preserve national traditions and spirituality. Xu Yanping’s article “The Dynamics of the Choral Culture Development in China in the 1930s on the Example of Huang Tzi’s Oratorio Eternal Regret” is a scientific study of a particular phase of the active entry of Chinese choral music into the sphere of the oratorio genre, directly related to the name of the great Chinese composer, Huang Tzi. It also highlights the issues of the country’s political life in the 1930s, which actively influenced the creation of nationwide singing movements and new choral works in the country. The author believes that the oratorio Eternal Regret presented in the article is a unique creation that organically combines ethnic musical material and Western composition techniques. The publication is addressed to professionals specialising in the theory and practice of the fine arts and philology and all those interested in the arts and culture.

scholarly journals Mokranjac in the works of his successors - from the citation imitation to the citation polemics

Muzikologija ◽  
2017 ◽  
pp. 199-220
Author(s):  
Sasa Bozidarevic
Keyword(s):  
World War Ii ◽  
20Th Century ◽  
Choral Music ◽  
Common Knowledge ◽  
Interdisciplinary Approach ◽  
World War ◽  
Choral Works ◽  
The Common ◽  
Almost All ◽  
Alternative Solutions

Using the interdisciplinary approach to Stevan Mokranjac?s Garlands [Rukoveti] and his successors in the Serbian choral music after World War II, while simultaneously relying on Dubravka Oraic Tolic?s Theory of Citation (1990), I have continued the work of distinguished scholars in the field of Serbian postwar music and their diverse analytical experiences. Whilst critically evaluating the existing analytical interpretations, in this article I have pointed to the alternative solutions and interpretations of the relevant issues of the organisation of the musical flow of Garlands and related formal types in almost all relevant musicotextual segments. Departing from the problems posed by the phenomena of intertextuality and citational procedures as elaborated by Dubravka Oraic Tolic, in this article I focus on their different embodiments as established in the relation between Stevan Mokranjac?s Garlands and garlands and similar forms of the second half of the 20th century; I also specify analytical methods and their creative application on the analysis of individual choral works. During this process, certain different types of the intertexual communication in the garlands written by members of different generations required more precise definition, i.e. additions and redefining of the existing terminology of the theory of citations, and an introduction of new terms. The selected analysed sample incorporates both the works that nowadays constitute the basis of the choral concert repertoire, and the works which are nowadays mostly neglected and not so attractive to performers and music theorists.Analytical issues discussed in this study have repeatedly pointed to the importance of Stevan Mokranjac?s Garlands as a paradigm for the authors of the second half of the 20th century, and repeated the vitality of his creative contributions to Serbian music. This has, in turn, reinforced the common knowledge on the work of Mokranjac as the fundament for the development of contemporary Serbian music.

A Comparison of the Basic Song Repertoire of Vocal/Choral and Instrumental Music Education Majors

2000 ◽  
Vol 48 (1) ◽  
pp. 5-9 ◽  
Author(s):  
Carol A. Prickett ◽  
Madeline S. Bridges
Keyword(s):  
Music Education ◽  
Choral Music ◽  
Instrumental Music ◽  
Music Educators ◽  
Education Majors ◽  
Education Students ◽  
Song Repertoire ◽  
Instrumental Music Education ◽  
Significant Difference ◽  
Music Education Majors

Following up on an earlier study, an audiotape of the tunes of 25 standard songs, assumed to be known by everyone who has finished 6th grade, was played for 135 undergraduate instrumental music education students and 79 undergraduate vocal/choral music education students. There was no significant difference in the ability of either group to identify the songs. The means for both groups indicated that neither had developed a strong repertoire of standard songs outside the college classroom. Several songs that music educators have stated are very important for children to learn could not be identified by even half the students in either group. It is recommended that professors preparing music education students for their future careers consider adding activities to music education courses that build a strong song repertoire.

Maxim Berezovsky C-dur symphony in a context of new biographical scenario of artist’s life-creativity

2018 ◽  
pp. 13-25
Author(s):  
Olha Shumilina
Keyword(s):  
Eighteenth Century ◽  
Instrumental Music ◽  
Analytical Approach ◽  
Spiritual Direction ◽  
Theoretical Research ◽  
Orchestral Music ◽  
Musical Life ◽  
Analysis And Synthesis ◽  
Mental Modeling ◽  
Independent Work

Relevance of the study. The article studies recently found symphony of the prominent Ukrainian composer of the second half of the eighteenth century Maxim Berezovsky. He is widely known now as the author of cyclic spiritual concerts written for the Orthodox worship, and is practically unknown as a musician instrumentalist associated with the imperial theater and the court musical life. The work of M. Berezovsky as a secular musician determined the creative interest in composing instrumental music intended for secular chamber and orchestral music. Main objective of the article is a clarification of M.Berezovsky symphony as one of secular field artworks in the light of new summaries about artist’s life-creativity. Methodology. Taking into account peculiarities of the material and the analytical approach to its study, the methods of theoretical research have been chosen(abstraction, analysis and synthesis, induction and deduction, mental modeling, ascension from abstract to concrete, etc.). Conclusions. As a result of a study the symphony analysis in a context of new authentic statements about M.Berezovsky’s life-creativity. It was stated that this artwork was written not accidentally and detects absolute awareness of the artist in all composer’s niceties – how to build a topic and build a homophonic construction based on it, in a technique of orchestral construction, form creations of that time and etc. From the beginning of his creative career, M. Berezovsky was well aware of the possibilities of the orchestra as a performer, attached to the Italian opera and instrumental music. Symphony enriches our imagination about the works of M. Berezovsky in the field of secular instrumental and operatic music and extends the range of works of the artist beyond the spiritual direction. Some signs indicate that the Symphony was not an independent work, but an overture to the opera Demofont.

Maxim Berezovsky C-dur symphony in a context of new biographical scenario of artist’s life-creativity

2018 ◽  
pp. 13-25
Author(s):  
Olha Shumilina
Keyword(s):  
Eighteenth Century ◽  
Instrumental Music ◽  
Analytical Approach ◽  
Spiritual Direction ◽  
Theoretical Research ◽  
Orchestral Music ◽  
Musical Life ◽  
Analysis And Synthesis ◽  
Mental Modeling ◽  
Independent Work

Relevance of the study. The article studies recently found symphony of the prominent Ukrainian composer of the second half of the eighteenth century Maxim Berezovsky. He is widely known now as the author of cyclic spiritual concerts written for the Orthodox worship, and is practically unknown as a musician instrumentalist associated with the imperial theater and the court musical life. The work of M. Berezovsky as a secular musician determined the creative interest in composing instrumental music intended for secular chamber and orchestral music. Main objective of the article is a clarification of M.Berezovsky symphony as one of secular field artworks in the light of new summaries about artist’s life-creativity. Methodology. Taking into account peculiarities of the material and the analytical approach to its study, the methods of theoretical research have been chosen(abstraction, analysis and synthesis, induction and deduction, mental modeling, ascension from abstract to concrete, etc.). Conclusions. As a result of a study the symphony analysis in a context of new authentic statements about M.Berezovsky’s life-creativity. It was stated that this artwork was written not accidentally and detects absolute awareness of the artist in all composer’s niceties – how to build a topic and build a homophonic construction based on it, in a technique of orchestral construction, form creations of that time and etc. From the beginning of his creative career, M. Berezovsky was well aware of the possibilities of the orchestra as a performer, attached to the Italian opera and instrumental music. Symphony enriches our imagination about the works of M. Berezovsky in the field of secular instrumental and operatic music and extends the range of works of the artist beyond the spiritual direction. Some signs indicate that the Symphony was not an independent work, but an overture to the opera Demofont.

Vasyl Bezkorovayny’s vocal works in Ukrainian music of the first half of the XX century

2019 ◽  
pp. 500-515
Author(s):  
Nataliia Kosaniak
Keyword(s):  
Choral Music ◽  
Instrumental Music ◽  
Symphony Orchestra ◽  
Vocal Music ◽  
The United States ◽  
Musical Life ◽  
Western European ◽  
Vocal Works ◽  
Post War ◽  
Talented Artist

Vasyl Bezkorovayny (1880–1966) was a talented artist, an active figure in the musical life of Galicia and a representative of post-war Ukrainian emigrants in the United States of America. He wrote more than 350 works of various genres. Among them are compositions for symphony orchestra; vocal works — for chorus, ensembles or solo singing; chamber and instrumental music — for piano, violin, zither, cello; music for dramatic performances. The article deals with the archival and musicological analysis of expressive and stylistic features of V. Bezkorovayny’s vocal works, based on the materials of Stefanyk Lviv National Library of Ukraine. Attention is paid to the place of the composer’s vocal masterpieces in the context of Ukrainian vocal music of the first half of the XX century. The most important achievements of the composer related to the genres of choral and chamber vocal music. In style, the composer’s works combine the influences of M. Lysenko, composers of the «Peremyshl school» and Western European romantic and post-romantic models. The original secular choral music of V. Bezkorovayny covers genres of songs, plays, and large-form choirs. In his solo songs the influences of romantic western European music and Ukrainian folk songs affected the formation and approval of the composer’s style. Keywords: vocal music, chorus, solos, melodic-intonation means, harmony, rhythm.

Assessment in Music Classes in China

2019 ◽  
pp. 338-357
Author(s):  
Dennis Ping-Cheng Wang
Keyword(s):  
Music Education ◽  
National Curriculum ◽  
National Standards ◽  
Historical Background ◽  
Policy And Practice ◽  
Education Assessment ◽  
Music Assessment ◽  
Chinese Music ◽  
Curriculum Guidelines ◽  
Valid Assessment

This chapter outlines the historical background and current development of music education assessment in China. Following the revision of the national curriculum guidelines in 2011, the chapter analyzes (1) the value of the national standards at different school levels, (2) how the national standards affect teachers and schools, and (3) how much the teachers read/follow the guidelines in China. This chapter investigates and examines how assessment policy and practice are used in Chinese music classrooms from elementary, middle, and high schools. Furthermore, it discusses how local music teachers assess their music students and the effectiveness of the national curriculum guidelines used in music classes. The author determines that the current practice of music assessment at all school levels in China is too basic and not diversified. Designing a valid assessment that allows students at all levels to demonstrate their learning outcomes seems to be necessary for music education in China.

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