The Phenomenon of ‘Translation’ in Russian Musical Culture of the 1920s and Early 1930s: The Quest for a Soviet Musical Identity

2017 ◽  
Author(s):  
Marina Raku
Keyword(s):  
Verbal Communication ◽  
Musical Culture ◽  
Musical Identity ◽  
Musical Rhetoric ◽  
Musical Traditions

This chapter examines the problematic attempts to evolve a new Soviet musical culture on the basis of extant musical traditions, and the debates concerning how musical material of earlier periods could be transformed in a way that would render it suitable for use by Soviet composers. Musical ‘speech’ was regarded as an analogue of verbal communication and subjected to philological ‘decoding’ in quest for a new kind of musical rhetoric. The chapter concludes by examining Soviet debates about the possibility of ‘translating’ between musical words into words, and what this reveals about the constructs of Soviet identity that were in the process of formation at the period.

MA SICONG AND HIS ROLE IN THE DEVELOPMENT OF CHINESE MUSICAL CULTURE

2021 ◽  
Vol 1 (4) ◽  
pp. 79-84
Author(s):  
Luo Yuanyuan ◽  
Keyword(s):  
Cultural Revolution ◽  
Performing Arts ◽  
Historical Period ◽  
Social Activities ◽  
Musical Culture ◽  
Xxth Century ◽  
Artistic Life ◽  
Musical Traditions ◽  
Creative Life ◽  
The Cultural Revolution

This article focuses on the life and creative activities of Ma Sicong, one of the most significant Chinese musicians of the mid-XXth century, a multi-talented and outstanding violinist who showed his prowess in various spheres of artistic life: performing, teaching, composing, musical and social activities. Ma Sicong contributed to each of these fields as a virtuoso soloist whose example was followed by his contemporaries, young musicians and as a teacher who trained numerous students retaining the most enthusiastic memories of their professor. The highly professional violin school he established, which continued Chinese and European musical traditions, became a fruitful source for the development of modern performing arts. Ma Sicong's creative life was not an easy one; periods of brilliant achievements and growth alternated with dramatic peripeteia, which led to his departure from China in the most difficult historical period for the country — the period of the "Cultural Revolution" (late 1950s — early 1970s ).

FROM LAVAPIÉS TO STOCKHOLM: EIGHTEENTH-CENTURY VIOLIN FANDANGOS AND THE SHAPING OF MUSICAL ‘SPANISHNESS’

2020 ◽  
Vol 17 (2) ◽  
pp. 177-199
Author(s):  
ANA LOMBARDÍA
Keyword(s):  
Eighteenth Century ◽  
Popular Culture ◽  
Cultural Identity ◽  
Chamber Music ◽  
Musical Identity ◽  
Violin Sonata ◽  
Violin Music ◽  
Musical Traditions ◽  
Solo Violin

ABSTRACTSince the mid-eighteenth century the fandango has been regarded as the epitome of Spanish cultural identity. It became increasingly popular in instrumental chamber music, as well-known examples by Domenico Scarlatti, Antonio Soler and Luigi Boccherini show. To date, published musicological scholarship has not considered the role of solo violin music in the dissemination of the fandango or the shaping of a ‘Spanish’ musical identity. Now, eight rediscovered pieces – which can be dated to the period 1730–1775 – show that the violin was frequently used to perform fandangos, including stylized chamber-music versions. In addition to offering evidence of the violin's role in the genre, these pieces reveal the hybridization of the fandango with foreign musical traditions, such as the Italian violin sonata and French courtly dances, demonstrating hitherto overlooked negotiations between elite and popular culture in mid-eighteenth-century Spain. Analysis of these works’ musical features challenges traditional discourses on the ‘Spanishness’ of the fandango and, more broadly, on the opposition between ‘native’ and ‘foreign’ music in eighteenth-century Spain.

scholarly journals Towards New Forms of Pianistic Improvisation Across Musical Boundaries

2021 ◽  
Author(s):  
◽  
Mark Donlon
Keyword(s):  
Classical Music ◽  
Main Element ◽  
Creative Work ◽  
Musical Identity ◽  
Creative Processes ◽  
Musical Practice ◽  
Piano Trio ◽  
Free Improvisation ◽  
Key Factor ◽  
Musical Traditions

<p>This thesis is practice-based. The main element in which the research outcomes are manifested is the portfolio of creative work. There are three CD albums of original music: Southern Shift, Between Moons, and Tales from the Diaspora. There are also three video recordings including a performance of my piece Saraband (for piano trio), along with my performance of two classical piano pieces by Rachmaninoff: Elegie op 3 no. 1 and Etudetableau op. 33 no. 5. There is a written exegesis which serves to inform the reader how the creative work may be understood or apprehended, as well as placing it in relevant context The creative work centres on contemporary piano improvisation and how diverse musical strands can be drawn together in a coherent improvised musical idiom. Models for contemporary improvised music, that constitute key external sources for my musical practice, include the work of pianists Keith Jarrett, Cecil Taylor, Matt Bourne, John Taylor, Misha Mengelberg, Gabriela Montero and Gwilym Simcock. How these pianists’ work relates to my music will be discussed in the exegetical text.  Several approaches and techniques, to free improvisation and jazz, will be explored through the creative practice and discussed in the exegesis. The ideas of scholars Nicholas Cook and Ed Sarath play a significant part in the concepts behind the music in this portfolio and in my thinking about improvisation in a wider sense. Cook suggests that improvisation represents a wider and more nuanced set of musical functionalities than is commonly understood by the one term ‘improvisation’. This is a key factor in this research.  Extemporaneous Composition is the most salient concept at work in the creative work. The aim is to explore how an improvisation can have elements of a controlled and structured musical argument, as a composed piece would. This connects to the issue of how improvisation and composition are closely linked as creative processes. The issue of how improvisation and the interpretive performance of composed music are linked will be an important topic, as will the relationship between aurality and textuality in creative musicianship. The two research questions are:   • When diverse and divergent aspects of musical practice, from traditions such as Western classical music, jazz and other African-based music are integrated into an improvised musical practice to give voice to a personal, creative musical identity, what can the nature of that music be? What perspectives will emerge about how creative performers operate?   • Textuality and aurality function differently in these musical traditions. Can improvisation, in its wider sense, be re-evaluated to account for the employment of these through a more complex and nuanced set of creative functionalities than is typically understood by the single term improvisation?</p>

scholarly journals Folklore of Chadetsky Highlanders from Bukovyna

2021 ◽  
Vol 16 ◽  
pp. 87-98
Author(s):  
Gustaw Juzala
Keyword(s):  
Ethnic Group ◽  
Age Groups ◽  
High Mountain ◽  
Specific Marker ◽  
Musical Culture ◽  
Important Place ◽  
Carpathian Region ◽  
History Of ◽  
Musical Traditions ◽  
Religious Nature

The article is the first part of a work conceived by the author, dedicated to the folk musical traditions of the ethnic group of Poles who migrated from the western Beskyds more than 200 years ago (namely, from the vicinity of the city of Chadca, located on the Kisuca River, northern Slovakia) to the Romanian part of the Carpathians, called Bukovyna. The name of this ethnic group in Poland is gorali czadecki = Chadian gurals. Their descendants still live in several settlements of the Carpathian Bukovyna: the villages of Plesha, Solonetul Nou and Poiana Mikuli, located in the basin of the Humora River in the Suceava region of Romania. The traditional culture of the Chadian highlanders, in particular their musical folklore, is still insufficiently studied by scientists. The material on which the ethnomusical part of the article is based was mainly collected by the author in the course of his own expeditionary research in these territories in the 2000s. A significant part of the article is a summary of the history of the origin and migrations of this group, as well as ethnographic information about it. After all, complex and varied historical events (mainly the so-called «Volosh colonization», which began in the XII century: the resettlement of the Romanian-speaking population to the Carpathian region from the Northern Balkans, historical Transylvania and Moldova), as well as natural landscape living conditions – cattle breeding in high-mountain pastures) identified some of the features of their traditional musical culture. The second section of the publication is a general overview of the main vocal genres of the Chadetsky gurals living in Bukovyna. A specific marker of the local singing repertoire is taidans (local name) – ritual (mostly wedding) or non-ritual (shepherd's) songs / choruses with verses 6 + 6 in a two-line stanza. Their texts are predominantly monostrophic, following in each performance in no particular order. The article examines the problematic aspects of the genre interpretation of these works: these are full-fledged songs or choruses, where words are more important. Memorial songs (of a religious nature) and lamentation over the departed still occupy an important place in traditional life. The memories of older respondents keep archaic games held at night near the dead. Christmas carols of various types, performed by different age groups of carol singers, are still an actively widespread genre: children, youth – the «young brotherhood» (with mummers), older men - the «old brotherhood». Also known is the children's ritual of sowing grain in houses on New Year's morning. Information about song genres is presented in the context of their functioning in everyday life and rituals

scholarly journals Towards New Forms of Pianistic Improvisation Across Musical Boundaries

2021 ◽  
Author(s):  
◽  
Mark Donlon
Keyword(s):  
Classical Music ◽  
Main Element ◽  
Creative Work ◽  
Musical Identity ◽  
Creative Processes ◽  
Musical Practice ◽  
Piano Trio ◽  
Free Improvisation ◽  
Key Factor ◽  
Musical Traditions

<p>This thesis is practice-based. The main element in which the research outcomes are manifested is the portfolio of creative work. There are three CD albums of original music: Southern Shift, Between Moons, and Tales from the Diaspora. There are also three video recordings including a performance of my piece Saraband (for piano trio), along with my performance of two classical piano pieces by Rachmaninoff: Elegie op 3 no. 1 and Etudetableau op. 33 no. 5. There is a written exegesis which serves to inform the reader how the creative work may be understood or apprehended, as well as placing it in relevant context The creative work centres on contemporary piano improvisation and how diverse musical strands can be drawn together in a coherent improvised musical idiom. Models for contemporary improvised music, that constitute key external sources for my musical practice, include the work of pianists Keith Jarrett, Cecil Taylor, Matt Bourne, John Taylor, Misha Mengelberg, Gabriela Montero and Gwilym Simcock. How these pianists’ work relates to my music will be discussed in the exegetical text.  Several approaches and techniques, to free improvisation and jazz, will be explored through the creative practice and discussed in the exegesis. The ideas of scholars Nicholas Cook and Ed Sarath play a significant part in the concepts behind the music in this portfolio and in my thinking about improvisation in a wider sense. Cook suggests that improvisation represents a wider and more nuanced set of musical functionalities than is commonly understood by the one term ‘improvisation’. This is a key factor in this research.  Extemporaneous Composition is the most salient concept at work in the creative work. The aim is to explore how an improvisation can have elements of a controlled and structured musical argument, as a composed piece would. This connects to the issue of how improvisation and composition are closely linked as creative processes. The issue of how improvisation and the interpretive performance of composed music are linked will be an important topic, as will the relationship between aurality and textuality in creative musicianship. The two research questions are:   • When diverse and divergent aspects of musical practice, from traditions such as Western classical music, jazz and other African-based music are integrated into an improvised musical practice to give voice to a personal, creative musical identity, what can the nature of that music be? What perspectives will emerge about how creative performers operate?   • Textuality and aurality function differently in these musical traditions. Can improvisation, in its wider sense, be re-evaluated to account for the employment of these through a more complex and nuanced set of creative functionalities than is typically understood by the single term improvisation?</p>

scholarly journals Topos of Vienna as a place of deployment of meanings in the musical culture of the Habsburg Galicia

2018 ◽  
pp. 100-112
Author(s):  
Myroslava Novakovych
Keyword(s):  
Nineteenth Century ◽  
Sacred Music ◽  
Fin De Siecle ◽  
Don Juan ◽  
Musical Culture ◽  
The Caucasus ◽  
Orchestral Works ◽  
Musical Rhetoric ◽  
Fin De Siècle ◽  
Main City

The article deals with separate geographically defined places connected with the spaces of national cultural memory. It is alleged that these are "places of memories" that became centers of cultural and spiritual life of Ukrainians outside Ukraine. It is stated that for the Ukrainians of Galicia, Vienna remained a "memorable place" during the nineteenth century. As the main city of the Austro-Hungarian Empire, Vienna was a model for imitation and contributed to the expansion of social structures in Galicia, which became the means of organizing here artistic life. The concept of the "topos of Vienna" is considered through the prism of the categories of sacred / profane, as a sacred music city, associated primarily with the name of VA Mozart. The author analyzes the cantata "The Testament" of Verbytsky, written on the text of the eponymous verse by T. Shevchenko. The composer sought appropriate musical expressions outside the national sphere, so the orchestral introduction to the "Testament" reminds the beginning of the overture to Mozart's "Don Juan", with a particularly sharp dynamic contrast, which symbolizes two worlds - the dead and the living. The influence of Mozart on the creativity of the composers of the Przemysl School is due to their particular attitude to the tradition. After all, Mozart was for them the embodiment of the high classical canon, and not just classicism as a style. It is noted that the Austrian military coloured entertaining music was directly related to the work of M. Verbytsky. The composer used elements of military musical rhetoric in his orchestral works. It is alleged that for the Galician musicians of the last quarter of the nineteenth century exemplary was the work of F. Schubert. An example of such influence is the song by O. Nyzhankivsky "The Past of the Year of Youth" by the words of T. Shevchenko. A model for the composer could be the song of Schubert "Premonition of a Warrior" from his last cycle "Swan Singing". The basis of the work is the contrasting comparison of two figurative spheres: gloomy foreboding and light memories. The article also examines the period of Viennese fin-de-siecle and its influence on the work of S. Lyudkevych. It is noted that the characteristic signs of fin-de-siecle are present in the Caucasus symphony cantata. After all, it combines the spirit of Wagner's greatness with the indisputable optimism of Bethoven's "Ode to Joy".

scholarly journals City Branding Ambon City Of Music Sebagai Folk Identity Music Di Maluku

2021 ◽  
Vol 21 (3) ◽  
pp. 138-149
Author(s):  
Aksa Noya
Keyword(s):  
Folk Music ◽  
Secondary Data ◽  
Community Identity ◽  
Primary Data ◽  
City Branding ◽  
Musical Culture ◽  
Musical Identity ◽  
Study Approach ◽  
Musical Skills ◽  
The People

The article of city branding on Ambon City of Music discusses the legalisation of folk music identity in Maluku. By using the qualitative research method with a case study approach. Data obtained were primary data in the field, and the secondary data were obtained from various media. Data was collected by doing direct interviews and essential documents. Ambon City of Music is an iconic branding that becomes the identity for the people of Maluku. The people of Maluku have music DNA so that it is worth mentioning as a City of Music. It can be seen through the selection of Ambon city as a City of Music by UNESCO in October 2019. Ambon City has become a new identity to introduce the musical culture of the Maluku people. Music is used as social capital in creating peace, while the acculturation of the folk music genre is a symbol of community identity in Maluku. The author argues that the branding of Ambon City of Music itself elevates the dignity of folk music identity. The people of Maluku are known as having the highly musical skills, singing, and experts in playing traditional instruments, such as tifa, totobuang, bamboo flute, tahuri, etc. The recognition by UNESCO strengthens the musical identity of the people of Maluku in the world. Ambon city branding is a legitimation of Maluku folk identity in music and singing and a city of peace because of the music, with the result of the people of Maluku collectively having an awareness of primordial relations.

scholarly journals TRENDS IN THE DEVELOPMENT OF MUSICAL CULTURE IN THE 20 TH CENTURY

2020 ◽  
pp. 43-54
Author(s):  
V.A. Bukreev
Keyword(s):  
Twentieth Century ◽  
Musical Culture ◽  
Present Material ◽  
Science Culture ◽  
Global Problems ◽  
Musical Traditions

The problem is considered in the article is «musical integration», which has been one of the main and global problems since the second half of the twentieth century. Politics, science, culture, practically all areas of spiritual activity not only provide examples of new forms and institutions, but also present material for a kind of «metaphilosophy of unity». The aim of this article is to reveal the tendencies existing in musical culture, which are connected with the process of mixing, fusion, organic connection of different elements of various musical traditions, styles, directions and genres.

scholarly journals ОСВОЕНИЕ ЭТНОКУЛЬТУРНЫХ И ЭТНОМУЗЫКАЛЬНЫХ ЗНАНИЙ МЛАДШИМИ ШКОЛЬНИКАМИ В ПРОЦЕССЕ ЗАНЯТИЙ ФОЛЬКЛОРНОГО АНСАМБЛЯ

2020 ◽  
Author(s):  
Yuliya Velichko ◽  
Olga Militsina ◽  
Yuliya Kalashnikova
Keyword(s):  
Music Education ◽  
Folk Song ◽  
Local History ◽  
Musical Culture ◽  
Dance Culture ◽  
Moral Content ◽  
Stage Of Development ◽  
Musical Traditions ◽  
Space Material ◽  
Selection Of

Введение. Проведен анализ применения этнокультурного подхода к музыкальному образованию младших школьников как фактору социализации обучающихся, их этнической идентификации и самоопределению в многонациональном культурном пространстве. Материал и методы. В процессе работы исследовался песенный материал в стиле местной народно-певческой традиции Никольского района Пензенской области, подголоски, напевы в народном стиле, которые составляют содержание этнокультурных и этномузыкальных знаний, осваиваемых младшими школьниками в фольклорном ансамбле. Их использование позволяет спроектировать процесс формирования этнокультурных и этномузыкальных знаний как личностный интеллектуальный опыт, основанный на внутреннем принятии информации и реализующий эти знания в практических действиях. Результаты и обсуждение. Успешность формирования этнокультурных и этномузыкальных знаний младших школьников зависит от нескольких факторов: согласованности содержания музыкального репертуара специфике, формам и видам музыкально-творческой деятельности учащихся (фольклорной интерпретации, театрализации народной песни, пластическому интонированию и других); соответствия принципам наглядности, учета возрастного развития подрастающего поколения; возможности реализации принципа взаимодействия традиционных видов искусства в процессе его освоения в фольклорном ансамбле. В качестве элементов отбора музыкально-краеведческого материала актуализируется его духовно-нравственное содержание, наличие музыкально-художественных традиций, способствующих реализации права ребенка на собственную национальную художественную культуру и язык в процессе его развития и эстетического воспитания. Никольский район Пензенской области богат своими музыкальными традициями, что представляет особый музыкально-краеведческий интерес. Музыкальные традиции сохраняются благодаря культуросозидающим персоналиям, историческим и архитектурным символам, музыкально-краеведческому и фольклорному материалу края. Все это позволяет младшим школьникам быстрее и легче ориентироваться в этнокультурном наследии своего народа, нередко воплощенного в синтезе музыкальных традиций национальностей, проживающих на территории данной области. Педагогический потенциал этнокультурного музыкального материала заключается в том, что обеспечивает простоту и яркость художественно-образного восприятия произведений данной направленности. Заключение. Целенаправленные, систематические занятия с детьми в фольклорном ансамбле способствуют сохранению духовно-нравственных ценностей музыкальной культуры этноса. Младшие школьники демонстрируют не только знание песенной и танцевальной культуры этносов, проживающих в Пензенской области, но и патриотические гражданские качества, актуальные для современного этапа развития общества.Introduction. The article analyzes the application of ethno-cultural approach to music education of younger students as a factor of socialization of students, their ethnic identification and self-determination in the multinational cultural space. Material and methods. In the course of work the song material was studied in the style of local folk song tradition of the Nikolsky district of the Penza region,the echoes, folk tunes which make up the content of ethno-cultural and ethnomusical knowledge mastered by younger schoolchildren in folklore ensemble. Their use makes it possible to design the process of formation of ethno-cultural and ethnomusical knowledge as a personal intellectual experience based on internal acceptance of information and implementing this knowledge in practical actions. Results and discussion. The success of the formation of ethno-cultural and ethnomusical knowledge of younger students depends on several factors, for example, the wealth of emotional and moral content of musical works or compliance with the specifics of children’s musical and creative activity. As elements of the selection of local history material, its spiritual and moral content, the presence of musical and artistic traditions that contribute to the realization of the child’s right to their own national art culture and language in the process of its development and aesthetic education are updated. Nikolsky district of the Penza region is rich in its musical traditions, has a historical, cultural and spiritual heritage, which includes valuable historical and architectural monuments associated with historical events, the lives of outstanding figures of culture and art of Russia. All this allows younger students to quickly and easily navigate the world of ethnomusical values of the native musical culture and the culture of other peoples. The pedagogical potential of ethnocultural musical material lies in the fact that it provides simplicity and brightness of the artistic-figurative perception of works of this orientation. Conclusion. Purposeful, systematic lessons with children in the folklore ensemble contribute to the preservation of spiritual and moral values of the musical culture of the ethnic group. Younger students demonstrate not only the knowledge of song and dance culture of ethnic groups living in the Penza region, but also Patriotic civic qualities relevant to the modern stage of development of society.

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