scholarly journals Pansori today: aesthetic demands vs. vocal health

2021 ◽  
Vol 3 (2) ◽  
pp. 3-23
Author(s):  
Francesco Mecorio ◽  
Francesco Santangelo ◽  
Sowon Jang ◽  
Tae Hee Kweon ◽  
Alfonso Gianluca Gucciardo
Keyword(s):  
Eighteenth Century ◽  
Southern Region ◽  
Voice Training ◽  
Health Issues ◽  
Vocal Health ◽  
New Approach ◽  
Art Form ◽  
Survey Results

Introduction: Pansori is a traditional Korean dramatic art form, which likely appeared in the mid-eighteenth century in the southern region of Korea. In pansori, there is a strong inclination toward preserving tradition, especially in regard to training, which is generally considered particularly demanding in terms of risks to vocal health. Nevertheless —as highlighted by recent studies— some innovations took place in pansori characteristics and performances in the last few decades. Objective: We hypothesize that these innovations have impacted the attitudes of singers and teachers towards pansori training and vocal health issues and that a new approach to voice training in pansori might be recommended. Method: Starting with recent evolutions of pansori and considering previous studies, we discuss how these changes might produce innovations —or at least a demand for innovation— in pansori’s training. We also try to capture the viewpoint of pansori students and performers, through an anonymous survey. Results: Although further investigation is required, the results suggest that a new approach in teaching pansori is emerging and it is increasingly requested by the trainee performers, despite some criticisms from traditionalists. Conclusion: Unlike previously thought, perhaps a more scientific and health-conscious approach to pansori voice training will be something from which many pansori singers can benefit.

On the Shoulders of Giants

2018 ◽  
Author(s):  
David D. Nolte
Keyword(s):  
Eighteenth Century ◽  
Robert Hooke ◽  
New Approach ◽  
Isaac Newton ◽  
Least Action ◽  
New Science ◽  
Principle Of Least Action ◽  
Parabolic Trajectory ◽  
Leonhard Euler ◽  
New Generation

Galileo’s parabolic trajectory launched a new approach to physics that was taken up by a new generation of scientists like Isaac Newton, Robert Hooke and Edmund Halley. The English Newtonian tradition was adopted by ambitious French iconoclasts who championed Newton over their own Descartes. Chief among these was Pierre Maupertuis, whose principle of least action was developed by Leonhard Euler and Joseph Lagrange into a rigorous new science of dynamics. Along the way, Maupertuis became embroiled in a famous dispute that entangled the King of Prussia as well as the volatile Voltaire who was mourning the death of his mistress Emilie du Chatelet, the lone female French physicist of the eighteenth century.

Deconstructing female conventions

2006 ◽  
Vol 33 (1-2) ◽  
pp. 11-38 ◽  
Author(s):  
Maria E. Rodríguez-Gil
Keyword(s):  
Eighteenth Century ◽  
Public Sphere ◽  
Mother Tongue ◽  
New Approach ◽  
The Public ◽  
English Grammar ◽  
The Public Sphere ◽  
At Home

Summary This paper examines Ann Fisher’s (1719–1778) most important and influential work, A New Grammar (1745?). In this grammar, the author did not follow the trend of making English grammar fit the Latin pattern, a common practice still in the eighteenth century. Instead, she wrote an English grammar based on the nature and observation of her mother tongue. Besides, she scattered throughout her grammar a wide set of teaching devices, the ‘examples of bad English’ being her most important contribution. Her innovations and her new approach to the description of English grammar were indeed welcomed by contemporary readers, since her grammar saw almost forty editions and reprints, it influenced other grammarians, for instance Thomas Spence (1750–1814), and it reached other markets, such as London. In order to understand more clearly the value of this grammar and of its author, this grammar has to be seen in the context of her life. For this reason, we will also discuss some details of her unconventional lifestyle: unconventional in the sense that she led her life in the public sphere, not happy with the prevailing idea that women should be educated for a life at home.

scholarly journals Idealism and the Aesthetics of Instrumental Music at the Turn of the Nineteenth Century

1997 ◽  
Vol 50 (2-3) ◽  
pp. 387-420 ◽  
Author(s):  
Mark Evan Bonds
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Instrumental Music ◽  
Turn Of The Century ◽  
Work Of Art ◽  
New Approach ◽  
Musical Thought ◽  
Absolute Music ◽  
The Arts ◽  
Aesthetic Principle

The growing aesthetic prestige of instrumental music in the last decades of the eighteenth century was driven not so much by changes in the musical repertory as by the resurgence of idealism as an aesthetic principle applicable to all the arts. This new outlook, as articulated by such writers as Winckelmann, Moritz, Kant, Schiller, Herder, Fichte, and Schelling, posited the work of art as a reflection of an abstract ideal, rather than as a means by which a beholder could be moved. Through idealism, the work of art became a vehicle by which to sense the realm of the spiritual and the infinite, and the inherently abstract nature of instrumental music allowed this art to offer a particularly powerful glimpse of that realm. Idealism thus provided the essential framework for the revaluation of instrumental music in the writings of Wackenroder, Tieck, E. T. A. Hoffmann, and others around the turn of the century. While this new approach to instrumental music has certain points of similarity with the later concept of "absolute" music, it is significant that Eduard Hanslick expunged several key passages advocating idealist thought when he revised both the first and second editions of his treatise Vom Musikalisch-Schönen. The concept of "absolute" music, although real enough in the mid-nineteenth century, is fundamentally anachronistic when applied to the musical thought and works of the decades around 1800.

“The Seaman Feels Him-self a Man”

2004 ◽  
Vol 66 ◽  
pp. 40-56 ◽  
Author(s):  
Jeffrey D. Glasco
Keyword(s):  
Eighteenth Century ◽  
Working Class ◽  
Labor History ◽  
Labor Dispute ◽  
Royal Navy ◽  
Political Equality ◽  
New Approach ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
Historical Agency

To date, most interpretations regarding the agency of maritime workers in the late eighteenth century have posited the seamen as a united working-class body. However, the application of gender as a mode of analysis illustrates that a division existed amongst the working-class seamen in their vision of what it meant to be a worker, specifically a maritime worker. These differing ideas of masculinity drove a wedge between the seamen of the British Royal Navy, thus weakening their class solidarity. One faction of seamen favored the existing social contract accepted a society based on inequality, even amongst men, but in return demanded that their contributions as workers and as men be acknowledged by their rulers through both material and symbolic rewards. Similarly, another element of the seamen sought a more revolutionary solution in seeking rewards for their masculine contributions, which included acknowledgement of their roles as workers and rights as men through political equality. What it meant to be a seaman and the contestation of that definition motivated and limited the historical agency of seamen in the greatest labor dispute during the Age of Sail: the British seamen's Spithead and Nore mutinies of 1797. As a new approach to labor history, the examination of the power of internalized gendered definitions to limit the actions of workers' agency offers powerful new insights.

A novel approach to teach the generation of bioelectrical potentials from a descriptive and quantitative perspective

2013 ◽  
Vol 37 (4) ◽  
pp. 327-336 ◽  
Author(s):  
Javier Rodriguez-Falces
Keyword(s):  
Muscle Fiber ◽  
New Method ◽  
Excitation Source ◽  
New Approach ◽  
Electrical Fields ◽  
Novel Approach ◽  
Electrophysiological Signals ◽  
Survey Results ◽  
Traditional Approaches ◽  
Extracellular Potentials

In electrophysiology studies, it is becoming increasingly common to explain experimental observations using both descriptive methods and quantitative approaches. However, some electrophysiological phenomena, such as the generation of extracellular potentials that results from the propagation of the excitation source along the muscle fiber, are difficult to describe and conceptualize. In addition, most traditional approaches aimed at describing extracellular potentials consist of complex mathematical machinery that gives no chance for physical interpretation. The aim of the present study is to present a new method to teach the formation of extracellular potentials around a muscle fiber from both a descriptive and quantitative perspective. The implementation of this method was tested through a written exam and a satisfaction survey. The new method enhanced the ability of students to visualize the generation of bioelectrical potentials. In addition, the new approach improved students' understanding of how changes in the fiber-to-electrode distance and in the shape of the excitation source are translated into changes in the extracellular potential. The survey results show that combining general principles of electrical fields with accurate graphic imagery gives students an intuitive, yet quantitative, feel for electrophysiological signals and enhances their motivation to continue their studies in the biomedical engineering field.

Major Portraits and Minor Series in Eignteenth-Century Theatrical Portraiture

1997 ◽  
Vol 22 (3) ◽  
pp. 234-254
Author(s):  
Maria Ines Aliverti
Keyword(s):  
Eighteenth Century ◽  
Theoretical Approach ◽  
Set Design ◽  
Documentary Evidence ◽  
History Painting ◽  
New Approach ◽  
New Methods ◽  
Interdisciplinary Field ◽  
Art Historians

In recent years, eighteenth-century actors' portraits have deservedly received growing attention from both art and theatre historians. For its extent, variety and quality, for its social and aesthetic implications, eighteenth-century theatrical portraiture demands a refined theoretical approach: it has helped to create an interdisciplinary field where new methods in dealing with theatre iconography have been profitably deployed. English and American scholars have contributed to develop this field in a specific way, devoting single studies and monographs to portraits of actors. In spite of the importance of French theatrical portraiture, French contributions are less significant. In most cases theatrical portraits are considered exclusively by art historians, and in the context of catalogues or monographs on a single painter. In France the stage portrait is often undervalued: it is relegated to a pictorial genre considered as inferior (tableaux de théâtre), or it is thought to derive from a disreputable theatricalization of history painting; in any case there has been a real difficulty in submitting these images to critical and specific investigation. In short, even if a new approach to theatrical iconography prevails over the strict utilitarianism of the theatre historians, who—in the best cases—sought in actors' portraits only documentary evidence of acting practice, costume or set design, more work has to be done by art historians, to accord theatrical images the independent status of an iconographic text.

Epilepsy and women’s health issues: Unmet needs—Survey results from women with epilepsy

2007 ◽  
Vol 10 (1) ◽  
pp. 163-169 ◽  
Author(s):  
Blanca Vazquez ◽  
Patricia Gibson ◽  
Robert Kustra
Keyword(s):  
Women’S Health ◽  
Women's Health ◽  
Unmet Needs ◽  
Health Issues ◽  
Survey Results

Measuring Ingredients: Food and Domesticity in Mexican Casta Paintings

2005 ◽  
Vol 5 (1) ◽  
pp. 70-79 ◽  
Author(s):  
nina m. scott
Keyword(s):  
Eighteenth Century ◽  
Daily Life ◽  
Local Foods ◽  
Social Hierarchies ◽  
Domestic Relations ◽  
Popular Art ◽  
Art Form ◽  
Returning Home ◽  
The Common ◽  
Exact Origin

Measuring Ingredients: Food and Domesticity in Mexican Casta Paintings Mexican casta paintings flourished as a popular art form in the eighteenth century. No one is sure of the exact origin of this type of painting, which depicted racial mixtures accompanied by local foods; most likely it was an export item for wealthy Spaniards who were returning home and wanted a souvenir of colorful and exotic Mexico. Casta paintings were generally created in sets of sixteen canvases, and depicted all manner of racial hybridization among Whites, Blacks and Amerindians. The common trope was to portray a father, a mother, and an offspring, beginning with the Spanish male with Indian and Black consorts, and ending with an Indian couple, groupings which reflected social hierarchies of the colonial world. Most were painted by anonymous artists, though the canvases analyzed in this study are by known painters. Because of the emphasis on domestic relations, couples were often portrayed in kitchens or markets, which gives us valuable information on this aspect of daily life. The foods associated with the different castes also reflected socio-economic hierarchies, as well as reinforced the idea of America as land of bounty. Colonial artists generally imitated European models, but with the casta paintings Mexican artists were instead urged to paint what distinguished their country from Spain, hereby contributing to a growing sense of independence from the metropolis.

scholarly journals An Artist in the Making. Yehuda Leib ben Eliyya Ha-Cohen’s Haggadah, Copenhagen, 1769

2020 ◽  
Vol 59 ◽  
pp. 43
Author(s):  
Ulf G. Haxen
Keyword(s):  
Eighteenth Century ◽  
Old Testament ◽  
Library Of Congress ◽  
Book Illustration ◽  
Babylonian Talmud ◽  
New Approach ◽  
Home Town ◽  
The Past ◽  
The World ◽  
Historical Periods

Ulf G. Haxen: An Artist in the Making – Yehuda Leib ben Eliyya Ha-Cohen’s Haggadah, Copenhagen, 1769 ‘Eclecticism’ as an artistic term refers to an approach rather than a style, and is generally used to describe the combination of different elements from various art-historical periods – or pejoratively to imply a lack of originality. Proponents of eclecticism argue more favourably, however, with reference to the 16th century Carracci family and their Bolognese followers, that the demands of modernity (i.e. the new Baroque style) could be met by skilful adaptation of art features from various styles of the past. The essay concerns the eighteenth century scribe and miniaturist Yehuda Leib ben Eliyah Ha-Cohen’s illustrated Haggadah liturgy of the second book of the, Old Testament Exodus, which represents a shift of paradigm away from the traditional Bohemia-Moravian school of Jewish book-painting towards a new approach. Our artist experiments freely, and to a certain extent successfully, with a range of different styles, motifs, themes, and iconographical traits, such as conversation pieces. Yehuda Leib Ha-Cohen may have abandoned his home-town, the illustrious rabbinic center Lissa/Leszno in Poland, after a fire devastated its Jewish quarter in 1767. He migrated to Denmark and lived and worked in Copenhagen for at least ten years, as indicated by two of his extant works, dated Copenhagen 1769 and 1779 respectively. He was thus a contemporary of another Danish Jewish master of the Bohemia – Moravian school, Uri Feibush ben Yitshak Segal, whose iconic miniature work The Copenhagen Haggadah (1739) is well-known by art historians in the field. Yehuda Leib Ha-Cohen drew some of his Haggadic themes from two main sources, the Icones Biblicae by Mathäus Merian and the Amsterdam Haggadot 1695 and 1712 (e.g. Pit’om and Ramses, The Meal Before the Flight). He never imitates his models, however. He adapts the standard motifs according to his own stylistic perception of symmetry and perspective, furnishing the illustrations with a muted gouache colouring. Several of his Haggadic themes are executed with inventiveness, pictorial imagination, and a subtle sense of humour, such as The Seder Table, The Four Sons, The Finding of the Infant Moses, Solomon’s Temple, and Belshazzars Feast.  Yehuda Leib’s enigmatic reference to the ‘the masons’ (Hebrew הבנאים ) in the manuscript’s colophon has until now hardly been satisfactorily interpreted. Incidentally, however, another Hebrew prayer-book written and decorated by Mayer Schmalkalden in Mainz in 1745, recently acquired by Library of Congress, bears the same phrase (fi ‘inyan ha-bana’im = according to the code of the Masons). Dr. Ann Brener, a Hebrew specialist at the Oriental Department of Library of Congress, suggests in an unpublished essay, that the reference may be an allusion to ‘the Talmudic scholars who engage in building up the world of civilization’, (The Babylonian Talmud, Shabbat 114a). However that may be, Yehuda Leib Ha-Cohen’s miniatures constitute a veritable change of paradigm as far as eighteenth-century Hebrew book illustration is concerned.

scholarly journals The Jesuit College Ballets: What We Know and What’s Next

2017 ◽  
Vol 4 (3) ◽  
pp. 431-452
Author(s):  
Judith Rock
Keyword(s):  
United States ◽  
Eighteenth Century ◽  
The United States ◽  
Future Research ◽  
Interdisciplinary Work ◽  
Physical Understanding ◽  
Art Form ◽  
German Speaking ◽  
To Come ◽  
Jesuit College

The existence and nature of the seventeenth- and eighteenth-century ballets produced at Jesuit colleges in Catholic Europe, most often in France and German-speaking lands, is better known now, in the United States and in France, than it was several decades ago. Researchers have come to understand much more about the ballets, their motivation and widespread production, and their professionalism. The Jesuit college ballets are a rich nexus of art, theology, philosophy, and culture. Looking again at what we already know reveals questions that need to be addressed in future research. The most fruitful future research is likely to come from scholars committed to interdisciplinary work, including some physical understanding of dance as an art form. As with any phenomenon involving the meeting of an art form and theology, historians of the art form and historians of the theology tend to know and be interested in very different things. And their colleagues, historians of culture, may be interested in yet something else. As scholars approach a variety of possible future Jesuit college ballet projects, this interdisciplinary challenge can illumine more completely the commitments and intentions of the ballets’ Jesuit producers, as well as the ballets’ influence on their surrounding cultures, and the cultures’ shaping of the ballets.

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