scholarly journals Performance Practice of Early American Hymnody: Tempo and the “Moods of Time”

2013 ◽  
Vol 6 (1) ◽  
Author(s):  
Erin Fulton
Keyword(s):  
Seventeenth Century ◽  
Performance Practice ◽  
Art Music ◽  
Pedagogical Practices ◽  
Modern Time ◽  
Early Nineteenth Century ◽  
Early American ◽  
Modern Notation ◽  
Time Signature ◽  
Notational Practice

Modern time signatures indicate metrical organization in notated music. However, in most American hymnals and psalters published between 1721 and 1809, time signatures also signify very specific tempi. This notational practice, further removed from modern usage than any other element of this music, derives from proportional notations abandoned in art music in the seventeenth century. As technically complex music was published using this notation in the 1760s, these time signatures began to be used more subtly. In combination, they provide metrical effects unlike those possible with modern time signatures: doubling or halving tempo, or maintaining the pulse while altering its division or larger metric organization. Viewed from the perspective of modern notation, these functions diverge from their appearance. This article clarifies the correlation between time signature and tempo indicated in eighteenth- and early nineteenth-century American tunebooks (hymnals), arguing for its inclusion in modern performances of this repertoire. Internal evidence and related pedagogical practices suggest these tempi were intended to be observed; most early American theorists, composers, and compilers advocated adherence. Any revival of repertoire first published in this notation, including the works of such composers as William Billings, Daniel Read, and Supply Belcher, would profit by observing these tempi. In a repertoire frequently devoid of interpretive markings, time signatures provide invaluable clues to performers.

Tiki Taane’s With Strings Attached: Alive & Orchestrated and postcolonial identity politics in New Zealand

2018 ◽  
Author(s):  
Oli Wilson
Keyword(s):  
New Zealand ◽  
Cultural Identity ◽  
Identity Politics ◽  
Performance Practice ◽  
Art Music ◽  
Western Art ◽  
Performance Group ◽  
Representational Practices ◽  
Colonial Experience ◽  
Television Documentary

This chapter explores how the New Zealand popular music artist Tiki Taane subverts dominant representational practices concerning New Zealand cultural identity by juxtaposing musical ensembles, one a ‘colonial’ orchestra, the other a distinctively Māori (indigenous New Zealand) kapa haka performance group, in his With Strings Attached: Alive & Orchestrated album and television documentary, released in 2014. Through this collaboration, Tiki reframes the colonial experience as an amalgam of reappropriated cultural signifiers that enraptures those that identify with colonization and colonizing experiences, and in doing so, expresses a form of authorial agency. The context of Tiki’s subversive approach is contextualized by examining postcolonial representational practices surrounding Māori culture and orchestral hybrids in the western art music tradition, and through a discussion about the ways the performance practice called kapa haka is represented through existing scholarly studies of Māori music.

Distributed Cognition in Medieval and Renaissance Studies

2019 ◽  
pp. 18-43
Author(s):  
Miranda Anderson
Keyword(s):  
Seventeenth Century ◽  
Cognitive Science ◽  
Philosophy Of Mind ◽  
Distributed Cognition ◽  
Art Music ◽  
The Body ◽  
Cognitive Sciences ◽  
Research Context ◽  
Renaissance Studies

The purpose of this chapter is to provide a background to current research in medieval and Renaissance studies on topics related to distributed cognition and to consider how the various chapters in this volume represent, reflect and advance work in this area. The volume brings together 14 chapters by international specialists working in the period between the ninth and the seventeenth century in the fields of law, history, drama, literature, art, music, philosophy, science and medicine. The chapters revitalise our reading of medieval and Renaissance works by bringing to bear recent insights in cognitive science and philosophy of mind on the distributed nature of cognition. Together the chapters make evident the ways in which particular notions and practices of distributed cognition emerged from the particular range of sociocultural and technological contexts that existed during this period. This chapter attempts to put these contributions in their wider research context by examining how such topics have been approached by mainstream scholarship, earlier work in the cognitive sciences and by existing applications of distributed cognition theory. It draws out both more general features of distributed cognition and what was distinctive about medieval and Renaissance insights into (and superstitions about) the cognitive roles of the body and environment. Throughout this chapter, I reference the chapters in this volume that provide further information on topics covered or take forward the issues in question. In the concluding section, I turn to a fuller overview of the chapters themselves

Russian aesthetics

2018 ◽  
Author(s):  
Victor Terras
Keyword(s):  
Seventeenth Century ◽  
Social Background ◽  
Roman Catholic ◽  
Art Music ◽  
Music And Literature ◽  
Religious Texts ◽  
Russian Art ◽  
Nineteenth And Twentieth Centuries ◽  
The Aesthetic ◽  
Architecture And Music

Aesthetics as a branch of philosophy, or in the sense of an explicitly stated theory of art, appeared in Russia no earlier than the seventeenth century, under the direct influence of Western thought. It developed in connection with the adoption of European art forms. Russian contributions in terms of original styles in all forms of art, as well as of certain aesthetic notions which may be credited to Russia, came in the nineteenth and twentieth centuries and must be understood in context with European art and aesthetic thought. Russian art, music and literature, as well as the aesthetic notions guiding them, get their Russianness from the political and social background, a major factor in literature, and from a carrying over of traits found in Russian folk art, folk music and folklore, as well as in religious texts, iconography, architecture and music, whose Orthodox version is sharply distinct from their equivalents in the Roman Catholic West.

The Politics of Poetics in Early Qajar Iran: Writing Royal-Commissioned Tazkeras at Fath-ʿAli Shāh’s Court

2017 ◽  
Vol 10 (2) ◽  
pp. 129-157 ◽  
Author(s):  
Naofumi Abe
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Seventeenth Century ◽  
Reciprocal Relationship ◽  
Persian Literature ◽  
Early Nineteenth Century ◽  
Royal Court ◽  
Literary Movement ◽  
Persian Poetry ◽  
Late Eighteenth

Abstract The middle of the eighteenth century reportedly witnessed the emergence of the new literary movement in Persian poetry, called the “bāzgasht-e adabi,” or literary return, which rejected the seventeenth-century mainstream Indian or tāza-guʾi style. This literary movement recently merits increased attention from many scholars who are interested in wider Persianate cultures. This article explores the reception of this movement in late eighteenth- and early nineteenth-century Iran and the role played by the Qajar royal court in it, mainly by the analysis of a specific sub-genre of tazkeras, called “royal-commissioned tazkeras,” which were produced from the reign of the second Qajar monarch Fath-ʿAli Shāh onward. A main focus will be on the reciprocal relationship between the court poets/literati and the shah, which presumably somehow affected our understanding of Persian literature today.

Morbid Jealousy: Some Clinical and Social Aspects of a Psychiatric Symptom

1961 ◽  
Vol 107 (449) ◽  
pp. 687-753 ◽  
Author(s):  
Michael Shepherd
Keyword(s):  
Nineteenth Century ◽  
Seventeenth Century ◽  
Sixteenth Century ◽  
Human Nature ◽  
Psychiatric Symptom ◽  
English Language ◽  
Social Aspects ◽  
Early Nineteenth Century ◽  
Green Is ◽  
French Word

Jealousy is more than a psychiatric symptom. Its language is universal: the conduct and feelings of the jealous man and woman have repeatedly drawn the attention of the great observers of human nature, the moralists and the philosophers as well as the poets and the novelists. They have, on the whole, described the reaction more successfully than they have defined it. Even the most celebrated definitions—Descartes' “kind of fear related to a desire to preserve a possession” or Spinoza's “mixture of hate and love”, for example— merely illustrate the complexity of a term whose many nuances of meaning can be detected in its roots. The English adjective “jealous” and the noun “jealousy” are derived respectively from the French “jaloux” and “jalousie”, both taken from the old Provençal “gilos”; “gilos” in turn may be traced back to the vulgar Latin adjective “zelosus” which comes from the late Latin “zelus” and so indirectly from the Greek ζηλoς. In its transmission the word has thus been debased. It has ceased to denote “zeal” or “ardour”; the “noble passion” which stood opposed to “envy” for the Greeks has acquired a pejorative quality. In modern German the distinction is preserved verbally, “Eifersucht” having been formed from the original “Eifer” (zeal) and the suffix “-sucht”, which is cognate with “siech”, meaning “sickly”. Amorous jealousy claims associations of its own. During the seventeenth century the French word “jalousie” acquired the meaning of “blind” or “shutter”; in this sense it entered the English language as a noun in the early nineteenth century; the transmutation is thought to have signified a jocular reference to the suspicious husband or lover who could watch unobserved behind the jalousie; the Italian word “gelosia” is used in this way as early as the middle of the sixteenth century. In the Scandinavian languages separate words designate amorous jealousy. (1) The Swedish “svartsjuk”, literally “black sick”, is taken from an old expression which identified jealousy with the wearing of black socks; the Danish “skinsyg”, “afraid of getting skin (a rebuff)”, harks back to an old link of jealousy with skin which may in turn have been connected with hose or socks. (2) The origin of the colours which are traditionally employed to depict jealousy, especially black, yellow and green, is obscure.

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