Tudorism in English Music, 1837–1953

Tudorism ◽  
2011 ◽  
Author(s):  
STEPHEN BANFIELD
Keyword(s):  
Twentieth Century ◽  
Case Studies ◽  
National Culture ◽  
New Music ◽  
Musical Composition ◽  
Political Agenda ◽  
Musical Culture ◽  
Early Music ◽  
General Picture ◽  
English Music

Between the early nineteenth and mid-twentieth centuries, a cultivated relationship with the music of a favoured period in the distant national past was a pervasive aspect of high, and sometimes lower, musical culture in England. This chapter first sketches a general picture of that relationship before presenting some particular case studies. It addresses the following questions: to what extent does Tudorism in music refer to the revival of music itself, to what extent to its stylistic emulation in nineteenth- and twentieth-century English compositions? Was it a matter of appealing to the Tudors to set a political agenda for music? Tudorism in English music was many things but also one very definite thing — a conscious modelling of style or atmosphere in musical composition on that of a perceived golden age of national culture. It was in some respects part of the early music movement that Harry Haskell identified as beginning in 1829 with Mendelssohn's revival of J. S. Bach's St Matthew Passion, yet not the same thing insofar as that movement was about reviving discarded old music and Tudorism was about creating new music in an earlier image.

scholarly journals Sixth Symphony of Avet Terterian as a Metaphor for the Universal Requiem

2018 ◽  
pp. 124-136
Author(s):  
Mariam Verdiian
Keyword(s):  
Twentieth Century ◽  
National Culture ◽  
Structural Models ◽  
Creative Work ◽  
Musical Culture ◽  
Compositional Profile ◽  
Innovative Idea ◽  
Domestic Culture

The research objective is determined the peculiarities of the composition and dramaturgical organization of the Sixth Symphony of A. Terterian, taking into account the specificity of the pivotal-volume structure of the material. To solve this goal, is selected the structuralfunctional method of analysis. In the article is identified the peculiarities of the development of the symphony genre in the Armenian musical culture. The origins of the genre and the period of the flowering of the classical national symphony, which is associated with the works of composers A. Khachaturyan, A. Babadjanyan, A. Haroutyunyan, E. Mirzoyan, L. Saryan, J. Ter-Tatevosyan, K. Orbelian are named. The features of the symphonic style of A. Terterian are considered on the example of his single-movement symphonies. The main feature of Terterian's creative work is synthesized – a synthesis of the technical arsenal of linguistic innovations of the twentieth century with deep, archaic strata of domestic culture – and it is defined as an innovative idea of the composer. Dramaturgical and compositional parameters of the Sixth Symphony are analyzed. A connection was found in the concept of symphony with the semantic core of the requiem. It is determined that music does not inherit structural models of the genre and is free from church regulations, but the composer retains the semantic codes of the funeral mass. The peculiarities of the musical symbols of the spiritual genres, to which the composer appeals in the symphony, is established. Sonographics and microchromatics are defined as the main composer techniques in the construction of the compositional profile of the work. The principles of reproduction of archaic symbols of national culture through the use of the phoneme of Old-Armenian vocabulary is researched. The significance for the concept of the symphony of the use of tape recordings of orchestral voices and choral voices is analyzed.

Tremblay, Gilles (1932--)

2018 ◽  
Author(s):  
Marie-Thérèse Lefebvre
Keyword(s):  
Twentieth Century ◽  
New Music ◽  
Musical Composition ◽  
Olivier Messiaen ◽  
Karlheinz Stockhausen ◽  
Iannis Xenakis ◽  
Guillaume De Machaut ◽  
The Past ◽  
Pierre Boulez ◽  
School Of Music

Composer and musical pedagogue Gilles Tremblay made significant contributions to the development of musical composition in Quebec in the second half of the twentieth century. After studying at the Montreal Conservatory (Conservatoire de Musique du Québec à Montréal), he attended workshops at the Marlboro School of Music (Vermont) in the summers of 1950, 1951, and 1953. He lived in Paris from 1954 to 1961, where he enrolled in the piano studio of Yvonne Loriod, took analysis courses with Olivier Messiaen, attended workshops on Ondes Martenot, and received counterpoint lessons with Andrée Vaurabourg-Honegger. Tremblay attended the Darmstadt International Summer Courses in 1957 and 1960, and worked at the GRM (Groupe de Recherches Musicales) led by Pierre Schaeffer. Involved at this time with the networks of French new music, he frequently met with Pierre Boulez, Karlheinz Stockhausen, and Iannis Xénakis. In 1961 Tremblay returned to Quebec and was appointed professor of analysis and composition at the Montreal Conservatory, a position he occupied until his retirement in 1997. His courses at the Conservatory were inspired by Messiaen’s famous analysis class in Paris. Tremblay found connections between master works of Western music that linked the past to the present, from Gregorian chants to the polyphony of Guillaume de Machaut, Monteverdi, and Mozart, through to the twentieth century. His courses were extremely influential to two or three generations of composers in Quebec.

Emergent and Adaptive Spiritualities in the Twentieth Century

2018 ◽  
Author(s):  
Andy Lord
Keyword(s):  
Twentieth Century ◽  
Case Studies ◽  
Church Life ◽  
The Usa ◽  
The Uk

This chapter points to the ‘pluralization of the lifeworld’ involved in globalization as a key context for changing dissenting spiritualities through the twentieth century. These have included a remarkable upsurge in Spirit-movements that fall under categories such as Pentecostal, charismatic, neo-charismatic, ‘renewalist’, and indigenous Churches. Spirit language is not only adaptive to globalized settings, but brings with it eschatological assumptions. New spiritualities emerge to disrupt existing assumptions with prophetic and often critical voices that condemn aspects of the existing culture, state, and church life. This chapter outlines this process of disruption of the mainstream in case studies drawn from the USA, the UK, India, Africa, and Indonesia, where charismaticized Christianity has emerged and grown strongly in often quite resistant broader cultures.

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.

Testing the Causal Mechanisms in Additional Cases

2017 ◽  
Author(s):  
Paul D. Kenny
Keyword(s):  
Twentieth Century ◽  
Latin America ◽  
Case Studies ◽  
Democratic Party ◽  
Party System ◽  
Liberal Democratic Party ◽  
System Stability ◽  
Relative Autonomy ◽  
Causal Mechanisms ◽  
Liberal Democratic

Case studies of Indonesia and Japan illustrate that party-system stability in patronage democracies is deeply affected by the relative autonomy of political brokers. Over the course of a decade, a series of decentralizing reforms in Indonesia weakened patronage-based parties hold on power, with the 2014 election ultimately being a contest between two rival populists: Joko Widodo and Subianto Prabowo. Although Japan was a patronage democracy throughout the twentieth century, the ruling Liberal Democratic Party (LDP) remained robust to outsider appeals even in the context of economic and corruption crises. However, reforms in the 1990s weakened the hold of central factional leaders over individual members of the LDP and their patronage machines. This was instrumental to populist Junichiro Koizumi’s winning of the presidency of the LDP and ultimately the prime ministership of Japan. This chapter also reexamines canonical cases of populism in Latin America.

The Jewish Population of Tennessee

2018 ◽  
Author(s):  
Laurence Maslon
Keyword(s):  
Twentieth Century ◽  
Popular Music ◽  
Jewish Population ◽  
Music Industry ◽  
Major Power ◽  
Sheet Music ◽  
Early Music ◽  
Music Publishers ◽  
Popular Music Industry

At the beginning of the twentieth century, the first way that the imprimatur of Broadway reached consumers was through the immense distribution of colorful and tuneful sheet music. Early music publishers learned quickly that associating a song with a Broadway show such as the Ziegfeld Follies, Broadway personalities such as Al Jolson and Fanny Brice, or Broadway composers such as Victor Herbert gave that tune a special identity that increased its popularity. In addition, music publishers, such as Max Dreyfus, were major power brokers in the popular music industry, yielding the ability to make a song into a hit, and continued to be influential through the first half of the twentieth century.

Fixing Improvisation

2014 ◽  
Author(s):  
Anthea Kraut
Keyword(s):  
Twentieth Century ◽  
African American ◽  
Intellectual Property ◽  
Case Studies ◽  
Copyright Law ◽  
Property Law ◽  
Intellectual Property Law ◽  
Tap Dance ◽  
American Vernacular ◽  
The Relationship

This chapter juxtaposes brief case studies of African American vernacular dancers from the first half of the twentieth century in order to reexamine the relationship between the ideology of intellectual property law and the traditions of jazz and tap dance, which rely heavily on improvisation. The examples of the blackface performer Johnny Hudgins, who claimed a copyright in his pantomime routine in the 1920s, and of Fred and Sledge, the class-act dance duo featured in the hit 1948 musical Kiss Me, Kate, whose choreography was copyrighted by the white modern dancer Hanya Holm, prompt a rethinking of the assumed opposition between the originality and fixity requirements of copyright law and the improvisatory ethos of jazz and tap dance. Ultimately, the chapter argues that whether claiming or disavowing uniqueness, embracing or resisting documentation, African American vernacular dancers were both advantaged and hampered by copyright law.

La Guerre en dentelles: Women and the Prix de Rome in French Cultural Politics

1998 ◽  
Vol 51 (1) ◽  
pp. 83-129 ◽  
Author(s):  
Annegret Fauser
Keyword(s):  
Twentieth Century ◽  
Case Studies ◽  
Cultural Politics ◽  
Music Composition ◽  
Public Recognition ◽  
Nadia Boulanger ◽  
First Time

In 1903, one hundred years after the Prix de Rome had been created in music composition, women were allowed to participate in the competition for the first time. In 1913, Lili Boulanger became the first woman to win the prize, crowning the efforts of three others-Juliette Toutain, Hélène Fleury, and Nadia Boulanger-to achieve this goal. Their stories are fascinating case studies of the strategies women employed to achieve success and public recognition within the complex framework of French cultural politics at the beginning of the twentieth century.

Italian-Jewish Patrons of Modern Art in Nineteenth- and Twentieth-Century Italy

2020 ◽  
Vol 16 (1) ◽  
pp. 3-29
Author(s):  
Luisa Levi D’Ancona Modena
Keyword(s):  
Twentieth Century ◽  
Case Studies ◽  
Social History ◽  
Modern Art ◽  
European Countries ◽  
The Social ◽  
History Of ◽  
Public Museums

With a focus on art donations, this article explores several case studies of Jewish Italian patrons such as Sforni, Uzielli, Sarfatti, Castelfranco, Vitali, and others who supported artists of movements that were considered modern at their time: the Macchiaioli (1850-1870), the Futurists (1910s), the Metaphysical painters (1920s), the Novecento group (1920-1930s), and several post WWII cases. It reflects on differences in art donations by Jews in Italy and other European countries, modes of reception, taste, meanings and strategy of donations, thus contributing to the social history of Italian and European Jewry and the history of collections and donations to public museums.

Chinese toms in the making of the drum kit: Localization and exoticism

2021 ◽  
Vol 5 (2) ◽  
pp. 227-242 ◽  
Author(s):  
Henry Johnson
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Music Education ◽  
Popular Music ◽  
Musical Instruments ◽  
New Music ◽  
Late Nineteenth Century ◽  
The Future ◽  
Late Nineteenth

The late nineteenth century and early decades of the twentieth century saw the drum kit emerge as an assemblage of musical instruments that was central to much new music of the time and especially to the rise of jazz. This article is a study of Chinese drums in the making of the drum kit. The notions of localization and exoticism are applied as conceptual tools for interpreting the place of Chinese drums in the early drum kit. Why were distinctly Chinese drums used in the early drum kit? How did the Chinese drums shape the future of the drum kit? The drum kit has been at the heart of most popular music throughout the twentieth century to the present day, and, as such, this article will be beneficial to educators, practitioners and scholars of popular music education.

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