Loyalties

2017 ◽  
Author(s):  
Philip Lambert
Keyword(s):  
Small Groups ◽  
Art Song ◽  
Piano Music ◽  
Original Compositions ◽  
Musical Expression ◽  
Wind Ensembles ◽  
Concert Music ◽  
The 1960S ◽  
Dramatic Music ◽  
Chamber Orchestras

This chapter studies Wilder's music in the 1960s. Continuing to follow trends he had begun at the end of the preceding decade, he wrote volumes of concert music for groups of all sizes in the 1960s, for wind ensembles and chamber orchestras and small groups and soloists with piano. He also wrote piano music, dramatic music of diverse kinds, and a handful of new songs, following traditional popular or art-song models. Also extending earlier trends, Wilder's loyalties to his artistic and ideological roots found musical expression through the efforts of loyal friends. As his travels and residencies and friendships multiplied, so did his catalog of original compositions perfectly suited for a faculty ensemble or senior recital or informal gathering in a college practice room or dormitory basement.

The Small-Group Ministry Movement of the Last Four Decades

2020 ◽  
Vol 17 (3) ◽  
pp. 547-559
Author(s):  
Harley Atkinson ◽  
Joshua Rose
Keyword(s):  
Small Group ◽  
Small Groups ◽  
Sunday School ◽  
Small Group Ministry ◽  
Christian Formation ◽  
Group Movement ◽  
Current State ◽  
The 1960S ◽  
Group Ministry ◽  
The Church

The modern small-group movement emerged in the 1960s as small groups slowly began to replace the Sunday school as the preferred context for doing Christian formation in the local church. This article summarizes the development of the small-group ministry movement of the last four decades, addresses the current state of small groups in the church, and concludes with brief comments on the future of small groups in the church.

Postbop Jazz in the 1960s

2019 ◽  
Author(s):  
Keith Waters
Keyword(s):  
Small Group ◽  
Case Studies ◽  
Original Compositions ◽  
Harmonic Syntax ◽  
The 1950S ◽  
The 1960S ◽  
Harmonic Substitution ◽  
King Cobra

Innovations in postbop jazz compositions of the 1960s occurred in several dimensions, including harmony, form, and melody. Postbop jazz composers such as Wayne Shorter, Herbie Hancock, Chick Corea, along with others (Booker Little, Joe Henderson, Woody Shaw) broke with earlier tonal jazz traditions. Their compositions marked a departure from the techniques of jazz standards and original compositions that defined small-group repertory through the 1950s: single-key orientation, schematic 32-bar frameworks (in AABA or ABAC forms), and tonal harmonic progressions. The book develops analytical pathways through a number of compositions, including “El Gaucho,” “Penelope,” “Pinocchio,” “Face of the Deep” (Shorter); “King Cobra,” “Dolphin Dance,” “Jessica” (Hancock); “Windows,” “Inner Space,” “Song of the Wind” (Corea); as well as “We Speak” (Little); “Punjab” (Henderson); and “Beyond All Limits” (Shaw). These case studies offer ways to understand the works’ harmonic syntax, melodic and formal designs, and general principles of harmonic substitution. By locating points of contact among these postbop techniques—and by describing their evolution from previous tonal jazz practices—the book illustrates the syntactic changes that emerged during the 1960s.

scholarly journals The impact of literature-centric concepts on the development of the symphonic creativeness of Boris Tishchenko in the 1960s

2021 ◽  
pp. 13-21
Author(s):  
Iurii Eduardovich Serov
Keyword(s):  
Significant Influence ◽  
Creative Thinking ◽  
Research Subject ◽  
Late 20Th Century ◽  
Special Contribution ◽  
The 1960S ◽  
Artistic Image ◽  
The Impact ◽  
First Time ◽  
Dramatic Music

The research subject is the symphonic creativeness of an outstanding Russian composer of the late 20th century Boris Ivanovich Tishchenko (1939 - 2010). The author studies his works of the 1960s inspired by classical and modern Russian poetry. The author focuses on such issues as the interrelation between music and poetry in Tishchenko’s orchestra compositions, and the significant influence of literature concepts on the development of his symphonic style. Special attention is given to the four outstanding works of the composer: “The Twelve”, a ballet based on A. Blok’s poem (1963), Symphony No.2 Marina to M. Tsvetaeva’s lyrics (1964), Requiem to the poem by A. Akhmatova, and a dramatic music “The Death of Pushkin” (1967). The author arrives at the conclusion that the most part of Tishchenko’s symphonic creativity was based on his love of literature, words, artistic image begotten by literature and poetry. The author’s special contribution to the research of the topic is a detailed study of large symphonic works by Tishchenko of the 1960s based on poetry. The scientific novelty of the research consists in the fact that literature-centric works by Tishchenko are being for the first time considered in the context of the development of his symphonic creativeness; the article detects a close connection between the author’s style and the composer’s language and the non-music confluence on his creative thinking.   

Postbop

2019 ◽  
pp. 1-24
Author(s):  
Keith Waters
Keyword(s):  
Small Group ◽  
Original Compositions ◽  
Modal Jazz ◽  
Common Structure ◽  
Family Resemblances ◽  
Two Measures ◽  
Single Interval ◽  
The 1950S ◽  
The 1960S

Innovations in postbop jazz compositions of the 1960s occurred in several dimensions, in the areas of harmony, form, melody, and cadence. Postbop composers abandoned or muted many techniques of tonal jazz, the jazz standards and original compositions that defined small-group repertory through the 1950s: single-key orientation, schematic 32-bar frameworks (in AABA or ABAC forms, often with tonal cadences at the ends of constituent 8-bar sections), and tonal harmonic progressions. Attributes of postbop compositions rely on a series of family resemblances that include axis progressions (harmonic, melodic, or bass sequences by a single interval, such as major third or minor third); absence or suppression of functional harmonic progressions; common structure progressions; bass pedal points beneath shifting harmonies; and harmonic rhythm with chord changes every half-measure, measure, or every two measures. The last feature distinguishes postbop jazz from that of so-called modal jazz, which relies on a slower harmonic rhythm. One of the significant precedents for postbop jazz is to be found in John Coltrane’s 1959 composition “Giant Steps,” which provided potent alternatives to more conventional tonal designs.

scholarly journals Ivan Jevtic’s musical universe at a crossroads of traditional and new music expression. Tendencies of changes on the example of selected works of the concert genre

Muzikologija ◽  
2017 ◽  
pp. 219-237
Author(s):  
Olivera Nikolic
Keyword(s):  
Comparative Analysis ◽  
20Th Century ◽  
New Music ◽  
Compositional Techniques ◽  
Musical Expression ◽  
Concert Music ◽  
Complete Development ◽  
Musical Heritage

Our interest in the position and significance of the concert music of Ivan Jevtic in the development of this genre in the Serbian music of the second half of the 20th century is based on several facts. Judging from the number of concerts and the variety of their stylistic, aesthetic, technical, expressive and historical qualities, Jevtic comes across as a composer who was the pioneer of several particular and general tendencies in the development of Serbian concert music, especially when we have the following in mind: his relationship to the musical heritage; his aspirations to master new contemporary tendencies; the time of general stylistic turmoil; compositional techniques etc. The comparative analysis of three concerts: Concerto for Tuba, Cello Symphony and Concerto for Viola points to the basic elements of traditional heritage, his reshaping of this heritage, as well as the elements of modern musical expression in the works of this composer. The analyzed paths of a part of his entire oeuvre do not exemplify the complete development of the concert genre in the Serbian music of the second half of the 20th century but, alongside with other important aspects such as historical, aesthetic, technical etc. they assist us in a better understanding of the tendencies in the development of this genre in Serbia, but also of the tendencies in Serbian music after 1945.

scholarly journals “SHE MUST BE A PURE VESSEL”: AN EXAMINATION OF A SPIRIT MEDIUM PERSONA

2019 ◽  
Vol 5 (1) ◽  
pp. 46-60
Author(s):  
Érico Bomfim
Keyword(s):  
Unusual Case ◽  
Music History ◽  
Concert Music ◽  
The Public ◽  
Original Musical ◽  
Public Persona ◽  
Musical Knowledge ◽  
The 1960S

Rosemary Brown (1916-2001) is certainly a highly unusual case in Music History. In the 1960s, she started to notate hundreds of musical pieces that she attributed to the spirits of several great concert music composers, with whom she claimed to be in touch as a spirit medium. Brown also furnishes a promising persona case study. In order to convince the public that her music had a spiritual origin, she described herself as a simple housewife and mother with no profound musical knowledge, therefore hardly capable of writing original musical pieces in the styles of acclaimed composers. The purpose of this paper is first, to provide an examination of Rosemary Brown’s public persona; second, to relate it to spiritualist tradition, in order to demonstrate that Rosemary Brown’s persona features were available in the spiritualist cultural repertoire; third, to discuss the implications of gender for the understanding of mediumship among spiritualists.

Overhead Projector as a mediating technology of organization

2019 ◽  
pp. 285-300
Author(s):  
Claus Pias
Keyword(s):  
Small Groups ◽  
Interdisciplinary Teams ◽  
Computer Supported Cooperative Work ◽  
Research Organization ◽  
Overhead Projector ◽  
1960S And 1970S ◽  
The 1960S ◽  
Slide Projection ◽  
Collective Thinking ◽  
Presentation Tool

This chapter describes how the overhead projector develops into a projection tool which first experiences broad cultural acceptance through its use in schools. In the 1960s and 1970s, the first theories of Computer Supported Cooperative Work (CSCW) emerged, promising increased productivity and innovation through research organization in small, interdisciplinary teams. The overhead projector then was regarded as a medium that reinforces interactivity and collective thinking in such small groups via dynamic transparencies, explicitly separated from 35mm slide projection as a medium of organization of a passive crowd of isolated spectators. In the course of digitalization, this idea of organization then turns into its opposite: PowerPoint, originally developed for the production of transparencies for overhead projectors, became a presentation tool through the coupling with projectors, which organizes a passive crowd of spectators in front of static slides like the 35mm slide projection before. A large part of PowerPoint’s epistemological criticism today stems from this form of medial organization.

Soft Socialism, Hard Realism: Partisan Song, Parody, and Intertextual Listening in Yugoslav Black Wave Film (1968–1972)

2019 ◽  
Vol 16 (1) ◽  
pp. 95-121
Author(s):  
DANIJELA Š. BEARD
Keyword(s):  
Film Music ◽  
Contextual Knowledge ◽  
Musical Expression ◽  
Discursive Strategies ◽  
Political Critique ◽  
Specific Focus ◽  
The 1960S

AbstractIn this article I examine the use of music in modernist and politically engaged Yugoslav cinema of the 1960s through three groundbreaking black wave films: Želimir Žilnik'sRani radovi(Early Works, 1969), Dušan Makavejev'sWR: Misterije organizma(WR: Mysteries of the Organism, 1971), and Lazar Stojanović’sPlastični isus(Plastic Jesus, 1971). With a specific focus on the use of Partisan songs, I analyse how key political moments are encoded with new levels of meaning in these films, often through parody, irony, and satire. I identify a ‘sonic turn’ within black wave cinema and propose a method of ‘intertextual listening’ to reflect the importance of contextual knowledge in identifying and interpreting the cultural and political baggage trafficked into these movies. I ask how does music shape the discursive strategies and communicative potential of these films, rendering pre-composed music a powerful medium for social and political critique? And in what ways does film music construct the Yugoslav socialist experience more broadly, reflecting how ideals of reform socialism found musical expression in Yugoslavnovi film?

Opposition in Russia

1997 ◽  
Vol 32 (4) ◽  
pp. 598-613 ◽  
Author(s):  
John Barber
Keyword(s):  
Soviet Union ◽  
Interest Groups ◽  
Small Groups ◽  
The Political ◽  
Political Opposition ◽  
Ruling Elite ◽  
Political Landscape ◽  
The Soviet Union ◽  
The 1960S

WHILE ‘REPOSITIONING’ MAY BE AN APPROPRIATE TERM TO DESCRIBE developments in political opposition in many contemporary societies, it falls some way short of capturing the significance of changes in Russia, where in a few years the political landscape has changed out of all recognition. Until little more than a decade ago, political opposition in the Soviet Union was barely visible and, with rare exceptions, of little consequence. In the decades following Stalin's death in 1953, the existence of interest groups and lobbies within the party and state apparatuses was persuasively argued by foreign observers; and occasionally fractional opposition within the ruling elite surfaced. The latter aimed at reversing specific policies and, twice, at replacing the country's leader — Khrushchev on both occasions, unsuccessfully in 1957 and successfully in 1964. From the 1960s onwards, dissent from the regime's values and goals was reflected in the statements and actions of individuals and small groups, often described as the ‘Soviet dissident movement’, though lacking either common objectives and strategy, or impact on the Soviet Union's rulers.

Concentration and tension

1991 ◽  
Vol 8 (2) ◽  
pp. 167-179 ◽  
Author(s):  
Martin Gellrich ◽  
Richard Parncutt
Keyword(s):  
Piano Music ◽  
The Body ◽  
The Other ◽  
Musical Expression ◽  
Emotional Involvement ◽  
Music Practice ◽  
Complete Relaxation ◽  
And Performance ◽  
Different Parts

Relaxation clearly plays an important role in music practice and performance. However complete relaxation is neither possible nor musically appropriate. A certain degree of tension is always necessary to enable a suitable level of concentration and musical expression.Concentration inevitably produces muscular reactions in different parts of the body. These cause problems when they occur in mutually opposing combinations. Common locations for such tension knots or blocks in music practice are the back of the neck, the wrists, and the hands (grasping reflex). Causes include overconcentration, emotional involvement in the music, fear of making mistakes in difficult passages, and insufficiently practised playing movements. The described effects are illustrated by reference to the practice and performance of a piece of piano music.The article is based on two lectures given in 1987, one at an ESTA conference in Germany, and the other at an EPTA conference in Yugoslavia.

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