scholarly journals Nielsen, Shakespeare and the Flute Concerto: From Character to Archetype

2020 ◽  
Vol 6 ◽  
Author(s):  
David Fanning ◽  
Michelle Assay
Keyword(s):  
Bass Trombone ◽  
Incidental Music ◽  
Concert Music ◽  
National Anthem ◽  
The Relationship

In June 1916 Nielsen supplied incidental music for the tercentenary Shakespeare celebrations in Hamlet’s castle of Kronborg, Helsingør (Elsinore). The three choruses and two songs he composed constitute one of his least-known works. But they had a legacy, and not only in the final choral number, which, to other words, subsequently became a candidate for Danish national anthem. Shortly after the event, Nielsen confided that he found Ariel and Caliban (for each of whom he had composed a sharply characterful song) so fascinating that he was considering writing an instrumental work based on their contrasting temperaments. This he never did, at least not overtly. However, ten years later the drastic instrumental contrasts in his Flute Concerto invite a reading based on the Ariel/Caliban duality. The distinctiveness of the concerto’s confrontation between the flute solo and the orchestral bass trombone has long been recognised. However, this duality takes on a more focused and at the same time broader significance when viewed in the light of Nielsen’s life-long, albeit mainly indirect, engagement with Shakespeare. Suggesting how a composer’s occasional character-music may re-emerge in their concert work in the guise of archetypes, our article seeks to contribute to a growing field of investigation into the relationship between ‘applied’ and concert music.

The Popular Front Years and World War II

Georges Auric ◽  
2020 ◽  
pp. 113-132
Author(s):  
Colin Roust
Keyword(s):  
World War Ii ◽  
Popular Front ◽  
Arts Organizations ◽  
Film Scores ◽  
Incidental Music ◽  
German Occupation ◽  
Concert Music ◽  
Popular Songs ◽  
Intellectual Networks ◽  
French Communist Party

During the Popular Front Years (1934–1939), Auric’s politics swung to the left and he joined several arts organizations of the French Communist Party. His populist works from these years include numerous pieces of incidental music and film scores, but also concert music, music for young musicians, campfire songs, and other popular songs. Although his music hardly changed stylistically from the 1920s, he now actively reached out to the broadest audiences possible. During the German Occupation, Auric joined or otherwise contributed to several intellectual networks of the French Resistance. His war-time roles would result in a privileged position after the war, as a leading critic and arts administrator.

From Tragedy to Melodrama: Rethinking Liszt's Hamlet

2013 ◽  
Vol 10 (1) ◽  
pp. 29-55
Author(s):  
Joanne Cormac
Keyword(s):  
Significant Influence ◽  
Symphonic Poem ◽  
Incidental Music ◽  
Realistic Approach ◽  
The World ◽  
Symphonic Poems ◽  
The Relationship

Liszt composed the symphonic poem Hamlet towards the end of his tenure as Kapellmeister of the Weimar Court Theatre, a time when he regularly conducted operas, concerts, incidental music and variety performances. It was also a time when he frequently came into contact with artists, writers, musicians and actors. One actor in particular left a memorable impression: Bogumil Dawison. Dawison's style was unusual at the time; his performances were noted for their aggression, expressiveness and energy, and many praised the flexibility of his voice and face. Dawison aimed for a realistic approach in response to Goethe's Classicism, but the result was closer to the melodramatic style that was gaining in popularity at the time. His portrayal of Hamlet was particularly innovative, and it captured Liszt's imagination shortly before he composed the symphonic poem inspired by Shakespeare's tragedy.The relationship between the world of the theatre (particularly spoken theatre) and the symphonic poems has never before been explored in Liszt scholarship, yet, as this article reveals, spoken theatre had a significant influence on Hamlet. Indeed, this article will draw new stylistic and conceptual parallels between this symphonic poem and both melodrama as a genre and its related ‘melodramatic’ style of acting. The article argues that Dawison's influence can be traced in Liszt's approach to this work and that a ‘melodramatic reading’ can enable us to interpret some of its more puzzling aspects.

‘THE SPACE OF THE SOUL’: AN INTERVIEW WITH SOFIA GUBAIDULINA

Tempo ◽  
2012 ◽  
Vol 66 (259) ◽  
pp. 31-35 ◽  
Author(s):  
Ivan Moody
Keyword(s):  
20Th Century ◽  
Fibonacci Sequence ◽  
Historical Process ◽  
Concert Music ◽  
Relationship Of ◽  
The Relationship ◽  
The Way

AbstractIn this interview Gubaidulina discusses her understanding of religion and the way in which it relates to her music, by means of symbolism and metaphor. In particular she speaks of her understanding of the Apocalypse as a book of light, greatly influenced by the writings of Fr Aleksandr Men. She talks about the symbolism of instruments in her work, notably percussion, which she sees as a way to the subconscious; her understanding of the role of modernism in music, and the way in which her work connects with this historical process; and also her use of the Fibonacci sequence. The relationship of her music to liturgy is discussed, as is the double path, apparently contradictory, of the artist who composes both liturgical and concert music. The experience of the composer during the profound changes in music during the 20th century, specifically as regards possible intersections between modernism and spirituality, are also discussed.

Revising Hamlet: the Symphonic Poem in the Theatre

2013 ◽  
Vol 54 (1) ◽  
pp. 35-48
Author(s):  
Joanne Cormac
Keyword(s):  
Symphonic Poem ◽  
Incidental Music ◽  
Symphonic Poems ◽  
The Relationship

Hamlet, the last of Liszt’s Weimar symphonic poems, stands out from the others in the sheer detail of its references to the text of Shakespeare’s play. This paper considers how Liszt revised the symphonic poems in order to tighten the relationship between music and drama against the context of his encounter with a renowned and innovative Shakespearian actor, Bogumil Dawison. It demonstrates that the revisions made to Hamlet concerned incorporating extra ’scenes’ from the play using techniques associated with incidental music. Liszt also added programmatic instructions directly related to Dawison’s portrayal. All of this allows us to reconsider the position of Hamlet within the symphonic poems, as a forerunner to the highly programmatic Two Episodes from Lenau’s Faust and the melodramas that Liszt would compose immediately afterwards.

Once More, With Feeling: Sport, National Anthems, and the Collective Power of Affect

2020 ◽  
Vol 37 (1) ◽  
pp. 1-11
Author(s):  
Mary G. McDonald
Keyword(s):  
Indigenous Studies ◽  
Truth And Reconciliation Commission ◽  
Sporting Events ◽  
Reconciliation Commission ◽  
National Anthem ◽  
Truth And Reconciliation ◽  
Time Space ◽  
Relationship Of ◽  
The Relationship ◽  
Do So

In this paper I apply insights from Sport Studies, Indigenous Studies, Music Studies, and Feminist Cultural Studies to illuminate and theorize the cultural, material, and political affective salience of national anthems staged prior to sporting events. To do so I analyze two different cases: The Aboriginal musical trio Asani’s 2014 multi-lingual performance of “O Canada” prior to an Oilers hockey game which closed Truth and Reconciliation Commission (TRC) events in Edmonton, Alberta; and the projection of hatred onto former NFL quarterback Colin Kaepernick’s kneeling protest of racism during the playing of the U.S. national anthem in 2016. Analysis suggests that these emotive, often visceral musical performances and responses are not contained within individual subjects but instead reflect contextually specific repetitive (dis)articulations across time, space, and a variety of bodies. Placed within broader colonial contexts, Asani’s version of the Canadian anthem is exemplary of the embodied sensory, but politically limited settler-oriented communitas of Canadian TRC inclusionary music as previously explicated by Robinson. Kaepernick’s anti-racist kneeling activism provides an additional case to theorize the relationship of national anthems in regards to movements for and against an imagined white nation as well as State-sanctioned colonization and hatreds.

United We Stand, Divided We Kneel: Examining Perceptions of the NFL Anthem Protest on Organizational Reputation

2019 ◽  
Vol 8 (4-5) ◽  
pp. 591-610 ◽  
Author(s):  
Shaun M. Anderson
Keyword(s):  
United States ◽  
National Identity ◽  
San Francisco ◽  
National Football League ◽  
The United States ◽  
Police Brutality ◽  
National Anthem ◽  
Organizational Reputation ◽  
The Relationship

During a 2016 National Football League (NFL) preseason game, former San Francisco 49er quarterback, Colin Kaepernick sat during the playing of the national anthem in protest of police brutality. His actions prompted national outrage: ultimately calling into question his national identity and patriotism towards the United States. The anthem protest continued throughout the 2016 and through the 2017 season. Consequently, the NFL decided to implement a national anthem policy to discipline players who continued to protest. Thus, this study examined individuals’ perceptions of the NFL’s crisis responsibility in handling the anthem protest and how it affected their reputation. Further, this study examined national identity and patriotism as mediators between crisis responsibility and organizational reputation. Results indicated that national identity did not serve as a mediator and that only one level of patriotism mediated the relationship. A discussion was also forwarded.

Church Music and the Rise of the Public Concert, 1743–1785

2018 ◽  
Author(s):  
Jeffrey S. Sposato
Keyword(s):  
Church Music ◽  
Johann Sebastian Bach ◽  
Concert Music ◽  
The Public ◽  
The Relationship ◽  
The Church

This chapter is the first of three chapters to look at the relationship between a Thomaskantor, who oversaw the church music, and a Kapellmeister (music director) of the public concerts. Thomaskantor Johann Friedrich Doles and Kapellmeister Johann Adam Hiller are highlighted. The chapter examines developments in church music repertoire under Johann Sebastian Bach; his immediate successor, Gottlob Harrer; and Doles. Hiller began his career in Leipzig as director of the public Grosse Concert in 1743. After directing the Musikübende Gesellschaft and the Gewandhaus orchestra, he became Thomaskantor in 1789. Public concert music under Hiller continued to be heavily influenced by trends in church music. Hiller replaced Doles as Thomaskantor in 1789.

Reappraising Communism and Nationalism

2009 ◽  
Vol 37 (4) ◽  
pp. 377-400 ◽  
Author(s):  
Martin Mevius
Keyword(s):  
Eastern Europe ◽  
Central And Eastern Europe ◽  
Theory And Practice ◽  
Berlin Wall ◽  
National Interests ◽  
National Anthem ◽  
Communist Movement ◽  
National Flag ◽  
National Images ◽  
The Relationship

There are two popular myths concerning the relationship between communism and nationalism. The first is that nationalism and communism are wholly antagonistic and mutually exclusive. The second is the assertion that in communist Eastern Europe nationalism was oppressed before 1989, to emerge triumphant after the Berlin Wall came down. Reality was different. Certainly from 1945 onwards, communist parties presented themselves as heirs to national traditions and guardians of national interests. The communist states of Central and Eastern Europe constructed “socialist patriotism,” a form of loyalty to their own state of workers and peasants. Up to 1989, communists in Eastern Europe sang the national anthem, and waved the national flag next to the red banner. The use of national images was not the exception, but the rule. From Cuba to Korea, all communist parties attempted to gain national legitimacy. This was not incidental or a deviation from Marxist orthodoxy, but ingrained in the theory and practice of the communist movement since its inception.

Relationships between expressed and felt emotions in music

2008 ◽  
Vol 12 (1) ◽  
pp. 75-99 ◽  
Author(s):  
Paul Evans ◽  
Emery Schubert
Keyword(s):  
Emotional Response ◽  
Positive Relationship ◽  
Expressed Emotion ◽  
Live Performance ◽  
External Locus ◽  
Emotional Quality ◽  
National Anthem ◽  
Significant Difference ◽  
Geometric Space ◽  
The Relationship

This study examines empirically the possible relationships between the emotional quality one can attribute to musical stimuli (expressed emotion, or external locus of emotion) and the subjective emotional response one can have as a result of listening to music (felt emotion, or internal locus). The relationship between the two loci of emotion is often assumed to be positive, that is, when listening to music, one feels the emotion that the music expresses. Gabrielsson has suggested, however, that this assumption is simplistic, and has proposed a model that describes other possible relationships. The present study quantitatively investigates Gabrielsson's proposal. Forty-five participants responded to questions about both expressed emotion and felt emotion for two familiar experimenter-selected pieces (Pachelbel's Canon and Advance Australia Fair, the Australian national anthem) and one or two pieces of their own selection. Participants were asked to “imagine” their self-selected pieces in the absence of recordings or a live performance. An experimenter-selected piece was both sounded and imagined, and no significant difference was observed in responses between the two conditions. Quantitative criteria were generated in order to compare the loci (internal and external) of each piece in geometric space. Results showed that the positive relationship, where the internal and external locus emotions are the same, occurred in 61% of cases. In general, these pieces were preferred more than those exhibiting non-positive relationships. Implications for practices that tacitly assume a 100% positive relationship, or are not specific about the locus of emotion, are discussed.

scholarly journals PENSAMENTO COMUNICACIONAL NA ORQUESTRA DO ESTADO DE MATO GROSSO E O CAMPO DA MÚSICA DE CONCERTO EM CUIABÁ

2016 ◽  
Vol 2 (5) ◽  
pp. 200
Author(s):  
Yuji Gushiken ◽  
Protásio De Morais Barbosa Júnior
Keyword(s):  
Organizational Communication ◽  
Cultural Practices ◽  
Central Question ◽  
Mato Grosso ◽  
Concert Music ◽  
Cultural Field ◽  
Palabras Clave ◽  
Professional Fields ◽  
The Relationship

Na perspectiva da “comunicação como cultura”, este artigo tem como questão central a relação entre pensamento comunicacional e a formação da música de concerto como campo artístico-cultural, num estudo de caso da Orquestra do Estado de Mato Grosso (OEMT). Criada em 2005, a OEMT instituiu um novo momento para a música de concerto em Cuiabá, capital de Mato Grosso, estado do Centro-Oeste com parte de seu território na Amazônia Legal. O funcionamento da OEMT na primeira década de atividade (2005-2015) atualiza-se com o desenvolvimento paralelo de estratégias de comunicação organizacional que redimensionam as relações da orquestra junto a seus diversos públicos. A interface entre distintos campos profissionais evidencia a dimensão comunicacional das práticas artísticas e culturais na contemporaneidade.   PALAVRAS-CHAVE: Comunicação; Música de concerto; Orquestra do Estado de Mato Grosso; Cuiabá.     ABSTRACT In the perspective of “communication as culture”, this article has as its central question the relationship between communicational thinking and the formation of concert music as an artistic-cultural field, in a case study of the State Orchestra of Mato Grosso (OEMT). Created in 2005, OEMT instituted a new moment for concert music in Cuiabá, capital of Mato Grosso, state of the Midwest with part of its territory in the Legal Amazon. The operation of OEMT in the first decade of activity (2005-2015) is updated with the parallel development of organizational communication strategies that reshape the relations of the orchestra with its different audiences. The interface between different professional fields evidences the communicational dimension of the artistic and cultural practices in the contemporaneity.   KEYWORDS: Communication; Concert music; State Orchestra of  Mato Grosso; Cuiabá.     RESUMEN Desde la perspectiva de la “comunicación como cultura”, este artículo tiene como cuestión central la relación entre el pensamiento comunicacional y la formación de la música de concierto como campo artístico y cultural, en un estudio de caso de la Orquesta del Estado de Mato Grosso (OEMT). Fundada en 2005, OEMT instituyó un nuevo tiempo para la música de concierto en Cuiabá, capital de Mato Grosso, estado del Medio Oeste con una parte de su territorio en la Amazonía Legal. El funcionamiento de OEMT en la primera década de actividad (2005-2015) se actualiza con el desarrollo paralelo de las estrategias de comunicación organizacional, que redimensionan las relaciones de la orquesta junto a sus diversos públicos. La interfaz entre los diferentes campos profesionales evidencia la dimensión comunicacional de las prácticas artísticas y culturales en la contemporaneidad.  PALABRAS CLAVE: Comunicación; música de concierto; Orquesta del Estado de Mato Grosso; Cuiabá.

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